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stilettomafiosas · 9 months

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If you don't mind my asking; how did you develop your art style? I've been trying to work on developing my own style but I don't know where to even start. Your style seems so well developed, and I utterly adore it.

;w; its so kind of you to say so!! thank you!! I wish I could offer some insightful or exciting advice haha but I do have a short and a long answer!

the short answer: its the boring yet tried and true tip youll hear from everyone 😭😭 it all comes from a lot of practice over a lot of time!!

i kind of hate hearing that too because it seems dismissive BUT the practice isnt just drawing as much as possible, its also looking at art from other people, paying attention to the colors n shapes n composition around you, and at times just Thinking...

the long answer: style is ... hard to pinpoint! and in some ways, aiming to have your own very distinct style (and that being your main goal) can be restricting. focusing on that can keep you in a box of what's recognizable as Yours and hesitant to experiment or make changes. Ive seen some people who get hung up on making themselves a Brand draw no differently today than they did 10 years ago because they admit making changes or venturing into new subjects/styles "flop".... (and if your livelihood comes from selling art or merchandise and you rely on engagement to pay your bills thats another thing but as a hobby artist myself im talking more about a goal of just getting better at your craft in a way that makes you, personally, happy and satisfied and proud of it vs making what an audience wants to see and feeling rejected in pursuing other creative endeavors)

a lot of style development just progresses naturally over time as you absorb more art around you and train your mind to distinctly pick out what you like about other artwork and why. :] its all about the influence and how you incorporate that into your own work! so many of my artistic choices come from other artists, and the more you draw and the more you study other art, it becomes something thats a unique blend of You, even if not necessarily something immediately and strikingly unique that anyone could recognize as yours, its You cuz of the choices made in it and all the influences you enjoyed enough to pick up.

for me, it was pretty much doing studies + compiling an "inspiration/reference" folder (for doing studies) :3 ive been doing that since I was in elementary school and just drawing on loose leaf college ruled paper... I started out copying drawings in the funny papers we got on sundays, going to the library to get those "history of disney" kinda books that show a lot of cels or concept art, googling looney tunes screenshots to copy... it was So much copy, copy, copy. in my teen years it was shonen jump, i'd trace panels from naruto and one piece and shaman king, i'd freehand it, i'd redraw pages in my own way... and more recently ive kept it up with other interests (opening a catalog of model cars and filling sketchbook pages with car drawings... taking photos of cool scenery or bugs i see and blocking out the composition to figure out Why it looks appealing... going through an invertebrate zoology textbook and drawing creatures to understand their shapes/distinguishing features so i can anthropomorphize them in fun ways)

it might seem contradictory that spending a lot of time copying stuff leads to something thats your own but it does!! so much of art really does come from that internal library you build up, and building it up happens thru all that observation and exercising your hand to match up movements with the images in your head, and gaining experience + refining memory of how certain things are built or shaped or constructed. thats probably the number one tip i'd give to anyone who wants art advice... get a little sketchbook thats JUST for your eyes, and fill it totally up with stuff you copy. youll learn SO much and feel really refreshed for your own original works!

and if you feel discouraged, keep in mind that things tend to look better from an outside perspective! you see my art as having a developed style, and i very much appreciate that comment cuz to me, it's jumbled haha. i can draw the same character in very different ways in the same day... even the way i draw hands varies depending on what set of ocs I'm playing with. each of my stories presents some different artistic choices, and draws from a few different inspirations, so even if all the characters and the ways i draw them are recognizable as my art, they would still look a bit strange if they were all together because I have multiple "styles" ehehe

so in short, rock on with making art thats enjoyable for you and dont let an idealistic goal of a distinct style hinder you from having fun with the process & being proud of what you make. cuz honestly if you hold out waiting for the moment of realization that youve developed a style, you might never have that moment! not for lack of having anything distinct about your art, but just because its natural to be more critical and lost in the details of your own work than an audience would be. you likely already have aspects in your art that are recognizable as yours! consistency is good in some regards (like animation or comics) but dont be hesitant about trying things that are new or drastically different from your usual!

#asks

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vampireantihero · 1 year

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It's May Day. (Newsletter)

This year feels like it’s flying by. Buckle up, y’all; this is going to be a slightly longer newsletter, so I hope you all stick with me.

It’s May 1st; and it’s snowing here in Wisconsin. To be honest, that feels like the perfect metaphor of this year for me. Winter has been hanging on to the year like a heavy weight; far past its time, and bad for the things that are trying to grow, bitter and cold, and refusing to die. Spring is trying to establish itself hard, and the flowers are in bloom despite the snow. This year has been a lot of shakeups, stepping back, and reassessing for me. Most of the first quarter of the year was spent caring for my mental health, and now I am working hard on putting together a new portfolio in a different facet of my art career. I’d love to do illustrative work for companies and not just private sector commission-based work. I’d also love to work on videogames, or maybe films or television as a concept artist (I like creatures and environments best). So, since the beginning of April, I’ve been revamping old stories and rebuilding the worlds in order to be clearer, and drawing concept art for the environments and characters.

I’ve been working quite a lot, and have forced myself to reassess that too. I think now I’ve found a bit better of a balance and better know my limits, so I can stop myself from doing too much at once. If I connect back to the metaphor I started this newsletter with regarding the weather, the “winter” would be my unhealthy work ethic and tendency to try to please everyone and be totally available despite my own energy levels. For the past few months, I have been giving myself time to breathe and being less available in online spaces, because I’ve been extremely tired. I’ve lost friends and connections because of this, and I do feel guilty for being less around, but also I recognize that if I keep going at the pace I was, I’ll make myself ill the way I did in college and I don’t want to do that again. It would also (and has in the past) make my content suffer, and you all deserve quality from me.

Plans Going Forward

As it stands, I’m distancing myself from streaming because I just do not have the time to give to it. I may still pop up from time to time for art streams, but I am focusing on my art and career change this year. You can still see my art in the discord, in social media spaces, and on youtube. I’ll also still be keeping up with this newsletter, social media, and the Youtube uploads. I’ll likely also start working on story-based content to upload to Youtube, though I don’t know how far down the line that’s going to be. And I’ll still have commissions open, and I’m working to get myself organized enough to offer my services over on Fiverr and Upwork.

Once my portfolio is completed, I think I may give creating the comics one more try. I feel like I’m on stronger footing with some of them now that I’m establishing the visual assets a bit better for my portfolio. Though this time, I won’t start publishing it (or even announce it) before I have a significant amount of the pages done, and am far enough into the story that I have quite a decent buildup of content so that I can post regularly. I’m also going to be revisiting the tarot concept I started creating back in 2021; redraw the two cards I’ve got done and go back to concepting the rest of the cards.

Portfolio

The first portfolio piece I finished went well! It’s also been added to a concept art contest in one of the art discords I’m in. Here is the drawing, as well as some backstory on some of the characters:

Setting: This story is a historical fiction, in which the humans are in a religious monarchy called the Abbey. Inhuman and humanoid creatures need to hide at night in order to avoid being captured and either used for their powers or murdered by the Abbey and the human settlements surrounding them. In this world, spirits exist, but they have to be bound to something in order to inhabit the physical plane.

Characters (and backstory):

1. Ghost. Our protagonist, a reluctant hero. Previously human, but has been dead so long that he has long forgotten his original name. He was sickly as a human, and learned how to project his spirit from his body as a child in order to escape the constant pain he was in. One day as he was astral projecting, his body died. Desperate to find a way back to life, he contacted his family; only to be betrayed by them as they tried to capture him and sell him to a High Warlock within the Abbey. Ever since, he has been looking for a way to bring the Abbey down. His tether is the clay pot he carries, faithfully made for him and repaired by his friend, Hyacinth.

2. Hyacinth. Our Tinkerer/Support character. Hyacinth is also a spirit, though she died way more recently than Ghost-- having been murdered whilst praying in front of an Abbey altar. When she died, her spirit was so terrified to disappear that she inhabited a nearby gargoyle. In life, she was a tinkerer, and in death, she was is much the same -- she spends her time looking for ways to enhance her party's gear, and to strengthen both her and Ghost's tethers to their physical objects. She is the only one in the party that cannot participate in combat-- because of the nature to her tether to her gargoyle and her death circumstances, if she takes a significant amount of damage, her soul will disconnect from her body.

3. Silas. Our Mage/Necromancer. Not much is known about Silas. He doesn't speak much, and chooses to help because he likes the spirits of the group. At first glance, he looks like a human in a plague doctor costume, but if it's too light or you look a little too long, his mask starts to look a little too real...

4. Vesper. Our Tank/Heavy Hitter. She's a vampire type creature from a long line of reclusive vampires. Though, her species is fruititarian like many natural bat species. Because of the expansion of humans into her family's forested spaces, her family was hunted and killed for their pelts. Devastated at their loss, she traveled to find a master who would teach her to fight and learned how to wield a scythe really effectively. She joined our squad when Hyacinth found her, injured, in the forest, and nursed her back to health. She heard what Ghost was planning, and decided to help them with their journey.

They are from one of the three projects I’m developing for my portfolio; they may be popping up from time to time as I go through and create more of these worlds. If you’re interested, they’re a set of characters that shows up in one of my vampire stories that the actual main character of the comic spends a good deal of time with.

Theatre (And Other Life Updates)

As you all know if you’ve been keeping up with the newsletters, the past month or so has been extremely busy both on weekends and week days. The theatre I’m a part of has been working hard on painting our more permanent space for the theatre. We’re working in conjunction with a local-to-us church in order to have this performance space. Me, my husband, and another member of the theatre have spent the last month between rehearsals and after work painting this room, and it’s finally done. And it looks so good!

We’re really excited to have this space. And, I’m really happy to no longer be painting, though I’m proud of us for putting in the work in this room. We’ll be announcing our next play very soon. I’ve been making props for the last few weeks (in fact, you can kind of see one in the bottom of the 3rd picture — a chunk of styrofoam I’m painting to look like a busted piece of concrete) and, have quite a few more things to create. One of the coolest aspects of this play is that we’ll be performing it in pride month, and it has a lot to do with LGBTQIA+ history; some of the props I’ve been creating have been exploring the culture surrounding these topics and it’s been a lot of fun! But, some of it is also very heavy. I’m also assistant directing this show, and it’s been interesting to learn how directing works.

All in all, I’m almost caught up with the stuff that I’m behind on, such as the commission terms switching over into the shop, and I should have more to share with you all soon. I’m hoping to have Youtube stuff done earlier as well, so that I can give earlier access than a single day for Ko-Fi members. I’m sorry for the delay on these things, but with the painting done in the theatre room and most of the props we need finished, I should be a bit more productive during my week day, and a bit less busy on the weekends.

Lastly, I want to take a moment to mention the Discord. Today the newsletter is a bit late because I took a little bit of time to rearrange the Discord and make it less Twitch-oriented. Now, it’s much more art and content creation centric, so if you want a place to talk about art, content creation, or just hang out with our growing community, check out the discord here. I also ask for feedback here, and you can sometimes see things earlier than they’re released there as well. If you’re a Ko-Fi member or subbed in some way, then that’s also where a lot of the rewards get put as well. If you join, just make sure that you let us know why you’re there (Check the #start-here channel.)

So, even though this was a large update, a lot of it is positive. If I’m going back to the metaphor at the beginning of this email, then I can confidently say that I’m shaking off the winter of bad habits, self-doubt, and overworking to burnout. Now, I’m doing my best to let the spring take over and let me grow; as a person, as an artist, and as a worker. And with that, I’m signing off. I hope that you all have a fantastic week. Remember to take care of yourselves, drink your water, and do what you can. I love you all.

(Friendly reminder: You can sign up to get this newsletter directly to your mailbox by subscribing here.)

#newsletter #my stuff #update #life #artist #content creator

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mycomicbox · 2 years

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OMORI 2 (spoiler warning for OMORI)

I highly doubt that there will ever be an official sequel to OMORI. However, the idea of it is fun to play with.

Let's get the most obvious thing out of the way: No matter which way you slice it, OMORI's story is complete, done, tied up with a bow. A direct sequel, prequel, or midquel game would be nigh impossible to pull off well. The story is just too self-contained to allow an entirely new game that branches off of it, and I am extremely annoyed that people think otherwise. A continuation would work better in the form of something like a short story or comic, not a full-fledged 25-hour RPG.

"But what about a game about Sunny at his new home?"

"But what about game that shows how Aubrey, Kel, and Hero reacted to the truth?"

"But what about a POV shift to another character?"

These are examples of direct sequel ideas that, while not bad, would work infinitely better as a different form of media and not an RPG. (plus the three friends’ reactions were SUPPOSED to be left up to player interpretation)

I get that we're attached to these characters and want to see how they grow and progress, especially after the good ending, but there's no dancing around it. A direct continuation would not work as a full-fledged RPG because there would be no “game” to speak of.

This is why I propose the idea that an OMORI 2 would start fresh with a new story, setting, and cast of characters. This is similar to, for example, what the Final Fantasy series does. Each mainline entry is its own contained world and storyline (with a few exceptions such as X-2 being a direct sequel to X), but still has plenty of aspects in both gameplay and story tropes that unify them as a series.

This isn’t a brand-new concept. To quote the TV Tropes page on Thematic Series:

Unlike a typical series, a Thematic Series does not follow the same characters or story; instead, it follows the same themes. For instance, a series may focus on themes of war, but with each installment centering on completely different people being affected by completely different wars. One might recognize a few nods to past installments here and there. If the installments share any characters at all, they will be side characters or it may be in the form of a cameo by a former main character of a different chapter.

I wouldn’t write this whole text wall without sharing my own ideas, so here they are!

OMORI was originally planned to allow the player to select Sunny/Omori’s gender (M/F), but the idea was scrapped due to the crew having to redraw all the art. I would bring back the gender selection with a NB option to boot.

Also I looked up Hail on babynames.com out of curiosity and I think I can work with this meaning.

Random character concepts:

Gameplay changes

Headspace foes

Headspace items

Some stuff I wrote down in a .txt file:

While OMORI 2 is not connected to OMORI in terms of story, they do take place in the same world, with some minor connections to the first game (such as the Pet Rocks games getting sequels or Captain Spaceboy becoming a huge multimedia franchise).

While the Headspace in OMORI is more wacky and cartoonish, I want the Headspace in OMORI 2 to have a somewhat different feel to it. Maybe something more akin to a grand adventure rather than silly antics. It could have a little high-fantasy flavor mixed in (emphasis on "little").

I imagine Hail to be very hateful and misanthropic, save for their friends (similar to Omoriboy from that old blog)... But what happened to them that made them this way? Maybe it wasn't a single event, but multiple throughout their life, and Hail has to confront each of them one by one. Maybe the game could be in several acts, with each confrontation increasing in intensity.

Since this game takes place about a decade after OMORI, I could have some Faraway Town NPCs (such as Cris or Mincy) make an appearance... or even be a playable character.

There are some quotes from the OMORI 2014 trailer and the Omoriboy comics that I want to play into: "Anything fun is just a distraction from how much the real world sucks..." "You're not crazy if even one person believes in you..." "Too bad saving the world isn't as easy as these games make it out to be..."

There will probably be a Hikikomori Route or something adjacent to it.

Omori is an in-universe brand of piano, which is why Omori the character from the first game has elements of a piano in his design (his shirt is the top, his striped shorts are the keys, and his socks are the legs). In our world, there is a company called Casio that makes pianos (albeit electric ones), but they also make watches, calculators, and other devices. So, what if Omori the company is basically the equivalent of Casio, and Hail's dream persona was still called Omori? (similar to how almost every Final Fantasy has some incarnation of Cid) That would mean that there's some sort of physical object that holds importance to the story.

Due to the fact that OMORI 2 likely wouldn't revolve around dissociative amnesia like the first game, the lightbulb in the logo will likely have to be replaced.

For the horror bits, I should delve into more of the psych-horror genre for inspiration. Similarly, I should play some Yume Nikki fangames for more inspiration (Yume 2kki, .flow, etc.)

If I'm being completely honest with myself, this game probably wouldn't be as good as OMORI, though that's usually how it is with like 80% of sequels.

In OMORI, all of Sunny's friends were directly affected by Mari's death. How do I connect Hail's friends with the main conflict so that they aren't just there for the sake of existing?

While I should keep similarities to the first game for OMORI 2 to be called a sequel, I also don't want it to just be OMORI again but with a different coat of paint. Similarly, I don't want any of the characters to simply be clones of those from the first game (other than Omori himself, who is somewhat the same, even with a different incarnation).

I have to be EXTRA CAREFUL to avoid romanticizing, sugarcoating, or truncating heavy themes. However, I also can't be too overboard with it or else it comes off as insensitive. It's a delicate balance.

Will I end up projecting myself and my own issues onto Hail? Probably.

I want to have the real-world sections take place in a big city... but I grew up in a fairly rural area surrounded by farmland and sports fields, meaning that my sources of inspiration are pretty lacking.

An idea that I had was that, since OMORI has themes of forgiving oneself, OMORI 2 could have themes of forgiving others. However, I'd be playing with fire, since I could accidentally deliver a toxic message.

None of this will probably be an actual game, as I'd need composers, artists, funding, people who are skilled with RPG Maker, and probably permission from OMOCAT and crew.

If I decide to develop this idea further, I’ll probably delegate it to a second blog.

#omori #omori fanart #omori 2 #omori sequel #omori spoilers #omori fandom #fanmade sequel #doodle

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thejakeformerlyknownasprince · 3 years

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hi sol!! would you ever consider writing more about the conversation regarding ex-hosts being classed as pows? and would tom be a big part of that - considering how morpher hosts were held captive during feedings? really love how you incorporate politics into eleutherophobia!

Honestly, not really. Having done a fair bit of research on the relevant U.S. laws and history, I can say with reasonable confidence that:

A) Yeerk hosts do fit the definition of "Prisoner of War" as pretty much everyone ever uses the term, and

B) Under the circumstances, the U.S. government would acknowledge that when hell freezes over.

What it boils down to is that the Yeerk-Human Conflict does not meet the formal U.N. sanctioned definition of a "war." Which is to say, an armed conflict between two or more recognized sovereign nations that declare they are at war with each other. If that definition sounds ridiculous and like it excludes everything from the American Civil "War" to the American-Korean "War," that's because it is ridiculous and too strict and kinda outdated.

Ergo, I think that in a post-war world (post-"war"?) the U.S. would do that thing it does where it pretends that a concept meets a legal definition when doing so will save them money, and pretends that that same concept doesn't meet that same definition when doing that will save them money. (See: tomatoes and "vegetable," X-Men and "human," Hobby Lobby and "person.")

Recognizing the controllers as POWs would lose the U.S. government money and votes for a few reasons. First, there are all the restitutions and rights they would suddenly owe to ~200,000 of their citizens, which would massively drain the bank. Second, there's the issue of where to draw the line: between voluntaries and involuntaries? Between humans and hork-bajir? Between morphers and non-morphers? Any of those has problems. Third, there's the general unpopularity of the ex-hosts. As a population they're known for being creepy and criminal and robotic, and for an unknown subset (maybe all of them, is the rumor) having chosen to betray humanity and help out the yeerks. Maybe some of them complain about having had no choice, but look at Vicky Austin and the, like, one other known instance of successful rebellion. Why didn't everyone just do that? Fourth, the general population wants to move on from the war and quickly redraw boundaries around what card-carrying American-born human citizens can and cannot have. Trying to raise a big stink about everyone who ever got involved in the war just seems like a waste of time, right? The hosts are relatively well-liked and tolerated in southern California because of sheer per-capita numbers, but c'mon. That's California. We can't run the whole country that way.

Anyway, add all of that up and I think Congress is going to be spending a lot of its time going "we're very sorry, Ms. Alvarez, but the Yeerk Empire never actually declared war on the U.S. so there's simply nothing we can do." Like a lot of decisions I'm making with Eleutherophobia (yeerks as cetacians, involuntaries being treated like voluntaries, etc.) I'm going for what I consider to be realistic given the tone of the series rather than what I would necessarily consider ideal for the characters.

#animorphs #Eleutherophobia #animorphs meta #animorphs spoilers #Eleutherophobia meta #u.s. politics #honestly the whole 'realistic' vs 'ideal' distinction is the reason I've officially given up on the yeerks-as-whales debate #I'm firmly in the camp of it being REALISTIC for the yeerks to become whales after the war #and got sick of a million asks about why it would be IDEAL for them to take a different option #this isn't a series where everyone gets what they deserve and deserves what they get #and i can both agree that the yeerks don't necessarily DESERVE life as whales #and write it anyway

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the-nysh · 2 years

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Did you see shiro ripping reddit a new one btw? Probably the only person in the fanbase brave enough to vocalise that Saitama’s be-all and end-all savior chara concept is problematic and other cast members have to suffer to maintain that image. Garou being the latest and most egregious example.

Oh yeah. :') Somebody over there has to do it. Ever since the redraw I've shared their same concerns (as in: willing to see the manga commit to its own thing, provided Garou’s core characterization & agency remain intact that is), and I'm pretty sure I've received several of their messages in concerned outraged solidarity too (so hi there), because I recognize the same strong language, and many of my own words from posts I've written, in support of their reddit arguments. They’re one of the rare few users over there who's always read Garou 100% in good faith over the years, so I know their care, trust, and dedication to his character and the understanding of his nuanced, beneficial narrative themes run deep. That's respect from me. However, holding back any shred of patience or pretend courtesy anymore vs reddit's continued bad faith idiocy (or blissful illiteracy) towards Garou's character, when now there's morally no excuse to try and defend the cruelty he's been made to suffer, is a completely different battle (that I don’t have the patience to engage), so godspeed there! :'D

In their unfiltered words:

Garou is the best character this series has by far and large. The only properly fleshed out character period. Robbing him of his agency by using a cosmic device to wank Saitama’s OP-and-so-heroic self shows that OPM at its core is just another isekaishit for self-inserters, with a rapidly forming MC stalker harem even. And that is not a Garou problem, that’s a fucking pattern already and a Saitama problem. He can only exist as a protagonist if the efforts and desires of other characters are constantly undermined. In the manga everyone is a victim of an absurd and explicitly evil cosmic parasite and only fucking Saitama is allowed to solve that shit with his magical punches. Garou is robbed of his agency and turned a damsel to wank Saitama, and S classes are just overdramatic punching bags also primed to start wanking their savior Saitama.

Which...I understand. Because on one hand of looking at it, it's true. In terms of the story's expanded real estate and narrative focus, imo Garou is best boy, no disagreement there.

In my words, his manga self is someone too fundamentally good and inherently heroic, that he literally had to be mindraped into corruption against his will for any of this to happen. (For him to 'go evil' as reddit dudes ~wanted~ simply for the surface 'edgy,' or for the sake of a flashier 'good fight' vs Saitama, at Garou's entire 100+chs of established core character's expense.) Because it was otherwise impossible for Garou to ever willingly lose his key humanity or put on a believable 'evil' performance to test the heroes anymore, unless some other Literally True Evil being ('god') forcibly did it FOR him. Trapped into a corner even after he refused, but still mindraped into a corrupted faceless void of his former real self, involuntarily turned into a victim to god's cruel agenda against humanity - its eradication, and now everyone has to unfairly suffer from that violation. Congratulations. (Where it's essentially become Saitama vs god’s agenda now, while throwing everything else of value and even the nuance to question what’s beyond ‘good vs evil’ anymore out the window~) And I can't believe some fans still have the gall to say that this was ever something 'good' for Garou to deserve. That this is ‘cool.’ To completely lose the best parts of what make him Him without his consent, and corrupted into enacting overkill nuclear wrath on the world (where it's no joke or pretense anymore) which had never aligned with what he ever actually wanted to achieve in the first place (fixing the biased injustice of the world, towards saving it). So please fuck right off with that abhorrently vile victim blaming bullshit towards him, or believing any of this 'god' stuff is a true reflection of Garou's inner will/desires, or you've proven you never cared for or had faith in Garou's actual character at all.

...But things are destroyed only IF the manga is actually going for that type of arc ending with Saitama solving everything for him though, which would yes, be terrible for all other characters involved (or well, unless Saitama has magic defenses vs radiation damage I'm unaware of, he's fine so there’s no need to worry about him) since then everyone else (but especially Garou) would essentially be sacrificed only to make Saitama ‘look good.’ (Which in my opinion of his performance as a good effective hero this time, he’s.....alarmingly come up short to properly earn the heroic title of ‘one punch man’ yet. Just as King’s lectured he’s not anywhere close to the ideal of ‘greatest hero.’ Pre-redraw he was much better and considerate, but not this route.)

Because remember how many posts I made expressing wariness and warning the danger of Saitama's (problematic) approach to essentially 'bully' and push Garou further? How I knew (from personal experience with a mentally unwell -bipolar- family member who was driven to....) how none of this would be helpful. It would only make things worse. Now we see why. Because if Saitama had taken Tareo's promise seriously without messing around, under oath/obligation -on the job even- as a reliable hero to actually help & save Garou, then all of this could have been prevented. But now? After indirectly pushing it to this point of no return, the same detached Saitama swooping in to simply 'punch' god's corruption out of Garou FOR him, would just feel foully unearned. Hell no. And again, doing all the work for him still wouldn't actually help Garou's psychological problems with his identity at all. So...thanks for nothing, I guess?

No actual Garou fan wants to see that happen, or made to feel like all their time and emotional investment in his story thus far has either been wasted by the author or suddenly thrown away in the trash, where nothing else but Saitama matters, as I said here. Because doing that, by elevating one character just to put down another - at the entire other’s expense even, only fosters resentment and spiteful dislike towards the former. So it’s surely made us Garou fans hate ‘god’!!! 8′D But under no circumstances do I want to start disliking Saitama out of spite either, as that would only unpleasantly lead towards the manga’s dropability. So is ONE sure he wants to do that to the Garou fanbase? By losing a huge portion of his most dedicated (eastern) readers? Esp if that’s all there is to look forward to at the climax of his arc? Really? There has to be more to it.

Where there’s some meaning or reason why, that ultimately works in service of Garou’s hero journey - where he can finally discover/realize/accept his real self’s potential, after discerning and rejecting the indiscriminate mass destruction he never intended, to assert what he’s always truly wanted instead (but could never fully believe in) deep down, towards his decision to become the type of hero he’s always denied himself. Not determined by the rules or expectations set by anyone, beyond even those controlled by ‘god.’ In which the ‘magic’ solution to this whole crisis also lies within himself, to somehow mentally overcome, overrule, or reverse. If there is any faith still left in Garou’s strength of character at all, to help him save himself. (Tareo, I’m counting on you~) Because Saitama can certainly punch things, but he narratively can’t solve something this integral to his character for him (esp if there’s any weird callback to Child Emperor’s mental ‘win’ over Phoenix Man’s corruption attempt, with Saitama’s ��assistance.’) ...Otherwise where’s the catharsis? Then there’s really No Point for this ‘god’ development to happen to Garou at all. Beyond pointless physical fight escalation in which we already know the winner anyway.

So what else is there? It’s why I’ve made speculative posts like this. Where in all my highest hopium, if Saitama’s punch can’t directly solve Garou’s problems for him or save everyone from the effects of radiation damage, or even if Blast & friends have no magic solutions to it either (esp if they’re too busy trying to fix god’s dimensional seal)....then who else has the impossible magic power right now to change things? Garou. :) Especially if he succeeds in taking back his agency and turns that power around, from destruction into...? His own. To defy god and save the world. (Oh it’d be a miracle.) But by his own assertive choice of will this time. When saving lives (and the day) is a choice fully on purpose (just like he’s already done for Tareo & Bang), not by accident. He’d be just that good at it.

#opm #garou #manga spoilers #anonymous #replies #long text post #i can certainly RIP into it too #but perhaps in a different way #as SOMEONE still has to believe in garou around here

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supernulperfection · 3 years

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To reiterate on my previous point about the idiotic Eurocentrism of the argument that anti-Zionism is anti-Semitism because it supposedly opposes only Jews having their own state, here is a map of the world and its mono- and multi-ethnic states.

In blue you’ve got the ethnic homelands which Zionists allege is the only possible way nationality and ethnicity could relate to each other. You can see that they are actually a European particularity, and even there there are states that aren’t ethnic homelands. Do note however that in most of those states minority citizens aren’t officially considered to have any less of a claim to the country’s culture and actual commitment to remaining a state for one particular ethnic group as in Zionism is considered racist and relegated to far-right fringes.

In brown you can see multi-ethnic states (as in the one-state solution to the Israeli-Palestinian conflict) such as Belgium, Switzerland, or the United Kingdom. They are the most common in sub-Saharan Africa and South Asia. Yet Zionists deny the very possibility thereof. All the ethnic groups in those areas have no “right to self-determination in their homeland” according to Zionists, but for some reason Zionists aren’t nearly as passionate in saying that not supporting redrawing all the borders in Africa to match ethnic-majority territories (and ethnic cleansing of minorities in the resulting states) would actually be the real anti-black racism as they are in saying not supporting the creation of a Jewish-majority state in Palestine through ethnic cleansing is anti-Semitism.

In yellow you’ve got an intermediate case which are states that could be considered one ethnic group’s as shown in the name, official language, and dominant ethnic group (with the exception of Montenegro, where ethnic Montenegrins are actually only the plurality (45%)) but actually officially recognize ethnic minorities as having their own language, etc. the way a multi-ethnic state would do. That is also a concept that is completely ignored by Zionists.

In green you’ve got all the states that have a dominant ethnic group but whose nationality is separate from ethnicity, often because it is not what is generally considered said ethnicity’s original homeland. You can notice that Arab countries are in that category, thus showing a little problem with Zionist assertions that Palestinians have no need for their own state because there are 20 Arab countries they can go to.

And in red you’ve got the New World. Related to the green and yellow categories, the New World consists both of settlers coming from European countries (and who thus already have their own state), and indigenous peoples who don’t have their own state. This is also a bit problematic for the Zionist argument of “one people = one state”.

An additional fact: >85% of ethnic groups don’t have their own state (even including the yellow and green categories). I hope Zionists will take a break from massacring Palestinians to address this troubling racism toward the overwhelming majority of ethnic groups in the world. Bonus points to whoever manages to find out how one could possibly give Romani people or African-Americans their own state.

#free palestine

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macbookpro-hard-drive · 5 years

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control [jeremy h. x squipped!reader] pt.6

hey gamers, remember when i was a writer?

i anticipate one more part to this fic before i wrap it up completely, and maybe i wont take four months to write this one-

warnings: none, to be honest? theres like. some angsty conversation but its not much or super heavy.

The next morning, Jeremy Heere woke up to a foggy mind and new weight on his chest and side. He blinked in the light of day peeking through the blinds, drew in a deep breath, and realize this was definitely not his bedroom. At first he froze, looking to his side - where you had curled up close to him, peacefully sleeping. Then he remembered everything, all within an instant, and it was like the storm that had been brewing inside of him suddenly ceased.

Okay. Okay. This was fine. Jeremy pressed himself back into the bed, shutting his eyes - you were probably just cold, and since he was there, you just - you must have gravitated his way. It made sense. It made complete sense, actually - you were definitely still somewhat sick, so being cold made sense for you. With you curled up close to him, he couldn’t move without the risk of waking you up. So he stayed still, eyes shut as he listened to the soft sound of your breathing, acutely aware of how warm you were beside him. Why was he so... tuned into that? You were asleep. You were alive. Yet it was almost as if that was a foreign concept as he observed how warm you were, flush against his side, and how peaceful you looked when he stole a glance towards you.

So he laid back and shut his eyes, and tried to fall back asleep for a little longer and not think about the way that his arm had slightly draped over you-

Luckily, that didn’t last long. He felt you stir awake, before the weight of you on his chest was gone and he was left yearning for that little bit of warmth. He listened to you stifle a yawn.

“Shit.” Your voice was quiet. “Hey, uh, Jer?” You reached out, gently shaking him. “C’mon, dude-”

He feigned waking up as well as he could, and thankfully it seemed to fool you. “Mm?” He hummed as he looked up at you. You were bathed in the pretty sunlight of morning and that caught his attention more than it should.

“Does your dad know you’re here?” You asked.

He sat forward slowly, shifting into a more comfortable position. “I’m pretty sure he knows I’m Heere, [y/n]-”

Immediately, you jabbed him with your elbow. “That was fucking terrible, Jeremy.”

He smiled a little, the remnants of sleep having taken hold of him. He stifled a yawn, “no, uh, I didn’t - I didn’t really say anything-”

“Then... you should go home.” You froze for a moment, looking toward your bedroom door, “fuck, my parents don’t know you’re here and, uh,” you looked back at him, “they’re... gonna question why I have a guy in my room.”

He watched you crawl off of your bed, standing and stretching for a moment before heading towards your door. You held a finger up, slowly cracking your door open to peek out into the hallway, before quickly slipping through and shutting the door behind you. He stifled a yawn as he, too, climbed out of the bed with nothing but a fatigue in his bones and a weird light in his chest - and he paused as he caught sight of a Gameboy color sitting on your desk, the faded grape color having caught his eye in its contrast to your desk. He took a small step over, picking it up and pulling the game cartridge from it - and he smiled at the chubby, determined Pikachu that met him. You’d changed - that much was certain - but... there were little pieces of you still scattered about. While he never knew you to be a flower person (after all - he had caught a glimpse of dried sunflowers sitting on your desk, and a sticky note next to them to figure out where to put them that looked faded from light), or someone who... who used people, you were still you in lovely little ways that made him crack a smile and made him wonder just how many things weren’t you before? How many things exactly had been scripted out for you to follow? His stomach twisted at the thought.

Then he stumbled across your sketchbook, and did an act that he felt in his bones would be utter betrayal to you: he opened it. He hadn’t seen your art in so long, and his curiosity would have eaten him up if he hadn’t at least peeked at what you had been up to. Besides... you had to have improved, right? He knew that. He knew art was a huge part of your life and who you are, and he just-

He recognized your art. Not in the sense of it hasn’t changed, because it had drastically changed from the shitty anime style with too-pointy features and stiff poses (not that he saw anything really wrong with that - you were young, you were practicing, and even if you hadn’t improved you were in love with what you were doing). He’d seen these sketches before, posted online from an artist he followed who had actually posted not too long ago an apology for their absence. The timing was too right, the details too exact. He snapped it shut quickly the moment he heard the doorknob jiggle, turning to face you immediately as he pushed it back onto the desk behind him.

You stared at him upon opening the door, his panicked expression definitely giving him away. “Uh... you alright?”

“Yes!” Jeremy had said it too quickly, too suddenly, and you raised a brow before he continued, “I’m, uh, I’m fine - are your parents-”

“... Gone,” you said, leaving your door open as you walked towards him, “are you sure you’re alright?”

“I just. I, uh. Please don’t be mad.” Jeremy stepped aside, looking back towards your sketchbook, “I, uh, peeked.”

“You looked?” you said, more confused than angry - and he was thankful for that. “Okay?”

“You aren’t mad?”

“I mean... you didn’t, like, destroy anything, right?” You flipped open the sketchbook, only to pause as you realized which one he had looked into - because you had been keeping two sketchbooks, one for on-the-go that was smaller and fit into your bag and another that you often left at home unless you were going on a long trip or had any other excuse to carry it with you. The one that you used for the pieces you planned, or the ones you sketched with the intent of posting them online.

“I, uh... why, uh, why didn’t you tell us?”

“Us?” You raised a brow, shutting the book as you turned away from it. “Oh. Michael. Look, Jeremy, I... considered it, but... I dunno, there’s a reason I use an alias online-”

He turned shades of red before you, averting his gaze as he understood -mentally kicking himself for a stupid question. “That’s fine! I just - I’m, uh, surprised. You’ve... you’ve really improved, you know?”

He had caught a glimpse of your smile as you ran your fingers down the textures cover of your sketchbook. “Drawing every day does that,” you admitted with a casual shrug, before shaking your head to dismiss any further thoughts and you looked back up at him, “c’mon. I’ll walk you home.”

Jeremy swore he knew too much about you.

The thought hadn’t occurred to him until one day during lunch, where you were sitting next to Michael and talking about dumb things that made you laugh - and he noticed how there was a small wrinkle in your nose when you laughed or smiled hard enough. But you laughed at the same jokes, and, fuck, was it possible to have missed someone’s laugh?

But there was Christine. He liked Christine. He knew he liked Christine. Besides - you seem so close to Rich, how are you two not dating? He was always so touchy with you, an arm around your waist casually and he knew so many facts about you.

But then again, Jeremy also knew a lot about you. He knew your favorite candy hadn’t changed (Sour Patch Kids, specifically the watermelon ones), and that you loved the peach-mango slushies from Wawa (and the lemon bars, and the sourdough melts with pepperoni). He knew you loved art so much, and he loved watching you draw and the way you furrowed your brow in frustration while paying such close attention to every little action you took whil eerasing and redrawing different parts over and over. He knew you painted your nails black without a care, and he remembered the day you had offered to paint his nails and Michael’s too (and Michael had been the one to take you up on that offer, Jeremy too nervous and flustered to say yes - how would he even explain that to his dad?).

Then there was the way you always joked alongside him. Michael was used to his lame puns and stupid jokes, usually elbowing him playfully at the first painfully bad pun before meeting the rest with a groan feigned with annoyance - but you? You laughed at him, and you made shitty puns back, and you made him smile. There was something so beautiful in your smile, and god - you were like sunshine to him. Even when you were tormented by the bullshit you’d gone through, you still had the kind of presence who lit up a room and you were still the kind of person whose presence he sort of hungrily drank in because you were so warm and loving and so, so damn nerdy that you felt like home.

And one day it was just you and him and Michael. Michael left the room, door left open as he meandered through the Heere household with expertise - and you lit up at something. And you nudged him, pointing over forwards the faded planet stickers still stuck to his bedroom door. And he smiled: you remembered them. He couldn’t believe that you would remember such a little detail like that, but... it made him feel important, in the weirdest way, and maybe he was greedy for chasing that feeling but it was so good that he was willing to accept another religion’s deadly sin if it meant he’d feel important.

And he finds himself listening to Spotify on lazy afternoons after classes, and he hears you in some songs. So he sort of smiled at that after the first few times it had happened, and made a new playlist with your name as the title - with the intention of finding some image to throw into onto it later. Michael caught him adding music to it one day, and he sorta laughed at it before nudging him.

“So where’s my playlist, Jer?”

Jeremy laughed it off.

And then it clicked in Michael’s mind as he looked at him, taking in the sight of the faint flush to the scrawny boy’s face as he went back to what he had been doing without much of a second thought and that stupid dreamy look in his eye that Michael had seen so many times before. “You like [y/n], don’t you?”

“What? No!” he immediately said, spinning his chair and pushing away as he looked at Michael. Then the guilt set in quick, regret pooling deep in his stomach with a nasty poison to it all. That’s when he first started to sort-of realize that you were more than a friend in his mind. But he finished your playlist that night anyway (at least - finished enough, even if he would add more tasty jams for you to enjoy at a later date) and he sent it to you.

The heart emojis you sent back made him smile.

The sticky summer heat enveloped you as you took a slow, cautious step onto the front porch. Even at night, you felt as if you’d completely melt if you stayed outside for too long. But you needed this moment to yourself, to breathe and stand outside in the quiet. To pretend that Michael wasn’t snoring inside. Besides - it’d just be a few minutes. You sank down onto the porch swing that was definitely relatively new considering Michael absolutely didn’t have this a few years ago. You’d remember if he did. It swayed underneath your weight, and you shut your eyes for a moment and breathe. And it was just you.

Then the door creaked open, and you opened your eyes to see Jeremy standing halfway in the doorway, leaning out to look at you. At first he acted as if he were going to speak - but he stepped out, shutting the door behind him as he approached you.

He stopped at the edge of the swing, curling his fingers around the chain at his end. He stood there nervously, fiddling with the metal absentmindedly before he finally took in a deep breath to calm his nerves.“Are you okay?” He asked, voice quiet and laced with the dwindling remnants of sleep.

You nodded. “Yeah. I’m fine.” And you were. Tired, sure, but you were okay and you’d trade anything to just be okay forever.

Jeremy sat down next to you, absentmindedly rocking the swing back and forth. “Are you sure?”

“Yeah,” you nodded, “I just forgot how loudly Michael snores.”

He raised a brow at that. “How did you forget?”

You shrugged. “It’s been a while-”

“Yeah,” he said, “but - what’s your secret, [y/n]?” He smiled at you, “I’d do anything to forget that.”

You couldn’t help but crack a smile in return. But you didn’t respond, instead looking back out.

So Jeremy spoke again. “Can... Can I ask you something?”

“You just did,” you said without a second thought, before looking to him, “but yeah, sure.”

“You, uh, you don’t have to answer or anything, since, I, uh, I know how bad it was but...” He paused for a beat, taking in another breath to calm himself. “What was it like?”

You understood. “It’s like...” You started, pressing your lips together as you searched for the words. “It’s just a constant voice in the back of your head. Like - y’know how it feels to second guess yourself sometimes?” He nodded. You continued, “it’s - it’s sorta like that, but instead of being hard on yourself for that, you have something else making the decision to give you shit for it every fucking moment.” You wrapped your fingers around your other wrist, acutely aware of the electrical scars that now reside there, “I don’t want to go back to that.”

“I’m sorry-” He started. Then he went wide-eyed, “wait, fuck, you did this for me, right?”

“Not entirely,” you shrugged. “I mean... Rich said it’d make me cool. That people would like me, and... then, after I took it, it said it’d help make you like me.” You paused, “ugh, god, that sounds so fucking stupid when I think about it.”

“It’s not,” he said, a little too quickly, “I mean - I think it makes sense, since... I dunno, we all want to be liked, I guess?”

You blurted out your thoughts, “it wanted to... to get to you, too.” You pulled your bottom lip between your teeth for a moment. “Sorry, it - it just said you were, uh, the perfect candidate.” You forced a bitter laugh past your lips, “I wonder what the criteria for that is.” But you turned gentle, voice soft. “I, uh, I said no. You didn’t deserve... that. You deserve to be yourself, Jeremy.”

For the longest time, he was quiet. But he finally looked over at you for a moment, “what if it had been me?”

“What?”

“What if... y’know... it had been me instead of you?”

“I... I don’t know.” You pressed your lips together into a thin, tight line as you mulled the thought over. “I don’t think we’d be sitting here right now.” Nervously, you scratched at the back of your neck. “And I think you’d be a huge dick, to be honest.”

“What!?” He turned back to you, “why?”

Your laugh was light, airy, forced. “Just a feeling.” A smile ghosted over your lips as you looked away. “You still like Christine, right?”

That caught him off guard. “Uh - yeah, I mean - I do, but - it’s, uh, it’s complicated.” He frowned.

“Oh,” you smiled, genuine this time, and turned back to him. “Another crush? That’s... actually really valid.”

“What about you?” He asked, and he ignored the hope that rose and quaked in fear inside of his chest.

You merely shrugged. “I don’t know. I... haven’t really thought about how I feel in a while. But... I think I like someone.” You paused to laugh the thought off, “god, I feel like a kid saying it like that, but...”

And then you paused again.

“Oh my god.” You looked at Jeremy, “we’re seniors.”

In time, he wouldn’t remember the conversation exactly. He remembered the vague outline - college, majors, high school, and for a moment sex, before the air felt awkward (in... a weird way that felt good and weird at the same time, and he couldn’t exactly define why). You stood up, stretching as you turned to head back inside, and you said something to him that he didn’t remember because, if he was honest, he was lost in the way you looked in the light of the moon and stars and it made him feel like a big fucking sap. He followed you inside after a moment, laughing off the spaced-out behavior, and descended into the depth of Michael’s basement with a hope that he would get some good sleep - and if he couldn’t, he hoped at least you would. One of you should at least make it through the night with this sleeping dragon nearby.

#mj's writing corner #be more chill reader insert #be more chill x reader #bmc reader insert #bmc imagine #be more chill imagine #jeremy heere x reader #jeremy heere imagine #i forgot my tags for this blog and literally had to go back to find them-

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arecomicsevengood · 6 years

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A Year Of Reading Acknowledged Masterpieces #2: Saul Steinberg’s The Labyrinth

Maybe my most pointless worry is for how aliens, or whatever civilization comes after us, will struggle to learn anything from the jumble of signals that is this modern moment of our undoing. Our language and its referents cannot be understood without full immersion, and so much of what holds a privileged place in our culture, like religion or celebrity, correlates to daily existence in a confused and unclear manner. I dwell on this theoretical future because my far more pressing worries make art feel useless and decadent. As much as I love work that feels like it’s arrived as an artifact from a parallel universe, like Peter Greenaway’s The Falls or Ben Marcus’s Notable American Women, they only confuse the issue of an easily imagined not-too-distant future where everything recognizable is extinct, and even man’s many gestures at mimetic realism and journalistic explanations appear to the only prevailing consciousness as incomprehensible as the Codex Seraphinus.

It is in the context of this insane existential anxiety that Saul Steinberg’s work functions as a huge relief. Here the big ideas and our idle habits are captured in the same graceful line. It’s beautiful and funny, thoughtfully considered but never belabored. Everything feels like the platonic ideal of ideas being captured in a distilled form; if I were to liken it to music I would cite John Fahey. Fahey had a hit record with a Christmas LP, Steinberg’s work achieved a high circulation due to its placement in The New Yorker. The cartoons in that magazine seem vaguely notorious for being unfunny and inscrutable, at least to a generation that remembers vividly that one Seinfeld episode and was otherwise weaned on the gags in The Far Side. There are people who dismiss Christmas music as a concept as well. While Steinberg’s work definitely lives up to any rep for dry wit, I don’t really view any of it as being gags. Once you remove the expectation that this work is intended to elicit a laugh it becomes pretty easy to see it as just great art, and its placement in a widely-circulated magazine is just a better delivery system to the masses than art galleries are.

Here’s a Steinberg cartoon the New Yorker reprinted a few months back. It’s from a different time period than the stuff in The Labyrinth. It contains a caption, which none of the pieces in The Labyrinth do, though whether or not they did on their first publication is unknown to me.

The Labyrinth is an art book somewhere between a monograph and a sketchbook, edited and ordered for maximum readability as sets of ideas are explored. Many of those ideas are about drawing, and the drawing often feels close to doodling, as many pieces explore what you can do with a single line without removing pen from paper. It is arguably “not comics,” in that there isn’t a story you read from panel to panel, but the relationship to comics is pretty clear. If you are a maker of “avant-garde” or “art” comics, this book would be as informative to your process as reading E.C. Segar’s Popeye* would be for someone who writes Iron Man. Originally published in 1960, it was recently reprinted by NYRB, although not through their comics imprint, which has published artists whose work is prefigured here. Certain drawings seem to outline ideas that would be elaborated on in Pushwagner’s Soft City (drawn in the seventies, and published by NYRB a few years back), and drawings of people playing music, where the sound is rendered as various abstractions, bring to mind stuff in Blutch’s Total Jazz, published by Fantagraphics in 2018, though NYRB handled an English-language version of his book Peplum in 2016. There’s also stuff in the drawing that calls to mind Sasaki Maki’s Ding Dong Circus. All of these works are done by people outside of the U.S., and I can’t really assert with any historical certainty that those people saw the work in question before their own undertakings, though the amount of copies of The New Yorker that are printed make it seem not impossible. It also seems like Steinberg might’ve attained something of a celebrity status enough that potentially photographs of his drawings of women on bathtubs would’ve made it to Life magazine or something. As great as the drawing is, I’m not sure how much of it you would deliberately copy unless you were seeing individual images in isolation. Seeing so much collected in one place the takeaway is how unaffected it all is: It might inspire you to do more sketchbook drawing to see if you can capture the energy of life as effectively as Steinberg did, but you’re certainly not going to capture the verve of his line by studiously redrawing his work.

In terms of intent, Steinberg’s cartoons set a precedent for Jules Feiffer’s Explainers strips, which would run in The Village Voice a few years later. Feiffer, of course, was well-versed in various kinds of comics, having worked in Eisner’s studio, and his avid readership of the earliest comic books is documented in his book The Great Comic-Book Heroes, but there’s not really anything in that stuff suggestive of the sort of observational acuity of the middle-class that you get in his writing, that is present in Steinberg’s work. The depictions of playing music are rendered similarly his depicting to other forms of communication as outgrowth of power dynamics. The drawings of art galleries and artist’s studios exist alongside pieces that seem to primarily document his own drawing process, all of it capturing how much of mankind’s energy is spent choosing to willfully distract itself, how much we throw ourselves into art. In Feiffer you read these self-involved and circular monologues and dialogues of educated neurotics. Steinberg depicts what these people get up to when they’re not talking through their thoughts, but the reader can still intuit the neuroses through posture and gesture, and the depiction of the social settings that create them.

This is done largely without language. If on first publication they were accompanied by typeset lines of dialogue beneath them, those have been excised for posterity. When a selection of drawings of Russia appear, you recognize it by changes in architecture and fashion. Towards the end, however, there are a few pieces that use lettering as part of the landscape of a piece to convey the meaning of the word being used, i.e. a piece where the word “sick” is laid up in bed. The afterword, dating from the time of the first printing, calls these drawings “conceptual art,” a term which would soon after be applied to something else entirely, making this attempt at nomenclature the sort of historical footnote that’s funny to me. These pieces aren’t the best stuff in the work. They have this children’s book illustration quality that nonetheless brings home how beyond language the rest of the book is. It’s a lesson in expression being taught by someone impossibly fluent, a genius condescending to explain himself: I probably would not have come up with this piece’s introductory paragraph, explaining a way into the work, without their precedent. After readers have been shown what humans are, they’re bestowed tools to understand language. These pieces appear at the end because they’re a way out of the labyrinth, out of Steinberg’s system of association between drawings where lines go wild, and back into the world of humdrum communication.

I have read speculation that music’s initial evolutionary purpose involved soothing the young. A mother’s lullaby, like a cat’s purring, is its origin, and both language and instrumental ornamentation followed later. The musicality of Steinberg’s line, as presented here, follows a similar arc, where beginning from a baseline of recognition at shared humanity, and advancing through harmonic extemporizing with each new suite of drawings serving as a piece of counterpoint, becomes both more abstract and more articulate. The end result is something like an ethnography and something like a symphony.

(*: I’m probably going to talk about Popeye next month. At least one motivating factor behind this series is to get away from the promotional cycle of hype for the new, and look at work worth of being approached almost like items on a syllabus. I hope it doesn’t result in too much writing where I list influenced works to make a case for “historical importance.”)

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evolutionsvoid · 6 years

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This submission is quite different from the others, as you can probably tell by the mass of poorly stitched together drawings. The thing is, there are some times where I go through the whole drawing and coloring process, only to dislike what comes out the other end. For some reason I fail to notice my distaste for the piece during any point of its production, only realizing that I hate it when all is said and done. It can also happen long after the picture is drawn. Due to my extremely overloaded posting lineup, a lot of my drawings sit for months until they see the light of day. During that time, I may look them over and find that I didn't do a good enough job the first time, and choose to go for a redraw or recolor. These designs and colorings that I dislike are then shelved and shunned, until today. After amassing quite a few failures, I thought it would be neat to post them all just to show the cavalcade of poor decisions. Not everything you make is perfect, but failures and victories are the bricks that pave the path to progress! Some of these pieces may seem familiar, as their redone designs have been posted long ago. Regardless, I feel like talking about them, so here is an explanation of what they are and why I hate them! (Starting at the top, left to right) Pelicairn: This one wins the award for "Design that has Forgotten the Entire Point." The entire reason I was designing the pelicairn was to make an ambush-predator bird that lived in rocky places. I thought a pelican was a fitting species, and the idea of a bird hiding as a rock seemed pretty fun. What came out instead was some saurian monstrosity that couldn't possibly function the way I had intended. For some reason I thought it would fold up nicely into a fake boulder, but the design was an absolute bust. So I went back to the drawing board and came up with the more practical and way cuter bird Nerve Pincher: An attempt at an update for a super old design, this one flopped completely when I saw how flat and boring it turned out. The serpentine nature of the beast was lost in a fatter look and the colors didn't seem to work out well. No real update has been posted for it yet, but I have been working to rectify this mistake. Thunder Bird: This design ran into the same problem as the Pelicairn, as it came out too lanky and stretched out. I had wanted to fuse a parrot and a giant ground sloth, but I wound up taking too much ground sloth and made it look awkward. All the other elements seemed right, but the skeleton was all wrong. Thankfully I fixed it with a more squat, hunched powerhouse that looked like it could carry the title Thunderbird The Greedy Pudding Bear: A rather weird beast that came completely out of nowhere, this version was aiming to fit the size of a mascot costume, but the final result didn't grab me. It was too small and it didn't give a gross enough silhouette. The fixed version did a better job making it more monstrous and repulsive. The Scorched: A design and concept I have fully tossed away at the moment, these things were supposed to be the dryad equivalent of demons. A burnt husk of a being that was wreathed in ash and flame. Drawn a couple of years ago, I feel it looks worse every time I take a look at it. Really sloppy and not all that good looking. May revisit it, but I am not confident on that. Aconstrum: Speaking of dryads and their monster equivalents, the Aconstrum was a design I wrestled with for a good while. How on earth do you make plant werewolves? My first answer was to try and give it a "fur" equivalent, coating the thing in leaves and vines. The problem I ran into, though, was that there was too much green and it looked quite messy. The final version of the Aconstrum fixed this by replacing vines with petals and ditching the green entirely for brown, gnarled bark. Stalked Men: Recognize these guys? Originally called Stalked Devils, these critters were traced over to create the Stalked Men, and for good reason. The reason being that their original color scheme was absolutely terrible. Dull reds and browns and utterly drab. I was trying to get the look of real-life stalk-eyed flies but failed miserably. They looked much like my Giant Ants, and it didn't fit at all with creatures that live in the jungle. They needed color! Pzazz! The new color scheme for the Stalked Men thankfully rectified that bland look. Undead....thing: Had ideas for a concept and it came out poorly. Not much to say on this guy. I liked a lot of parts of him, but the whole piece just seemed blah and sloppy. Working to see if this can be salvaged. Vilicity: The one of her two color schemes that I debated using, and wound up discarding this one. This look was to give her an armored appearance, or something slightly inorganic. The grey worked well with making the pink flesh pop, but the crazy blue design ended up winning me over. I felt it gave her a more alien appearance (though this grey one could be considered more Alien, har har!) and made her stand out a lot more. Quite the cavalcade of failures, but I am sure they won't be the last!

#monster #creatures #art #drawing #failed designs

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northamptoncouplestherapy · 4 years

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Belgian psychotherapist Esther Perel once said, "None of us are married to just one person in our lives, even if we only marry one person." For those who have been married 40 years and beyond, this saying undoubtedly rings true. As partners change and grow, good marriages evolve.

We live in a culture that is richly informed by romantic concepts. However, the truth is that marriage is hard for even the most committed partners. We increasingly rely on our spouses to play a vast number of roles in our lives: friend, lover, co-parent and financial partner.

Playing all these roles is a lot to navigate and virtually guarantees that you will not only hit bumps but also some craters along the way. When two people with separate histories come together, there will be periods where the best thing you can hope for is to find a way to coexist and a maintain a neutral stance towards one and other.

However, over time and with work, you and your spouse can grow together and even thrive. Science and relationship studies provide critical features of the roadmap that points to long-term success.

In the name of science and in honor of all those marriages that have surpassed the 40-year-mark and beyond, here are five tips for lasting success so that you can enjoy the different phases of evolution together. It is never too early to make use of them, even if you have just started your relationship’s journey.

1. Avoid The Comparison Level Alternatives Phenomenon

John Gottman, a recognized leader in the field of marital distress, first coined the phrase “comparison level alternatives” to describe the pattern in which we compare our life circumstances with an alternative, imagined scenario in the outside world.

For example, it’s quite normal to ask yourself questions like, “Am I happy in my career, or would I enjoy following a different path?” or “Am I really made for a life in the suburbs?” or“Should I consider a move to the city?”

When a marriage starts going on the rocks, however, you or your spouse might entertain more damaging comparisons or even enter into a marriage crisis.

You might say to yourself, "If I was married to so and so I’d be happier," or "If I had picked a different person, my life would be less lonely,” or, "Maybe if I were alone, my life would be better."

Research shows that comparison level alternatives are dangerous and potentially devastating to a marriage. They often manifest themselves in absorption of fantasies of freedom, or can lead to emotional and physical affairs. Avoid this insidious line of thinking at all costs.

When things get hard, try saying to yourself, “Part of being in a relationship is navigating troubled times, and I could be just as unhappy in another relationship. It might look different, but there would be difficulty and conflict all the same.” More simply, you could remind yourself of the truism “out of the frying pan, into the fire.”

Instead of entertaining fantasies about some alternative life that doesn’t exist, choose your primary partner; committing to them in every way repeatedly. Spiritually. Emotionally. Mentally. Choose your spouse, again and again.

2. Adopt a Commitment Mindset

Committed spouses lean more towards realism than romanticism during challenging phases, and maintain an awareness that their needs will go unmet a certain percentage of time in the relationship. When asked for the secret behind her successful marriage to George Harrison, Olivia Harrison said, “It’s simple. Just don’t get divorced.”

A successful long-term marriage requires a bit of abandon. You must give up the notion that your spouse will make you feel completely satisfied all of the time. Refuse to view your role in the relationship as contingent on how your spouse makes you feel.

This is a type of mindset that manifests itself — not in a declaration of wedding vows — but in the way you show up for your spouse in the everyday, often mundane areas of life. There is something about an unwavering commitment that makes all other burdens easier to bear, and obstacles easier to surmount.

If you do allow your commitment to waver, on the other hand, you are more prone to abandoning the relationship when it goes through a period of not meeting your needs. Whether you do this physically, mentally or emotionally, you stop showing up in any meaningful way.

Instead, you start searching for the proverbial “Exit” sign.

3. Build Your Relationship “Love Map” (& Continuously Redraw the Lines)

There is immense value in teaching your partner who you are and what makes you feel loved in return.

As humans, we can’t read one another’s minds. However, it’s vital to know what works for both of you and to act on that knowledge repeatedly. Otherwise, you can be building a self-centered marriage, instead of a functional relationship.

The philosophy of love languages--that your partner feels loved in particular ways and you should find those ways--goes part of the distance. But when they don’t see your specific love language and don’t speak it to you, a generosity of spirit can go just as far. Giving your partner the benefit of the doubt is an important stance when they may be too distracted to love you in the way you want.

During the first 3-5 years of a marriage, you are just developing this understanding and building your love maps — a concept originally developed by John Gottman to describe the process of getting to know your partner’s world intimately.

Ask yourself, what’s happening in your spouse’s world? What’s important to them? What makes their heart sing and/or sink? What romantic gestures do they long for, and how often do you satisfy those longings?

These love map questions are not answered once and for all. Partners headed for a golden anniversary will continue to ask them, revising their maps as they go, adding nuance at every opportunity. A successful relationship is partly based on continued attention.

4. Avoid Turning to “Thirds” to Avoid Conflict

While we all need to talk about our problems from time to time, it’s important to be selective in what you say, to whom and how often.

In the world of couples therapy, involving others in your marital problems is what we call turning to “thirds.” It’s when you choose to talk to another about your relationship woes instead of your significant other.

Why is this an issue?

Well, for starters, it creates an immediate ripple effect. All of a sudden, you may have a one-sided jury of people who are rooting for you and will take your side no matter what (even if they shouldn’t). Your “jury” is hearing only one perspective of the issue and may align with you on partial evidence. They are likely to give you a level of confidence in the validity of your view that maybe you shouldn’t have.

Another dangerous aspect of turning to “thirds” is the clear conflict avoidance it displays. Whether from a lack of trust or one’s family of origin, some people are just more conflict-averse than others. However, avoidance never solves the most profound problems in a marriage and may exacerbate the issues.

Bringing your complaints to friends and family on a regular basis, no matter how well-intentioned they may be, can poison the well.

5. Support Your Partner in the Hard Times

Couples who have been married for decades have experienced many seasons of life together: births, graduations, deaths of family members, career moves and financial highs and lows.

With everything life can throw your way, it’s important to have someone by your side to hold your hand and share in the ups and downs.

Caring for yourself includes caring for your partner, knowing that their health and well being supports your own. However, if you have a partner who has not cared for you well, (or even become more of a burden than a benefit), your trust in them may wane. Once the retirement years approach or age starts to take its toll, the stakes for marriage become even higher.

You don’t want to wind up wondering, "Wow, for the next 10, 15 or 20 years, I could be physically compromised. How well is my spouse going to support me through this time?”

The patterns of support you have experienced throughout your marriage will inform how you answer that question. Was your spouse there for you when you had a C-section or your shoulder operation? Were they there for you when you were laid-off from your job or lost your father unexpectedly?

If you have felt abandoned or neglected throughout your marriage, you will have an appreciable amount of trepidation concerning how much support you will receive as you age. And the same may go for your spouse.

One or both of you might be more inclined to say, “Life is short, and I have less of it left. I want to make the next 10 years count.”

This is especially true for if one spouse has worn the hat of caretaker throughout your marriage. They will likely experience burnout. So, if one or both of you are diagnosed with a chronic illness, it just might be the proverbial straw that broke the camel’s back.

In old age, things don’t necessarily become easier. So, pay attention to how you support your spouse now and make every effort to acknowledge the ways you might have missed the mark in the past. This is a step to doing it better in the future.

A marriage that lasts decades requires a committed mindset. It asks each spouse to give equal regard to the others’ thoughts, opinions, and values. And, as you age, it will necessitate even deeper levels of trust and support.

If you and your spouse need a little help adapting to this new stage of your marriage or want to find new ways to approach conflict, our couples therapists have over 100 collective years of experience treating couples and spouses.

From the Gottman Method to Emotionally Focused Therapy, we apply science-based methodologies to our marriage therapy.

We offer weekly therapy and private, intensive 2-Day and 3-Day Belgian psychotherapist Esther Perel once said, "None of us are married to just one person in our lives, even if we only marry one person." For those who have been married 40 years and beyond, this saying undoubtedly rings true. As partners change and grow, good marriages evolve.

However, over time and with work, you and your spouse can grow together and even thrive. Science and relationship studies provide critical features of the roadmap that points to long-term success.

1. Avoid The Comparison Level Alternatives Phenomenon

When a marriage starts going on the rocks, however, you or your spouse might entertain more damaging comparisons or even enter into a marriage crisis.

2. Adopt a Commitment Mindset

Instead, you start searching for the proverbial “Exit” sign.

3. Build Your Relationship “Love Map” (& Continuously Redraw the Lines)

There is immense value in teaching your partner who you are and what makes you feel loved in return.

4. Avoid Turning to “Thirds” to Avoid Conflict

While we all need to talk about our problems from time to time, it’s important to be selective in what you say, to whom and how often.

Why is this an issue?

Bringing your complaints to friends and family on a regular basis, no matter how well-intentioned they may be, can poison the well.

5. Support Your Partner in the Hard Times

Couples who have been married for decades have experienced many seasons of life together: births, graduations, deaths of family members, career moves and financial highs and lows.

With everything life can throw your way, it’s important to have someone by your side to hold your hand and share in the ups and downs.

You don’t want to wind up wondering, "Wow, for the next 10, 15 or 20 years, I could be physically compromised. How well is my spouse going to support me through this time?”

One or both of you might be more inclined to say, “Life is short, and I have less of it left. I want to make the next 10 years count.”

From the Gottman Method to Emotionally Focused Therapy, we apply science-based methodologies to our marriage therapy.

We offer weekly therapy and private, intensive 2-Day and 3-Day couples retreats as well as new extended hours and a growing team of couples therapists to meet increasing demand for expert, research-based couples therapy. as well as new extended hours and a growing team of couples therapists to meet increasing demand for expert, research-based couples therapy.

Like what you’ve read? Sign up to receive my musings filled with heart, concrete tools, and cutting edge resources via my blog: Loving Well.

#couples therapist #couples therapy #marriage counseling #Emotionally Focused Therapy

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theadmiringbog · 6 years

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Emergence over Authority

Pull over Push

Compasses over Maps

Risk over Safety

Disobedience over Compliance

Practice over Theory

Diversity over Ability

Resilience over Strength

Systems over Objects

Emergence is about the use of the many, over the few, to solve problems, pull takes that notion one step further, using what’s needed only at the precise moment it’s needed most.

A pull strategy requires transparency and a two-way flow of information in and out of the organization ...

The logic of pull would be that supply shouldn’t even be generated until demand has emerged.

Dr. Mark Granovetter argued that weak ties—those that connect casual acquaintances and friends of friends—have the potential to bridge communities and create a sense of trust and connection between people who know each other only slightly or not at all. People with a wide range of weak ties therefore have more opportunities to pull resources from their networks. As Malcolm Gladwell has noted, “Our acquaintances—not our friends—are our greatest source of new ideas and information.”

Serendipity Is Not Luck

Sociologist Mark Granovetter’s theory of the “strength of weak ties”: it’s those connections outside of your normal circle that often provide the most value. But serendipity is not luck. It is a combination of creating a network and an environment rich with weak ties, a peripheral vision that is “switched on,” and an enthusiasm for engagement that attracts and encourages interaction.

The world is changing, and instead of stocking resources and information, controlling everything, planning everything, and pushing messages and orders from the core to the edge, innovation is now happening at the edges. Resources are pulled as needed: the world is going from “stocks” to “flows.”

A map implies a detailed knowledge of the terrain, and the existence of an optimum route; the compass is a far more flexible tool and requires the user to employ creativity and autonomy in discovering his or her own path.

The decision to forfeit the map in favor of the compass recognizes that in an increasingly unpredictable world moving ever more quickly, a detailed map may lead you deep into the woods at an unnecessarily high cost. A good compass, though, will always take you where you need to go.

The principle of compasses over maps also allows individuals and companies to respond rapidly to changing assumptions and environments. When faced with a roadblock, innovators with good compasses can navigate around the obstacle rather than have to go back to the beginning of the journey to redraw the map.

The MIT Media Lab is about “Uniqueness, Impact, and Magic.”

Uniqueness: The Lab works on things no one else is working on, and if someone else is working on it, we move on. As George Church says, if you’re competing, it’s not interesting.

Impact: Many who work in the pure sciences are trying to discover knowledge “for science.” While this is important, the Media Lab works in the service of impact, a concept that has evolved over the years. Nicholas Negroponte allegedly coined the phrase “Demo or Die.” It’s a reference to the Lab as build-oriented and impact-oriented.

Instead of rules or even strategy, the key to success is culture.

Whether we are talking about our moral compass, our world view, or our sensibility and taste, the way that we set these compasses is through the culture that we create and how we communicate that culture through events, e-mail, meetings, blog posts, the rules that we make, and even the music that we play. It is more of a system of mythologies than some sort of mission statement or slogan.

Disobedience, especially in crucial realms like problem solving, often pays greater dividends than compliance. Innovation requires creativity, and creativity—to the great frustration of well-meaning (and not so well-meaning) managers—often requires freedom from constraints.

In theory there is no difference between theory and practice. In practice there is.

—Yogi Berra

Putting practice over theory means recognizing that in a faster future, in which change has become a new constant, there is often a higher cost to waiting and planning than there is to doing and then improvising.

When you emphasize practice over theory, you don’t need to wait for permission, or explain yourself before you begin. And once you’ve started, if your circumstances change or your development process takes an unexpected turn, you don’t always need to stop and figure out what happened before you go on.

The level to which you can exercise practice over theory depends on the “layer” you are working on—infrastructure and other capital-intensive projects, obviously, offer fewer opportunities for iteration and relatively painless risk-taking. This stands in contrast to higher, softer layers such as software or marketing, which have radical new cost structures, and should be approached accordingly.

Agile development quickly gained cultural currency for its emphasis on adaptive planning (think: shoot, ready, aim, shoot again), early delivery to clients, and ability to improvise in response to unexpected challenges.

When DuPont’s engineers were designing the B Reactor in Hanford, Washington—the world’s first full-scale plutonium production reactor—the physicists working with them couldn’t understand why they insisted on so many blueprints, or why they wanted to build so much room for error into the design. Enrico Fermi told Crawford “Greenie” Greenewalt, one of DuPont’s chemical engineers, “What you should do is to build a pile just as quickly as you can, cut corners, do anything possible to get it done quickly. Then you will run it, and it won’t work. Then you’ll find out why it doesn’t work and you will build another one that does.”

Diversity over Ability

To prioritize diversity over perceived merit—the colorblind assessment of ability that has never really been colorblind at all—is to recognize that strategic imperatives can’t be the sole benchmark by which we distribute society’s prizes.

There’s an increasing sense—among the millennials who fill our lecture halls, but out in the rougher world of cubicles and delivery vans and hospital waiting rooms as well—that it’s not enough to be right, or profitable, or talented. You must also be just.

The classic illustration of resilience over strength is the story of the reed and the oak tree. When hurricane winds blow, the steel-strong oak shatters, while the supple, resilient reed bows low and springs up again when the storm has passed. In trying to resist failure, the oak has instead guaranteed it.

Traditionally, large companies have, like the oak, hardened themselves against failure. They have stockpiled resources and implemented hierarchical management structures, rigid processes, and detailed five-year plans meant to insulate them from the forces of chaos. In other words, they have valued safety over risk, push over pull, authority over emergence, compliance over obedience, maps over compasses, and objects over systems.

The software companies that grew up in the age of the Internet, however, have taken a different approach. Their field was so new and changing so rapidly that the measured risk aversion of their predecessors would have left them stranded in the middle of the course while their competitors surged ahead. As a result, they often failed—but their initial investments were low enough to let them learn from their failures and move on.

YouTube did not begin in a place of strength. It had only three members, one of whom went back to school before the site launched, rather than taking on management responsibilities. Its initial funding came from the bonuses its founders received when eBay bought their former employer, PayPal. It had no business plan, no patents, and no outside capital, but that left it free to change its focus when its original idea failed.

... how to lose in a way that allows you to continue fighting, which is as neat a definition of resilience as you can find.

Resilience doesn’t necessarily mean anticipating failure; it means anticipating that you can’t anticipate what’s next, and working instead on a sort of situational awareness.

For the music industry it meant acknowledging that the Internet was an opportunity to exploit, not a threat to be neutralized. Print media outlets closely covered the carnage that was music industry in rapid decline, then proceeded to make stunningly similar mistakes. They failed to invest meaningfully in innovative news products during the long years of milk and honey, which meant many great companies withered and shrank when profits grew lean.

If this book is written for anyone, it’s the individual determined to make the hard call and chart a new strategy predicated less on winning and power than on thriving in an unpredictable world.

“The premise I put to people who start in my group is: Assume the brain is solved in fifty years, and that we’ll need to invent lots of new tools to get there. What are those tools, and which one should we work on now?” he says. In his laboratory, power tools and soldering boards share space with beakers and pipettes. And because systems don’t respect neat disciplinary boundaries, Boyden consciously recruits people with diverse—if highly accomplished—backgrounds; his team of more than forty crack researchers, affiliates, postdocs, and grad students have included a former concert violinist, a venture capitalist, a comparative literature scholar, and several college dropouts.

Systems over objects recognizes that responsible innovation requires more than speed and efficiency. It also requires a constant focus on the overall impact of new technologies, and an understanding of the connections between people, their communities, and their environments.

Both of us had emerged from the experience deeply concerned about the ability of large institutions to weather a crucial juncture in human history, which is to say, our own historical moment, a worry exacerbated by a shared belief that the future holds far more radical, tumultuous change than the average executive understood.

#Whiplash #books

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gyanwalebaba-blog · 6 years

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Artificial Intelligence in this Advanced World

Artificial intelligence is on the rise both in the business world as well as in the real world. We are more fortunate to live in the era of technological advancements. Twenty years back, all the functions were carried out by humans and works were implemented manually. Everything has changed now, and machines have taken over the humans in most of the forms of life. With regard to automation, artificial intelligence has a special part to play with. Our lives have changed through AI, and in fact, it has become an important part of our daily lives. But what exactly is artificial intelligence?

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What is Artificial Intelligence – An Overview-

The concept of artificial intelligence has changed over a time. However, the core still remains the same. Artificial intelligence is the stimulation of human intelligence in machines. It is a well-known fact that humans are the most intelligent creatures on the earth. Apparently, the goal of AI is to function individually and independently similar to humans. They can dramatically improve technology in our homes and workplaces. For instance, the current smart speaker Alexa communicate with the humans through voice recognition and respond to your queries. However, the future Alexa through AI will alert you about your forgotten keys or wallet before you leave the house. It can make Alexa think independently and act intelligently. The introduction of AI brings the idea of the error-free world, and it is a great help for humans. Perhaps, the most exciting field in robotics. Everyone aware that robot works as per commands and are not intelligent. Apparently, with loads of progress in artificial intelligence, roboticists are trying to achieve this milestone effort. As a result of this, robots were devised. Kismet, a humanoid robot can recognize human body language and voice inflection and respond accurately. There are several kinds of researches conducted in the field of mobility mechanisms, estimation theory, language interfaces to devise a relationship between human and machine. This led to the invention of the first robot CIMON, designed based on artificial intelligence to fly to space. This is the first AI robot, flying to space since no AI equipment has flown to space so far. While much of this technology is fairly fundamental at present, yet we can expect significant changes in the future. You can hear constant news about yet another AI machine overcoming unprecedented hurdles and outperforming humans. Some of the ways it will impact our lives are Automated Transportation Cyborg Technology Saving us from natural disasters Human implants for the betterment of their lives As a good friend and a caring member for adults Applications of Artificial Intelligence - You might be aware that some of the applications that you already use like the Netflix, Spotify and Siri work on the concept of artificial intelligence. The human-like capabilities make them unique. Also, an advanced algorithm makes them work error free with high accuracy and higher speed. AI uses programming languages to bring maximum benefits to people's lives. Some of its achievement so far is auto-pilots for self-driving cars and other development projects. Some of the top applications of artificial intelligence are- Transportation – When people think about self-driving cars, the immediate picture that comes into our minds is the automatic vehicle with no drivers involved. The idea of a driverless vehicle rolling around the streets is really incredible. Although the early version of automated cars had automated cruise control, now the AI is trying to make everything inside the car fully-automated with complete safety to the passengers. AI in Healthcare – AI, and Robotics are redrawing healthcare landscapes. One of the main areas that AI has the most impact in the field of healthcare is the AI-assisted robotic surgery. These robots will have the ability to suggest new surgical techniques based on surgical experiences. A medical survey reveals that AI-assisted robotic surgery resulted in reduced surgical complications compared to the surgery performed without the AI aid.

source AI and CyberSecurity – Security systems of the past used simple sensors and alarms to detect the threat, however, AI-powered security systems provide a higher level of security and most reliable. The newest generation of a self-monitored security system is a mixture of motion detectors, sensors and a security camera that works with the concept of AI technology that can detect potential breaks and other emergencies.

source Machine Intelligence Vs Artificial Intelligence - Artificial intelligence sometimes called machine intelligence, when the characteristics are attributed by machines rather than human and animal thinking and displaying intelligence. Some of the typical difference between them is AI requires human-level intelligence to perform tasks whereas machine intelligence works independently based on programmed data. Machine learning is the most successful approach to AI that is based on neural networks. In fact, companies like Google and Facebook are using machine learning to optimize advertising and speed up the search. When machine learning interacts with the humans in a most convincing way, artificial intelligence comes into play. AI cannot exist without machine learning however it has the ability to respond to human questions that makes it unique. Can We Create Artificial Intelligence? It is not recommended to create an artificial intelligence with the current approach followed now. Although, AI has the potential to replace humans at all jobs and save from the slavery of manual labour, yet it can shake many societal foundations. Moreover, the human brain is composed of millions of neurons that are responsible for human intelligence, so creating a machine that could perform the functionalities of millions of neurons is quite impossible, and it is not an easy piece of cake to create AI. AI has a consistent success since 1950 and one of the highest demanding fields. Organizationsprefergraduates having masters in AI because of their training both in computers and social parts. Studying in the best schools like Carnegie Mellon University, Massachusetts Institute of Technology can make yourself lead in the revolution. You can also do self-study with the aid of the best books on artificial intelligence or do courses like CS188 to get ideas and techniques underlying the design of the intelligent computer systems. Read the full article

#gyanwalebaba #aiinhealthcare #airobot #applicationsofartificialintelligence #bestbooksonartificialintelligence #canwecreateartificialintelligence #cs188artificialintelligence #machineintelligence #machineintelligencevsartificialintelligence #whatisartificialintelligence #artificialintelligence #aiandcybersecurity #AI

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