#I got past the tutorial and then got stuck trying to get to a tower

[youwouldntbelievehowigothere]

When ToTK first came out, I was playing it in front of my friend who really liked legend of Zelda as a kid, but to my knowledge is not a Zelink shipper (I think due to it being a thing her and her brother used to play, she associates them with familiar love, which I totally understand. However, she never played beyond toon Link games like spirit tracks and wind waker, so she really know about BotW anything) and she was really uncomfortable whenever Zelda was like “Oh Link, stay close” “I trust you to protect me.” etc. Which means it wasn’t just my shipper brain rot that made me go these two characters seems really close.

[fereldanwench]

Hi! I'm not sure if you've answered this question or not or if I missed it in your pinned post. I've been dying to mod Cyberpunk for forever, and have finally decided to give it a try. I am very intimidated by the whole ordeal because I know cyberpunk has so many spec requirements (I play on console) and was wondering if you had recommendations? I'm looking to buy a PC to start my modding and visual photography journey but don't know where to start. I've scoured reddit for recommendations but keep getting mixed signals.

I've watched you slowly create your digital portfolio for Valerie over the last couple years and have just been in utter awe of your work. I've looked up to you for a while and want to follow in your footsteps.

Thank you for your time! ☺️💖

Hey there! Thank you so much for the sweet words!

You didn't miss anything, so no worries! I don't think I've ever shared my PC specs in one place. Currently I have:

Motherboard: MSI MAG Z790 Tomahawk MAX

Processor: i7-14700K (with a Cooler Master liquid cooler, I forget the exact model)

RAM: Corsair Vengeance DDR5 64GB

GPU: Geforce RTX 3070 Ti

SSD: Samsung 860 EVO 2TB

NZXT H710i ATX tower case (I think this exact model is discontinued, but I'm a fan of NZXT cases in general--They're very roomy, have good airflow, and have good cable management features)

I've built and maintained my own PCs for about a decade now, and I remember when I first made the switch from console to PC, a lot of the conventional advice I got from more seasoned PC gamers was "Build your own rig, it's cheaper, and it's not that hard." I wasn't fully convinced, though, and I did just get a pre-built gaming PC from some random company on Amazon. If you have the money and you're really intimidated at the idea of building your own, there's nothing wrong with going this route.

Once I had my pre-built, I started with upgrading individual components one at a time. Installing a new GPU, for instance, is pretty easy and fool-proof. Installing a new CPU is a little trickier, especially with all the conflicting advice on how much thermal paste to use (I've always done the grain of rice/pea-sized method and my temperatures on multiple CPUs have always been fine). Installing a new power supply unit can be overwhelming when it comes to making sure you've plugged everything in correctly. Installing a new motherboard is not too far off from building a whole new thing.

And building/maintaining a PC is pretty easy once you get past the initial intimidation. There are so many video tutorials on YouTube to explain the basics--I think I referred to Linus Tech Tip videos back in the day (which might be cringe to suggest now, idk), but you search "how to build a gaming PC" and you'll get a ton of good results back. Also, PCPartPicker is a very helpful website in crosschecking all your desired components to make sure they'll play nicely with each other.

The other big piece of advice I'd offer on building a PC is not to drive yourself crazy reading too many reviews on components. Don't go in totally blind--Still look at Reddit, Amazon reviews, NewEgg, etc. to get an idea of the product and potential issues, but be discerning. Like if you check Amazon reviews and see a common issue mentioned in multiple reviews, take note of that, but if you see one or two complaints about something random, it's probably a fluke. Either a one-off manufacturing error or (more likely, honestly) user error.

You'll probably also see a lot of debates about Intel/NVIDIA vs AMD when it comes to processors and graphics cards--I started with Intel and NVIDIA so I've really just stuck with them out of familiarity, but I think the conventional wisdom these days is that AMD processors will give you more bang for your buck when it comes to gaming.

If you do go the NVIDIA route, I've personally always found it worth the extra money to go with a Ti model of their cards--I feel like it gives me at least another year or two without starting to really feel the GPU bottleneck. I was able to play Mass Effect Andromeda on mostly high settings with my 780 Ti in 2017, and I actually started playing Cyberpunk on my 1080 Ti in 2021--I think most of my settings were on high without any notable performance issues.

Now you probably couldn't get away with that post-Phantom Liberty/update 2.0 since the game did get a lot more demanding with those updates. However, my biggest piece of advice to anyone who wants to get into PC gaming with a heavy emphasis on virtual photography is that you do not need the absolute top-of-the-line hardware to take good shots. For Cyberpunk, I think shooting for a build that lands somewhere along the lines of the minimum-to-recommended ray-tracing requirements will do you just fine.

I don't remember all my current game settings off the top of my head, but I can tell you that I have never bothered with path-tracing, my ray-tracing settings range from medium to high, and I don't natively run the game at 4K. I do hotsample to 4K when I do VP, and I do notice a difference between a 1080 and a 4K shot, but I personally don't feel like being able to constantly run it at 4K is necessary for me right now since I still only have a 1080p monitor. If I'm going to be shooting in Dogtown, which is very demanding, I'll also cap my FPS to 30 for a little extra stability.

(Also, and hopefully this doesn't muddy the waters too much, but I feel like it's worth pointing out that you could have the absolute best of the best hardware and still run into crashes and glitches for random shit that might require advanced troubleshooting--My husband had a better build than I did when he started playing CP77, but he kept running into crashes because of some weird audio driver issue that had to do with his sound system. I just recently upgraded my CPU, RAM, and motherboard, and I was going nuts over the winter because my game somehow became less stable. It turned out the main culprit was Windows 11 has shitty Bluetooth settings.)

But in my opinion, I think getting good shots is less about hardware and more about 1) learning to use the tools available to you (e.g. in-game lighting tools, Reshade, and post-editing in programs like Lightroom or even free apps like Snapsneed) and 2) learning the basics of real-life photography (or visual art in general), particularly when it comes to lighting, color, and composition.

I don't rely on Reshade too much because I try to minimize the amount of menus I have to futz with in-game, but I do think DOF and/or long exposure shaders are excellent for getting cleaner shots. I also like ambient fog shaders to help create more cohesive color in a shot. However, I put most of my focus on lighting and post-editing. I did talk a little bit about my methods for both in this post--It is from 2023 and my style has evolved some since then (like I mention desaturating greens in Lightroom, but I've actually been loving bold green lately and I've been cranking that shit up), but I think it still has some useful advice for anyone starting out.

For a more recent comparison of how much my Lightroom and Photoshop work affects the final product, here is a recent shot I took of Goro.

The left image is the raw shot out of the game--It has some Reshade effects (most notably the IGCS DOF), and I manually set the lighting for this scene. To do this, I set the time in-game to give me a golden hour affect (usually early morning or early evening depending on your location) so the base was very warm and orange, then I dropped the exposure and essentially "rebuilt" the lighting with AMM and CharLi lights to make Goro pop and add some more color, notably green and blue, into the scene.

And the right image is that same shot but after I did some color correcting/enhancement, sharpening, etc. in Lightroom and clip-editing and texture work in Photoshop.

Okay, this was long as hell so I'm gonna end it here, haha. If you have any more questions about anything specific here, feel free to ask! I know it can be really overwhelming and I threw a lot at ya. <333

[littleseasiren]

I've got you

Pairing: Bucky Barnes x Reader

Warnings: Little bit of angst, but mostly fluff

Words: Approximately 1100 words

A/N: I've decided to attempt Flufftober this month, so this is my first entry for the challenge. Prompt: I've got you. Hope you enjoy! Thanks @flufftober and @chaotictarlos

"So, my sister is getting married and she wants me to invite all you idiots to the wedding," Sam huffs as he drops down onto the couch.

"That's great, Sam. I'm sure we'd all love to meet Sarah and join her on her special day," Steve says.

"Yeah? Can I tell her to add you all to the list?" Sam glances around and meets everyone's gaze in question.

A chorus of agreement is heard. "As long as you won't be there," Bucky snickers.

"Of course I'm going to be there, I'm the best man!" Sam huffs in frustration.

"How much did you have to pay the groom for him to agree to that?"

Sam throws a couch cushion at Bucky, which Bucky promptly catches in the air before it can hit him. You giggle from the seat next to him, knowing he'll keep you safe from the oncoming couch missiles.

"Sure, we'll go," Bucky relents eventually. When everyone returns to the movie, Bucky softly asks if you will accompany him to the wedding as his date and you couldn't be happier.

You're floating on cloud nine before you are ripped back to reality when you hear Wanda and Natasha's conversation a few days later.

"We're going to have so much fun at the wedding, I can't wait!" Wanda says, giddy from excitement.

"Yeah, it's going to be a blast. All the hot men, the drinking, the dancing!"

Two weeks later

You instinctively close your laptop as soon as Bucky enters the room, missing the expression your movements cause. "Hey, doll. Everything alright?"

"Hmm, yeah all good." You mumble, not meeting his gaze.

"So, you got everything ready for next week?"

"Next week?"

"Yeah, remember Sarah's wedding?"

Your eyes widen in surprise. "The wedding is next week? No, no, it can't be so soon."

"Afraid it is, doll. But there's more than enough time. Do you need to go buy a dress? I can join you if you're worried about that."

You don't even hear his words, the reality of the situation finally sinking in. There's no way you will be ready in a week.

"I can't go with you to the wedding, I think you should ask someone else." You blurt out before you can stop yourself. For a few seconds, all you hear is silence.

When you meet his blue eyes, your heart rate increases. His expression is full of anger and hurt.

"Really? You can't go with me? I'd ask why not but I'm pretty sure it involves whatever you're constantly doing on your phone and laptop which you don't want me to see. The past two weeks you've been ignoring me and hiding things from me."

"Bucky, no, it's not like that!"

"Like what? You won't even tell me what you're doing!" His voice becomes louder with every word. "If you don't love me then you need to tell me! If you want to be with someone else then-"

"I can't dance!" Tears drop down your cheek at your exclamation.

"Wait, what?"

"I can't dance, ok? I thought about asking Natasha or Wanda to teach me but I don't want the whole tower to find out. I'd be the laughingstock! I've been sneaking off, watching videos and reading tutorials, trying to teach myself but I just can't get it!"

You wipe your cheeks, trying to stop crying when you hear Bucky laugh from where he stands. How dare he laugh at your admission! "You're such an ass!" Anger feels like it's boiling out of you as you rise from the couch and stomp towards the bedroom, but Bucky grabs your arms and stops you from reaching it.

"I'm sorry, doll. I'm not laughing at you, I'm laughing at the situation!" He pulls you into a quick hug and then steps back, giving you some space. "That's it? That's what you've been hiding all along?"

"Of course! Bucky, I know how much you used to love dancing, and now you're stuck with the one woman who can't dance!"

"You swear it's nothing else?"

"What do you mean?

"I just- when you wouldn't talk to me like you used to - when you hid things from me, I started thinking about a thousand reasons why you wouldn't want to be with me anymore. I thought maybe you found a better man or realized that you didn't love me anymore." He's biting his lip from anxiety as he waits for your answer.

"Bucky, there isn't a better man for me and I promise you, I will never stop loving you." Reaching up, you touch his chest lightly, placing your hand over the spot where his heart is beating frantically before you stand on your toes and kiss him softly.

You squeal with surprise when he picks you up, walks to the couch then pulls you into his lap, holding you close. "I love you too, doll. Always have and always will." The two of you sit in comfortable silence for a few seconds, just appreciating being close to each other once again. "So you'll go to the wedding with me, right?"

"Bucky, didn't you listen to a word I said?"

"I heard you, you can't dance. I don't care, Y/N. I just want to be with you."

"And I don't want to disappoint you! All I hear is how much you used to love dancing, and if you go with me you won't be able to dance!"

"Doll, you could never disappoint me. And if it bothers you so much, I can teach you a few moves. Besides, the fact that I'm an excellent teacher," Bucky smirks at this, "I'm also a super soldier. Even if you can't dance, like at all, I can throw you around the room and no one will even notice. You can even step on my toes and I couldn't care less. I've got you. I promise I won't let you be embarrassed. I just want to go with you, I want to show off my amazing girlfriend."

"Are you sure?"

"Of course, doll. Now, tell me you'll go with me."

"Ok, I'll go with you. Oh, but I need to go buy a dress!" You jump up.

When Bucky rises with you and grabs his things, he notices your gaze on him. "Come on, doll. I'll go shopping with you."

"Really?"

"Yeah, I think it's best that I'm part of this important decision. I need to help decide what dress I'm going to rip off you at the end of the evening. It'll be my reward for having you step on my toes at the wedding."

He's too slow to block the cushion hitting him on the back of the head.

Tag List:

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[athenaholmesartistsguild]

Had this card finished for a while before posting, but I was kinda insecure about it lol. I talk a little more in depth on this card's Patreon post (you can view and download it for free btw), but long story short, I got stuck in my head about whether I was embodying the symbolism of The Star and then I realized I didn't have to have a one-to-one counterpart to every Rider-Waite-Smith card lol.

Once I wasn't so stuck in my head, I realized I really like the way this card came out! I usually struggle to draw fire, but I found this quick tutorial and it actually gave me a process to try! Would recommend!

But let's go ahead and talk interpretations. They'll be below the cut as always:

After The Tower's destruction, The Star rises from the wreckage-- a shining beacon of hope.

While you likely experienced a period of pain and upheaval in the past, the presence of The Star suggests that good things are coming your way.

The Star is a card of hope and renewal. It reminds us that even though we went through trauma or generally crappy situations, we can emerge from them confident that things will get better. There are good things coming and we're urged to focus on those.

A lot of the symbolism within this card is somewhat religious in nature. The original woman is kneeling down with one of her feet seemingly walking on water, an homage to the Christian understanding of Jesus. The Star appears to be very in touch with the higher power within her whether her understanding of it stems from religion or her own spiritual beliefs.

In this way, we're urged to have faith in the forces we might not be able to comprehend. Sometimes singular or series of events can happen without us putting much effort into their creation. Sometimes, something we wanted or needed comes to us even when it didn't seem at all possible. The Star urges us to have faith in ourselves and trust that what we want will come to us.

Be confident in yourself, have hope that things will change, and begin to free yourself from the fear that keeps you from living authentically.

Reversed, the once hopeful figure of The Star has lost their glow. They've become lost in their pain and struggle to find any reason to stay positive. There's only so much a person can take before they feel beaten down and hopeless.

An important distinction, however, if that a reversed Star does not mean you have no hope. There are still plenty of chances for our situations to improve and for us to heal, this reversed card simply indicates our own feelings and thoughts.

While it can be frustrating to hear that something's 'all in our head', a reversed Star can be looked at as a sign that we have the power to make things better. Whatever higher power put us on Earth also gave us the ability to alter our reality and create a better life for ourselves.

Of course we may need help along the way whether that be a therapist, doctor, support group, or our loved ones, but that help is out there.

Even a reversed Star is a message that the worst of our pain and suffering is over. The pain we suffered is real and valid, it always will be. But The Star reminds us that we have the power to heal from it and come back stronger than when we started.

When designing this card, I wanted Haruka to represent the Star in question.

After Kiryu's entire family died, he felt like he had no reason to stay alive. The whole reason he went on his journey in the first game was to be reunited with the people he loved. He was willing to forgive those that had hurt him and move on, but in a very short period of time, everything was taken from him.

Everything except Haruka.

Haruka isn't free from suffering, either; her mother was taken from her and her father tried to kill her, but she serves as an anchor for Kiryu to hold onto his desire to live (even if he continues to struggle in the future).

She's an opportunity for Kiryu to get away from the Tojo Clan-- the organization that gave him everything he loved, but also took it away so many times. A beacon of hope leading Kiryu towards the life he actually wants.

Things aren't easy. Healing from such intense trauma rarely is, but there's hope for this little girl who never had a proper family and this man who just lost his.

Fate seemingly destroyed both their lives, but it seems like it also gave them everything they needed to find new meaning in the mess left over.

[horrible-monstrosity]

mothermom 3 is a baaad animine

part 1: fuck these characters I thought the bit about not being able to go through a certain way because there's ants (that the player can't see) you wouldn't want to trample was going to introduce a theme of kindness and gentleness, but the game sure... tramples that early on by having your oh-so-kindhearted-and-mournable mother trample the fuck out of a sentient talking mole cricket to death right the fuck afterwards. Like, you were just talking to and playfighting with that mole mere seconds ago, and now it's thoughtlessly and meaninglessly dead, and it's supposed to be funny. And then you're supposed to forget all about it when mom dead because care and have emotions for this characters you've barely known for like one minute worth of interactions dragged out over like an hour. ok Then after bumbling along being a hollow little bag of nothing for like ten hours Lucas suddenly proves himself a detestable little cunt by just straight up stealing something he's told was a precious item, a yo-yo belonging to Porky's friend. Because, like... fuck Porky, I guess, in this geame franchise about love and heart and healing there's just this one fat kid we're all supposed to just disregard and piss and shit on and detest by default for no fucking reason just because the game narrative said so. Porky's existence was pretty weird already in Earthbound- he's apparently being abused by his fat parents, and aside from being a bit snotty and show-offy, he does at least make sure his little brother gets home safely at the beginning. He just seems like someone who needs a friend, which... actually makes Ness look like an asshole in retrospect for not just giving him some kind of help. It was kind of fine in that game because he was just a minor character, but making him some supervillain in the next game just because he was some dumpy abused kid is just... what the fuck. But anyway, whenever the plot expects us to care about Loocus and his dumb dead mom I just think about things like the yo-yo and the mole cricket and I lose all empathy. These people are assholes. You're trying to make sympathetic victims out of assholes and an asshole out of a sympathetic victim. Get your meaningless fucking sunflowers the fuck off my screen you bitch fuck

And then on the other hand there's Duster. The character who's absolutely the most deserving of empathy out of all these cunts and we're supposed to see him reembracing his shitty old life as something he should be really happy about. Like for one thing, the entire plot where he reenters the cast is stupid and makes no sense. When we hear he's at the club playing with the band, I could think of a lot of reasons for it- he could be laying low to protect the egg (seeing as how Tamzilly got pozzed and going back there would accomplish nothing), he could have just decided to fuck off and do something he actually enjoyed rather than go back to his shitty asshole dad, he could have somehow ended up far far away from the town and joined the band to make his way back home travelling with them/earn a living so he could get back. But no, before we even get to see him and see how he's acting Strong Female McDerpa Character tells us that he most definitely has amnesia. Because, like, why would he ever give up on his jackass dad and that braindead town otherwise? And then we meet him and it's exactly what we were unceremonously told it was, how rivetting. Then for some reason he decides that if he's really who you say he is he needs to... give up his life as a band member entirely to get the egg back. Can't just come with you to get the egg or until the adventure's over, nooo he needs to abandon his new life forever and ever and just go get fucked and fuck himself. fuck. let my man play guitar and also that "thiefs but good somehow because derp" shit is retarded and I hate it

Finally there's Girl Character who I refuse to even remember the name of because she's... nothing. Even her being kinda cunty about how she's sTrOnG and nOt lIkE ThoSe OthEr gIrlS is just bland. The other girls from the past two games were cute and girly and still credit to team with their strong psychic powers, why the fuck is she like this?

part 2: i've stopped giving a fuck about making this into parts fuck you What the fuck is the story of this game? You spend hours dicking around with a fucking timeskip and a ghost mansion or some shit and the game randomly namedrops the needles at some point, and then... the six or seventh chapter is just titled GUYS THE NEEDLES ARE ACTUALLY REALLY IMPORTANT YOU GUYS. Six or seven fucking chapters in, and we've barely gotten to anything resembling a coherent plot. What the fuck have we been doing up until this point again? Why the fuck do we even need the dragon needles plot anyway? Just have the main cast move from one pigmeng plot to another with things like the thunder tower, slowly working their way up the chain of command until they reach the final boss and his ultimate plan. You don't need to introduce an entire plot worth of fucking shit a third of the way into the game you fucking fuckers

The themes are a fucking dumpsterfire. Just plop some fucktarded work bad money bad bullshit in there and call it a day... Evil monkey man could have given that fucktard anything and got him to hide it in the well and it would have caused a ruckus when he came back and stole it. He could have convinced him to hide his grandma's ashes in the well- would the takeaway from that have been that honoring the dead bad? That's how fucking flat it is. If anything it just comes off as if the people of Tamzilly are just a bunch of mindkilled retards with no defence against humanity's own nature aside from shutting themselves off from the outside world entirely- the slightest contact with normal human interactions like money or having to contribute to society for a living, they all self-destruct. It's not le capitalism that made the old people home bad, it's whoever the fuck actually built it... which, if the outside world weren't basically strawmanned with the le evil pigmans and monkey abuser guy, would have been Tamzilly themselves. Which, because the strawmanning is so unbelievably absurd, makes it seem like Tazmilly is just a retarded place that somehow managed to make the old people's home this bad on their own or some shit I don't know I just can't buy it

Speaking of empathy, the game somehow manages to make the Pig Heil guys endearing even while they're actively working on the thunder tower that's cooking the dumbass town residents. Are they supposed to be abusing the electric catfish when they're cutely telling the things to hang in there and do their best? When Lucas got a jerb hustling the golems around and they managed to make it like a positive thing (the pigmangs encourage you, seemingly pay a decent wage, and even the doggo enjoys running on the treadmill once he gets into it), I thought there was going to be a tweest or at least some nuance, but the absurdity of the nice ol' piglins in the evil tower just makes it seem like it's just entirely unintentional, by writers who just have no idea what the fuck they're doing. The generic braindead modern-bad messaging and the generic brainless funny-characters-ha-ha sides of the writing clash horribly and somehow manage to mangle each other even worse than they already were.

The whimsicality is fucking dead. It's just all so forced and one-note... or, very consistently two-note in every single thing, because absolutely every single monster you meet is just two things funny stuck together. The first two games could glide smoothly between fighting enraged possessed zoo animals and weirdo people, weirdo fucking blended monsters that don't look like anything in particular, and then just sometimes the taxis that're used for decoration on roads will veer off course and engage you in battle. It's simultaneously wildly unpredictable and smoothly cohesive. And it's wonderful. But M3 is just... it leans over, shoves a megaphone down your throat and loudly informs you that "the PIGMEN have FUSED the THINGS toGETHER" and proceeds to beat you over the head with "this thing is THAT thing and THAT thing" over and over again. It's forced, mechanical, hamfisted and just not whimsical at all. And it's not just because the pigmengs aren't Giiigigigigiyasass (which could have been fixed by having them harness traces of Gig's power if that was the problem anyway), because it extends to absolutely everything- the ghosts at the mansion for example are just all absolutely fucking nothing. Like the main big bad boss is just "he's GHOST who THROWS FURNITURE and is BEETHOVEN and plays BEETHOVEN MUSIC". Because Beethoven is old thing therefore old mansion and ghosts, geddit? How fucking pathetic. Oh there's another thing, the weird aliens/conspiracy bent the first two games had is gone entirely. That's something that really helped it feel so wild yet at the same time cohesive... Actually, the game also seems to have done away with the surprise overworld sprite encounters like the aforementioned taxis. ... No wait that's right, they blew their load in the first levels with the rock lizards, which were fucking boring.

The dialogue fucking sucks. just fucking drags the fuck on endlessly for fucking ever to say barely anything, and barely anything you need to actually hear. Did Earthbound ever stop you to inform you that the TAXIS are AFFECTED by GIGUDUGDSAS like you couldn't figure that out yourself? No, they say Gigi's affected shit in a couple sentences near the beginning and let the rest of it speak for itself, pretty much. It's hard to give exact examples because I can't fucking remember any of this shit because it just slides right off my brain like ducks off of water, it's so bland and pointless. The sparrows drone on endlessly with worthless tutorial shit and then take an entire extra sentence to chirp at you and remind you that it's talking animals oh wow wacky!!!!!!! And when Duster decides he really is what you say he is he stands there going "ME IS DUSTER" over and over again like he's fucking Bimpson. You don't have anything interesting to say about finally figuring out who you really are? Okay... There's multiple fucking scenes of slow-scrolling walls of fucking text telling you absolutely nothng you don't already know except that the writers are wanking the fuck off over their own dumbass writing where in Earthbound there was like one scene of this towards the end that really just set up the emotions of the final sequences and underlined how far you'd come and shit and was a good moment of reflection and shit.

I also find it exceptionally intersting that all the people in Tazmilly before the timeskip have names and unique appearances, but anyone who only shows up after is just some generic design called "Man" or "Woman" or what have you. It feels weirdly dehumanizing towards outsiders.

This game fucking feels like the writers just fucking dumped a bunch of absolute shit down like they expected everyone to just eat it up, either because of the success of the previous games or because of the emotional manipulation the plot is laced with. The characters are all either detestable cunts or desperately need to be airlifted out into a better game pronto. And it's unsettlingly... modern in what's wrong with it. The capitalism-bad-tradition-good-mindkill-yourself messaging, the spunky female character(tm) who rubs it in your face how strongk she is (and who keeps talking even when you're controlling her while the other characters all become silent protagonists)... even the weirdly random spite towards characters the narrative has decided aren't "deserving" enough, or characters only being allowed to handle said spite and retain sympathy by cucking to it completely (Duster)... I suppose that's just a sign that these sorts of writing problems and hangups are older than that and have just become more popular/visible in recent times, but it's still really fucking weird to see.

I feel like I should be concerned that the team behind the Earthbound series also started Gamefreak and created Pokemon, though since the split obviously happened before Mo 3 I don't know how much overlap there is between staff members there specifically... seeing as how these exact same sort of writing problems have started to rear their heads in the Pokemon franchise, starting weakly in gen 6 (cough zinnia cough abandoned ship plotline cough) and absolutely fucking exploding in 7 (cough LILLIE COUHG FUCKING TAPUS COUGH AGAG V HIC CUFGH VOMIT AAGHK); I haven't yet fully witnessed gen 8 but everything I've seen of it so far looks no better, except there's no shill character (Marnie is just kinda... there), just suffering. But that's all for another post.

welp time to go watch the remainder of the game until my brain rots off

[sibyl-of-space]

Finished a binge re-play of Ocarina of Time (3D) for the first time in a very, very long time. Long-winded thoughts below.

Disclaimer: I played the original n64 version (red blood Ganondorf and all) ad NAUSEUM as a kid. It was by far in my top 3 most-played video games, and if you all know me you know that I don’t play a lot of video games, I play the same few over and over and over and become obsessed with them. As such, OoT is not new to me. I also played the 3D version once before, but it was over the course of several years when I was in college and that was a no-lens-of-truth run for the heck of it. I have not touched either since though, so this is the freshest eyes I’ve had on the game since I was probably about 6-7 years old seeing it for the first time. Do keep in mind though that I already knew virtually all the easter eggs and secrets and story and progression and had a vague recollection of the vast majority of dungeon concepts/puzzles before going in, because this game was my entire world for many formative years.

This game has really excellent dungeons. I ranked them below because I was inspired by my friend ML’s ranking (in fact a desire to rank them myself is what caused me to binge replay this in the first place), but honestly I found all of them engaging. My least favorite was ice cavern but even ice cavern has a really cool atmosphere and an interesting concept, it’s just a bit tedious and bottle management gameplay is not particularly fun to me.

1. Spirit Temple - unlike Shadow which uses invisible walls as a mechanic to trick you, Spirit subverts every single mechanic and puzzle you've encountered so far to really throw you. It's extremely clever. The ambience and overall design is also just excellent.

2. Forest Temple - gameplay wise it is fine but as the first adult temple it REALLY sets the scale and tone for the latter portion of your adventure; the vibe in this temple is just so fucking cool. The sacred forest meadow honestly does come off as sacred, ancient, and haunted but in an ethereal way as opposed to a spooky way. Ooh, I love it.

3. Ganon's Tower - the concept is excellent and the execution is solid, the medallion portion is interesting but the gauntlet up to Ganondorf with increasingly loud organ music and hallways filled with bats and just cool fights and great atmosphere makes this one of the sickest final dungeons I can think of. I was starting to be like "eh maybe the medallion rooms are a bit underwhelming" and then I got hit with the fakeout room in Light that just won me over with how cheeky it was. All the medallion rooms felt a bit like Spirit temple with how they played with expectations, which (ironically?) made the spirit portion actually the least good.

4. Gerudo Fortress - I'm counting mini dungeons and the whole espionage thing is just SO much fun. Break into a thieves’ hideout, jump across rooftops and shoot people with your bow to sneak past them?? WHAT IS NOT TO LOVE?????

5. Water Temple - okay I gotta say this replay really sold me on water temple. It's a cool concept and a fantastic atmosphere, and 3DS quality of life changes (boot swap ease of access + very clearly visually marked water level change rooms) made me actually thoroughly enjoy playing it. Also Dark Link is rightfully hailed as one of the coolest, if not the coolest, miniboss(es) in the game, so extra points there.

6. Bottom of the Well - Shadow's invisible wall mechanic is much more interesting when you can't see through them and everything is a potential trap. Falling down to the basement does get frustrating but that room where you light torches to open coffins and a FLOATING GIBDO EMERGES makes up for it, holy crap. Shadow Temple is underwhelming because Bottom of the Well already did what it tries to do but better.

7. Dodongo's Cavern - hey man I like blowing up dinosaurs this dungeon is just solid 0 complaints

8. Fire Temple - Fire Temple is also solid I just a) am so used to the original music that this version feels empty and lacking atmosphere by comparison, and b) find the above temples cooler. Shout out to dragon whack-a-mole boss fight though.

9. Shadow Temple - this suffers from being the only temple I really had completely memorized (I think my weenie friends* must have made me beat it for them as kids) so playing it this time was really just going through the motions; it didn’t get the chance to win me over because I remembered all of it and nothing particularly stuck out to me as being super clever. The boat ride, however, is sick as hell.

(*disclaimer: I was also a weenie. Shadow Temple scared the absolute pants off of me. But I clearly played it enough times that the entire thing was etched into my memory regardless, so.)

10. Deku Tree - does its job as tutorial dungeon, nice atmosphere, thats about all there is to say.

11. Jabu-Jabu's Belly - redeeming feature is using Ruto as a projectile. Throwing her at the ceiling switches will never not be hilarious. Honestly not a bad dungeon, merely gross and I like the other ones better.

12. Ice Cavern - I used to dread Ice Cavern; this time around I just found it tedious. The atmosphere is successful - it really feels cold and chilling - but not appealing enough to make up for it being dull and kind of annoying. Has the potential to be really cool if the blue fire were used in a more interesting way than “fill your bottles and dump them elsewhere.”

BUT, I feel it would be a complete disservice to my younger self and my younger self’s reasons for playing this game so much, if I focus completely on dungeons and disproportionately on gameplay in a review. Because while gameplay is a huge reason I kept going back to it (hard to want to go back to a game if it isn't fun to play), that’s not what made me love it so much, and a replay has given me fresher eyes to enjoy everything else it has to offer.

Ocarina of Time creates a world and a story that I deeply cared about, and revisiting as an adult, I find if anything I have more take-aways than I did previously. I have always really enjoyed coming-of-age narratives when done well, and this is a coming-of-age narrative done REMARKABLY well. You see dumb bratty kids doing dumb bratty kid things and then see the mature people they’ve grown into 7 years later; the game does not make the mistake of projecting a personality onto a voiceless protagonist, but it does imply a narrative arc for him (and you) regardless just through how strong and cool and awesome you get by the end and all the rad shit you’ve accomplished over the course of the game. It manages to very, very successfully make its story about other characters who DO have personalities, but also make you as the blank slate mc cool guy hero very much have a part in that story that feels very earned and satisfying.

Link doesn’t have a personality. You can project whatever the hell you want onto him or nothing at all. Ocarina of Time makes that *work*, because it doesn’t try to frame him as either ~adult in a child’s body~ or ~child in adult’s body~, it just lets you experience the literal growth from a kid who has to jump to reach ledges and has to thwack things twice with a slingshot and tiny sword, to an adult who can LAUNCH MASSIVE PILLARS INTO THE AIR and one-shot previously difficult enemies, and interpret that however you will. I think the most powerful example of this is going back in time again after doing several adult temples, and entering the bottom of the well, where you see enemies you’ve previously only encountered as an adult, and feel confident that you can tackle them as a child, too.

I really love these kinds of narratives. Where the growth of the main character is purely in the sense of you as the player becoming more adept and stronger, and the context of the story makes that mean something, but the game doesn’t try and pretend the avatar itself has a 3-dimensional personality.

I also think the balance between narrative and gameplay is excellent once it hits its groove. The beginning is very hand-holdy (Navi taught me how to open a door after I had already opened a door elsewhere because she’s scripted to do it at a specific door even though you can technically get to a later one first. lol), and I very firmly believe that with Saria’s Song as a device that lets you seek advice when you want to, it is completely unnecessary to have Navi yell at you what she thinks you should be doing. That said, the game doesn’t stop you from doing whatever the hell you want, and the number and depth of dungeons makes exploring and killing stuff by FAR the meat of the game, over the story. There is a suggested dungeon order, but you have some freedom if you’d rather do them a bit out of order, and there is a LOT of fun side stuff you can do and get rewarded for.

Most of that side stuff is an excellent way to highlight the humor in this game. If you beat Malon’s horse race record she mails a literal fucking cow to your house. Your house in Kokiri Forest. You just show up and there is a fucking cow in your house. That is the funniest thing that has ever happened in a game in the history of forever, sorry. You can race the running man, and all of the other sidequests in the game make you think there is a beatable goal you’ll be rewarded for, and the fucker just goes “lol good try but I beat you by one second. :)” You can blow up the Gossip Stones and they turn into rocketships and launch into space. After you beat the game, and have a really poignant moment with Princess Zelda where she sends you back in time, there is a completely out of nowhere dance party featuring the entire cast in celebration. The game does not try to explain this. It just gives you a dance party, and after such a bittersweet finale and such a fun and engaging game, a no-context dance party is exactly what it needs. A line o Gerudo doing the can-can? Thank you, yes please.

There is SO much that this game does not feel any need to justify in-game, that it simply puts in there because it is fun or cool or both, and I appreciate that so much. There are easter eggs out the butt (still haven’t bothered catching the Hylian Loach and I have still NEVER found the sinking lure despite following every guide in existence). Most of the temples imply some sort of greater history that is not even the slightest bit touched on. It has a very cohesive “core” game that has a start-to-finish suggested progression and a matching narrative, and it has absolute mountains of random shit outside of that it in no way pretends to justify. It explains just enough to give it ground to stand on, but no more, leaving you with more questions than answers. That ambiguity drove me nuts as a kid, but now, I think it’s also why I kept coming back. I wanted answers the game wouldn’t give me so I felt compelled to try and find them myself.

Ocarina of Time’s ending is incredible in ways I am just now able to appreciate. First of all, Zelda is like “I’m gonna send you back in time now” and pulls up the Ocarina and instead of playing the Song of Time which everything in the game implies she should, she plays Zelda’s Lullaby and hesitates just enough on the last note as you are sent back in the past - oof, that’s a good moment. The entire game you’re told about how the Kokiri can’t survive outside of the forest and suddenly they’re at Lon Lon Ranch having a dance party. You walk away from the Master Sword and seal it back in the temple, but nonsensically are then able to meet Zelda in her garden as if nothing had happened, meaning she sent you back so far it erased not just the adult timeline but also everything you accomplished as a child too? So many questions, but the fact that it does not even bother to answer them and just leaves you with such an open-ended image of you and Zelda as kids, calling back to that very early moment after the first dungeon in the game, and you can interpret for yourself what exactly that means.

I’m getting rambly (HAHA as if I’m ever not) so I should wrap this up shortly. Ocarina of Time’s ending is why I am so vehemently opposed to the concept of a ~Zelda Timeline~. The ending is nonsensical if you try to apply concrete logic to it. This game proposes ideas and makes me feel a certain way about them and the ending succeeds in providing just enough closure to make me satisfied and just enough open-ness that makes me want to keep coming back to it to experience it again. It’s not an open-and-shut piece of history of a fake world, it’s a really remarkable journey thats ambiguity is what allows it to feel so very magical.

Ooh boy I can’t wait to replay MM again, but that is a game I’ve never stopped playing, so it’ll be anything but fresh. It hits different right after completing OoT, though. The only way to follow up on a story like Ocarina of Time is to be even MORE batshit, ambiguous, and loose with your definition of how time works.

[tessatechaitea]

Cerebus #3

Time for some good chafing gags!

I love Cerebus. Once I began buying the monthly issues, I stuck with it until Issue #300, no matter how bored I had become with Cerebus's explication of Genesis. I stuck with it because it had entertained me so much and because I loved the idea of a comic book series with a character who grows and changes and eventually dies as an old, decrepit, huge delusional mess. Or was he delusional? Yeah, I think he was. By the end, I think we're supposed to realize Rick was the protagonist? Whoops! I'm getting ahead of myself. I'm still in the issues where I don't have to think too hard about anything and can just sit back and laugh at jokes about chain mail bikinis and a woman who will only fuck somebody who overpowers her physically! What I meant to say before I interrupted myself like usual, I kept with the series because I loved so much of it. Not all of it, of course. Who could love all of it?! Dave Sim was writing things that kept himself interested and wasn't too worried about, say, keeping the audience that loved Church & State while writing Melmoth, or expecting people who loved Guys to be enthusiastic about Coming Home. I appreciated this comic book so much that it's the only reason that I kept purchasing monthly comic books as I entered my thirties. I had gotten to the point where my brain was having too much trouble remembering all the different comic book story lines with a full month long gaps between each twenty-four page bit of story. So at some point just past the year 2000, I decided I'd stop reading monthly comics altogether after March 2004, the final issue of Cerebus. After that, I kept up with Fables and Walking Dead via collected editions. But I was done reading monthlies (until The New 52 somehow dragged me back in to do that blog project!). So yeah. I was (and still am!) a huge Cerebus fan. But that doesn't mean I'm not going to be critical of the series and the writer. Dave Sim makes a lot of mistakes and I'm going to have a lot of fun pointing them out! You might not think they're mistakes but I ask that you hold your comments until the end (you know, my review of Issue #300!) because why would I want to argue on the Internet with other huge comic book nerds? We're the worst! One person I'll never criticize because I don't think they ever do anything wrong: Gerhard! That fucking work horse nails it throughout the entire series! Nothing much to say about Deni's "A Note from the Publisher" since all she says is how she has nothing to say. I was hoping she'd admit to rubbing one out over one of Dave's finished Red Sophia pages but my horrible male nerd projections about how women act once more didn't come to fruition. How is it everything I learned about women from female comic book characters turned out to be so wrong?! I refuse to believe it's because most of them were written by men. Men are so rational and logical! They wouldn't have steered me wrong!

I should probably do a little research on Frank Thorne.

Frank Thorne was best known for his work on Marvel's Red Sonja. Yes, I lifted that directly from Wikipedia. But I typed it myself! Another thing I learned from Wikipedia (I'd do more research than just Wikipedia but I don't want to wind up on YouTube where I'll not only learn about Frank Thorne's artistic history but also that the American Democratic party runs a pedophile sex traffic ring and also something about cannibals? I mean, it sounds like something I'd like to believe!) is that Thorne wrote a book called How to Draw Sexy Women. So, you know, he's probably one of my heroes? Frank Thorne is currently 90 years old and he might have the most adorable picture of anybody on Wikipedia.

I want to be best friends with him right now. Six year old me would have been over the moon in love with him (I had a Grandfather Fixation when I was really young that probably had nothing to do with my father leaving when I was two).

This issue not only introduces Red Sophia but also the wizard Henrot. That's an anagram of "Thorne"! Red Sophia is an anagram for "Hi! Do Rapes." I don't agree with that at all. I'm just the anagram messenger. I'm also not suggesting that Dave Sim knew what he was doing anagrammatically! I mean with the Red Sophia anagram. He definitely meant the Henrot/Thorne one! Cerebus has returned to civilization but now needs some quick cash because one thing Cerebus always needs is quick cash. He's only wealthy a few times and those times don't usually last long. He goes to see Henrot (who allegedly gets his power from two of the five Spheres of the Gods! So now we kind of know more about those things even if it is just a rumor) to question him about any paying mercenary gigs.

You might think the missing word in Henrot's dialogue was a mistake by Dave Sim but later we'll probably learn in, I don't know, Issue #143 that Henrot's first language is Borelean to account for this seeming error.

Cerebus doesn't usually take assassination or torture jobs because he finds them distasteful but he needs the money. Sure, he'll take any job that has him killing people in battle or invading private wizard's towers to murder the owner and steal the owner's stuff. But assassination and torture? So wrong! Once Cerebus takes the job, he learns that he was to take Henrot's daughter, Red Sophia, along with him. The target besmirched her honor so she needs to watch him die slowly and painfully. Is this where the MeToo hashtag goes?

Red Sophia drawing tutorial: Draw some big tits, some big lips, and a big mass of hair. Connect them with some kind of woman shaped lines. Ta-da!

Red Sophia chatters incessantly and dances around while Cerebus carries all of the gear. It's funny because female characters get to represent all women instead of being a unique character! Ha ha! Women really do talk a lot, right? And they're always all, "Carry my purse for me!" And guys are all like, "Stifle your emotions like a normal person! Carry your own purse! Stop dancing around whimsically and try to act tough and cool like regular people do! Play some sports already! Take care of me like you were my replacement mother!" In the "A Note from the Publisher," Deni wrote that since the first issue (remember the first issue? So many issues ago!), Dave had wanted to write a story where Cerebus interacts with a female. She doesn't say Dave wanted to write a female character. He just wanted Cerebus to interact with a female. So I guess that's what this is! Cerebus interacts with a female stereotype who is also a sex fantasy. Not because she's hot but because she constantly tries to fuck Cerebus throughout their adventure! What sword and sorcery reading nerd didn't dream of that three or four times a day in a dark room? I'm being harsh on Sim because it's more fun than lavishing praise on him. You can tell Sim realizes the inherent problems with Red Sonja because that's the bulk of his parody. The problem isn't Dave's take on the character; the real problem is simply the character Red Sonja! In 1978, Sim was already commenting on the ridiculous armor artists draw on women (there will be chafing jokes!)! And in this story, Dave Sim expresses how ridiculous it was to create a female character who was raped and then given great fighting skills by some Goddess with the catch that she can never fuck a man unless he beats her in fair combat. Just looking at it from a guy's point of view, I'd probably be all, "You know what? I don't want those powers. Could you maybe just strike down the asshole who raped me and let me not have to attempt to beat up every woman I'm attracted to?" Is that enough hot takes on Red Sophia? Cause I want to get to the part of this review where I can admit that I fucking love her so much. Later Cerebus meets Elrod who is really just Foghorn Leghorn. I'm pretty sure Red Sophia was less Red Sonja than Pepé Le Pew. I know, I know! There are probably some sensitive reasons why I'm not supposed to like Pepé too! But he was my mother's favorite Looney Tunes character! Anyway, I can't blame Dave Sim for making his first female character about 75% stereotypes of women. He's still a young writer! You've got to give him about another 183 issues to really clarify his stance on the interactions between genders! I'm sure it'll be more layered, nuanced, and rational.

Cerebus might be an Earth Pig but he's not a chauvinist pig. He doesn't take sexual advantage of Red Sophia here; he just makes her carry all the gear. It's a good joke that I'm ruining by explaining it instead of scanning in the punchline!

Just for comparison, let's take a look at a modern interpretation of Red Sonja by Ed Benes. I bet just that artist's name alone gives male comic book nerds a chubby. Not a full on hard on though. Those are probably reserved for hearing the name "Frank Cho."

What do they teach in art school? Women can turn 180 degrees at the waist? Not that I'm complaining! Dark room, here I come!

Oh shit. I forgot I was reading this comic book! Okay, um, so Red Sophia attacks Cerebus for besmirching her honor. Or Cerebus attacks Red Sophia for knocking him into a bush with her ass. Maybe it's a little bit of both. Anyway, Cerebus defeats her so Red Sophia begins throwing her ample bosom at Cerebus every chance she gets. Cerebus is not interested for some reason. Maybe it's because he stuck a sword in his vagina when he was younger? That happened, right? Or was that a flashback about him having his period? Now that I'm thinking about it...what the fuck is this comic book? I think maybe I hallucinated some of it! Cerebus isn't a fucking slut, man! He doesn't just fuck any hot woman whom he defeats in battle! He needs to fall in love and/or get completely wrecked on Peach Schnapps. So he has no interest in Red Sophia. I suppose a woman trying to kill you is a bit of a turn off. And then later, when she gets you into a fight with Thugg the Unseemly, it's less of an aphrodisiac than you might think.

I think Borelean might be Red Sophia's first language as well. I mean, she is Henrot's daughter.

The Letterer part of Dave Sim has already fucked up twice this issue. I bet he was too busy having his sword and sorcery fantasies in a dark room to pay close attention to the script. This is probably why Dave Sim eventually gave up masturbation. Later, Red Sophia feeds Cerebus granola and it totally cracks Dave Sim up. He said so in the Swords of Cerebus essay! Didn't you read it? I, for one, prefer the joke on the following page about Cerebus being a cannibal. Or an aardvark who eats human meat, anyway. I think that's close enough to cannibalism. We learn later that aardvarks can have offspring with humans so I feel like the aardvarks in this book are less sentient funny talking animals and more severely deformed human beings.

Red Sophia's tent. If this we were well into Mothers & Daughters when this tent made an appearance, I'd think Dave purposefully drew it this way. Since we're only on Issue #3, I think he was just feeling horny when he drew it.

If at any time during this review I've referred to Red Sophia as Red Sonja, just remember that English is my second language. I'm Borelean. I apologize to Dave Sim for earlier suggesting that Red Sophia was simply a bunch of female stereotypes mashed together into a character. As I said, I love her. I figured I probably started loving her after she makes several more appearances but I'm pretty sure this is the page where I knew needed more Red Sophia in my life.

How can you not be completely charmed by the "I'm pretty good at hand-holding" line?

This is a good reminder that I shouldn't be judging early Dave Sim by Issue #186 Dave Sim and beyond. He should always get the benefit of the doubt and, even after #186, he should retain it. I need to be reading the material both with fresh eyes as if reading it for the first time and with the knowledge of the whole in an attempt to understand it better. This scene is just so fucking charming that I hate that it might be ruined for many people based on their "knowledge" of Dave Sim. I put knowledge in quotes because, really, how many people who think of Dave as a misogynist have actually read Cerebus or Tangent? How many have just heard they're supposed to despise him because he's been called a misogynist? I mean, sure, you just have to read a bunch of his Biblical explications to understand you're dealing with something other than neurotypical! But it'd be nice if more people came to their Dave Sim conclusions themselves instead of just jumping on the bandwagon. I'm not saying people who think he's a misogynist aren't automatically wrong! Dave thinks they are but come on. He eventually gives out a lot of slack with which to make quite a few nooses to hang himself with. Um, okay, back to not judging Cerebus based on future Dave's rants about the Marxist/feminist/homosexual axis! Cerebus and Sophia finally reach the target where Cerebus discovers that the target, Tanes Feras, loves Sophia. And just like that, he figures out how to get rid of Sophia while also torturing Feras (possibly to death? Time will tell!). He commands Sophia to marry Feras because she must do whatever he asks. Sure, she thought it would involved his super long tongue and her metal-chafed butthole. But that's the great thing about love! It doesn't care what you want. Henrot seems to accept this conclusion for now. He'll definitely be back later. And so will Red Sophia. I can't wait!

The map of Cerebus's world by Deni's brother, Clovis. He ran out of ideas when he got to "Ocean Sea."

I'll have to remember to keep referring back to this map throughout the series. Although I'll probably only need it for the first twenty-five issues. And then maybe after Mothers & Daughters. Nothing noteworthy in Aardvark Comment this month. Just some Canadians saying things like, "Glad to see a Canadian comic book from Canada about Canada!" Which is confusing because I didn't realize how much of Cerebus was representative of Canada. I've really got to rethink my Canadian stereotypes. Now I'll be sure to picture Canadians as 50% Cerebus and 50% Joey Jeremiah. Cerebus #3 Rating: B+. Sim's art remains a bit more on the amateurish side than the professional side. But that's to be expected. Already you can see improvements in the consistency of Cerebus's look and I think maybe his snout is already getting shorter and girthier. This was the first issue where he drew a woman so I can't fault him for drawing a blow-up doll in a chain mail bikini. Why would I? I'd never fault anybody for drawing a blow-up doll in a chain mail bikini! I also just thought up a new category to search on eBay. This issue begins to show where Sim really excels: his characters. The first two issues basically highlight Cerebus dealing with a few generic characters. But Red Sophia (and Henrot to a lesser extent) captures the spotlight this issue. Ignoring some of the shallow aspects of her character creation (if you even believe those exists. Don't take my super-professional critical opinion on it!), she's really rather charming and a competent foil for the Earth Pig. Just knowing that she's the tip of the iceberg in the gallery of recurring characters excites me more than those fantasies I keep having in my dark room.

[antiquechampagne]

Mixed Media - Ch1 - Deja Vu

Watching the way the dining room light danced on the surface of the diamonds facets, Rita idly spun her wedding ring around her finger with her right hand. She was having a hard time concentrating on her son’s prattling; something about another kid in his first grade class. Her stomach lurched.

“Isn’t that funny, mom?” Jackson asked, turning to her.

Snapping back to reality, all Rita could manage was, “Oh… yeah. Sure.”

“Are you feeling alright?” Declan put his fork full of spaghetti down.

Rita had to ruminate for a moment on her husband’s question. She had felt off most of the day, but it was only at dinner that her stomach had really began to bother her. As she concentrated on her body, she could sense the beginnings of a migraine starting to burrow its way into her brain.

“I’m sorry, hon,” Rita rubbed her temples. “I haven’t felt good most of the day.”

“Why don’t you take it easy on the couch with your tea? We can handle the rest of dinner, can’t we, chap?”

“Sure.” Jackson nodded. Rita rose from the table and headed to the living room. “I hope you feel better, mom.”

“Thanks, guys.” She patted his shoulder. “I hope so too.”

Rita spent the next half an hour listening to the distant clink of silverware, the tea doing nothing for her turbulent state of health. Next, she heard the sink in the kitchen and laughter as her family cleaned up after their meal. Soon after, Declan leaned through the doorway to check on her.

“The TV isn’t on? You must really be sick if you aren’t even gaming. Guess that means you won’t be writing tonight either.”

Rita shook her head. Even if she had felt up to it, she had been suffering for writers block for over a week. Sitting at a computer was not in her cards tonight.

“Maybe it was the sweet rolls Tracey brought in.” She frowned. “My stomach is flopping around like a fish.”

“Why don’t you go to bed? You look like hell. I’ll take Jack up to the park for an hour or so before bed. It should keep us out of your hair and knock him out.”

Rita really wanted to refuse, to try to help Declan out with their nighttime routine, but she knew better. She was no help in the state she was in.

Trailed by her husband, Rita slipped into bed. Declan placed a glass of water and her cellphone on the nightstand, just in case she needed to get ahold of them at the park.

“Feel better, Love.” He said as the door closed behind him, leaving her in the dark. She only allowed herself to relax once she heard the front door close, the whole house silent in her family’s absence. Slowly, Rita drifted off to an uneasy sleep.

Rita woke from the blackness, her body jostling side to side. A cool breeze chilled her face. Thinking she might have left a window open, Rita slowly opened her eyes. It took a few blinks to register the tall green conifer trees passing by, breaking up a hazy sky. The rough wooden seat dug into her legs through her thin pajama pants. She tried to wipe her face, only to find her hands bound together. Why could she hear the clopping of horse hooves?

“Hey, you. You’re finally awake.”

Rita’s eyes focused on the man across from her. He looked to be clothed in something from a renaissance festival, with long blond braided hair and bushy facial hair. The last remnants of her headache retreated from her mind.

“You were trying to cross the border, right? Walked right into that Imperial ambush, same as us, and that thief over there.”

Rita groaned, cutting off the grumbling thief. “You have got to be kidding me. That’s it… No more 6-hour Skyrim streams on a work night. This dream has great resolution though.”

A soldier clothed in red armor shouted back at the group. “Shut up back there!” he ordered.

The thief, shivering in his rags, turn to the man sitting next to Rita. “And what’s wrong with him?”

Before the chatty prisoner could answer, Rita cut in.

“Don’t worry, I got this…” She pointed as best she could to each man as she talked. “Your name is Lokir, a horse thief from Rorikstead. He’s Ralof, a Stormcloak soldier from Riverwood, that guy next to me is the big shot himself, Ulfric Stormcloak.” The three men stared at her, sitting there in front of them rolling her eyes. She shrugged. “If you are going to be in a meme-dream, you might as well shake things up a bit. Am I right? Do you even have any idea how many times I have restarted my character in this game?”

Lokir broke out of his trance first. “Ulfric? The Jarl of Windhelm? You're the leader of the rebellion. But if they captured you... Oh gods, where are they taking us?”

Rita jumped in again. “Helgen. Here’s a free tip, Lokir. If you don’t run, maybe you'll live past the tutorial.”

“Well then, what village are you from, stranger?” a confused Ralof asked.

“Indianapolis.”

“Never heard of such a place.”

“I’m not from around here.”

Ralof waxed poetic, the gravity of his words worn thin on Rita's ears. “A Nord’s last thoughts should be of home.”

The cart rounded the bottom of the hill, steadily rolling through the rocky walls of Helgen.

A guard called out. "General Tullius, sir! The headsman is waiting!"

Rita had heard these words so many times before; she ignored most of them. Instead focusing on the world around her. She could smell the cooking fires of the barracks and homes they passed mixing with the smell of the animals. Birds sang, their songs echoing off the masonry and high mountain peaks above their heads. The bounce of the cart rolling over the cobblestones was making her back ache. As they pulled up to the small square in front of Helgen's main tower, Rita was transfixed momentarily at the detail of the thatched roofs that surrounded her.

The cart began to slow.

Rita was brought by to the present by the thief's shaking voice. "Why are we stopping?"

"Why do you think?' Ralof answered. "End of the line." The cart came to an abrupt stop. "Let's go. Shouldn't keep the gods waiting for us."

"I wonder why there isn't ambient music. It's so weird without it." Rita shook her head.

Lokir pleaded with the soldier to no avail. "No! Wait! We're not rebels!" Each of them were roughly shooed out of the cart.

"Face your death with some courage, thief." Rolaf admonished.

"You've got to tell them! We weren't with you! This is a mistake!" Lokir's nerves were shot. He shifted his weight back and forth on his feat, itching for any opening.

An Imperial Commander in front of them barked out an order. "Step towards the block when we call your name. One at a time!"

Next, she leaned over to Ralof, "Empire loves their damn lists, am I right?" Ralof cocked an eyebrow down at her.

An Imperial with a list read out the first name. "Ulfric Stormcloak, jarl of Windhelm." Ulfric strode defiantly across the cobbles.

Ralof stood proudly, watching his commander go."It has been an honor, Jarl Ulfic!"

The roll call continued. Ralof was next to be called forward. Rita knew who was next. Rita leaned close to Lokir.

"Dude, Lokir... don't run. They’re just going to shoot you." She could tell he wasn't listening. He looked like a rabbit cornered and scared, eye wide and breathing fast.

"Lokir of Rorikstead."

"No, I'm not a rebel! You can't do this!" Faster than Rita had remembered, he bolted across the courtyard.

"HALT!" the Captain commanded.

Full of adrenaline and terror, Lokir taunted back, "You're not going to kill me!"

Rita rolled her eyes as the order was issued for the archers to stop Lokir's escape.

"Anyone else feel like running?" The Imperial Captain scanned the crowd, daring each of them to test the aim of those under her command.

The Imperial soldier with the checklist looked Rita up and down as he checked his list.

"Wait. You there. Step forward. Who are you?"

Rita left the line. "Well, I don't look much like a Khajiit this time, do I?"

"Enough with the funny business. Where do you hail from?"

"I don't think you have where I am from on any map around here."

"You are trying my patience, prisoner."

Rita raced through the possibilities. "I guess I would be a Breton, I suppose?"

"Name."

"Rita Edwards."

He turned to his commander. "Captain. What should we do? She's not on the list."

"Forget the list. She goes to the block."

Rita followed as the Captain instructed, straining her ears, filtering out those who spoke around her. A shape caught her eye. The soldier nearest the wall had a sword strapped to his belt, but something about it stuck out to her. It took a moment for her to realize it was the wrong kind of sword. The hilt and pommel glinted gold in the sun, the blade straight. It was a Chinese officer sword.

"That shouldn't be there..." Rita didn't have time to contemplate it as a distant roar echoed off the mountains. She could hardly repress a smile.

"What was that?" the soldier asked.

The boring dialog droned on. Rita looked to the sky, catching glimpses through the trees and buildings of a foreboding shape nearing the town. She was so distracted she didn't notice her name being called. A soldier roughly shoved her forward, towards the chopping block, the stone already bloodied from the prisoner before her. She hesitated. Being this close to so much blood turned her stomach worse than her dinner had. A coppery-sweet scent wafted to her nose as she was shoved to her knees.

"Can't we just skip this part?" This was entirely too real for her. A pair of meaty hands pressed her head to the stone, soaking the side of her face in still-warm blood.

"Come on, Alduin..." Rita muttered under her breath as the headsman raised his axe.

Right on cue, a giant dragon landed on the top of the tower. Screams and shouts filled Rita's ears. Fire rained down, setting the town a blaze, scattering people in every direction. All this Rita had expected... what she didn't understand was why the wrong dragon had attacked Helgen. Alduin wasn't calling down meteor showers or unleashing an unrelenting force. Instead, a blight-heralding archdemon sat above them breathing down fire, resplendent with its corrupt leathery purple-black skin. It was the wrong dragon.

"What the fuck, Todd?!"

[pk-majora]

do all the zelda asks if you dont mind!

hell yeah, so glad someone finally send me this ask lmao. full disclosure all of my experience is in the 3d zeldas lol.

Goddess Harp: Favorite piece of lore

one piece that always stuck with me was during the tutorial in majoras mask when youre learning how to z target right before entering the clock tower in termina. and you see the like dried up dead deku scrub and navi says something about how like sad it feels/looks and how similar you look to it after getting the deku mask put on you... always kills me. also i love any love quest lmao kafei/anju in majoras mask and hudson and his super cute gerudo wife in tarrey town in breath of the wild ahh so cute. 

Ocarina of Time: Favorite song (whether it is playable or just background music) 

hands down the theme of the astral observatory in majoras mask. its my ringtone too lol.

Empty Bottle: Best thing to put in it

Oh i loved putting fish or bugs in them in ocarina of time and majoras mask. poe souls just looked cool in them too lol. idk if i had the choice it was always like aesthetically pleasing or cool things lol. 

Hookshot: Favorite way to travel in any of the games

Riding whatever was physically possible in breath of the wild. the spinner in twilight princess had a lot of fun although limited uses too.

Fairy Bow: Favorite type of arrow

oooh probably light arrows, just love the aesthetic and the idea

Fierce Deity Mask: If you could add any kind of transformation mask to any of the games, which would it be?

oooh torn between the goron mask and the zora mask from majoras mask. what games id put them in hmm. maybe one of the 2d ones? itd probably introduce some cool new elements. definitely have more experience with the 3d realm tho so... idk i think it could be kinda fun in wind waker lol. can you imagine wearing the zoras mask and swimming fast under water? in wind waker? in between sailing? god that sounds so fun!

Mirror Shield: Which character do you relate to the most?

i like the powerful women in some legend of zelda games. literally any iteration of zelda, impa, tetra, even malon/romani/cremia are all just super relatable to me. ooh especially riju. 

Master Sword: Favorite version of Link

i dont really think i have one? they all look cool in different ways. but i guess majoras mask or ocarina of time since those are the two i spent the most time playing as lol

Light Arrow: Favorite version of Zelda

probably breath of the wild or skyward sword zelda. she has so much personality in both games, especially if you collect all the memories in breath of the wild. 

Lens of Truth: Favorite version of Demise/Ganon

probably in ocarina of time just bc of how interesting the fights with him were and just how cool he looked. 

Whip: Most attractive character in your opinion (if applicable)

man this is a hard choice. i love all of the gerudo, the rito, the zora all like super hot right? cant just be me... also literally every female legend of zelda character lmao.

Horse Call: Favorite companion character (Fi, Navi, Tatl, etc.)

Probably navi or tatl since i spent a lot of time playing the n64 zelda games

Picori Sword: What do you feel is the most underrated game in the series?

most underrated? probably twilight princess. i feel like it got some flack but i thought the game was really beautiful and had some really fun diverse gameplay elements. 

Zora Tunic: Favorite species

i like the kokiri in ocarina of time, mainly bc the idea of a race of people who dont age past a certain age paired with the fact that link very obviously ages in the time that passes is just super interesting. i also love the koroks, rito, gorons, gerudo, zora, man its so hard to choose lol.

Goron Tunic: Favorite area of any game

the fishing area in ocarina of time lol i actually loved the fishing mechanic. follow up is zora domain or gerudo valley in breath of the wild...both are just like so pretty? 

Gibdo Mask: Favorite monster

i like the stall children in majoras mask bc even tho their enemies and killable lmao they also have their own like lines of dialogue and personality if you wear their mask around them. also loved chasing captain keeta.

Giant’s Mask: Favorite Boss Battle

probably super predictable but does majora count? the creepy movements, the optional use of the fierce diety mask, all the different like iterations of majora. so fucking cool.

Captain’s Hat: Favorite Mini-Boss Battle

gotta be dark link from ocarina of time. that shit was so cool.

Red Potion: Go all offensive, or play it safe?

go all out offensive and die multiple times trying lmao

Green Potion: Do you prefer magic or stamina? Or would you like to see both implemented at the same time?

magic for sure. but i can definitely see both being implemented. 

Blue Potion: Most useful item

definitely the hookshot in games that let you use it freely for the most part. besides that maybe the bottles. 

Lantern: Scariest area of any game

probably a basic answer but youre first time seeing the shadow temple in ocarina of time? terrifying. follow up? when you go up to the moon in majoras mask and see the little mask salesmen...

[bainhardt]

#RibbonQuest2019 - Part 7: (Con)Test of Patience

“I’m not worried about the Super Contests in the slightest,” said the idiot me of the past. But oh, how I have learned my lesson. I hate Super Contests. I can’t dive into this post without making that clear at the beginning - I hate Super Contests so bad.

The evolution of accessory spam.

First off, the Visual performance. I wasn’t very thorough about gathering accessories while clearing Platinum during the prep phase (although I did have more than I expected), so this came down to pure RNG. I would just reset outright if the theme wasn’t favorable, which probably saved me a lot of grief in the short term. Unless you can stack mostly max-score accessories, don’t even bother with the rest of the contest.

Additionally, the Scarves don’t carry here as much as they do in Emerald; their contribution is based on a percentage of your condition instead of a flat value, meaning any of your scores that might be imbalanced are going to give you a harder time. I wasn’t working with the best berries, so my Smart and Tough were a little lacking, and it really showed in practice.

I don’t have any relevant photos to share for the dances because my hands were glued to my DSi, so have this proof I beat Johanna once. Then my DSi shut off for no reason, and I had to beat this contest again. Fun.

Next, the Dance portion. I don’t think this game is as broken mechanically as most of the guides I’ve referenced seem to, but it is hard to get the hang of. You have to sort of lead your button presses, and in most cases, the song barely matches the timing very well at all. It’s honestly better to try to copy the “rhythm” of the portion where the AI is leading the dance.

Some of the songs that could show up (mostly slower ones) were nightmares to dance to, so this section is pretty heavily RNG, too. Noticing a theme?

I’m not sure why, but I had a harder time locking down movesets to use in gen 4 than in gen 3. I even had to send Jin back to Johto to fill out his Tough selection. I wish he could stay in Johto forever...

Just like in Emerald, the different categories required I build different move pools for the Acting performance, and each one took me a varying number of attempts to win... although the variance was much higher than in good ol’ Hoenn.

And it wouldn’t be a Super Contest without RNG! The AI never seems to follow any sort of pattern when selecting a judge, so good luck trying to figure out who’s the best choice each round. It seemed to come down entirely to luck in my experience, just like the rest of these sorry ordeals.

Cool and Beauty Masters, astonishingly, only required two attempts each. Those are Hoenn numbers, Jin! Good job!

Cute Master was second hardest at seven tries. I’m not sure why, but again, there’s so much RNG it’s not easy pinpointing what went wrong. Smart was a modest five attempts, and the last one I got around to due to it being Jin’s weakest condition.

Rounding us off, Tough Master was the most difficult contest at a whopping nine tries. I ditched Thief, which seems like a good choice, because I learned pretty quickly it was not going to help me at all - I never once saw a single voltage meter fill all the way.

So, I’m definitely glad to have this nightmare behind me, but I have one more thing to share. After I finished the first three categories and began to hit a brick wall with my Tough contests, I decided to take a break.

When in Sinnoh, do as the Sinn... Sinnohmans? Do...? Needs work.

Yes, the idea settled in my mind to add “encounter a wild Shiny” to my list of memories with Jin. I’ve never been very lucky with Shinies, and I can only remember three legitimate Shiny encounters in my entire lifetime with the franchise (Paras in Gold, Gastly in Pearl, and Azurill in X), so this was the perfect choice of something special I could do both for me and my Ribbon Master.

The 40-streak in second place was lost immediately to the rookiest mistake imaginable: walking up into a shaking tile I hadn’t noticed behind my player...

It didn’t take much preparation besides watching some tutorials and buying a lot of repels, and I selected Zigzagoon as my target because it just happened to be the Swarm when I started. Chaining took some practice, but once I had the hang of it I was already becoming hooked. The exactness, the attention to every conceivable detail. I could see myself doing this once in a while even outside of Ribbon Quest.

With some persistence, I was eventually able to secure my prize!! I don’t particularly need a Shiny Zigzagoon for anything, but Shiny hunting isn’t just about the prize - it’s about the journey, the effort put towards a goal and the satisfaction of success. Also, it’s cute.

パークの危機なのだ！

The only thing left for me in Sinnoh is, once again, the Battle Tower. I’m dreading being stuck there for god knows how long, but with Pokeradar chaining as an option when I need a break, I think I’ll survive. It’s also possible I’ll need to breed or raise more Pokemon to use, but I’ll cross that bridge when I come to it.

After all, just thinking about what comes next has me excited beyond belief... As soon as I finish these ribbons, I can leave the DS behind and launch into the final phase of the journey on the 3DS!

[latestnews2018-blog]

For IGTV, Instagram needs slow to mean steady

New Post has been published on https://latestnews2018.com/for-igtv-instagram-needs-slow-to-mean-steady/

For IGTV, Instagram needs slow to mean steady

Instagram has never truly failed at anything, but judging by modest initial view counts, IGTV could get stuck with a reputation as an abandoned theater if the company isn’t careful. It’s no flop, but the long-form video hub certainly isn’t an instant hit like Instagram Stories. Two months after that launched in 2016, Instagram was happy to trumpet how its Snapchat clone had hit 100 million users. Yet two months after IGTV’s launch, the Facebook subsidiary has been silent on its traction.

“It’s a new format. It’s different. We have to wait for people to adopt it and that takes time,” Instagram CEO Kevin Systrom told me. “Think of it this way: we just invested in a startup called IGTV, but it’s small, and it’s like Instagram was ‘early days.’”

It’s indeed too early for a scientific analysis, and Instagram’s feed has been around since 2010, so it’s obviously not a fair comparison, but we took a look at the IGTV view counts of some of the feature’s launch partner creators. Across six of those creators, their recent feed videos are getting roughly 6.8X as many views as their IGTV posts. If IGTV’s launch partners that benefited from early access and guidance aren’t doing so hot, it means there’s likely no free view count bonanza in store from other creators or regular users.

They, and IGTV, will have to work for their audience. That’s already proving difficult for the standalone IGTV app. Though it peaked at the #25 overall US iPhone app and has seen 2.5 million downloads across iOS and Android according to Sensor Tower, it’s since dropped to #1497 and seen a 94 percent decrease in weekly installs to just 70,000 last week.

Instagram will have to be in it for the long haul if it wants to win at long-form video. Entering the market 13 years after YouTube with a vertical format no one’s quite sure what to do with, IGTV must play the tortoise. If it can avoid getting scrapped or buried, and offer the right incentives and flexibility to creators, IGTV could deliver the spontaneous video viewing experience Instagram lacks. Otherwise, IGTV risks becoming the next Google Plus — a ghost town inside an otherwise thriving product ecosystem.

A glitzy, glitchy start

Instagram gave IGTV a red carpet premiere June 20th in hopes of making it look like the new digital hotspot. The San Francisco launch event offered attendees several types of avocado toast, spa water and ‘Gram-worthy portrait backdrops reminiscent of the Color Factory or Museum of Ice Cream. Instagram hadn’t held a flashy press event since the 2013 launch of video sharing, so it pulled out all the stops. Balloon sculptures lined the entrance to a massive warehouse packed with social media stars and ad execs shouting to each other over the din of the DJ.

But things were rocky from the start. Leaks led TechCrunch to report on the IGTV name and details in the preceding weeks. Technical difficulties with Systrom’s presentation pushed back the start, but not the rollout of IGTV’s code. Tipster Jane Manchun Wong sent TechCrunch screenshots of the new app and features a half hour before it was announced, and Instagram’s own Business Blog jumped the gun by posting details of the launch. The web already knew how IGTV would let people upload vertical videos up to an hour long and browse them through categories like “Popular” and “For You” by the time Systrom took the stage.

IGTV’s launch event featured Instagram-themed donuts and elaborate portrait backdrops. Images via Vicki’s Donuts and Mai Lanpham

“What I’m most proud of is that Instagram took a stand and tried a brand new thing that is frankly hard to pull off. Full-screen vertical video that’s mobile only. That doesn’t exist anywhere else,” Systrom tells me. It was indeed ambitious. Creators were already comfortable making short-form vertical Snapchat Stories by the time Instagram launched its own version. IGTV would have to start from scratch.

Systrom sees the steep learning curve as a differentiator, though. “One of the things I like most about the new format is that it’s actually fairly difficult to just take videos that exist online and simply repost them. That’s not true in feed. That basically forces everyone to create new stuff,” Systrom tells me. “It’s not to say that there isn’t other stuff on there but in general it incentivizes people to produce new things from scratch. And that’s really what we’re looking for. Even if the volume of that stuff at the beginning is smaller than what you might see on the popular page [of Instagram Explore].”

Instagram CEO Kevin Systrom unveils IGTV at the glitzy June 20th launch event

Instagram forced creators to adopt this proprietary format. But it forget to train Stories stars how to entertain us for five or 15 minutes, not 15 seconds, or convince landscape YouTube moguls to purposefully shoot or crop their clips for the way we normally hold our phones.

IGTV’s Popular page features plenty of random viral pap, foreign language content, and poor cropping

That should have been the real purpose of the launch party — demonstrating a variety of ways to turn these format constraints or lack thereof into unique content. Vertical video frames people better than places, and the length allows sustained eye-to-lens contacts that can engender an emotional connection. But a shallow array of initial content and too much confidence that creators would figure it out on their own deprived IGTV of emergent norms that other videographers could emulate to wet their feet.

Now IGTV feels haphazard, with trashy viral videos and miscropped ports amongst its Popular section alongside a few creators trying to produce made-for-IGTV talk shows and cooking tutorials. It’s yet to have its breakout “Chewbacca Mom” or “Rubberbanded Watermelon” blockbuster like Facebook Live. Even an interview with mega celeb Kylie Jenner only had 11,000 views.

Instagram wants to put the focus on the author, not the individual works of art. “Because we don’t have full text search and you can’t just search any random thing, it’s about the creators” Systrom explains. “I think that at its base level that it’s personality driven and creator driven means that you’re going to get really unique content that you won’t find anywhere else and that’s the goal.”

Yet being unique requires extra effort that creators might not invest if they’re unsure of the payoff in either reach or revenue. Michael Sayman, formerly Facebook’s youngest employee who was hired at age 17 to build apps for teens and who now works for Google, summed it up saying: “Many times in my own career, I’ve tried to make something with a unique spin or a special twist because I felt that’s the only way I could make my product stand out from the crowd, only to realize that it was those very twists and spins that made my products feel out of place and confusing to users. Sometimes, the best product is one that doesn’t create any new twists, but rather perfects and builds on top of what has been proven to already be extremely successful.”

A fraction of feed views

The one big surprise of the launch event was where IGTV would exist. Instagram announced it’d live in a standalone IGTV app, but also as a feature in the main app accessible from an orange button atop the home screen that would occasionally call out that new content was inside. It could have had its own carousel like Stories or been integrated into Explore until it was ready for primetime.

Instead, it was ignorable. IGTV didn’t get the benefit of the home screen spotlight like Instagram Stories. Blow past that one orange button and avoid downloading the separate app, and users could go right on tapping and scrolling through Instagram without coming across IGTV’s longer videos.

View counts of the launch partners reflect that. We looked at six launch partner creators, comparing their last six feed and IGTV videos older than a week and less than six months old, or fewer videos if that’s all they’d posted.

Only one of the six, BabyAriel, saw an obvious growth trend in her IGTV videos. Her candid IGTV monologues are performing the best of the six compared to feed. She’s earning an average of 243,000 views per IGTV video, about a third as many as she gets on her feed videos. “I’m really happy with my view counts because IGTV is just starting” BabyAriel tells me. She thinks the format will be good for behind-the-scenes clips that complement her longer YouTube videos and shorter Stories. “When I record anything, It’s vertical. When I turn my phone horizontal I think of an hour-long movie.”

Lele Pons, a Latin American comedy and music star who’s one of the most popular Instagram celebrities, gets about 5.7X more feed views than on her IGTV cooking show that averages 1.9 million hits. Instagram posted some IGTV highlights from the first month, but the most popular of now has 4.3 million views — less than half of what Pons gets on her average feed video.

Fitness guides from Katie Austin averaged just 3,600 views on IGTV while she gets 7.5X more in the feed. Lauren Godwin’s colorful comedy fared 5.2X better in the feed. Bryce Xavier saw the biggest differential, earning 15.9X more views for his dance and culture videos. And in the most direct comparison, K-Pop dancer Susie Shu sometimes posts cuts from the same performance to the two destinations, like one that got 273,000 views in feed but just 27,000 on IGTV, with similar clips fairing an average of 7.8X better.

Again, this isn’t to say IGTV is a lame horse. It just isn’t roaring out of the gates. Systrom remains optimistic about inventing a new format. “The question is can we pull that off and the early signs are really good,” he tells me. “We’ve been pretty blown away by the reception and the usage upfront,” though he declined to share any specific statistics. Instagram promised to provide more insight into traction in the future.

YouTube star Casey Neistat is less bullish. He doesn’t think IGTV is working and that engagement has been weak. If IGTV views were surpassing those of YouTube, creators would flock to it, but so far view counts are uninspiring and not worth diverting creative attention, Neistat says. “YouTube offers the best sit-back consumption, and Stories offers active consumption. Where does IGTV fit in? I’m not sure” he tells me. “Why create all of this unique content if it gets lower views, it’s not monetizable, and the viewers aren’t there?”

Susie Shu averages 7.8X more video views in the Instagram feed than on IGTV

For now, the combination of an unfamiliar format, the absence of direction for how to use it and the relatively buried placement has likely tempered IGTV’s traction. Two months in, Instagram Stories was proving itself an existential threat to Snapchat — which it’s in fact become. IGTV doesn’t pose the same danger to YouTube yet, and it will need a strategy to support a more slow-burn trajectory.

The chicken and the IG problem

The first step to becoming a real YouTube challenger is to build up some tent-pole content that gives people a reason to open IGTV. Until there’s something that captures attention, any cross-promotion traffic Instagram sends it will be like pouring water into a bucket with a giant hole in the bottom. Yet until there’s enough viewers, it’s tough to persuade creators to shoot for IGTV since it won’t do a ton to boost their fan base.

Fortnite champion Ninja shares a photo of IGTV launch partners gathered backstage at the press event

Meanwhile, Instagram hasn’t committed to a monetization or revenue-sharing strategy for IGTV. Systrom said at the launch that “There’s no ads in IGTV today,” but noted it’s “obviously a very reasonable place [for ads] to end up.” Without enough views, though, ads won’t earn enough for a revenue split to incentivize creators. Perhaps Instagram will heavily integrate its in-app shopping features and sponsored content partnerships, but even those rely on having more traffic. Vine withered at Twitter in part from creators bailing due to its omission of native monetization options.

So how does IGTV solve the chicken-and-egg problem? It may need to swallow its pride and pay early adopters directly for content until it racks up enough views to offer sustainable revenue sharing. Instagram has never publicly copped to paying for content before, unlike its parent Facebook, which offered stipends ranging into the millions of dollars for publishers to shoot Live broadcasts and long-form Watch shows. Neither have led to a booming viewership, but perhaps that’s because Facebook has lost its edge with the teens who love video.

Instagram could do better if it paid the right creators to weather IGTV’s initial slim pickings. Settling on ad strategy creators can count on earning money from in the future might also get them to hang tight. Those deals could mimic the 55 percent split of mid-roll ad breaks Facebook gives creators on some videos. But again, the views must come first.

Alternatively, or additionally, it could double down on the launch strategy of luring creators with the potential to become the big fish in IGTV’s small-for-now pond. Backroom deals to trade being highlighted in its IGTV algorithm in exchange for high-quality content could win the hearts of these stars and their managers. Instagram would be wise to pair these incentives with vertical long-form video content creation workshops. It could bring its community, product and analytics leaders together with partnered stars to suss out what works best in the format and help them shoot it.

The cross-promo spigot

Once there’s something worth watching on IGTV, the company could open the cross-promo traffic spigot. At first, Instagram would send notifications about top content or IGTV posts from people you follow, and call them out with a little orange text banner atop its main app. Now it seems to understand it will need to be more coercive.

Last month, TechCrunch tipster Jane Manchun Wong spotted Instagram showing promos for individual IGTV shows in the middle of the feed, hoping to redirect eyeballs there. And today, TechCrunch researcher Matt Navarra found Instagram getting more aggressive by putting a bigger call out featuring a relevant IGTV clip with preview image above your Stories tray on the home screen. It may need to boost the frequency of these cross-promotions and stick them in-between Stories and Explore sections as well to give IGTV the limelight. These could expose users to creators they don’t follow already but might enjoy.

“It’s still early but I do think there’s a lot of potential when they figure out two things since the feature is so new,” says John Shahidi, who runs the Justin Bieber-backed Shots Studios, which produces and distributes content for Lele Pons, Rudy Mancuso and other Insta celebs. “1. Product. IGTV is not in your face so Instagram users aren’t changing behavior to consume. Timeline and Instagram Stories are in your face so those two are the most used features. 2. Discoverability. I want to see videos from people I don’t follow. Interesting stuff like cooking, product review, interesting content from brands but without following the accounts.” In the meantime, Shots Studios is launching a vertical-only channel on YouTube that Shahidi believes is the first of its kind.

Instagram will have to balance its strategic imperative to grow the long-form video hub and avoid spamming users until they hate the brand as a whole. Some think it’s already gone too far. “I think it’s super intrusive right now,” says Tiffany Zhong, once known as the world’s youngest venture capitalist who now runs Generation Z consulting firm Zebra Intelligence. “I personally find all the IGTV videos super boring and click out within seconds (and the only time I watch them are if I accidentally tapped on the icon when I tried to go to my DMs instead).” Desperately funneling traffic to the feature before there’s enough great content to power relevant recommendations for everyone could prematurely sour users on IGTV. 

Systrom remains optimistic he can iterate his way to success. “What I want to see over the next six to 12 months is a consistent drumbeat of new features that both consumers and creators are asking for, and to look at the retention curve and say ‘are people continuing to watch? Are people continuing to upload?,’” says Systrom. “So far we are seeing that all of those are healthy. But again trying to judge a very new kind of audacious format that’s never really been done before in the first months is going to be really hard.”

Differentiator or deterrent?

The biggest question remains whether IGTV will remain devout to the orthodoxy of vertical-only. Loosening up to accept landscape videos too might nullify a differentiator, but also pipe in a flood of content it could then algorithmically curate to bootstrap IGTV’s library. Reducing the friction by allowing people to easily port content to or from elsewhere might make it feel like less of a gamble for creators deciding where to put their production resources. Instagram itself expanded from square-only to portrait and landscape photos in the feed in 2015.

“My advice would be to make the videos horizontal. We’ve all come to understand vertical as ‘short form’ and horizontal as ‘long form,’” says Sayman. “It’s in the act of rotating your phone to landscape that you indicate to yourself and to your mobile device that you will not be context switching for the next few minutes, but rather intend to focus on one piece of content for an extended period of time.” This would at least give users more to watch, even if they ended up viewing landscape videos with their phones in portrait orientation.

This might be best as a last-ditch effort if it can’t get enough content flowing in through other means. But at least Instagram should offer a cropping tool that lets users manually select what vertical slice of a landscape video they want to show as they watch, rather than just grabbing the center or picking one area on the side for the whole clip. This could let creators repurpose landscape videos without things getting awkwardly half cut out of frame.

Former Facebook employee and social investor Josh Elman, who now works at Robinhood, told me he’s confident the company will experiment as much as necessary. “I think Facebook is relentless. They know that a ton of consumers watch video online. And most discover videos through influencers or their friends. (Or Netflix). Even though Watch and IGTV haven’t taken the world by storm yet, I bet Facebook won’t stop until they find the right mix.”

There’s a goldmine waiting if it does. Unlike on Facebook, there’s no Regram feature, you can’t post links, and outside of Explore you just see who you already follow on Instagram. That’s made it great at delivering friendly video and clips from your favorite stars, but leaves a gaping hole where serendipitous viewing could be. IGTV fills that gap. The hours people spend on Facebook watching random videos and their accompanying commercials have lifted the company to over $13 billion in revenue per quarter. Giving a younger audience a bottomless pit of full-screen video could produce the same behavior and profits on Instagram without polluting the feed, which can remain the purest manifestation of visual feed culture. But that’s only if IGTV can get enough content uploaded.

Puffed up by the success of besting its foe Snapchat, Instagram assumed it could take the long-form video world by storm. But the grand entrance at its debutante ball didn’t draw enough attention. Now it needs to take a different tack. Tone down the cross-promo for the moment. Concentrate on teaching creators how to find what works on the format and incentivizing them with cash and traffic. Develop some must-see IGTV and stoke a viral blockbuster. Prove the gravity of extended, personality-driven vertical video. Only then should it redirect traffic there from the feed, Stories, and Explore.

YouTube’s library wasn’t built overnight, and neither will IGTV’s. Facebook’s deep pockets and the success of Instagram’s other features give it the runway necessary to let IGTV take off. With 1 billion monthly users, and 400 million daily Stories users gathered in just two years, there are plenty of eyeballs waiting to be seduced. Systrom concludes, “Everything that is great starts small.” IGTV’s destiny will depend on Instagram’s patience.

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Instagram has never truly failed at anything, but judging by modest initial view counts, IGTV could get stuck with a reputation as an abandoned theater if the company isn’t careful. It’s no flop, but the long-form video hub certainly isn’t an instant hit like Instagram Stories. Two months after that launched in 2016, Instagram was happy to trumpet how its Snapchat clone had hit 100 million users. Yet two months after IGTV’s launch, the Facebook subsidiary has been silent on its traction.

“It’s a new format. It’s different. We have to wait for people to adopt it and that takes time,” Instagram CEO Kevin Systrom told me. “Think of it this way: we just invested in a startup called IGTV, but it’s small, and it’s like Instagram was ‘early days.'”

It’s indeed too early for a scientific analysis, and Instagram’s feed has been around since 2010, so it’s obviously not a fair comparison, but we took a look at the IGTV view counts of some of the feature’s launch partner creators. Across six of those creators, their recent feed videos are getting roughly 6.8X as many views as their IGTV posts. If IGTV’s launch partners that benefited from early access and guidance aren’t doing so hot, it means there’s likely no free view count bonanza in store from other creators or regular users.

They, and IGTV, will have to work for their audience. That’s already proving difficult for the standalone IGTV app. Though it peaked at the #25 overall US iPhone app and has seen 2.5 million downloads across iOS and Android according to Sensor Tower, it’s since dropped to #1497 and seen a 94 percent decrease in weekly installs to just 70,000 last week.

Instagram will have to be in it for the long haul if it wants to win at long-form video. Entering the market 13 years after YouTube with a vertical format no one’s quite sure what to do with, IGTV must play the tortoise. If it can avoid getting scrapped or buried, and offer the right incentives and flexibility to creators, IGTV could deliver the spontaneous video viewing experience Instagram lacks. Otherwise, IGTV risks becoming the next Google Plus — a ghost town inside an otherwise thriving product ecosystem.

A glitzy, glitchy start

Instagram gave IGTV a red carpet premiere June 20th in hopes of making it look like the new digital hotspot. The San Francisco launch event offered attendees several types of avocado toast, spa water and ‘Gram-worthy portrait backdrops reminiscent of the Color Factory or Museum of Ice Cream. Instagram hadn’t held a flashy press event since the 2013 launch of video sharing, so it pulled out all the stops. Balloon sculptures lined the entrance to a massive warehouse packed with social media stars and ad execs shouting to each other over the din of the DJ.

But things were rocky from the start. Leaks led TechCrunch to report on the IGTV name and details in the preceding weeks. Technical difficulties with Systrom’s presentation pushed back the start, but not the rollout of IGTV’s code. Tipster Jane Manchun Wong sent TechCrunch screenshots of the new app and features a half hour before it was announced, and Instagram’s own Business Blog jumped the gun by posting details of the launch. The web already knew how IGTV would let people upload vertical videos up to an hour long and browse them through categories like “Popular” and “For You” by the time Systrom took the stage.

IGTV’s launch event featured Instagram-themed donuts and elaborate portrait backdrops. Images via Vicki’s Donuts and Mai Lanpham

“What I’m most proud of is that Instagram took a stand and tried a brand new thing that is frankly hard to pull off. Full-screen vertical video that’s mobile only. That doesn’t exist anywhere else,” Systrom tells me. It was indeed ambitious. Creators were already comfortable making short-form vertical Snapchat Stories by the time Instagram launched its own version. IGTV would have to start from scratch.

Systrom sees the steep learning curve as a differentiator, though. “One of the things I like most about the new format is that it’s actually fairly difficult to just take videos that exist online and simply repost them. That’s not true in feed. That basically forces everyone to create new stuff,” Systrom tells me. “It’s not to say that there isn’t other stuff on there but in general it incentivizes people to produce new things from scratch. And that’s really what we’re looking for. Even if the volume of that stuff at the beginning is smaller than what you might see on the popular page [of Instagram Explore].”

Instagram CEO Kevin Systrom unveils IGTV at the glitzy June 20th launch event

Instagram forced creators to adopt this proprietary format. But it forget to train Stories stars how to entertain us for five or 15 minutes, not 15 seconds, or convince landscape YouTube moguls to purposefully shoot or crop their clips for the way we normally hold our phones.

IGTV’s Popular page features plenty of random viral pap, foreign language content, and poor cropping

That should have been the real purpose of the launch party — demonstrating a variety of ways to turn these format constraints or lack thereof into unique content. Vertical video frames people better than places, and the length allows sustained eye-to-lens contacts that can engender an emotional connection. But a shallow array of initial content and too much confidence that creators would figure it out on their own deprived IGTV of emergent norms that other videographers could emulate to wet their feet.

Now IGTV feels haphazard, with trashy viral videos and miscropped ports amongst its Popular section alongside a few creators trying to produce made-for-IGTV talk shows and cooking tutorials. It’s yet to have its breakout “Chewbacca Mom” or “Rubberbanded Watermelon” blockbuster like Facebook Live. Even an interview with mega celeb Kylie Jenner only had 11,000 views.

Instagram wants to put the focus on the author, not the individual works of art. “Because we don’t have full text search and you can’t just search any random thing, it’s about the creators” Systrom explains. “I think that at its base level that it’s personality driven and creator driven means that you’re going to get really unique content that you won’t find anywhere else and that’s the goal.”

Yet being unique requires extra effort that creators might not invest if they’re unsure of the payoff in either reach or revenue. Michael Sayman, formerly Facebook’s youngest employee who was hired at age 17 to build apps for teens and who now works for Google, summed it up saying: “Many times in my own career, I’ve tried to make something with a unique spin or a special twist because I felt that’s the only way I could make my product stand out from the crowd, only to realize that it was those very twists and spins that made my products feel out of place and confusing to users. Sometimes, the best product is one that doesn’t create any new twists, but rather perfects and builds on top of what has been proven to already be extremely successful.”

A fraction of feed views

The one big surprise of the launch event was where IGTV would exist. Instagram announced it’d live in a standalone IGTV app, but also as a feature in the main app accessible from an orange button atop the home screen that would occasionally call out that new content was inside. But in essence, it was ignorable. IGTV didn’t get the benefit of being splayed out atop Instagram like Stories did. Blow past that one button and avoid downloading the separate app, and users could go right on tapping and scrolling through Instagram without coming across IGTV’s longer videos.

View counts of the launch partners reflect that. We looked at six launch partner creators, comparing their last six feed and IGTV videos older than a week and less than six months old, or fewer videos if that’s all they’d posted.

Only one of the six, BabyAriel, saw an obvious growth trend in her IGTV videos. Her candid IGTV monologues are performing the best of the six compared to feed. She’s earning an average of 243,000 views per IGTV video, about a third as many as she gets on her feed videos. “I’m really happy with my view counts because IGTV is just starting” BabyAriel tells me. She thinks the format will be good for behind-the-scenes clips that complement her longer YouTube videos and shorter Stories. “When I record anything, It’s vertical. When I turn my phone horizontal I think of an hour-long movie.”

Lele Pons, a Latin American comedy and music star who’s one of the most popular Instagram celebrities, gets about 5.7X more feed views than on her IGTV cooking show that averages 1.9 million hits. Instagram posted some IGTV highlights from the first month, but the most popular of now has 4.3 million views — less than half of what Pons gets on her average feed video.

Fitness guides from Katie Austin averaged just 3,600 views on IGTV while she gets 7.5X more in the feed. Lauren Godwin’s colorful comedy fared 5.2X better in the feed. Bryce Xavier saw the biggest differential, earning 15.9X more views for his dance and culture videos. And in the most direct comparison, K-Pop dancer Susie Shu sometimes posts cuts from the same performance to the two destinations, like one that got 273,000 views in feed but just 27,000 on IGTV, with similar clips fairing an average of 7.8X better.

Again, this isn’t to say IGTV is a lame horse. It just isn’t roaring out of the gates. Systrom remains optimistic about inventing a new format. “The question is can we pull that off and the early signs are really good,” he tells me. “We’ve been pretty blown away by the reception and the usage upfront,” though he declined to share any specific statistics. Instagram promised to provide more insight into traction in the future.

YouTube star Casey Neistat is less bullish. He doesn’t think IGTV is working and that engagement has been weak. If IGTV views were surpassing those of YouTube, creators would flock to it, but so far view counts are uninspiring and not worth diverting creative attention, Neistat says. “YouTube offers the best sit-back consumption, and Stories offers active consumption. Where does IGTV fit in? I’m not sure” he tells me. “Why create all of this unique content if it gets lower views, it’s not monetizable, and the viewers aren’t there?”

Susie Shu averages 7.8X more video views in the Instagram feed than on IGTV

For now, the combination of an unfamiliar format, the absence of direction for how to use it and the relatively buried placement has likely tempered IGTV’s traction. Two months in, Instagram Stories was proving itself an existential threat to Snapchat — which it’s in fact become. IGTV doesn’t pose the same danger to YouTube yet, and it will need a strategy to support a more slow-burn trajectory.

The chicken and the IG problem

The first step to becoming a real YouTube challenger is to build up some tent-pole content that gives people a reason to open IGTV. Until there’s something that captures attention, any cross-promotion traffic Instagram sends it will be like pouring water into a bucket with a giant hole in the bottom. Yet until there’s enough viewers, it’s tough to persuade creators to shoot for IGTV since it won’t do a ton to boost their fan base.

Fortnite champion Ninja shares a photo of IGTV launch partners gathered backstage at the press event

Meanwhile, Instagram hasn’t committed to a monetization or revenue-sharing strategy for IGTV. Systrom said at the launch that “There’s no ads in IGTV today,” but noted it’s “obviously a very reasonable place [for ads] to end up.” Without enough views, though, ads won’t earn enough for a revenue split to incentivize creators. Perhaps Instagram will heavily integrate its in-app shopping features and sponsored content partnerships, but even those rely on having more traffic. Vine withered at Twitter in part from creators bailing due to its omission of native monetization options.

So how does IGTV solve the chicken-and-egg problem? It may need to swallow its pride and pay early adopters directly for content until it racks up enough views to offer sustainable revenue sharing. Instagram has never publicly copped to paying for content before, unlike its parent Facebook, which offered stipends ranging into the millions of dollars for publishers to shoot Live broadcasts and long-form Watch shows. Neither have led to a booming viewership, but perhaps that’s because Facebook has lost its edge with the teens who love video.

Instagram could do better if it paid the right creators to weather IGTV’s initial slim pickings. Settling on ad strategy creators can count on earning money from in the future might also get them to hang tight. Those deals could mimic the 55 percent split of mid-roll ad breaks Facebook gives creators on some videos. But again, the views must come first.

Alternatively, or additionally, it could double down on the launch strategy of luring creators with the potential to become the big fish in IGTV’s small-for-now pond. Backroom deals to trade being highlighted in its IGTV algorithm in exchange for high-quality content could win the hearts of these stars and their managers. Instagram would be wise to pair these incentives with vertical long-form video content creation workshops. It could bring its community, product and analytics leaders together with partnered stars to suss out what works best in the format and help them shoot it.

The cross-promo spigot

Once there’s something worth watching on IGTV, the company could open the cross-promo traffic spigot. At first, Instagram would send notifications about top content or IGTV posts from people you follow, and call them out with a little orange text banner atop its main app. Now it seems to understand it will need to be more coercive.

Last month, TechCrunch spotted Instagram showing promos for individual IGTV shows in the middle of the feed, hoping to redirect eyeballs there. And today, we found Instagram getting more aggressive by putting a bigger call out featuring a relevant IGTV clip with preview image above your Stories tray on the home screen. It may need to boost the frequency of these cross-promotions and stick them in-between Stories and Explore sections as well to give IGTV the limelight. These could expose users to creators they don’t follow already but might enjoy.

“It’s still early but I do think there’s a lot of potential when they figure out two things since the feature is so new,” says John Shahidi, who runs the Justin Bieber-backed Shots Studios, which produces and distributes content for Lele Pons, Rudy Mancuso and other Insta celebs. “1. Product. IGTV is not in your face so Instagram users aren’t changing behavior to consume. Timeline and Instagram Stories are in your face so those two are the most used features. 2. Discoverability. I want to see videos from people I don’t follow. Interesting stuff like cooking, product review, interesting content from brands but without following the accounts.” In the meantime, Shots Studios is launching a vertical-only channel on YouTube that Shahidi believes is the first of its kind.

Instagram will have to balance its strategic imperative to grow the long-form video hub and avoid spamming users until they hate the brand as a whole. Some think it’s already gone too far. “I think it’s super intrusive right now,” says Tiffany Zhong, once known as the world’s youngest venture capitalist who now runs Generation Z consulting firm Zebra Intelligence. “I personally find all the IGTV videos super boring and click out within seconds (and the only time I watch them are if I accidentally tapped on the icon when I tried to go to my DMs instead).” Desperately funneling traffic to the feature before there’s enough great content to power relevant recommendations for everyone could prematurely sour users on IGTV. 

Systrom remains optimistic he can iterate his way to success. “What I want to see over the next six to 12 months is a consistent drumbeat of new features that both consumers and creators are asking for, and to look at the retention curve and say ‘are people continuing to watch? Are people continuing to upload?,'” says Systrom. “So far we are seeing that all of those are healthy. But again trying to judge a very new kind of audacious format that’s never really been done before in the first months is going to be really hard.”

Differentiator or deterrent?

The biggest question remains whether IGTV will remain devout to the orthodoxy of vertical-only. Loosening up to accept landscape videos too might nullify a differentiator, but also pipe in a flood of content it could then algorithmically curate to bootstrap IGTV’s library. Reducing the friction by allowing people to easily port content to or from elsewhere might make it feel like less of a gamble for creators deciding where to put their production resources. Instagram itself expanded from square-only to portrait and landscape photos in the feed in 2015.

“My advice would be to make the videos horizontal. We’ve all come to understand vertical as ‘short form’ and horizontal as ‘long form,'” says Sayman. “It’s in the act of rotating your phone to landscape that you indicate to yourself and to your mobile device that you will not be context switching for the next few minutes, but rather intend to focus on one piece of content for an extended period of time.” This would at least give users more to watch, even if they ended up viewing landscape videos with their phones in portrait orientation.

This might be best as a last-ditch effort if it can’t get enough content flowing in through other means. But at least Instagram should offer a cropping tool that lets users manually select what vertical slice of a landscape video they want to show as they watch, rather than just grabbing the center or picking one area on the side for the whole clip. This could let creators repurpose landscape videos without things getting awkwardly half cut out of frame.

Former Facebook employee and social investor Josh Elman, who now works at Robinhood, told me he’s confident the company will experiment as much as necessary. “I think Facebook is relentless. They know that a ton of consumers watch video online. And most discover videos through influencers or their friends. (Or Netflix). Even though Watch and IGTV haven’t taken the world by storm yet, I bet Facebook won’t stop until they find the right mix.”

There’s a goldmine waiting if it does. Unlike on Facebook, there’s no Regram feature, you can’t post links, and outside of Explore you just see who you already follow on Instagram. That’s made it great at delivering friendly video and clips from your favorite stars, but leaves a gaping hole where serendipitous viewing could be. IGTV fills that gap. The hours people spend on Facebook watching random videos and their accompanying commercials have lifted the company to over $13 billion in revenue per quarter. Giving a younger audience a bottomless pit of full-screen video could produce the same behavior and profits on Instagram without polluting the feed, which can remain the purest manifestation of visual feed culture. But that’s only if IGTV can get enough content uploaded.

Puffed up by the success of besting its foe Snapchat, Instagram assumed it could take the long-form video world by storm. But the grand entrance at its debutante ball didn’t draw enough attention. Now it needs to take a different tack. Tone down the cross-promo for the moment. Concentrate on teaching creators how to find what works on the format and incentivizing them with cash and traffic. Develop some must-see IGTV and stoke a viral blockbuster. Prove the gravity of extended, personality-driven vertical video. Only then should it redirect traffic there from the feed, Stories, and Explore.

YouTube’s library wasn’t built overnight, and neither will IGTV’s. Facebook’s deep pockets and the success of Instagram’s other features give it the runway necessary to let IGTV take off. With 1 billion monthly users, and 400 million daily Stories users gathered in just two years, there are plenty of eyeballs waiting to be seduced. Systrom concludes, “Everything that is great starts small.” IGTV’s destiny will depend on Instagram’s patience.

from Mobile – TechCrunch https://ift.tt/2o9VBgD ORIGINAL CONTENT FROM: https://techcrunch.com/

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For IGTV, Instagram needs slow to mean steady

Instagram has never truly failed at anything, but judging by modest initial view counts, IGTV could get stuck with a reputation as an abandoned theater if the company isn’t careful. It’s no flop, but the long-form video hub certainly isn’t an instant hit like Instagram Stories. Two months after that launched in 2016, Instagram was happy to trumpet how its Snapchat clone had hit 100 million users. Yet two months after IGTV’s launch, the Facebook subsidiary has been silent on its traction.

“It’s a new format. It’s different. We have to wait for people to adopt it and that takes time,” Instagram CEO Kevin Systrom told me. “Think of it this way: we just invested in a startup called IGTV, but it’s small, and it’s like Instagram was ‘early days.'”

It’s indeed too early for a scientific analysis, and Instagram’s feed has been around since 2010, so it’s obviously not a fair comparison, but we took a look at the IGTV view counts of some of the feature’s launch partner creators. Across six of those creators, their recent feed videos are getting roughly 6.8X as many views as their IGTV posts. If IGTV’s launch partners that benefited from early access and guidance aren’t doing so hot, it means there’s likely no free view count bonanza in store from other creators or regular users.

They, and IGTV, will have to work for their audience. That’s already proving difficult for the standalone IGTV app. Though it peaked at the #25 overall US iPhone app and has seen 2.5 million downloads across iOS and Android according to Sensor Tower, it’s since dropped to #1497 and seen a 94 percent decrease in weekly installs to just 70,000 last week.

Instagram will have to be in it for the long haul if it wants to win at long-form video. Entering the market 13 years after YouTube with a vertical format no one’s quite sure what to do with, IGTV must play the tortoise. If it can avoid getting scrapped or buried, and offer the right incentives and flexibility to creators, IGTV could deliver the spontaneous video viewing experience Instagram lacks. Otherwise, IGTV risks becoming the next Google Plus — a ghost town inside an otherwise thriving product ecosystem.

A glitzy, glitchy start

Instagram gave IGTV a red carpet premiere June 20th in hopes of making it look like the new digital hotspot. The San Francisco launch event offered attendees several types of avocado toast, spa water and ‘Gram-worthy portrait backdrops reminiscent of the Color Factory or Museum of Ice Cream. Instagram hadn’t held a flashy press event since the 2013 launch of video sharing, so it pulled out all the stops. Balloon sculptures lined the entrance to a massive warehouse packed with social media stars and ad execs shouting to each other over the din of the DJ.

But things were rocky from the start. Leaks led TechCrunch to report on the IGTV name and details in the preceding weeks. Technical difficulties with Systrom’s presentation pushed back the start, but not the rollout of IGTV’s code. Tipster Jane Manchun Wong sent TechCrunch screenshots of the new app and features a half hour before it was announced, and Instagram’s own Business Blog jumped the gun by posting details of the launch. The web already knew how IGTV would let people upload vertical videos up to an hour long and browse them through categories like “Popular” and “For You” by the time Systrom took the stage.

IGTV’s launch event featured Instagram-themed donuts and elaborate portrait backdrops. Images via Vicki’s Donuts and Mai Lanpham

“What I’m most proud of is that Instagram took a stand and tried a brand new thing that is frankly hard to pull off. Full-screen vertical video that’s mobile only. That doesn’t exist anywhere else,” Systrom tells me. It was indeed ambitious. Creators were already comfortable making short-form vertical Snapchat Stories by the time Instagram launched its own version. IGTV would have to start from scratch.

Systrom sees the steep learning curve as a differentiator, though. “One of the things I like most about the new format is that it’s actually fairly difficult to just take videos that exist online and simply repost them. That’s not true in feed. That basically forces everyone to create new stuff,” Systrom tells me. “It’s not to say that there isn’t other stuff on there but in general it incentivizes people to produce new things from scratch. And that’s really what we’re looking for. Even if the volume of that stuff at the beginning is smaller than what you might see on the popular page [of Instagram Explore].”

Instagram CEO Kevin Systrom unveils IGTV at the glitzy June 20th launch event

Instagram forced creators to adopt this proprietary format. But it forget to train Stories stars how to entertain us for five or 15 minutes, not 15 seconds, or convince landscape YouTube moguls to purposefully shoot or crop their clips for the way we normally hold our phones.

IGTV’s Popular page features plenty of random viral pap, foreign language content, and poor cropping

That should have been the real purpose of the launch party — demonstrating a variety of ways to turn these format constraints or lack thereof into unique content. Vertical video frames people better than places, and the length allows sustained eye-to-lens contacts that can engender an emotional connection. But a shallow array of initial content and too much confidence that creators would figure it out on their own deprived IGTV of emergent norms that other videographers could emulate to wet their feet.

Now IGTV feels haphazard, with trashy viral videos and miscropped ports amongst its Popular section alongside a few creators trying to produce made-for-IGTV talk shows and cooking tutorials. It’s yet to have its breakout “Chewbacca Mom” or “Rubberbanded Watermelon” blockbuster like Facebook Live. Even an interview with mega celeb Kylie Jenner only had 11,000 views.

Instagram wants to put the focus on the author, not the individual works of art. “Because we don’t have full text search and you can’t just search any random thing, it’s about the creators” Systrom explains. “I think that at its base level that it’s personality driven and creator driven means that you’re going to get really unique content that you won’t find anywhere else and that’s the goal.”

Yet being unique requires extra effort that creators might not invest if they’re unsure of the payoff in either reach or revenue. Michael Sayman, formerly Facebook’s youngest employee who was hired at age 17 to build apps for teens and who now works for Google, summed it up saying: “Many times in my own career, I’ve tried to make something with a unique spin or a special twist because I felt that’s the only way I could make my product stand out from the crowd, only to realize that it was those very twists and spins that made my products feel out of place and confusing to users. Sometimes, the best product is one that doesn’t create any new twists, but rather perfects and builds on top of what has been proven to already be extremely successful.”

A fraction of feed views

The one big surprise of the launch event was where IGTV would exist. Instagram announced it’d live in a standalone IGTV app, but also as a feature in the main app accessible from an orange button atop the home screen that would occasionally call out that new content was inside. But in essence, it was ignorable. IGTV didn’t get the benefit of being splayed out atop Instagram like Stories did. Blow past that one button and avoid downloading the separate app, and users could go right on tapping and scrolling through Instagram without coming across IGTV’s longer videos.

View counts of the launch partners reflect that. We looked at six launch partner creators, comparing their last six feed and IGTV videos older than a week and less than six months old, or fewer videos if that’s all they’d posted.

Only one of the six, BabyAriel, saw an obvious growth trend in her IGTV videos. Her candid IGTV monologues are performing the best of the six compared to feed. She’s earning an average of 243,000 views per IGTV video, about a third as many as she gets on her feed videos. “I’m really happy with my view counts because IGTV is just starting” BabyAriel tells me. She thinks the format will be good for behind-the-scenes clips that complement her longer YouTube videos and shorter Stories. “When I record anything, It’s vertical. When I turn my phone horizontal I think of an hour-long movie.”

Lele Pons, a Latin American comedy and music star who’s one of the most popular Instagram celebrities, gets about 5.7X more feed views than on her IGTV cooking show that averages 1.9 million hits. Instagram posted some IGTV highlights from the first month, but the most popular of now has 4.3 million views — less than half of what Pons gets on her average feed video.

Fitness guides from Katie Austin averaged just 3,600 views on IGTV while she gets 7.5X more in the feed. Lauren Godwin’s colorful comedy fared 5.2X better in the feed. Bryce Xavier saw the biggest differential, earning 15.9X more views for his dance and culture videos. And in the most direct comparison, K-Pop dancer Susie Shu sometimes posts cuts from the same performance to the two destinations, like one that got 273,000 views in feed but just 27,000 on IGTV, with similar clips fairing an average of 7.8X better.

Again, this isn’t to say IGTV is a lame horse. It just isn’t roaring out of the gates. Systrom remains optimistic about inventing a new format. “The question is can we pull that off and the early signs are really good,” he tells me. “We’ve been pretty blown away by the reception and the usage upfront,” though he declined to share any specific statistics. Instagram promised to provide more insight into traction in the future.

YouTube star Casey Neistat is less bullish. He doesn’t think IGTV is working and that engagement has been weak. If IGTV views were surpassing those of YouTube, creators would flock to it, but so far view counts are uninspiring and not worth diverting creative attention, Neistat says. “YouTube offers the best sit-back consumption, and Stories offers active consumption. Where does IGTV fit in? I’m not sure” he tells me. “Why create all of this unique content if it gets lower views, it’s not monetizable, and the viewers aren’t there?”

Susie Shu averages 7.8X more video views in the Instagram feed than on IGTV

For now, the combination of an unfamiliar format, the absence of direction for how to use it and the relatively buried placement has likely tempered IGTV’s traction. Two months in, Instagram Stories was proving itself an existential threat to Snapchat — which it’s in fact become. IGTV doesn’t pose the same danger to YouTube yet, and it will need a strategy to support a more slow-burn trajectory.

The chicken and the IG problem

The first step to becoming a real YouTube challenger is to build up some tent-pole content that gives people a reason to open IGTV. Until there’s something that captures attention, any cross-promotion traffic Instagram sends it will be like pouring water into a bucket with a giant hole in the bottom. Yet until there’s enough viewers, it’s tough to persuade creators to shoot for IGTV since it won’t do a ton to boost their fan base.

Fortnite champion Ninja shares a photo of IGTV launch partners gathered backstage at the press event

Meanwhile, Instagram hasn’t committed to a monetization or revenue-sharing strategy for IGTV. Systrom said at the launch that “There’s no ads in IGTV today,” but noted it’s “obviously a very reasonable place [for ads] to end up.” Without enough views, though, ads won’t earn enough for a revenue split to incentivize creators. Perhaps Instagram will heavily integrate its in-app shopping features and sponsored content partnerships, but even those rely on having more traffic. Vine withered at Twitter in part from creators bailing due to its omission of native monetization options.

So how does IGTV solve the chicken-and-egg problem? It may need to swallow its pride and pay early adopters directly for content until it racks up enough views to offer sustainable revenue sharing. Instagram has never publicly copped to paying for content before, unlike its parent Facebook, which offered stipends ranging into the millions of dollars for publishers to shoot Live broadcasts and long-form Watch shows. Neither have led to a booming viewership, but perhaps that’s because Facebook has lost its edge with the teens who love video.

Instagram could do better if it paid the right creators to weather IGTV’s initial slim pickings. Settling on ad strategy creators can count on earning money from in the future might also get them to hang tight. Those deals could mimic the 55 percent split of mid-roll ad breaks Facebook gives creators on some videos. But again, the views must come first.

Alternatively, or additionally, it could double down on the launch strategy of luring creators with the potential to become the big fish in IGTV’s small-for-now pond. Backroom deals to trade being highlighted in its IGTV algorithm in exchange for high-quality content could win the hearts of these stars and their managers. Instagram would be wise to pair these incentives with vertical long-form video content creation workshops. It could bring its community, product and analytics leaders together with partnered stars to suss out what works best in the format and help them shoot it.

The cross-promo spigot

Once there’s something worth watching on IGTV, the company could open the cross-promo traffic spigot. At first, Instagram would send notifications about top content or IGTV posts from people you follow, and call them out with a little orange text banner atop its main app. Now it seems to understand it will need to be more coercive.

Last month, TechCrunch spotted Instagram showing promos for individual IGTV shows in the middle of the feed, hoping to redirect eyeballs there. And today, we found Instagram getting more aggressive by putting a bigger call out featuring a relevant IGTV clip with preview image above your Stories tray on the home screen. It may need to boost the frequency of these cross-promotions and stick them in-between Stories and Explore sections as well to give IGTV the limelight. These could expose users to creators they don’t follow already but might enjoy.

“It’s still early but I do think there’s a lot of potential when they figure out two things since the feature is so new,” says John Shahidi, who runs the Justin Bieber-backed Shots Studios, which produces and distributes content for Lele Pons, Rudy Mancuso and other Insta celebs. “1. Product. IGTV is not in your face so Instagram users aren’t changing behavior to consume. Timeline and Instagram Stories are in your face so those two are the most used features. 2. Discoverability. I want to see videos from people I don’t follow. Interesting stuff like cooking, product review, interesting content from brands but without following the accounts.” In the meantime, Shots Studios is launching a vertical-only channel on YouTube that Shahidi believes is the first of its kind.

Instagram will have to balance its strategic imperative to grow the long-form video hub and avoid spamming users until they hate the brand as a whole. Some think it’s already gone too far. “I think it’s super intrusive right now,” says Tiffany Zhong, once known as the world’s youngest venture capitalist who now runs Generation Z consulting firm Zebra Intelligence. “I personally find all the IGTV videos super boring and click out within seconds (and the only time I watch them are if I accidentally tapped on the icon when I tried to go to my DMs instead).” Desperately funneling traffic to the feature before there’s enough great content to power relevant recommendations for everyone could prematurely sour users on IGTV. 

Systrom remains optimistic he can iterate his way to success. “What I want to see over the next six to 12 months is a consistent drumbeat of new features that both consumers and creators are asking for, and to look at the retention curve and say ‘are people continuing to watch? Are people continuing to upload?,'” says Systrom. “So far we are seeing that all of those are healthy. But again trying to judge a very new kind of audacious format that’s never really been done before in the first months is going to be really hard.”

Differentiator or deterrent?

The biggest question remains whether IGTV will remain devout to the orthodoxy of vertical-only. Loosening up to accept landscape videos too might nullify a differentiator, but also pipe in a flood of content it could then algorithmically curate to bootstrap IGTV’s library. Reducing the friction by allowing people to easily port content to or from elsewhere might make it feel like less of a gamble for creators deciding where to put their production resources. Instagram itself expanded from square-only to portrait and landscape photos in the feed in 2015.

“My advice would be to make the videos horizontal. We’ve all come to understand vertical as ‘short form’ and horizontal as ‘long form,'” says Sayman. “It’s in the act of rotating your phone to landscape that you indicate to yourself and to your mobile device that you will not be context switching for the next few minutes, but rather intend to focus on one piece of content for an extended period of time.” This would at least give users more to watch, even if they ended up viewing landscape videos with their phones in portrait orientation.

This might be best as a last-ditch effort if it can’t get enough content flowing in through other means. But at least Instagram should offer a cropping tool that lets users manually select what vertical slice of a landscape video they want to show as they watch, rather than just grabbing the center or picking one area on the side for the whole clip. This could let creators repurpose landscape videos without things getting awkwardly half cut out of frame.

Former Facebook employee and social investor Josh Elman, who now works at Robinhood, told me he’s confident the company will experiment as much as necessary. “I think Facebook is relentless. They know that a ton of consumers watch video online. And most discover videos through influencers or their friends. (Or Netflix). Even though Watch and IGTV haven’t taken the world by storm yet, I bet Facebook won’t stop until they find the right mix.”

There’s a goldmine waiting if it does. Unlike on Facebook, there’s no Regram feature, you can’t post links, and outside of Explore you just see who you already follow on Instagram. That’s made it great at delivering friendly video and clips from your favorite stars, but leaves a gaping hole where serendipitous viewing could be. IGTV fills that gap. The hours people spend on Facebook watching random videos and their accompanying commercials have lifted the company to over $13 billion in revenue per quarter. Giving a younger audience a bottomless pit of full-screen video could produce the same behavior and profits on Instagram without polluting the feed, which can remain the purest manifestation of visual feed culture. But that’s only if IGTV can get enough content uploaded.

Puffed up by the success of besting its foe Snapchat, Instagram assumed it could take the long-form video world by storm. But the grand entrance at its debutante ball didn’t draw enough attention. Now it needs to take a different tack. Tone down the cross-promo for the moment. Concentrate on teaching creators how to find what works on the format and incentivizing them with cash and traffic. Develop some must-see IGTV and stoke a viral blockbuster. Prove the gravity of extended, personality-driven vertical video. Only then should it redirect traffic there from the feed, Stories, and Explore.

YouTube’s library wasn’t built overnight, and neither will IGTV’s. Facebook’s deep pockets and the success of Instagram’s other features give it the runway necessary to let IGTV take off. With 1 billion monthly users, and 400 million daily Stories users gathered in just two years, there are plenty of eyeballs waiting to be seduced. Systrom concludes, “Everything that is great starts small.” IGTV’s destiny will depend on Instagram’s patience.

from iraidajzsmmwtv https://ift.tt/2o9VBgD via IFTTT

[theinvinciblenoob]

Instagram has never truly failed at anything, but judging by modest initial view counts, IGTV could get stuck with a reputation as an abandoned theater if the company isn’t careful. It’s no flop, but the long-form video hub certainly isn’t an instant hit like Instagram Stories. Two months after that launched in 2016, Instagram was happy to trumpet how its Snapchat clone had hit 100 million users. Yet two months after IGTV’s launch, the Facebook subsidiary has been silent on its traction.

“It’s a new format. It’s different. We have to wait for people to adopt it and that takes time,” Instagram CEO Kevin Systrom told me. “Think of it this way: we just invested in a startup called IGTV, but it’s small, and it’s like Instagram was ‘early days.'”

It’s indeed too early for a scientific analysis, and Instagram’s feed has been around since 2010, so it’s obviously not a fair comparison, but we took a look at the IGTV view counts of some of the feature’s launch partner creators. Across six of those creators, their recent feed videos are getting roughly 6.8X as many views as their IGTV posts. If IGTV’s launch partners that benefited from early access and guidance aren’t doing so hot, it means there’s likely no free view count bonanza in store from other creators or regular users.

They, and IGTV, will have to work for their audience. That’s already proving difficult for the standalone IGTV app. Though it peaked at the #25 overall US iPhone app and has seen 2.5 million downloads across iOS and Android according to Sensor Tower, it’s since dropped to #1497 and seen a 94 percent decrease in weekly installs to just 70,000 last week.

Instagram will have to be in it for the long haul if it wants to win at long-form video. Entering the market 13 years after YouTube with a vertical format no one’s quite sure what to do with, IGTV must play the tortoise. If it can avoid getting scrapped or buried, and offer the right incentives and flexibility to creators, IGTV could deliver the spontaneous video viewing experience Instagram lacks. Otherwise, IGTV risks becoming the next Google Plus — a ghost town inside an otherwise thriving product ecosystem.

A glitzy, glitchy start

Instagram gave IGTV a red carpet premiere June 20th in hopes of making it look like the new digital hotspot. The San Francisco launch event offered attendees several types of avocado toast, spa water and ‘Gram-worthy portrait backdrops reminiscent of the Color Factory or Museum of Ice Cream. Instagram hadn’t held a flashy press event since the 2013 launch of video sharing, so it pulled out all the stops. Balloon sculptures lined the entrance to a massive warehouse packed with social media stars and ad execs shouting to each other over the din of the DJ.

But things were rocky from the start. Leaks led TechCrunch to report on the IGTV name and details in the preceding weeks. Technical difficulties with Systrom’s presentation pushed back the start, but not the rollout of IGTV’s code. Tipster Jane Manchun Wong sent TechCrunch screenshots of the new app and features a half hour before it was announced, and Instagram’s own Business Blog jumped the gun by posting details of the launch. The web already knew how IGTV would let people upload vertical videos up to an hour long and browse them through categories like “Popular” and “For You” by the time Systrom took the stage.

IGTV’s launch event featured Instagram-themed donuts and elaborate portrait backdrops. Images via Vicki’s Donuts and Mai Lanpham

“What I’m most proud of is that Instagram took a stand and tried a brand new thing that is frankly hard to pull off. Full-screen vertical video that’s mobile only. That doesn’t exist anywhere else,” Systrom tells me. It was indeed ambitious. Creators were already comfortable making short-form vertical Snapchat Stories by the time Instagram launched its own version. IGTV would have to start from scratch.

Systrom sees the steep learning curve as a differentiator, though. “One of the things I like most about the new format is that it’s actually fairly difficult to just take videos that exist online and simply repost them. That’s not true in feed. That basically forces everyone to create new stuff,” Systrom tells me. “It’s not to say that there isn’t other stuff on there but in general it incentivizes people to produce new things from scratch. And that’s really what we’re looking for. Even if the volume of that stuff at the beginning is smaller than what you might see on the popular page [of Instagram Explore].”

Instagram CEO Kevin Systrom unveils IGTV at the glitzy June 20th launch event

Instagram forced creators to adopt this proprietary format. But it forget to train Stories stars how to entertain us for five or 15 minutes, not 15 seconds, or convince landscape YouTube moguls to purposefully shoot or crop their clips for the way we normally hold our phones.

IGTV’s Popular page features plenty of random viral pap, foreign language content, and poor cropping

That should have been the real purpose of the launch party — demonstrating a variety of ways to turn these format constraints or lack thereof into unique content. Vertical video frames people better than places, and the length allows sustained eye-to-lens contacts that can engender an emotional connection. But a shallow array of initial content and too much confidence that creators would figure it out on their own deprived IGTV of emergent norms that other videographers could emulate to wet their feet.

Now IGTV feels haphazard, with trashy viral videos and miscropped ports amongst its Popular section alongside a few creators trying to produce made-for-IGTV talk shows and cooking tutorials. It’s yet to have its breakout “Chewbacca Mom” or “Rubberbanded Watermelon” blockbuster like Facebook Live. Even an interview with mega celeb Kylie Jenner only had 11,000 views.

Instagram wants to put the focus on the author, not the individual works of art. “Because we don’t have full text search and you can’t just search any random thing, it’s about the creators” Systrom explains. “I think that at its base level that it’s personality driven and creator driven means that you’re going to get really unique content that you won’t find anywhere else and that’s the goal.”

Yet being unique requires extra effort that creators might not invest if they’re unsure of the payoff in either reach or revenue. Michael Sayman, formerly Facebook’s youngest employee who was hired at age 17 to build apps for teens and who now works for Google, summed it up saying: “Many times in my own career, I’ve tried to make something with a unique spin or a special twist because I felt that’s the only way I could make my product stand out from the crowd, only to realize that it was those very twists and spins that made my products feel out of place and confusing to users. Sometimes, the best product is one that doesn’t create any new twists, but rather perfects and builds on top of what has been proven to already be extremely successful.”

A fraction of feed views

The one big surprise of the launch event was where IGTV would exist. Instagram announced it’d live in a standalone IGTV app, but also as a feature in the main app accessible from an orange button atop the home screen that would occasionally call out that new content was inside. It could have had its own carousel like Stories or been integrated into Explore until it was ready for primetime.

Instead, it was ignorable. IGTV didn’t get the benefit of the home screen spotlight like Instagram Stories. Blow past that one orange button and avoid downloading the separate app, and users could go right on tapping and scrolling through Instagram without coming across IGTV’s longer videos.

View counts of the launch partners reflect that. We looked at six launch partner creators, comparing their last six feed and IGTV videos older than a week and less than six months old, or fewer videos if that’s all they’d posted.

Only one of the six, BabyAriel, saw an obvious growth trend in her IGTV videos. Her candid IGTV monologues are performing the best of the six compared to feed. She’s earning an average of 243,000 views per IGTV video, about a third as many as she gets on her feed videos. “I’m really happy with my view counts because IGTV is just starting” BabyAriel tells me. She thinks the format will be good for behind-the-scenes clips that complement her longer YouTube videos and shorter Stories. “When I record anything, It’s vertical. When I turn my phone horizontal I think of an hour-long movie.”

Lele Pons, a Latin American comedy and music star who’s one of the most popular Instagram celebrities, gets about 5.7X more feed views than on her IGTV cooking show that averages 1.9 million hits. Instagram posted some IGTV highlights from the first month, but the most popular of now has 4.3 million views — less than half of what Pons gets on her average feed video.

Fitness guides from Katie Austin averaged just 3,600 views on IGTV while she gets 7.5X more in the feed. Lauren Godwin’s colorful comedy fared 5.2X better in the feed. Bryce Xavier saw the biggest differential, earning 15.9X more views for his dance and culture videos. And in the most direct comparison, K-Pop dancer Susie Shu sometimes posts cuts from the same performance to the two destinations, like one that got 273,000 views in feed but just 27,000 on IGTV, with similar clips fairing an average of 7.8X better.

Again, this isn’t to say IGTV is a lame horse. It just isn’t roaring out of the gates. Systrom remains optimistic about inventing a new format. “The question is can we pull that off and the early signs are really good,” he tells me. “We’ve been pretty blown away by the reception and the usage upfront,” though he declined to share any specific statistics. Instagram promised to provide more insight into traction in the future.

YouTube star Casey Neistat is less bullish. He doesn’t think IGTV is working and that engagement has been weak. If IGTV views were surpassing those of YouTube, creators would flock to it, but so far view counts are uninspiring and not worth diverting creative attention, Neistat says. “YouTube offers the best sit-back consumption, and Stories offers active consumption. Where does IGTV fit in? I’m not sure” he tells me. “Why create all of this unique content if it gets lower views, it’s not monetizable, and the viewers aren’t there?”

Susie Shu averages 7.8X more video views in the Instagram feed than on IGTV

For now, the combination of an unfamiliar format, the absence of direction for how to use it and the relatively buried placement has likely tempered IGTV’s traction. Two months in, Instagram Stories was proving itself an existential threat to Snapchat — which it’s in fact become. IGTV doesn’t pose the same danger to YouTube yet, and it will need a strategy to support a more slow-burn trajectory.

The chicken and the IG problem

The first step to becoming a real YouTube challenger is to build up some tent-pole content that gives people a reason to open IGTV. Until there’s something that captures attention, any cross-promotion traffic Instagram sends it will be like pouring water into a bucket with a giant hole in the bottom. Yet until there’s enough viewers, it’s tough to persuade creators to shoot for IGTV since it won’t do a ton to boost their fan base.

Fortnite champion Ninja shares a photo of IGTV launch partners gathered backstage at the press event

Meanwhile, Instagram hasn’t committed to a monetization or revenue-sharing strategy for IGTV. Systrom said at the launch that “There’s no ads in IGTV today,” but noted it’s “obviously a very reasonable place [for ads] to end up.” Without enough views, though, ads won’t earn enough for a revenue split to incentivize creators. Perhaps Instagram will heavily integrate its in-app shopping features and sponsored content partnerships, but even those rely on having more traffic. Vine withered at Twitter in part from creators bailing due to its omission of native monetization options.

So how does IGTV solve the chicken-and-egg problem? It may need to swallow its pride and pay early adopters directly for content until it racks up enough views to offer sustainable revenue sharing. Instagram has never publicly copped to paying for content before, unlike its parent Facebook, which offered stipends ranging into the millions of dollars for publishers to shoot Live broadcasts and long-form Watch shows. Neither have led to a booming viewership, but perhaps that’s because Facebook has lost its edge with the teens who love video.

Instagram could do better if it paid the right creators to weather IGTV’s initial slim pickings. Settling on ad strategy creators can count on earning money from in the future might also get them to hang tight. Those deals could mimic the 55 percent split of mid-roll ad breaks Facebook gives creators on some videos. But again, the views must come first.

Alternatively, or additionally, it could double down on the launch strategy of luring creators with the potential to become the big fish in IGTV’s small-for-now pond. Backroom deals to trade being highlighted in its IGTV algorithm in exchange for high-quality content could win the hearts of these stars and their managers. Instagram would be wise to pair these incentives with vertical long-form video content creation workshops. It could bring its community, product and analytics leaders together with partnered stars to suss out what works best in the format and help them shoot it.

The cross-promo spigot

Once there’s something worth watching on IGTV, the company could open the cross-promo traffic spigot. At first, Instagram would send notifications about top content or IGTV posts from people you follow, and call them out with a little orange text banner atop its main app. Now it seems to understand it will need to be more coercive.

Last month, TechCrunch tipster Jane Manchun Wong spotted Instagram showing promos for individual IGTV shows in the middle of the feed, hoping to redirect eyeballs there. And today, TechCrunch researcher Matt Navarra found Instagram getting more aggressive by putting a bigger call out featuring a relevant IGTV clip with preview image above your Stories tray on the home screen. It may need to boost the frequency of these cross-promotions and stick them in-between Stories and Explore sections as well to give IGTV the limelight. These could expose users to creators they don’t follow already but might enjoy.

“It’s still early but I do think there’s a lot of potential when they figure out two things since the feature is so new,” says John Shahidi, who runs the Justin Bieber-backed Shots Studios, which produces and distributes content for Lele Pons, Rudy Mancuso and other Insta celebs. “1. Product. IGTV is not in your face so Instagram users aren’t changing behavior to consume. Timeline and Instagram Stories are in your face so those two are the most used features. 2. Discoverability. I want to see videos from people I don’t follow. Interesting stuff like cooking, product review, interesting content from brands but without following the accounts.” In the meantime, Shots Studios is launching a vertical-only channel on YouTube that Shahidi believes is the first of its kind.

Instagram will have to balance its strategic imperative to grow the long-form video hub and avoid spamming users until they hate the brand as a whole. Some think it’s already gone too far. “I think it’s super intrusive right now,” says Tiffany Zhong, once known as the world’s youngest venture capitalist who now runs Generation Z consulting firm Zebra Intelligence. “I personally find all the IGTV videos super boring and click out within seconds (and the only time I watch them are if I accidentally tapped on the icon when I tried to go to my DMs instead).” Desperately funneling traffic to the feature before there’s enough great content to power relevant recommendations for everyone could prematurely sour users on IGTV. 

Systrom remains optimistic he can iterate his way to success. “What I want to see over the next six to 12 months is a consistent drumbeat of new features that both consumers and creators are asking for, and to look at the retention curve and say ‘are people continuing to watch? Are people continuing to upload?,'” says Systrom. “So far we are seeing that all of those are healthy. But again trying to judge a very new kind of audacious format that’s never really been done before in the first months is going to be really hard.”

Differentiator or deterrent?

The biggest question remains whether IGTV will remain devout to the orthodoxy of vertical-only. Loosening up to accept landscape videos too might nullify a differentiator, but also pipe in a flood of content it could then algorithmically curate to bootstrap IGTV’s library. Reducing the friction by allowing people to easily port content to or from elsewhere might make it feel like less of a gamble for creators deciding where to put their production resources. Instagram itself expanded from square-only to portrait and landscape photos in the feed in 2015.

“My advice would be to make the videos horizontal. We’ve all come to understand vertical as ‘short form’ and horizontal as ‘long form,'” says Sayman. “It’s in the act of rotating your phone to landscape that you indicate to yourself and to your mobile device that you will not be context switching for the next few minutes, but rather intend to focus on one piece of content for an extended period of time.” This would at least give users more to watch, even if they ended up viewing landscape videos with their phones in portrait orientation.

This might be best as a last-ditch effort if it can’t get enough content flowing in through other means. But at least Instagram should offer a cropping tool that lets users manually select what vertical slice of a landscape video they want to show as they watch, rather than just grabbing the center or picking one area on the side for the whole clip. This could let creators repurpose landscape videos without things getting awkwardly half cut out of frame.

Former Facebook employee and social investor Josh Elman, who now works at Robinhood, told me he’s confident the company will experiment as much as necessary. “I think Facebook is relentless. They know that a ton of consumers watch video online. And most discover videos through influencers or their friends. (Or Netflix). Even though Watch and IGTV haven’t taken the world by storm yet, I bet Facebook won’t stop until they find the right mix.”

There’s a goldmine waiting if it does. Unlike on Facebook, there’s no Regram feature, you can’t post links, and outside of Explore you just see who you already follow on Instagram. That’s made it great at delivering friendly video and clips from your favorite stars, but leaves a gaping hole where serendipitous viewing could be. IGTV fills that gap. The hours people spend on Facebook watching random videos and their accompanying commercials have lifted the company to over $13 billion in revenue per quarter. Giving a younger audience a bottomless pit of full-screen video could produce the same behavior and profits on Instagram without polluting the feed, which can remain the purest manifestation of visual feed culture. But that’s only if IGTV can get enough content uploaded.

Puffed up by the success of besting its foe Snapchat, Instagram assumed it could take the long-form video world by storm. But the grand entrance at its debutante ball didn’t draw enough attention. Now it needs to take a different tack. Tone down the cross-promo for the moment. Concentrate on teaching creators how to find what works on the format and incentivizing them with cash and traffic. Develop some must-see IGTV and stoke a viral blockbuster. Prove the gravity of extended, personality-driven vertical video. Only then should it redirect traffic there from the feed, Stories, and Explore.

YouTube’s library wasn’t built overnight, and neither will IGTV’s. Facebook’s deep pockets and the success of Instagram’s other features give it the runway necessary to let IGTV take off. With 1 billion monthly users, and 400 million daily Stories users gathered in just two years, there are plenty of eyeballs waiting to be seduced. Systrom concludes, “Everything that is great starts small.” IGTV’s destiny will depend on Instagram’s patience.

via TechCrunch

[fmservers]

For IGTV, Instagram needs slow to mean steady

Instagram has never truly failed at anything, but judging by modest initial view counts, IGTV could get stuck with a reputation as an abandoned theater if the company isn’t careful. It’s no flop, but the long-form video hub certainly isn’t an instant hit like Instagram Stories. Two months after that launched in 2016, Instagram was happy to trumpet how its Snapchat clone had hit 100 million users. Yet two months after IGTV’s launch, the Facebook subsidiary has been silent on its traction.

“It’s a new format. It’s different. We have to wait for people to adopt it and that takes time,” Instagram CEO Kevin Systrom told me. “Think of it this way: we just invested in a startup called IGTV, but it’s small, and it’s like Instagram was ‘early days.'”

It’s indeed too early for a scientific analysis, and Instagram’s feed has been around since 2010, so it’s obviously not a fair comparison, but we took a look at the IGTV view counts of some of the feature’s launch partner creators. Across six of those creators, their recent feed videos are getting roughly 6.8X as many views as their IGTV posts. If IGTV’s launch partners that benefited from early access and guidance aren’t doing so hot, it means there’s likely no free view count bonanza in store from other creators or regular users.

They, and IGTV, will have to work for their audience. That’s already proving difficult for the standalone IGTV app. Though it peaked at the #25 overall US iPhone app and has seen 2.5 million downloads across iOS and Android according to Sensor Tower, it’s since dropped to #1497 and seen a 94 percent decrease in weekly installs to just 70,000 last week.

Instagram will have to be in it for the long haul if it wants to win at long-form video. Entering the market 13 years after YouTube with a vertical format no one’s quite sure what to do with, IGTV must play the tortoise. If it can avoid getting scrapped or buried, and offer the right incentives and flexibility to creators, IGTV could deliver the spontaneous video viewing experience Instagram lacks. Otherwise, IGTV risks becoming the next Google Plus — a ghost town inside an otherwise thriving product ecosystem.

A glitzy, glitchy start

Instagram gave IGTV a red carpet premiere June 20th in hopes of making it look like the new digital hotspot. The San Francisco launch event offered attendees several types of avocado toast, spa water and ‘Gram-worthy portrait backdrops reminiscent of the Color Factory or Museum of Ice Cream. Instagram hadn’t held a flashy press event since the 2013 launch of video sharing, so it pulled out all the stops. Balloon sculptures lined the entrance to a massive warehouse packed with social media stars and ad execs shouting to each other over the din of the DJ.

But things were rocky from the start. Leaks led TechCrunch to report on the IGTV name and details in the preceding weeks. Technical difficulties with Systrom’s presentation pushed back the start, but not the rollout of IGTV’s code. Tipster Jane Manchun Wong sent TechCrunch screenshots of the new app and features a half hour before it was announced, and Instagram’s own Business Blog jumped the gun by posting details of the launch. The web already knew how IGTV would let people upload vertical videos up to an hour long and browse them through categories like “Popular” and “For You” by the time Systrom took the stage.

IGTV’s launch event featured Instagram-themed donuts and elaborate portrait backdrops. Images via Vicki’s Donuts and Mai Lanpham

“What I’m most proud of is that Instagram took a stand and tried a brand new thing that is frankly hard to pull off. Full-screen vertical video that’s mobile only. That doesn’t exist anywhere else,” Systrom tells me. It was indeed ambitious. Creators were already comfortable making short-form vertical Snapchat Stories by the time Instagram launched its own version. IGTV would have to start from scratch.

Systrom sees the steep learning curve as a differentiator, though. “One of the things I like most about the new format is that it’s actually fairly difficult to just take videos that exist online and simply repost them. That’s not true in feed. That basically forces everyone to create new stuff,” Systrom tells me. “It’s not to say that there isn’t other stuff on there but in general it incentivizes people to produce new things from scratch. And that’s really what we’re looking for. Even if the volume of that stuff at the beginning is smaller than what you might see on the popular page [of Instagram Explore].”

Instagram CEO Kevin Systrom unveils IGTV at the glitzy June 20th launch event

Instagram forced creators to adopt this proprietary format. But it forget to train Stories stars how to entertain us for five or 15 minutes, not 15 seconds, or convince landscape YouTube moguls to purposefully shoot or crop their clips for the way we normally hold our phones.

IGTV’s Popular page features plenty of random viral pap, foreign language content, and poor cropping

That should have been the real purpose of the launch party — demonstrating a variety of ways to turn these format constraints or lack thereof into unique content. Vertical video frames people better than places, and the length allows sustained eye-to-lens contacts that can engender an emotional connection. But a shallow array of initial content and too much confidence that creators would figure it out on their own deprived IGTV of emergent norms that other videographers could emulate to wet their feet.

Now IGTV feels haphazard, with trashy viral videos and miscropped ports amongst its Popular section alongside a few creators trying to produce made-for-IGTV talk shows and cooking tutorials. It’s yet to have its breakout “Chewbacca Mom” or “Rubberbanded Watermelon” blockbuster like Facebook Live. Even an interview with mega celeb Kylie Jenner only had 11,000 views.

Instagram wants to put the focus on the author, not the individual works of art. “Because we don’t have full text search and you can’t just search any random thing, it’s about the creators” Systrom explains. “I think that at its base level that it’s personality driven and creator driven means that you’re going to get really unique content that you won’t find anywhere else and that’s the goal.”

Yet being unique requires extra effort that creators might not invest if they’re unsure of the payoff in either reach or revenue. Michael Sayman, formerly Facebook’s youngest employee who was hired at age 17 to build apps for teens and who now works for Google, summed it up saying: “Many times in my own career, I’ve tried to make something with a unique spin or a special twist because I felt that’s the only way I could make my product stand out from the crowd, only to realize that it was those very twists and spins that made my products feel out of place and confusing to users. Sometimes, the best product is one that doesn’t create any new twists, but rather perfects and builds on top of what has been proven to already be extremely successful.”

A fraction of feed views

The one big surprise of the launch event was where IGTV would exist. Instagram announced it’d live in a standalone IGTV app, but also as a feature in the main app accessible from an orange button atop the home screen that would occasionally call out that new content was inside. But in essence, it was ignorable. IGTV didn’t get the benefit of being splayed out atop Instagram like Stories did. Blow past that one button and avoid downloading the separate app, and users could go right on tapping and scrolling through Instagram without coming across IGTV’s longer videos.

View counts of the launch partners reflect that. We looked at six launch partner creators, comparing their last six feed and IGTV videos older than a week and less than six months old, or fewer videos if that’s all they’d posted.

Only one of the six, BabyAriel, saw an obvious growth trend in her IGTV videos. Her candid IGTV monologues are performing the best of the six compared to feed. She’s earning an average of 243,000 views per IGTV video, about a third as many as she gets on her feed videos. “I’m really happy with my view counts because IGTV is just starting” BabyAriel tells me. She thinks the format will be good for behind-the-scenes clips that complement her longer YouTube videos and shorter Stories. “When I record anything, It’s vertical. When I turn my phone horizontal I think of an hour-long movie.”

Lele Pons, a Latin American comedy and music star who’s one of the most popular Instagram celebrities, gets about 5.7X more feed views than on her IGTV cooking show that averages 1.9 million hits. Instagram posted some IGTV highlights from the first month, but the most popular of now has 4.3 million views — less than half of what Pons gets on her average feed video.

Fitness guides from Katie Austin averaged just 3,600 views on IGTV while she gets 7.5X more in the feed. Lauren Godwin’s colorful comedy fared 5.2X better in the feed. Bryce Xavier saw the biggest differential, earning 15.9X more views for his dance and culture videos. And in the most direct comparison, K-Pop dancer Susie Shu sometimes posts cuts from the same performance to the two destinations, like one that got 273,000 views in feed but just 27,000 on IGTV, with similar clips fairing an average of 7.8X better.

Again, this isn’t to say IGTV is a lame horse. It just isn’t roaring out of the gates. Systrom remains optimistic about inventing a new format. “The question is can we pull that off and the early signs are really good,” he tells me. “We’ve been pretty blown away by the reception and the usage upfront,” though he declined to share any specific statistics. Instagram promised to provide more insight into traction in the future.

YouTube star Casey Neistat is less bullish. He doesn’t think IGTV is working and that engagement has been weak. If IGTV views were surpassing those of YouTube, creators would flock to it, but so far view counts are uninspiring and not worth diverting creative attention, Neistat says. “YouTube offers the best sit-back consumption, and Stories offers active consumption. Where does IGTV fit in? I’m not sure” he tells me. “Why create all of this unique content if it gets lower views, it’s not monetizable, and the viewers aren’t there?”

Susie Shu averages 7.8X more video views in the Instagram feed than on IGTV

For now, the combination of an unfamiliar format, the absence of direction for how to use it and the relatively buried placement has likely tempered IGTV’s traction. Two months in, Instagram Stories was proving itself an existential threat to Snapchat — which it’s in fact become. IGTV doesn’t pose the same danger to YouTube yet, and it will need a strategy to support a more slow-burn trajectory.

The chicken and the IG problem

The first step to becoming a real YouTube challenger is to build up some tent-pole content that gives people a reason to open IGTV. Until there’s something that captures attention, any cross-promotion traffic Instagram sends it will be like pouring water into a bucket with a giant hole in the bottom. Yet until there’s enough viewers, it’s tough to persuade creators to shoot for IGTV since it won’t do a ton to boost their fan base.

Fortnite champion Ninja shares a photo of IGTV launch partners gathered backstage at the press event

Meanwhile, Instagram hasn’t committed to a monetization or revenue-sharing strategy for IGTV. Systrom said at the launch that “There’s no ads in IGTV today,” but noted it’s “obviously a very reasonable place [for ads] to end up.” Without enough views, though, ads won’t earn enough for a revenue split to incentivize creators. Perhaps Instagram will heavily integrate its in-app shopping features and sponsored content partnerships, but even those rely on having more traffic. Vine withered at Twitter in part from creators bailing due to its omission of native monetization options.

So how does IGTV solve the chicken-and-egg problem? It may need to swallow its pride and pay early adopters directly for content until it racks up enough views to offer sustainable revenue sharing. Instagram has never publicly copped to paying for content before, unlike its parent Facebook, which offered stipends ranging into the millions of dollars for publishers to shoot Live broadcasts and long-form Watch shows. Neither have led to a booming viewership, but perhaps that’s because Facebook has lost its edge with the teens who love video.

Instagram could do better if it paid the right creators to weather IGTV’s initial slim pickings. Settling on ad strategy creators can count on earning money from in the future might also get them to hang tight. Those deals could mimic the 55 percent split of mid-roll ad breaks Facebook gives creators on some videos. But again, the views must come first.

Alternatively, or additionally, it could double down on the launch strategy of luring creators with the potential to become the big fish in IGTV’s small-for-now pond. Backroom deals to trade being highlighted in its IGTV algorithm in exchange for high-quality content could win the hearts of these stars and their managers. Instagram would be wise to pair these incentives with vertical long-form video content creation workshops. It could bring its community, product and analytics leaders together with partnered stars to suss out what works best in the format and help them shoot it.

The cross-promo spigot

Once there’s something worth watching on IGTV, the company could open the cross-promo traffic spigot. At first, Instagram would send notifications about top content or IGTV posts from people you follow, and call them out with a little orange text banner atop its main app. Now it seems to understand it will need to be more coercive.

Last month, TechCrunch spotted Instagram showing promos for individual IGTV shows in the middle of the feed, hoping to redirect eyeballs there. And today, we found Instagram getting more aggressive by putting a bigger call out featuring a relevant IGTV clip with preview image above your Stories tray on the home screen. It may need to boost the frequency of these cross-promotions and stick them in-between Stories and Explore sections as well to give IGTV the limelight. These could expose users to creators they don’t follow already but might enjoy.

“It’s still early but I do think there’s a lot of potential when they figure out two things since the feature is so new,” says John Shahidi, who runs the Justin Bieber-backed Shots Studios, which produces and distributes content for Lele Pons, Rudy Mancuso and other Insta celebs. “1. Product. IGTV is not in your face so Instagram users aren’t changing behavior to consume. Timeline and Instagram Stories are in your face so those two are the most used features. 2. Discoverability. I want to see videos from people I don’t follow. Interesting stuff like cooking, product review, interesting content from brands but without following the accounts.” In the meantime, Shots Studios is launching a vertical-only channel on YouTube that Shahidi believes is the first of its kind.

Instagram will have to balance its strategic imperative to grow the long-form video hub and avoid spamming users until they hate the brand as a whole. Some think it’s already gone too far. “I think it’s super intrusive right now,” says Tiffany Zhong, once known as the world’s youngest venture capitalist who now runs Generation Z consulting firm Zebra Intelligence. “I personally find all the IGTV videos super boring and click out within seconds (and the only time I watch them are if I accidentally tapped on the icon when I tried to go to my DMs instead).” Desperately funneling traffic to the feature before there’s enough great content to power relevant recommendations for everyone could prematurely sour users on IGTV. 

Systrom remains optimistic he can iterate his way to success. “What I want to see over the next six to 12 months is a consistent drumbeat of new features that both consumers and creators are asking for, and to look at the retention curve and say ‘are people continuing to watch? Are people continuing to upload?,'” says Systrom. “So far we are seeing that all of those are healthy. But again trying to judge a very new kind of audacious format that’s never really been done before in the first months is going to be really hard.”

Differentiator or deterrent?

The biggest question remains whether IGTV will remain devout to the orthodoxy of vertical-only. Loosening up to accept landscape videos too might nullify a differentiator, but also pipe in a flood of content it could then algorithmically curate to bootstrap IGTV’s library. Reducing the friction by allowing people to easily port content to or from elsewhere might make it feel like less of a gamble for creators deciding where to put their production resources. Instagram itself expanded from square-only to portrait and landscape photos in the feed in 2015.

“My advice would be to make the videos horizontal. We’ve all come to understand vertical as ‘short form’ and horizontal as ‘long form,'” says Sayman. “It’s in the act of rotating your phone to landscape that you indicate to yourself and to your mobile device that you will not be context switching for the next few minutes, but rather intend to focus on one piece of content for an extended period of time.” This would at least give users more to watch, even if they ended up viewing landscape videos with their phones in portrait orientation.

This might be best as a last-ditch effort if it can’t get enough content flowing in through other means. But at least Instagram should offer a cropping tool that lets users manually select what vertical slice of a landscape video they want to show as they watch, rather than just grabbing the center or picking one area on the side for the whole clip. This could let creators repurpose landscape videos without things getting awkwardly half cut out of frame.

Former Facebook employee and social investor Josh Elman, who now works at Robinhood, told me he’s confident the company will experiment as much as necessary. “I think Facebook is relentless. They know that a ton of consumers watch video online. And most discover videos through influencers or their friends. (Or Netflix). Even though Watch and IGTV haven’t taken the world by storm yet, I bet Facebook won’t stop until they find the right mix.”

There’s a goldmine waiting if it does. Unlike on Facebook, there’s no Regram feature, you can’t post links, and outside of Explore you just see who you already follow on Instagram. That’s made it great at delivering friendly video and clips from your favorite stars, but leaves a gaping hole where serendipitous viewing could be. IGTV fills that gap. The hours people spend on Facebook watching random videos and their accompanying commercials have lifted the company to over $13 billion in revenue per quarter. Giving a younger audience a bottomless pit of full-screen video could produce the same behavior and profits on Instagram without polluting the feed, which can remain the purest manifestation of visual feed culture. But that’s only if IGTV can get enough content uploaded.

Puffed up by the success of besting its foe Snapchat, Instagram assumed it could take the long-form video world by storm. But the grand entrance at its debutante ball didn’t draw enough attention. Now it needs to take a different tack. Tone down the cross-promo for the moment. Concentrate on teaching creators how to find what works on the format and incentivizing them with cash and traffic. Develop some must-see IGTV and stoke a viral blockbuster. Prove the gravity of extended, personality-driven vertical video. Only then should it redirect traffic there from the feed, Stories, and Explore.

YouTube’s library wasn’t built overnight, and neither will IGTV’s. Facebook’s deep pockets and the success of Instagram’s other features give it the runway necessary to let IGTV take off. With 1 billion monthly users, and 400 million daily Stories users gathered in just two years, there are plenty of eyeballs waiting to be seduced. Systrom concludes, “Everything that is great starts small.” IGTV’s destiny will depend on Instagram’s patience.

Via Josh Constine https://techcrunch.com

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Conclusion

At the beginning of the semester I felt completely lost on Nuke and had zero confidence that I would be able to learn the program. I had a few goes with still images and with a lot of guidance and still a lot of the skills went straight over my head. I am very proud of my progress this semester and have gained big confidence in using the program for personal use. I felt that a lot of my struggles landed in the tracking of scenes and had attempted it on so many different types of shots such as tracking ones, panning ones some tilting ones aswell. I had messed up so often and had tracked so many films I felt that I had learnt a lot.

My original idea was to have the objects on towering scales. However I realized that was a lot of masking and a lot of difficult tracking that someone of my current skill would struggle a lot with. To make things simple for myself, I had one tracking scene which was the library scene. This scene was perfect for my first time as it was completely flat and wide and everything was a pretty simple shape to work off. Although I have 3 scenes, I feel I had made the mistake of not including Squires Annexe in the short film as I understand it was the main goal of the project; to present representation for the course. However, I feel I had demonstrated the common ideology of university lifestyle simply; learning from your course (Ellison Building), personal study time (the library) and the social experience we all get from it (the student union). 

My strengths of the module I feel are my tracking in the library scene and also my animations. I did really well in terms of making the books falling onto the roof look convincing. This animation was done with active and passive rigid bodies. This was a simple technique and didn’t require me to learn NCloth (even though learning this feature would probably have been helpful). Instead I added the animation through rigid bodies and had to bake the simulation. This way the animation was essentially made for me and had a sense of gravity to it which is what I wanted. I also felt that my colours and lighting fit a lot to the world’s lights in the scenes. Although I struggled a lot with the ellison scene because of the overcast whether and being in a limbo between no shadow and a slight darkness below the objects.

I know that I struggled a lot with inputting shadows, I felt I got lucky cause a lot of my shadows were already in there because of my load out. However, I struggled to understand how to input the shadows in as a separate file for editing. This is noticeable within my ellison scene where the green jug probably needs a darker shadow for depth. I also felt my idea for the overall film could have been a bit more thought through. However through this project I had learnt to model simple objects that could come in handy such as cups and bottles.I also know I could have improved the sounds. Although I had a quick test with audition trying to edit my sounds, I felt that the sounds could have been prolonged and editted to sound more realistic to the world in the film.

Overall I feel that I have massively improved in terms of animating objects and also feel much more confident working independently as I didn’t get too much aid from teachers and technicians. A lot of my time had been spend on problem solving and watching tutorials to help me get out of holes that I was stuck in. Because of my many mistakes, I feel I have improved and am capable of helping others when they are stuck. I have definitely learnt from past mistakes aswell and had time near the end for little bits that needed fixing, such as editing out the shadows from my hold outs and also perfecting the bounce of the ball. I now know to think deeper and more realistic in terms of my animations, this way would have made me more determined to fix shadows than getting more objects in the scene, for example. My video has definitely gotten up there with some of my better work and has given me an idea of what area of animation I would like to focus on more.