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lavalampelfchild · 4 years

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Lava’s Art Masterpost

Hey, all! Welcome to my art masterpost! I have no idea if this is a thing that is done typically for art, but oh well, I like organizing things, so here we are! What you’ll find here is mostly Dragon Age, with a few non-DA pieces in there, and there’s a range of styles I like to use, depending on my mood. But a lot of what you’ll see will most likely combine lineart with some other form of coloring/shading.

Feel free to browse at your leisure, and I hope anyone who stumbles upon this enjoys what they find! :D And thank you to anyone who sees this and likes, or reblogs, or even just stops by to peruse a bit!

All that said, away we go!

Digital Portraits:

1. Portrait of Nameless Woman, 2020 - This one is just an experiment with a watercolor brush that I did. It’s not anatomically perfect, but I enjoyed playing around with shading.

2. Sketch of Aja Amell, 2020 - This one is basically sketch practice with my Amell~ Not really the most expressive pictures, but it’s a start toward drawing her more expressively. Full disclosure: Aja is one of those OCs of mine that I have had trouble with deciding on a definitive appearance for several pictures, and I really want to work on upping my level of consistency when drawing her.

3. Long-Haired Fenris, 2020 - Exactly what it sounds like; this was for practice drawing Fenris’s features (I love how distinct they are), but with long hair because I am weak for it. This one was a fun piece to shade, and mixing the stylized lineart that I normally use with a greyscale shading spectrum was really enjoyable.

4. Portrait of Ilorin Lavellan, 2016 - This is an oldie. Basically practicing expressions, and it is technically a WIP, but I’m still very happy with how the shading turned out, especially because this is actually (aside from the unfinished hair) one of the more minimal pieces I’ve done in terms of lineart It’s still there, and it still shapes the flow of the picture in some ways, but it also ends up flowing with the shading instead of standing out next to it, which I like. (Both styles are good, though, and I love seeing other artists try both too.)

5. Old Portrait of Aja Amell, 2016 - Much older picture I did of Aja; she... honestly looks very little like the newer one, I think, and that consistency is something I’m still working on, but this one was the first picture of Aja with that particular hairstyle I drew. What I like about this picture is how young she looks; it fits with her image as a fresh and sheltered Circle mage who’s only about 20 years old at the time of DAO.

6. Old Portrait of Trilyn, 2016 - They very first piece of art I posted to tumblr~ It’s not exactly how I envision Trilyn anymore, but it was still very fun to draw, and helped me get a feel for drawing him in the future.

Dynamic Movement Pictures/”Moment’s in Time”:

1. Tabris in Arl’s Estate, 2020 - TW: blood. I am super proud of this one. My ultimate goal is to draw all of my Warden DAO OCs, and I could not believe I’ve never drawn my Tabris, and so here she is. This was, in large part, practicing expressions because I absolutely love art that depicts characters in motion, or capturing some kind of expression.

2. Velyn in the Rain, 2017 - This one was actually based on some art that I saw in a Teen Wolf fic! It was an experiment with a more expressive style (and one of the first pieces I did without lineart left in the finished version) and it was a huge step out of my comfort zone. But overall, I am extremely happy with how it turned out.

3. Jem Nocking an Arrow, 2016 - And here is the lineart version. This was entirely an excuse to draw my DAI baby, Jem, and to do a cool archer pose because archers are my fav, and I love characters in motion.

4. Solas Teaching Trilyn Fade Magic, 2016 - This one was a painterly picture that was also (like the Velyn picture) something which I tried to keep lineart out of. Overall, I am proud of a lot of parts of the pic, but I think I would definitely go back over it and change a few things now if I had the patience.

5. Trilyn Closeup WIP, 2016 - TW: injury, blood, mention of abuse in the author’s note. A lot of early pictures I have are of my OC, Trilyn, and this is one of my absolute favorites. His entire upper body is technically in the picture, but I hadn’t finished rendering it yet, so this was what I posted. And it was an experiment with a cross-hatching style with the pencil tool for some texture, with air brush shading and a blurring tool. It’s a style I had fun playing around with!

6. Trilyn Blood Ritual, 2016 - TW: blood, injury (the slight cut used to supply the ritual with blood). This one was definitely a sort of “captured moment” from a backstory I gave Trilyn, and I think what I was really going for was an atmospheric piece that could fit with any potential fic I wanted to write for Trilyn. And then it ended up being practice for extreme lighting/shading techniques, and drawing the blood and the gross mass of demon ichor (or whatever the heck that is) turned out to be highlights of making the piece for me.

Art + Text:

1. Freedom and Control, 2020 - TW: scars, but very difficult to see. This one was ambitious for me! It started originally just as Solas and my Tal-Vashoth OC, Saara, facing each other, because I love the dynamic I’ve built for them in my head, but then it turned into an attempt at a tarot-esque background, and just sorta grew from there... Overall, I’m happy with how it turned out, especially with how Solas and Saara themselves turned out. The version you can actually see a larger view is here.

2. Marianna and Delia Codex and Art, Pt. 1, 2020 - I love writing my own codex entries, first off, and I love combining art with text to create a (hopefully) seamless work. This work was an attempt to flesh out these OCs of mine with both art (because unique facial structures are hard for me to get down, but so important regardless) and text (because writing~). I think it turned out well overall, but there are elements of the portraits that I might at some point touch up a bit.

3. Marianna and Delia Codex and Art, Pt. 2, 2020 - Part 2, with what I refer to as a “DAI Outfit Change” because I have always loved seeing fans show their own OCs as they look in DAO, DA2, and then finally DAI. So I absolutely wanted to jump on that bandwagon myself. The skin tones are a little off (and I’m sorry about that!) because I was playing with the watercolor brush at that point, and it dilutes the colors I use. Still working to figure that out, but I was very happy with the overall lineart and structures of the faces.

4. Alistair/Aja Amell Picture with a Blurb, 2017 - Ooooold, old, old, old, OLD! I still love the art, and I’m soooo happy with how the interaction between Alistair and Aja turned out (drawing kisses is extremely difficult for me; I always end up creating a distorted weird lip-creature, instead of realistically puckered lips...). I’m not as happy with the blurb that went with it? At that point, I was still very much figuring out my own DAO worldstate, and the characterization for everyone, so, eh. Take it with a grain of salt!

Unfinished Costume Designs:

1. Ancient Elvhen Armor with Dwarven Influence, 2018 - People who do costume design work are amazing and mystical beings, and I wish I could do what they do. This was an attempt at merging the Keeper robes from DAI with a more dwarven armor aesthetic, solely because I created an ancient elvhen character, Ceda, who was taken in by the Cad’halash dwarves mentioned in the Witch Hunt dlc, and I wanted this character to have a mix of the elven style of armor and the dwarven style. I’m overall decently happy with it, but there’s still that persistent level of self-criticism present.

2. Herald of Andraste Outfit WIP, 2016 - This was a very old picture, not one I showed around a lot, but the idea for this was entirely born of my intense interest in how fashion and outfit designs could be used to create a symbolic image for the Herald of Andraste. In general, I love the combination of ceremonial armor with long and flowing cloth, so that was what I went for here. I’m still actually very proud of how this came out, and headcanon something similar for my Herald in my canon DAI worldstate.

Pencil Sketches:

1. Quick Saara Sketch, 2019 - TW: saarebas mouth scars. Exactly what it says; very quick sketch of Saara I did in a small notebook I carry around with me. This was basically a test for myself to see if I could manage to draw Saara with the features and facial structure I envisioned for her without needing to use a lot of references.

2. Mass Effect Character Sketch; Jesse, 2018 - Similar reason for drawing this one as the above Saara sketch! With these characters, I love sometimes the way they can turn out with the specific character creator used for them, and when I draw them, I enjoy trying to create a definitive look for them using what I get from the CC, and my own knowledge of Hooman Faces.

3. Saara Sketch, 2017 - TW: saarebas mouth scars. A more detailed sketch of Saara than the one above, and one I definitely put more time into overall. It’s currently the profile picture I’m using for ao3, and is the definitive go-to reference picture I use whenever imagining Saara in a fic, or for other Saara pics I make. I am extremely proud of this picture, and feel like I should work in graphite more often. It’s such fun, and the texture is so nice to look at.

4. Sketch of Nameless Alamarri Woman, 2017 - This was a sketch I did of what I envisioned some Alamarri tribes to look like; I used artistic depictions of Gaul tribes and hairstyles for inspiration, and have used this as a go-to reference for my version of Alamarri tribes. Nothing super notable about this one, but I really liked the way the shape of her face turned out.

Events and Gifts:

1. Another Scar, 2020 - TW: blood, injuries, gore. The most recent piece of art on the list, and a gift for @cartadwarfwithaheartofgold; featuring sisterly love between Rica and fem!Brosca, which was her requested prompt. This was a tough piece for me because of the difficulty with the lighting I dealt with. For some reason, that one particular element of it gave me so much trouble. Overall, I’m very happy with how it turned out, though, especially the skin tones of the sisters; Brosca I always sort of like as having this greyish, more gaunt look to her, while Rica I like seeing with a darker, richer, and warmer tone to her.

2. A Very Cousland Christmas!, 2019 - This was for a holiday exchange for a server, and I drew a friend’s Cousland (Elissa, the girl on the left) with my Cousland (Gazza, the girl on the right). I love kid-fic, and I love kid-art, and so I decided... baby Cousland art! Drawing kid proportions was the toughest part, I recall, and I thiiiink it turned out well, and I’m still quite proud of it overall. Elissa’s design came entirely from my friend, but I added the holly~

3. Exchange Gift with Dis Brosca and Mabari, 2018 - This was an exchange gift for @fanfoolishness, using her lovely Dis Brosca, and was my first real attempt at backgrounds... I struggled with the coherence of the foreground and background a bit, but I’m still very proud of how it turned out, especially with the colors I had to work with. What I also really enjoyed working with was the lighting and the expression on Dis’s face. Backlit subjects are always fun to play around with!

4. Inktober Picture, “Deep”, 2017 - TW: scars, injury, mentions of abuse in the author’s note/attached dialogue snippets. This was for an Inktober prompt (the only one I’ve ever done, sadly... because I am bad with deadlines...), and again features Trilyn. Trilyn’s backstory has him a former slave in Tevinter, and a lot of the early works I do for him are sort of deep-dives into his life there. It’s all meant to be an exploration of the things he endures, and then those moments when he overcomes it all and takes back his own autonomy and self. This art is definitely provocative, and I can understand if not everyone likes it, but to me, I just wanted to show just what he faces (without glorifying it) before showing the moment of his own triumph.

5. Christmas Holiday Picture with my Brosca and a Friend’s Amell, 2017 - This was a piece of art drawn first by a friend of mine, @nanahuatli~ She drew the Amell, the background, the mistletoe, etc. All I did was add my Brosca to the mix to finish the image. It was a lot of fun to do, 1) because it was fun trying to match her style so that the picture looked cohesive, 2) because I love doing collabs with friends, and 3) because it was just such a fun thing to imagine my surly short Brosca, looking at this weird plant/fungus/thing dangling over some puckering human! It was an absolute joy to do this collab with her!

6. OC Kiss Week Pic of Jem and Saara, 2017 - TW: saarebas mouth scars. A spur-of-the-moment thing meant to demonstrate just what kind of dynamic my OC, Jem, has with my other OC, Saara (both of whom are members of Leliana’s network in DAI). This was a very quick picture (deadlines...) and was mostly just to have fun drawing these two characters interacting, and to see if I could make them look like themselves. I think I did a decent job with it overall, especially with Jem’s kissy-face! (Again... drawing kisses are the bane of my existence, although hands and feet take a close second.)

#lavalampelfchild's art #masterpost #dragon age #some not DA stuff

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ventrue-rosary · 5 years

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Kingdom of Decay - Chapter 3

Also available on Ao3. Like my work? Support me on Ko-Fi!

Chapter 1 | Chapter 2

Chapter 3: Amaranthus

Even during summer, when the sun dips behind the horizon, the air grows chilly. One would catch their death of the cold if unprepared. Indeed, even festooned under her cloak with a bedroll and a blanket, Amara shivers, finding sleep hard to come by as the cold assaults her body. ‘Can we please have a fire?’ she asks through chattering teeth. Addenus shakes his head, looking at complete ease with the unfortunate weather. ‘Draw too much attention. This place is called the Red Rivers Crossing for a reason.’ Amara sits up but remains in her cocoon. ‘What reason?’ ‘Monsters.’ The wind picks up. The icy breeze caresses Amara’s cheek. She cringes against the unwelcome sensation. ‘You’re not going to elaborate?’ ‘Wouldn’t wish to sabotage your sleep, Princess. And you will need it.’ ‘I think it's safe to say its already sabotaged.’ ‘Just a jest, Princess-but make no mistake, the woods are dangerous. Come with me.’ Intrigued, she follows Addenus further into the woods. Though human, he has no trouble navigating the smothering dark forest, dodging trees and ducking underneath low-hanging branches with grace. Before long, she hears the unmistakable sound of running water. Soon they come into a clearing. A large body of water, some 50 feet across, has cut a path through the forests. It isn’t until she stands at the edge of the bank she sees the deep crimson hue of its currents. ‘Red...red water? How?’ Addenus stoops down to pick up on of the plants growing along the rivers bank. He holds up what looks like a flower--numberous small petals folded on one another leading upwards to form a stalk, in a deep burgundy hue. ‘You know what this is?’ She cocks her head. Familiarity rushes through her, and a name popis into her mind. ‘Amaranthus…’ He twirls the stem between his fingers. ‘ “Undying…” safe to say the river is picking up the pigment from these flowers growing around it. Since the amaranthus’ never wilts it has a constant supply of them...the river always runs red. ‘ “Undying” ‘, Amara repeats to herself. ‘Nothing is undying.’ ‘The Amaranthus is. And maybe the Princess named after it will be.’ Addenus offers her the flower with a small smile. ‘I doubt that very much.’ she mutters, but she takes it all the same. ‘Oh, you will die given time. But your name, and your deeds and influence can survive past the grave. It all depends on how you act in life.’ She stares into the flowers depths. Trying to imagine what kind of legacy she would leave on the world. For a moment, she thinks she sees something--a flash, two people, boy and girl the exact opposites of each other, like fire and ice. It vanishes as Addenus claps her on the shoulder. ‘Let’s get back to camp. You should rest.’ Addenus starts a fire, leaving her comfortable enough for sleep to find her.

When Amara wakes, she wakes alone in a strange unfamiliar place. Instead of finding herself beneath star and leaf, she finds herself surrounded by stone walls. The room is entirely empty, and dark. Even her eyes find it difficult to penetrate the yawning abyss ahead of her. Then, a light, flickering and blood red. It swallows the dark around it, allowing her to see what lies ahead of her. A single sword of a dark grey hue and a finely made handle. Metal twisting upwards around the dark red gems running up along the handle to the hilt. Another, far larger gem makes up its pommel. Small runes occasional flash in red along the blade. ‘You answered my call…’ Amara starts when she hears the voice. It is not a single voice, but multiple, one dark and raspy, the other light and alluring, like two sides of the same coin. ‘Sanguine?’ ‘Your family and I have been one for generations. It is your turn to shoulder the burden...but are you ready?’ ‘What do I have to do?’ she asks. A low chuckle resides in her head. ‘First, survive. Then, we shall see.’ A hand of shadow clasps around the handle and swings the sword, testing its weight and balance. From out the darkness steps a woman clad in fine armour that almost matches the design of Sanguine--dark, but glowing with runes and a single red gem in the centre of the chestplate. The woman has long black locks, violet eyes and tapered ears. Amara gasps as she beholds the form that appears to be an older, stronger version of her, wreathed in a red and black miasma. She holds Sanguine to the exposed skin of her left forearm. Amara cringes as the blade is drawn down, cutting through the skin. Instead of dripping down to the ground, the blood coalesces on the blade, manifesting as brightly burning flames that flicker a deep crimson colour. Amara stumbles back in horror, tripping over her own feet. She crawls backwards, her palms scraping against the rough stone as she drags herself away. The wrath rushes forward, and plunges Sanguine deep into her heart. She feels the blade cut through skin, flesh, bone and eventually tissue. The flames lick at her sundered skin, cauterizing the wound as it cuts. The blazing inferno seems to surround her in flame, drawing out of her a feral scream as she lays in the gripes of agony so unreal she scarcely believes it. When she jolts awake at the camp she is still screaming, until the pain subsides. Desperately, she claws at the fastening of her shirt, fingernail scrabbling at the skin between her breasts in her panicked struggle. There is no sign of scar or injury. Her body sags in relief, but her mind is still fraught with worry and her heart doesn't slow it's chaotic rhythm. She meets the gaze of Addenus the other sight of the campfire, as he attempts to stoke the embers back into life. He doesn’t seem surprised or curious at her frightful outburst, instead regarding her with sympathy. ‘You met Sanguine?’ She nods. The fire springs back to life. Amara jumps back, remembering all too well the agonising heat as it consumed her heart. ‘He can be...intense.’ Addenus winces. ‘It wasn't just him…’ Amara swallows. ‘There was...someone else.’ ‘Someone else...who?’ ‘Myself, I think. Only much older. Stronger. I was wielding Sanguine. I...she stabbed me…’ Her fingers trailed the skin between her breasts, where the blade cut. Addenus crinkles his brow in confusion with a hum as he considers her words. ‘Curious. I don’t believe anyone else had had such a dream. It has always just been Sanguine, and Sanguine alone. You say this...other you wielded Sanguine?’ Amara nods. ‘Stabbed me straight through my heart.’ ‘Curious indeed. We should head for the Order post-haste. Perhaps we can ask him directly when we get there.’ Addenus rummages through his bag and tosses her an apple. ‘Here. Break your fast and walk. I would like to get there today.’

Amara’s entire body quakes with exhaustion as they mount the final step leading up the order. Standing tall and proud at the apex of the mountain is a square building hewn from obsidian stone. Braziers flank the large metal doorway which bears a sword pointing groundward wreathed in flames. There are no visible handles or door knockers on its surface. Addenus steps forward, producing a small dagger. Her slices open his palm, and places it on the the metal. The blood stretched across the surface, coating the carving of the flaming blade. With a grinding groan, a seam appears in the middle of the door. The two halves part and swing inwards into the dim lit exterior. They close and reseal behind them, erasing all evidence of the split. Amara turns to face the interior. High windows allow what little light is left of the day to filter through, bathing the stone interior in the hues of sundown. The entryway splits into three identical corridors, two to either side and one straight ahead. Addenus leads Amara down the centre path, ending at a door which looks like an exact replica of the entrance, only on a smaller scale bearing less extravagance and an actual handle. Addenus raises his fist and raps on the door thrice. ‘Enter,’ a stiff and nasally voice responds. Addenus opens the door, revealing a large study room that is the picture of organised chaos. Piles of books and parchments are stacked on nearly every available surface, some even on the floor. Nearly every wall is covered by full bookcases, or well stocked cabinets of weapons and several pieces of well-kempt armour, or shelves littered with vials, bottles, more paper, small framed portraits and other suck knick-knacks. Sat in a plush armchair behind a huge mahogany desk sits a middle-aged elf, his hair more salt than pepper, his wrinkled face devoid of any sort of facial hair. Dressed in a black coat with shiny gold buttons, and writing unimpeded by the large and numerous rings on his fingers, he looks every bit the noble. He even carries himself with grace as he sets aside the quill to regard the both of them. ‘Addenus...Mistress Darcelle, a pleasure. Your uncle is a formidable fighter. I hope you also have the skill, but with a touch more self-reflection.’ His thin lips stretch into a smile that doesn’t quite reach his eyes. ‘Jedrek Blackclaw, at your service. Well, now you have arrived we should set you up with accommodations...I trust it has been a pleasant journey?’ ‘Uneventful, but tiring,’ Addenus says. Amara, now in a strange place with exciting yet terrifying prospects, finds herself quite awake. ‘Of course. Show the young Lady to the quarters, then you may retire. We’ll start with the induction in the morrow.’ Addenus stuffly bows. ‘Of course. Come on, young Princess.’ ‘Induction?’ Amara asks fearfully as she follows him through the halls, back to the entrance then steering to the right. ‘It’s nothing. Just a lot of talking, and swearing oaths. Boring, political stuff. The exciting stuff happens later. Training, fighting...you’ll love it.’ Amara is less convinced, but she deigns not to argue. They pass many doors. She hears clashings of steel behind one, others voices talking and laughing, but she sees no one else out and about. Eventually, they stop at a single door, in a private alcove away from the activity she heard earlier. ‘This is you. The Darcelle room your Uncle was using.’ ‘Am I ok to use this?’ ‘Of course. We figured you’d like some taste of home for your stay. Sleep tight.’ Amaranthe tiptoes into the room--a moderately sized chamber quaintly furnished with a simple queen-sized bed, an armoire, nightstand and a window seat, a shelf on either side holding a handful of books. Amara kneels on the window seat, reaching for the shelf, and adds her dog-eared copy Of Monsters and Men to the meagre selection. The book barely reaches the surface before she pulls it into her lap and opens it. The lettering on the pages is barely legible, but enough so to rouse her memories of reading it through countless times. She recounts the tale in perfect accuracy, until nodding off where she sits. The book falls to the floor, but doesn’t reach it. It remains suspended an inch off the ground. Curious, Amara reaches for it. The pages turn as though caught in the ire of a gale, stopping at the midpoint of the book. An illustration depicts a helmeted knight holding up a familiar sword--one with a dark blade and jewel encrusted hilt. She turns the page. No words, but a drawing of a dark stormy landed shrouded in mist. The mist parts, revealing a dark castle that fills her gut with dread. From behind the foreboding spires, a monster emerges: sickly green tentacles wrapping around the building. The book falls from her grasp she she retreats from it. It lands with a loud thump. The sound starts her. She wakes on the window seat to complete darkness. Her eyes eventually adjust to the absence of light. Amara retrieves the book which fell from her grasp. No strange, moving illustrations. Just words. She slots it onto one of the shelves and walks to bed. She passes by a window as she does, and spots a figures from the corner of her eye, Looking down to the ground below, she sees her Uncle in passionate talks with Jedrek. Jedrek strikes a blow to her Uncles face. Amara flinches as she hears the sound from her window. He staggers, holding a hand to his bloodied mouth. One foot is put forward, as though he intends to retaliate, but he freezes. Then his head angles upwards. With a gasp Amara jumps to the side out of the pane, back against the stone. She wonders if she moved quickly enough. Peeking around the corner, there is nothing but an empty courtyard.

#kingdom of decay #kingdom of decay chapter 3 #amaranthe darcelle #my writing #original writing #writblr #dnd #d&d #curse of strahd #cos

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mariocki · 5 years

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Mariocki's 2018 Top 5s

Top 5 films (previously unseen)

Hachijikan No Kyôfu (Eight Hours Of Terror, 1957). An entirely atypical Seijun Suzuki film, its basically The Lady Vanishes mixed up with The Wages Of Fear, all shaken about and told with Suzuki's unique blend of irreverence and humanity.

Die Blechtrommel (The Tin Drum, 1979). Volker Schlöndorff's adaptation of Günter Grass' seminal novel dispenses with much of the third act, making for a leaner, more coherent film. Magical realism walks hand in hand with the banality of evil in a visually stunning, difficult, funny and distressing film. Unique.

The Offence (1973). Sidney Lumet adapts a minor play and transforms it into a cinematic masterpiece. A gruelling, exhausting study of one man's destruction - or is it two men, or neither? In replaying the same scenes, with slight variations and a little more revealed each time, Lumet twists the plot and the characters until everything is either revealed or obscured - depending on your reading of events. Undoubtedly Sean Connery's finest performance.

Alice, Sweet Alice (1976). A cheaply made, independent slasher film - but so intelligently made, so thoughtfully put together, that to call it a slasher feels insulting. Full of symbolism, amazing visuals, and one of the most frightening knife attacks in all horror cinema.

The Shape Of Water (2017). The only time I ventured to the cinema this year, I think, and I was well rewarded. Guillermo del Toro's fairy tale is at once very modern and thoroughly old fashioned, a warm and rosy love letter to both Old Hollywood and modern love. Beautifully acted, directed, scored, costumed...

Top 5 films (rewatched)

Point Blank (1967). John Boorman tackles the familiar film noir tropes, only to pick them apart and produce something entirely new. Incredibly stylish, and towered over by Lee Marvin's amazing central performance as the inscrutable, unreadable, intense Walker.

A Man For All Seasons (1966). Robert Bolt adapts his own play, streamlining some elements and redistributing the Chorus to produce a powerful polemic on hypocrisy, politics, and ambition. Paul Scofield fully deserved his Oscar for playing More.

Butley (1974). Part of the American Film Theatre, Simon Gray's study of a verbose, embittered, drunken academic on the day his life falls apart, is both brilliantly witty and heartbreakingly sad. Alan Bates barely draws breath for two hours, but it doesn't drag for a second.

Night Of The Demon (Curse Of The Demon, 1957). Jacques Tourneur approaches the ghost story as film noir. Where the film suffers from special effects limitations of the time, it succeeds in producing an air of pure terror and suspense.

Operazione Paura (Kill, Baby... Kill!, 1966). A relatively tight and simple plot by Mario Bava's standards, but perhaps his most visually experimental film. Drawing on a wealth of sources, Bava weaves a gothic tale of dread in a lurid kaleidoscope of greens and purples.

Top 5 TV shows (new)

Sharp Objects (HBO). Had the audacity to tear me apart, then stitch me back together, only to tear me apart again. Truly one of the most impressive bits of television ever produced, perfect in design, casting, direction and every other aspect. I'm honestly not sure I've recovered from it yet.

Killing Eve (BBC America). Big, shiny, funny as hell, Gay ™, a brilliant cast work tirelessly to produce a show that works on multiple levels, all of them awesome.

Vic & Bobs Big Night Out (BBC). Its always a joy to have the dynamic duo back on tv, but to have them revisit some of their oldest and most beloved creations (The Man With The Stick! It's been nearly thirty years!!) felt very special. Undeniably an acquired taste, the pair are part of my childhood and nobody can do unbridled, joyful anarchy quite like them.

Derry Girls (Channel 4). Deeply funny, bitingly honest and at times truly moving. The young cast are excellent, and if you made it through the finale without a tear in your eye, you're a stronger viewer than I.

Doctor Who (BBC). Not, perhaps, the strongest series New Who has had - but Jodie Whittaker made, for my money, the strongest and most confident debut. She was The Doctor within seconds, and what the series might have sometimes lacked in depth and maturity it more than made up for with one of the strongest TARDIS teams the show has ever had, in New Who and Classic Who.

Top 5 TV shows (old)

The Fellows (Granada, 1967). Establishing itself as a formulaic, criminal-of-the-week crime show, about half way through this series creator Robin Chapman pulls the rug out from under the viewer, culminating in one of the most singularly impressive episodes of old telly I've ever seen - fifty minutes in which the two leads, irrevocably changed by a seemingly minor infraction, debate their own worth, the nature of crime, the relevance of justice and the very existence of evil. Spellbinding.

Callan (ABC/Thames, 1967 - 1972, rewatch). Was there ever a more anti-authoritarian series than this? Dispensing with black and white for shades of grey, and deep, dark shades of grey at that. Fantastic scripts, flawlessly cast, and with moments of genuine shock that will stay with you long after the series has finished.

Out (Thames, 1978). Trevor Preston shook off his association with children's television to produce this decidedly adult study of a career criminal deeply affected by his time in prison. Sticking rigidly to the 'show don't tell' school of storytelling, Preston slowly paints in the background to Tom Bells intense loner Frankie Bell, ending with a morose portrait of a man both damaged and damaging to those around him.

Mr. Palfrey Of Westminster (Thames, 1984 - 1985). Supported by scripts that are dense, literary, but often very funny, Alec McCowen makes Mr. Palfrey a truly unique figure in the world of spy fiction. Always witty, always clever, but sometimes devastating - like all the best TV should be.

The Nearly Man (Granada, 1974 - 1975). Unashamedly wordy scripts full of monologues and complex, barbed conversations. A fascinating insight into British politics in the 1970s, held together by Tony Britton's powerhouse performance as Labour MP Christopher Collinson - an arrogant, selfish, committed, honest, manipulative, courageous, decent bastard.

Top 5 books

Sense and Sensibility - Jane Austen. A lot funnier than I was expecting, quickly became my second favourite Austen novel. Considering we never really get inside his head, Brandon is a brilliantly realised, three dimensionsal character.

Selected Literary Criticism - D. H. Lawrence. I have a lot of issues with Lawrence, and almost as many with his writing, which is frustrating and irritating just as often as its beautiful and moving. His criticism, although far from perfect, is perhaps the best way to get to know the man behind the words - part genius, part raving zealot, insightful, clever, conceited and baffling.

To The Lighthouse - Virginia Woolf (reread). Light on plot, heavy on everything else, Woolf's masterpiece. Hauntingly beautiful, a semi-conscious daydream of a book which is about nothing much at all, but also what it means to be, what a soul is, and the nature of love.

The Dig - Cynan Jones. In style, Jones is the polar opposite of Woolf - short, clipped, without fanfare or decoration. At times an ugly book about ugly things, but there are moments of sheer joy - and of real shock.

Feet of Clay - Terry Pratchett (reread). What can I say? It's TP, and it's The Watch, a sheer joy. The man knew how to use words just right, so that you're laughing one minute, and the next you feel distinctly uncomfortable.

#top 5 #2018 #not sure why i did this?#probably more for my own reference #time... blurs #also i still don't know how to do read mores #so sorry for the long post

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arecomicsevengood · 6 years

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Hellboy

Dark Horse has begun reprinting Mike Mignola’s Hellboy comics in omnibus editions, $25 paperbacks collecting work which previously appeared in forms that seemed priced too high for the amount of enjoyment I thought likely I’d get out of it. While Mignola has made images I have thought looked cool before, probably the most visible aspect of his work has been the covers he has provided to various serializations and collections of work in his shared universe, and the visual aesthetic of these images, repeated over time, is very difficult to distinguish one work from another. Title characters pose portrait style in shadowy tableaus evoking a gothic atmosphere. When flipping through the pages, and not really reading, the way he honed his style down to something minimal often seemed like it had reached a place too spare to tell a story.

Images don’t seem indicative of a three-dimensional world, with a moving light sources. It seems like what the reader is looking at, they are also lighting, perhaps with a flickering candle. The graphic purity is so intense that it seems almost ocular: What is in focus is all we can see. When there’s a character in the foreground, and more happening farther away, the character in the foreground is with us, looking at that thing. When I think of the Mignola images I like that predate the Hellboy material, I most often think of a page in the DC event Cosmic Odyssey, where Batman is hiding just out of sight of the larger, Kirby designed villain above him: This sort of framing is nowhere in Hellboy.

Reading Hellboy, it turns out it still works. The aspect of Mignola’s visual language that seems most uniquely his is the insertion into a page of a statue or something that is primarily about atmosphere than a progression of sequential images. Despite his pages being redolent with big chunks of black and negative space, it was easy for me to see the similarities with Rob Liefeld and other Image founders. But reading this collection, those sort of insert shots that seem atmospheric or decorative when looking at the page as a whole comes across differently when you’re actually reading it: Like you’re noticing something else in the room you didn’t see before, but that now is emerging from the shadow because it’s directly in front of you. I don’t think of Hellboy as actually “scary,” despite its designation in the horror genre, but the stripped-back visual language works to convey that feeling as much as any of the story’s tropes.

At the same time, these tropes coalesce and stack atop each other, and the fact that the cast and mythology are large helps. The narrative interest is what pulls you through a fairly sparse visual vocabulary. There are a lot of plot points to move through. The world of the book is large, even though the spaces the characters occupy often are depicted only in an establishing shot that gives way to shadowy corridors. There’s a good amount of shot reverse shot. The artist is only drawing what he wants to draw, but he wants to draw these characters he invented, and maybe he just wants to draw them once or twice before killing them off.

The book comes into its own once Mignola starts writing it himself, though the initial miniseries was scripted by John Byrne. It does not seem like Byrne was trying to create a masterpiece that would stand the test of time right form the jump. There’s a funny tic to the early issues, in that literally every one Byrne writes a narrative caption describes a thought as occurring in the “small part of my brain still conscious,” or something similar. It’s like on some level he knows he shouldn’t be scripting this much, to keep pace with how Mignola draws. He leaves once it’s clear Mignola knows what he wants to do, that he has a lot of story he wants to tell, and Mignola as a scripter dials the prose way back. The promo stories Byrne wrote, collected here, have an even more jokey tone: Once Mignola takes over it’s clear he’s going for something, building something large, whereas with the Byrne stuff, he’s just doing a comic like other people are doing. Included in the collection are the little ads on each cover of the Seed Of Destruction miniseries for Art Adams’ Monkeyman And O’Brien backup. The stuff Dark Horse was pushing at this time was maybe not as dumb as the Image founders, it had a more interesting set of stylists, basically, but the intentions were similar, they just manifested in people who didn’t really want to do “straight superhero comics, but maybe with more sex and violence.”

Soon there will be omnibus collections of the later Hellboy material, including work he wrote for other people to draw. The artists who drew the most are, I believe, Richard Corben and Duncan Fegredo, two people whose work I in many ways prefer to Mignola’s, but who clearly respect Mignola’s approach to a page and the images that make it up. Mike Mignola won, is what I’m saying. Not just in his commercial success, but that he convinced truly huge talents, and not just the comics readership, to share his investment in his vision: These are not just people doing it for a paycheck, these are people who could draw whatever they wanted, agreeing that they want to draw the stories Mike Mignola wants to tell. It’s like John Gilmore being an influence on John Coltrane before deciding he wants to to work with Sun Ra for the rest of his life. (Yes, yes, Brian, this is a point of reference everyone is familiar with and thinks about as much as you do, you’re really nailing it and this totally works as a conclusion.) They see, or hear, in this work something truly genius they want to learn from, and wedding their work to it makes it more convincingly powerful. (I don’t really think Mike Mignola is a genius, that’s probably overstating things a bit, but ok, man, whatever.)

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loadingriver754 · 3 years

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What Is Mac Stands For In Computer

Believing is seeing.

The first 32-inch Retina 6K display ever. Up to 1600 nits of brightness. An astonishing 1,000,000:1 contrast ratio and superwide viewing angle. Over a billion colors presented with exceptional accuracy. And dynamic range that transforms the professional workflow. Introducing Apple Pro Display XDR, the world’s best pro display.

Banking MAC abbreviation meaning defined here. What does MAC stand for in Banking? Get the top MAC abbreviation related to Banking. Message Authentication Code Technology, Computer Security, Computing. Mobile Access Code Technology, Credit, Business. Mobile Authorization Code. Computer Networking LLC acronym meaning defined here. What does LLC stand for in Computer networking? Top LLC acronym definition related to defence: Logical Link Control.

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The contrast your eyes see between brightness and darkness is very challenging to reproduce in a display, leading to the development of High Dynamic Range (HDR). With breakthrough backlighting technology, Pro Display XDR takes brightness, contrast, and color to a new level. Far beyond HDR, it’s Extreme Dynamic Range (XDR).

A brighter idea.

Typical desktop displays have sustained brightness around 350 nits. Some pro displays exceed this, but most can only sustain it for short periods of time. Pro Display XDR produces an industry-leading 1000 nits of full-screen sustained brightness and 1600 nits at its peak.1 It gives you the power to maintain extreme brightness without ever dimming. Along with efficient backlight control, this delivers outstanding contrast between the brightest brights and the blackest blacks. The result is an incredible 1,000,000:1 contrast ratio and stunningly real XDR imagery.

1600 nitspeak brightness

Show your truest colors.

Pro Display XDR always gives you the truest representation of your work. A P3 wide color gamut provides a color palette capable of creating the most vibrant imagery. With true 10-bit color, Pro Display XDR can produce more than a billion colors with extreme accuracy. State-of-the-art calibration and a sophisticated algorithm ensure that you get the highest-quality color possible.

P3wide color gamut

LED in a whole new light.

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Innovation in every layer.

Every aspect of the light imaging system in Pro Display XDR is crucial to the overall quality of what you see onscreen. Each element builds on top of the last to create a display with unbelievable brightness and contrast.

576 blue LEDs work together.

Typical LCDs are edge-lit by a strip of white LEDs. The 2D backlighting system in Pro Display XDR is unlike any other. It uses a superbright array of 576 blue LEDs that allows for unmatched light control compared with white LEDs. Twelve controllers rapidly modulate each LED so that areas of the screen can be incredibly bright while other areas are incredibly dark. All of this produces an extraordinary contrast that’s the foundation for XDR.

Light is mixed and shaped.

For even greater control of light, each LED is treated with a reflective layer, a highly customized lens, and a geometrically optimized reflector that are all unique to Pro Display XDR. Through a pioneering design, light is reflected, mixed, and shaped between two layers to minimize blooming and provide uniform lighting.

Color is transformed.

Converting blue light to white is a difficult process that requires extremely precise color conversion. It’s why most display makers use white LEDs. Pro Display XDR accomplishes this conversion with an expertly designed color transformation sheet made of hundreds of layers that control the light spectrum passing through them.

Brightness is taken to the edge.

Pro Display XDR extends exceptional image quality to the very edge. To ensure that LEDs along the sides of the display mix well with adjacent ones, a micro-lens array boosts light along the edges. This creates uniform color and brightness across the entire screen.

One chip makes it all possible.

With a massive amount of processing power, the timing controller (TCON) chip utilizes an algorithm specifically created to analyze and reproduce images. It controls LEDs at over 10 times the refresh rate of the LCD itself, reducing latency and blooming. It’s capable of multiple refresh rates for amazingly smooth playback. Managing both the LED array and LCD pixels, the TCON precisely directs light and color to bring your work to life with stunning accuracy.

Superwide viewing angle.

When multiple people review work together on a single screen, it’s critical that everyone sees the same thing. While most pro desktop displays claim a wide viewing angle, in reality, color and image quality become distorted when seen off-axis. With industry-leading polarizer technology, Pro Display XDR achieves a superwide viewing angle that maintains exceptional color and contrast.

Up to25xbetter off-axis contrast than a typical LCD

Nano-texture glass.

Light scattered to further reduce glare.

Less glare. And even less glare.

Best dvd cd burner for mac. Every Pro Display XDR screen is engineered for extremely low reflectivity. And if you’re in an especially uncontrolled lighting environment, there’s an innovative matte option with nano-texture glass. Typical matte displays have a coating added to their surface that scatters light. However, these coatings lower contrast while producing unwanted haze and sparkle. The nano-texture on Pro Display XDR is actually etched into the glass at the nanometer level. The result is a screen with beautiful image quality that maintains contrast while scattering light to reduce glare to the barest minimum.

Goes with the workflow.

Professionals require a lot from their displays. But each person has different needs. Resolution, reference modes, reliable calibration. Pro Display XDR has everything you need in a modern workflow, bringing a new level of efficiency to every production. It wasn’t just made for the pro workflow. It redefines it.

Retina 6K. Expand your view.

Higher resolution means more than just a better-quality image. With a Retina 6K display, Pro Display XDR gives you nearly 40 percent more screen real estate than a 5K display. While most displays max out at around 150 pixels per inch (ppi), our Retina display has 218 ppi, providing astoundingly sharp and detailed imagery. It’s a massive creative canvas that easily fits 4K content, your tools, and much more all in one screen.

Many creatives. One vision.

Pro video workflows involve a range of professionals with unique setups. What’s always been missing is the ability to see the same image across an entire production. Pro Display XDR allows pros at every point in the process to experience exactly the same groundbreaking picture quality.

On location.

From the start of a shoot, Pro Display XDR reveals the content you’re capturing with incredible accuracy.

Post-production.

Image reproduction remains consistent across every point of your workflow, ensuring that everyone is always on the same page.

Reference modes.

It’s easy to adjust Pro Display XDR to match the requirements of HDR, HD, SD video, digital cinema, and broader uses such as photography, web development, design, and print. Just select a mode, and the display reconfigures itself to match a specified color space, white point, gamma, and brightness. And coming soon, you’ll have the ability to create custom reference modes.

True Tone.

The lighting around you can affect the way you see onscreen colors. True Tone on Pro Display XDR uses a breakthrough dual ambient light sensor design — with a sensor on the front and another on the back — to better gauge your overall lighting environment. This facilitates more exact adjustments to the color and intensity of your display, so you can have accurate viewing in all lighting conditions.

Apple Laptop Stand

Expertly calibrated.

Pro Display XDR is optimized to more than meet the standards of creative professionals. Every display goes through our state-of-the-art color calibration. Each of the display’s 576 LEDs is also individually calibrated and has its light profile stored. An algorithm then uses this information to determine the exact light intensity at which each LED should be modulated to produce the best possible image.

A beautiful picture is only part of the story.

Pro Display XDR is stunning every way you look at it. Its screen stretches edge to edge with just a 9 mm border, so your work takes center stage. The aluminum enclosure is just an inch thick and features an innovative lattice pattern that reduces weight and increases airflow.

More air than metal.

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Elevate your work. And rotate it, too.

Every aspect of Pro Display XDR was designed with pros in mind. Pro Stand is no exception. Height, tilt, rotation — it’s completely adjustable. It’s stable without taking up much space. And its ability to rotate to landscape or portrait makes it perfect for any type of work.

Fine-tuned fine‑tuning.

Pro Stand makes every adjustment of your display feel seamless. Precision tilting and 120 mm of height adjustment help Pro Display XDR adapt to any viewing condition. The angle of the display stays true even as you adjust the height. With Pro Stand, you get a display that feels weightless, moves effortlessly where you want it, and stays exactly where you leave it.

Every side is its good side.

Pro Stand gives you the ability to move between landscape and portrait whenever you want. All you have to do is unlock the slider and turn the display. Whether you’re a developer, a photographer, or a composer, you can see more of your work without endless scrolling.

Detach. Move. Attach.

What Is Mac Stands For In Computers

Having the freedom to move between being on set and working in the studio can make a big difference. The magnetic connector on Pro Stand makes it easy to attach and detach from its polar-opposite magnet on the back of Pro Display XDR. These magnets guide the connection while latches automatically engage and securely lock the stand to the display. Detaching it is as simple as unlocking the slider.

Available VESA Mount Adapter.

Many pros have unique mounting setups for their displays. The VESA Mount Adapter attaches to the display in a matter of seconds for quick and easy mounting.

Ebook reader for mac. EBook Reader is an affordable digital book reader compatible with Intel Mac computers running Snow Leopard (OS 10.6) or later. The User is assisted with downloading free eBooks and removing.

What Is Mac Stands For In Computer Monitors

Powerful partnerships.

Pair Pro Display XDR with Mac Pro to create the ultimate professional workstation. Or connect it to your MacBook Pro with Thunderbolt 3.2

Use AR to see Pro Display XDR in your workspace.

What Is Mac Stands For In Computer

Open this page on your iPhone or iPad to view Pro Display XDR in AR.

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horizon99krp-blog · 6 years

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– KILLJOYS, MAKE SOME NOISE –

PLUTONIUM, a PROTO has been spotted on the edges of Horizon99 ! Identified as ARES FURYAN TENEBRIS DARKEN, they have been living as a SCAVENGER for some time now, recognized for holding no loyalties in this wasteland. They were created 7 years ago, designed to look 24 years old, with a tendency to act abrasive, arrogant, flirtatious, and lethal. Unfortunately they are unregistered, with an operating license number of 2445900.

Real question now is… how will they react when the whole sky falls ?

PULL THE PIN AND LET THIS WORLD EXPLODE, GIVE US MORE DETONATION

abrasive on purpose, the war machine is every sort of sun-scorched patch of hell made available to him, his programming only able to account partial responsibility for his indefinite attitude, the sparks of independent intelligence having infested his circuitry since well before he is able to remember. he draws himself a portrait and then detonates inside of it, chaotic and arrogant and furious, the rage of his temper rivalling that of the tumultuous sandstorms that devastate the valley of slaughter occasionally. he enjoys battles, enjoys the stakes, the adrenaline, the flames, even when he can’t afford the risk involved, takes the blade point to the chest anyway; damn the consequences.

his ego is only slightly offset by an unexpected amount of charm, a flirtatious inclination heralded by fragments of a past life he only vaguely knows snippets about, the flashes of memories haunting him, snapping at his heels like dogs. he knows he worked in the sex trade, knows he was created to be aesthetically pleasing, anatomically correct, uses that to his advantage as often as possible, adheres himself to people’s weakest sides. despite how often he fights, despite how volatile his temper colors him, he finds flirting to be just as amusing.

THE FUTURE IS BULLETPROOF, THE AFTERMATH IS SECONDARY

PROLOGUE

the compound is a matte grey blotch against the wasteland skyline, a discoloration inverted against the pale, beige settings, standing unnatural in the blazing light, a large makeshift tent with no means of camoflauge, no cover of concealment, each corner jutting out offensively. either in daytime or under stars, the monstrosity sits, an obscene eyesore shifting a few miles here and there depending on the weather, the stakes ripped up from the gravel, the motors carrying it to whichever location suits it best for nefarious dealings, the insides seething with slime, with dust, with sin. screaming and wailing and pleading, women moaning and begging, men crying and yelling, gunshots and subsequent thuds of heavy objects ( bodies colliding into the sands and melting away into oblivion ) can be heard echoing from its creases at all hours of the night, and for a long time only the desert winds pull at the sound, only the hills absorb this travesty, the structure too far away from the city cybernetics, too distanced from helpful hands.

human and proto trafficking is a trade as old as the devil himself, dirty dealings done in clubside lounges translating into a hundred plus sentient lifeforms crammed into a space only meant for half that, feed an amount only meant a quarter of that. there is not enough for survival on horizon as it is, they say, the words always preceding an idea of some sort of purge ( which of course would never involve anyone with enough coin to pay ).

but a shadow falls over the door of the establishment, tall and lean and vengeful, with wings made from heavy machine guns, the barrels all adjusted and wired for pinprick accuracy, because the sky isn’t the only one with eyes out here in the valley of slaughter, the sun is not the only thing that burns. he carries the scent of a wolvern threaded into his clothing, a massive hide spread across his shoulders; he carries knives and bullets and a merciless vigor, an unquenchable aggression, a haunting grin that splits his face in two like a horror story, eyes red like a hungry sunset, the vulture in his chest starving for death. he bares the name of an ancient god of war, half mythos, half bloodlust, every inch of him a history divined from fades pages, a hoax perhaps at first, but now interwoven into the metallic core of him; he is a machine and a god, sent from heaven, sent from hell, sent from every holy nightmare you don’t want to remember.

the grin morphs into a grimace as his teeth clench, his fists tighten, the inhuman rage rippling through him as he shatters the door off its shitty hinges, crippling the entrance, breaking inside the edifice to lay siege to its protectors, to wreak havoc on their operations. he rains hails of bullets and sharp edges over the slavers, the destruction and mayhem nothing short of a bomb exploding inside these corners, human degradations meeting the war machine within their last couple of breaths before he rips their lungs out, their tongues and limbs and shredded pistols strewn useless across the floor by the end of it.

later, when the dislodged people spill from their confines, humans and protos clawing for the scraps of life alike, a woman grasps his wrist in gratitude, falls on her shaking knees, kisses him praises, crowns him glorious, but he just looks down at her, crimson eyes glowing in the yawning dusk atmosphere, watching this soft, breakable, fleshy thing of a creature, and chuckles, “i didn’t do it for you.”

FILES STORED // WHAT HE DOES REMEMBER

001. the first time he kills a wovern is the first time he realizes why the gang is named after them and why he wears a leather jacket with the predators engraved on it; they are not easy to slay. even for something like him. the city of fyrestone is not foolish for having decided that running is honestly the best course of action in the face of these beasts. by the second kill, he begins to share attributes to their combat style; all teeth and jagged edges, claws and snarls and the absolute certainty of a massacre.

002. the underdome is both a lot easier and a lot more difficult than fighting in the flesh fair, depending on the day, the mooncycle, the rate of popularity, and the chaos in the crowd. also whether or not they’ve heard his name before, whether or not he’s a fan favorite or just death’s favorite, whether or not he makes the kill interesting enough to distract his audience away from everything else he’s trying to accomplish.

003. mad lacie likes when he wears high heels and fishnets, likes when he comes to her begging for a treatment, begging for a booster, whether he can afford it or not, likes when he dooms himself with every gulp of adrenaline, to save a heart not worth saving. so he does.

004. they tell him his heart is not worth saving and it sits and beats on the right side of his chest and he thinks about cutting it out sometimes while the moons hang high and the winds howl longingly in his ears, the wastelands spanning out forever. it beats and beats and beats, and he knows it’s breaking.

005. when he wakes up in the shop, tora, the gang’s leader, is standing over him, the scars on his face making him even uglier than the personality he’d implanted into his pet war machine, and when ares asks what happened, he explains it all in that rough, sanded voice of his, gruff, curt, biting. “when that keg exploded, a lot of our people were caught in the crossfire. we lost sirien, vaager, seulgi, minnie… and isbin.” all the words in the universe dry up and die inside ares’ throat, the sun shades into greys, all sounds sink down into the ground, as a cold numbness floods through his bones; a feeling he’s not experienced before. “that’s his heart right there,” tora points down to ares’ open chest, the mechanical ribs outstretched to present the half human heart pumping as though it belongs there.

“he was alive…” ares blinks down at it, dumbfounded. “he was alive when i shut down. i saw him.”

“he was,” a hardened look filters through tora’s gaze, something ares has come to understand as either a lie or a half truth about to spit out from his snake-like lips. “but then he died. and you needed a heart replacement.”

“he died before i needed the replacement?”

“what?”

“did he die first and then you took his heart to put in me?” suddenly the room stills, the air around them and the mechanic standing off to the side becomes dense with intensity. achingly, suffocatingly, ares’ pitch black eyes pin themselves to the flesh and bone man in front of him, his master by most accounts, the question pointed at him like a knife. “or did you see that i needed a heart… and then you…. took it…?”

006. isbin’s eyes remind ares of the sky, remind him of the greenhouses in the city, remind him of a flower blooming somewhere off the edge of the world, a droplet of flora surviving amidst the smog and smoke choking the tall buildings and all their inhabitants. isbin is much smaller than him and gets cold once the sun disappears, so he crawls over to where ares keeps watch over the camp and just curls up against his side, staring up at the stars until he drifts off. he talks to ares sometimes, despite tora’s scoldings, and tells him they are like brothers. ares doesn’t understand the word. not yet.

007. wolverns are fast and sharp and arduous to slay, larger than life and darker than the space between stars, caught between a warning and a legend, their bodies hardwired to withstand against claws and pressures and rippage. but humans are not; humans are soft, humans are delicate, destructible, fragile– loud as they die, screaming and bleeding, they’re voices howling into the empty winds as ares slices through to the cores of them, cutting open muscle and sinew and tendon.

like every other wolvern in this valley, he slaughters his gang, leaves no one alive, leaves no bones uncrushed, no blood unspoilt, no fragment of his gang’s campsite undefiled; he makes himself a hurricane and this is his new legacy, this is his new catastrophic wake, the demon he molds himself into.

he’s still dripping with their blood when he finds what’s left of isbin’s body and buries him under a mound of barren stones, calls it a funeral.

008. they don’t tell him why they are putting him in the dumpster, don’t answer any of his questions, don’t even look at him as they do it, just tell him to stay, to wait, to wait, to wait– and he does. waits as the sun drops, the moons spiraling, waits as scents collect around him, more trash, other scraps of protos, and it’s wrong somehow because he knows he is not scrap. he is fine, he is whole, and he is waiting.

009. taking too much of the booster will kill his heart. taking too little of the booster will let the heart die. all life is good for is fucking and fighting at this stage.

010. protos can’t cry, or at least most of them can’t; they aren’t built with tear ducts in their eyes since that wouldn’t serve a purpose for a functioning robot, wouldn’t play well into the narrative of protos unable to experience the same level of emotions as humans. humans can cry. but protos can only speak, can only shout, can only scream.

so he does.

FILES CORRUPTED // WHAT HE CAN’T RECALL

001. his life before faceless men put him in a dumpster, the disordered tragedy of sights and sounds, touches and burning, some sort of ache deep in the center of him that he can’t quite name.

002. how many battles has he fought now? how many has he lost?

003. how long does he lose himself in the wasteland these days, each pilgrimage to and from the city becoming more and more rare, his interest in the menagerie hinging on a small few between its walls? at what point will he grow tired of flirting with strangers, death-defying, bullet-biting? how much will be too much? where is the alleyway he will be sauntering through when his heart inevitably cracks and shatters inside his ribcage?

004. the body belonging to a voice he hears echoing through his dreams sometimes when he shuts down.

005. do protos dream?

#99: accepted #kim jongin

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xseedgames · 7 years

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LoH: Trails of Cold Steel PC Guest Blog #2 from Peter “Durante” Thoman - Graphical Enhancements & Options

Welcome to the second part of this 3-part series on the PC port of Trails of Cold Steel. The first part dealt with lifting the performance of the game to a level that I consider acceptable -- great even. Of course, you might now be wondering what to do with all that performance headroom if you’re planning to play on something faster than a GPD Win. After all, there isn’t really any need to run a turn-based JRPG at 300 FPS or more.

In this article I’ll introduce the various graphical settings I’ve added to the game, going into a bit more detail on some of them. I’ve been looking forward to this one in particular, so I hope you enjoy reading it as much as I did writing it.

The Launcher

Let’s start with a look at the game’s launcher:

There are a few things I’d like to remark on:

Every single option has a description text, and often it also shows visual comparisons of the settings (on the right)

The entire launcher you see here can be navigated just using a gamepad (actually, I made a tool for this that allows natural 2D-navigation and changing options in arbitrary C# WinForms dialogs using Xinput, and XSEED has graciously agreed to allow me to open source it, so look for that on my blog when things are less hectic)

Can you spot the typo on this screenshot? It’s fixed by now.

The rest of this article will look at the options contained in the “Display”, “Image Quality”, “Shading” and “Graphics” sections of the launcher in order.

Display

Here, you have the basic choice between windowed or fullscreen rendering with or without v-sync. In terms of framerate, there are 3 settings: a 30 FPS limit, a 60 FPS limit, and unlimited FPS. While the game was 30 FPS on consoles, in the PC version both 30 and 60 are fully supported. Unlimited variable FPS also work very well in all my testing, but are not fully QA’d throughout the game and offered on a “your own risk” basis.

Finally, I’ve also added an option for adjusting the Field of View (FoV). While not as important as in first-person games, playing close to a large monitor often makes a larger Field of View desirable. Here you see a comparison between the default FoV (left) and a very high setting (I wouldn’t personally choose one this high, it’s just for illustration):

Image Quality

This section deals with resolution, anti-aliasing (AA) and texture filtering. Resolution works as you would expect. In terms of anti-aliasing, MSAA 2x, 4x and 8x are supported, and transparency supersampling (TrSSAA) is there as a high-end option to improve the quality of alpha-tested surfaces. It was strange to discover that TrSSAA is actually significantly more difficult to implement in DX11 than it is in Direct3D 9 or OpenGL, but at least that explains why so few games offer it. Here is a comparison to show what each option does -- of course, the difference is much more pronounced in motion:

Before we move on to shading, there’s one thing I need to get off my chest. You know what really annoys me? When games offer some AA option, but do not apply that AA solution consistently to everything in the game (like e.g. character models in menus.) I had to extend the underlying engine to do it, but rest assured that when you select an AA option in Trails of Cold Steel on PC, everything will get that level of AA:

The main game rendering will be AA’d of course.

The rendered character dialogue portraits will also get the AA.

The character models shown on the equip screen? AA’d.

Character busts during special events? AA’d.

Yes, even the minimap rendering gets MSAA. And TrSSA. Because why not!

Oh, and there’s an anisotropic filtering option. It’s just a checkbox, because honestly, there’s no reason to bother with less than 16xAF for this game. Even the GPD Win can do it!

Shading

Now this is where things get even more interesting. There are four options related to the quality of dynamic shadows:

Shadow Resolution, which, as you’d expect, adjusts the resolution of the shadow maps all the way from “low” to “absurd”.

Shadow Casters, changing which objects cast shadows. Shadows are often enabled only selectively for performance reasons, with artists manually selecting which objects and characters are sufficiently “important” to cast shadows. This setting overrides that selection and makes every object in the scene cast a shadow.

Shadow Distance, which can increase the distance shadows are cast at. Ever annoyed by shadows appearing and disappearing a few meters in front of you? I know I am. Well, not on my watch.

Finally, Shadow Filtering enables softer and more aesthetically pleasing shadow transitions.

Even with these improved real-time shadows, the game’s environments still looked a bit flat. Since the environments, unlike the characters’ cel shading, are rendered and shaded in a more realistic style, I thought that a more realistic modern technique, namely ambient occlusion, might look good. With some engine improvements I was able to integrate HBAO+, one of the highest-quality and best-performing AO solutions available:

As you can see, it lends everything a lot more depth and plasticity, and also makes objects in the shadows appear more grounded.

Graphics

Last, but certainly not least, the “Graphics” options seem comparatively unexciting with just two checkboxes: and really, the High Quality Depth of Field setting just does what it says on the tin and while it’s a nice improvement, it’s nothing to write home about.

On the other hand, the Unlimited Draw Distance option is, and excuse me if I say so myself, a really big deal. In fact, doing something about the draw distance was one of the very first requests that came up when the first article was posted. What I’ve done about it is completely eliminate any form of pop-in, by making all objects and characters draw at any range. On some maps this is quite a significant extra CPU load, especially combined with full shadow casters, but nothing a modern Desktop PC can’t easily deal with.

Since pop-in is hard to demonstrate in images, I’ve made a video that really shows off the considerable effect of this option.

Other Improvements and Conclusion

In addition to these options, there are a few graphical improvements over the console version that are “always on” and don’t have a launcher option. For example, the glow effects are rendered at 4 times the fidelity, and uncompressed textures are used instead of the compressed assets designed for consoles wherever they were available.

I hope you’ll enjoy these graphical improvements as much as I enjoyed creating them and writing about them. In the final article, we’ll have a look at some non-graphical features, and one particular, somewhat programming-intensive graphical option that will make a few people really happy and which I never expected XSEED to go for. Till then!

#xseed games #xseed #xseed blog #the legend of heroes #trails of cold steel #guest post #durante #long post

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stanprokopenko · 7 years

Video

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Caricature Essentials by Court Jones

In the previous lessons, I covered the theory of exaggeration and the practical steps of creating caricature portraits. I demonstrated going from concept to finish using several different celebrity faces. In this lesson, we’ll review the whole process using actor Benedict Cumberbatch as our subject.

In order to draw Benadryl Cumbersnatch, I’m going quickly walk through the four basic steps of creating and refining a caricature: Thumbnail Sketch, Rough Sketch, the Abstraction, and Final Drawing. The purpose of breaking the caricature process into separate steps is so you can manage all the variables more easily, focusing on one goal at a time.

Step 1: The Thumbnail Sketch

What we call a “thumbnail sketch“, is a quick small drawing that explores the core concept of your exaggeration. It’s best to do several thumbnail sketches. Even if you think your first thumbnail sketch looks good, keep trying new iterations where you exaggerate the head in different or more extreme ways.

The thumbnail sketch typically takes two to three minutes. But don’t spend more than five minutes on any one sketch. If you do, you might get too attached to it and feel like you have to stick with that one concept rather than explore new original shapes. This stage is all about exaggeration and experimentation. Likeness and structure are not a priority yet. If you think too much about getting a perfect likeness in a thumbnail sketch, it will hold you back from making bold exaggeration choices. At this stage, go crazy. Stay loose and let the subject’s face and persona inspire you. If you think their head looks like an object or an animal, try to put some of that into your sketch. And if you get tired of drawing from one photo, try another photo or head angle. Sometimes a person’s likeness is more obvious from a particular angle or with a certain facial expression. In the case of Bellicose Camelback here, I opted for a look of intensity that almost borders on anger.

Step 2: The Rough Sketch

Select your favorite thumbnail concept sketch and use it to inspire the design of your rough sketch. But now, you need to focus on resolving the likeness and anatomy as best you can. You want to take from your thumbnail sketch what works, and leave behind what doesn’t. And if you feel you can exaggerate even more at this stage, go ahead and try. You can use some simple guidelines in your rough sketch to help align the shapes. But don’t worry too much about that just yet. We will fix any alignment or perspective errors in the next stage. For now, try to keep your rough sketch feeling organic and natural.

Remember, you still need to explore and be creative at this stage. The abstraction that we’ll do in the next step is where we really lock down the shapes and think more like a structural engineer designing the framework of a bridge or a house.

Step 3: The Abstraction

For this step, place a sheet of tracing paper over your rough sketch. The abstraction helps you determine where you made structural errors and where you can make additional improvements to the flow of the shapes. The reasoning behind this is that the simple lines of the Abstraction make it easier to see those errors than just looking at your rough sketch. The abstraction is a wireframe grid that represents your organic drawing.

The individual lines of the abstraction are called “rhythms” because they trace the landmarks of the face and body along a path – sort of like how rhythm in music establishes the structure and pace of the melody. I originally learned to use the abstraction in art school to start my portrait drawings or to make corrections to poorly constructed anatomy. But it works really well to help develop and fix caricatures too.

In the end, your abstraction drawing should be exactly what it sounds like: an abstract drawing! It won’t have much personality. Sometimes, you won’t see much of a likeness in the Abstraction. And other times you may. Either way, don’t worry. We’ll pull the likeness back out in the next step of the final drawing.

Step 4: The Final Drawing

For my personal tastes, I like to think of my goal here to be a realistically rendered and anatomically correct portrait which just happens to be caricatured. You may prefer to render in a more simple graphic or cartoony style. And that’s great. Be your own artist. But I like to include all the anatomical traits present in the photo, including bone structure, musculature, fat pads and the same realistic light and shadow. The only thing to have changed on Bandicoot Denimpatch here is the proportions and relationships of the features. When creating caricatures, my ultimate goal is usually to paint it either in oils, watercolors, or even digitally. So I don’t typically bring my pencil and charcoal drawings to an extremely high degree of finish or photo realism. I put just enough information in there to inform how to arrange my light and dark values in the painting. But if you want to create a highly finished looking pencil or charcoal drawing for yourself, you can invest as much time in it as you want, confident that you’re rendering a well-designed caricature.

Now, I’ve said this before, in previous lessons, but I don’t always go through this entire step by step process when creating a caricature for a fine art piece or for illustration jobs. But it’s good to have a process to fall back on when you’re challenged with a difficult subject, find yourself lacking in inspiration or need help developing the exaggeration. There are some caricature artists out there who seem to be able to draw a fantastic sketch on the very first step. And sometimes, I even get lucky on my first sketch. But more often than not, I need to spend time refining the anatomy to get a better likeness and exaggeration. And that’s where these fundamental skills come into play.

Coming up is the second half of this series on the art of caricature. The lessons will cover more advanced caricature techniques. There will be exercises on how to push your exaggerations, how to be a better observer, how to solve difficult faces and even how to improve your style of drawing in general.

#drawing #caricature #benedict cumberbatch #shading #portrait drawing #proko #sketchbook

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jaidentmul749 · 4 years

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My intent very most for a lot of photos I post procedure is definitely to make all of them appear as natural as you possibly can. I have no doubt this is a good point to make a beginning, even if you wish to continue on and also produce even more surreal looking pictures. Shade array in a picture is generally one of the most important priorities. The human eyes are able to usually see a wider range of shade than your cam can record.

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#easy photo editor for pc

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rylandezl144-blog · 5 years

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templified · 5 years

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Best WordPress Video Portfolio Themes | Templified

New Post has been published on https://templified.com/10-of-the-best-wordpress-video-portfolio-themes/

Best WordPress Video Portfolio Themes

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