#advanced visual storytelling

[jpgacademy]

Mastering Photography & Cinematography: A Creative Career Path

                       

Photography and cinematography are powerful storytelling mediums used in media, film, advertising, and content creation.

These courses teach students how to use professional cameras, lighting techniques, framing, and post-production tools to capture compelling visuals.

A well-structured program also includes scriptwriting, editing, and direction, offering both artistic and technical insights.

Many visual communication colleges now include photography and cinematography as core components of their curriculum, preparing students for roles in the creative and media industries.

The key advantages of studying photography and cinematography lie in creative freedom and high career demand.

Students can explore diverse paths such as wedding cinematography, short filmmaking, advertising, journalism, or social media content creation. Practical training sharpens visual skills and builds strong portfolios.

Institutions offering 6-Month Diploma Courses help learners quickly gain hands-on experience and industry exposure. These courses often align with other creative programs like animation courses and graphic design courses in Madurai, making it easy for students to expand their skill sets.

Anyone passionate about storytelling through visuals can pursue this course—whether school graduates, media aspirants, or even working professionals seeking a creative shift.

At JPG Academy, recognized as one of the best coaching institutes for creative media, students receive foundational to advanced-level training in a professional learning environment.

The course is ideal for individuals who wish to build a successful career in photography, videography, or film production.

For more details:

JPG Academy

 Call: 📞 8778745099

Visit: jpg-academy.com/

Follow us on Instagram -https://www.instagram.com/jpgacademymdu/

[mimok]

The Machine Dreams

text to video with firefly. Today, I gained access to Firefly’s text-to-video generative feature, and it feels like stepping into the future. The speed at which technology is advancing is breathtaking, and with each new tool, creative possibilities expand in ways we couldn’t have imagined just a few years ago. I tested it by generating videos using a reference image and others directly from text…

[wecreatys]

Tugche Art Categories

There are several fundamental wall art categories, each appealing to different styles, tastes, and interior design themes. Here’s a list of the primary categories:

1. Abstract Art

• Non-representational art focusing on colors, shapes, and forms.

2. Landscape Art

• Depictions of natural scenery, including mountains, forests, oceans, and skies.

3. Portraits & Figurative Art

• Art featuring people, faces, or the human form, including modern or classic styles.

4. Still Life

• Art featuring inanimate subjects, like flowers, fruits, and everyday objects.

5. Animal Art

• Art focused on animals, wildlife, or pets, often showcasing natural beauty or whimsy.

Read more on: https://tugche.com.tr/tugche-art-categories/

Tugche Art Categories - Tugche®There are several fundamental wall art categories, each appealing to different styles, tastes, and interior design themes. Here’s a list of the primaryTugchetysarac

https://yilmazsarac.com/content/images/2024/11/georgian-beauty.jpg

TYS Digital Performance Video Production Ltd

[expanding-our-channel-lineup]

Why RVR School of Photography is Your Gateway to a Thriving Photography Career

Introduction: Photography as a Career There is a huge market gap and in this gap the art of photography career has come up from being just a hobby to a fully fledged profession. Apart from media and advertisements, photography career  now have a significant opportunity in fashion and social media also. At the RVR school of photography, we focus on the development of such skills and taking enthusiastic photographers as our students, we convert them into professionals. Our students have already worked with TCS, Wipro, Times amongst others. This speaks volumes of our training and the changing perception of the employers towards our students.

1. The Growing Demand for Professional Photographers

It became quite apparent that there is an increased need for photographers not only for social functions or individual projects but rather for the e-commerce, media and fashion industries. As marketing experts seek to impress customers with great product photography, storytelling, and other visual elements, skilled photographers are in high demand. Demand for photographers has exploded virtually with the advent of the digital age. At the RVR school of photography, we take the students through the necessary training, which will encourage  them to built their photography career with all the needs to succeed as photographers in the current market situation.

2. Why Choose RVR School of Photography?

At RVR, we don’t only teach photography; we build photography career. This is what makes us unique:

Comprehensive Curriculum: In our courses, we start with the basics of photography and proceed to advanced editing, lighting, and image processing.

Industry Trained Faculty: Our teachers have more than just teaching as they have been active photographers themselves and know what it means to be in the profession.

Practice: Theory is not enough for us. The program has lots of practical sessions for the learners to further their skills and techniques.

Career Counselling and Job Placement: RVR pays particular attention to all students. Many of our students have received jobs in the companies that qualified them.

3. Courses Offered at RVR School of Photography

Our programs target all  photographers to buit there photography career  at all levels. That’s new photographers who want to acquire basic skills and professional ones who wish to perfect their skills.

 Beginner Photography Course: Photography course for beginners covers the fundamentals how to hold and use a camera, basic light, composition, and how to take pictures. This is an appropriate course for everyone who has never taken a photograph; hence, this course provides a good base.

Advanced Photography Course: In our Advanced Course, some students are equipped with more advanced skills in low-light techniques, portrait photography, and image retouching so that they will be able to manage more difficult work and high quality tools.

Specialized Photography Courses: We have organized specialized courses, such as Fashion Photography, Landscape Photography, and Wedding Photography that let the students develop much interest in the specific field of their choice.

Editing and Post-Production: Our courses on editing and post-production concentrate on industry-recognized tools such as Adobe Photoshop, Adobe Lightroom, and other similar programs. In this digital age, editing techniques are indispensable in content creation, and our students are well trained in those techniques.

RVR School: Paving the Way to Photography Excellence and Shaping the Future of Creative TalentBy Simran

4. Photography Career: Gain Real-World Experience and Build a Stunning Portfolio

In the same mindset, it is quite safe to say that a photographer’s portfolio is their visual CV, one of the most vital components needed to utilize their expertise and up to clients and or employers. At RVR School of Photography, we believe having an impressive portfolio is of utmost importance especially when starting a career as a photographer. 

Students of RVR have opportunities to participate in real product photoshoots, fashion editorials, etc, which are supervised by the instructors. These projects not only sharpen their practical skills but also prepare students to work in the real world where they have to please people, and complete the tasks given to them on time.

Such projects are led by instructors who are experienced practitioners in the industry and have mentored the students themselves through projects. They help the students with their feedback and how to use techniques that will help the students create an artistic identity that is uniquely theirs.

Also we encourage active learning through portfolios and conduct regular practice in fine al placement where students are given constructive feedback on their work. Feedback always highlights where the student is strong and where the student has room for growth so that the end product is always balance and professional.

5. RVR School of Photography Alumni Success Stories

Our students have to achieve great milestones by getting jobs in well-known companies such as TCS, WIPRO, TIMES, et cetera. These milestones achieved by some of our students bring glory to our school and prove that the training we provide has immense value in the field.

Some of our alumni who have been successful are:

Ravi Sharma: Worked with times as a corporate photographer and covered events of the high management.

Sneha Kapoor: Worked in the TCS marketing team and was involved in the creation of visuals for the campaigns.

Arjun Mehta: Worked as a fashion photographer in Wipro showcasing their apparel lines in the most appealing way.

These stories inspire our students and demonstrate the quality of training they receive at RVR.

6. Photography Career Skills You’ll Master at RVR School of Photography

The skills our students achieve go beyond the basics:

Mastering Composition: Composing a frame that tells a story with a thousand visual elements.

Lighting Techniques: Using natural and artificial lighting for accentuation and photography.

Editing Mastery: Students’ skills with tools such as Adobe Photoshop, Light room, and others.

Client Management: How to handle clients and their expectations and how to put them to fruition.

7. photography Career Paths After Completing a Photography Course

A degree from RVR School of Photography helps in getting various types of jobs:

Corporate Photographer: Photograph brand images, teams, events.

Fashion Photographer: Work with Brands, models, and designers.

Freelance Photographer: Own Photography business.

Media Photographer: Creative visual images for stories for newspapers, magazines.

With our guidance, students can tailor their skills to the path that suits them best.

8. How RVR School of Photography Supports Your photography Career

We don’t stop with the coursework only, it doesn’t end there. We help them to bulit their photography career:

Placements: With a reach over leading employers like TCS, Wipro and Times. We place students at the best jobs available. TCS, Wipro and Times

Networking Events: We provide events to the students where they meet potential employers and industry leaders (Photography).

Career Counseling: Counseling for photography career selection, for portfolio development, for interview skills etc.

9. Why Photography is a Lucrative Career Choice

Modern-day photography has reached unbelievable heights and most people have accepted it as an industry that encompasses numerous photography career opportunities. Photography career is self-employment, creativity and self actualization all in one package.

Consistently Develops:There is no industry today that does not have specialization in photography career. Companies reach out to professional photographers in other sectors such as marketing, advertising, content creation and social media. The same expertise is requested for events such as weddings, business meetings or product launches. It creates a continuous search for new talented professionals in detail work and creative design.

Different photography Career Opportunities:Several professional paths are available even when one has selected the field of phototgraphy. People of all skills and preferences: travel, fashion, wildlife, food, event and much more can all find their field in photography. Freelancers have freedom to select jobs, individuals focusing on photography career in occupations have a fixed salary and constant work.

Financial Stability and Growth:Would you consider photography career as an art or a business? For any professional photographer, it’s both. On the one hand, established photographers can offer a large range of services as well as find themselves to have long-term relationships with their clients. For instance, wedding photographers have good returns in each event during the busy season. On the other hand, commercial photographers working for top companies can receive good commissions on their projects as well.

Freelance Freedom:If you are one of those people that does not like having a boss, freelancing enables you to live a different lifestyle. A photographer who works on a one-off basis gets to select what project to work on, when to work, and how to sell themselves. This path of employment also means you can work with brands from a different country which means other markets always exist.

10. How to Apply to RVR School of Photography

Do you want to begin your photography career? The application to RVR is straightforward and needs no additional stress:

Look at our Site:  RVR SCHOOL OF PHOTOGRAPHY

Select the Desired Course: Review the courses we offer and select the course you want.

Utilize the Application to Apply: Complete the provided form with the required information.

Meet Our Team For An Interview: Here we evaluate your interest in pursuing photography career and your vision.

Our admissions team is here to help you through each step.

Conclusion: Start Your Photography Career with RVR School of Photography

Photography is not simply a play of light and chemistry, but rather a story, an imagination, and a moment that strikes the heart of many. A photography career is endless since it can either be an exploration of artistic vision or a stable and rewarding profession. RVR School of Photography offers world-class training that combines sound theoretical knowledge with practical experience to make sure our students are industry-ready from day one.

Our professional mentorship builds students’ technical abilities and the assurance that they can succeed in a competitive marketplace. We help them create a solid portfolio, which is the foundation of every successful Registrant photographer, and we prepare them for different photography career paths from freelancing to working with renowned companies.

Whether you aspire to be a fashion photographer, specialize in stunning landscapes, or focus on corporate and media photography, RVR School of Photography is the best starting point. Our graduates speak volumes about the quality of education we offer, as many have attained outstanding milestones in their photography career.

Keep your passion for photography as a hobby, or let it change your life. RVR School of Photography provides tailored mentoring, world-class infrastructure, and an energetic learning environment to help you make creative dreams a successful photography career.

So what are you waiting for? Take action today, and allow us to guide you in unlocking your potential and creating an enjoyable career in photography. Become a student at RVR School of Photography, and see your passion become a successful professio

[doink]

A Deep Dive into Advanced Pathing in Green Screen by DoInk

Welcome to the Advanced Pathing Tool in Green Screen by DoInk! In this blog post, we'll unravel the intricacies of this powerful feature, allowing you to take your video editing skills to new heights. Whether you're a seasoned content creator or just starting, understanding advanced pathing opens up a world of creative possibilities.

Key Objectives:

Introduction to the Advanced Pathing Tool

Precision control for dynamic motion paths

Real-world educational examples showcasing advanced pathing

Elevating your video projects with creative pathing applications

Tips and tricks for mastering advanced pathing in Green Screen by DoInk

The Advanced Pathing Tool in Green Screen by DoInk opens up a realm of possibilities for those seeking precision and creativity in their video projects. Understanding its features and mastering the techniques presented can significantly enhance the visual impact of your content.

Embark on this journey of mastery with the Advanced Pathing Tool in Green Screen by DoInk. Share your creatively pathed videos with us, and let your imagination soar!

[masochist-marmot]

Mydei and saving face

Although I have my issues with the storytelling and underutilization of the visual medium in these past patches of HSR, we Phaidei fans have been eating well. I want to focus on this moment in particular:

(This post turned into a light linguistic analysis, so I apologise in advance. Disclaimer: The observations only apply to the English localisation since I can't speak for the other languages.)

I love it that they let us into Mydei's head for a while by giving him a bunch of dialogue choices that he can't bring himself to say. He can see that his friend is hurt, he's got enough insight to know why his friend is hurt, and yet he can't address any of that directly. He wants to offer Phainon a chance to talk about the failed trial and is contemplating various approaches, which I'll lay out here.

(1) "How's your recovery coming along, my friend?" (2) "Winning and losing are all part of a warrior's life. Don't let it get to you." (3) "Why don't you take a bath to recharge, buddy?" (4) "Keep your chin up. You have greater things to achieve." (5) "Want to grab a drink with me, pal?" (6) "If you're up for it, let's have a talk."

In terms of pragmatic linguistics, asking Phainon to talk about his recent failure is a face-threatening act. It threatens both his positive face (the desire to be admired and approved of, ie. to be seen as tough and capable) and his negative face (the desire for autonomy, ie. not be forced to talk about something difficult). Mydei is trying to navigate this minefield by finding words that alleviate the threat (aka. save face).

Words like "friend", "buddy" and "pal" can be used to enhance the hearer's positive face (specifically the desire to connect and belong) by emphasising their social closeness to the speaker. Mydei is thinking about using these to soften the face-threatening act of directly asking about Phainon's recovery or asking him to do something (ie. have a bath or grab a drink). Phrases like "why don't you" and "if you're up for it" are also attempts to save the hearer's negative face by forming the request as a suggestion and throwing the ball in Phainon's court. Options 2 and 4 are the most direct and thus threatening, but even they do attempt to enhance Phainon's positive face by defining him as a warrior and expressing faith in his future accomplishments.

The problem is that Mydei's got immense trouble with vulnerability. He has to protect his own positive face, that being the image of a tough Kremnoan prince who bathes in the blood of his enemies. So in the end he can only resort to his usual banter, making an observation and leaving the choice of talking or not talking entirely up to Phainon (hence protecting his negative face). Instead of using friendly but hollow terms of address like "pal", he opts for the semi-sarcastic word "Deliverer", which is ironically probably better at emphasising their shared bond despite its intended bite. Although the utterance "I see you still alive and kicking" threatens Phainon's positive face by implying a chance that he might not have made it, Mydei does manage to break the ice and Phainon eventually opens up to him.

TLDR; This single moment is an incredibly powerful moment of characterisation, and it's achieved through dialogue options, not even dialogue itself. Sometimes less yapping drives the point home much better than paragraphs of exposition. God I wish they were consistent with it.

[animefeminist]

Love, Agency, and Androids: A Chobits Retrospective

Content warning: discussion of sexual objectification, infantilization, groping, fictional age-gap relationships

Spoilers for the Chobits manga and anime

Before Siri and Alexa or movies like Her, the 2000 series Chobits introduced its viewers to an alternate present where highly advanced humanoid robots, called persocoms, serve the role of personal computers and cell phones. Chobits uses its post-humanist storytelling to ask questions about the highly personal relationships that humans can develop with something that looks human or shares human qualities, but can never exactly be human. Because the persocoms are almost all built to look like young women, it also creates a space to ask questions about gender roles in relationships and how those perceived as female can be literally objectified. At times, Chobits presents a very compelling and empowering narrative around love, personal choice, and sacrifice. Yet, simultaneously, Chobits fails to reckon with the very questions it raises. 

The series is a CLAMP classic, with many of the visuals and themes we’d come to expect from the four-women team who penned and illustrated Cardcaptor Sakura and Magic Knights Rayearth. However, Chobits differs from the young-girl centered stories many expect when they think of CLAMP. Chobits has a teen male protagonist and the manga was serialized in the seinen Weekly Young Magazine. Because the target audience is adult men, the series features frank discussions about relationships, sex, and heartache. Although, this added maturity also leads to many visuals or gags based around fan service or, at times, more disturbing incidents of sexual objectification.  

Read it at Anime Feminist!

[himbo-in-limbo]

PREDATOR KILLER OF KILLERS RANT/MOSTLY PRAISING YA KNOW

TW WILL TALK ABOUT SPOILERS!

I don’t even know where to begin ohhh my god…

The first (at least publicly released) animated yautja movie of its series and oh. My. God.

Was that worth the wait….

I’ll try my best to describe in words how happy this film made me. As someone who’s been a fan of the predator franchise since I was 4 YEARS OLD

This was everything to me.

The art. The story. The characters. The music.

The atmosphere it set up!!! Ohhh man I can definitely see more films be made like this for the series…

Ursa….this beast of a woman I truly love how they followed each “tribes” own codes of honor and they acted and fought accordingly to their beliefs and ways.

Rip Anders, her son unfortunately caught in that situation but at least he died with honor. Hopefully his mom will join him in Valhalla someday.

I’m still iffy about these types of yautja (mostly bc 2018 left a bad taste in my mouth) if this was a female yautja I’d have less issues with it. (Personal preference ofc)

but yes they were very badass and seeing them get outsmarted by Ursa was so funny. holy hell can that woman pack a punch with her shield!! Watching her fight got me so fired up she was inspiring.

I really enjoyed that this story was mostly silent that not much needed to be said bc the storytelling was so good with just visuals alone! This classic tale of two brothers being forced to turn again one another to claim the throne. And yet when the extraterrestrial threat came out of the blue to fight the both of them, they both agreed to fight the creature together.

This yautja in particular…I honestly still can’t tell if this is a yautja female??? CUZ GOD I HOPE SHE IS, her figure looks feminine but i haven’t seen a confirmation yet. Either way her battle was my favorite and it’s cool she is one of the skins available on hunting grounds along with the Viking yautja.

This guy was awesome (as a fellow Mexican I was rooting for him the most LMAO) bro was trying really hard to communicate with the other humans so bad 😭 the language barriers were funny to see.

Now this is where my main issues lie with the movie…

I honestly don’t know how I feel about the yautja aerial dog fight. I have issues as what makes it honorable in the yautja code. Bc dude was invisible most of the time taking out the fleet and only when like 5 or less was in the sky he uncloaked given his advanced weaponry???

I don’t really know how to feel about it. I think he should have uncloaked earlier. But overall the fighting sequence was intense and entertaining to watch!

THE LAST BATTLE THIS SCENE IN PARTICULAR

Ohhhh I cried like a little bitch the fact THEY WERE TALKING IN THEIR OWN LANGUAGE AND CHANTING AS WELL oh I was geeking out

I hope the full language drops some day bc my ass is gonna learn how to speak it 😭 the whole ending was amazing and I can’t wait to see if a sequel comes out of it. AND ALSO THAT ENDING EASTER EGG?!?!? Wow.

I wonder what will come out of that situation….

Either way…thank you for coming to my ted talk…

[surely-sims]

Using WW for SFW Story Poses (and why it's so cool!)

This is an advanced workshop for storytellers looking to take their stories to the next level. Animating furniture (beds, doors, etc), Summoning in-game props from Build Buy, and adding Visual Effects (smoke, steam, etc) to your poses and animations. This class assumes that you are already comfortable with making your own poses.

[sugar-petals]

I loved the TXT Kibbe post 😻 sometimes I wish I could go all Irene on the stylist and just yell at them for how they dress Soobin mostly, the poor thing is drowning in those humongous baggy clothes, it’s like they swallow him. They don’t know how to dress him and that’s a shame cause it feels like they’re wasting his best features 🫤 they focus too much on Yeonjun and forget about the others, but they’re just as beautiful and important ☹️

yes! it's a frequent pattern overall 🤔 i tried to look at the bigger picture and root issues.

"why's my bias dressed like THAT?" | points on fashion choices in k-pop groups

ON 'VISUAL' OUTSIDERS: like you i noticed how the overlooked/ "odd one(s) out" in a group often have body types that go against what the company vision or marketing is about, if that makes sense. it's unfair and strange how some idols are carelessly cast for groups where they are put on the backburner (unless they don't want the limelight as much, that's a legit concern). but from the fan perspective... you know how it is. we don't want someone needlessly left out. it sometimes takes a new concept or event/occasion (= other dresscode) for the visual outsider to shine. sometimes too briefly and then its back to the usual hierarchy or underwhelming outfits, while others are lucky, take the laurels. the other side gets dressed '80 years old' style, even on stage, which basically says "we underpromote you" in fashion terms. that's how soft dramatic idols (jin, soobin...) get the casual FN style or grandparent treatment.

HOW TO FIX THAT? it doesn't have to be that way. to me, groups should be dressed "all out", but customized, coordinated, with more interesting colors; why not try something different: sky's the limit in k-pop where especially men have extreme fashion freedoms. to me, ATEEZ frequently wins best collectively dressed, their only achilles heel is the hairstylist imo 😅 but every outfit is a highlight, 80% of the time i see them. to the point where there are storytelling and palettes in their fashion! ateez is hard to forget because no outfit is disrespectful to the wearer. it's demanding, it's "yes i am someone"/"we are someone".

FOCUS ON FACE > BODY: it's surprising how a country where color analysis is so widespread, stylists bring more than their a game, and makeup / surgery are crazy advanced, body type-fitting styles are so neglected. it puzzles me. though i think thanks to early kpop music videos — SM is the culprit here — and SNS, face focus + shock value outfits became more important.

HEIGHT WARS: many idols are petite and sadly there is stigma to be of a certain proportion, heights are tweaked... relying on facial appeal takes at least that pressure off. it got more intense over time: popularizing an exo vocal line (they're all yin-leaning) would not be possible today. they'd all have to be yang face types, many surgeries, wear huge insoles, and not get famous on merit but hype. unsurprisingly, stylists always boringly dressed them as pure classics to evoke sophistication, not as the romantics & gamines they are. the upside was, people paid attention to the voices > outfits. but it's still lazy and ill-fitted styling, and underwhelms on stage.

TYPES WITH TWO ESSENCES: yes, unfairly, some kibbe types are more flexible in fashion than others. Classics like yeonjun or FGs like taehyun embody both yin and yang influences. they can do short, medium and some longer silhouettes. while Dramatics, being so tall, are 90% bound to only longer lines and need custom clothes to fit their endless limbs. soobin is one among many there. fans love duality, so gamine and classic and subtypes win this one since they are two kibbe types in one.

OVERSIZED TREND: since fast fashion rules, stylists merely choose a larger size if something doesn't work and boom... tall guy is ironically lost under all the fabrics. that's how oversize was born: awfully, sloppily, quickly designed and tailored clothes with no substantial fabric or body to them. i hate almost all of it. companies save even more if they make it cropped and sell it for the same price. the only kibbe type that can wear this well is pure natural. for SN, it has no proper waist accommodation, and FN needs angles + elongated vertical tailoring. all the other types are too angular or petite to wear this meaningfully or fittingly. and gamines are too compactly built to go oversize, anyway.

CULTURE VULTURE: add kpop's constant cultural appropriation (YG takes much of the blame here), taking the N/FN silhouette of the black community in the 90s, and gang aesthetics, and you have a perfectly awkward outfit that would rather belong elsewhere. recently it also shifted to other cultures, but the overally undercurrent & racism/grifting is clear. it further prevents good fashion that respects the viewer and the wearer.

FRAME DOMINANCE: i do get the stylist's perspective. imagine dressing NCT in their flamboyant gamine aesthetic and here comes yang type johnny with a huge ass frame. or chanyeol. or mingyu. the korean market sadly only favors super small sizes. foreigners, plus size, tall folks, people who just aren't crazy skinny, and people dieting to get there, etc, no one benefits.

BIG THREE: but even then... groups wear international designers now. high fashion is often yang-friendly. sure, the big 3 types FN/SD/D always deviate. namjoon as an FN also had to be styled in an alternative, coat-heavy type of way. but the styling team understood that! accomodating everyone case by case > forcing one cookie cutter image on people who can't wear it. some stylists have a feel for that.

FASHION REFORM: on top of lowering prices, eliminating sweat shops, recycling, making less but better materials, bringing back colors, pragmatising cuts, and lowering body image and buying pressure in ads, we need most customizable and rewearable liveable fashion to begin with, even for performers who need 'big event' clothes that people gotta see in the last row. more vintage archive dressings, anyway! romantics and classics will wildly benefit from that, though it all depends on the garment. dua lipa contributed a lot to archive pulls > wasteful fashion.

QUESTION OF CHARACTER: yes, personality and humor shapes how popular idols get, regardless of their fashion. but even an introvert member will be a big deal when their image ID aligns with 1) the cultural standard and 2) the art direction. yoongi is a silent type but k-pop's favorite kibbe types are gamines = a quiet and not so "kpop bubblegum" success story. and even he had to struggle so... let's go easy, there's so much pressure.

BRANDING: "who debuts where and how" is everything: if you put an SD body type male idol who was previously unnoticed into ateez, they'd shatter the world. why? ateez has a lavish, harsh, drama-heavy theme. it gets FN and D sometimes but you get the gist, they do the ornate, deep color, vertical SD line. so very yang, just like monsta X, who dress pure D, FG, and FN, in a winter palette. i would love to see j-hope in a monsta X collab, for instance. but hybe is very soft subtype-friendly in its more mellow public image and spring palette. SN, SG, they will shine.

CONTRADICTING HEIGHT: i mean TXT is such a tall group. it's hilarious how their theme is the opposite, romantic small-scale yin. ruffles, softness, airy, princely, fantasy, flowing fabric, blush, airbrush-like blended makeup. beautiful really. i love it. but ironically, none of the members are pure yin, they're all way above the R height limits and tower in romantic styling 😂

OPPOSITE DAY: as another example, stray kids funnily enough does the opposite: they are all petite yin types except hyunjin, and do sporty yang concepts. bts has all height ranges (vertical - moderate - petite), so it's less hit or miss as a whole. any larger group basically. stylist motto: "whatever we try, it'll work for at least one guy, so our approach is we can do anything to appeal to anyone". look how easily a big three type (hyunjin) stands out when the surrounding yin types are dressed as yang DC.

POWER IN NUMBERS: super m, gg, suju, shinee, seventeen and nct were/are so successful because of that. all height ranges and kibbe types are covered = more chance of a concept matching them. though, there will be people losing out again with that approach. that's why kibbe's typecasting "to each their own wardrobe" is better, and still can be adapted to overall concepts... sometimes. the "it works for one guy at best" idea is already a pretty meh fashion philosophy. i wish fashion would adapt to bodies and not vice versa. kibbe helps with the former and avoids having to tweak pictures to create harmony. still, groups with height differences are cast, even if its harder to dress them cohesively, because it gets a reaction. (though, humans are just naturally varied like that anyway, which IS kibbe's point)

EDITING: case in point, the company has to edit TXT's promo shoots to the gods. you need less editing if you dress your type. ever noticed how TXT comeback pics are always plastered in fuzzy (=yin) filters and effects? it needs effort to create a Romantic type atmosphere on guys who don't have as much yin as say, taemin, seungkwan, jimin. i wish they'd use the fact that soobin has a soft subtype even more there. i love yin concepts.

MASS PRODUCTION: soobin and e.g. jin — similar situation — being Soft Dramatics contrasts with men's fashion prioritizing classic and natural types. because those 2 categories are easiest and fastest to manufacture and have medium proportions, so it'll suit more people, technically. SD is narrowly and asymmetrically built, so they drown in baggy N clothes and symmetrical, too short C is unflattering.

FLEETING IDEALS: they are already outside the kibbe width-focussed aesthetic expected from guys just by existing. especially as SD is the current benchmark for women, bella hadid rising to fame marked a departure from the universal SN body ideal. you really have to be lucky to be born at the right time. e.g. an FN born in the 80s hit the jackpot growing up in the 90s. if you're an R type, the trend will favor you in the upcoming years. look at the pop stars of today, all yin.

WINNER TAKES IT ALL: you can see how treating one ideal type as a benchmark will leave the other 12 behind. which stimulates consumption, because people desperately buy to find good clothes, are disappointed again, repeat. and it plays into a political and historic idea of monopoly, leadership, remnants of monarchy, influence of feudalism, all that. it's all ingrained to erroneously make us focus on one mighty person over everyone else. i like rotating centers, not "one king/queen, the rest serve", and nugu + fringe + "side" groups should get attention. they can be well-dressed like wavy without a bigbang budget.

GENDER DIVIDE: looking & dressing one's part + one's type really does make a difference in how male idols resonate with female fans: who, shocker, are visual creatures, our actions tell. companies still more or less put the full force actual-effort dressing to female groups: even if a fandom is mixed or female-leaning, all while they slack with male groups — until they learn that showy outfits generate huge attention. the low maintenance beatles branding would flop today. that's why it's a male-leaning fandom nowadays. SD needs actual-effort dressing unlike Ns and Cs (kind of), which means someone would have to actually think through jin's or soobin's outfit. maybe it's lazy, maybe inappropriate, or boring, or whatever. we all know they can do better/go all out:

AUDIENCE STUDY: it's tested, who has universal appeal (think taehyung), who triggers a parasocial bond, fantasy, fascination, makes people linger, spend time and money, and which surgeries do what. it's quite detailed, millimeter work. idols who fit the strict korean beauty ideal the most are on that pedestal, think taeyong, alongside those who gain fan favor through whatever reason anyway. we, the fans, intensify or create that effect. we shape the body types that show up in the industry by what we pay attention to — even though content can be pushed on us, too, and opinions can be pre-formed, molded, openly or not.

APPEARANCES: abstract esoteric kibbe metamorphosis poetry: some people & actually types look less "accessible" than others, too. DC, D, SD, SC, they can feel elusive. something familiar, average, less particular, more cute, unoffensive, that sticks: C, SG, SN. other types immediately cause a reaction, like D, FG, TR, FN. kibbe himself wrote how some IDs are just divisive in some cultural climates, and radiate danger, authority, risk, seduction, while others fly under the radar, are underestimated, or look just casual and normal. it's all such a balancing act. movies kind of formed those visual templates. Gamine, good and cute, Dramatic, bad and harsh, Natural fighter and manly, and so on. what makes a person come across a certain way is a huge multi-layered topic. kibbe was right to base his typology on hollywood typecasting.

COUNTRY: a pure N female group in k-pop would be difficult. a gamine-heavy male group debuted in the UK would be a disaster with their fashion, unless they'd go punk or retro, and even then. there's a reason why harry styles is some Natural type, the fashion industry at the time catered to Ns a lot. just a loose white shirt and harry looks good. because he's blunt > angular. not because he looks so good he can wear anything, but because naturals need simplicity, and british fashion favored that back then. it all comes down to where it takes place.

REALISM: would it be possible to debut a 13-member group with all body types present, dress them according to their lines, and still have a cohesive concept? it'd be very difficult. so, i don't get my hopes up realistically. still, i feel like there's way to go. positive reinforcement but also criticism from fans can further improve how idols are dressed, don't underestimate your power as the fan. even if SD is a type that needs to be heavily overdressed, but it's possible!

[ultimac]

CLİPART - DRAGON+ (5)

The historical development of farm clipart has evolved significantly over time, reflecting changes in artistic styles, technological advancements, and cultural influences. Initially, farm clipart consisted of simplistic and rudimentary drawings of basic farm elements such as barns, animals, and crops. As graphic design tools and techniques advanced, farm clipart became more detailed and realistic, capturing the essence of farm life with greater precision and creativity. With the rise of digital platforms and online marketplaces, farm clipart has become more accessible and diverse, offering a wide range of options for designers and creators to incorporate farm-related visuals into their projects. The evolution of farm clipart mirrors the evolution of farming practices and the agricultural industry, showcasing the deep connection between art, technology, and cultural representation in visual storytelling.

Similarly, the evolution of history clipart has followed a trajectory of innovation and adaptation to changing artistic styles and educational trends. Historically, history clipart primarily featured iconic historical figures, landmarks, and events depicted in a simplistic and educational manner. As digital platforms and educational resources developed, history clipart expanded to include a broader range of topics, styles, and visual interpretations. Modern history clipart encompasses a diverse array of historical themes, from ancient civilizations to contemporary global events, catering to the varied needs of educators, students, and enthusiasts. The evolution of history clipart reflects society's evolving interest in history, visual literacy, and the power of imagery to convey complex historical narratives in a compelling and informative way.

The trends in food clipart styles have undergone a transformation in response to changing culinary preferences, design aesthetics, and cultural influences. Initially, food clipart featured traditional depictions of common food items such as fruits, vegetables, and dishes in a realistic and straightforward manner. However, as culinary diversity and visual storytelling evolved, food clipart began to incorporate more stylized, artistic, and thematic elements to convey the richness and diversity of global cuisines. From minimalist food illustrations to vibrant and whimsical food compositions, the trends in food clipart styles reflect the fusion of creativity, technology, and culinary appreciation in visual design. By exploring different food clipart styles, designers and content creators can enhance their projects with visually appealing and culturally resonant food imagery that engages and inspires audiences.

[vinzul]

I come with a different kind of work that I do (analysis and art direction) about one of my favorite pieces of art to ever be created.

What does Arcane tell us with its visual storytelling and art direction that ENHANCES the story? A LOT actually. And as many works of art, it takes inspiration from real life. So, Art Nouveau and Art Déco as seen through Piltover and Zaun.

First of all, it's important to note that both of these art movements originated in France, Art Nouveu during the Belle Époque and Art Déco during and after WWI. A few decades apart and IT'S IMPORTANT. Fortiche is a french animation studio so OF COURSE it fits like a glove.

Art Nouveau came first during latter 1800s kind of like a protest or reaction against fine arts and Academic art which seemed elitist to some (sound familiar?). It wanted to infuse art with more freedom, creativity and vitality. Hence the name: "new art".

Also to mix artisanal work and more mundane expressions with art. That's why you can see every day things in this style. AN had its origins in the Arts & Crafts movement, but was also influenced by Asian styles, hence the long and decorative lines.

Why's this important for Arcane? Well, because (disclaimer) old lore said that the Undercity (with a strong art nouveau style) used to be older until an earthquake created the Fissures and made the separation between Piltover more prominent. They used to be one city.

I'm no expert on old League lore and we don't know many details about current one but it still fits thematically with what happened irl. Art Nouveau was always a rebellious movement and believed in bringing the arts to every day people. Just like Zaun is artistic everywhere.

So what makes Art Nouveau (and hence Zaun) easy to recognize? Organic and fluid lines, ASYMMETRY, mix of different and modern materials like iron, glass, ceramic. But the most important imo is that it's the mix of different cultures. Remember P&Z are a hotpot of cultures too.

Now then, Art Déco came later but as every movement, it's a response. During WWI (1914-1918) art became meaningless (in Europe) cuz when you're at war, what use is it? AD became a style that could bring purpose and worth to art again.

In 1925, the International Exhibition of Modern Decorative and Industrial Arts in Paris presented a new "modern style" that would show PROGRESS and technology advancements to demonstrate that despite the war, there was smth to look forward to. "The future is BRIGHT!"

It took off. And even though it was named Art Déco way later, we can see how art can influence public perception. AD was most popular in the USA (no surprises) and where we can see it shining brighter is in architecture.

Art Déco and Piltover can be distinguished by geometric lines, SYMMETRY, sharp and clean designs, and an elegant showcase of artistic choices. That's why everything in Piltover is gilded and carefully curated. It represents exactly that: PROGRESS after war.

So then we have these 2 art styles and 2 cities that seem completely opposite. But they actually complement each other. What one has, the other doesn't and viceversa. This is shown EVERYWHERE in Arcane. Character designs, environment, props, and even the tech they use.

I'm not sure if this was intentional, but even Arcane's style kind of looks like it took inspiration from painters from that time period. Obviously Alphonse Mucha (art nouveau) is easy to recognize but maybe Tamara De Lempicka (art deco) not so much.

So we have these two sister cities inspired by real life styles because all art is political. Zaun is older and community focused, while Piltover's newer and innovation focused. Piltover's SYMMETRY vs Zaun's ASYMMETRY and how you can read EVERYTHING through these lenses.

From character arcs, to alliances and betrayals, to how the narrative evolves and changes and show when and WHY events happen. You could even predict what would happen from reading the place where it was going to happen. It parallels everything.

But despite the differences, there is a bridge between the two cities and the story starts right there. Just like both Art Nouveau and Art Déco originated from the same place, France, where you can see both styles around the city coexisting. Bonus pic Piltover Montepellier

And that's it for today, folks! There are OCEANS more of stuff going on visually in Arcane so lmk if you want me to dive in anything else, like char designs (you can see where they will end up in their design) and color in the show, which is so meaningful.

Disclaimer, I'm no art historian at ALL and I used an oversimplification of each art style and movement in this post so it was easier to understand. But if you liked this, I suggest reading more about it, it's super interesting! I love Arcane with my whole heart <3

Disclaimer #2, I didn't work at Fortiche ( :C ) or Riot either, this is only an analysis. If anything here was unintentional from the artists and creators, that just speaks more to the incredible work they did.

Arcane's one of the most important masterpieces of this era imo

[wecreatys]

Urban Brew: The Harmony of Tradition and Modernity

Art has the unique ability to capture complex narratives in a single frame, and Urban Brew does so masterfully. This captivating artwork bridges the timeless traditions of African culture with the vibrant energy of modern city life, creating a powerful narrative about identity, resilience, and connection.

The Heart of Urban Brew

At the core of this piece is the striking depiction of an African woman, deeply immersed in the sacred ritual of coffee. For her, coffee is more than a daily routine; it is a profound act of cultural preservation, a ritual imbued with heritage and meaning. Her posture, calm and composed, suggests a moment of introspection and inner peace amid the noise of urban existence. The coffee she holds becomes a symbol of sanctuary—a momentary escape from the bustling world, an anchor to her roots.

Read more on: https://tugche.com.tr/urban-brew-the-harmony-of-tradition-and-modernity/

Urban Brew: The Harmony of Tradition and Modernity - Tugche®Art has the unique ability to capture complex narratives in a single frame, and Urban Brew does so masterfully. This captivating artwork bridges the timelessTugchetysarac

https://yilmazsarac.com/content/images/2024/11/urban-brew.png

TYS Digital Performance Video Production Ltd

[mochimochimona]

Rewatching Arcane Only For Viktor and Jayce, analyzing for storytelling purposes as an artist* -S1 EP:4 or Viktors staring is sus

I loved that scene, where Jayce firstly implies Viktor to keep sitting so he doesn't need to crawl up and also for taking the blame completly.

A little disclaimer here because it might be confusing why I am doing this analyzis (?)...sss english is not my native language sorry - so I am an artist and Arcane is a huge inspiration for me and I wondered what the animators did to imply Jayce and Viktor being really close to each other, even having feelings for each other. And I do get the impression Viktor always had feelings for Jayce because he acts different in a lot of interactions with him. Body language is also an implication, so I will take a closer look on that as well. So I am going through scenes of them together and asking myself what makes me think they wanted to imply something more than lab partners, what makes me think that and HOW I would have done it differently to AVOID that. Also I want to know if I misinterpreted Jayce's behavior and read too much into it. So, here we go. It's actually part #3 already, I will put a post on tumblr with all of my guesses later. If you wanna share your thoughts, please do so!

Knowing what will happen and how sick Viktor gets, seeing it (really, seeing it because I can pay attention) and Jayce not noticing because he is so caught up in playing political figure hurts. Really hurts. And also I am sure now that Mel used Jayce most of the time to get what she wants (not in an evil way, honestly, she does take a liking to him later one, but I will say not as much as we get the feeling Jayce and Viktor care for each other) and she makes advances to Jayce, using his insecurity and jearning for acknoledgment.

I mean how can Jayce not tell that Viktor is immensly sick? I mean those two were working their asses of in the lab I get that, but I think it started right then and there that Jayce lost their dream, really, and the fact that Viktor is his best buddie (or whatever) and it got worse after he holds the speech.

And Viktor is clearly more devastated, which might even shocked Jayce too, than Jayce was, I mean the reaction:

Jayce really was surprised Viktor was so desperate. Viktor knew he was gonna die sooner or later so I think he thought with studying hextech he might find a cure for himself in the process. He didn't touch him, though, so Viktor wasn't shy, just shocked.

This scene made me laugh and choke, I have flashbacks of Jayce being in the Future but instead of seeing Mel and Viktor through the fire, we see him. Interesting choice to make the appearance of Jayce like that. Is that...is that foreshadowing again???? This makes my brain hurt.

Why am I doing this to myself again?

LOOK HOW HE LOOKS. WHY IS NO ONE ADRESSING THIS. Why am I doing this to myself, SEND HELP? Viktor was confidently asking "where have you been, they asked me to do the speech (or whatever)" but when Jayce touched him, said they were partners, he got a bit shy and even stuttered a bit. Okay so IF you are fine with your homie....anyway, the next thing:

"Not in front of" - there is a pause, his look:

"...all of them" and then THE STARE. Why would you do that? I am an artist myself and when it comes to visual storytelling, I am always asking myself what I want to tell people with frames and panels (if you make comics), so I am really wondering from a storytelling point of view: what did they wanted to make a point about? Apart from highlighting Viktor in this situation, to imply that he isn't comfortable in speaking to others okay. But his pause. Looking at Jayce...?

Because clearly Viktor is staring. Honestly, if they didn't want to make it read as longing, or something similiar/else, you would have took a different shot after he told "not for all of them", because if you did that, you wouldn't imply that he would have done it maybe in front of everyone, but not with Jayce staying there because it made him nervous being in front of him. ALSO really important thing I noticed here: when he interacts with Jayce in close proximity and out of context of research, he gets shy but he usually is a confident person.

And again, you could have approached Viktor not wanting to perform in front of a huge audience differently, if your only goal was to make that clear. Ya know, him being touched by Jayce on the shoulder, saying "You are my partner" and keeping a wide shot, making him gesticulate that he isn't comfortable, "in front of all those people" (he would do it in front of Jayce though). DOES ANYONE GETS WHAT I MEAN?

Still staring, or paying a lot of close attention to your lab partner.

And then he says "you - pause", AGAIN WITH THE CLOSE SHOT. I HOPE for the love of god that some people from the Studio will be at the Art Department in Berlin because I really want to ask about this. And I hope I won't get spooked so I ask lol. Because that's really what is interesting about this.

And then comes a really interesting thing, I guess. Sky approaches and she looks at Viktor. A short, acknowledging look from Viktor and he gets back to Jayce. So I was wondering why they made the shot like that again and showing she has interest in Viktor, but Viktor is just respectful.

And right back to Jayce but the next shot is a perfect masterpiece, I laughed so hard.

Replacing Vikor with the mug, where Jayces "Man of Progress" can be seen is, again, peak foreshadowing and storytelling. Again, you could have showed it differently, but every scene has a message and wants to convey something, so this is an important shot. Man, these guys from Fortiche are madmen. Stopping here or the post will get too long.

[meo-eiru]

MERU😭😭😭 i finally had a free moment to relax and the first thing i wanted to do was play hold your tongues and i've spent the last few hours pouring over how absolutely beautiful of a piece it is in storytelling and visuals. i genuinely have so much to gush over and idk where i should be doing it so into your inbox it goes. i apologise in advance, you also don't have to respond to this bc 1) i am aware it's gonna get vv long and 2) spoilers will definitely be mentioned

i hope sel knows what an absolute gem of a writer she is for executing all of this bc i am fucking gobsmacked by how well certain ideas and concepts were interwoven throughout the entire piece. maybe a lot of the things following are just my interpretations, but that's another thing i really really love — there's enough ambiguity in the prose to be able to infer it in so many different ways

first to the namesake of the game, ‘hold your tongues’ and the many connotations of tongues that are explored throughout; as symbols of liberation and entrapment that intermingle so so well. i feel like the game really delves into the struggles that women face in society, in relationships, just in general and i like how since it's done so through maelyn's own perspective, we're privy to a more complex and raw display of how deeply emotionally scarring it can be.

eric is a little bitch imo (i won't retract that statement ever) but the ever judgmental, taunting and superior tone he has as the ‘voice’ in maelyn's head speaks volumes of the character he possessed and the lasting impact it had on her. giving her dress to another man makes her ‘unfaithful’, the fact that it's emphasised that these are only ‘remains’ of a dress too — bc eric left her with shreds, physically, mentally. 

if we take the dress to act as a metaphor for maelyn herself, he left her in shreds.

in response to this, maelyn bites her tongue, so hard that it bleeds. it's restraint, quite literally biting back your anger and the feeling of being wronged. grounding yourself again to the harsh reality of it all, and it brings her back to the present moment when starling points it out.

we see a similar occurrence later on when maelyn relays her tongue ‘longing for a taste, was to be kept down.' so again, she stops herself (and i think the wording here is particularly interesting, that it was to be kept, so intrinsically this too may also link to how women are commonly taught to be submissive and forced to fit to certain standards). 

in both contexts, the act of biting the tongue can be taken as a suppression of some sort of desire — the first is the desire to be mad, and the second is the desire of lust. both which women have been criticised for through the ages.

i also like to think that the tongue is a representation of freedom. starling is very much making wings to fly out of them, and taking them away from ppl has ‘forever deprived of their ability to lie’ (in which case lying = freedom, i won't expand on this too much bc it'll be another whole essay😭) so going back to maelyn, her biting hers can also be seen as her freedom being hurt, prevented.

another thing is, the line just before ‘he never ran out of tongues’, we can take this as starling never having his freedom threatened. and it poses further questions. is this because of his strength? is it because he has the ocean ‘wholly’? is it because he's a ‘man’?

on my first run through, one of the most prominent questions i came away w/ was what was it that attracted maelyn to starling? to the concept of these monsters of the sea that had surpassed human constraints that had her waiting out all those hours to catch a glimpse of one to begin with. what was it that kept her coming back? time and time again, day after day when she could've not gone back to that shore after leaving.

the text narrates a couple of things that i think contributed, there's a sense of warring humanity and animosity in the repetitive motifs of dirt and uncleanliness, in her noting that starling looked ‘half a man’ and that one half could've ‘consumed’ the other. maelyn has an envy that's touched upon frequently. does maelyn want to be closer to a monster so that no one can hurt her? or does she feel like a monster is all she can be now?

then there's a dynamic with power that was honestly done so well. again, my praise to sel for how well thought out it all was. that part where she put her hand into his guts and he made sounds he was ‘unable to control’, another when she tells him ‘cut’ and he does so without question — she recognises she holds the reins in that moment, acknowledges, ‘in control, I breathed.’ 

starling listens to her for the most part, it's a reoccuring theme. even when making his wings, he's following her instructions although it's made clear that he learns quick and is capable. perhaps this gives her comfortability.

but we see this turn on its head when things start to go left, starling begins to do as he pleases and maelyn is taken back into her trauma, back to feeling ‘disgusting’ and ‘unclean’, she even apologises and promises to do better.

leashes are mentioned a few times, maelyn first describes them as a sort of ‘necklace’ — perhaps this is tribute to the way a woman's submission is often beautified and normalised. the ‘leash’ starling puts on her in one of the ends is made of pearls, he keeps it in his mouth before this. could this be a reference to eric's sweet words that bound maelyn before he revealed himself? starling ties it somewhat loosely ‘so she could breathe’ yet that doesn't take away the fact that it's still there. it has a sort of your cage is not small, but that doesn't mean you're not locked in it kinda feel.

there's so much more i could say but i think ive alr said too much😭 i didnt even get to touch on the cuddle ending which was my favourite, or the symbolism of losing fingers, the significance of the numbers two, three and four to the story. I DIDN'T EVEN TALK MUCH ABT THE ART😭😭 MERU SORRY I GOT DISTRACTED BUT THE ART WAS PHENOMENAL❗️❗️❗️❗️

maelyn is super pretty and i love how her and starling contrast each other in design so nicely. starling's expressions were stellar ++ the bgs and cgs were beautiful (you're right, if you didn't clarify it i would think you were behind the chest one haha). also the body horror aspect was really brought to life with the visuals and ik it definitely mustn't have been easy drawing all those organs, thank you for your service meruuuu

i'll shut up here before i write another 3k, but both you and sel did such a great job w/ this. the two of you deserve a nice break to rest so pls make sure to take things easy and take care of yourselves!! drink water and sleep when you can, and know that you've made a masterpiece♥️

OH MY GOD THIS ASK IS MAKING ME GO FERAL

It's so well written??? You did such a good job picking up the details hidden behind their lines??? I fish you continued writing because I for sure did not want to finish it and please do send the other thoughts you had if you can, I love this so much

I'm sure @celerifleuri will too so I'll tag her

You already mentioned the spoilers at the start but I'll also note it down here for people who haven't played the game yet. I'm sure sel will do a much better job answering your story analyses but I'll also say you're completely right with most things you've said.

The story takes place in 1800s with dated gender roles we unfortunately can still relate to. Maelyn is a curious woman who wants to study and experiment, but is being held back by society and even people who she thought she could trust, but again Sel will do a better job explaining those.

I'll talk about the art a bit. One thing I really enjoyed that was kinda unintentional on my part was the use of night and day.

The story starts at night time, the first ever cg we get of Maelyn is her jumping down the cliff, with the moon's reflection on her left and the waves giving an illusion of wings as she looks up, in that very moment she is free.

On the other hand the first ever cg of Starling is day time. The sun is shining brightly from his left, almost blindingly, as he looks down. His hair covering the screen like spider webs.

To contrast these, it's night time in the wood ending. Just like the first cg of Maelyn, we can see the soft moonight shining upon them but not quite reaching Starling's face. Maelyn is alive.

Meanwhile in the bone ending, even though they are underwater we can tell it's day time, just like the first Starling cg. We get to see a glimpse of them through the seaweeds covering our view, the sunlight showering them gently. Starling is alive.

For the character designs too, a bit of a reverse but I'd say Maelyn resembles the sun, meanwhile Starling is like the moon.

They both share green eyes, although quite different shades. Maelyn has bright red hair that contrasts Starling's red tongue tail.

I also like that Maelyn's hair, albeit a bit loosely, is braided and kept tidy. Meanwhile Starling's hair is usually all over the place and quite messy.

[charcubed]

I watched Sinners in IMAX a few days ago.

I saw it after a long work day and basically had a religious experience.

My friend and I talked about it in the parking lot for an hour, and then I got home at 11:30pm and fell asleep with my phone in my hand at 1AM while writing down my thoughts about it in a doc (at the request of another friend). I took a half day off of work the next day to sleep in and wrote for 4 more hours, then finished cleaning up the doc a couple days later.

So here's about 4,000 words (?!?!) of my thoughts on this incredible fucking masterpiece of a movie.

Certainly not expecting anyone to read this but I do want to put it here for myself :) Because this is how I have fun for some reason!

Disclaimers:

I’m not Black so I’m obviously discussing topics outside the realm of my experience / culture and could be completely off the mark on anything. Apologies in advance if I am. I also assume I’m not the first to say any of this analysis.

These are my initial thoughts and interpretations before deep-diving or Googling or reading interviews about this movie! (That's my rule.) Just from my brain’s first watch and my limited knowledge of history and sociology.

---------------

-I cannot fucking wait to rewatch this movie with subtitles someday because I know for a FACT I missed some things.

-I liked how Stack drove the red car and Smoke drove the blue truck :) so cute. I was like yaaayyy, hammer home this visual separation so I can get a sense of them as individual people before we keep going, thank you <3 so many good framing and color and lighting choices throughout this movie that foreshadowed things too!

-Lowkey I totally get why people probably want sequels and spinoffs of this universe to learn more lore, but I felt very content with where it left us. The themes/subtext are so strong and so well-executed that the story feels fairly complete in that regard to me because it had things to say and said them well. Not to say the metaphors couldn’t be continued in more storytelling and worldbuilding, obviously, and I’d eat it up if they did decide to do it… But I also think what we got feels fairly satisfying to me.

-However: WHERE IS MY CHOCTAW NATION VAMPIRE HUNTERS SPINOFF. GODDAMN!!! Also love how we get them for literally 3 minutes and they embody every aspect of this movie’s messaging perfectly. Insanely cool shit

Okay anyway

-The opening intro makes such a bold claim about how the music we’re about to hear that’s so incredibly beautiful. It talks of music that transcends time and holds so much power it attracts outside dark forces. And then… when Sammie first plays and opens his mouth to sing… Stack’s reaction is our reaction in the audience, because that claim is immediately upheld as believable. You immediately believe the folklore’s validity because of his skills. Astonishing feat. Holy fucking shit. God I love blues music

-The opening sets up the unsubtle thesis, but then Slim’s story in the car (and its beautiful sound design!!!) after they see the slaves take encouragement / heart through music underscores it all. It felt like a powerful tool to further set up a grounding for the supernatural we were about to see play out, and a reminder of its intended metaphors. Slim’s brother was a blues player who was lynched for the crime of simply existing in his Black joy and trying to get to make a bigger life for himself, and (as Annie later tells Smoke) money was no true power that could save him. In fantasy and reality, when people of color are just living with authentic joy by enjoying their own unique culture and music and lives, it attracts white supremacists who want to gleefully, hatefully leech from or destroy all of it.

-And then Ryan Coogler really was like, “Just in case you missed this movie’s unsubtle messages, we are going to be loud.” The way the vampire fight isn’t the final violence or the point… God. Instead, we end on the justified KKK slaughter. The real klan, the actual reason all of this happened because they set it up, the start of it all and the white supremacy that fuels the darkness. It says, These are the true monsters, and don’t you fucking forget it.

-But, our plot’s main monster is REMMICK. He’s no Southern white man. He’s specifically Irish! I fucking love that they did this. So much nuance here. Remmick has been isolated from his own people, heritage, and language through colonialism and the rise of the Baptist Christian church. Cornbread tells him (and the 2 Klan members…) that there are plenty of other spaces for them and their banjo music, and while of course he’s right – Black people (and POC in general) deserve their own safe spaces of expression, and too often white people are trying to encroach on those – for Remmick, there’s sadness here too. Those other white spaces are not his spaces either. He’s Irish and Celtic; they’re not his culture. He’s adrift and has no place, disconnected from his home, Othered by being an Irishman and a vampire, and the loss of his own culture and family has him desperately seeking attachment to others’ – but in the worst way. His fate is what he now violently forces onto others. While he ostensibly hates the KKK, he aligns with them indiscriminately in search of connection and his own survival, and he essentially helps them achieve their goal of destroying Black people – a mirror to how, in history, Irish people benefitted from white supremacy for their survival at the expense of Black people. (And a mirror, of course, to how white people broadly try to steal from Black culture daily.) Remmick’s message is basically “just assimilate and be free,” simultaneously asking them (especially Sammie) to assimilate into his culture for his sake because it’s what he needs, yet assimilation is clearly its own form of entrapment and death. It’s a tragedy that it was what Remmick was faced with as an Irishman, but it’s a larger inexcusable tragedy that he turned around and decided to perpetuate the same cycle of violence onto others in alliance with white supremacy.

-Of course, we see this most in the contrast between the music ensembles (and holy shit, SHOUT OUT TO THE ASPECT RATIO CHANGES IN THESE!!! Religious experience!!!). Sammie’s “I Lied to You” blues music is transformative and joyful, inspiring multicultural connection and appreciation that honors history and genres. It’s filled with warmth and life, and is perhaps even a hopeful depiction of the true melting pot of America. But Remmick’s “Rocky Road to Dublin” song with the vampires he’s turned has everyone washed out, looking and sounding homogeneous in a sinister way, blending together in the perfect terrifying depiction of what assimilation does. Individuality and different cultures are gone; there is now only this, powered by the violence of whiteness. Remmick’s supposed position being “We believe in equality” is of course a farce, and though he’s not motivated by racism (like the KKK), he has no qualms with aligning with its results. More importantly, his enforced assimilation in the name of supposed equality brings to mind the harmful modern adages of “I don’t see color” and other similar positionings which erase differences in culture rather than honor them. Add to that the moments where Remmick showcases having the memories and skills of people he’s turned, who are now all “connected” to each other but in a way where they’ve lost all individuality. When he speaks Chinese, it’s a moment of horror because it’s a language he didn’t learn for genuine connection but rather stole for cultural appropriation, and then he specifically uses it as a tool of violence (and threats of sexual assault!) against Grace.

-ANNIE. I find it fascinating how she kind of embodies the movie’s critique of the Christian church and evangelism as a tool of white supremacy to placate Black Americans and encourage or enforce assimilation. Annie practices (to my knowledge) hoodoo, occult magic from African culture and a form of spirituality that Christians would obviously deem evil and sinful. But here, her mojo bags and ancestral knowledge are the only things that keep anyone safe. (Notably, Christian crosses did nothing for protection.) She’s another layer to the concepts of being in touch with your culture and ancestors… and she chooses death rather than turning/assimilation or losing her sense of identity. I couldn’t help but think about the history of African slaves jumping overboard from ships because they chose to die on their own terms rather than live in enslavement.

-SLIM. He’s the Black elder who’s seen and experienced and survived horrendous, evil things. Yet despite it all, he’s the comedic relief of the movie. While Slim drinks to repress the trauma (which is objectively not the most healthy decision and it’s constantly pointed out), it doesn’t compromise his connection to his music or to his people. Despite everything, he’s still filled with joy and good humor and wisdom – something that feels very true to life in regards to the fortitude of so many Black elders. And when push comes to shove, he puts his life and body on the line to be ripped to shreds (not assimilated!) by the destructive forces coming for his culture and his people in an attempt to protect them. I fucking loved him.

-MARY. She’d be considered Black by the One-Drop Rule / Jim Crow laws, and she’s grown up in this community, but… she’s not really Black. She feels Othered by that, yes, and it was a natural continuation (to me) to know that was going to result in her becoming a vampire in the plot. Of course there’s a level of sympathy to be given to her and her situation, in the sense that she’s also a victim of segregation, as anyone in an interracial relationship was. She just wanted to live with the man she loves but society wasn’t structured to allow that. But at the end of the day, she still had safety in the ways she was able to move through the world as a white woman — and power. (Stack tells Sammie not to look at her at the train station; if white people claim a Black man looked at a white woman the wrong way, it can turn into a lynching.) It’s notable that Mary is able to go speak to the white people/vampires with less perceived risk to her in ways none of the Black people could… and then she’s also able to be metaphorically turned to their way of seeing things. It’s not an accident that she’s the first turned, then them letting her in and Smoke fucking her is what kickstarts their collective downfall. Mary was a “safe” white person for her Black family all their lives, until abruptly she wasn’t. A too true-to-life tragic possibility.

-PEARLINE. She’s a bold, unapologetic Black woman connected to her culture who chooses her own freedom and authenticity vs Christian traditionalism. A sinner through “infidelity” – a word which can mean being unfaithful to a partner, or unfaithful to religious/Christian belief. And she dies because of it.

-[Side note: super interesting to see the scene of Pearline’s musical beats being timed with the violence of Smoke and the other men killing a guy who was threatening the haven of solidarity and community they’d built. A commentary on being distracted by in-fighting while the real enemy and evil of white supremacy is on the move]

-GRACE. The embodiment of how, when shit is going down, POC solidarity can crumble. At the start, we see her and her family being on “both sides” with the white and Black stores, and able to cross between those 2 stark worlds/realities with ease. “We didn’t sign up for this,” Grace says, when the evil white people come for the Black people; the fun and the culture, but not the fight. Then she makes the selfish and individualized decision to let the evil in at the expense of everyone else. And yet… Her name. Grace. Does the story want us to grant her a little bit of it? I’d argue Smoke gives her grace, because he includes her and her husband in his fond and motivating memories of the earlier parts of the day. Is what Grace does defendable? No, but perhaps it’s meant to be understandable. In the moment, she’s not thinking of saving her own skin or uselessly trying to save her husband; she’s thinking of wanting to protect her daughter and the rest of the town, so instead of choosing passivity, she opts to protect them by addressing and destroying the monsters head-on so they can’t continue their evil mission. But unfortunately, in another example of lack of solidarity, she goes straight to destroy her husband and her fight stops there regardless of everyone else’s fight. Her vindictive revenge turns into mutual destruction because she burns up with him. And she’s perhaps also an example of how when someone is so focused on being combative with a person who broke their tradition they forget to focus on what they still have to protect.

-Speaking of names… lol. CORNBREAD. Obviously there was intentional comedic relief happening in the scene where he’s pissing in the woods and monsters are hidden around him whispering “Is that cornbread?” lmaaaooo but also… Not just silliness! Cornbread is historical food for survival and resilience that has roots in several different cultures. It stems from making something from very little under the forces of oppression and enforced famine, and it’s what the Indigenous people, Black Southern Americans, and the Irish all made. Something that should be or could be a source of connection and a way to let each other in (as he was the doorman!), but instead becomes another tool of violence and of a right vs wrong way to be.

-SMOKE. Violence as protection, and a burden to be shouldered for tenderness and love. He killed his father to protect Stack. He killed Annie because she asked him to. He sent Sammie away to face and kill the KKK men by himself, knowing he might be killing himself in the process. I think of the scene where he’s dying and Annie in the afterlife is watching him while holding their child. As Smoke unloads bullets into the dying klan member, she doesn’t flinch at his violence, and neither do we as the audience. It’s righteous and justified, and in the very next moment, he holds his daughter softly. The violence stands in contrast to his connection to his brother and lover and daughter, but it’s not antithetical to it or a threat to it. Defense of Black culture – and Black masculinity itself – is not inherently violent. Smoke is not his violent father; he broke that cycle too. He is tender and loving, and it’s the reason for his protectiveness and informs his violence that’s directed outward in defense of his family, and especially at the vampires and white supremacists. There’s also something to be said for how Smoke has these violent skills and weapons because he was a soldier in WWI. He served a country that treats him and his people as less than human. And Grace even tells him, “Aren’t you a soldier?” Yes, he was. He shouldn’t have to be at home. And yet, this too is a war, with him and his people being constantly besieged when all they want is peace. Along those lines: At first, Smoke thought that money could be a form of power, to the point of nearly slipping into valuing it more than community when it came down to payment for drinks at the juke joint. But he internalizes and learns especially from Annie that money can’t save you; money didn’t save Slim’s brother who was lynched, and the twins throwing money at a Klan member for the juke joint didn’t stop them from pulling up to their door. Smoke comes to fully learn that All we have is family, community, and our traditions, and we can’t let them take that. Perhaps that’s also part of the reason why he couldn’t kill Stack in the end, instead killing Remmick (as he killed their father) to give Stack his best chance at freedom.

-SMOKE & STACK. The older brother looking at his now-wayward younger brother who suddenly feels like a different person. The twin who looks at his mirrored self and doesn’t recognize who he sees anymore. Who is Stack now? Did Smoke fail him? But there’s something in Stack that is still him, even though he’s forever changed, and ultimately Smoke can’t destroy that. From one sibling to another, it’s the thought of “I can’t abide by or agree with what you’ve become but I can’t destroy you either.” There’s no me without you in the sense that we’re forever tied, but also in the sense that we were instrumental in making each other who we are, for better and worse.

-“ELIJAH MOORE” VS “STACK.” Names are powerful. Smoke’s real name is used in the end as a nod to the connections to his history and roots, and also to his truest self, which he reunites with just as he reunites with Annie, their child, and spirituality in death. Contrast this with Stack, who is going by his nickname in perpetuity – a half name that’s forever cut off from Smoke as the other half, and a disconnect from his old self he’s buried. In the end credit scene, STACK is seen on his ring and visually tied to stacks of money under his hand, aka empty power at high cost. It’s a sad reversal of Stack’s prior thoughts on community and people being more important than profit, when he and Annie were united at the juke joint in pushing back against Smoke’s pursuit of “American dollars.”

-SAMMIE and “This Little Light of Mine.” My goodness. At the start of the movie, Sammie’s preacher father wanted him to sing gospel as a way to lead others in the church, but he never gets to in the context/timeline of the movie. We only hear the choir singing it in the opening instead without Sammie’s involvement. But then, the final credits scene: Sammie has his guitar, which we know doesn’t exist anymore because it’s the guitar he used to fight off demons (literal and metaphorical), and now he’s singing it as a blues song. Did he sing it in church at an earlier point before the events of the movie? Who knows. Doesn’t matter. What matters is this: Sammie’s preacher father tried to give him an ultimatum. Put down the guitar; put down the blues music and the dancing and the sex; put down the sinning. It all attracts darkness, so come back to church and return to the Lord. Be pure. The Christian church, explicitly used as a tool of oppression that benefits white supremacy. But even after the horrors and trauma Sammie experiences – some of which he even draws in through his music (and metaphorically his “sinning”), which is not his fault – Sammie won’t let it go. He can’t. It’s who he is, and it’s his culture and connection to his ancestors, and there’s nothing sinful about any of it. The music, the dancing, the fucking, or anything else. It’s all beautiful, and the embracing of it all then necessitates (because of his father’s ultimatum) a level of rejection of the church in order to continue to live. But despite all of that… The church (and perhaps some redefined aspect of faith) is still a part of him and his culture too. He carries it with him, which is a relatable notion for many people who were raised religious and either chose to walk away or were forced to because of the inherit ultimatums in its restrictions. And so: Sammie had been told to lead and use his music to shine his little light all around the world. It may not be for the church or in the way his father wanted, but by God, he still went out and did just that. In his way, on his terms, without forgetting where he came from.

-Sammie stands in church at the start of the movie. His pastor father has been pushing, Give me the blues guitar. Rejoin our congregation. Sing gospel. Sammie stands in church and it’s intercut with flashbacks of Remmick attacking him. Give me your music. Join our clan. Sing Irish folk songs for me. And yeah, Sammie’s grip on that blues guitar stays real tight.

-[Side note, mostly kidding: all vampire stories could do with a bit of queerness. As merely a fun exercise, if I was choosing to make one aspect of this movie queer in a way that naturally further services the themes… I’d make Pearline a man. Have Sammie be a “sinner” in another dramatic sense by making him queer. What if on the best day of his life in the juke joint, he connects with another man through music and then fucks a man? Much to think about. But there’s a lot going on in this movie already of course, in a specific historical context. And people would’ve gotten too distracted from the various core messages about race and culture (because no one can be normal about seeing queer stuff and understanding intersectionality). But hey, that would’ve hit! And would’ve fit. Just an interesting and extremely unnecessary what if in the privacy of my own mind.]

-STACK (& MARY). Still alive, but dead inside. How good is the life they lead? Stack, when trying to convince Smoke to join the vampire clan, referred to the assimilation they were experiencing as a form of freedom because of the (tangential-to-whiteness) power. But not only is that freedom untrue and filled with conditions, it also comes at a high cost. Eternally separated from their family, divorced from culture, their old selves and lives dead and gone, with no one but Sammie left to remember who they really were. Frozen, adrift, unable to move on or grow. But here’s the thing: was it their fault? Both Mary and Stack’s turnings were nonconsensual. Their disconnection from and erasure of their culture was nonconsensual, and they became Different before they realized what was happening. Remmick is killed and they’re free of his influence and control now, but where does that leave them anyway? They’re still ostracized and left out in the cold, and can’t be let back in unless someone lets them in, which no one is inclined to do – except for Sammie. In Stack and Mary, we see the cost of leaving your cultural roots behind, or (more accurately) having them taken from you violently, forcefully, or through the inescapable encroaching influences of colonialism and white supremacy. As foreshadowed by Sammie’s question to Mary in the juke joint: what are they now? They’re something Other, trying to make their space in the world, and dressed not dissimilarly to the genres of music seen when Sammie’s blues transcended time. So maybe they’re trying to make their own spaces work. But in particular… Stack can’t fit with the white humans, and he can also never go home. Yet he and Mary long for home and for culture, and make an attempt to reconnect with it – which, incredibly, Sammie allows. Sammie is now (visually) the elder who lets the wayward young people back in. He literally embraces Stack – and I think it’s key that he doesn’t embrace Mary. Stack and Mary may be together, but the ways in which they’ve been changed and the disconnect they’re experiencing is undeniably different, because Stack is Black and Mary is not. Its relevance can’t be ignored. This moment and this culture is not hers in the same way. Sammie takes a last parting shot at that point and hammers the themes home by changing the lyrics of his “Travelin’”: I don't know why in the hell I'm here, because the woman I'm lovin', you know she really don’t care. Fully justified? Slightly unfair to her trauma? Maybe mostly the former and a tiny bit of the latter, and heartbreakingly understandable regardless.