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fuckyeahgoodomens · 7 months

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Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.”

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series Hogfather (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010).

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop.

From start to finish

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.”

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.”

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).”

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities.

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures.

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.”

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.”

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.”

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.”

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots.

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.”

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.

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twinsimming · 4 months

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Utilities Mod by Twinsimming 💡💧

This mod adds optional power and water utilities for players looking for some added challenge in their gameplay.

This is a script mod that can be placed in your Packages folder. It was built and tested on 1.69 but should work fine on 1.67.

New Objects

Power Box

- Price: §0 - Category: Misc. Electronics/Misc. Appliances - Includes 3 original swatches + 1 recolorable option (3 channels) - Poly Count: 274

Water Pipes

- Price: §0 - Category: Misc. Plumbing - Includes 3 original swatches + 1 recolorable option (3 channels) - Poly Count: 1065

Utilities

The Power Box controls power and the Water Pipes control water (self explanatory :p). Both utility objects are free in buy mode in the Misc. Electronics tab and Misc. Plumbing tab, respectively.

Once placed down on your lot, you can enable one or both utilities. When the utilities are enabled, power and/or water will be cut off to certain objects on your lot until you "Turn On" the Power Box and/or Water Pipes.

While the utilities are on, your sims will be charged between §1 - §3 simoleons for every 10 minutes they use an object that requires a utility, with the charge varying based on the size of the object. The total cost will be added to your next household bill.

If you want to opt out of the utilities system, just use the “Disable Power Utility” and “Disable Water Utility” interactions available on the utility objects.

The utilities system only applies to the active household.

A full list of all of the objects affected by the Power Box and Water Pipes utilities and their usage costs can be found on the mod download page.

Utility Costs and Usage

To check how much you've spent on utilities during the current billing cycle (between when you pay your bills and the next bill payment), click on the "Check Utility Usage" interaction on either utility.

To see your full utilities breakdown, use the new "Check Utility Costs" interaction on the computer.

Also included in the full utilities breakdown is a Green Energy Rebate total.

This total calculates how much money a lot saves by using the Solar Panels and Wind Turbines from the Sims 3 Store and factors that into the total utilities cost.

The full utilities breakdown also shows up when your sim pays their bills.

Lack of Funds

If your household funds fall below the usage cost of a utility, that utility will be shut off and cannot be turned back on until your funds are sufficient.

Bill Delinquency

If you’re late on paying your bills, your utilities will get shut off. Both utilities will be shut off when your bills are two days old.

Tuning

All of the tunable values can be found on the mod download page under the header “Tuning”.

Script Namespace

If you want to turn another object into a power or water utility, open your desired object in s3pe and replace the current script name with the following:

Sims3.Gameplay.Objects.Twinsimming.Utilities.PowerBox

Sims3.Gameplay.Objects.Twinsimming.Utilities.Water Pipes

Conflicts & Known Issues

These are new scripted objects so there shouldn’t be any conflicts.

Credits

EA/Maxis for The Sims 3 and The Sims 4, Visual Studio 2019, Sims4Studio, Blender, Milkshape, TSRW, ILSpy, s3pe, Notepad++, and Gimp.

Thank You

Thank you to gamefreak130, @zoeoe-sims, @greenplumbboblover, and @echoweaver!

If you like my work, please consider tipping me on Ko-fi 💙

Download @ ModTheSims

#sims 3 #ts3 #sims 3 mods #ts3 mod #4 to 3 conversion #4t3 #download #my mods #utilities mod

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delphoxqueen · 7 months

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The Osomatsu-San Iceberg 2.0!

(Click More For Full Explanation)

*- Take Caution When Researching

Tier 1-

Osomatsu-Kun- A Comedy Manga by Fujio Akatsuka which ran from 1962 to 1969 which followed a group of sextuplet (a multiple birth of six children) brothers. It was later adapted into two anime, one by Studio Zero in 1966 and another by Studio Pierrot in 1988 as well as spin-off by Studio Pierrot in 2015 titled “Osomatsu-San” which follows the sextuplets in their 20-somethings as NEETS.

Fourth-Wall Breaks- Osomatsu-San has multiple moments where the characters will break the fourth wall, such as in the first episode where the characters try to be a “proper anime”, or worship Fujio Akatsuka like a god.

Visual Distinguishers- The Matsuno Brothers have multiple visual distinguishers so the audience can more easily tell the brothers apart. Examples include: Signature Color, Hairstyles, and Facial Expressions. The brothers were given different colors supposedly because the character designer couldn’t tell the difference between them.

Parodies + References- The anime makes dozens of parodies and references to other anime/popular media such as Attack on Titan, Saw, Demon Slayer, Naruto, and Sailor Moon. The anime’s extreme popularity in Japan also led to other anime to parody and reference Osomatsu-San including The Disastrous Life of Saiki K, Love Rice, and JoJo’s Bizarre Adventure. Osomatsu-San has too many references to other anime and there’s too many references to Osomatsu-San from other media, so I just included it as one entry.

NEET- A common acronym in Japan which stands for Not in Education, Employment, or Training, but also includes anyone who is not engaged in housework, unemployed, not seeking work, and not in any school or work-related training.

F6- The F6 are the idealized version of the Matsuno brothers that parody pretty-boy anime. The “F” in F6 stands for Fujio, as in Fujio Akatsuka, the creator of the original manga. In the first episode, their first appearance, Ichimatsu transforms into a hybrid stylization of the 2015 anime and the 1966 anime, but in the season finale they are seen alongside the Matsuno brothers, implying they are separate characters.

___Matsu Boys and Girls- The fan term for each of the six brothers, based on Karamatsu’s line calling his fans his “Karamatsu girls and boys”.

Banned 1st Episode- The 1st episode of the anime was banned in Japan due to copyright law, as Japan has no clause for parody and has a more strict interpretation of fair use. It was never confirmed which company filed a copyright infringement against Osomatsu-San, but there is a theory that the Attack on Titan parody was the main culprit. The episode has still not been released on physical media and all streaming services do not carry the first episode, instead beginning the series on the second episode.

The Osomatsu-San Movie- Released on March 15th 2019, the movie follows the brothers traveling back in time to meet their high school selves and to resolve one of the brothers’ biggest regrets.

Collab Ad Campaigns- Osomatsu-San has collaborated with dozens of other brands on merchandise/advertisement campaigns. Many of these collaborations have created special events and merchandise for Osomatsu-San. Examples include: Ministop, Sweets Paradise, Dohtonbori Okonomiyaki, and Sanrio.

Akatsuka’s 80th- Osomatsu-San was created in honor of Fujio Akatsuka’s 80th Birthday and death, having died at 72 in 2008.

Todomatsu Face Meme- In the episode “Todomatsu and the 5 Demons” Todomatsu makes a face at his brothers for talking to the Sutabaa baristas, which has become a meme that has even spread outside the Osomatsu-San fandom.

Tier 2-

Homura-Chan is a Porn Actress- Although nothing is stated outright, it is heavily implied in her first episode appearance that she is a porn actress as Osomatsu finds a porn movie and seems surprised by the cover before going on to have a conversation with Jyushimatsu which Jyushi ultimately avoids.

Karamatsu Wears Contacts- A fun fact that few in the fandom seem to remember is that Karamatsu wears contact lenses. Although he (and all the Matsuno Brothers) have brown eyes, he wears brown contacts, but the presumed reason he wears contacts is because circle contacts (mainly worn by cosplayers and Japanese teen girls) make eyes look bigger and cuter- which is why Osomatsu insults him for wearing them.

Episode 3.5- Also titled “Episode 3.5: Virgin Heroes”, an episode was created to be put on home media releases to replace the 1st episode due to the ban. It is chronologically after Episode 3 but before Episode 4 and has two segments. The first segment features the F6 in a parody commercial, with the second focusing on Choromatsu seeing a group of college kids having a barbecue and being visited by the Cherry Boys (the other five Matsuno brothers in Power-Ranger parody outfits)

BLMatsu- A fandom term for incest ships involving the Matsuno brothers romantically or sexually. BL stands for Boys Love, which is a popular anime and manga term for gay male pairings typically aimed at women. Common ships include OsoChoro and KaraIchi.

Broken Heart Tongue- A small detail in the series is that whenever Jyushimatsu is depicted smiling, his tongue is in the shape of a heart, but in the episode “Jyushimatsu’s Girlfriend” when Jyushimatsu is crying at Chibita’s Oden stand, his tongue is a broken heart.

Matsus Unknown Age- The brothers’ age has never been specified in the Osomatsu-San anime. They are said to “not be older than 24 or 25” and that their parents have been married 24 years and they were born soon after, so they have been assumed to be around 24 but it has never been confirmed.

Girlymatsus not Related- A common misconception in the fandom is that the Girlymatsus are sisters, or the earlier fan theory in Season 1 that they are the Matsuno brothers in drag- but the Girlymatsus were later confirmed just to be friends.

An Anecdote With Horses- An exclusive episode made in collaboration with the Japan Racing Association (JRA) which aired on December 16th, 2016 which featured skits of the Matsuno brothers racing horses.

English Dub Production Issues- After Viz Media acquired the rights to Osomatsu-San, it came out in September 2020 that the English Dub of Osomatsu-San was delayed to be reworked as well as having to replace Christopher Niosi (Choromatsu’s original VA) with Sean Chiplock, due to abuse allegations which Christopher later confessed to.

4th ED is the only ED without stop-motion- While the majority of the Osomatsu-San ending themes feature stop-motion using a variety of items such as toys, clothing, and food; the 4th ending (the second ending of the second season) uses slow-motion footage of paint being dumped onto busts of the Matsuno brothers.

Pine Tree- The kanji for “Matsu” translates to Pine Tree, which is why the pine tree symbol is so frequent in the show’s iconography, such as in the title and on the brothers’ sweaters.

The Hipipo Tribe and The Glistening Fruit- The first of two movies released to celebrate the sixth anniversary of the anime, which features the brothers journeying to find a fruit which grants wishes before encountering the Hipipo Tribe.

Hatabou’s Meat- In the episode “Tell Us, Hatabou”, Hatabou sells meat out of a variety of vendors, but when the brothers ask what kind of meat it is he refuses to answer. Earlier in the episode his employees try to boot him from the company, which leads to his new business venture, implying that the meat is of his former employees though it is never stated outright within the show.

The Soul’s Takoyaki Party and The Legendary Sleepover Party- The second of the two movies released to celebrate the sixth anniversary of the anime, which features the brothers hosting a takoyaki (grilled dough balls with octopus inside with a variety of toppings) party which turns into a sleepover.

Hair Color Change- In the original series Osomatsu-Kun, both the 60s and 80s, the brothers had brown hair but in Osomatsu-San they are depicted with black hair.

Tier 3-

May 24th- The Birthday of the Matsuno Brothers.

Fandubs- Due to the long development time and many delays of the official English Dub, there are multiple fandom dubs of the anime.

Fan Vocaloids- The Osomatsu-San fandom has many popular fan vocaloid covers, some of the most well-known including Matryoshka, Normie Eradication Committee, Rolling Girl, and LOVE 1000%.

Hesokuri Wars/Tabimatsu- Also known as “Osomatsu-San Hesokuri Wars -Battle of the NEETS-“ is tower-defense style strategy mobile game that was released in Japan in 2016 and later being released in English in 2017, before being shut down on October 2nd of 2022 to make way for Tabimatsu. Players would choose a team of 10 characters to fight through stages, with dozens of exclusive events and character variations being released. Many popular AUs in the fandom were inspired by sets released for Hesokuri Wars.

Each Brother’s Name Meaning- Osomatsu translates to lame, or Osoi which means slow- referring to him being the most “basic” of the brothers and lazy. Kara can mean emptiness, referring to his narcissism and chasing his brothers’ approval. Choroi translates to simple, referring to his more average personality. Ichimatsumuyo means checkered pattern (along the lines of a Go board). Jyushimatsu translates to society finch, which are known to be kind like Jyushi. Todomatsu meaning Manchurian fir or “finally”, as “finally” was his catchphrase in the original 60s anime.

Jyushimatsu’s Catchphrase Change- In the first season Jyushimatsu’s main catchphrase was “Muscle Muscle, Hustle Hustle” but in season two and onwards, it was changed more to “Booeh.” There wasn’t any explanation given by the show staff as to why it was changed.

Letter’s Contents- The entire letter Choromatsu had written in “Letter” was never revealed, with only one or two lines spoken by Choromatsu at the beginning of the skit describing what he’d written before later modifying it, leading fans to speculate exactly what was written.

Brothers are pure evil- At the end of the episode “Godmatsu”, in order to defeat Godmatsu the brothers combine their darkness to create Akamatsu. Once Godmatsu is defeated, they absorb only Akamatsu back into themselves, therefore only being made of their evil self. This possibly explains their more violent nature after this point in the series.

AOP Breakup- AOP is an idol group that formed in 2012 under the agency Nikkei Entertainment. The group created multiple songs for the anime, including the theme songs “Zenryoku Batankyu wa Yoiko Dake”, “Hanamaru Pippi wa Yoiko Dake”, “Maboroshi Wink”, and “nice to NEET You!” On December 14th, 2020 the band stated they would be ceasing activities before disbanding in 2021.

Sakurai Drama- Takahiro Sakurai is the original VA for Osomatsu who admitted in 2022 to having cheated on his wife for 10 years, planning to eventually marry his affair partner. Due to this scandal, Osomatsu-San content has been delayed for the past two years.

Religionmatsu- A popular AU which depicts the Matsu brothers as gods, devils, angels, and clergymen. One of the few AUs which was created by the fandom and not inspired by a Hesokuri Wars set.

Sickfics- A fanfiction genre in which one character cares for another who is sick. These fanfics are particularly popular in the Osomatsu-San fandom because of the episode “We Caught a Cold” in which all of the brothers catch a cold and each have a moment to care for the others.

Matsuno Family Dependents- A “wallpaper simulator” type mobile game where the player collects variants of the Matsu brothers and raises them.

Dekapanman- A Parody of Anpanman in which Dekapan dresses up as a hero that gives items from pants to children which was significantly censored due to the controversy and copyright infringement caused by the parody.

Shueisha Manga- Beginning in 2016, a manga series was released alongside the anime. Published by Shueisha in the magazine You from 2016 to 2018 then Cookie from 2018 to 2020 with 10 volumes of stories not featured in the anime.

Only Child Theory- Theory that states that Osomatsu is an Only child with a personality disorder that causes him to develop different personalities that are “his brothers”. As the first known sextuplets to have been born and all survive were born in 1974, many years after the original 60s anime aired. The skit “Sanematsu” is often used as proof for this theory.

Tier 4-

Stage Shows- “Osomatsu-San on Stage: SIX MEN’S SHOW TIME” is a musical adaptation of the original anime, with three seasons matching the anime and having been released on home media.

Episode 10 Controversy- There are some reports of Episode 10 causing controversy upon release for having characters transition to women for personal gain. (Though I will admit, in my research I could not find any comments/posts accusing the show of being transphobic. The only slight criticism I could find was of the ending being too harsh towards Chibita and Iyami’s actions and the episode’s pacing being too slow. I am not claiming that the controversy does or does not exist, or that the episode is or isn’t offensive, I just could not find any evidence in my research of people taking offense to it.)

More Than 6 Brothers- Theory that there are more than 6 brothers as in some scenes in the anime and some promotional material it appears that there’s more than 6 brothers. Though there are episodes in the anime in which another brother is accepted into the group or created such as Godmatsu or Akamatsu.

Where is Orange Matsu?- The brothers all fit the primary (Red- Osomatsu, Yellow- Jyushimatsu, Blue- Karamatsu) and secondary (Green- Choromatsu, Purple- Ichimatsu) colors with the exception of orange as Todomatsu’s main color is pink. This has led some to theorize that there is a secret orange brother. The show creators stated that they made Todomatsu’s color pink to make his style more feminine and youthful, as well as to show that he’s intentionally trying to not fit in with his brothers by not following the same pattern.

Pazzmatsu- AKA Puzzlematsu is a match-3-tiles puzzle mobile game released in Japan in 2016 which continued until April 2018 when it was rebooted as “New Pazzmatsu”.

Doramatsu- A series of audio drama CDs that include unique stories that did not appear in the anime.

Matsus Stay Dead After S2- In the finale of Season 2, the brothers die from a plane crash and are sent to hell for their numerous misdeeds. This theory posits that the brothers stayed dead after the end of season two and that season three is their personal hell. This is a joke theory to explain season three’s shift in focus.

Osomatsu-San the Live-Action Movie- A Live-Action movie with a unique story based on Osomatsu-San with members of the J-Pop group Snow Man playing the Matsu brothers.

Brothers can’t be told apart in 1st promo- In the first promotional image released for the anime, the brothers’ personalities and visual distinguishers hadn’t been ironed out yet so long-time fans of the series noticed that it’s near impossible to distinguish which brother is which in the image. The only brother that is able to be identified is the center brother holding Karamatsu’s signature glasses.

Osomatsu-Kun Grows Up- Technically Osomatsu-San is an alternate universe to the original Osomatsu-Kun series canon, as in 1993 a beer ad was published showing what the Matsu brothers became when they reached adulthood. Osomatsu becomes a salaryman, Karamatsu marries a grocer’s daughter and helps with the family business, Choromatsu becomes a policeman, Ichimatsu marries and becomes a CEO, Jyushimatsu becomes a doctor, and Todomatsu works in a fish market.

Light Novels- Osomatsu-San has spawned a handful of Light Novels and short stories with plots not included in the anime. Examples include: Osomatsu-San the Beforematsu and Aftermatsu, VS Kochikame, and Shut Up Osomatsu.

April Fools- To celebrate April Fools, Osomatsu-San has released multiple fake announcements and fake Tabimatsu sets. This includes the 2015 announcement that the series would be releasing a new Osomatsu-Kun project, the 2017 announcement that a live-action adaptation starring the Byplayers would replace the anime, and the 2019 Tabimatsu set with a Irasutoya art style.

Yamano to Matsuno- The last name of the family was originally Yamano but was changed to Matsuno last minute as Yamano was considered a more “generic” last name.

Tier 5-

Date or Work- Also known as “Osomatsu-San the Game” is an adventure game released in Japan in 2017 for the PSVita. The story has you play as a heroine who gets calls and texts from the brothers asking for advice on their quest to get a job.

Karamatsu is Bisexual- In the first Osomatsu-San movie Karamatsu says “Sorry to keep you waiting, Karamatsu girls and boys!” Also in a drama CD Karamatsu reads off a love poem that he wrote to a male convenience store worker named Kumada Youji. It’s still debated whether the drama CD is canon to the anime and if the line in the movie was just referring to his fans in a non-romantic or sexual sense.

Recycled Scripts- Some of the episodes such as “Iyami, Alone in the Wind”, “ESP Kitty”, and ”The Life of Chibita’s Flower” were based off of chapters of Osomatsu-Kun modified to fit the series. Some skits from Season 3 were also based off of Doramatsu tracks.

Do Matsu’s Smoke?- A topic of debate in the Western fandom, Karamatsu is shown to smoke in multiple episodes and Osomatsu has been shown to be surrounded by cigarette boxes previously but it hasn’t been stated whether the other four brothers smoke.

Brothers had freckles- In the original Akatsuka designs for the brothers, they were designed to have freckles on their cheeks as well as other different facial features. These were changed to make the faces look more cute and easier to draw.

Ichi’s Personality given to Todomatsu- Ichimatsu’s Personality was going to be more snarky and rude than his current more doom and gloom. His characterization was instead given to Todomatsu by Miyu Irino’s suggestion, thinking that the youngest brother being catty would be funnier.

Life-Sized Statues- For the 2016 Summer Wonder Festival, the company Figurex 3D printed life-size statues of the six brothers, with smaller versions of the figures being sold at the event as well. While some have reappeared at Osomatsu-San events, such as the Ichimatsu figure, some have not been seen since their original showcase; this has led fans to search for the statues current locations. There is a link to buy one of the statues from one of the Japanese websites that first reported the event, but the link is now dead and leads to an error page.

Osomatsu-Kun Video Game- AKA “Osomatsu-Kun: Nonsense Theater” is a platforming video game released for the Sega Mega Drive in 1988 based on the original Osomatsu-Kun manga to promote the upcoming anime. The game only had a total of three levels with confusing level design and bad controls that caused it to gain an infamous reputation. It has recently gained a cult following as a kusoge (a Japanese video game that is celebrated for its awful quality.)

Cheaper by the Dozen- The manga was originally loosely based on the TV Show “Cheaper By the Dozen” (an American film from 1950 about a couple and their 12 children) with there being 12 children, but Akatsuka found it too hard to fit 12 characters in a single panel so he decided to cut the amount in half. Eventually changing it to be identical sextuplet brothers.

Denki Mystery- A popular AU that started as a Hesokuri Wars set. As opposed to other Hesokuri Wars sets, Denki Mystery had an entire storyline based on mystery novels, David Lynch films, and Japanese horror.

Iyami + Dekapan Made By Akatsuka’s Assistant- Both the characters Iyami and Dekapan were created by Fujio Akatsuka’s Assistant and later added to the manga.

Rice balls are Govt plants/Destroy NEETS Theory- Theory that the Riceballs were created by the government to reform NEETs to be functioning members of society.

Tier 6-

Six Same Faces #3 Song in Japan- On the week of December 28th, 2015 the song SIX SAME FACES ～今夜は最高!!!!!!~ (the first ending song of the first season) reached #3 on the Billboard Hot 100 in Japan, following the album’s release on December 16th, 2015.

Clone Theory- Theory that states that the brothers were cloned from Osomatsu. (I will admit I cannot find my previous evidence of this theory, if anyone does have proof of someone creating this theory or evidence for the theory please let me know.)

Sheeh Was a Real Trend- Iyami’s catchphrase/punchline used to be a cultural meme when Osomatsu-Kun was big in Japan. Famous figures to imitate Iyami include Godzilla and John Lenon from The Beatles.

VR Game- A virtual reality game collab that ran in Anime Plaza Machida and Adore’s Sunshine Store from 2017 to 2018 in which the player would hang out with the Matsu brothers in the bathhouse. It was later released theatrically as “Movies in VR!” in 2018 with “Evangelion: Another Impact”.

Fesmatsu- To celebrate each season’s release, a festival was thrown which would feature live action skits performed by the voice cast.

Todo is the hardest to animate- According to some of the animators who worked on the first season of the anime, Todomatsu was the hardest to animate of the six brothers because of his more feminine and youthful mannerisms.

Pachinko Games- Pachinko (an arcade gambling game) Games made in collaboration with Osomatsu-San, typically reusing animation from the anime though some have original animation exclusive to particular pachinko games. Examples include: Pachislot: Osomatsu-San, Pachislot: Osomatsu-San ~The Surprise~, & CR Osomatsu-San THE Drum.

Korean Dub Censorship- Due to South Korea’s strict censorship laws, Osomatsu-San was heavily censored by completely removing shots or scenes that featured characters being nude or wearing swimsuits. Some of the ridiculous censoring goes to the point where if a character is wearing a bikini, the entire screen will be cropped to only show their chin and up. Any scenes including nudity, swearing, violence, and sexual references were cut from airing or censored to hell and back (which to be fair is 99% of Osomatsu-San.)

Browser Games- Games that were available through Yahoo, some which were ported to AU SmartPass in the Osomatsu-San NEET Collection. Some examples include: Quiz Battle, Pleasing Totoko-Chan, & Osomatsu-SAN’s Black Factory.

Love Letter Board Game- A board game which players play as the brothers trying to woo Totoko-Chan.

*Matsuno Official Sex Toys- In collaboration with Kanojo Toys, a Japanese adult toy manufacturer, two dildos replicating Ichimatsu’s and Jyushimatsu’s canon lengths were released. The items were meant to be gag gifts but sold better than expected. The official website mocking Jyushimatsu’s girth and Ichimatsu’s length. “Hand massagers” of the other four brothers were also released. I hope y’all like this iceberg because now I’m being aggressively marketed at Japanese sex toys for researching everything on here.

S3E10 Aired on Crunchyroll before Japan- The tenth episode of the third season of the anime was delayed from airing as the channel was broadcasting the TV Tokyo Live 2020 U.S. Women’s Open which had previously been delayed due to rain. Though due to an error, the episode was released on time on streaming platforms early.

Tier 7-

Dmatsu-San- An internet series animated with Flash that aired on NTT DoComo to tie in with season 2 of the anime. The series includes 12 episodes, each at a minute’s length. Each episode features one of the sextuplets interacting with either Totoko or Iyami.

# of Dayons- In the episode “Let’s Get a Job” the brothers work in a factory that is revealed to be creating Dayons or clones of Dayon- as well as in the episode “Dayon Tribe” it’s shown that there’s an entire society living within Dayon’s stomach. This has led fans to question how many Dayons there are in the world of the anime, or if every appearance of Dayon is a different Dayon.

Sheeh-Wave- An internet radio series with the VA for Iyami interviewing other voice actors in character as Iyami. Having two seasons with the first airing from 2015 to 2016 and the second airing from 2017 to 2018 broadcast on Animate.TV.

*PASH Reveals Matsunos fetishes- In a magazine interview with the VAs for the Matsu brothers, each of their VAs had to guess their character’s fetish. Osomatsu- Boobs, Karamatsu- “As long as there’s love”, Choromatsu- “I won’t say” or humiliation as said in a Drama CD, Ichimatsu- Paw pads, Jyushimatsu- “Eh?”, Todomatsu- legs and bellybutton wrinkles.

2 Withheld Skits- 2 skits that were removed after the Dekapanman apology. Presumably parodies of other Japanese children’s media, but no information about what they were have been released.

The Red String of Fate Lost Fan Song- A fan vocaloid that was released on YouTube and Niconico Douga that featured a thumbnail with the sextuplets laying in a circle with a red string connecting them together. The red string wraps around Osomatsu’s finger and forms a heart in Todomatsu’s hands. The song had the brothers sing about their connection together before bursting into tears at the song’s climax. The video has been taken down since 2020 and is now lost media.

*Fetishmatsu- The part of the Osomatsu-San community that creates fetish media featuring Osomatsu-San characters. Please take caution when researching further, because I’m not messing up my search history any further.

*Live-Action Matsu Porn- Osomatsu-San being such a popular series, multiple live-action porn videos featuring the Osomatsu-San characters (mainly featuring Karamatsu & Ichimatsu). Examples include: Karamatsu Maturbates for You, IchiKara Hajimeyo!, and Ichimatsu Spanks It.

*Amputee Karamatsu- An infamous piece of fetishmatsu art that depicts Karamatsu with his legs cut off.

Osomatsu-Sanpo- A Pokemon-GO style game where players would find and catch different variations of the sextuplets through AR on their mobile device. It only ran from February to September 2017.

Swimsuit Hesokuri Set- An unreleased Hesokuri set which has the Matsu brothers wearing pretty plain-looking one-piece bathing suits. Possibly used for testing out game mechanics in updates.

What Does Sheeh Mean?- Iyami’s catchphrase which he will scream out when surprised. When asked what the phrase meant, Fujio Akatsuka never answered, leaving the phrase a mystery to this day.

*IchiKara Endurance Battle- An infamous doujinshi piss fic with Ichimatsu and Karamatsu having an “endurance battle.” Please take caution when researching further.

*Periodmatsu- An image of a Matsu brother drawn in period blood on someone’s thigh posted by the account “Periodmatsu”. It is debated whether the image was faked or real. Often confused for Period Drama Osomatsu-San, an episode from the second season of the anime.

*Banana Milky Way (Meiboku)- An infamous beastiality doujinshi with Ichimatsu and the tiger from S1E10.

*Assault Machine Gun- An infamous 2016 doujinshi by Tellmin in which the Matsu brothers are sexually assaulted and r*ped for not being able to pay their debts to Chibita.

Rejected Bathhouse Quiz Short- A rejected skit from “Christmas Osomatsu-San”. Airing only at the 2017 Spring Nationwide Invitational Screening Festival alongside clips of each Matsu brother depending on which room you entered. Now considered to be lost media.

*Todokaras- An infamous member of the fandom that scammed their fans/followers, groomed minors, promoted beastiality, abused animals, and claimed victimhood. This is just *some* of their behavior. Please take caution when researching further.

Thank you all for all of your support and patience, if you have any questions I will try to answer to the best of my ability!

#osomatsu san #mr osomatsu #ososan #osomatsu matsuno #choromatsu matsuno #jyushimatsu matsuno #mr. osomatsu #karamatsu matsuno #todomatsu matsuno #Osomatsu San iceberg #osomatsu #karamatsu #Choromatsu #ichimatsu matsuno #ichimatsu #jyushimatsu #todomatsu

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felassan · 2 months

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Game Informer:

"BioWare On Returning To The Dragon Age Series, 10 Years After Inquisition by Wesley LeBlanc on Jul 17, 2024 at 02:00 PM With 10 years between 2014's Dragon Age: Inquisition, the most recent release in the series, and the upcoming Dragon Age: The Veilguard, the latter has much riding on it. It's both a follow-up to a beloved game from a decade ago in one of BioWare’s most beloved series, and it's the first BioWare game since the launch of 2019's Anthem, a live-service multiplayer effort EA sunset less than two years later. Curious about the pressure surrounding the release of Veilguard, I spoke to BioWare about lessons learned from following up on Inquisition and what it's been like returning to this series so many years later."

"We start out in pre-production," BioWare general manager Gary McKay tells me when I ask about BioWare's guiding principle for developing Veilguard. "We spent a lot of time iterating, experimenting, and innovating on different things. At one point, it was multiplayer – we did a hard look at multiplayer, but we felt we really couldn't return to our roots. And when we asked ourselves, 'What is the game that we want to develop,' we really wanted to get back to our roots, which is amazing storytelling. It's about those unforgettable characters. And it's about having the opportunity to influence the world. "And we really felt multiplayer wouldn't do that. But single-player RPG is really where we wanted to spend our time, so after spending that time in pre-production, really honing in on what the vision of this game is, and [being] afforded the opportunity to deliver on the creative promise of this game, [now] we're really excited about what's coming out." McKay says Veilguard blends seasoned veterans with new voices and perspectives, and "that's really important for this game." For example, people like former Dragon Age producer Mark Darrah, who left the studio in 2021 but is now consulting for Veilguard, and creative director John Epler together have decades of experience at BioWare. They work with people like game director Corinne Busche, who joined BioWare shortly after the launch of Anthem (but brings in a love of Dragon Age from the series' 2009 start), every day to develop the game we'll be playing this fall."

""[You] want to have different perspectives, different backgrounds," McKay says. "If you bring a bunch of people together that have only known one thing, that's not where you see creativity. That's not where innovation comes from. Innovation comes when you have [...] that past history and blend it with some new voices and perspectives.""

"Darrah has been attached to BioWare in some capacity since its early Baldur's Gate days, and when I ask him about the studio's progression from that series to the next Dragon Age, he says it's been amazing. "The thing that is so amazing about Veilguard is this is the game where we finally said out loud that BioWare's greatest strength is telling stories through characters. If you go all the way back to Baldur's Gate 1, Baldur's Gate 2, these games are telling stories through characters, but there wasn't an intentionality behind that. And in this game, we're finally putting that intentionality first and foremost, putting the characters first, building the game around that, around those character moments, which is really the best way that BioWare knows how to tell stories." I ask Darrah if there's anything Veilguard is doing that BioWare wanted to do on previous games but couldn't, and he says, "Storytelling through animation." In previous games, each character moves in "exactly the same way," and everyone is homogenous in that way, he says. "If you put on a suit of armor, and you put it on Alistair, you looked exactly the same standing right beside each other. "Now, we're able to keep the character coming through in the visuals and the motion, even as you're customizing them, which just wasn't possible in the past." He also mentions BioWare's confidence in its game development engine for Veilguard, which, like Inquisition, uses EA's proprietary Frostbite. "Dragon Age: Origins and Dragon Age II were doing what they could with the technology they had; Dragon Age: Inquisition did a good job of using Frostbite respective of the engine," Darrah says. "But with this game, there's a better understanding of the engines over a lot more time, but also, the technology of the hardware that the game is going to be played on moving forward [is] able to do a lot more stuff [and] execute it visually to a degree that just wasn't possible in the past." On Inquisition [link to embedded video of old GI coverage on DA:I in the DA:I days - I think it was a shortened version of this one]"

"With 10 years between Inquisition and Veilguard, BioWare has to balance satisfying longtime fans of the series with newcomers jumping in for the first time. Epler says the studio worked hard to ensure Veilguard is respectful and referential to previous games without feeling like you need to have played Inquisition, Dragon Age II, or Origins to fully understand what's going on. "So while there are references, there are moments that we have callbacks, it really is its own story, its own continuation with a different cast, with different characters," he says. "Historically, Dragon Age has always had a different cast per game, so that gives us a lot of freedom in terms of what we want to lean on in the past and what we want to really bring in that’s new and forward-facing." Darrah adds that Veilgaurd's events play out with a storytelling goal for the future of the series. "This is a game which takes the ball that Inquisition had, puts its own spin on it, has its own characters, takes its own direction, but continues the path forward into the future," he says. "Dragon Age has always been about change. Every game has had a new protagonist, and it's been exploring its own space all the time, and this game is no different. [Veilguard] does a good job of bridging that gap. The really super fans of Dragon Age have actually made a lot of really educated guesses, and some of them are pretty right about where the franchise is going. The thing we need to make sure is that people who may have only played Inquisition are understanding what the franchise is really about – it's about a new protagonist, it's about change, it's about evolution – and don't come in expecting a direct sequel to a game they played and then are disappointed. This game is something new, something that evolves, something that is greater than what came before, the same as each game [...] before it."

"For Busche, balancing newcomers and fan expectations in Veilguard is about managing assumptions. She says Veilguard takes place in a part of Thedas BioWare has only hinted at. The team has hinted at the Grey Warden fortress of Weisshaupt, the depths of Arlathan Forest, the Rivain Coast, the Grand Necropolis of Nevarra, and Minrathous, but now players will finally go to these stories' locations. "We have a rich history of world-building within the IP, so existing players will be familiar with these places and very excited to go to them and explore their mysteries," Busche tells me. "But for our new players, we're not assuming you know anything about these locations. I would say that also extends to the characters; we've taken great care in how we introduce each and every single companion and major story figure within the game [with that in mind]."" "Epler tells me that Veilguard differs from Inquisition and other Dragon Age games in the way that Rook, the player character, can't save the world without the characters they meet on their journey. "Dragon Age has always been about characters but to some degree, it's almost felt like we've lucked into that," he says. "Inquisition is a story that ultimately, you, the main character [...] have the biggest part to play. We wanted to tell a story this time where you literally cannot save the world without these characters. Beyond that, though, we also wanted to give them their own arcs that can run parallel to the main story and really give them that kind of deep storytelling our fans really enjoy." Though he's biased for obvious reasons, Epler says Veilguard is his favorite Dragon Age game he's worked on (and he's worked on all of them, starting as a quality assurance tester on Origins). He says one reason for this is the storytelling in the characters, companions, and relationships."

"They have their friendships, they have their rivalries, and lean into that concept," he tells me. "You're not just pulling together a bunch of people who will do whatever you say. You're assembling a family, and that becomes the core of what the Veilguard is all about. It's about taking this group, this found family, and saving the world, side by side with them." For more about the game, including exclusive details, interviews, video features, and more, click the Dragon Age: The Veilguard hub button below."

[source]

#dragon age: the veilguard #dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #feels #long post #longpost #video games #alistair theirin #fav warden #anthem

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dreamings-free · 9 months

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‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

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“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

#louis #fitf tour #fitfwt #lt crew #tpi magazine #05.01.24 #article #touring #thank youu omglarryrabbit ;)#love getting to peek behind the scenes this is great

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tossawary · 7 months

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Live action svsss? Lmao

Oh, that is genuinely funny to me as an idea. Full-on blue-screened me for a second.

See, I'm not AGAINST the concept of live-action feature film adaptations or live-action television adaptations of other forms of media, especially not books. I personally adore the translation work and studying the translation work involved when transforming a story from one medium to another. Basically as soon as we had film, people started filming plays and adapting novels! There have been many, many TERRIBLE screen adaptations of other media, but there have also been many wonderful screen adaptations, which have sometimes been closely faithful and sometimes only used the original story as an inspirational springboard. (I personally see both Ghibli's "Howl's Moving Castle" and DreamWorks' "How to Train Your Dragon" as more of examples of the latter.)

MXTX's works have gotten live-action adaptations before. "The Untamed" is generally held to be a pretty good and relatively faithful adaptation of MDZS. And TGCF is also getting a live-action drama under the name "Eternal Faith". If it was announced that SVSSS was getting a similar drama, I would be a little baffled but fine with it, and also genuinely interested to see how they intended on expanding SVSSS into 50 episodes or something (definitely possible), and also how they intended to cover certain parts of the story without making it explicitly gay. I wouldn't even care if it was bad; I still have the original books to enjoy. Show me your live-action drama Moshang. I'm ready for some awful wigs.

(The main nightmare scenario is getting a bad or good but unfaithful adaptation that you hate but gets super popular, overrunning your book fandom with alternate characterization and pairings and worldbuilding that you can't stand. I'm sure there are book MDZS fans who absolutely loathe "The Untamed".)

The main issue with a USAmerican studio making a "Naruto" movie in my eyes (I don't even care about "Naruto" that much, I never finished it) is that 1) Hollywood is always extremely weird about anime and also Japan in general, so there's a high chance that the people at the top try to make story-breaking changes, and also try to cast white people. They do not have a good record. If this was a Japanese studio making this film, I would not blink at it. 2) "Naruto" is a very long story that doesn't lend itself easily to a stand-alone film. Either they only tackle a fraction of the story or squish way too much together. And either way, on the off-chance that the film is successful, we will be cursed to have sequels until they become unprofitable. I personally liked the live-action "One Piece" show fine, but it was a 7-hour show, not a 2-3-hour film.

I'm not even against the concept of modern remakes, personally, or even completely against the concept of live-action versions of animated films. I would give the Disney remakes something of a pass if they did interesting new stuff that took advantage of their medium or actually indicated they cared about creative quality, instead of rehashing the cartoons almost exactly but worse. The saddest part about things like "The Lion King" (2019) is that even if you kept the story exactly the same, beat for beat, shot for shot, it could have potentially been a vibrant celebration of the advancements in realistic VFX and the skill of the animators and artists involved (and there are some INCREDIBLY talented people being unfairly crunched and underpaid in these industries), but they instead chose to make everything about it visually as dull as dishwater. And I personally expect that the "How to Train Your Dragon" remake, instead of incorporating anything new or interesting, or really showing off some spectacular, well-crafted visuals, will be the same.

Anyway, this ask gave me the idea of a USAmerican studio making a live-action SVSSS film, which is what blue-screened my brain. I cannot fathom how any USAmerican studio would agree to that (it's foreign, it's gay, it's historical fantasy, it's fucking weird, it's everything that scares boring execs who crave maximum profits) and I'm sure they would fuck it up magnificently, such that I almost kind of want them to do it.

#foreverliminal #ask tossawary #long post #tossawary svsss #tossawary naruto #tossawary httyd #tossawary fandom #tossawary watching

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yurimother · 2 years

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Lesbian Visual Novel 'Please Be Happy' Releases on PC

On November 21, Sekai Project and Studio Élan released their newest Yuri visual novel, Please Be Happy for PC/Mac on Steam and itch.io. Linux releases for the game are planned to release shortly, with a home console release coming in the first half of 2023.

The developer describes the game:

Born as a fox in the forest of Korea, Miho carries with her the memory of a traveler who showed her kindness and spoke of home. Now more human than fox, Miho has spent a long, long time searching for her person. She arrives by airship to Wellington, one of the jewels of the floating island of New Zealand. Despite her years spent observing humans, she still has a lot to learn about their culture and society. She's made a living so far as a thief, her heightened senses allowing her to easily take advantage of people. She's also seen a lot of the worst of what mankind has to offer. It's only after meeting Juliet, the owner of a small library, and Aspen, an aspiring novelist, that Miho starts to understand what kindness is, and that there's more than just the bad stuff when it comes to people.

Please Be Happy features two different romantic routes, each with two happy endings. The game is fully voice-acted in English and contains over 220,000 words.

It is the first full game developed by Studio Élan since 2019's acclaimed visual novel Heart of the Woods. Adirosa, who designed the user interface for Heart of the Woods, co-writes and directs Please Be Happy and serves as an assistant character artist alongside lead artist Kobuta. Additional staff includes:

Josh Kaplan - Writer

Theo Minute - Programmer and Assistant Artist

Lunaterra - Editor

Suriko - Editor

Arimia - Social Media and PR Manager

The game features English voice acting directed by Wyatt "Syon Santeria" Abernathie. The game stars Dottovu as Miho, Anna Chloe Moorey as Aspen, and Shara Kirby as Juliet. Additional voice actors include:

Elissa Park

June Yoon

Felicia Valenti

Jill Harris

Molly Zhang

Natalie Van Sistine, who also served as Please Be Happy's audio engineer

Wyatt Abernathie

Studio Élan is a visual novel development group focusing on lesbian-themed games, with members from all around the world. Élan was created with a specific vision of telling yuri love stories combined with magic and fantasy. Other titles include Heart of the Woods (2019), Highway Blossoms (2016), and upcoming games Lock and Key and Summer at the Edge of the Universe.

Check out Please Be Happy today on Steam and itch.io.

#yuri #video games #gaming #lgbt #lgbtq #lgbtq+#queer #gay #lesbian #lesbians #girls love #vn #please be happy #highway blossoms #heart of the woods #girl slove #yuri game #gl

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accio-victuuri · 10 months

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one photo, multiple cpns. 📸

thank you wyb for sharing that photo with us. taken in xiamen, the evening > early morning of GRA nominee gala. it was a memorable and tiring day for him and it makes me somft thinking that in between the chaos, he was still able to take a moment and shoot photos. that he had some peace & quiet in that very busy few days.

the moon is a common cpf symbolism and this is an example of why, with all the photos wyb probably has on his phone — he decided to share this. it’s not even current per se. he is someone who would preferably post something related to his hobbies like what he did with the “helmet selfie” or him climbing a volcano in inner mongolia. so this may not be as uncommon, but definitely different from his usual or expected post. and the fact that how the moon looks in the photo is so similar to what zz posted back in 11/19. him sharing this close to that photo, i can’t help but think that he is deliberately matching that. like what they did back in the moon festival.

they are so sweet, these are probably leftovers, from all the photos they sent to each other. also how it seems like a reminder to them that no matter how far apart they are, they are still under the same moon. the white and red also gets me! i know lwj is blue but he is also white and wwx is red. perfect match! 🤍

we seem to be at the bottom of the pond, from one moon to another… 🌙

• CPFs are now talking about the whole 2019 throwback to this place and how it recreates the ideal life painting. ( I already explained that connection here. ) YBO sharing this additional photo of Bobo by the beach just adds to that visual.

i can’t help but notice too that at the time xz painted in 2019, “wyb” was wearing something casual and was clearly a young man. in wyb’s recreation, he is all grown up and in a suit. years passed and things may have changed, but being together is still their “ideal life”

it sort of echoes what ZZ did last 11/19. Referencing 2018 ( japan cpn, a fandom fave ) so WYB is here showing off and seemingly saying that this is him giving a nod to 2019 ( ideal life painting which is also a fandom fave ).

• The kadian for posting time 18:27 which means Yibo Love Wife. The wife being ZZ in this case, I know most of us don’t approve of the whole wife thing but it is what it is.

or you can go full galaxy brain CPN, 1827 days. from 11/19 2018 to 11/20 23. That’s 5 years. We have been clowning about the 5th year anniversary so….

• Both of their studio can’t do anything but repost and boast about their laobans! 😂😂😂

• WYB’s message and reminder of the temperature dropping is more for XZ than us. OR it could be that they are together and WYB decided to send this out + remind people to keep warm. 🤍

Some are also pointing out that he is going to Macau soon for the IQIYI event this saturday, it’s not cold there like in Beijing. So it’s a message to someone who will be staying in Beijing.

• Just to drive it home that these two have been matching more than usual this year. for the few times they share something personal on weibo. So it’s not only this time, as what i always say, there is a pattern.

Those who pay attention will notice. 👀👀👀

-END.

#yizhan #bjyx #there is no science here i’m just clowning like i always do

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threetrenchcoatsinatrenchcoat · 11 months

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Late-Stage Capitalism Was Never An Option: The Politics, Economics, and Morality of Untitled Goose Game

Untitled Goose Game is a 2019 one-to-two player puzzle comedy video game developed by independent studio House House. It is known for its slapstick humor, soundtrack made of Debussy snippets, and simple abstract visual art style. These whimsical components belie the piece's robust canvas for critical discussion of the morality of western capitalism. Despite the richness of the source material, we couldn't find such an analysis existing already. Further scholarship is encouraged. In this essay we will examine Untitled Goose Game in the context of economic policy through such concepts as private ownership, the responsibilities of businesses, law enforcement, and alienation from the self. I'm not kidding.

The primary question to answer with regard to a player's experience is: What makes being a horrible goose so fun? The player character is not shown to have a long-term motive, nor any danger from which to escape. The goose in fact plays the part of the instigator in several of the hostile relationships formed with the world's humans throughout the game. It is satisfying to trick said humans in the way a successfully pulled prank may be satisfying, deserved or otherwise. But achieving tasks in Untitled Goose Game feels morally right in a small but consistent additional sense (source: I played it, and it felt real good). There is an undercurrent of retribution we will discuss, but to consider any angle of retribution, we must first analyze the goose's motives or lack thereof.

The goose may intend simply to steal a few objects initially, but may have been intending the entire arc of the game upon starting. It is tempting to assume the provided lists of tasks implies the latter interpretation, but we argue the opposite. The game finishes when the goose places a bell gathered from the end of the game into a pit near the game's start. For one last joke, the pit is seen to contain several other identical bells, indicating the whole story has happened many times over and will happen again. Because of this fact, as a literal understanding of the lists of tasks, we could say these lists started small but grew and were refined over several cycles. We shall instead say simply the tasks and the story of the game therefore exist effectively outside of time. The goose isn't rotely following the tasks, nor are the tasks simply notating the goose's whims as they appear. The tasks are themselves the goose's present and future aims. The goose will always enter the garden, the gardener will always chase it out, and the goose will always subsequently spray the gardener with the hose.

When looking at analogues of trickster gods, such as Coyote, Anansi, or Bugs Bunny, the ethical code leading up to a great trick tends toward a sense of comeuppance. The trickster god will never aim to cause a conflict, but can end one with aplomb. The potentiality of the goose’s designs are less clear than of the aforementioned examples. The clearest cases are with the first tasks provided in each of the game's five areas. Three of them are explicitly to enter: Enter the Garden, Enter the Pub, and Enter the Model Village. The goose must choose to take on these tasks, yet the crimes of trespassing are rather benign as initial infractions, especially to a presumably illiterate animal.

The other two starting tasks are even harder for which to fault the goose: Break the Broom and Make Someone Break the Fancy Vase. The broom in High Street can only be broken after the shopkeeper attempts to shoo the goose away, whose only crime at this point is again trespassing. And the vase in Back Gardens isn't even broken by the player character; the goose moves the vase to a different backyard, and the human's lack of regard for others' property and high regard for property ownership causes them to lob the vase back over the fence, resulting in anguish for both involved humans. These instances highlight a consistent story component: the goose doesn't initially want to cause damage, but simply doesn't care about imaginary lines of personal property ownership.

Placing the player in the role of a wild animal, with no assumed responsibility for understanding western economic rules is a powerfully subtle reframing of those economic rules. The humans of the world, with a few notable exceptions, believe unwaveringly that certain lines must not be crossed, especially in fields of private ownership. A view of the goose's precedental actions as agnostic to this human concept then criminates as the cause of the game's chaos a belief in private ownership itself. Untitled Goose Game invites the player to a context not only wherein property law visibly begets disaster, but direct criminal action in its opposition is made liberating and joyous.

About half of the tasks in the game are facilitated by a human’s effort to hamper the goose. For instance, when filling up the sink in the pub, the easiest way to keep the worker from finding the player and turning the water off is to first, intentionally be loud and visible at the other end of the pub. In several of these tasks, a human calmly allowing the goose to coexist in their space would make it impossible for the player to get away with their antics, let alone the possibility that a human decision to do so may entirely remove the desire for the goose to pursue such antics. In addition, even if the player fails to engage with the motivation of each of the goose's initial acts, the goose's intent and opportunity to escalate makes a clear statement on the enforcement of those initial laws.

A dogged pursuit of a culprit and punishment-based justice occasionally inconvenience the goose, but always lead to harming the humans enacting such enforcement. The first three sections end with a task whose success depends on a human erecting an anti-geese sign. Whether by personal choice, or the perceived responsibility of a business, the humans behave with intolerance to their own detriment. This clarifies the morality with regard to trickster god logic: the initial stone cast is not the goose's if and only if the goose is considered outside of or even above private ownership. In fact almost all tasks in the game exist in one of the following categories: Problems caused or partially enabled by human hostility, Problems enabled by humans unable to recognize their possessions, and Frivolous recreations of human activity.

The first category is detailed by the last paragraph’s discussion, so we will continue with the second category. Problems enabled by humans unable to recognize their possessions consists of at most one task per area: Make the Groundskeeper Wear His Sun Hat, Make the Boy Wear the Wrong Glasses, Make Someone Buy Back Their Own Stuff, and Get Dressed Up With a Ribbon. The groundskeeper doesn't necessarily fail to recognize the difference between their hats, but we include it in this category due to their ambivalence after the switch. These tasks provide a strong representation of human self-alienation. While the humans consistently take assiduous care in protecting their property and seeking it out when missing,

in a few instances, they cannot even distinguish their items from improvised replacements. Griffin McElroy, I mean The Boy on High Street, will wear whatever glasses are presented to them, and if their vision is lacking upon the interchange, they don't show it. The Shopkeeper, when presented with the Boy's airplane toy will assume it is one of their own goods for sale. Despite the Boy's protests and having no direct analogue in the market with which to be confused, the Shopkeeper refuses to let the Boy recollect their toy without some payment. This confusion isn't even the Boy's fault, but the Boy plays the victim of this scheme, making it the prank that feels the worst to a player (source: I played it and felt kinda bad). As uncomfortable as the player may be, this task demonstrates how alienation from one's own lived experience can hurt others around one as well as oneself.

Interestingly, because of the modular nature of the game's design, this task can be repeated indefinitely, so even if unintentionally, the Shopkeeper is shown to be so disconnected from their work, they will mindlessly repeat an infinite cycle of reselling the same object to the same customer, acting as if this dehumanizing spiral is indistinguishable from the rest of their clocked hours. The Woman in Back Gardens will be incensed in dragging their goose statue back to its position, but when the statue is hidden, they will appear unable to tell it from a real goose even when tying on a ribbon. Each of these cases may be due to extreme unawareness as much as presumed societal pressure to perform normalcy, but in either case, the effect of alienation is clear: In their social and economic reality, humans must act like they deeply value their possessions while remaining removed from any tangible attachment thereof.

The third category of task drives home Untitled Goose Game's statement on capitalism: Frivolous recreations of human activity. There is one such task that consists of nested subtasks in four of the five areas. The other categories of task mentioned above present what is wrong, what is not identifiable with the world relative to the goose. This third category presents the clearest window into the goose's true beliefs, what is right, what is identifiable. The goose, and to an extent the player, does not look down on the actions of the in-game humans. The actions of preparing a picnic, going shopping, doing laundry, or setting a table, are all beautiful and fun. But only because the goose is free to choose their doing. These are the most laborious of all tasks in the game, and they are indeed rote chores to a human. It is the conditions of anti-authoritarianism and novelty that elevate the goose's perception of what could be tedium. The goose is not required externally to set a table and is certainly not required to set a table dozens of times an hour. The inescapability of the professional pressure is what removes the fun from an act that is presented to the player as a game to play. Here, Untitled Goose Game points at several cracks in the practice of western economics, and points just as precisely at a better way to live.

We previously stated these three categories comprise almost all tasks in the game. A few of the exceptions are simply flippant chaos as further, albeit indirect, just desserts to interactions humans started. But there is only one task in the game that cannot be categorized by flippant chaos, nor any of the previously listed: Be Awarded a Flower. Two patrons of the pub are notably unbothered by the goose's presence and go so far as deliberately playing with it. After the goose mimics a few behaviors for their delight, they will happily grant it a rose from their table. Everything about this interaction stands out from the rest of the game.

The patrons don't chase you, they don't snitch to someone who will, and they are themselves willing to break from rules of individual ownership: the rose appears as a table decoration, and yet they avail themselves to a handy gift for their new avian friend. It is striking that the brightest moment of community in the game is the exchanging of an object neither party legally owns. Both of these patrons are depicted with dark skin, one with a head scarf, common in Black hair maintenance and fashion. This choice of ally hints at an interpretation of the goose as a member of a marginalized community, perhaps itself an immigrant and/or person of color. We leave this topic open to further research and here make our own argument for what the goose represents: the eponymous untitled goose is change incarnate.

Keeping these foundations ahold, allow our perspective to take a step back. From here, we may observe each area is a close exploration of the themes’ elements. The first area is the Garden, wherein we explore the concept of the Individual in the context of western capitalism. In the Garden, we begin discovering a lone human’s reluctance to engage with a force of change interested in causing small disturbances. The Gardener is very protective of private property, especially with the boundaries of land, and their primary drive is toward a state of emotionlessness and order.

The second area is High Street, which centers on the concept of Commerce. Here we witness the detachment of the worker from both their work and their customer. The human drive for order and a status quo continue as we see the Shopkeeper attempt similarly to repel the harbinger of change away, but from the interests of a business rather than a citizen. Notably, the avatar for businessgoer is the young boy who is the only NPC in the piece to run away from the goose when confronted, instead of toward the goose with ill intent. Those unlucky humans dependent on interacting with capital from a position of less relative power are also driven toward a mistrust of change, but employ this mistrust without land to defend—disengagement is the only reaction left to the customer.

On Back Gardens, we explore the interactions of Society. The neighbors have a comically unmalleable sense of remove from each others’ beings. They may only listen at the hedge for gossip and communicate directly when grievances are to be had as society under an economy and culture of alienation sprouts rigidly divided compartmentalizations. The humans will angrily chase the goose when their own goods have been taken, but only up to the lines of legal property. Once that bound has been overstepped, the humans will entirely drop their anger and forget they had losses to cut. The lesson is that no matter what a citizen cares about, they value it far less than the potential pleasure of letting a force of change become someone else’s problem.

The Pub is where these pieces come together to be considered from an even greater distance: the old man acts as an Individual, the pub’s staff act as Commerce, and the dissociation between those two as well as the delivery workers and other patrons fill out our picture as Society, reprising the motions we’ve come to understand from the previous three sections. The primary task of the Model Village serves simply to reinforce how separate each of these elements must be: the citizens throughout the town will try to grab the bell from the goose as it runs back home, and yet will never go further than the bounds afforded them by their given cultural archetypes.

The goose exists as a wind of untamed progress into a town with an almost entirely wrought-iron viewpoint. The townspeople are resistant to the goose’s mere existence before any threat to their day is presented. They struggle in vain toward a veneer of order, often at a greater cost than of the order lost. Their stance against the goose forces them to expose the flaws in their rules and run up against their own self-imposed boundaries—occasionally literally as in High Gardens and with the bell after the Model Village. In most areas, the goose can’t move on until the humans put up a no-geese sign, as if this supernatural force will not leave them be until they have sufficiently reckoned with it.

The humans are not universally opposed to the goose, but the couple exceptions are not necessary for the goose to move on. Change comes, like it or not. Making this manifestation of change a cute animal is an efficient way to arouse empathy. A goose can’t be expected to know its actions are considered unlawful, but once the humans have clearly aimed their energies against it so, its persistence in its behavior and the players’ awareness of its criminality are, in effect, the same. Untitled Goose Game contrives its NPCs’ logic and behaviors just enough to make out-of-game economic realities appear as farcical as they already are flawed, then it gives the player the chance to undermine, challenge, and exploit what have become visibly unfair and immoral systems with an angle parallel to that required of critical political activism and reform. That’s why being a horrible goose is so fun.

We have no conflicts of interest to report, although House House if you wanna pay me for this hmu lol.

#why am i like this #having a normal saturday how bout you #untitled goose game #gaming #capitalism #analyzing the themes

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