#backgorund remove

[ghostlyfrog-413]

https://tannyknowsitall.neocities.org/

offically removing the maine midi in the backgorund

its annoying

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[atliasimmer]

Room CAS Background Update

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Update for my CAS backgrounds that remove the black outlines of the plants and rugs.

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                                    Room CAS Background 1

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                                   Room CAS Backgorund 2

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A big shoutout to @simadream​ for solving this issue! Thank you so much ^^

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[djts-arts]

DJ YOUR COOKIE RIGHTS WILL BE REMOVED IF YOU DUN MAKE BACKGORUND (this isnt serious you gotta make backgrounds tho g'luck)

The cookies has become a hostage

[everyaccentthesame]

BG:DIA. Some thoughts on how Chapter 1 could be improved.

Unconstructive criticism has its place, in helping consumers understand a product’s flaws, but more helpful to the artist and the DM is constructive advice, on how to improve a work of art. In this piece, I will be discussing my thoughts on how to improve the first chapter of Baldur’s gate: Descent into Avernus, as part of a series of posts on the topic of this module.

The fundamental issue with chapter 1, which I have tried to outline in my previous posts (bear with me if I expressed myself poorly, I’m new to this), is that chapter 1 fails to set up the rest of the adventure. It doesn’t provide emotional stakes, or a reason for the PC’s to pursue the plot beyond their metagame understanding that the DM is running a module, and that they are expected to play it. And perhaps I have been too harsh. In terms of providing interesting encounters, set-pieces, art-pieces and characters, the module is quite generous. So what we want to do is keep all the good work that has been done for us by the many, many authors of this adventure, but tie it together in a compelling narrative for our players.

In essence, there are three routes that I can see, that a prospective DM can take with the first chapter of this module, without causing the modules’ themes to be cheapened or without significant new material having to be written or improvised by the aforementioned DM. 

1. The adventure can start in Elturel, and have Elturel descend into Avernus.

2. The adventure can start in Baldur’s gate, and have Baldur’s gate descend into avernus.

3. You can keep the original story-line of the module, and greatly increase the threat that Zariel and the forces of the Nine-Hells pose to Baldur’s gate, while tying the fate of Elturel to the fate of Baldur’s gate.

Each of the first two options involves getting rid of one of the cities described in the adventure, making the adventure a more thematically appropriate ‘tale of one city’. Each option involves similar work, where we have a description of Baldur’s gate as it is in it’s day to day life, we have none of what it might look like when it plunges into hell, and vice-versa for Elturel. Ultimately choosing between the two probably comes down to personal taste- if you and your players like the idea of Baldur’s Gate, perhaps from the video-games and fiction set there, run it there. If you find the idea of Elturel more compelling, due to the storyline of the Hellriders and Zariel’s connection to them, and the concept of a corrupt, supposedly ‘lawful good’ theocracy breaking down and crashing into hell, go with that city instead.

The last option takes the most work to create a cohesive and compelling narrative, while also remaining the most similar to the plot-line of the book. I personally don’t like this option, so I will only touch on it lightly, and don’t particularly recommend it, though I may write more on it at a later date.

Option 1: The Fall of Elturel, the brightest new star of the Sword Coast.

In this option we will be replacing all of the first chapter set in Baldur’s Gate, and instead setting it in Elturel. Instead of having characters create backstories in Baldur’s Gate, and creating a dark secret, I would instead have them create backstories and backgrounds for their characters that relate to Elturel. A good resource for this is Baldur’s Gate: Fall of Elturel which provides the Hellrider background. I’d also encourage backgrounds that relate to the city in other ways- acolytes of Torm, Helm or Lathander would be very appropriate, as would other city-related backgorunds. For those backgrounds that don’t make sense as being from Elturel, such as Hermit or Outlander, let them know that the dominion of Elturgard is watched over and purified by the light of the Companion, which keeps undead and monsters that fear the light at bay for a hundred miles around, and that the people of Elturgard owe Elturel their safety.

Next, we’ll want to familiarise ourselves with the city. The module gives you a large and detailed description of Baldur’s Gate and day to day life there. It’d be worthwhile reading up on the wiki page on Elturel. In addition, the Hellturel dmsguild product may be worthwhile inspiration (and will be useful in the next chapter as well!). Indeed the tavern, A Pair of Black Antlers, could stand in for Elfsong Tavern. It might also be worthwhile to look at the second chapter and include some of the locations from there in the first chapter, such as the high-hall. This means that when Elturel does descend into Avernus, you can bring the players back to familiar places, and have them be shocked by the deaths of those they knew there, or the destruction of these beloved sites. If you own the Sword Coast Adventurers Guide, it might be worthwhile reading up that section on Elturel, but honestly it’s not too worthwhile.

Depending on how you want to portray Elturel, you could describe it as a bastion of purity and good (now being corrupted from the inside, as a pure-of-intention but misguided theocracy (with a few bad apples), or as a totalitarian quasi-fascist state that hides behind a veneer of purity and religion. The streets are clean, people are well fed and happy, but it’s up to you how much secret crime goes on behind closed doors, or how dangerous it is to speak against the official religion. Questions like ‘Are other religions allowed in Elturel beyond the proscribed gods, Torm, Helm and Lathander?’, ‘How harsh are punishments for crimes committed?’, ‘How are people of races that are perceived as evil by many treated, are they even tolerated?’ and more are worth considering.

We’ll also want to consider what will precipitate the fall of Elturel- I imagine that the players will come close to revealing Thavius Kreeg’s corruption, which will force him to plunge Elturel into hell early (his original plan could have been  to plunge all of Elturgard, or perhaps even other cities along the Sword Coast in simultaenously.). Since Thavius will become a major player in this version of the adventure, we should have him be spoken about by various NPC’s as well- usually singing his praises, but sometimes talking about him suspiciously.

The very first mission of the original module was to meet captain Zodge of the Flaming fist, where he will give them their. This works fine, and you could make the dear captain a member of the Hellriders, and use him to represent growing corruption in that organisation and the city as a whole. You could also replace him with Ontharr Frume of the Order of the Gauntlet, hiring the players as he no longer trusts the Hellriders to do their job properly. Obviously replace the mission with something related to cult activity, perhaps the quest-giver believes the cult of Malar that terrorized the city so long ago has returned?

You could use this point to introduce Reya Mantlemorn, though I’d advise against using her Veteran statblock just yet- she’d make a great 1st level fighter, or you could use the Adventure Sidekicks supplement to level her up with the party. This could be the mission that makes her (and any other characters with the Hellrider background) into a full Hellrider, or she could be there to watch the party as the mission-giver trusts her.

I would run the encounters at Elfsong as normal, but with the numbers filed off- rename the Tavern, perhaps to the ‘Pair of Black Antlers’, but the people that inhabit the tavern can remain the same, as should Tarina. This might also be a good time to introduce Reya Mantlemorn if the players are having trouble in the fight, and be certain to tell the players that the people in the Tavern could be persuaded to help out.

The next encounter, the ‘Dungeon of the dead three, I discuss in more detail below, in ‘What should be considered for change in all cases’. It might be worthwhile making the dungeon the old ‘Temple of the beast’, used by the cult of Malar to launch a ‘wild hunt’ from. At the end of the Dungeon, rather than the inclusion of Mortlock Vanthampur, you can insert a character of your own design- perhaps one of the Hellriders, perhaps Reya Mantlemorn if you’ve not introduced her yet. This individual should tell the players that they found out that someone in the Hellriders was funding the cult activity, and letting them into the city discreetly to perform dark rituals and rites. Someone high-ranking, with the power to authorise the funds and to get the Hellriders to look the other way from cult activity.

Run the dragon cultist encounter as normal, its good foreshadowing for Tiamats involvement in Avernus.

You should have the players be made aware of two options at this point- they can go to the one person they know who knows anything about the underworld of Elturel (literally, most criminal dealings would go on underground, away from the Companions light)- Amrik Vanthampur, or they can try to bring their findings to their Quest-giver. We’ll be reflavouring Amrik as an information broker, as well as a loanshark, and he can either be persuaded, negotiated with or threatened for the in for. If you want, he can send the players off on a side mission in exchange for the info, perhaps to smuggle goods past the Hellriders. If they choose to go back to the quest giver, have them give the PC’s their reward, and tell them to report back the next day- when they do, have Thavius Kreeg himself show up, and thank the PCs for their service personally, and inform them that he will take over the investigations personally. He will then tell any Hellrider PC’s or NPC’s that in the next Tenday they will be sent to act as guards of the High Hall, and removed from active duty. This in and of itself should be suspicious, and an insight check of 15 or above should confirm this.

Either way, the PC’s should be directed to investigate the High Overseers personal residence, the re-flavoured Vanthampur Manor. If the players investigate, it will come to light that he’s changed much of the normal security at the manor, and has refused the normal offer of Hellrider guards, preferring his own, personally chosen staff.

While in the manor, the basic dungeon serves as a perfectly good set-piece, but the Vanthampurs should be gone or replaced by Thavius’s servants- Hellriders who’ve lost their faith or paladin oaths but hidden it through infernal contract,or even Thavius himself. Falasker Fisk should be encountered at some point, and inform the players about the importance of the Infernal Lockbox, and send them to  Sylvira Savikas, a mage who has long suspected Thavius of dark dealings. You may or may not choose to include the Shield of the Hidden Lord in the adventure. Instead of Thurstwell, have the Infernal Lockbox be found by the players on any serious investigation of Kreeg’s room, but protected by Imps that go to try to warn him what they found. It may also be fun to have the PC’s find a plan that indicates the Thavius has used his power and the cultist activity to create a Nonogram, a 9-pointed star, around the companion in Elturel. This is neat Foreshadowing for what will happen next.

Have the PC’s arrive in candlekeep, where you may wish to take inspiration from Elminister’s candlekeep companion. Have Sylvira meet them, replace her Quasit companion with Lulu, put her in a tower with a high balcony. When she opens the Lockbox (ooh art), have their attention be brought to a low rumble the moment they finish reading the contract. In the distance, have the sky turn red with Hellfire in the distance, and let them see a blinding flash of light and a terrible peal of thunder as the Companion (visible even from this distance), turns black then dissapears.

From here you can have the PC’s feel compelled via the power of the infernal contract to go to Elturel, and Lulu can tell them about Zariel, her Sword, and how she thinks that with the Sword, they can save Elturel.  You could also tie their fate to the city, letting them know that if the city falls, so do they- if they swore an oath to defend Elturel, for example, they could suffer a point of exhaustion for every ten-day they stay away from it.

In addition, if the players choose not to go to Candlekeep, and instead try to expose the High Overseer, or even manage to kill him, have the city plunge into Avernus with them in it. That’d be pretty fun, but would require some improv and your players would have to meet Lulu (if they meet her at all), another way.

Option 2: This time, Baldur’s Gate actually descends, first into madness, then Avernus

In this option, Baldur’s gate will be the city that plunges into Avernus. This will keep the first chapter mostly the same, but will require a significant rework of the second chapter (which I will discuss at a later date).

What we will change in this chapter is make Thalmara Vanthampur a far more active villain- while the game goes forward, have her campaign to become Grand duke become far more vocal. She will be using the spat of murders the cult of Zariel has been commiting (on her orders) to justify a series of new laws that will reform the security of Baldur’s Gate, and she becomes highly popular amongst the nobles, who have been victimised by many of her attacks. One of these laws will involve every Baldurian citizen over the age of 16 swearing an oath to defend the city, similar to the one that Elturians swear.

In addition, the refugee crisis that threatens Baldur’s Gate will have to be re-flavoured or removed. I have suggestions about that below. Reya Mantlemorn and the Hellriders will have to go in their current incarnation, but re-flavouring Reya as a Flaming Fist recruit that stumbled on something they shouldn’t and refused to look the other way would be an interesting way to keep her character in the game.

Have them meet Mortlock as usual who tells them about his brothers and how they’re supporting his mothers plans for taking over the city, but that he suspects that her association with the Cult of Zariel goes deeper than just using them as a tool. After the players finish the ‘dungeon of the dead three’ (see the recommendations on that dungeon below), have them hear about Thalmara’s successful election to the position of Grand-Duke, and the new laws being enacted.

Remove Thavius Kreeg from Vanthampur Manor, and have Thalmara not be present- indeed, make it clear that the manor is light on guards due to her moving into the more secure High-hall. Have the Lockbox be experimented on by Thurstwell because he wants to know what deal his mother has made, exactly, so that he ensure he will be spared, or so he can take advantage.

As before, if the PC’s try to expose Thalmara, she will dump the city into Avernus with them in it, and if they go to Sylvira (as before), the city will be sent to Avernus the moment they open the lockbox.

It might be interesting to hint that the Flaming Fist are actually descended from the Hellriders- scrap the Hellriders Elturian origins, and have them be the predecessors of the Flaming Fist mercenary company. This would explain Zariel’s interest in the city and the mercenary company, and could be an interesting and fun revelation for the Players. 

For further advice, you might want to check out Eventyr Game’s supplement on this chapter.

Option 3: Now this is actually going to be a tale of two cities

(I will discuss this point in the future, as writing it proved more challenging than I anticipated. I think this does prove my point that having two cities in this adventure does not make terribly much sense.)

What should be considered for change in all cases

There are a few things, that for the sake of thematic consistency could be changed in all of these options for chapter one.

First, the ‘dungeon of the dead three’, while a good dungeon and solid mini-adventure in its own right, should be changed to the ‘dungeon of the infernal cult’. There’s no reason for worshipers of the dead three to be in this adventure, so swap them with cultists of Zariel, and possibly other Archdevils. Have them be working on the Orders of Thavius Kreeg or Duke Vanthampur, but don’t reveal that right away- the cultists probably only know that they’re working through Mortlock or one of Kreeg’s corrupted Hellriders. You can even keep the stats of the cultists of the dead three, just reflavour them as worshipping different devils! Have the Bane-worshippers worship Zariel, have the Myrkulites worship Mephistopheles and have the Bhaalites be devotees of Bael (You don’t even have to change the name for that one much!). If you’re running the dungeon in Baldur’s gate, you could even say that the cult wiped out a local cell of dead three worshippers, and were pretending to be them, albeit sloppily.

In addition, the sojourn to Traxigor’s tower is just unnecessary in my eyes. If the players are in Candlekeep already, filled with Archmages, why not just do the ritual there? Personally, I find Traxigor much more compelling than Sylvira as a character, but his cuteness does distract from Lulu’s. If you want to replace her with him, do so, otherwise just remove him.

If your players are struggling to find a reason for why they should be the one’s to go to Avernus, rather than the other qualified adventurers of the Sword Coast, you may want to introduce a plot point relating the adventurers to the sword of Zariel, or a create a mysterious prophecytm for them to be part of  the rescue of the fallen city. You could also tie their fate to the city, letting them know that if the city falls, so do they- if they swore an oath to defend Elturel or Baldur’s gate, for example, they could suffer a point of exhaustion for every ten-day they stay away from it.

If you want to introduce a Refugee-angle into the game, you could place the adventure in the middle of the events of another module, such as the Tyranny of Dragons or Elemental Evil. Whichever city the PC’s are in should be flooded with Refugees from the countryside or towns that have been attacked, desperate for the safety high walls and armies can give.

I’ll be responding to any thoughts or criticism anyone has on these ideas, and may be expanding on them, before I begin my critique and analysis of chapter 2!

[vermiliondrug]

Bingewatched Derry Girls and realized that Michelle is basically like my OC, Zoë.

Have a redraw of one of my favorite scenes from Derry Girls, featuring Zoë, Chris and Scarlett is a backgorund prop, more or less. :p

(I did some changes to the quote, though just removing a single line or two, because I didn’t want to draw the same expression/scene twice)

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[architectnews]

Langside Halls Queen’s Park, Glasgow

Langside Halls Queen’s Park, Glasgow Building, Scotland, Scottish Architecture

Langside Halls Queen’s Park

8 Oct 2020

Langside Halls Glasgow News

Design: Hoskins Architects

Langside Halls: Study to find sustainable future for ‘A’ listed venue

Location: 1 Langside Avenue, Queen’s Park, Glasgow G41 2QR, Scotland, UK

Langside Halls Trust (LHT) is delighted to announce the appointment of award winning, Glasgow-based Hoskins Architects and culture & heritage management consultancy, Jura Consultants to undertake a 20 week feasibility study of Glasgow’s magnificent ‘A’ listed Langside Halls. The study is tasked with producing a viable Business Plan and costed design and conservation proposal to enable the Trust to seek the capital funding necessary to refurbish the Halls and realise its vision.

photo courtesy of architects

Kevin Kane, Chair of Langside Halls Trust said: “Our aspiration is to breathe new life into Langside Halls by creating a financially and environmentally sustainable future for the Halls. We want to expand the Southside’s current cultural and leisure “offer” and working with our Consortium partners – Glad Café, Southside Festival and Southside Film – and others, our ambition is to create a regular cultural and social programme at the Halls, use them as a platform for existing and new organisations in the Southside and continue their traditional role as an affordable community-venue-for-hire.”

The Feasibility Study has been made possible by funding from Glasgow City Council Area Partnerships (Southside Central, Langside and Pollokshields), Glasgow City Heritage Trust and Architectural Heritage Fund Scotland.

Melanie Hay, of Hoskins Architects said: “We are delighted to be working with the Trust to develop their vision for the future of Langside Halls. Our study will focus on improving circulation and accessibility for all, identifying key building fabric improvements and assessing the functionality of the existing spaces to develop a sustainable plan for the Halls. With Jura Consultants, our aim is to develop a robust strategy that ensures the longevity of this exceptional building as a vital asset for the local community and a hub for cultural events in Glasgow.”

An integral part of the Feasibility Study will be a community consultation around a range of options, where community organisations and individuals will be able to input to help identify a final, worked up and costed proposal. Given current Covid restrictions this will likely take place online, and will be announced via the Trust’s website at www.langsidehalls.com.

To realise the Trust’s ambitions, the Study be will used to launch a Capital Fundraising Strategy in 2021.

Backgorund:

Langside Halls Trust is a Scottish registered and locally-run charity with 400+ members. Its aim is to create a sustainable future for Langside Halls as a fully refurbished and programmed and community venue-for-hire that meets the needs of all and expands cultural and social provision in Glasgow and the Southside.

Langside Halls is owned by Glasgow City Council and operated on its behalf by Glasgow Life.

Langside Halls has been closed since April 2017 due to the failure of the boiler. Glasgow City Council has invested over £300,000 to install a new boiler, remove local asbestos and make essential wind and watertight repairs.

Langside Halls remain closed due to the on-going Covid-19 pandemic.

Hoskins Architects

Location: Queen’s Park Address: 1 Langside Ave, Glasgow G41 2QR Phone: 0141 649 9460 Langside Halls Trust: www.langsidehalls.com

Langside Halls Queen’s Park Glasgow image / information from Hoskins Architects, 081020

Location: Queen’s Park, south Glasgow, Scotland, UK

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Comments / photos for the Langside Halls Queen’s Park, Glasgow Architecture page welcome

The post Langside Halls Queen’s Park, Glasgow appeared first on e-architect.

[tiaquetzy]

Hi! I have the same theme that you are using for your blog and I can't seem to get the background to work properly, so I turn it off entirely. How did you get it to work? If you can't answer thats fine, thanks for your time!

Hello! I don’t know exactly if I can answer because It worked perfectly from the start. 

My backgorund image is pretty big, I’m not sure if the problem is the image you’re using (too small or something) or a bug in the theme’s code.. You can try to remove the theme and try again.. I’m sorry I can’t help much =/

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Setting/Backgorund

One of my ideas if I chose to do 2D animation is to have the possibility of using a real desk as the background. This means I would use my own desk as home, film/take pictures of where the shots would be and then animate on top. I could then edit the images later in aftereffects and adjust the lighting to create a ‘night time’ effect - similar to my test I did with a picture of my room.

However for this I’ll have to conduct some research to see how this cross over has been done before and what techniques were used to make it work. 

First I thought of the film, ‘Who framed Roger Rabbit’ (1988). This is a hybrid film that combines the use of both live action characters with hand drawn.

Just from the trailer it’s evident that the combination of the two works for a few reasons. Of course it’s helps that the live action characters react and ‘talk’ to the animations to make them seem real and there in the scene, however a few other techniques are used to make this more believable. Since animation (especially this style) is so stylised and unrealistic, it’s tricky to make it not stand out in a way that makes it seem it doesn’t belong and detaches the audience from the story and whats’s happening. 

I think a key factor to include is the ensuring that both ‘worlds’ are reacting to each other and are clearly connected. For example here we see Roger grab this coat’s sleeve - the sleeve appears to move and be held in a way that makes this action seem realistic and creates the illusion that it’s roger who is holding it. As long as both have a connection to each other so it can create the effect that they are in fact in the same world and are not far removed.

I’ve also noticed that the colours and lighting are a huge factor. In order to create the effect that the animations are in the same scene and shot as the live action actors they need to be effected by the lighting in the same way - cast shadows in the same direction and strength. Also using the same colour and intensity of the lighting in the scene to be cast on the animations. Below is a screen cap of Roger being cast over by the shadows of the surroundings. This makes it seem as though he’s within the scene and apart of the action, giving him more depth and believably. 

This can be seen in the later film - ‘Looney tunes back in action’ (2003), which followed the same concept and principles with the addition of the animation into a live action world.

Other examples I can study and look at for these techniques are:

Pete’s Dragon (1977)

 I think this example lacked the ‘3D’ presence of Elliot. He seems rather flat in a lot of shots and doesn’t always match the lighting and colour of the scene - this makes him less believable, but his lovable nature and characteristics still shine through despite this:

Mary Poppins (1964)

Mary Poppins uses animations throughout to bring to life the magical and amazing world - magical and mysterious like Mary. The difference with this to the other examples are the live action characters are now in the animation world, rather than vise versa.

This meant that the live action actors had to blend more into this world. However in this particular case I think that the effect is different - Mary Poppins and these worlds are magical and meant to seem out the ordinary and spectacular, therefore there’s less pressure in making the worlds combine since I think they’re meant to be very different and stand out. 

Bedknobs and Broomsticks (1971)

This example again lacks some of the depth required to create a better sense of believably - shadows are seen on the live action actors faces and clothing, however the animations are rather solid in colour and lack shade or variation.

Like Mary Poppins, a lot of the time the actors are in a animation world:

THE PROCESS OF COMBINING ANIMATION WITH LIVE-ACTION FILMS

Above is a link to a theseus I found about combining both the elements of live action and animation into film. 

Tulijoki Tuomas states that 

“The purpose of this thesis was to examine the process of performing the setup for animating digital characters on top of filmed footage.”

This was an interesting read and went into detail about the process of combining the two and how it was done effectively. This was useful to read, however didn’t give me much information to aid my own personal project of the inanimate objects task. For example there was a section on how to make the animations seem more real by enhancing the acting from the live action actors to make the scene seem true:

My production only features animated characters, but with a live action background. Therefore I haven’t got to worry about interactions between characters in that sense, however it’s the interactions and placement with the surroundings that’ll need consideration.

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