#i DID make the logo on the graphic so i did contribute..... something | Explore Tumblr Posts and Blogs

amelia-pinches · 4 years

Text

TW// SEXUAL ASSAULT AND RAPE

I found some things that I find to be extremely disturbing and wrong today, and I wanted to address them. These posts have content containing rape and sexual assault. I included the posts because I think it’s important to talk about, however, if they are too upsetting or triggering for anyone, let me know. I blocked out the usernames in those posts because I do not want any hate going towards those accounts. Most of those accounts are deactivated or inactive anyways, but there is a chance that the people who contributed to those made new accounts. If that is true, I want to say that I like to believe people change and grow for the better. I do not hate the people who posted this, despite the fact that I am utterly disgusted. I do not know these people. I do not know how old they were, nor do I know what they were going through when they made this. I do not know who they are today. I like to think that they look back on that, and they are disgusted at it. I like to think that they have changed and are a different person now with different beliefs. If you are one of the people, please know this isn’t meant to be a “cancel” post or a hateful post. However, I cannot see that, and pretend that I am not utterly bothered. I cannot pretend how it hurts me, as a sexual assault survivor. I cannot pretend that it doesn’t paint a damaging image of sexual assault and rape. Therefore, I think it is necessary to talk about it and address it to the fandom. The HOA fandom has done wonders for me since I recently joined. I genuinely consider some of mutuals as friends. The people I have met in the HOA fandom have been some of the best people I have ever met in my entire life. I do not think that these posts accurately reflect anything for the HOA fandom, in the past or present. Please note that this post contains very heavy topics and may be extremely triggering for some to read. It is triggering me for me to write about it. The pictures included may not be graphic, but they are upsetting and disgusting.

I was trying to find screencaps of K.T. for a twitter mutual when I came across this account. The account seemed harmless enough; some of the posts I found to be quite amusing, actually. Then, I came across this photo of Rufus holding Patricia by her arms with his hand over her mouth. In the corner of this photo was a “Brazzers” logo. When I first saw this, I froze. I couldn’t believe my eyes. To implicate that would be consensual in any way is awful. Furthermore, it brings up the question on how this person feels about rape and sexual assult. Often times, in porn and in media, there is this perspective of rape that makes it seem like it is just another form of sex. I will not hate on anyone if they have a headcanon that Rufus raped Patricia. If I am being honest, that headcanon helped me cope in a way. Seeing my favorite character being able to heal, and for my own personal headcanon/hoa world, to see her become a strong woman who has healed from her trauma has helped me cope and heal with my own trauma. If you are someone who does not like this canon, I respect that and think that is 100% valid. What I will NOT stand for is the glorification of this headcanon.

I decided to look at the reblogs on the post to see what people were saying. What I found made me sick to my stomach.

“Is there something you need to tell Eddie, Patricia?” To suggest that would be something other than rape and that is something to tease someone about, like it is a dirty secret, like it is an embarrassing hookup story or a crazy night. The response was by an account acting as Patricia, to which it said, “I think I’ll leave that to ‘your uncle’”. This frankly boggles my mind. I do not know how to describe it, if I am being honest. There are so many things wrong with this that I don’t know where to start. I do not know what the perfect sentence would be to explain why this isn’t okay, or how damaging it is. I do not how to concisely describe my thoughts and feelings on this. This sad part is, this wasn’t even the worse thing I read. When someone is raped or sexually assaulted, it makes them feel worthless, dirty, cheap. It changes your life. It affects how you view others and how you go about situations. It affects how you see yourself. It affects your entire life, and some people never truly recover.

For “Patricia” to blow it off like it is nothing, worries me. I am worried because I am afraid people don’t understand how ruinous rape and sexual assault is on a human being. It worries me because I know first hand how it can destroy you, and others see it as nothing or as if it just a variation of sex.

It is common in media to have this portrayal of rape. It is glorified and romanticized. It can be subtle or direct; sometimes it is just a slide remark made by a character or person, or sometimes a rape victim will be shamed or ridiculed for being raped. We take in this perspective as we grow up, and consequently, it shapes the way we view people. It causes us to dehumanize the victim rather than the rapist.

Its why I want to reiterate that I do not hate the people who made this, nor do I see them as bad people. They probably were young and didn’t understand the gravity of this. They, like many of us, were ignorant because of what we are told and what we see. I think many people forget that the support towards victims as been very recent. The Me Too Movement may have started in 2006, but it didn’t become viral until 2016. Before then, survivors coming forward with their stories were very rare and people almost never believed them. A vast majority of people blamed them and/or shamed them for coming forward. It wasn’t really until 2017 with the Me Too Movement that we, as a society and culture, really saw a shift where people were coming out with their own stories, and where they were seen as valid. It is important to note that while today there are many people who are supportive of rape and sexual assault survivors, there is a still a good portion of people who belittle them and try to invalidate them.

With that being said, I will talk about the next post I saw. This post made nauseous. My heart when I saw this because it is clear whoever made this did not truly understand rape. They did not truly understand how serious rape is. They did not understand that rape is not a joke. I think the best way to describe it is ignorance.

In case y’all do not remember, Nick did a season 2 interactive web where they made connections to everyone in relation to their involvement with the mystery and sibuna/secret society. This person changed the relationship of Rufus to Patricia from “Kidnaps” to “Rapes”. The caption was “fixed the connections.”

I know it may be hard to understand because I blocked out the usernames, but I’ll explain what each reply is. “WHAT EVEN?” is a blog acting as Eddie. “...” is a blog acting as Jerome. “..uhhh...” was a blog acting as Patricia. The one asking what the picture is about is a random blog as far as I can tell, probably genuinely asking what is about, but since so much time as passed since this post, it is possible the url changed. The last one is another blog posing as Eddie.

There was another set of replies which was this:

The first comment is supposed to be “Eddie”. The second one was supposed to be victor, or it could have been another url at the time. The last one was supposed be Eddie again.

I don’t know what the first one is. At first, I took it as they all saw it as a joke, and were responding as they would imagine the characters would respond. (NOTE: No character accurately written would respond to this in manner). However, looking at it again, it could have been their way of maybe being uncomfortable or disagreeing with it. Except for the last one posing as Eddie, that one I know they took it as a joke and were making fun of the situation.

As for the second one, I am once again lost for words. The casual use of “rape” scares me for the same reason it worries me. I think it is obvious who made this and commented on this saw rape as a joke and/or saw it as sex. Sex and rape are not the same. The second comment talking how its a small world because “Jerome’s uncle” raped Patrica and how it somehow all leads back to Eddie really angers me. The thing is, if you took the use of rape and replace with “Had sex with” or any variation of that, it would have the same meaning and tone as the original. That is very dangerous. Then the final comment where Eddie is upset at Patricia for not telling him about being raped is just tacky beyond words. It is cheap and ugly.

The overall tone of rape being a joke and the use of the word acting a synonym for sex is poisonous. It disparages what rape really is. It shrinks it down and changes its meaning. I do not blame the people who made this and commented this. Instead, I blame the way rape culture as taken over media and our lives for decades, centuries, generations. I blame the rapists who have power that put that attitude out there. It would be negligent for me to say these people had no responsibility or liability for posting this. However, I feel it would more negligent for me to say this is just them; that these people are the only ones who have made this jokes and who have believed these misconceptions about rape.

There were other posts made by the account that I considered posting, however, I don’t want this to be a callout or an attempt to barbarize. The accounts that made that and commented were people. People with flaws, and people with assets. People who were susceptible and vulnerable to harmful media.

I don’t know who made these posts. I do not know if they ever faced backlash or consequences. I do not know if these people are still even in the HOA community. I didn’t scourge 2011 HOA posts to see if anyone else made posts similar to this, or if anyone called them out on it. I didn’t ask anyone who is was in the fandom at that time if anything happened. I don’t know if they still hold these beliefs. I don’t know if they even remember making these posts. It is why I blacked out their names.

The people contributed to this are both culprit and victims of a much larger issue. On one hand, they were manipulated by media and rape culture. On the other, they help perpetuate it. It is why it needs to be addressed.

I am fairly new to the HOA community. I know that some day my blog will become a lost blog deleted by bots. I know some day people won’t remember a lick of what I posted or who I was. I know this. I know also that behind the screens, we are all just people, with our stories and lives. I know that we all have made mistakes and have said things that weren’t okay because maybe we didn’t know it wasn’t okay or at the time, we were too stupid to care. I know in 5 years none of us will be the same person we are today. I know none of us are the same person we were 5 years ago. We grow and change, sometimes for the worse, but I like to think we eventually change for the better.

These comments and posts made are just small flecks of similar posts made during that time, before that time, and still today. Rape jokes, pedophilia jokes, sexual jokes about a person’s body are all jokes that are made today. And they will be unfortunately made tomorrow. The way we make change is by informing people of what the true nature of these crimes are. We share stories, and support survivors of sexual assault.

I mentioned that I was sexually assaulted. It is very hard for me to talk about, and I try to avoid it. However, today, I was reminded multiple times of how I am still traumatized by what happened to me. Yesterday, I planned on never really speaking out about it except for once in a blue moon. Today, my plans have changed. The truth of the matter is, I have been sexually assaulted many times. Many of those times I didn’t really realize what happened until much later. Even recently, I am now remembering something that happened to me as a child that I blocked for 14 years. Recently, I am now realizing how all of these have affected me and made me who I am today. I don’t think that if the Me Too Movement took off in 2017 that I would have ever realized. I don’t think that if I didn’t see other people sharing their own sexual assault stories that I would ever have the courage to post this.

This is my own personal story and journey. I debated posting this because I still hold the fear that I would be judged or hated for speaking out. However, the things that have happened to me today have caused me to want to overcome that fear. My goal of sharing my own story is that it either helps anyone who is debating sharing theirs or to anyone who may need to hear someone’s story to be educated on rape culture. In the end, I talk about the events that happen to me today leading up to me discovering the posts, and why I felt it was necessary to talk about it. I know for some people it could be triggering or harmful to read this, so I put in italics, if anyone so chooses to skip over it. If you have made it this far and you don’t want to read my story, that is fine. I urge you to however to skip it and read the ending.

When I was 14, I was desperate for friends and well, attention. I never had many friends growing up, and I never was considered attractive. I know it seems so trivial and ridiculous to care about something like beauty. Growing up, I had a lot of body image issues and self esteem issues - its something I still struggle with today. I didn’t have many friends, either. I was either too abrasive and weird, or in some cases, I didn’t have much in common with kids, thus boring or uninteresting. I was the weird kid in elementary school, then the emo kid in middle. My last year of middle school, I really started to want to be seen as a “girl”; I wanted to be seen as “sexy” or “attractive”. I wanted to be seen as someone who was someone you wanted to be around. I felt that before, nobody had seen me as such. I don’t know if that is necessarily true or false. However, that is how I felt.

When I entered high school, for what seemed like the first time in my life, people were paying attention to me. People were complimenting me, and I was making friends. They weren’t all good friends, but, in my mind, they were friends. People who I thought liked me. I was getting hit on, which didn’t happen much before. I became addicted to the feeling of being liked and desired. For the longest time, I blamed and hated myself for that. I beat myself up for years because that strong desire to be desired led me to awful situations. For a while, I saw myself as what others, mainly men, saw me as: an object. I saw myself as a tool for entertainment, and I genuinely thought that I was here for the pleasure of others, not my own.

I didn’t realize at the time that those boys weren’t into me because they liked me. They were into me because I was an easy target. I was an incoming freshman who was extremely insecure. Within the first semester, I was manipulated and tricked into many situations, most of them being sexual. I gained the reputation of being a “slut” or a “whore” by some of the people in my school. I was miserable. However, towards the end of the semester, things were starting to get better, or so I thought.

A boy(I will call him R from now on) who had been a mutual friend of my friends asked me to hang out, I said yes. I honestly wasn’t looking for a relationship or a hookup, but rather, I was looking for a friendship. I had just started dating a guy, and we had been two or so weeks in. That night, he sexually assaulted me. After that, it happened two more times in the days following.

I don’t know if I’ll ever be able to tell people the details of what happened or the full story. Partially because I have blocked so much of it out that I don’t remember that much anymore; I remember bits and pieces, but not everything. The other reason being because of what happened when I eventually spoke out.

A week later, I had told my boyfriend at the time. He had accused me of lying, and he told me that I was just saying he that so I wouldn’t have to admit I had cheated on him. After that, everything is a big blur. I remember R would text and call me constantly, demanding that I tell everyone I was lying. He harassed me constantly. I remember that many people who were my friends had turned against me. Almost everyone I had met had told me I was lying. When I went to a guidance counselor, she told me that I should be more careful hanging out with boys alone. There had also been people who had criticized me for not wanting to take it to court. They had told me that if R was guilty, he would be charged. When I told him that a court wouldn’t charge him (something the guidance counselor told me), they used it as proof to me “lying”. There were also people telling me that I was asking for it, and I deserved it.

Eventually, they left me alone, for the most part. There was a group of people who had “supported” me. I started to pretend like it never happened. I quickly got a boyfriend, and acted like everything was fine. I thought that if I pretended like it never happened, everyone else would just forget about it. However, internally, I was seriously struggling. I was extremely suicidal and depressed. I found out months later the group I thought were my friends were actually the ones telling everyone and spreading rumors. Every action I made was used as proof of my supposed guilt. There was only one person who believe me at the end of the year.

Over the summer, I begged my parents to let me be home-schooled, which they didn’t let me. I didn’t go on any social media because when I did, I would see posts about me, talking about how “I lied about being raped”. I felt worthless. When I returned for my sophomore year, I remember I walked into my Algebra 2 class, and one of the main girls who had bullied me was in it. I remember she looked at me and grinned then walked over to a friend of hers and loudly whispered in his ear, “That’s the girl who lied about being raped.”

That year, I did everything I could to try and mend it. I attempted to become friends again with that group, including the girl. I did my best to forget it; however, nobody let me forget. I remember I was on a class trip with the best friend of the main bully and R, and we talked about it, briefly. I remember I was saying answers very vaguely, hoping she would eventually give up,I remember her saying, “Well, I heard it was because you lied about being raped by R.” I don’t remember what I told her after that. I honestly can’t remember what happened after that at all.

I was constantly making friends then losing friends that year. I became defensive; I was constantly attacking anyone who I thought threatened me. I really began to have trust issues, and I ended up assuming the worst of some of the only good people in my life. Everyday, I came to school so anxious and scared. Towards the end of the year, I found a friend group, to which I was friends with for practically the rest of the my high school experience. I was known to be a hothead (which to be fair, I am) because the moment someone would insult me, I would go off on them. I figured that if I couldn’t defend myself then, I would do it now. I also never spoke about my assault again, until recently. I told two people from my high school friend group; over the summer I told one person, and a few months ago, I had told the person to which I had been closest to since sophomore year. I have never told the rest of the group. I was always afraid that they secretly knew and they thought I was lying. I also was afraid that if I told them, and they already didn’t think I was lying, they would.

Truth be told, I don’t know if everyone I knew thought I was lying. I was told everyone did, but that could have just been a way to make me feel powerless. I assume everyone does though .Even people who would have no idea that it happened, I assume they think I am lying about my assault despite the fact there is no way for them to have known. I’m still paranoid.If I see people who were in the same group of friends or who knew the people who hurt me, I become 14 all over again. The trust issues I got from that experience I still struggle with today. Because of my experience, I have self image issues. For the longest time, I assumed that if something happened, I would get blamed. I assumed that everyone was against me. I am working on that, and I have gotten a lot better, but it is still something I struggle with. Speaking out is very hard for me, and I don’t know if I could ever speak out publicly.

The reason why I included about my life beforehand, how insecure I was and how I wanted attention because for the longest time, I blamed myself because of those reasons. I felt like if I hadn’t been like that, none of this would have happened. I blamed myself that because I had sex prior to my assault, it somehow was my fault or that I somehow deserved it. I was a 14 year old girl who was scared, insecure, and lonely. I was manipulated and demonized. The people who hurt me were hurting themselves. I know this, yet I still question my experience and blame myself.

The reason why I wanted to call attention to these posts is because earlier in the day, I had been scrolling through my Facebook. I was trying to find something from my past, and I ended up going through my old feed. Reading posts I made during the time I was assaulted brought back old feelings. I found myself feeling so scared and powerless again.

For some reason, I was compelled to look at the profile of the main girl who told everyone I lied about my assault and saw she came forward with her own assault, and how many people thought she was lying about her assault. I debated reaching out to her; I knew how she felt, but that was also because she made me feel that way.

Two hours later, I came across those posts. I was already shaken up by relieving my trauma, and when I was those posts, I felt numb for a second. I was shocked, hurt, disgusted, and angry. Since HOA came out, I have always gone to it during times of need, even during the time of my assault. Some nights, I would reread fanfiction and look at any tumblr posts I could find. Doing this helped me cope with my life at that point.

When I saw those post, I felt like I had to say something, as a HOA fan and as a sexual assault survivor. The tone and content in those posts makes rape to appear to be the opposite of what it is. They glorified rape. The act as if rape means the same thing as sex.

Awareness of sexual assault and rape victims along with their validation is improving. However, rape culture is still very ingrained in our culture. Many people do not know accurate facts about sexual assault and rape. Many people try to debate what is sexual assault. In order for change to happen, we need to recognize how rape culture has influenced our society and start making the victims and facts a stronger influence.

#house of anubis #hoa

36 notes · View notes

juukyu · 3 years

Text

Pact Coffee Project

Details About the Brand

Target Audience Pact has two main audiences; independent coffee shops the customers of those coffee shops. Coffee is a very broad market, but it is very popular with university students and working adults, typically around the 25 – 35 age range.

Initial Thoughts Most of the cafés that stock Pact coffee will advertise that they are doing so by putting bags of it in the window of their shop or having bags out on display within the shop. The bags themselves are very plain, just a brown bag with the details of the coffee on the front. I think that adding some artwork to the bags would catch people’s eyes and lead to more sales of the product. Based on the intended audience of the coffee, the designs should be playful and relaxed but still carry a sense of maturity; I don’t want them to come off as childish.

Market Research

Pact’s Current Packaging

Pact’s current packaging is plain and simple; the front tells you which blend it is and the back gives information on which farmers grew the coffee and various other coffee related info. The packaging is fine for returning customers who know that they like the taste, but I don’t think any first-time buyers would pick this instead of any other bag of coffee based on the packaging alone.

The Packaging of Other Coffee Brands I popped around to my local shops to have a look at other coffee brands packaging. I myself am not exactly a fan of coffee, so I feel this was a good exercise as I don’t know the difference between any of the coffee brands, or if some have better reputations than others, so I can only make my decision based off of the packaging. Here is what I found:

Taylors of Harrogate Coffee

Clippers Coffee

What drew me to these 2 brands was that they have something visually interesting on them, but without it feeling overwhelming. They stick out from the rest of the coffee brands, which normally use silver or brown colour palettes, and instead choose to be colourful and eye catching. They convey a calm mood with the imagery that they use, which I think is an important factor as coffee is often drunk in the morning, a time when not much is happening and people are getting ready for their day.

Concept Stage

Initial Concepts

Concept 1 The concept for this would be do have a clear ellipse in the middle of the bag, with a farmer’s face vectored over it, but with the skin tone being coffee beans.

Concept 2 When the coffee is grown in the fields, it tends to be planted in a wavy hedge formation. I would either have a clear section on a paper bag, or have a recyclable plastic bag, either of which would feature some of those hedges, either drawn or vectored, with the negative space in which the coffee beans would be shown acting as the colour of the ground.

Concept 3 Create some colourful standalone artwork related in both colour and theme to countries that Pact sources their coffee from. This artwork could then be used both on packaging and on POS items such as aprons, posters etc.

Concept Mock-ups:

Further Research

I decided to dive deeper into the roots of coffee and where Pact was getting it from. This turned out to be mainly Brazil and Columbia. I chose to focus on Brazil since it was the number one location that Pact is sourcing from. I’m a musician, and I believe that music is a great reflection of a country’s culture, so I looked to the Brazilian music scene for inspiration.

Concept 1: Unity

The first genre I looked into was Samba. It was the firs thting that came to my mind when I thought of music from Brazil. The genre is heavily focused on working in unison with others. Most of the melodies are made up of acapella choirs, and the drum beats are typically played by multiple people at the same time, creating a huge atmosphere from sound that wouldn’t be possible without such a large group of people. This concept would have a focus on community, and themes of dancing/happiness. This Samba style is associated with vivid colours, so I would play into that aspect of the aesthetic.

Concept 2: Bossa Nova

Bossa Nova was the next genre I looked to. The genre originated from Brazil and also was perfected there. It’s a mix of Samba and Jazz elements which make for a very pleasant, and slightly more grown-up/mature vibe. I think this vibe is suitable for Pact coffee, given that it’s an expensive brand that, realistically, only people with disposable income buy. A lot of people into coffee enough to spend big bucks on coffee beans will most likely also have expensive equipment to go along with it, so this concept would focus on creating a design that can look premium, expensive and elegant next to all that expensive coffee-ware. The main colour palette that comes to my mind is Gold/Black.

Concept 3: Bond

For this concept, I equired with my Brazilian friend about how much coffee is cosumed in Brazil. He asked his parents and they replied “as much as water”. This concept would focus on the fact that Pact is a link between the coffee lovers of Brazil and the coffee lovers of England. Pact would be visualised as the intermediary.

Development/Mock-Ups

I ended up developing the bossa nova concept. I chose to take inspiration from classical guitars, since they are the most commonly used instruments in the Bossa Nova genre, and contribute heavily to its signature sound. The sound holes typically have intricate patterns around them, which I wanted to emulate for my design. Here are some examples:

I used these as a visual reference when making my design. I wanted the design to look elegant and premium, so I used a gold colour scheme. Here’s what I came up with:

Here are some mockups using the design:

After taking in feeback for the design, I shrunk the logo in the middle and added colour the the pattern. I chose to use the colour palette of the Brazilian flag given that Brazil is the country that this graphic is representing. Here is the final Brazil design:

From this design I also made a pattern to be used on coffee cups:

Here’s some mockups of the designs:

Applying the Musical Theme to other Countries

I decided to take the theme of taking inspiration from a countries traditional music and apply it to another country, this time Columbia. Pact sources coffee from Columbia almost as much as Brazil, so I wanted to include the country as an example to show that the concept of this design process can be applied to more than just Brazil.

Research and Development/Mockups

One of Columbia’s most popular traditional music genres is Vallenato. The main instrument of the genre is the accordion, which I did attempt to make a design for, but it just wasn’t working, so I decided to look further into the genre. I found that almost every picture and video of the genre being played featured at least one person wearing a Vueltiao hat. These hats are an important part of Columbian culture and also synonymous with the Vallenato genre. Here are some examples of the hat:

Using these hats as inspiration, I made a piece of artwork in Photoshop as a proof of concept that this idea can be applied to multiple countries. Here is what I came up with:

I would’ve liked to have done more work to this idea but I ran out of time towards the end of the project. I still included it as a proof of concept as I mentioned above.

Summary

The final design overall for the whole project that I am most happy with is the refined guitar design:

I learnt a lot throughout this project; mainly ways to generate ideas that I hadn’t tried before. I found that throwing myself into the world of the source material of a project really helps me to come up with ideas I can say that I’m happy with. Fr this project, it was diving into the Bossanova genre, something I hadn’t really done before, and I ended up with a good design and also some songs from that genre that I’m still listening to now.

4 notes · View notes

takuchat · 4 years

Text

The development of Final Fantasy VII is a mysterious and hard thing to follow. While there is plenty of info out there, much of it is either rumors or unsubstantiated. The sad thing is, there is no easy way to find legitimate information on the game. This is why I am here now, this article will serve as a source of factual information about the development of the original Final Fantasy VII.

Below, you will find interviews from the games development and release. As well as links to the sources of these interviews( interviews copied so they will not be lost one day ). Beyond interviews there will be Press Releases and some other cool information. Enjoy.

Logo concepts

Meteor Concept art

Final Fantasy VII – 1997 Developer Interviews

Hironobu Sakaguchi – Producer Yoshinori Kitase – Director Tetsuya Nomura – Character Design, Storyboards, System, Mech Design Yuusuke Naora – Art Director Motonori Sakakibara – Movie Director Akira Fujii – Battle Scene Director Ken Narita – Main Programmer Yasui Kentarou – Magic/Summoning Effects Kenzo Kanzaki – Backgrounds Nobuo Uematsu – Music

FF6 vs. FF7

Kitase: Our development concept for the story in FF6 was to have over 10 main characters, any of which could be called “the protagonist.” We challenged ourselves to create a world without someone you could point to and say, “this is the main character.” This time, with FF7, we knew from the beginning that we wanted Cloud to be the main character, and we were going to tell his story.

Aside from the story, FF6 had a lot of details undecided when we began development. A great many things were filled out along the way. In contrast, with FF7 we knew from the outset that we were going to be making a real 3D game, so from the earliest planning stage we had very, very detailed designs drawn up. The script was also locked in, and our image for the graphics was completely fleshed out. So when we began the actual work, we had already created what you could call “storyboards”. Of course there was some experimenting as we worked, but we were very clear about what we were supposed to be doing from the outset.

Actually, the very first thing we decided in FF7 was how the camera angles would change during battle scenes. We also decided on the materia system, where any weapon and armor can be equipped with any materia. Accordingly we knew the battles wouldn’t be about characters with individual, innate skills, but rather that combat would change depending on the way materia was used.

Sakaguchi: After FF6 was completed the staff had some free time. We then started thinking about what new hardware there was and what we wanted to do with our next creations, and we created a movie as an experiment. At that time we were working with the SG1 workstations, which had rendering software designed for next generation hardware. For that reason we thought it would be good if we could continue using this setup for our next game. With the SG1 software, we could develop graphics for any hardware. 1 However, for our purposes, we didn’t want the frame-by-frame, slow rendering that takes many hours; we wanted to develop a way to render the visuals in real-time for our new game.

Kitase: I believe we only had 3 months to figure all that out.

Choosing the Hardware for Final Fantasy VII

Sakaguchi: It was starting to become clear to us what the memory capacity for the different next-gen consoles would be. Our games were going to need a huge amount of memory. The Final Fantasy VI CG demo we made for the Siggraph exhibition took 20 megs all by itself. We thought that demo had a lot of visual impact, so there really wasn’t much question about which hardware we would use; if we were going to realize the promise of the demo we had shown at Siggraph, nothing but the CD-ROM format would suffice.

Another reason for choosing the CD-ROM was related to price. I think one of the big reasons the first Final Fantasy was favorably received by players, and the later games in the series gained so many fans, was that you could buy those games for around 5000 to 6000 yen. We tried to have the same pricing for Bahamut Lagoon, Gun Hazard, and our other later Super Famicom games, but using cartridge ROM meant those games had to be sold for over 10000 yen. New players did not flock to those games like they had before. If we used CD-ROM for Final Fantasy VII, we’d be able to have a 2-disc game at a price of 5800 yen. I was hoping it would be possible to make a game that could sell several hundred thousand copies.

Introductions, Difficulties, Favorite Moments

Sakaguchi: I’ve been working with Kitase for a long time, since FF5. He did most of the event scenes in FF6: the opera house, Celes’ suicide scene, the scene where Setzer climbs the stairs and reminisces, and more. I’m not exactly turning things over to the next generation just yet, but for FF7 almost all the story was done by Kitase. His original ambition was to be a film director, so he’s well-disposed towards this work–I’ve left all the in-game event scripting in his hands.

As for my part, since FF3 I’ve led the battle team, and that was my role this time too. Well, actually, the battle team is composed of solid veterans, so I stepped back a bit and played more of a producer role.

Nomura: For FF7 I worked on character design, storyboarding, and the underlying story.2 I have too many favorite parts to sum up quickly here… well, I like it all.

Narita: I was the main programmer. I did all the programming related to the field, and I also helped get everything together at the end. As for difficulties… hmm. Since it’s been a pretty sudden shift from the Super Famicom to the Playstation, we struggled first with getting used to the Playstation hardware itself, then finding out what appealing features it had, and learning how to bring out those features to make a good, balanced game. But on the programming side, what was really hard for me was going from 2D to 3D. Probably any programmer would say the same I think.

As for things I’m proud of, I thought the movies and the in-game field scenes transition into each other very smoothly. That was also the most difficult thing for us in terms of the programming.

Sakakibara: I worked on the movie cutscenes. The challenge for me was just the amount of volume we had to create, it was crazy. What I liked was the opening scene in the beginning. Although I’m already starting to forget it. (laughs)

Fujii: I did the backgrounds for the battle scenes. What was hard for me was that the field graphics would design their graphics with a very high polygon count, and I think had to find a way to reduce that count so the graphics could be rendered in real-time. Selecting the primary elements to render was very difficult. At first I was just fumbling through it, but I gradually got the hang of it and was able to connect things very well. When I first saw characters move around in those backgrounds I had made, I thought they looked great… if I do say so myself. Unless you’re specifically paying attention to them, battle backgrounds aren’t something you usually notice in a game, but we really had to prepare a huge number of different backgrounds for all the different map terrains.

Kentarou: I did the programming for the battle effects and summons. What was fun for me was recieving the storyboard mockups from Tetsuya and thinking “there’s no way, this is impossible.” But then when I got down to it, they came out surprisingly well. The Titan summon was especially memorable for me. The way we did it was new to me, and I think it compares really well with the work I’ve done in the past.

The CG Team

Sakaguchi: We definitely hired a lot more CG staff than we had before.

Kitase: Yes, but they didn’t feel like a separate, “detached force” from our main development team. They had experience in the game industry. What’s more, our existing staff at Square, who up to now had only worked on games, were able to learn a bit about CG from them.

Sakaguchi: For FF7, about 80-90% of the field and game mechanics were done by our traditional staff. For the CG staff with their specialized hardware knowledge, we tried to let them do their thing (but this time with a video game). Several top-grade special fx guys who had worked at Digital Domain and Lucasarts’ Industrial Light Magic also contributed to FF7.

Maps and Backgrounds

Naora: I worked on the unifying all the graphics, including the movies. The majority of my work was on the background graphics. In our previous games, most of those graphics were done with a fixed top-down perspective. To take a town for an example, the map would be composed of various sprites: houses, streets, foliage, fences, and so on. With FF7 we didn’t have to use sprites and could instead present the maps as one seamless image.

I had experimented with this before in the trial scene of Chrono Trigger. I used a bunch of memory to make one single image for the background. Previously we had to reuse so many sprites for our maps, but it was very exciting to be able to include whatever we wanted for FF7. We could have more varied terrain, and our whole image of the game world really expanded.

The work of mine that I really want people to see is, of course, Midgar. I had the image of a pizza in mind when I designed that city, and I really like how it turned out.

In any event, what we really wanted to convey with the backgrounds was a lived-in feel. Down to the beds and individual toilets, I put a lot of detail into everything.

And even after I stopped working, my boss was still making stuff. On one of the posters hanging on the wall, he added an image of Hironobu Sakaguchi. (laughs) I should be upfront: there’s many graphics that even I don’t know about hidden away in the game. Be sure to look closely at the walls inside the buildings. Who knows what surprising things you might discover. The Rocket Town especially has a variety of interesting things hidden away.

Cinematic Aspirations

Kitase: Visually, I wanted Final Fantasy VII to be a completely unified work, with a single style running from beginning to end. The cut-scene movies, overworld map, and battle scenes would not be disconnected, but would instead smoothly and seamlessly transition into one another. To call this game “cinematic” would be correct, but what I really wanted was something where all the compositions and shots would be suffused with meaning and show the intent of the creators.

For all our previous games, when we’ve been in the phase of brainstorming ideas and sketching pictures, there’s always been the knowledge that we have to work within the hardware memory limitations. This time there were no limits, and no restraints.

That difference in available memory had a really big influence on the development. For the gameplay system, story, and in-game events, it didn’t change very much. What the increased memory allowed in FF7 was more painterly visuals, with a better sense of space and composition. Naturally the graphics quality itself has also gone up, but I think it’s in the cinematic presentation where you see the evolution.

Sakaguchi: Speaking of cinematic, we also wanted to have a soundtrack with no repeated music. In movies, you don’t hear music get repeated, you know. Depending on the scene the tempo or the intensity might change though. I think something like that should be possible… although there is the matter of how much available spirit/creativity we can get out of our composer, Uematsu. (laughs) Of course FF7 is a game that takes over 40 hours, so some music is repeated, but our overall goal was to make it as cinematic as possible in that regard.

We also had Yoshitaka Amano do illustrations for the world of FF7. Some of his work appears as a frescoe on a wall in the game.

Kitase: We had really been wanting to use Amano’s artwork in-game before. In FF6, we wanted to have one of Reim’s drawings being Amano’s artwork. In the ending scene Reim would have painted a wall mural showing scenes of all the adventures the heroes had undertaken.

Character Design

Nomura: Since the characters in FF7 were going to be rendered in real-time, the nitoushin,3 chibi-style character design we’ve used in previous games wasn’t going to work here. If they brandished their sword overhead they’d end up stabbing themselves in the head. Not using the super-deformed style meant we had no limits on how to animate these characters.

Naora: I helped out on the character design too. In the previous games with the nitoushin, deformed sprites, it would look really lame if they rode a motorcycle or something. By changing the character’s dimensions, we were able to have them ride different vehicles.

Nomura: My involvement with FF7 goes back to helping create the basic story, and we came up with the characters during that time too. I think that was a good way to do things. Barret and Cait Sith were two characters whom I had wanted to create for a long time, but everyone else was created as we were writing the story.

As for things I personally designed, I think the Yin and Yang boss came out really well. Also, the Iron Giant. It wasn’t enough to just have a good initial design though. I had to create a design, then translate it into a 3D model, then see how it looked all-around, and only then could I say “alright, this is good.” Yin and Yang and the Iron Giant were two designs I felt that way about.

I also helped out on all the storyboad designs for the summons. Since 3D allows you to change the perspective in various ways, we decided to make the summons have really flashy camerawork.

Favorite Characters

Kentarou: I personally really like Red XIII’s scenes. Every time I remember that one scene of his, I start to tear up. (laughs)

Kanzaki: My favorite would be Tifa, because of her ample bust. (laughs)

Fujii: Yuffy. I like the sounds she makes. Also, it’s not a character, but I like all the summons.

Kentarou: Ah, yeah, I have a special love for Titan. Nomura said Titan should flip over the ground that the enemies are on. He would peel off a slab of the land: no matter what terrain he was on. (laughs) At first I had him come in on normal ground, and he’d flip the same slab of ground no matter what terrain… but that looked boring. I had a small insight into the problem and was able to solve it.

Narita: My favorite character is Barret. Because he does the same damage when he’s in the back row. (laughs)

Kanzaki: Yuffy and Vincent can do that too, though.

Narita: You can clear the game without getting Yuffy. I didn’t add her to my party. As for Vincent, I can’t forgive him. (laughs) Yeah, it’s Barret all the way for me.

Sakakibara: I like Jessie. She cleans your face for you. (laughs) If only you could have had Jessie in your party.

Nomura: For me, it’s of course Cloud and Sephiroth. My concept for Sephiroth from the beginning was that everything about him would be kakkoii.4 His battle movements, and all his in-game scenes too. My image of the relationship between Cloud AND Sephiroth was that of Musashi Miyamoto and Sasaki Kojiro, and I had them in mind when I designed their appearance, as well as their swords. Of course Cloud is Musashi, and Sephiroth is Kojiro.

Animating the Characters

Narita: The movement of the characters during the in-game events was actually all done by character designers in the planning group. Normally those designers convey what they want to a motion specialist, who then animates them. But in our case, the character designers learned how to do the motion work, and if they wanted to add some movement or gesture to a character they did it themselves. That’s why each character’s movements differ depending on who created them. There were designers who liked very exaggerated movements, and those who preferred more quiet, subtle movement.

For the character battle animations, however, we had motion specialists for each character. But for all the other in-game events, the designers created the character’s movements themselves.

Narita: Nomura was the Demon King of retakes. He was always making the designers re-do things. “Nope, that’s wrong there.”

Kanzaki: But it’s really thanks to him that we achieved very realistic motion.

Nomura: We spent more time on the typical, everday motion of the characters than we did on other types of motion. That’s where the character’s personality comes out, after all. So yeah, I stuck my nose into everyone’s work there. (laughs) I drew the designs for these characters from the moment we had our basic idea of them; no one told me “draw him this way” or anything like that. Every character in FF7 is one that I designed just how I wanted to.

The first characters we had were Cloud and Barret. From there we kept talking, and as we worked our ideas out, new characters would come up. All the characters were created in the course of our discussing our ideas for the game. None of them were created after the fact, as in “oh, let’s make this kind of character.” As we brainstormed about the game, we’d realize a character was already there in our minds.

Limit Breaks

Nomura: With each Final Fantasy, the entire team contributes to the initial design/planning documents, and we then pick out the best ideas from there. During that highly individual period of brainstorming, I came up with the idea of adding limit breaks to the battle system. In FF6 we had desperation attacks that would happen when you were near death, and I wanted to build on that idea. Since you were free to build your character by adding and removing materia, I also wanted to add limit breaks as a way to bring out the individual, innate personalities of each character. For that reason I’m really glad we were able to include them. It also allowed us to add more unique animation for each character, too, further emphasizing their individuality.

The Music of FF7

Uematsu: I know many players were hoping that with the move to the Playstation, we’d have studio quality music instead of the internal sound chip like that used in the Super Famicom games. And I know other companies are recording CD quality music for their games, but with FF7 we decided to do all the music with the Playstation’s internal chip.

That’s because as far as sound quality goes, we felt the Playstation’s hardware was more than capable. It has a higher dynamic range than the Super Famicom, and 24 voices (the Super Famicom had 8). The sound effects were all recorded in the studio, but the music, from start to finish, is all the Playstation’s internal chip. This way the music puts less demands on the read access time of the CD-ROM. It’s stressful to be playing a game and have to wait all the time for the CD-ROM to load data. So we prioritized a less stressful experience over better sound quality.

From the first Final Fantasy up to Final Fantasy V, the music has had a European atmosphere: the north, castles, blue skies… But FF6 started to break away from that, and FF7 begins with a new image, a dirty city of the future. So I was thinking the music should change too. I personally like a lot of different styles of music, so I saw this game as a chance to show parts of myself which I hadn’t been able to express before.

I used keyboard and guitar for the basic compositions, and I read the story and script as I composed. But there were so many songs this time that I was really worried I would run out of time. There were something like 100 songs needed. I’d compose, then program it in, and if it was wrong I’d revise it. Rinse and repeat. I write the music out first and then proram it into the sequencer, but there was no guarantee that the Playstation hardware would have the kind of sound I was looking for. And the sound quality might be very different. For that reason there ended up being a lot of unused songs.

Wrapping things up

Narita: At the end of the development we had a closing party. We gathered all the development staff together, and we all watched the credits roll after the last boss was defeated. As the staff was listed, each respective developer stood up and took a bow. It was the first time I realized “oh, he did that.” And it was the first time I really felt how many people had been involved in making this game.

Fujii: Once the field, battle, and world maps were all joined, that was when I first felt the power of FF7 as a finished work.

Narita: Until then, everything was being developed separately, and only at the end was it all joined together. When the world map was added and you could walk around, that was definitely the moment when I felt, “wow, we’ve really made it.”

You see, the way we made FF7 was totally different from the way we made the previous Final Fantasy games. Before, there was no real “director”–everyone was, individually, their own director, and everyone created the actual data that would be used in-game by themselves. There was a head person who generally controlled the flow of work and made sure everything got into its final form, though. I guess you’ve got to have someone like that.

But to imitate that with FF7 would have required a huge number of staff and hardware for them all to work on. You could say that the way we made FF7 was closer to the way they make movies.

Sakakibara: Speaking of that, we were also asked to make sound effects that would be of the same quality and character as those you hear in movies. It felt entirely different from the way we made sound effects before.

Kanzaki: The quality of the backgrounds took a huge step up, too. We didn’t have to reuse any sprites or tiles.

Kentarou: When I was making the battle effects, it felt like business as usual for me, so I didn’t have a feeling like “these are awesome!” then. But at the very end when we were debugging and I saw them, I thought for the first time how nice they looked. I also thought, “damn, it’s a good thing I didn’t slack off.” (laughs) It would have been really bad if we had just made a bunch of shoddy effects. (laughs)

Kanzaki: There were a lot of worries at the start of the development though.

Narita: Yeah, in a certain sense, FF7 is something of a minor miracle. I mean, we only had a year to do everything.

Fujii: It’s the shortest development we’ve had so far.

Narita: Yeah, that it was. And normally you’d start developing your game after you’d learned the new hardware. But we had to learn the hardware and create the game all in the same year. I really couldn’t believe it when I saw the finished product of FF7. It’s amazing that so many people were involved, and that we completed it in so short a time.

Fujii: Time is always the one thing you’re in short supply of. We had to do the battle system after all the field stuff was done, so practically speaking we only had half a year for that. The last dungeon was a real slap-bang, rushed affair.

Midgar near finished

Concept

midgar

Interview with Official UK PSX Magazine

Published in October 1997

Official UK PSX Magazine: Describe the game in 100 words.

Square: The latest in the Final Fantasy series is the closest Square have come to their ultimate goal of blending real-time action with FMV-quality animation, in an all-encompassing, totally absorbing and immersive interactive gaming experience. This seventh heaven is a mix of stunning backdrops, adorable and believable characters, intriguing plots, pulsating battles and tricky puzzles, which all add up to the best RPG yet to appear.

What’s the plot?

The world of Final Fantasy VII expands on FFIII’s concept of Magitek, where magical forces are a reality and have thus been incorporated into the technological progress of civilisation. This isn’t your typical fantasy setting: vast chimneys belch smoke, steam trains criss-cross the urban sprawl, neon signs crackle in the rainswept ratruns between towering factories. It transpires that Mako is a ‘dark’ form of magic, and its insidious corruption of the Shinra Corporation has created a police state by empowering a security force. You begin the game as an ex-soldier-turned-revolutionary, and immediately find yourself assisting a terrorist group called Avalanche in their attempt to overthrow Shinra and restore balance to the exploited world.

Is there anything in this game that we’ve never seen in any other?

If you’ve played SNES versions of the Final Fantasy series, then possibly not. There are slight deviations from the first six, and the music and graphics are obviously enhanced. But as a PlayStation starting point, continuity was very wise. For novice owners, however, this will be like nothing you’ve seen.

What other games have influenced Final Fantasy VII?

Final Fantasy, Final Fantasy II… need we go on? There is a whole history of RPGs and all the paths that lead Square here were winding. In Final Fantasy VII, however, there have been more Western influences both externally and from those on the team.

What’s going to be the best bit of the game?

Taking an already believable story and gameplay and placing it in an environment that now looks real it is a real shock to the senses.

Why will it be better than any other game of its ilk?

The characters for a start. Square’s scriptwriting talents are once again employed to make you fall in love with the characters, then mercilessly pull your emotional strings as they experience suffering, joy, love, betrayal and even (whisper) d.e.a.t.h. Also the quest is huge, straddling no less than 3 CDs, and with so many locations that the average completion time is reportedly 120 hours.

Any specific technical conventions to speak of?

At first the system might seem to bear similarities to Resident Evil, in that your polygon hero can move around a detailed pre-rendered environment, but the backgrounds are packed with interactive ‘hot spots’. The integration of old and new techniques also gives FFVII a unique cinematic quality. Its many cut scenes are CGI movie sequences that use the same pre-rendering as the rest of the game, so that when the dizzying camerawork finally comes to a halt, the scene on which it settles is also the environment in which your character can explore. The direction is seamless. The combat system boasts AD&D complexity. Weapons and items have slots in which to fit Materia, orbs that endow the wearer with extra powers such as the ability to steal, or summon Esper-like creature attacks, with some weapons boasting more slots for combining enhancements.

So why should anyone care about the game?

Because it’s the best RPG to appear on the PlayStation. It’s sold five million copies already in Japan!

Hironobu Sakaguchi Interview

Interview with Hironobu Sakaguchi, the creator of the Final Fantasy series and producer of Final Fantasy VII. From PlayStation Underground #2 demo CD set, released in the US in 1997.

Transcription and screenshots by Tuulisti.

PlayStation Underground: Why is Squaresoft publishing Final Fantasy FVII only on PlayStation?

Hironobu Sakaguchi: In the August of 95, one of the US’s largest CG conventions, Siggraph, was held in LA. At that time we were not sure what the next generation RPG game should look like, so as an experiment we created a CG based, game like, interactive demo to be presented at the show. It focused on battle scenes that were 100% real time and polygon based. This became the seed of Final Fantasy VII and it was then that we decided to make this a CG based game.

When we discussed designing the field scenes as illustrations or CG based, we came up with the idea to eliminate the connection between movies and the fields. Without using blackout at all, and maintaining quality at the same time, we would make the movie stop at one cut and make the characters move around on it. We tried to make it controllable even during the movies. As a result of using a lot of motion data + CG effects and in still images, it turned out to be a mega capacity game, and therefore we had to choose CD-ROM as our media. It other words, we became too aggressive, and got ourselves into trouble.

Why did you need such a large staff?

A larger developer team will not always create a better game, but when a project moves onto a scale such as this, you get to spend a lot of money, and work with highly qualified staff.

We were able to use many high-end machines and work with a staff of approximately 100 people, and I believe this was one of the largest game development teams in history. As a result, the final game generates a tremendous amount of energy. My theory is this: if one person creates a game – it can be a racing game or anything – or 10 people create the same game, the one created by 10 people will be much richer in scope. There is a larger pool of resources to draw from, and each person is able to put passion into his role, creating a greater sense of depth.

How has film influenced your game-making?

It is easy to get emotionally involved with both films and games, although in different ways. Adding certain interactive aspects to films however, I believe players can get further into them, even become one with the visual images. I have always emphasized visual and sound effects because rather than making my games equivalent to films, I want my games to surpass films. That is my goal.

Why is Final Fantasy VII getting so much praise?

Without changing the basic game play, the visual and sound effects have been significantly enhanced further drawing the players’ emotions in to the game. One way RPGs enforce too many images and too much sound on the players, robbing them of the feel of control. In order to avoid those responses, we did extensive research during Final Fantasy V and VI on how to make the players interactively involved in the game, while upgrading the visual and sound effects. The results of this research are reflected in Final Fantasy VII.

Are there any new themes in Final Fantasy VII?

When we were creating Final Fantasy III, my mother passed away, and ever since I have been thinking about the theme “life”. Life exists in many things, and I was curious about what would happen if I attempted to analyze life in a mathematical and logical way. Maybe this was my approach in overcoming the grief I was experiencing. This is the first time in the series that this particular theme actually appears in the game itself. See if you can spot it!

What was it like to work with director Yoshinori Kitase?

I have been working with him since Final Fantasy V. When he joined Square, he told me he initially wanted to become a film director, but that he thought this would be impossible in Japan. The previous version of Final Fantasy could be called puppet shows compared to this one. It’s a real film requiring innovative effects and various camera angles. His experience studying cinematography and in making his own films has contributed a lot to the making of the game. He is the director of this game.

The Making of Final Fantasy VII

May 2003 edition of Edge magazine’s regular feature “The Making Of…”, spotlighting Final Fantasy VII. Interviewed for this article were Yoshinori Kitase and Tetsuya Nomura.

Transcription by Tuulisti.

3.28m sales in Japan, 2.92m in the US and 1.77m in Europe. Three CD. Over two years’ development. Over 100 team members. Nine out of ten. Adults in tears. But Final Fantasy VII represents much more than cold record-breaking statistics. Here was the catalyst for the worldwide RPG revolution…

“This was undoubtedly the game that changed everything.” Yoshinori Kitase, the director the most important RPG ever, has cause for hyperbole. “We felt a wind of change inside the company during the development process. There was this incredible feeling I’ll never forget: we were making a new thing… making history. Imagine.” He pauses. Imagine. At the time there were many doubters, but Kitase-san’s instinct proved right; Final Fantasy VII eventually propelled the high-production RPG into one of the most popular videogame genres worldwide. The first demo of the title, creatively bundled on an extra disc with Square’s first 32bit offering, Tobal No.1, stunned the world with its steam punk setting, achingly melancholic score and arresting visuals. And it bore evidence of a huge team working on a title with aspirations not yet though possible in the medium of videogames. “There was a huge number of people we had never worked with before. Up until that point Squaresoft’s teams had only ever dealt with the traditional 2D medium. All of a sudden we had new people coming in working with software like Power Animator and SoftImage that we had never heard of before. From and industry point of view, it was unbelievable what we were trying to achieve. That is why we all had this strong feeling; this great enthusiasm.” As the software houses were jumping from the 16bit systems to 32bit hardware, Squaresoft made the headlines for choosing Sony over previous soul mate Nintendo. The story behind the split is yet to be explained and as the two companies only recently kissed and made up (with the departure of warring Hirosohi Yamauchi from Nintendo and Hironobu Sakaguchi from Squaresoft) we’re are unlikely to anytime soon. Kitase-san is predictably diplomatic, “We had a big decision to make in terms of which hardware to use. Nintendo was not one step behind in terms of hardware. In fact, the N64 was quite attractive actually. But as our goal was to develop the next-generation RPG we came to the conclusion that only a high capacity mass storage media would facilitate what we wanted to achieve. This meant CD was the only option and so from that perspective, Playstation was the only choice.”

Access All Areas

There was a great pressure on the team to maximise the benefits of the new medium. “At that time Sakaguchi-san (Square’s founder) was the series’ producer. Right from the time the decision to go with CD was made he set down a ground rule for the team saying, ‘If the player becomes aware of the access times we have failed.’ So we tried many tricks to circumvent the issue such as offering animation while the game was loading data, etc. The constant fear for us having worked with cartridges for so many years was that the player would feel bored while waiting for loads. However, only CD media was able to facilitate more than 40 minutes of FMV movies so we virtually had the decision made for us.”

Another Dimension

Graphically Square was trying things only hinted at in the first generation of 32bit titles. Using polygonal characters on CG backgrounds and interspersing the action with streaming FMV was a bold aesthetic decision. “We were keen that the distinction between the in-game graphics and the CG movie sequences was not overly pronounced: something we could not have done on the N64. The change of dimension into 3D was a massive one for the Square team. You could see the game with maps and angles that only 3D could offer and in terms of game characters, we were able to offer far greater, detailed animations, so they would look more real and more alive on screen. But it was a daunting task.” The change from Final Fantasy VI to Final Fantasy VII is as graphic a demonstration of the transition between 2D to 3D as one will see. Just how apprehensive was Kitase-san about this sea change? “It was during development that I realised the impact that 3D realistic CG visuals had on overseas players. In Japan, you have the manga culture with the traditional deformed style world design and characters that live through a story with very serious themes. Overseas, you don’t have this. To be honest we were pretty confident that FFVII’s characters and graphics would be accepted overseas and ironically I was much more anxious to see how Japanese users would respond.” Undoubtedly at the heart of any RPG’s success is the plot. No matter how good your battle system or locations, without quality scripting there will be no incentive for the player to play. It is testament to FFVII’s story that the game is widely regarded as the acme of the series and still frequently referenced today. While Final Fantasy games have traditionally always drawn upon a huge selection of myths and legends, the seventh game used them as a framework for loftier ethical aspirations and ecologically conscious evangelism. “Sakaguchi had a great vision of the force behind the universe. He wanted to explore the idea that planets and people share the same basic energy and so are, in some way, intrinsically linked. He developed this philosophy from drawing upon other cultures that stated when a planet disappears an invisible energy is released in to space. This energy goes to some place to give life again when certain conditions are met. The same energy drives people. So matter who or what this energy comes from, it will concentrate all together to give life to something or someone again.” These were ideas that the SquareSoft founder had long been toying with and it is unclear as to how much of the philosophy was pure fantastical fabrication and how much was his own dogma. One thing is certain, they posed difficulties for Kitase-san, “Sakaguchi’s ideas were incredibly difficult to represent in the game since they concerned an invisible abstract concept. It was something I’d never seen done in a game before. So, I came up with the Life Stream. “This was an idea that planets have the same kinds of life systems as people’s blood or nerve network. It allowed us to more clearly examine the issues we wanted to. Sakaguchi-san’s main ideas for FFVII and the world he imagined for the game (the creatures, etc.) were very closely integrated into the “Final Fantasy” movie. FFVII and “Final Fantasy” started at the same time in their development process and they share nearly identical roots. I may have to play/watch both again and compare all their common elements.” Although lengthy FMV, random battles and an arcane combat system alienated some gamers—especially in the west where anecdotal evidence suggests it became the most returned game history—the combination proved the winning formula for thousands who had never sampled such fare before. Boosting weapons and skills with Materia, summoning devastating guardians, scouring the planet’s highest peaks and deepest oceans for secret items and raising and training Chocobo gave both fresh and old RPGers an inconceivably large universe to explore and revel in. It also provided us with a legendary videogame moment.

Death of a Friend

Easily the most infamous and memorable character in FFVII was neither the main lead nor the central antagonist, although both Cloud and Sephiroth are premier examples of excellent design and characterisation, but rather a flower seller who appears a little more than a third of the game. Tetsuya Nomura, character designer, conceived both the characters of Sephiroth and Aerith. “The main issues of contention for fans worldwide are still Aerith’s death and the ending sequence with Sephiroth. With the plot I wanted people to feel something intense, to understand something. Back at the time we were designing the game I was frustrated with the perennial dramatic cliché where the protagonist loves someone very much and so has to sacrifice himself and die in a dramatic fashion in order to express that love. We found this was the case in both games and movies, both eastern and western. But I wanted to say something different, something realistic. I mean is it right to set such an example to people?” Kitase-san is adamant that cultural art puts too high a value on the dramatically meaningful death, “In the real world things are very different. You just need to look around you. Nobody wants to die that way. People die of disease and accident. Death comes suddenly and there is no notion of good or bad. It leaves, not a dramatic feeling but great emptiness. When you lose someone you loved very much you feel this big empty space and think, ‘If I had known this was coming I would have done things differently.’ These are the feelings I wanted to arouse in the players with Aerith’s death relatively early in the game. Feelings of reality and not Hollywood.”

Classic Convention

At the time of release the internet was awash with rumours that it was possible to resurrect Aerith. Edge wonders if this was ever the developers’ intention? “The world was expecting us to bring her back to life, as this is the classic convention. But we did not. We had decided this from the beginning. There was a lot of reaction from Japanese users. Some of them were very sad about it while others were angry. We even received a lengthy petition addressed to our scenario writer asking for Aerith’s revival. But there are many meanings in Aerith’s death and that could never happen. Final Fantasy VII is arguably one of the most significant games of all time. Not simply because it was so well conceived and executed, but mainly because of its wider significance to Sony. In Japan, history dictates that hardware can not succeed without a best-selling RPG franchise. With Final Fantasy VII Squaresoft secured its position as king of the adventure tale and won Sony an army of fans both in Japan and the west. The continued pressure Square receives to do a remake of the title is evidence of the game’s continued popularity. Edge gently pursues the rumours. “If I were to redo the game onto today’s hardware I would like to make the characters more realistic, I mean like FFX for instance. I think I would try include full voice support but I would definitely keep very same plot and scenario. I know that other members of the team are eager to do the update, but, currently I have no plans. Cloud and Aerith have appeared in other titles (Final Fantasy Tactics, Kingdom Hearts) so it is possible FFVII character will appear in a future title but there is much discussion to be had first.” Whether a new generation of videogamers get to experience this RPG in next-gen clothing is almost irrelevant. While few would go back to experience this epic again, it is one of those rare games that cast an emotional spell over legions of players. For that reason it will always remain the stuff of legend.

Afterthoughts: Final Fantasy VII

Interivew with Yoshinori Kitase and Tetsuya Nomura from Electronic Gaming Monthly, issue #196, October 2005.

In light of all these new FFVII offshoots, we thought it would be interesting to look back at the groundbreaking original PS1 game that popularized the role-playing genre in the United States. We waxed nostalgic with two of FFVII’s most integral team members: Director Yoshinori Kitase and character designer/battle director/coauthor Tetsuya Nomura.

EGM: What does Final Fantasy VII mean to you? Yoshinori Kitase: FFVII was the first Final Fantasy for the PS1, and it was also the first 3D game in the series, so it determined the new direction that the franchise would take after the 16-bit Super Nintendo era. It’s by far the most memorable and important title for me, and when I had the chance to expand any of the past games, I immediately chose Final Fantasy VII for the project. The ending of FFVII seemed to me to open up so many possibilities with its characters, more so than other games.

EGM: When you were working on FFVII eight years ago, could you conceive of how much the game would affect the RPG marketplace? Tetsuya Nomura: When I look back, I remember having no concept of just how massive that project would go on to become. Of course, I’d been associated with the Final Fantasy franchise before FFVII, as I did monster designs on Final Fantasy V (Super NES). I remember that before we started FFVII, the characters from Final Fantasy IV were still very popular, despite the fact that FFV and FFVI had been released. I found this really frustrating. Why would people still be talking about those characters? So I made it my goal to create my own batch of characters that would be remembered and loved by the Final Fantasy fans. Also, starting with FFVII, I was far more deeply involved with the story and characters, so I was really extremely excited to work on that project.

EGM: FFVII was a departure from the Super NES titles… were you worried about fan reaction? YK: I wasn’t really worried about response to the graphical shift, as there were already several 3D games in America that were accepted by fans. My fear had been that the Final Fantasy franchise might be left behind if it didn’t catch up to that trend, actually.

EGM: What did you think of Cloud as a hero when you were making FFVII? YK: There wasn’t really much controversy or criticism about having him as the hero from within Square, but he is definitely a mysterious character. That’s one of the game’s main themes, the fact that the protagonist has all these secrets to unravel. He isn’t a straightforward hero like Superman; rather, he has lots of mysteries, self-doubts, and a real dark side. Mr. Nomura was also very good at designing a character like that.

EGM: We heard that the death of Aerith and the creation of Tifa both originated in a phone call between you two…. TN: It’s funny, some magazine ran that story, but only the beginning and ending of it. People think that I wanted to kill off Aerith and replace her with Tifa as the main character! [Laughs] The actual conversation between Mr. Kitase and myself was very, very long. Originally, there were only going to be three characters in the entire game: Cloud, Barrett, and Aerith. Can you imagine that? And we knew even in the early concept stage that one character would have to die. But we only had three to choose from. I mean, Cloud’s the main character, so you can’t really kill him. And Barrett… well, that’s maybe too obvious. But we had to pick between Aerith and Barrett. We debated this for a long time, but in the end decided to sacrifice Aerith.

EGM: Did you pick her to increase the drama? TN: In the previous FF games, it became almost a signature theme for one character to sacrifice him or herself, and often it was a similar character type from game to game, kind of a brave, last-man-standing, Barrett-type character. So everyone expected that. And I think that death should be something sudden and unexpected, and Aerith’s death seemed more natural and realistic. Now, when I reflect on Final Fantasy VII, the fact that fans were so offended by her sudden death probably means that we were successful with her character. If fans had simply accepted her death, that would have meant she wasn’t an effective character.

EGM: Which female character in FFVII is your personal favorite? TN: [Laughs] I’m not really interested in any superdeformed females.

EGM: Since Dirge of Cerberus is, chronologically speaking, the furthest game in the FFVII timeline, does it have a happy ending? YK: AC and DC both have their own resolutions, so don’t expect cliff-hangers there. Also, DC isn’t the direct sequel to FFVII, Advent Children is. So we can’t view DC as the ending to the whole big FFVII saga. Plus, FFVII definitely has so many diverse elements, and different fans have interest in different characters, so if, for example, one person is interested in Cloud, Tifa, and Aerith’s relationship, then AC may provide some sort of answers for them. Somebody else might be interested in Vincent, so they might want to explore DC. It’s not like this is going to complete the whole story, but it will satisfy fans who have strong attachments to individual characters.

EGM: At the very end of FFVII, we see the epilogue to the whole story that takes place 500 years later, so really, you still have another 497 years’ worth of games and movies to fill in…. YK: Ha, maybe I’ll try to do that. In a way, I consider that epilogue to be the true happy ending of FFVII. Well, it’s a happy ending even though all the human beings are destroyed. [Laughs]

Concept art

Render

Dengeki PlayStation Vol.17– Dengeki PlayStation Vol.40-Non Translated

Magazine Previews

Forum member Brooke dug up some old FF7 previews from August of 1997 and was kind enough to share them with us. If you were already a Final Fantasy fan then, you might enjoy the nostalgia of the excitement that had been absolutely ravaging the West after the game’s January Japanese release. If you were not, it’s a pretty fascinating look at just how beside themselves people were to play this game. Also included is the preview of Final Fantasy Tactics, another imminent release at the time, as well as a truly prophetic piece about gaming and the third dimension.-lifestream

final fantasy vii development final

final fantasy vii development early

FFVII 10th Anniversary Discussion: p. 8 to 13 of the FFVII 10th Anniversary Ultimania

FFVII 10th Anniversary Discussion

In 2007 FFVII hit its 10th anniversary. To find out the secret of its appeal, we went to the 3 central members of the development staff behind FFVII and the Compilation. How does FFVII look through their eyes? Cloud’s Animations determined the image of the scenario

– It’s been 10 years since FFVII was released. I think the reason fans have continued to support it for so long is because it left that much of an impression on them, but what scenes stand out most in your memories as the creators?

Nojima: For me, it’s the scene where Cloud first appears at the start of the story. That scene used the cool standing animation Toriyama (Motomu Toriyama: FFVII’s event planner) made. If I remember correctly, it was named “Cloud showing off” (laughs). But when I say that animation I thought to myself objectively, “wow, this is great.” It was when I’d just started writing the scenario, and Cloud’s false persona was kind of determined based on that pose, and after that the image of the scenario started to solidify. Back in those days, a lot of different tasks would be going on simultaneously during production, so there were a lot of cases like that where the other staff would influence each other. All the important stuff was usually decided by talking it over in the smoking room (laughs). Nowadays since you’ve got the voice acting to record the scenario needs to be done first, so it’s turned into quite a lonesome task.

Kitase: That Cloud ‘showing off’ standing animation appears in the Nibelheim flashback as well. When the Shinra soldier asked about doing “the usual”, he does that pose. The same scene is in CC too, so I instructed the staff to recreate that animation (laughs). You were in charge of the Nibelheim events in FFVII, weren’t you, Nojima?

Nojima: That’s right. Right up till the very end we couldn’t get the bugs out of it, so it was pretty rough. Like when Cloud was waiting outside of the screen for his part in the scene, his hair would be poking out from the edge of the screen (laughs). Story-wise, the scene at the Northern Cave where Cloud talks while upside-down left an impression on me. I worked on the direction for that scene, but getting the characters to run to match with the movie scene was tricky, and I remember having trouble with it. The part where Cloud addresses Tifa as “Mrs.” Tifa, I made that hoping that the people playing it would be taken aback by the change in Cloud and it would really hit the player.

Nomura: The scene that sticks out for me is the scene when Tifa going into Cloud’s mental realm and he remembers the truth about what happened in the past.

Nojima: It was Katou (Masato Katou: FFVII event planner) who made the events for that part, and the movies were made by Ikumori (Kazuyuki Ikumori: FFVII movie designer). Ikumori was originally graphic designer for the maps, and this was the first time he’d tried his hand at movies. He said, “I’ve never worked on the movies before,” but looking at him now…

Nomura: Now he’s the movie director on DC and CC.

Kitase: Katou also did the event on the airship, the night before the final battle.

Nojima: Oh, the scene with the risqué line of dialogue? It was Katou who wrote that as well, not me.

– The line “Words aren’t the only way to talk someone how you feel,” right? That was quite a mature conversation for a FF game.

Kitase: But I remember having to get another version that was too intense toned down.

Nojima: The original idea was more extreme. The plan was to have Cloud walk out of the Chocobo stable on board the Highwind, followed by Tifa leaving while checking around, but Kitase turned it down. But even with the line in question, maybe at that time none of us thought it would be something so important (laughs).

In the original scenario, Zack didn’t exist

– Mr. Kitase, which scene do you find most striking even now?

Kitase: Like Nomura, I’d have to say the climax in the mental realm. The scene where the mysteries regarding Sephiroth and Cloud all become clear. I didn’t know until we were in the latter stages of development that Cloud’s memories were Zack’s. First of all, when I originally checked the scenario, the character of Zack didn’t exist. Zack was a character who came up as Nojima was building up the mysteries. So until that part was complete I was left wondering just how he was planning to solve this, and all the while making the event scenes, still in the dark about the truth.

Nojima: But with Zack, I didn’t simply bring him in just because it was needed for solving the mysteries. When I joined the development team, the concept of Aerith seeing her first love again in Cloud was already there, so I brought him in to link that with solving the mysteries.

Nomura: About the concept of her seeing her first love again in Cloud, at first we were thinking of making that man Sephiroth. When I got the request for the illustration of Zack we were already near the end of development, so when you look at it now it’s not even coloured, and I can’t really deny that it feels like quite a sudden request.

– Had you thought about the truth of the mysteries regarding Cloud and Zack from the very beginning?

Nojima: No, I thought of it as I went on with my work. So at the beginning there wasn’t much foreshadowing. The foreshadowing scenes, I asked the staff in charge of the event scenes to add after development reached a point where an outcome for the mysteries came into sight.

Kitase: In those days it was easy to go back and change things around later on. Lately, with the workload involved in making the graphics, it’s hard to ask people to change something once it’s been finished.

Nojima: Well, even back then, there were some people you could easily ask to change an event later on, and people who were difficult to ask, so the locations of the foreshadowing might be biased. I only went to the people who were easy to ask, and the foreshadowing is focused at the scenes they were in charge of (laughs).

Red XIII: Four-Legged Bane of the Event Planners – I think one of the things that have helped maintain FFVII’s popularity is the uniqueness of its characters. How did you go about creating the characters?

Nomura: At the very start of development the scenario wasn’t complete yet, but I went along like, “I guess first off you need a hero and a heroine,” and from there drew the designs while thinking up details about the characters. After I’d done the hero and heroine, I carried on drawing by thinking what kind of characters would be interesting to have. When I handed over the designs I’d tell people the character details I’d thought up, or write them down on a separate sheet of paper. At that time, I still wrote everything by hand as well.

– So in exactly what order did you draw the characters?

Nomura: The first ones I drew was Cloud and Aerith. Next was Barret.

Kitase: And then Nomura said he wanted to have a four-legged character, and drew Red XIII…

Nomura: After that I think things kind of stalled for a while (laughs).

Nojima: Because you said you wanted to have a four-legged character, it was a real struggle to make the cut-scenes. Like, ‘how is he supposed to climb a ladder?’ and ‘when he turns around his tail and his body end up going into the wall’ (laughs).

Nomura: The scene with Red XIII standing on two legs on the transport ship was funny.

Nojima: The scene where he says, “It’s hard standing on two legs” (laughs).

Kitase: You named Red XIII, didn’t you, Tetsu (Nomura)?

Nomura: I thought a name that didn’t sound like a name would be interesting, so I combined a color and a number. The reason I chose 13 was pretty much because it’s an unlucky number. The official details for the character and his real name ‘Nanaki’ was something one of the other staff did.

Kitase: It was probably Akiyama (Jun Akiyama: FFVII event planner) who thought of those.

– This is something I noticed before, but to type in ‘Seto’, Nanaki’s father, in Japanese with the keyboard set to kana input, you press the keys ‘PS’. I was wondering if this perhaps was where the name came from…?

Kitase: Did he think that deeply about it?

Nojima: If it was Akiyama who was in charge of that, I wouldn’t put some deep-rooted reason like that past him (laughs).

Yuffie and Vincent, who were almost cut at one point.

– Yuffie and Vincent are secret characters who you don’t have to get in your party, but I was surprised that they had so many cut-scenes prepared for them.

Nomura: There was even a time when some people thought we should cut them because we didn’t have enough time. But we somehow managed to veto cutting them, and as a result they became the secret characters they are today.

Kitase: The main reason for there being so many cut-scenes for Yuffie is down it the strong attachment that Akiyama, who was in charge of them, had. Her appearing in a battle and talking with her afterwards, all those were his ideas, and as development moved along the scope steadily got bigger and bigger.

Nojima: It’s really annoying when you try to save after the Yuffie battle and get tricked (laughs). For the story in Wutai, I made the parts related to the main story, but the events in the Pagoda of the Five Mighty Gods were the work of Tokita (Takashi Tokita: FFVII’s event planner).

Kitase: Those bits do have a Tokita-feel to them.

Nojima: Tokita is involved in the theatre, and the characters who appear there have the names of people involved with the theatre like playwrights.

– Who was in charge of Vincent’s cut-scenes?

Kitase: I remember making the event where he joins you in the Shinra Mansion, but his episodes themselves was Nojima, wasn’t it?

Nojima: I did write his episodes. The back story for Vincent and Lucrecia was around from the start, and I remember linking that with Shinra. In the end, Chiba (Hiroki Chiba: FFVII’s event planner) crammed the Vincent-related events in right at the last minute.

Kitase: Chiba is in charge of DC’s scenario, but thinking about it now maybe it turned out that way because he worked on the events with Vincent in FFVII.

Nojima: However, despite Vincent not having many scenes due to him appearing in the latter half of the story, he has a fair amount of dialogue, and when he does show up he talks a lot. Even though really he’s meant to be a quiet person (laughs). Even now I have a problem when creating scenarios, where even though the character is a cool and silent type, I end up making scenes where they just keep on talking and talking. Roles like Barret, who appear from the start and have a lot of lines, most of the time, basically don’t know anything. But characters like Vincent, or Auron in FFX, it tends to be the case that the quieter they are the more they know about things, and they just end up with more expositional dialogue. I still haven’t found a solution to this problem.

The reason FFVII’s characters have continued to be loved

– When thinking of the character’s stories or working on their designs, do you have any kind of tried and tested methods, Mr. Nomura?

Nomura: Maybe not a method in particular. For FFVII’s characters, they’re the result of wanting to make varied, and in a sense going for an orthodox balance. In the recent FF games, I now receive the profiles of the characters before handling the designs, so I don’t worry about the character building much now. I think FFVII was it as far as me thinking of the character’s stories first goes.

– The characters of FFVII seem to be especially popular even out of the entire series, but where do you think the reason for that lies?

Nomura: Hmmm, I wonder? Nothing really hits me. Well, I guess that each character has their own individual episodes which are well told. You might say their personalities are too strong (laughs).

Nojima: Yeah, they were made nearly excessively individual. For example, once you’ve decided Aerith speaks like this, it starts to escalate in that direction. And like Cloud’s cool standing animation we mentioned before, all the staff in charge of the events took in anything that seemed interesting. Even Cloud’s “not interested” catch phrase comes up so much you start to think, you won’t normally say it that much (laughs).

Kitase: Everyone used it, didn’t they?

Nojima: In that sense, their characters were definitely strong. In FFVIII onwards, the height of the characters increased, and we starting to be conscious of realism. And when that happens, there are times when you start comparing them to real life people. But with FFVII’s height, even in 3D, you still don’t really get that sense of reality. Maybe in that aspect they were like cartoon characters, which was a plus. I think, maybe they had a kind of easy to remember quality as symbols.

Kitase: When I first read Nojima’s scenario, I felt strongly that his image of a heroine was fresh. The hero didn’t have a typical personality, single-minded or righteous, and Aerith lived in the slums. Those things were really fresh. And having 2 heroines, Aerith and Tifa, and having the hero waver between them, at the time that was something new. And Sephiroth too, who appears from the start and is the final enemy, and is sort of a rival. For me personally, I think those things which weren’t in past FFs might be the secret to its popularity.

Nomura: In regards to Sephiroth, I wanted to avoid having the kind of plot development where you get to the end of the story and suddenly this boss you’ve never heard of yet just appears. With FFVII, I wanted to do a story where you’re chasing someone you’ve known was the enemy from the get-go. As for the heroines, during development some people were of the opinion that compared to Tifa, Aerith has fewer scenes and didn’t really stand out, so we also increased her appearances.

Nojima: As a motif for them, Tifa is “the childhood friend who’s been with you since nursery school”, and Aerith is “the girl who transfers school mid-term and quickly leaves for another school.” Since she doesn’t have many scenes, you’ve got to make it so that the transfer student has a big impact. That was what I thought.

Feelings about Aerith, the tragic heroine

– You can’t talk about FFVII’s heroines without talking about the tragedy that befalls Aerith at the Forgotten City. That event was a very memorable scene not only for the FF series, but all RPGs.

Kitase: In the past FFs as well, important characters died and went away. Like Galuf in FFV for example, they followed a pattern where the character would go down after giving it his all in a fight. In this case, often it went that the characters think something like, they’ve tired so hard, and just accept the death and overcome it. When creating stories I think that is an option, but in FFVII we were thinking, could we take this a step further? Bring out a sense of loss somehow? What I didn’t want to have was the kind of story development where even when a character dies there’s no sense of loss, on the contrary it just raises motivation and pushes you forward.

Nojima: Kitase’s loss talk has been consistent since back then.

Kitase: And with a lot of stories, before they die there’s a lot of dramatic preparations, aren’t there? Like a “pre-prepared excitement”, or “using this as a step to fight evil further”, those are the kinds of developments I wanted to avoid. In reality, death comes without warning, and you’re left feeling dazed at the gravity of the loss… Rather than wanting to fight evil, you’re just overcome by a great sense of loss, like you just want to give up everything. I was in charge of the direction of that scene, and I tried to bring out that sort of sense of realism.

Nomura: It’s related to ‘life’, one of the themes of FFVII, so it’s not portrayed as a “death for excitement’s sake” but expresses a realistic pain. Death comes suddenly, so I think the emotion there wasn’t excitement or anything, but sadness.

Nojima: Speaking from a scenario standpoint, FFVII is ‘a story of life cycling through the planet’, so someone needed to be part of that cycle. In other words, although what happened to Aerith isn’t really based on logic, as far as the story goes, maybe one of the team was destined to lose their life from the very start. But how that one became Aerith wasn’t decided through a notice as is popularly mentioned. It was decided after everyone, including myself, racked our brains about what to do.

Truth hidden in the abbreviations of the Compilation titles

– 7 years after the release of FFVII, the Compilation began, but it was a surprise that Advent Children, the sequel, was a film.

Kitase: Originally the AC project came about when the staff said they wanted to make a film.

Nomura: But having that film work being based on FFVII was decided from the beginning.

Kitase: They’ve made several of the movie scenes for games before, so they have the know-how. But an independent film was a big challenge for us, so we had to be ready for it being considerably difficult. When thinking of what subject material we work with while having that readiness, we came up with FFVII. At first it was only planned to be 20 minutes, but before I knew it there were fight scenes, and finally it grew to 100 minutes… (laughs).

Nomura: After we started the project, there was a period where it was put to one side for a while. At that rate, the project itself seemed like it would just go up in smoke, so I put my hand up and said I’d do it, and started again from there, adding in fight scenes and so on.

– Was the formula for the Compilation’s titles, AC, BC, CC and DC, planned from the start?

Kitase: In order of release BC comes first, Advent Children was the first title we decided on.

Nomura: For BC’s title, Taba (Hajime Tabata: BC’s director) and Itou (Yukimasa Itou: BC’s producer) came to me saying they had a good idea. “How about linking with AC, and Before Christ (B.C.), and going with Before Crisis?” I just gave an nonchalant “sure, why not,” but I never thought it would end up being a formula (laughs). So, next we skipped C and went for DC. Then planning for CC suddenly began. Kitase came to my office one day and told me, “think of something” (laughs).

Kitase: That was how it all began. At then, we were thinking of a PSP port of BC. At the time, you could only play BC on NTT DoCoMo mobile phones, so we wanted to let a wider spectrum of players to have a chance to play it. So personally, I was planning releasing it on the PSP with basically the same graphics as the mobile phone version, even if we did fill in the story a bit. However, when I told Tetsu about this, I hadn’t realized at that time that that wouldn’t be enough (laughs).

Nomura: Since at first I was told it’s BC on the PSP, I thought of calling it “Before Crisis Core”. But at that time we’d already decided on having Zack as the main character, so we said, “since it’s going to be different from BC, we don’t need ‘Before’ in the title, do we?” So we took off the “Before”, and by chance it fitted the CC which we had skipped.

Kitase: When I saw the cut-scenes of the completed CC, the quality was good enough to release on the PS2, and I never expected it would be this good. With CC, I had only read part of the scenario when I worked on it, so when played up to the ending myself, as a consumer, I was moved, like “aah, so this is what Zack’s story was like…” (laughs). When I saw the ending, I though to myself, “all the titles have come together nicely. I’m glad we did the Compilation.”

WEEKLY FAMITSU ISSUE NO. 1224: YOSHINORI KITASE INTERVIEW

IT BEGAN ON THE SNES

—First off, can you tell us how the development of “FFVII” came about?

Kitase: After development on “FFVI” ended, we started the “FFVII” project on the SNES. All of the team put forth ideas for the characters and game systems, but during that time we needed to help out “Chrono Trigger” team who at the time had run into trouble, so for a time development of “FFVII” was put on hold.

—Was the “FFVII” being developed then different from the finished one?

Kitase: Yeah. It was completely different, and Nomura (*1) had proposed things like a design for a witch. In the end, when development started up again it changed to the current setting centred on mako and the like, but the design for the witch Nomura made was incorporated into “FFVIII” in Edea.

—I see. So then, when the development began again, it become the world we have now which has a strong sci-fi feel.

Kitase: At the time there were a lot of Western-fantasy RPGs around, so we wanted to set it apart, and we wanted to achieve more realist ways of showing the story. Also, Mr. Sakaguchi (*2) had suggested a modern drama-esque story with a strong sci-fi feel.

—Had you decided on making it an RPG using 3D polygons at that point?

Kitase: When development had restarted, talk of a next generation console was already in full swing. Since the next generation hardware was said to have chips that excelled at 3D graphics, we also made a 3D battle demo movie based on “FFVI” and studied using 3D. Soon the idea came up that movies would be indispensible to the evolution of “FF” and we decided to development for the PlayStation, which utilised CD-ROM that had a large storage capacity.

“ALONE IN THE DARK”

—Was the decision to make “FFVII” in 3D a unanimous one?

Kitase: There were two directions the development of “FFVII” could have taken. One was to put pixel characters on 3D maps, like “Dragon Quest VII” and “Xenogears” would later use. And the other was the method used in “FFVII” where the characters are rendered using polygons. The pixel characters used in the story scenes in previous “FF” games were extremely popular, so at first we were considering the former which is an extension of that method. But as we couldn’t made a realistic drama in that way, and with polygon characters we could use the movement of their entire bodies to express things, we went for the later to look for new possibilities.

—Was there no resistance from the team?

Kitase: There was at first. Particularly, with the loss of the pixel graphics, the designer team such as Naora (*3) seemed to have felt that their job was put at risk. But in their own ways, everyone went to the CG training sessions and such and learnt to handle it. The people who had been there since the old days are those who had overcome that sort of times of change. In a sense, that was really the turning point for the development.

—Were there any titles that served as a reference when making a 3D RPG?

Kitase: A foreign game called “Alone In The Dark” was an inspiration. The backgrounds were single images done in CG, and when the polygon character moved along them, the camera would switch and the viewpoint would change. That method was new. “Alone In The Dark” was an adventure game, and its story was set in a mansion, but I thought that by taking this and using in it in RPG with vast field maps, it could be something different and new, so I went around showing this game to all the staff.

MOVIE SCENES YOU CAN CONTROL

—In “FFVII” one of its unique features was being able to control characters during the movies.

Kitase: What I wanted to do most of all in “FFVII” was to seamlessly join the movies and the game parts. We wanted to avoid there feeling like there was a massive gap in the graphics when moving from the movies to the playable parts, and Mr. Sakaguchi also said to not make it feel like the movies stick out. So we did some tests and made the part in the opening where the camera zooms in from a shot of all of Midgar to Cloud jumping off the train. I was in charge of the composition of that part, we used a method where as it moved from the movie to a CG image, the characters were positioned so they didn’t move out of place, and we refined it numerous times to get it to sync up nicely. When it went well without moving out of place, it felt brilliant. By the way, the kind of showy events like the scene where Tifa jumps off the Junon cannon, I was mostly responsible for those (laughs).

—Do you think scenes you can control during movies not being in other games was down to Square’s high level of technical skills at that time?

Kitase: No, rather than technical skill, I think it was more the inventiveness to want to do those kind of things. We wanted to take what “Alone In The Dark” did, having polygon characters on top of a CG background, and take it one step further. And because this was our first 3D game, we didn’t know the limits so we could have reckless ideas. We commissioned an outside CG company for the movie scenes, but when the trial version was completed, we would say “the story’s changed so we’d like to extend the movie scene by about 30 seconds” which really surprised them. Since at that time even just extending a movie by a few seconds costed 10 million yen. We made these unreasonable orders without knowing that. In the end we made do with a few revisions, but we gradually learnt that you can’t get retakes as easy as you could with games (wry smile).

—(Laughs) Did Mr. Sakaguchi give any orders for other parts?

Kitase: I think Mr. Sakaguchi wanted to follow the tradition of the pixel graphics, and to show the characters’ expressions on the field screens, so he paid attention to the size of the heads. In battles you can zoom in the camera, but since the field screens are a single background image, you can’t do that. As a result, the proportion of the characters are different in battle and on the field. But when we looked at it after “FFVII” was released, we thought “people are probably going to feel something is off with the difference in proportion” and so in “FFVIII” we the proportions on the field and battle scenes the same.

A SCENARIO WITH A HINT OF MYSTERY

—How was the story, which was distinct from the RPGs that had come before it, created?

Kitase: Before “FFVI” we had Mr. Sakaguchi’s plots, and based on that each of the staff would throw in their ideas and flesh it out, but with “FFVII” we could express things more realistically, so we couldn’t take a mishmash of all the separate episodes the staff had made up and make a single coherent game. That’s where Mr. Nojima (*4), who was one of the new staff members, came in. He had written an RPG scenario with mystery elements for “Glory of Heracles III: Silence of the Gods” on the SNES, so to make it a surprising story like that we left the scenario to Mr. Nojima and he incorporated the elements everyone wanted to do.

—Things such as Cloud’s true identity were certainly surprising.

Kitase: For Cloud’s identity, we only vaguely had an image of Cloud’s own existence being up in the air and it ending there, but the actual unfolding of events was left in Nojima’s hands. And he made not only the scenario but the actual event scenes as well, and the parts where all the mysteries get made clear like Nibelheim in the past were all in Nojima’s head so he hadn’t written it down in detail in the scenario. So we were doing the test play with no idea how it was going to end, and that’s how we first found out what happens. In particular Zack was made like that as well, he was a character Nojima brought in while he was building up the mystery, so we had no clue that he was that important a character (laughs).

—That’s surprising (laughs). Did Mr. Sakaguchi have any directions for the story, having written the plot?

Kitase: Mr. Sakaguchi had been deeply involved with the story up to “FFVI” but with “FFVII” he focused his efforts on the battles. It was Mr. Sakaguchi who suggested the materia system. At first materia had the name “spheres” which Nomura proposed, but Sakaguchi thought we should make it something that would resonate easily even with elementary school kids, so we went for ‘materia’. Back then, the staff were trying to come up with some cool name, but Sakaguchi said that in order to get it embraced across the board you can’t just think about what’s cool.

DEVELOPMENT BRIMMING WITH ENTHUSIASM

—Was the wide variety of mini-games something you planned to include from the start?

Kitase: We had thought of the bike mini-game where you escape from Midgar, but apart from that we had no plans at all (laughs). Now we don’t have staff who aren’t working on anything, but back then we could have staff who had a bit of free time between projects. There were some new staff as well so, kind of doubling as training, we had them make things that needed specialised programs, like the roller coaster shooting game or the submarines.

—So that’s the story behind it! By the way, were there any specific episodes from back then that left a mark on you?

Kitase: Actually, 6 days after “FFVII” mastered up, my eldest son was born. I luckily got there in time for the birth, but afterwards my wife said “you can’t just simply show up for the moment he’s born and everything’s fine” (wry smile). So while I caused some worry, it was a memorable time also for the birth of my son.

—So finally, can you give a message to the fans of “FFVII”?

Kitase: Looking back on the development of “FFVII” now, the difference in proportion between the field and battle sections encapsulates how the desire to “include the stuff we wanted to do” won over consistency. Those bits that are rough but you can feel the energy behind them, those are my favourite points in “FFVII”, and I think maybe what has been supported for so long. As you get used to game development you try to make something more clean and refined, but even if some things were a bit irregular, like there being so many mini-games, later on you come to realise that those can create some unpredictable sort of fun. I hope we can treasure that energy in the future as well, and not forget the enthusiasm we had at first as we make new games.

*1: Tetsuya Nomura. Character designer for “FFVII”. *2: Hironobu Sakaguchi. Produced heavily involved with the “FF” series. *3: Yusuke Naora. Art director for “FFVII”. *4: Kazushige Nojima. In charge of the scenario of “FFVII”.

– On the 15th anniversary To Tetsu

You’ve mainly received attention for your character designs, but you also suggested various systems like the limit breaks in “FFVII” which would be used in later games in the series. Limit breaks are similar to the special attacks in fighting games, but what an interesting idea it was to think it would be fun to place those into an RPG format. If I said it to you directly you’d get ahead of yourself so I won’t, but I would just like to say ‘thank you’ (laughs). (Kitase)

– On the 15th anniversary To Nojima

While we were asking you to come up with a mysterious story like “Glory of Hercules III”, me and Nomura kept throwing these elements we wanted without considering foreshadowing, so I think incorporating them must have been tough. But I am grateful that you pieced them together without turning us down. Thank you. But around the time of “FFX” our unreasonable behavior was too much *even for you* and you had a displeased air about you, didn’t you (wry smile). (Kitase)

WEEKLY FAMITSU ISSUE NO. 1224: TETSUYA NOMURA INTERVIEW

CHANGES IN THE VISUAL ASPECTS

—What was the most significant thing for you in the transition from “FFVI” to “FFVII”?

Nomura: I guess it was utilising polygons. The difference in high between the characters on the battle screen and the characters on the field screen also kind of seems like the gap between “FFVI” and “FFVII”, and seeing that process of trail-and-error is memorable for me.

—At that time, I hear you could have gone in the direction of using pixel graphics, or 3D, but what were your thoughts on it?

Nomura: I originally handled the pixel graphics, so I thought that if there were no pixels then my work would be gone (laughs). Later I took some training to learn CD, but I went into design and direction rather than working as a modeller.

—The “FF” series had been particularly known for Mr. Amano’s (*1) illustrations previously, so did you feel any pressure when your illustrations were to become the main focus in “FFVII”?

Nomura: I thought of my drawings as the standing images for the pixel graphics of the previous games, so there wasn’t any pressure.

—Standing images for the pixel graphics?

Nomura: In the “FF” series, Mr. Amano’s image illustrations and the pixel characters’ designs didn’t necessarily match. Personally, I considered image illustrations and the pixel graphics as being different categories in a sense. I was in charge of the pixel graphic parts, so I never considered myself as standing alongside Amano or taking over from him. The company decided from a rights perspective to put my name out in front, but originally there weren’t any plans like that at all.

THE TRADEGY OF AERITH AND THE BIRTH OF TIFA

—It was apparently Mr. Sakaguchi who selected you for “FFVII”, but how did that come about?

Nomura: From before when making a “FF” title, everyone would put plans regardless of their section. While everyone handed in text documents they made on a PC, mine were hand-written and had illustrations attached. Because I had originally studied advertising, I would keep in mind how to make people want to read it. Mr. Sakaguchi thought those illustrated proposals were amusing. Then one day he said, “let Tetsu draw the characters.” The start of this was the brush images for “FFVI”.

—Because your proposals were amusing!?

Nomura: Until that point, I hadn’t had many proposals taken up at all, so I don’t think that’s the reason (laughts). I suppose he liked the illustrations on the proposals.

—When it was decided that you would draw the illustrations, was the world and characters’s details already pinned down to a degree?

Nomura: There was a plot for the story, and I drew them based on that. But during the course of it Mr. Sakaguchi put Mr. Kitase (*3) in charge of production, and at that point in time the plot went back to square one. From there, I was also included in coming up with the original idea for the story, and began drawing while thinking up character and story details. At first Mr. Nojima (*4) was still on the “Bahamut Lagoon” team, so Kitase and myself refined the plot.

—Was the Aerith’s shocking death scene also confirmed at that time?

Nomura: I suggested to Kitase about having either Aerith or Tifa die, and it was decided that we’d go in that direction.

—Were there two heroines from the outset?

Nomura: No, originally there was only Aerith, and Tifa was added as another heroine later. To make up for Aerith dying, we needed a heroine who would be by the hero’s side until the end. Plus with Aerith’s death, while there were characters in previous “FF” games who lost their lives, we wanted to try a different approach. By bringing out a ‘sense of loss’ with Aerith’s death, we also wanted to portray the theme of “FFVII” which is ‘life’.

—It did certain have a different impact than that of the loss of characters in past “FF” games. Were there any other points you focused on with the story?

Nomura: I wanted to have a story where you chase Sephiroth. One where there is a SOLDIER who was once a hero, and the heroes follow him. Following a moving enemy hadn’t been done before, and I thought that by chasing something it would help pull the story along.

RELATION BETWEEN THE ORIGINAL CONCEPTS AND THE DESIGNS

—Were there any aspects of the character designs that you struggled with?

Nomura: For Cloud, at first I thought that it’d be better not to use too many polygons, so I gave him sweptback hair, but I didn’t think that looked much like a main character so I changed his hairstyle.

—Were you already thinking about polygon counts at the design stages?

Nomura: While considering it, I tried to be as unreasonable as I could. I thought that was necessary in order to do things no one else had done. For instance, making Aerith’s dress with polygons was very hard at the time. But I believed that thinking about how to make that so it moves naturally would lead to improvement of skills and rendering.

—Sephiroth’s long hair must have also been tough work.

Nomura: That’s right. That was also because I wanted to make the contrast easy to see between Cloud and Sephiroth in their designs. Blond and silver, short and long.

—At the time you said in an interview with our magazine that the image of Cloud and Sephiroth was based on “Musashi [Miyamoto] and Kojiro [Sasaki].”

Nomura: Yes. In particular the weapons, and the “showdown” image, was Musashi and Kojiro.

—Were there any other parts where the story concepts or mental images came through strong in the designs?

Nomura: At first, Sephiroth and Aerith were to be brother and sister, so I gave them similarities in their fringes. That aspect was dropped during the early stages, but the fringes stayed (laughs). I believe the original idea for them to be siblings later became that Sephiroth was Aerith’s first love. Ultimately Nojima thought up Zack, and it was all tied up.

WHITE IS THE “FF” IMAGE COLOUR

—Back at the time, did you realise the extent of the influence “FFVII” had on people?

Nomura: The Internet wasn’t wide-spread yet, and there weren’t really any avenues to see the opinions of a vast number of people, so I didn’t really know how it was being received by the public. But as the release was drawing nearer, the commercials on TV were played a lot, which gave a sense of the scale of things.

—There were several variations of commercials, right.

Nomura: Among those was a commercial that Kyle Cooper (*5) had edited. That was really cool, and it impacted me the way that different editing can give such a different impression. It was because of that that I took an interest in video editing.

—So the current high quality trailers came about because of a commercial for “FFVII”!?

Nomura: No (laughs). There is an outside editing director who has worked with us for a long time, but the present trailers are created with him.

—I see. The novel design for the game packaging, with just the logo on a white background which would be carried over to the future titles in the series, was also talked about.

Nomura: A lot of that was down to (Tadashi) Nomura who lead publicity for “FFVII”. Actually, we were talking about removing the lettering of the logo and just having the image of Meteor Amano had drawn. To have people recognise that it was “FFVII” from that. I thought that was pretty cool, but it didn’t materialise. The background being white was because Sakaguchi said that the image of “FF” was white.

—So there were lots of ideas even for the packaging. By the way, I heard that you are also involved with overseeing merchandise and publicity?

Nomura: That’s true, at the time I wasn’t sure how much I should do, so ended up drawing everything like roughs for plush toys and such (wry smile). I think it’s precisely because I didn’t know, that I was able to try my hand at everything. It was “FFVII” that was the start of my involvement in publicity as well. Though I ended up revealing info about “FFVII” I shouldn’t have and causing trouble, after that I started getting confirmation first. After I started working together like that, I was also able to cooperate with their publicity strategies, and I think I managed to get them to understand the intent of the development. Most of all, it was fun to be able to do that together.

ENERGY FROM IGNORANCE

—What sort of impression do you have now looking back on time spent making “FFVII”?

Nomura: We were basically rushing headlong, without knowing what we could or couldn’t do. And that’s why I think we could generate that much power, and pack everyone’s ideas in there. Our being able to be reckless making games that way ended with “FFVII”. Personally, it was the first “FF” where a wide range of my ideas were picked up, so it was a lot of fun.

—But before then as well, you not only created the pixel graphics but also submitted proposals as well, right?

Nomura: I put forth ideas for “FFV” and “VI”, but they were only really a part of the whole. Unlike in “VI” where with the inclusion of my ninja and my gambler I was given charge of the stories for Shadow and Setzer, “VII” was the first “FF” where I was involved from the ground up. Before then, I had been giving my opinions to a few people like Kitase, so it was interesting to be able to openly introduce proposals.

—”FFVII” is a game that has been supported by fans for over 15 years, but what kind of feelings do you have for the “FF” series?

Nomura: I still remember well what Mr. Sakaguchi said about “FF” at that time. There’s no one to tell that to the new staff, so I’d like to ask Kitase if he’d do so (laughs). I watched up close how Sakaguchi had left Kitase in charge of the development floor, and personally I think that Kitase is the true heir of “FF”. Also, “FF” carries weight because it’s a title that passed through many people’s hands and not just a single person’s. For example, “Kingdom Hearts” has the same main characters and the story carries on, but with “FF” the fact that ‘each time it’s different’ can feel like a tall hurdle. But that’s exactly why the new “FF” must always exceed the ones of the past. Even “FFVII”, which has been supported by the players for a long time and many people hope for a remake, but right now we want to prioritise new titles, and to try our best to make those become like “FFVII” or something greater.

*1: Yoshitaka Amano. Works on the image illustrations and logo designs for the “FF” series. *2: Hironobu Sakaguchi. Producer heavily involved with the “FF” series. *3: Yoshinori Kitase. Director of “FFVII”. *4: Kazushige Nojima. In charge of the scenario of “FFVII”. *5: Kyle Cooper. A video creator who produces the opening credits for films, with many credits such as “Se7en” and “Mission: Impossible”.

– On the 15th anniversary To Kitase

We see each other a lot normally, so I don’t really have anything to say (wry smile). Lately, there are getting to be fewer people who worked on “FF” with Mr. Sakaguchi. Among them, I’ve worked with you for a long time, and it feels like you’ve done a lot for me. Let’s keep on going into the future. (Nomura)

– On the 15th anniversary To Nojima

I think it’s great how you write this dialogue that gives characters clever things to say, and surprising stories. In “FFVII” Cloud’s true identity was a real shock. You later founded your own company and went independent, but I hope we can keep on working together still in the future. (Nomura)

Sources and Other Links!

If you like to read about Final Fantasy VII, I would also recommend buying the Final Fantasy VII Ultimania.

Interviews

Interview with Official UK PSX Magazine – October 1997

Hironobu Sakaguchi Interview – from PlayStation Underground #2, 1997

The Making of Final Fantasy VII – from Edge #123, May 2003

Afterthoughts: Final Fantasy VII –

Dengeki PlayStation Vol.17– Dengeki PlayStation Vol.40

“EGM2 August 1997 issue” scans

FFVII 10th Anniversary Ultimania p. 8-13 “Creators’ Discussion”

Final Fantasy VII Developer Speaks Out About “The Travelling Salesman”, interview by GlitterBerri.

Yoshinori Kitase Interview

Tetsuya Nomura Interview

Press Releases

FFVII North American Release Announcement – SCEA, February 1997

FFVII’s Marketing Campaign – SCEA, August 1997

FFVII Official Release Date Broken – SCEA, September 1997

FFVII Breaks Sales Records in First Weekend – SCEA, September 1997

FFVII Sells Over 500,000 Copies in the U.S. – SCEA, September 1997

FFVII Sells Over One Million Copies in the U.S. – SCEA, December 1997

FFVII for the PC Official Announcement – Eidos, June 1998

Other

Marketing material https://www.resetera.com/threads/final-fantasy-7-marketing-stuff-etc-reunion.37961/page-2

Xenon- http://xenon.stanford.edu/~geksiong/papers/sts145/Squaresoft%20and%20FF7.htm

Final Fantasy Beta- https://www.unseen64.net/2008/04/11/final-fantasy-7-beta/

See Also Beta versions of Final Fantasy VII’s world and assets- Here and here

Deleted Scenes and unseen text- Here

Concept arts here and here. Oh look more.

From the FFVII Ultimania Omega (2005). Early concepts for the world, characters and themes. – Character Files: Page 518, Cloud, Barret & Tifa. – Character Files: Page 519-520, Aerith, Red XIII & Cait Sith. – Character Files: Page 520-523, Yuffie, Cid & Vincent. – Worldview & Terminology: Page 523-525 – Scenarios & Scripts: Page 525-526 – Scenarios & Scripts: Page 527-528 – Scenarios & Scripts: Page 528-529 – Scenarios & Scripts: Page 528-529 (Part 2)

The Unused Text Series

Text and scenes found within the game code of the retail editions. Complete with in-depth commentary written by Shademp. • Article Index and Term Register • Part 1: Bombing Mission & The Train Ride • Part 2: Sector 7 Slums • Part 3: Train Escape & The Sector 5 Slums • Part 4: Honey Bee Inn – (1) Entrance, Lobby & Dressing Room • Part 4: Honey Bee Inn – (2) Waiting Room & Second Floor • Part 5: Rescuing Aeris, Story Time at the Inn – (1) Wall Market to Shinra HQ Library • Part 5: Rescuing Aeris, Story Time at the Inn – (2) Shinra HQ Library to Kalm • Part 6: Chocobo Farm to Corel Prison – (1) Chocobo Farm to Cargo Ship • Part 6: Chocobo Farm to Corel Prison – (2) Costa del Sol to Corel Prison • Part 7: Gongaga to Wutai • Part 8: Keystone Quest to End of Disc 1 • Part 9: Over the Glacier – Attack on Junon • Part 10: On the Highwind – Cloud’s Return • Part 11: Underwater Reactor – Infiltrating Midgar • Part 12: End of Disc 2 – Final Dungeon

Additional Sources- http://shmuplations.com – http://www.ff7citadel.com/ –

As time goes on, I will try and further enhance this article with more sources and interviews as I find them. I truly believe it is important to keep the history of classic games development alive.

The Development of Final Fantasy VII The development of Final Fantasy VII is a mysterious and hard thing to follow. While there is plenty of info out there, much of it is either rumors or unsubstantiated.

#aeirth #aeris #cloud strife #concept art #Development of Final Fantasy VII #final fantasy vii #jessie #kitase #nojima #nomura #remake #sakaguchi #sephiroth #tifa

19 notes · View notes

bilgisticallykosher · 4 years

Text

Selfishness vs. Selfishness Redux

Pre-episode thoughts. I don't think they're going to address the dark side Everybody-already-knew-that thing right away. I'm still thinking Deceit's gonna be Virgil, but I'm also not so certain that's going to wind up going down. Because there's a lot of other stuff to get into. We know from the first Asides that stuff between Virgil and Patton is growing, and simmering. It's coming, and while that's in the future, there's probably going to be more build-up here. Is it that Patton knew about Virgil's past? Is it something else entirely? This is going to be a two hour episode, geez.

Also, I can't believe he's actually going to the wedding. Idk. All those people saying he got the date wrong, though? First of all, Logan is in charge of the schedule, he'd never let that happen, how dare? And also, I always double check dates and invitations for stuff. I really doubt Virgil wouldn't have looked at the invitation and checked the information again. Watch me be totally wrong now.

I don't know who I think the cloaked figure is. Could be Deceit ("like a freaking Scooby Doo villain"), could be Thomas himself. Probably not Organization XIII, but I'm not completely eliminating the option, let me have this.

Things I'd like, but am 99% certain won't happen; Deceit's name (which I'm both hoping and expecting to not start with D), a new side, Remus and Deceit interacting on camera, or really Remus at all. Except for that green score of BOOBS, I maintain that's Remus's contribution.

ALRIGHT, LET'S GO, I'M NOT READY!!!!

First impression of the thumbnail. You vs. Yourself???? Oh my gosh. Ohhhh, I'm freaking out. Patton looks so apprehensive, and I don't know if that's on general, or because of Roman or in response to Roman, because Roman looks so annoyed at Patton! He's so angry oh my gosh. I mentioned I wasn't ready, right? Okay. Okay. So their sprites are different styles, which is cool. Patton's looks risk-based stroll around town type of RPG, Roman's looks fighting style.

The options for the character select???? Oh my gosh, that's. Hi, Remus. Anyway, uh, I don't know what this means, but there's three character options on top and- DARK SIDES ARE SEPARATE FROM LIGHT SIDES! Oh gosh, I was thinking maybe it was something to do with specifically Logan. Ooh, Deceit's in his lawyer outfit, nice touch. THERE'S AN EXTRA BLANK PLAYER OPTION. I don't know if that means he'll be revealed this episode, or just that he exists. I mean, we just had Deceit's logo, Remus's reveal and name reveal… here goes.

IT STARTS WITH THE VIDEO GAME??? THIS IS THE INTRO????? THE WEDDING??????!!!!!!! Oh hey word crush. Oh hey, it's the couple! Starting to think this is a dream or fantasy, btw. Also, Lee and Mary Lee sound like...Esteban and Valerie? Maybe? Idk. Omg, Life is pain.

This is awkward, beautiful. Pfft, hence the marriage. Photographer is great, no idea who he or the emcee are. Ooh. Crushed.

INTRO??? EXCUSE ME??? Oh was SvS originally on 3/31? Yeah, good, play a review like all of us haven't been obsessing over what happened last time. "APRIL 13" I'm just going thi pause forever now. Oh this is going to be the angry walk in that was previewed in the bloopers, I can tell. Oh no. OH NO! And it is at night and he seriously freaking actually went to the wedding????

Oh my gosh he's so angry. Ohhh, Patton rethinking his phrasing, nice. You should never→I'm surprised that you etc. Oh Roman! Oh, maybe we should… not review. Oh boy.

Oh there's Patton's avatar. In then guitar hero thing. Oh, Thomas is associated with the color white, confirmed??? I like how they did the notes there. So much detail. The talk sprites are great, but the expressions on the dancing sprites are worth paying attention to. Okay, Patton's still very, um, defensive, I guess is the word? Thomas is angry and bereft and confused and full of doubt, and Roman's heavily on the confused side (ha) about him aligning with Deceit. This is why he stole his hat. Great animation work, everyone, that was fantastic, artists!

"Why didn't I just talk to them before the wedding?" THOMAS. Also, because Deceit specifically prevented Logan from being too close to the courtroom scene by benching him and not asking him what his idea of a compromise was. "I brought that up," well, you did, but Deceit kinda made it seem like you were suggesting lying to them, so you got shut down. Sorry, Ro. Listen, I love Deceit, but the boy's a manipulator.

We learn to predict the future!!! Roman, no. Woah, Patton's just being completely dismissive. I mean he's been through some hard times the last few episodes, minus LNTAO, but damn. Oh. Roman's very much defending Patton. This forebodes very badly. This is going to explode terribly. Oh no.

Okay, so, the thing with the feral cats. Is Roman okay? Did someone do this to him? More importantly, did he do this to me? Also, on a serious note, I'm super shocked Deceit hasn't come in yet, because he (and Thomas, and arguably Patton) is obviously regretting going to the wedding. I mean, Virgil's not coming in right away because of the reveal at the end of DWIT, but- hey where's Logan?! Logan and Deceit should both totally be here! *gasp* Except in the one on one episodes (Heart vs. Mind, My Negative Thinking, Logince; the argument) it's always primarily been the two sides that are featured with the others either not there or off-screen or making small cameos. But Deceit was and is an important part of this decision past, present, and going forward!

Oooh, I like the Lee and Mary Lee backstory. Hm. Patton does bring good points, but. I still agree with- oh, Thomas just solidly saying no made me snort. Okay, so speaking of the coin bleeping, why the video games? I know there's more to come with it, how do they come into play? Oh okay metaphor.

That was clearly not the good ending, Roman. Bringing up Is Thomas A Good Person again. OOH xylophone, is he a-comin'? Oh he's directly blaming Patton. Wow, Roman.

A BAGEL?! Oh, game sssssssstore. Really? Frogger, Pat? 16 graphics. Oh there's the hotdogs. OH and there's the cloaked guy! Smashing our theories. That does not seem like Sondheim.

The puns, oh my gosh, brilliant. Getting to the meat of them here. Gosh these graphics are fantastic. 6AM dull.

Oh. Hm. Technically, he does not have to give him the 'dog. The building tension is fascinating.

HI, LOGAN! Patton looking real uncomfortable at "regret." I mean, they all know they regret it now, right? Roman making fun of behoove, that's so funny, I have no idea why. Seriously, whoever's doing the art, I'm dying at Logan's expressions. Woah good thing viewers have the pause button. I'm all for not buying X-mas decorations. I'm doing my part, goyim.

I'm counting "it's not like Kingdom Hearts" in lieu of that having been Organization XIII. Oh boy, Patton. Right thing vs. Feeling good vs. Feeling good about doing the right thing. This is falling apart. Patton's noise.

BOOBS omg Deceit is Bowser. I love that painting in the background! Scutes! Time went from limited to being lost to poorly spent to wasted! I'm standing by the purple being Virgil. Fyi, in Judaism, doing a good thing for the wrong reasons doesn't matter, because you're still doing the good thing, even if it's just for the reward. There's a thing about it with Avraham and a King.

Roman's getting close to breaking. Reptilian rapscallian guy. And who's to say he can't be doing it for the reward and to help people?

"... an individual's happiness and the amount of selfless acts…" that should be number, not amount, Logan! Can't judge good deeds only by how good you feel when you do them.

Okay, here we go. How do we know what's Right? Killing and stealing is illegal everywhere, yes, Thomas, what are you doing, Thomas???

Oh my gosh, not the trolley problem. They're referring to Deceit as Denial and Roman as Passion! Oh gosh, that looks like Joan, Talyn, Dot, Valerie, and Terrence, and Leo by himself, maybe? Oh geez, I jolted. Logan index carding for trolley problem.

Unus Annus is right, the trolley problem is stupid. Oh my gosh, Logan's giant wall of text physically pushing Patton back, I spit all over my screen. Skip All.

Roman's… blaming himself? Oh!!! Are we getting Roman's insecure arc???!!! This is a complex issue, and Patton's having a hard time backing down, and everyone's feeling bad.

Scared?! I hear music! NO. Why is he scared, oh my gosh?????? That's not a tired metaphor. Oh! I've heard of hypoxia! It was hypothesized (and disproven) to be the reason for a specific Bermuda Triangle incident.

Good point, Logan. Regarding theory and in the moment instincts. Remus mention with intrusive thoughts! Shocked that Logan is arguing for leisure time. Logan's self satisfied smirk at the self-sacrifice. GLITCHY! Oh he's a frog. Lilypadton.

Oh my gosh I'm getting so stressed. Yes, thank you, Logan for the scream. I… don't. The conscientious comment. No, it's not. This seems… Deceit-y. IT IS! SHARP SIDE OH MY GOSH! Oh, he didn't rise up, he popped out in the freaking dialogue box, NO, FRICK IT WAS RIGHT THERE! And the Nietzsche and the specific examples that he used!!! I'm so angry! I DIDN'T THINK HE'D TAKE LOGAN'S PLACE AGAIN! I MISSED THE SIGNS!

Hey guys, look, it's Deceit. Bull… frog. Lord of the lies. Oh! 8-bit Deceit theme. Okay, the first thing Deceit said about him not doing it on purpose was nice, but yeah, those words striking him is accurate. Yeesh, harsh.

Is Patton eating his own words? Oh, uh, is anyone going to acknowledge he hit Thomas? Is that telling of the situation instead of just being a funny background event?

The crick in Thomas's neck is so funny. SNAKES ON THE PLANE!!! ...Hm. Happy that he brought that up. Oh my gosh, Deceit's spluttering, he's like so bad at things sometimes, I love it.

Logan! No, don’t do that, everybody appreciates you! Double curse? Pffffft, Logan. Deceit…definitely smiling at Logan's logic. Deceit is interesting here. Oh wow, yikes. He's really fascinating here. Legitimately complimentary? Oh, no, kind of not, maybe. Roman looks distressed.

"...Trees?" Roman's super pumped up. Good for him! Ha, his imitation. Deceit looking confused? Patton looking all sorts of things, I really think that Deceit is being genuine here- NAME?! I'D THIS HAPPENING? Why is he stripping? His, no, what does his glove have to do with his name?

………. Janice? Did he say Jenus or Janice. It sounded like Janice. Deceit. No. Oh, burn, Roman. Damn, he almost got me. His name is not Janice. No. It's not. Don't even. Deceit was being so straight(ha)forward for the past couple of minutes. Awww, Roman. Insecurity addressing time? Wait, why is Deceit nodding at the hero thing? His lip is trembling, his voice is cracking and oh no! Roman just sank out.

Don't call him Janice, that's not his name. Oh he's being genuine again. Patton's talking about himself. WAIT WHAT. He had a five second cameo, omg.

Yeah, those are the easier questions. No, Deceit, bad Deceit. Man, his facial expressions in this episode. Fractionally fiendish fibber. Oh, I like the reasons for Deceit being a part of him! That's… cute? Oddly cute, maybe. So, freaking how far in the future is the Asides?

Stop calling him Janice, that's not his name. Oh, Deceit and Thomas bonding. That snort, oh my gosh. Oh, serious Deceit again! That reaction to "you're right" is oddly similar to that fake laugh at the end of Embarrassing Phases.

………. Virgil's not here yet. His reveal isn't being addressed. Accepting Deceit. That's why he's so pissed at Patton in Asides. The next episode proper they're going to reveal that Deceit's accepted, more or less, and Patton was a big part of that, hugely changing his mind, that's why he's so pissed at him!!!

April 30th? Oh is this Lee and Mary Lee? I was wrong on the voices. Door-yelling! Hm. I mean. It's nice that they're acknowledging him, but I really don't think that sways the situation one way or another. Cute more background, and Thomas being awkward. They. This could have been instead of the wedding. Kingdom Hearts again!

Oh hi, Patton and Deceit. He seems annoyed at the situation. Patton and Deceit bonding. Hi again, Leslie. Wild.

This video really didn't go at all how I thought it would. Roman was barely miffed at Patton. Oh man, this was intense. I. Oh man. I need to process a lot. But I think we're on the right path, here. Janice is not his name!

Okay, I went on tumblr and two seconds in, I saw Janus, which I looked up and that makes way more sense. Another, more condensed post to follow. And several thousand reblogs.

#roman sanders #ts spoilers #janus sanders #patton sanders #logan sanders #virgil sanders #remus sanders #svs redux #character!thomas #sanders sides #new video reaction

6 notes · View notes

sztypography · 4 years

Text

Interviews

DVC Major: Bridget Hassely

1. What would you have liked to know about the DVC program before coming here?

I would have liked to have known how important process books are. For some reason, it wasn't made clear to me we had to keep our process books for portfolio review. I deconstructed my first two books to reuse the folder. After I found out that we needed them, I had to piece back together what I saved and reprint my files.

2. What would you like to know about the professional design world?

I would like to know just how many pathways there are to take with this degree. There are so many options and hearing people talk about their experience with the pathway they chose is very interesting to me.

3. What is the hardest concept in design to understand?

The hardest concept in design for me is using the grid to the best of its ability. I tend to stick with my trusty columnar grid, but I would like to venture out more and get used to using all the different types that might be better for specific projects.

4. Which Adobe program would you like to learn more about? Why?

I want to learn more about Photoshop. We learned the basics in Art 118, but Photoshop has so many more tools that would probably be beneficial to me that I want to learn and understand how to use them.

5. What is the most helpful design tool in your opinion (such as a type ruler)?

The most helpful design tool, in my opinion, is a sketchbook. Documenting your inspiration, thought process, ideations, and reflections is critical. IT gets it out of your head and onto a physical space where you can come back to and expand off of.

6. What keyboard shortcuts do you always forget?

A keyboard shortcut I somehow always forget is the arrow key (selection tool), which is V. Also, why are the shortcuts different between the Adobe programs?!?!

7. What stores would you have liked to know about Freshman year?

I would have liked to have known about the architecture store and the arts and crafts studio.

8. What are some fun design elements you look for in a handbook?

Some fun design elements I look for in a handbook are interactive bits, jokes, imagery, useful tips, and space to answer questions.

9. What driving factor would make you carry around a DVC handbook?

A driving factor that would make me carry around a DVC handbook would be its usefulness. Having information that I could frequently look back to or something that I have to fill out over time would make it more useful for me.

10. What was the hardest part about taking introduction to DVC courses?

The hardest part about taking introduction to DVC courses for me was adjusting to the time commitment that design is. Design is not mechanical and can take many attempts, variations, and refinements. Procrastination is hard to avoid, but giving yourself enough time to work through the design process will make your work so much better.

DVC Graduate: Kayleigh Kvool

1. What are important aspects to include in a graphic designer resume? Is it true that design employers pay more attention to the look of the resume than the content?

All of your skills. All of your experiences, work experience, and other related experiences done through school. I have an exhibit section where I put my DVC2 and DVC3 showcase. If you look at a job description, make sure you have the skills on the resume that they want. Yes, but not totally. It should be very clean. Lots of simplification. You want it to be simple. A lot of resumes go through scanners, and you want it to be legible.

2. Do you have trouble looking for a graphic design job?

I wouldn’t say it is hard. It’s competitive. Put yourself out there and take chances.

3. Do you think the UWM DVC program prepared you well?

Yes. The improvements I have seen in the program has only made it more preparatory for designers. I love the Dream Lab. Professional Practices with Amy was the most preparatory thing ever. I took that class my last semester before graduating.

4. What was your favorite DVC class? Why?

DVC 3 was my favorite. I really thought it was valuable to work in a group. The manifesto was fun. It was the most work, but the work you make in that class you are the most proud of.

5. Which teacher helped you the most in gaining design knowledge?

Robert Grame. He gave me a lot of one-on-one feedback. He kept my ideas focused and doable. I do think it is important to have a mix of people.

6. What places would you recommend for internships?

Union Marketing was basically it. I also got six credits doing it.

7. Do you do freelance work often?

I am open to it. I am still trying to figure out what is an appropriate amount to charge. Everyone tells me to not undersell myself. If I would do freelance for a company, I would charge $40 an hour. The minimum is $20 an hour. If I was still a student, I would charge $15 or $20. Now that I am graduated, I would charge $40 or $45.

8. What is your favorite part about being a graphic designer?

I think that my favorite part is that I get to be creative and make my impact by representing communities. People have a negative outlook on advertising. It is nice to try and make a positive contribution.

9. If you could choose what job you could have right now, what would it be?

It would definitely be with Z2 Marketing as a Design Director. It only requires two years of experience. I am very qualified for it. An art direction position right out of college would be very stellar.

Design Professional or Entrepreneur: Mary Adamczak

1. What is an average day in the office like?

It’s different every day! Each day I have my list of projects to tackle. My time is dictated by the client’s deadline. The hottest project gets my attention first. I also will get interrupted to review other projects that are in the works to discuss with our creative director and other designers. I do have to say my colleague brings his dog to work most mornings which is fun. The dog runs around the office to greet everyone. She also will bounce balloons, like she’s some star volleyball player. The rest of the day she doesn’t make a peep in her kennel, until she leaves for the day. Then we get greeted one more time before going home.

2. Which method do you use most when working with your clients, email or in person conversations?

I would say it’s mostly email. I typically do not present a lot of creative here, but I do attend meetings and will be involved in the discussions of the projects with clients.

3. How long does the average project take?

Hmm, that’s a hard one. I’ve spent hours on jobs and under an hour on jobs. One rough logo exploration could take a couple days - but exploring variations is what takes more time. A 12-page brochure could take 3 -4 days or so for the design only (with copy supplied) A small website (design only), not programming could take 3-4 days (with copy supplied) And this is without interruptions!

4. How would you describe your role as a graphic designer?

I’m a creative / a designer, sometimes a creative director, a project coordinator, print coordinator and sometimes a project manager. So, I wear many hats.

5. Which clients do you work with the most?

We mostly have corporate and tourism clients at the moment. Some projects are ongoing but, some are on a project by project basis. We also have done some specialty hard cover book projects for specialty events and sports teams which is challenging but rewarding in the end!

6. What is the biggest project you ever had?

A corporation that made an acquisition and they needed to send out a bunch of collateral out in 13 different languages. This included a Corporate Folder which housed a letter from the CEO, A Code to Ethics brochure and a corporate brochure. This was a lot of coordination! We had to work with the printer to have it all shipped out to the different countries. Also, working on specialty hard cover books. These are big projects that can take up to a year to concept, design, get approved and printed.

7. What made you want to go into graphic design?

I’m a creative person and wanted to do get paid for something I love to do.

8. Where did you study? How did your education prepare you for your current career?

I received my Bachelor’s Degree from MIAD (Milwaukee Institute of Art + Design). I had 2 really good graphic design teachers who saw my work ethic and worked with me to show me what really good, high level design should look like.

9. What is the biggest lesson you have learned as a graphic designer?

I’m not sure there’s a lesson I’ve learned. I do know that design is subjective but, it takes a good eye and an openness to exploration to see good design. Never assume your design is good, just because your hands are creating it. Always step back and see how you can make it better and more successful. And be open to constructive criticism from your peers - it will make you a better designer.

10. Where do you get your inspiration from?

Other good design. I really enjoy looking at Commarts.com (Communication Arts Magazine).

11. How many sketchbooks do you have, completed and currently in use?

I go through a lot of notebooks, not just for sketching, but for making my daily lists, jotting down thoughts, ideas and sketching out home related things that I want to figure out. I’ve sketched out how I want our outdoor Christmas lights to look, our kitchen configuration, and some of our garden beds. You can use creativity in so many ways!

12. What is your favorite Adobe program? Why?

Hmm. I think I like InDesign the most because I use it the majority of the time. But, Illustrator is a close second, as I love designing logos in this program.

13. What was something unexpected you learned when starting out?

How quickly projects are needed - tight deadlines.

14. What types of projects do you enjoy working on the most?

The ones that have extra time! And the ones that have more creative opportunities. Projects that are more open-ended, not defined. That gives me more creative freedom.

15. What is your favorite part about being a graphic designer?

Being creative and being able to design. I love taking a blank page and designing something that is creative, unique and relevant.

1 note · View note

kalebuchanan · 5 years

Text

Studio V: Koha - Reflection on Action

I realise the importance this semester of showing the documentation of my project, Koha and the de-emphasis of the open studio artifact. For ease of access for the tutors as well myself and others interested in re visiting Koha in the future I thought it was best to re structure my individual documentation and my individual reflection into a blog post. What I have written below is mainly a reflection on my blog posts which I wrote throughout the semester, and I encourage you to read all of the linked post as well as this reflection to gain a full picture of my journey throughout Studio V.

Week 1:

Week 1 Blog Post: Studio V - Initial Ideas

https://kalebuchanan.tumblr.com/post/183201418611/studio-v-initial-ideas

In the first week of studio I didn’t begin working on Koha. I had thought of the idea in 2018 and originally planned on working on it for Studio IV. However, I went overseas on an exchange and never completed Studio IV so the idea was shelved.

I knew that if I worked on Koha it would have to be by myself and after not having been in BCT since mid 2018 I thought it was safest to work with a group. After some talking to different people around studio I found I was interested in the studio idea that Sam Vea had. The first iteration of his idea was to create an app where potential tenants can rate landlords to help others find a house to rent which will be warm, safe and well maintained. At the time I said -

“I’m interested in developing this idea further as such a service does not currently exist in New Zealand and I would want to use something like this myself.

This is mainly because in the first half of last year before I disappeared to Europe I was living in a flat which was not kept in good condition and hadn’t been inspected by the landlord for years, or even the property manager who was meant to oversee it. As a result there were vines growing through the windows, it was moldy damp and my bedroom had water come in every time it rained. Rats lived in the cupboards and I was constantly sick whilst I lived there. The house was bad, but with care from the landlord it could have and would have been a nice place to live”.

I connected to the idea personally and I thought that I could both have a good contribution to the idea and push myself to become closer to employment at the end of BCT.

Week 2:

Week 2 Blog Post: Team Dynamics

https://kalebuchanan.tumblr.com/post/183254798456/team-dynamics

In the second week of studio I had formed a team with Hiren Patel, Sam Vea, Stephen Solis and Osamu Tajima. We’d created a base concept for the idea that Sam had thought of and it was named Slum Lords (now Renters).

The service was for prospective tenants to use to see if the landlord or property manager in charge of their prospective house creates a positive environment and does a good service for them in their time there.

At the time I said -

“Our idea is promising and I hope we can expand on it further throughout the semester. I believe the group dynamic will work quite well as this semester I’ve expanded outside of my core group of friends to work with people based on their skill set. I hope that throughout the year I can think on a more professional level to ready myself for the workplace at the end of the year”.

I knew it was important to expand from the same group of people I had always worked with in BCT, despite these people having great skill sets. I knew there was many different skills throughout BCT and choosing a group outside of my friend group was a great decision professionally to improve my skills of working within a group. I explained this as well as how we would all contribute to the project throughout the semester in this blog post and at the time I thought it would be a great project to work on.

Whilst I was dedicating my time to helping with this project, I knew Koha was still in the back of my mind. While I could contribute to the group, all of the necessary skills within the group to complete this project were already there and I knew there was a potential of me riding in the project. I had set plans in place to ensure I would add my share of value to Slum Lords, but at the same time I was re gaining my confidence to perform in BCT as well as I had done in the past and realized my semester away had not set me back as much as I had thought.

Week 3:

Week 3 Blog Post: Team Dynamics

https://kalebuchanan.tumblr.com/post/183553882556/the-new-project

After heavy consideration in the first two weeks of Studio I knew that I needed to either commit to Slum Lords, or I needed to commit to building off my 2018 which I would soon re name from ‘Supply’ to Koha. In the end of this week was the week three pitch to Laurent and Donna and I knew to prove that I would be able to complete the project and to show it to them and my peers it was important to have decided by that day. I quickly created this logo and announced to my group that I would leaving to pursue my own project.

In hindsight, now that I have seen how successfully Renters was implemented without me, and how successful my exploration of developing Koha has gone this semester I am very glad that I chose to work on this project.

In semester 1 of 2018 in the BCT Entrepreneurship & Innovation class I came up with a concept of an idea I called ‘Supply’. Supply was a “platform connecting, travelers, adventurers and their gear.” From the people I pitched this to in 2018 it was generally well received. As this idea began to further shape and iterate it became Koha.

Week 4:

Week 4 Blog Post: What is Koha?

https://kalebuchanan.tumblr.com/post/183554263261/what-is-koha

After the week four pitch I listed what I wanted to achieve with Koha, and explained a basic concept of the app. In this post I listed what I wanted to achieve for the semester -

“Right now I sit in the Initial Concept stage but I’m quickly moving into the Research stage which I then need to be into the Refined Concept and Market Research which then needs to evolve into the Design Prototyping phase.

My goal for the end of the semester is to have the UI/UX design completed, have the final concept completed and have the platform in suitable condition to be developed and launched. Ultimately, I want to do this with the goal of launching the platform creating an active user base. If I can do this, I can make life for backpackers easier in New Zealand, and keep the Earth somewhat less polluted”.

Looking back over the semester I did refine the concept through research, after which I conducted market research. I did this through looking for graphic design inspiration, conducting a comparative analysis to similar apps in the existing market as well as drawing data from my past market research done in 2018.

As shown in my open studio display I also had a completed UI and showed that to the public to receive further feedback on the idea.

Week 5:

Week 5 Blog Post: An in depth look into Koha’s original concept

https://kalebuchanan.tumblr.com/post/183576073946/an-in-depth-look-into-kohas-original-concept

To refine Koha’s concept it was important for me to document and properly reflect on Koha original concept from 2018. In this time it started out as Re-Supply, then evolved to Supply, then evolved to Koha. I wanted to give the service a name which reflected it’s New Zealand roots, and also showed its social side of having the foundation of encouraging people to donate for the good of the environment and not only purely for making money.

That is how I came to the name ‘Koha’ meaning to gift or donate in Te Reo.

To see Koha explained in the form of a business plan, please see the link above for the concept blog post.

Week 6:

Week 6 Blog Post: Decent: X Challenge Results

https://kalebuchanan.tumblr.com/post/184546972891/decent-x-challenge-results

I spent much of the time between the fifth week, and the days leading up the mid semester break finalizing the entry for Koha into the first stage of the X Challenge - the idea.

The X Challenge team said -

Your idea ‘Koha’ has been chosen as one of the top 40 ideas and won $250!

We were blown away by the number and quality of entries and had a really hard time picking our winners so a big congratulations for making the cut.

Now that I have spent the semester exploring Koha, I’ve decided that I don’t want to continue working on it (explained later) but back in week six I said -

“If I was to take Koha forward it would be essential to spend Studio VI building it as well as taking it through the next stage of the X Challenge. To bulid it I would make a studio team, but I have not decided on this yet.”

I knew from earlier I would have to dedicate the rest of BCT studio to Koha if I wanted it to materialize, but now I have decided it is best to focus on a new idea for Studio VI.

Week 7:

Week 7 Blog Post: Koha - Market Research

https://kalebuchanan.tumblr.com/post/184677972381/koha-market-research

After the formative assessment where I was asked what research i’d done I realized there was room for a lot more. After receiving that feedback I did further research and explored effective ways to do so.

After my research I’ve come to realise that market research is crucial for the success of Koha and apps and websites in general. I took some advice from an article by (de Vries, 2017) which I have expanded on further in my original post.

One of the recommendations I gained from my research was to look into existing data on the internet rather than trying to make my own. To gain credible data I would have to have much more than the simple be convenience sampling available to me. I would have to use a reasonable statistical method, which would have taken either a lot of time, or a lot of money both of which I didn’t have and wouldn’t have been the best to develop Koha.

Week 8:

Week 8 Blog Post: Koha - Comparative Analysis

https://kalebuchanan.tumblr.com/post/185560708321/koha-comparative-analysis

After initial market research I began to look into how I wanted to prototype Koha. After considering multiple directions I could take I decided that using Adobe XD would be the simplest way to achieve my goals of showing a working prototype in Open Studio.

Once I began to prototype, my research stage and my prototyping stage began to merge as I changed between the two, with my research building my prototype and concreting the idea that Koha could make a difference, and succeed as a service.

Comparative Analysis:

For an explanation of the analysis, please see the link above.

Weeks 9 - 11:

Week 9 - 11 Blog Posts - Post 1: Creating Koha for Open Studio

https://kalebuchanan.tumblr.com/post/185561129031/creating-koha-for-open-studio

Post 2: Koha UI Inspiration

https://kalebuchanan.tumblr.com/post/185561303916/koha-ui-inspiration

Post 3: Koha Inspiration from existing apps

https://kalebuchanan.tumblr.com/post/185561584396/koha-inspiration-from-existing-apps

Between the weeks 9 - 12 I didn’t have a lack of documentation, however it was easiest to combine all of these weeks into one summary as I spent the entire time prototyping, and researching to prototype. Koha was my first time creating the User Interface of an app and crafting the User Experience. I began to create Koha in Adobe XD so I could focus my learning on crafting the design rather than running into coding issues.

Once it was completed in XD it was fully intractable in XD, but the button mechanics were not reliable enough to showcase it through mobile in Open Studio. I’m glad I chose to show it in video format as this created a professional display, whilst also showing that my project was still in progress. At the time I said -

“Because of this my current plan is display the app in the form of a screen recording, on a large screen with a simple display which reflects the simplicity of the Apple interface”.

I created Koha to fit with iOS so I tried to make it fit the Apple aesthetic as much as possible. Even though I’ve decided to put Koha to rest for now, I would also design an Android port and a desktop and mobile website if I was going to launch it.

As well as taking inspiration from iOS and trying to use its common design features I also built from apps which are similar to Koha. I built its marketplace from my favorite features of Trademe and Facebook Marketplace and built the rental marketplace with a similar feel whilst integrating the best features of AirBnB and Hostelworld.

I found that whilst it is incredibly important in design to stay original and not copy others ideas, it is often hard to keep that balance with staying within trends and guidelines to give users a familiar experience. I wanted to make Koha as user friendly as possible. This way users wouldn’t have to learn the way I’d re-invented the wheel as a designer and instead get a smooth experience with Koha.

Week 12:

Week 12 Blog Post: Koha - What not to do

https://kalebuchanan.tumblr.com/post/185561790691/koha-what-not-to-do

As open studio grew closer and the XD prototype was completed, I needed to create my display for open studio and decide the best way to show Koha. I found the best way was going to be to show a video as I had considered earlier.

The video is purposely made silent, as it is made to succeed in a loud studio environment where the sounds of many other projects and stacks of people talking will be using the audio space.

Laurent showed me an example of a bad video, and I knew what to shy away from and felt I knew a good design to follow, by trying to keep the same aesthetic I had used throughout Koha. My studio outcome video is linked below and to see the bad example please see the linked blog post above.

youtube

Week 13:

Week 13 Blog Post: Koha - Open Studio & Feedback

https://kalebuchanan.tumblr.com/post/185562539076/koha-open-studio-feedback

In Open Studio I kept the display as simple as possible and created a space where it was easy to hold conversation with people interested in Koha. I did this by creating the display shown above, and looking back I see it as successful.

At the time I said -

“The video I showed totaled to about 4 and a half minutes, and I had it playing on a loop. What I had not thought about at the time and wish I had implemented was actually a way to set the video back to the start! All throughout the night I had interested people approaching the installation and I had no way to go to the start of the app to show it to them”.

This meant I either had to explain to them the video was going to end soon and wait, or simply start explaining what was happening part way through which often left people confused. This took some level of professionalism away from my display but I was still able to share the idea of Koha with people and gain constructive feedback.

My summarized opinion of Open Studio and with Koha is that Koha is a good idea. Koha is grounded, innovative, unique and has potential to grow into an application which can prevent tonnes of rubbish from going into the landfill.

If I continue Koha, I know that I will spend hundreds, probably thousands of hours working on an app that may only get 10 downloads in the app store. If it does succeed, I know my hours will be fruitful to well below minimum wage.

Finally I will say, it has been great to explore Koha as an idea throughout the idea and bring it where it is today, it has taught me a lot and the skills I have applied this semester will help me throughout time. However, for now it’s time to lay Koha to rest and change direction in studio.

Week 14:

Week 14 Blog Post: AUT X Challenge - Stage 2 The Accelerator

https://kalebuchanan.tumblr.com/post/185562781566/aut-x-challenge-stage-2-the-accelerator

After Open Studio I began to reflect on my journey for the semester and made the decision to not continue developing Koha. I have a passion for making physical things in BCT and since I don’t have a particular direction of where I want to be after graduating I feel the most intelligent thing to do is do what I’m passionate about and enjoy as that often leads to positive things.

Last week I said - “I have had high encouragement from the X challenge staff to continue Koha to the second stage of the X-Challenge. I know that this potentially reaps the great reward of $20,000 to put toward the service, as well as learning opportunities unparalleled to those in a classroom. However, if I was to continue Koha I would have to put in many, many unpaid hours for the chance at $20,000. I know that being an entrepreneur is a hard road, but I don’t see profitability out of Koha in the long run which is why I am leaving the idea behind”.

I’m very happy to have chosen Koha as a project this semester and bring it where it is now. However, I’m also glad that I know it is time to move on and know that I’m closer to the idea that will bring me success.

#ctec708

3 notes · View notes

deliciousstreetkidcroissant · 6 years

Text

The Cure (Chapter 1)

Author Notes: This is my first fanfic (Yay) so hopefully you all will enjoy the series. I got inspiration from listening to Lady Gaga “The Cure” and from my personal experience from dealing with anxiety. I always wanted to start writing as a hobby so if I followed, reposted, or like your any of your post, please know that you all gave me the confidence to go ahead and go for it. Thank you all and feedback is appreciated.

Word Count: 1,700+

Warning: None (tiny amount of cussing)

Next Chapter: (2)(3)(4)(5)(6)

“If I can't find the cure, I'll fix you with my love

No matter what you know, I'll fix you with my love

And if you say you're okay, I'm gonna heal you anyway

Promise I'll always be there

Promise I'll be the cure”

My eyes open once again at night….. it’s 2:15 am…. and like always, I can’t go back to sleep. My mind drifts…my heart worries… why this is the story of my life. Since I cannot go back to sleep, I get up from my comfy bed and go to the bathroom. I wash my hands so that the soap will dry my sweaty palms and I stared at the mirror. Repeatedly, I propose to myself, “Why is this the story of my life?” I have not discovered the answer for myself yet but in the meantime, I went into various techniques to help myself relax. I wander back to my bedroom to put on my oil diffuser and the essence of lavender has already placed me in a better frame of mind. I grabbed my iPhone and play my R&B playlist from Spotify as I grabbed clothes from my closet. I changed out of my PJ’s and just put on sweats since I wished to be comfortable. I lifted my bonnet off my head and studied the mirror further just to make sure I looked okay before I took off my bedroom:

As I rested on my couch in my living room, I put on my shoes and grab my phone to text my sister, Jade, to let her know I was leaving out for coffee. Even though my favorite coffee shop was within walking distance, she despised the fact I would go in the middle of the night. So keeping her rational, I would text her to let her know when I was going and when I came back home. I snatch my backpack with my laptop and my sketchbook and headed out the door delivering my message:

*****************************************************************************************************It was a breezy, chilly night as I arrived at Ajani’s Coffee House. Ajani’s became my second home for many sleepless nights and one of the few shops that were accessible 24 hours. I loved supporting them since it was a black-owned coffee shop and the owners were extremely nice:

“What’s up Galen, you couldn’t sleep tonight?” Rod inquired as I came in the door.

“Same old story”, I replied smirking as I headed to my regular table at the rear near the massive window.

“Well, I realize you should notice this but coffee does the opposite effect of what you are seeking to achieve.” He retorted.

With a satirical manner, I replied, "Well I learn something new today,” and suddenly giggle.

Rod rolled his eyes and answered “Pretty funny….I suppose you are a comic tonight…. Do you prefer the usual Miss Mo’Nique?”

Rodney was the son of the owners that owned the shop and he would work late nights. He was certainly nice and amusing but also deeply observant. He learned about my weaknesses and would do anything that would encourage me or make me happy (by just chatting or coffee on the house). I ordered my usual medium latte and set up shop on the table with my laptop.

I reveled in being a freelance graphic designer since it created opportunities for engaging with individuals or brands and contributing to people's innovative views with my design. I also appreciated I could work from anywhere and not held in an office all day. I loved doing my work at this shop; it brought me a rare tranquility and calmness. As I logged on my computer, I worked on some of my projects.

Rod served me my latte and checked on me to see if I was okay before proceeding with his other job duties. There were few people that show up during this time of night and if so, it was just bodies escaping the club and seeking to cure their hangovers.

As I had my head wrapped in my laptop with my drawing tablet, I overheard someone enters through the front door which I did not bother to study as I figured it was someone from the club. When I got a brief glimpse, it was a towering, mysterious, athletic built guy studying the menu on the wall. He had on a black hoodie which concealed his face from the side view, and he had on dark jeans that fit him so nicely. When he ordered, he pulled off the hood from his face and I could see him. He was extremely handsome which caused me to forget my project and gawk, starting from his feet and running my eyes back up his torso. When I connected back to his face, my body went into shock when our eyes met and he caught me staring at him. Terror set in and I dart down back to my computer. I gave another swift glance, and he was smiling at me but I looked down again. My heart was dashing, my palms sweat, and I started breathing rapidly.

“Get yourself together Galen” I repeated to myself and worked again but could not help speculating where I meet him before. He looked so familiar…

Then I saw Rod behind the counter say “Oh Shiiii… Snap I can’t believe this… Man, hold up” boisterous and enthusiastic which forced me to look over at him again.

He rushed from behind the counter and hugged him. I have never observed Rod so cheerful and he begged the guy if he could take a picture so he can hang it on the wall.

“My parents would be so honored to have you as their first celebrity to visit their establishment.”

He acknowledged that it would not be an issue and asked where he wanted to take his picture.

From their conversation, it struck me where I saw him before and it was not in person as I thought, it was on the big screen…. it was Mr. Chadwick Boseman himself.

“What about in front of our counter with our logo showing?” Rod proposed and suddenly ran up and asked if I could take a picture.

Just as I was about the answer no, Rod grabs my hand and dragged me in front of the store and handed me his phone so I can take the picture. As Rod was coming up with various poses, I caught Chadwick watching at me as I was doing to him a moment ago and I felt uncomfortable.

“Damn it, why did I wear these sweats? I should have put on a little makeup. Do I look raggedy?” I reflected myself and I despise when self-doubt invaded my mind.

Rod snapped me out of it when he did the notorious jailhouse pose next to Chadwick inquiring if this was okay.

“Boy….stand up and take a picture like a grown ass man,” I answered chuckling at Rod and they all laugh as Rod stood up.

Once they stood by each other, I instructed them to hold their pose and took the picture. I handed over the phone back to Rod and asked him if he liked it and he did. He showed Chadwick the picture, and he was satisfied with it.

“Thanks again man and you don’t realize what this means for me…. I mean the Black Panther is at Ajani’s,” Rod proclaimed.

“It was no trouble and I’m glad I came by to try you guys out…. I am always working to support any black business so thank you for your assistance,".

As I was feeling awkward, I spun around and stroll back to my table when I felt him grasp my hand and say “Hey”. I turned around and Chadwick was standing right in front of me, smiling.

“I didn’t have a chance to introduce myself and catch your name. I’m Chadwick,” he announced as he was shaking my hand.

I was in a daze as I felt my heart pounding in my chest as I felt like running off and hiding.

“It’s nice to meet you but do you have a name?” he adds still smiling even deeper and still gripping my hand.

“It’s Galen…. Galen Brooks” I let out and pulled my hand away… not because I wanted him to stop but because it was shaking so hard.

“Lovely name and thank you for taking our picture,"

“No problem,"

Chadwick grinned again and then turned and stepped to the counter to pay.

“Put your wallet away….you good here man. It’s on the house… and Galen, I suppose yours is free also since you were my photographer today,” Rod replies laughing.

I winked at Rod to show I appreciate him.

“It was nice meeting you all and have a great night” as Chadwick left a nice tip in the tipping jar. As I remained there in that awkward stance again, Chadwick looked me in my eyes, smiled and said,

“I hope to see you again beautiful," and strolled out the front door.

I stayed there for a minute struggling to interpret what he announced when Rod again tore me from my train of thought with “Damn, the thirst is really real”.

“Shut up Rodney”, I responded laughing as I traveled back to my project. As I sat down at the table, I looked out the window and spotted Chadwick getting in his Lexus, which he parked right in front of the window. As he started the car, he looked up and caught me staring at him again but for this moment, I did not look away. He smiled which was exquisite and I felt my body began to heat up. Without realizing it, I bit down on my bottom lip, which he acknowledged with him licking his lips. When I recognized what was going on, I looked elsewhere feeling embarrassed. When I glance back at him, he smiled again and winked before he backed up his car and drove off.

I sat back in my chair drawing deep breaths to calm myself. I am not for certain what I went through tonight…..but for what it seems in forever, I love it.

“I'll fix you with my love”

To Be Continued……….

Taglist: None

Model: DJ Niara Sterling

Thank you and please like or reblog if you enjoyed it 😘...if you want to be tagged in the next chapter, just let me know 😉

#chadwick boseman fanfic #chadwick boseman fan fiction #chadwick boseman #tchalla udaku #t'challa #black panther #black reader #chadwick boseman smut #chadwick boseman imagine #chadwick #fan fic writing #fan fiction #chadwick boseman fanfiction

37 notes · View notes

vrepitsorrynotsorry · 6 years

Text

Family Game Night

Title: Family Game Night Rating: G Pairing: Gen A/N: This is set directly after Season 5 but doesn’t really comply with Season 6. We decided not to try to make it conform. This is my contribution to @voltrongenminibang, and @clambatch’s art post is here: http://clambatch.tumblr.com/post/175954988597/hey-guys-heres-my-contribution-to. It’s amazing. You should go check it out.

One of the things the group had asked of Keith when he decided to work full-time with the Blade of Marmora was that he check in with them every once in a while. He had just finished telling them about his latest mission and meeting his mother.

Shiro knew that locating his family meant a great deal to Keith, but instead of looking happy, his face on the vid screen seemed haggard.

“It’s been a while since you’ve come by the castle for a visit,” Shiro mentioned. “Maybe you could ask Kolivan to take a few days to relax? You did just finish a mission, after all.”

The other paladins, Allura, and Coran were quick to agree.

“Actually,” Keith admitted, “that sounds great. Kolivan doesn’t seem to be too happy with my performance lately, and this whole thing with my mom is...weird.”

“You just need some time,” Allura assured him. “We’re happy to have you with us.”

After the transmission ended, the group decided to make it a sort of a party. Hunk was in charge of refreshments, of course, but beyond that, the plans began to fall apart fairly quickly.

“What about entertainment?” Lance wanted to know. “I mean, yeah, we’re all going to eat and talk and stuff, but after that? We need some way to unwind.”

“I’d suggest watching a movie,” Pidge remarked, “but first we all have to agree on one, which would probably never happen, and we don’t have any.”

“I’ve got my music player,” Lance offered, “but most of it isn’t exactly dance music...”

“Hey, Allura,” Hunk asked the princess, “what kind of things did you used to do around the castle for fun?”

“Actually,” the princess begrudgingly admitted, “games were generally considered to be things for very young children, and I’m afraid we don’t have any of them here any longer. I spent most of my free time reading about the cultures of our allies and sparring on the training deck.”

“I guess there’s always the Gameflux,” Pidge mentioned with a shrug, “but we only have the game it came with, and that one’s single-player.”

“There was all kinds of Earth junk in the shop we bought it from!” Lance grinned. “I’ll bet there’s some other games for the system there. Looks like it’s time for us all to take another trip to the space mall!”

“And we’ve got money now, too!” Hunk agreed. Lotor had been more than happy to exchange GAC for Coran and Allura’s old Altean currency. It probably wasn’t worth as much as he’d given them, what with 10,000 years of galactic inflation, but he’d been eager to get his hands on a part of Altean culture thought lost to time.

“I don’t think so,” Shiro declared firmly. When the others, especially Lance, looked like he’d just told them all holidays and birthdays were cancelled forever, he amended his statement. “We really don’t want to cause another scene like last time, and we should leave enough people here to respond in case of an emergency.”

“I don’t think the security guard got a very good look at me,” Coran mused, “and you didn’t go along, did you, Shiro?”

“I didn’t go along, either,” Allura chimed. Shiro and Coran both gave her a pointed look and she sighed. “I know, I know, who would create a wormhole if we really need one...”

“I’m sorry, Allura. I’m sure you’ll get a chance to go some other time.” After Allura smiled to show there were no true hard feelings, Shiro turned his focus to Lance and Pidge. “Now, what was the name of the store where you bought the game system?”

“Uh...” Both paladins considered the question for a few moments.

“I don’t remember.” Pidge shrugged.

“It was run by an alien.”

“We’re in outer space, Lance. Everything is run by aliens.”

“Yeah, but this guy was like the Earth alien stereotype. You know, little, green man with big, black eyes and a head shaped like an upside-down teardrop?”

“Oh. Well, I’m sure we’ll find it.”

“Remember,” Pidge cautioned, “we have the Gameflux Two, just in case he has anything for the first system.”

“Also, please don’t get anything lame or educational,” Lance pleaded.

“I do know how to have fun, Lance. Promise.”

As Shiro and Coran headed to the pod bay, Allura went to help Hunk inventory ingredients in the galley, and Lance and Pidge set about moving the Gameflux into the common area with the most comfortable seating.

*****

After a short period of searching, Coran and Shiro located the correct store. “Terra, huh?” Shiro chuckled and shook his head. “They must have been too distracted by the game to look at the name because they should have remembered that.”

“Oh?” Coran asked. “Does it have some special, human meaning?”

“It’s another name for our home planet.”

The shopkeeper approached in a bright purple leisure suit jacket and gold parachute pants. “Can I interest you in the latest Earth fashions?” he asked politely.

“Ooh!” Coran looked their host up and down. “I quite like that jacket. How are you getting the shoulders so pointy?”

“Actually,” Shiro cut in, “what we’re really looking for are game cartridges for the Mercury Gameflux Two system.”

The alien blinked. “Pardon?”

Shiro glanced around and noticed there were still boxes of the game system in the display window and pointed. “I have friends who bought one of those.”

“Ah, yes! They received a Kaltenecker with their purchase.”

“Um, yeah. You may have cartridges that can be used with it. They would be about this size,” Shiro paused to form a rectangle between his thumbs and index fingers, “and they probably come in a small box with pictures on the outside.”

“Let me check in the back.”

While they waited, Coran scanned a rack of jackets similar to the store owner’s but ultimately decided he didn’t like the fit when he tried one on over his uniform. Shiro found some model kits from an old animated series about fighting robot suits. It was the kind of thing he would have loved as a kid, and it was strange to think that he was kind of living it currently.

The owner eventually returned with a storage container full of Gameflux games in their original packaging. Shiro and Coran rifled through it, the former on a mission to find something for multiple players and the latter taking great joy in reading the descriptions on the back of all the boxes aloud.

There was no shortage of fighting games, but given how tense things had been lately, that probably wasn’t the best idea, even though it could be a vicarious means of blowing off steam. Finally, Shiro’s eyes settled on a particularly vivid box and he grinned as he picked it up.

“Master Racer?” Coran asked, reading the name off the back.

“I can remember playing a later version of this one,” Shiro explained. “It’s a pretty fun racing game. There are lots of characters and cars to choose from, and it’s not too hard to learn, if the others haven’t played before.”

“Might you also be interested in any of this?” The shopkeeper presented yet another container full of various items with the Gameflux logo. They happily snagged extra controllers and an adapter to allow four people to play at the same time. Coran insisted on purchasing several other games as well, but Shiro was fairly certain the racing game was going to get the most play time.

*****

When Coran and Shiro arrived back at the castle, Pidge had just finished setting up the game system to display on a large, projected holo-screen.

Allura cocked her head to one side and frowned slightly at the load screen of Killbot Phantasm 1. “These graphics are certainly...unique.”

Pidge wrinkled their nose at the display. “Yeah, this system is pretty low-tech. Earth has much better ones now.”

“It’s not this awful looking on a smaller screen,” Lance defended.

“I think we’ll be happy for the larger image when we play in split-screen,” Shiro added.

“Play what in split-screen?” Lance asked eagerly.

“Yeah, what’d you get?” Pidge wanted to know.

“Wow...” Hunk let out a low whistle when Shiro showed them their brand new copy of Master Racer. “I’ve never seen the first version of the franchise! I wonder how different it is from the ones I’ve played.”

“It’s been years since I’ve played any of them, either,” Shiro admitted, “but I’m sure at least a few of the characters and boosters are the same.”

Allura was now eyeing one of the game controllers. “These controlling options seem rather...limited. How complicated could this game really be?”

“I can see where you might think that.” Lance nodded sagely. “In fact, you don’t even have to use all of the buttons to play a racing game. The trick is in the timing and good reflexes and hand-eye coordination.”

“My reflexes and coordination are excellent,” the princess mused, “yet I still feel I may be at an unfair disadvantage, having never played one of these ‘video games’ before. Might Coran and I play a few practice rounds to acquaint ourselves with the system?”

“Seems fair,” Hunk agreed with a shrug. “I’m pretty sure all the Earthlings have played a racing game before, right?”

Everyone nodded, and Shiro added, “I can vouch for Keith having racing game experience. He prefers a real vehicle, given the choice, but he’s played his fair share.”

Lance switched off the console and swapped the adventure game for Master Racer before poking the power button again. An upbeat if tonally limited song played as an opening animation scrolled across the screen.

Shiro laughed and shook his head. “Wow... I’d forgotten what the music was like! I think I usually muted it and supplied my own.”

“Yeah, that’s going to get old pretty quickly. Especially since it’s about a sixty-second loop,” Hunk pointed out just as the music began to repeat itself.

Coran was bobbing his head to the peppy beat. “I rather like it.” The mice, who had decided to join in the fun, seemed to like it, too.

In the meantime, Lance had made it to the player selection screen.

“I guess there’s only about eight drivers to choose from in this version.” Lance shrugged. “They’ve still got my favorite at least.”

Allura tilted her head to one side as she perused the images of the available drivers.

“My goodness,” she finally remarked, “the chest on this one seems rather unwieldy for her frame and they are very...perky.”

Pidge’s eyes rolled and they let out a disgusted sigh. “Video game physics tend to ignore gravity a lot.”

“My exposure to human females is understandably limited, but is that typical?”

“Well,” Hunk considered, “figures do vary in size, but those are exaggerated.”

Allura frowned. “Why?”

“At the time this game was made,” Lance began to explain but was cut off by Pidge.

“Only at the time this game was made?”

“Fair enough,” Lance admitted. “The target demographic of games like this tends to be guys that want female characters to stare at and not so much for their personalities. If you think this is bad, you should see some of the fighting games.”

“That being said,” Shiro added, “Bella’s not a bad driver choice. She’s fairly balanced skill-wise, so she’s a good choice for a beginning player.”

“I wonder if she’s racing in someone’s memory,” Allura mused, eyeing the bright pink car behind Bella in her equally eye-melting pink jumpsuit.

“Huh?” Lance asked before he remembered the significance of pink to Alteans. “Oh, the pink. On Earth, pink tends to be a color associated with girls.”

“Really?”

“Yeah, and blue is usually considered a boy color. I happen to like blue, but not just because I’m a guy.”

“How odd!” Allura laughed. “Associating colors with gender is something that had never occurred to me.”

“Lucky,” Pidge grumbled. “It’s totally arbitrary, too. When you get older, people don’t care so much, but little kids tend to get either pink or blue shoved in their faces all the time.”

Allura continued scanning the players. “Is there something wrong with that last one’s head?”

“Yeah... That one’s a bear.”

“A what?”

“It’s an animal native to Earth,” Pidge explained. “They look a little like a klanmürl, but they’re arguably less terrifying.”

“Animals on Earth are capable of controlling vehicles?” Coran was intrigued.

“Realistically, no,” Hunk broke the news. “I guess they can be trained to act like they could, but this is another example of video game rules not applying to reality. I love that bear, though. Grizz is my favorite.”

“Dude.” Lance raised a skeptical brow. “Grizz is a heavy! Why would you pick somebody so slow?”

“I like the better control on corners!” Hunk defended his choice. “Grizz is the only character I’ve ever made it all the way through Graveyard Gulch with and not fallen off the road.”

“What is a ‘heavy’?” Allura asked.

“It’s a nickname for a certain kind of driver,” Hunk answered. “They usually have bigger, bulkier vehicles, and they move slower, but they can sometimes knock other cars out of their way. There’s also regular drivers with middling speed and weight, and smaller, lighter cars that go really fast but can be knocked around by other vehicles. It’s a trade-off.”

“Although,” Shiro cautioned, “I think that’s something that may have been added into later versions of the game. The drivers in this one are probably pretty much the same.”

Hunk’s face brightened. “You mean Grizz will be faster?” Then his expression fell again. “Aw, man... Graveyard Gulch is going to be an even bigger nightmare than it usually is. Unless it’s not one of the tracks in this version?”

“Not sure, buddy. We won’t see the track list until we’re out of the character selection screen.”

Allura decided to give Bella a try, and Hunk had almost convinced Coran to race with Grizz so he could get a peek at the character in action, but the advisor had discovered a character with a mustache, and that was that.

Finally, they got their first look at the available tracks: the Original Oval, Curvy Creek, Desolate Desert, City Cruising, and Hunk’s nemesis, Graveyard Gulch.

“You guys should probably practice on the Oval,” Lance suggested. “It’s the least complicated track so you can get the basics down.” He held a controller out to explain the various buttons to an eager Altean audience. “You hold this button down for the gas-”

“What sort of gas?” Coran wanted to know. “And what purpose does it serve?”

“He means gasoline,” Hunk clarified. “The vehicles in the game use internal combustion engines that use it for fuel. What he means is that’s the button for the accelerator.”

Lance huffed. “Okay, fine. This button’s the accelerator. Explaining this stuff is harder than I thought it would be. Anyway, this one next to it is the brakes. You know, in case you want to slow down, but it’s a race, so why would you?”

“Sharp corners,” Hunk reminded him. “Some tracks have sharp corners, and you can’t just speed around them or you’ll skid off the road.”

“Just let up on the accelerator, then.” Lance rolled his eyes, but smiled fondly at his best friend. “On the other side of the controller, you push left and right to move, well, left and right. Either up or down will activate a booster, and that’s pretty much it.”

“What are these ‘boosters’?” Allura asked.

Pidge had been flipping through the small booklet that came in the game box. “According to this manual, each driver gets two boosters that vary character to character and can be used at any time during a race. Allura, Bella has a speed boost, and Coran, that guy’s name is Slick, and he can leave oil on the track behind him to slip up other drivers. You can also find boosters along the track that are a random mix of everyone’s boosters. You always use the last boost you picked up, otherwise it’ll be you character’s boost, if they still have any.”

“Also,” Shiro added, “if you time it just right, you can get an initial speed burst when the flag drops, but it can also slow you down if you’re not on the mark.”

Allura and Coran each took a controller and stared intently at the screen. The mice took up various perches in the laps and on the shoulders of the new racers. When the checkered flag fell, the princess’ car sped off down the track, along with vehicles controlled by the game system, leaving Coran scooting forward in little bursts. One of the mice seemed to be trying to give backseat driving advice, though Coran wouldn’t have been able to understand it.

“You need to hold down the accelerator button,” Hunk instructed instead.

Coran corrected his tapping method and seemed to be doing all right until he suddenly began moving in circles.

“You’re holding down the turn button too long.” Lance was trying not to laugh at Coran’s dismay. The mouse on his shoulder felt no such compunction and laughed so hard they rolled off his shoulder and bounced onto the sofa cushions.

“You said the track is an oval, so shouldn’t I be turning?”

“It’s a big oval,” Lance explained with a sigh. “There are basically straight stretches and you really only need to turn sharply like that at the corners.”

“Ha! You can’t trick me--ovals have no corners!”

“Curves, then! Jeez, you are so literal right now...”

Eventually, Coran worked out the knack of steering about the time the other cars lapped him. He attempted to use his booster, but he’d already been passed.

Lance turned his attention to Allura. “Do you need any help?”

“No, thank you,” Allura replied absently, eyes glued to her racer. “I think I’ve got this.” Sure enough, she was out in the lead with an impressive gap between her and the second place driver. The mouse companion on her shoulder leaned into every turn and squeaked encouragement.

“Wow.” Hunk’s eyes were wide. “You’re going to take first place in your very first race. I’m impressed! I think I was next to last in mine.”

Lance shrugged off her success. “It’s probably just beginner’s luck. This is the easiest track, after all, and it’s not like the controls are that complicated.”

As if to belie that point, Coran skidded off the road after somehow running into his own booster.

Just as Allura crossed the finish line for the win and Coran was crossing it to complete his first lap, a voice called from the doorway, “You guys got started without me?”

The game was abandoned in favor of piling on top of the newly arrived Keith.

“You got here fast!” Shiro remarked with a grin. “We were just letting the Alteans get a feel for the game because they’ve never played before.”

Hunk dashed from the room. “I’ve gotta run and get some snacks ready!”

Coran abandoned finishing his race to assist in the galley along with a sympathetic Allura.

“Don’t worry,” she assured on their way out the door. “You’ll get the hang of it. If you can maneuver a whole castle, you can drive one of these imaginary cars.”

“Whoa.” Keith blinked at the game on the screen, which had been returned to the character selection menu. “I haven’t played Master Racer in forever! Where’d you even find this? The space mall?”

Shiro nodded. “There were other games too, but I was trying to get something several people could play at once.”

“I’m gonna have to go back there some time,” Lance mused. “I’ll bet there’s some other gems available.”

“Four controllers?” Keith observed. “How are we going to decide who plays when?”

“Good question.” Pidge considered the problem for a few moments before snapping their fingers. “I could come up with a bracket system! Except that there are only seven of us, so we’d have to throw in byes if it were single-elimination. Or maybe we could use a round robin format. I’m sure I’ve got a program that could generate something.”

“We could also draw names randomly,” Shiro said. “I can remember playing where whoever wins sits out the next round so people can rotate into the game when we had more players than controllers.”

Lance smirked. “I don’t really care how we decide the racing order as long I get to show you all my awesome driving skills.”

“Yikes.” Pidge snorted. “I’m having flashbacks to the flight simulator.”

“You guys have already seen me drive,” Keith remarked with a shrug.

“And now I’m flashing back to the most terrifying ride of my life.”

“Hey, we all survived!”

“You intentionally drove off a cliff, Keith. I don’t think that necessarily translates to good race driving.”

Eventually, Hunk and the Alteans returned with snacks: pigs in blankets and soft pretzels.

“I’ll have to duck out later for the cookies and brownies that are currently baking,” Hunk informed the others as they swarmed the trays of food.

Allura eyed the cheese oozing out of the pigs in blankets. “Those contain-” she paused to shudder, “-dairy, correct?”

“Yes,” Hunk answered simply but kindly. “You don’t have to eat them, if you’d prefer not to.”

Coran was already halfway through his second of the treats. “I do believe I’ve eaten worse and certainly in less pleasant company.”

The mice didn’t seem to have any issues with dairy, either, contentedly munching on tiny versions of the snack containing only cheese.

There were a few minutes filled only by the sounds of good friends enjoying good food before the subject of how to arrange playing turns came up again.

“I’ll volunteer not to be in the first group,” Hunk proposed. “‘Cause, you know, baked goods.”

Coran and Shiro also agreed to wait out the first race.

That settled, the other four scooped up controllers and prepared to make their character selections.

“Aw, man! Who already took Ace? He’s my favorite.” Lance pouted at the screen.

“He’s my favorite, too,” Keith said as he deselected the character, “but you can have him if it means that much to you.” He chose another option.

“No way!” Lance insisted, picking a different driver. “I’m not taking him just because you ‘let’ me.”

“I’ll take him.” Pidge snagged the still available option.

Allura decided to stick with Bella.

Shiro decided preemptively to put someone in between Lance and Keith on the couch in hopes that their competitive natures wouldn’t devolve to elbowing each other during the race. Since it might be unfairly distracting to put one of the other drivers in that spot, Shiro planted himself there.

After a short debate, they decided to use the Curvy Creek track because it was of intermediate difficulty, and though characters could slide off the main road, it was fairly easy to find it again and there were no major pitfalls.

The race began, and at first, everyone was too focused for commentary. Then Keith sideswiped Lance’s car on a turn.

“Hey, watch it!”

“You were practically taking up the whole road--I didn’t have room to just go around.”

Lance deliberately targeted Keith with a booster, and he retaliated in kind.

With the amount of slamming into one another occurring on the screen, it was probably a very good idea they had been separated physically. Shiro didn’t seem terribly pleased, but it had been his idea to sit between them, so he persevered. Allura and Pidge remained blissfully unaffected from their spots on the floor in front of the couch.

Lance and Keith crossed the finish line at almost the same time, Keith very slightly ahead. They were in third and fourth place.

“Who won?” Lance asked.

“Allura,” Pidge informed him. “Like thirty seconds ago. You guys were so busy being jerks to each other, I managed to take second, and I went off the road about three times.”

Lance sighed. “Sorry, Keith. Truce?”

Keith rolled his eyes, but he was smiling. “Sure. I got caught up in it, too. Sorry.”

Coran and Shiro subbed in for Allura and Pidge, and Hunk went to check the oven.

They used this pattern of first and second place sitting out the next race for a while, taking breaks for snacks as needed. Pidge, unsurprisingly, as they had been tracking the racing stats, was the first to notice that Allura took first every time she raced.

“It’s got to be the alien genes,” Lance mused as he watched Allura flawlessly navigate a tight turn. “She’s got a better reaction time.”

“I’ve got alien genes,” Keith reminded him.

“Yeah, but you’re only half Galra at most. Plus, Allura’s Altean.”

“So’s Coran,” Hunk reminded them, “and he’s... Let’s just say I’m not seeing any inherent advantage there.” Coran was somehow currently facing the wrong direction and not even on the road.

“Do you think she’s using magic somehow?”

“Why does it bother you so much that she’s good at this?”

“It doesn’t bother me that she’s good,” Lance attempted to articulate what was bugging him. “It’s more that she’s so good so fast, you know? She barely even has to work at it. Plus, she’s kind of getting a little smug about it.”

Allura crossed the finish line, in first place again, with a whoop. “This game is quite amusing,” she said, covering a small yawn, “but it’s also getting somewhat boring.”

Keith and Lance shared a look of unspoken understanding. Beating one another in the race was now less important than someone being able to beat Allura.

“Oh yeah?” Lance asked casually as the racers stood for a stretch break. “Maybe you should try the hardest track.”

Hunk gasped. “Graveyard Gulch? I’m out.”

Shiro agreed to be their fourth player for a run on the Graveyard Gulch track. It was both the longest track in the game and it had the largest number of turns, the majority of which had steep drop-offs that would cause a substantial recovery delay if drivers weren’t careful. Allura didn’t seem worried in the least.

Coran, Pidge, and Hunk lined up behind the couch to observe, even if Hunk was doing so through his fingers.

As the racers crossed the starting line, Lance and Keith flanked Allura, keeping as close as they could. They attempted a coordinated booster attack, only to have Allura utilize her brakes to avoid them, steer around, and then use her own speed booster to leave them behind.

Hunk chuckled. “No real use for the brakes, huh, Lance?”

Lance might have responded with a rude gesture, but his hands were busy. “Thanks for the moral support, buddy.”

Shiro frowned, half in disapproval and half because he was doing his best not to fall over a cliff on a turn. “Were you two really just ganging up on Allura? Kind of rude, don’t you think?”

“I wouldn’t worry about it,” Allura remarked dismissively. “They didn’t do a very good job of it.”

One of Shiro’s eyebrows climbed upward. “You’re awfully confident.”

“If the other races we’ve played thus far are any indication, they can try their best and it won’t matter.” The mouse on her shoulder nodded in agreement.

Shiro’s other eyebrow joined the first. He looked over at Lance and Keith, scrambling to catch up again and then smirked, though Allura couldn’t see it.

The double booster stunt had slowed her down enough that Shiro was still fairly close, and he waited until they were on a turn to bump into the side of Allura’s car. She managed, just barely, to remain on the road. Her jaw dropped in indignation for a moment before she grinned wickedly right back at Shiro. “Oh, I see how it is!”

The remainder of the race could be described as nothing less than brutal. Shiro, Lance, and Keith held nothing back, all teaming up to keep Allura from taking first place again. In turn, Allura had to employ every ounce of coordination she could muster and missed no opportunity to fire boosters back. The three team members in the “audience” behind the couch cheered everyone on equally.

Allura crossed the finish ahead of the others, but due to all of their interference, a character controlled by the computer had taken first place.

Allura released a huff of breath and looked down. At first, everyone was afraid she was going to be angry with them, but then her shoulders began to shake and she laughed.

“That was by far the most challenging race tonight! Well done, if not quite enough to beat me.”

“We’ll figure it out one of these times!” Lance proclaimed, followed by a large yawn.

“Probably better not try again tonight,” Shiro remarked. “I think we should all head to bed. We can always play some more in the morning.”

A chorus of yawning had followed Lance’s initial contribution, and Pidge was already half asleep, propped between Hunk and the back of the couch.

“This was really fun.” Keith smiled at their makeshift family. “We should do this more often.”

“Definitely!”

“Speaking of tomorrow,” Lance wondered, “will we be racing more, or did you get any other games we can play with a group?”

“Indeed!” Coran affirmed. “I can’t recall what it was called at the moment, but Shiro said something about tiny games?”

“Mini games?” Pidge perked up at the idea. “Tell me you found a copy of Alfredo’s Festival!”

Suddenly, every Earthling in the room seemed to be a bit more awake.

“Tomorrow,” Shiro reminded them firmly. “We’re done for tonight.” To emphasize his point he stood, walked over, and hit the power switch on the console. There was some unhappy grumbling, but they all began to file out of the room and head to their quarters for the night.

“Am I to understand that this other game is composed of many games that are very small?” Allura asked.

“The ‘mini’ name isn’t so much about literal size,” Pidge explained. “It’s more that the games are simple and short so you can play a bunch of them in a row easily.”

“The controls are even simpler than racing. You’re gonna love it, Coran.”

Shiro hung back, watching the others leave the room. It was good to have everyone together again. No one knew when the next catastrophe might strike, but for at least this one night, it had been so much fun to forget about responsibility and just enjoy one another’s company. If they were lucky, the peace would hold out through the morning, or at least long enough for everyone to enjoy a nice breakfast together and the chaos bound to spring up during a rousing game of Alfredo’s Festival.

#voltrongenminibang #voltrongenminibang2018 #vld #fanfiction #keith #takashi #lance #hunk #pidge #princess allura #coran hieronymus wimbleton smythe #team bonding #playing video games #they/them pronouns for pidge

13 notes · View notes

beardedgoateellama · 3 years

Text

Ppc Linux For Mac

Straight Installation vs. While there are some computers that come with Linux Mint. Debian GNU/Linux PowerPC PowerMac Page. Here are some highlights of the PowerMac installation of Debian. To dual boot your Debian PowerMac system with Mac OS and/or Mac OS X. If you are planning on doing a new installation of Mac OS X, though, do it before installing Debian. The Mac OS X installer is very unkind to existing systems when it. MintPPC - Fast and slick Linux for PPC computers. Ever considered Linux as an alternative to your aging OS X version? In this video, we will take a look at installing Linux Mint on a PowerBook G4. Distros that run on the PowerPC architecture.

Puppy Linux Ppc

Linux For Mac G5 Ppc

Linux On Powerpc Mac

Ppc Linux For Mac Operating System

Linux For Mac Ppc G4

Linux For G5 Mac Ppc

This is an interview to Casey Cullen, the guy that created Fienix, the Linux distribution specifically meant for the PowerPC platform and freely available at https://fienixppc.blogspot.com/

Hi Casey! Thank you for accepting this interview, the first one we do for the Power Progress Community blog.

1) Please, briefly introduce yourself and how and when you started to be involved with the PowerPC platform.

Thank you for the opportunity to introduce myself to the community. One of my first computers was a Power Mac, and I remember thinking the little “PowerPC” badge was pretty cool, even before I really knew what it meant. For quite a while I was an Apple fan, my next computer was an iMac G3 SE, and then a Power Mac G5 970MP machine, which I was quite proud of. I still have that machine, and it currently runs the Fienix repository. After Apple stopped providing updates for the G5, which was still a fast and capable machine, I started experimenting with Linux. I learned so much getting Linux running on my G5, and really enjoyed the sense of accomplishment that came with getting a stable environment set up, all the customizations I could do, and the limitations that I could break; for example, using a non-Apple Radeon video card.

My interest in PowerPC architecture has continued to today for different reasons. I don’t believe it is a good thing for the entire consumer market to be dependent upon one CPU architecture. Intel’s Management Engine and AMD’s Secure Technology have raised serious privacy and security concerns, and several vulnerabilities have been found in both systems. The PowerPC architecture is an ideal alternative as a high-performance, proven, and mature platform. Additionally, I think the idea of “open hardware” is exciting, and major PowerPC vendors like NXP/Freescale and IBM seem to be on-board with the idea.

Besides PowerPC, open-source, and Linux, I enjoy video games and I think video game level design is really interesting. Maybe this will be my next project.

2) Do you own any PowerPC based computers? What do you use it for?

I have an A-EON X5000 (based on the NXP P5020 2 Ghz CPU, e5500 core, book3e) running Fienix, which has taken over as my everyday machine. I also still have my Power Mac G5, which is currently what runs the Fienix repository. I also think I might have an iBook G4 around here someplace…

3) When did you first hear about the Power Progress Community?

I came across and started following the PowerPC Notebook Project in February, 2016. I don’t remember how I heard of the project though; I read about it somewhere online.

4) What do you think about the PowerPC laptop project and the donation campaign? Regarding our notebook project, as you probably know, we will release it as open source. What do you think about open source hardware?

Apache jmeter download for mac. Apache OpenOffice is a free office-suite alternative to Microsoft Office or Apple's iWork Suite. With open-source development, features constantly change and improve, which makes OpenOffice in. The Windows binaries are available in two variants. This is what people usually use. This version of library is included in Apache Tomcat distributions. The Apache Project is a collaborative software development effort aimed at creating a robust, commercial-grade, featureful, and freely-available source code. Click on the link above to download Apache Directory Studio for macOS. The download appeares in the Downloads folder in Finder. Double-click on the disk image to open it. Drag-and-drop the Apache Directory Studio application on the Applications folder to install it. Official Apache OpenOffice download page. Join the OpenOffice revolution, the free office productivity suite with over 295 million trusted downloads.

I think it’s amazing! Manufacturers today act as if they are only renting out their hardware; they retain far too much control. They try to run secret hidden processes that the hardware owner cannot disable, they mandate updates the hardware owner cannot opt out of, require online connectivity, and prevent the hardware owner from repairing their own hardware by using “security” chips, and even dictate what OS can be installed and what software can be run. These are all significant problems, and open-source hardware is an exciting solution.

5) When and why did you first have the idea of building your own Linux distribution? Fienix is an interesting name. Where did it come from?

I got the idea to create a new Linux distribution after Ubuntu announced that PowerPC support would be discontinued after 16.04 LTS. I started working on the distro in late 2017, before it had a name. I wanted to think of a name that would be memorable, original, and carry some imagery of renewed strength or recovery.

Fienix was almost going to be named “Rally OS”. I even still have the assets like the Rally OS logo and branded backgrounds. I think the definition of rally is perfectly fitting; “to recover or cause to recover in health, spirits, or poise”. I just wasn’t quite happy with how it sounded, so I started thinking of alternatives.

I liked the word Phoenix and the imagery associated with it, of a mythological firebird symbolizing renewal. However, it isn’t a very original term, so I started looking for what other cultures call the Phoenix. Most of these are just variations on the spelling, like “feniks” in Dutch, Polish, and Romanian, “feeniks” in Finnish, and “fönix” in Icelandic. So I decided that I would make up an original spelling that I thought looked the most aesthetically pleasing, which ended up being “Fienix”.

6) Why did you create Fienix, when there is Debian for PowerPC already?

I know you’ll love them as much as I did. I was too!This mod changes the way water, light, fire, and interactions with other natural objects work in the game, to make everything look better and modernize San Andreas a tad more.You will notice how many of the mods on my list are related to the graphics of the game, and that’s to be expected.San Andreas is super old and many people don’t play it mainly because of its outdated graphics.Some modders have come to create some fantastic graphical changes to the game, and I want to share them with you. Gta san andreas play. Ghost Rider ModAre you tired of associating an amazing character like Ghost Rider with Nicolas Cage?Trust me, me too.Something had to be done about it, and this is the mod to completely wash your Caged Ghost Rider image by turning CJ into the popular Marvel anti-hero.Ride the streets of San Andreas and wreak havoc among them with the outfit and powers of the mighty Ghost Rider.You will be able to see the flames on the skull as well as in the tires of your mighty ride.

Debian is absolutely great, and their contributions to open-source software are innumerable and significant. However, Debian’s focus is very broad; everything from a desktop computer to an enterprise server, to a system running complex scientific calculations are in-scope for Debian. Fienix is specifically focused on desktop/workstation/notebook use cases and emphases user-experience.

Debian provides a basic, somewhat lackluster user experience upon booting into a fresh install. Testing and installing additional utilities, making customizations, and editing scripts is required for an attractive, user-focused, responsive system. Fienix is focused on providing a stable, elegant operating system with a responsive, thoughtful desktop right out of the gate.

Debian maintains a vast repository with software for everything from operating amateur radio stations, to recombining genome sequences, to running interactive web servers. Unfortunately it is not uncommon to come across a PowerPC binary that will not execute. Fienix is focused on providing a more curated assortment of software that is still diverse and exciting, but which is also reliable on PowerPC systems and useful for desktop/workstation/notebook users.

Fienix includes many programs that Debian does not. For example, Fienix includes the Arctic Fox web browser, which is hands-down the best browser for everyday use on PowerPC systems (check out Arctic Fox GitHub at https://github.com/wicknix/Arctic-Fox). Other “added” programs include both libre (open-source) and gratis (no-charge, under copyright) software.

Fienix includes optimizations and performance improvements that Debian does not.

Due to the constantly rolling nature of Sid, packages often have broken dependencies for some days. The Fienix repository is based on a stable snapshot of Sid, so you still get the newest software, but also get a stable environment.

I also have some ideas about ways that Fienix can help people learn about certain interests they may have, like graphic design or creating a video game, and give them tools that can help them explore that interest, so that may be something to look forward to.

7) What is the most complicated issue you have had to solve so far while setting up Fienix?

The most complicated issue was learning how to setup the repository.

8) What is your workflow for setting up your software repository? Are you compiling all packages from sources? What are the differences from the Debian PowerPC repository?

I use Reprepro for repository management; it’s a great tool and has been very helpful. Reprepro calculates all the checksums, generates the lists, and helps with version control. I do not build every package from source, only those that have a problem or cause some sort of regression, as well as those that do not exist in Debian.

A list of some of the additional software and optimized software is available on the Fienix website under “Featured Software”: https://fienixppc.blogspot.com/p/software.html.

9) Is anybody helping you in maintaining the Fienix software repository?

I’ve been doing the actual repository organization myself, but I’ve had a great deal of assistance with Fienix in general. Christian Zigotzky provides kernels and has assisted with debugging and building several programs. The work done by Matt (wicknix) as well as Riccardo Mottola on the Arctic Fox team has also made things a lot easier since I don’t have to worry about a browser any longer 🙂

10) What are the top 5 most useful applications that would make an operating system suitable for the average user in 2019?

I’ve broken these down into categories, because I feel like completing a task is generally more important than using a specific app.

Web: The most important app is a current web browser. I’m impressed with Arctic Fox and I am excited to see where this project goes. Additionally, pairing Arctic Fox with VLC browser plugin, Greasemonkey, and ViewTube/ViewTube+ provides flawless HD video streaming from YouTube and many other sites (installed by default in Fienix).

Email: Even though web mail is becoming the norm, I still think a good email client is important. Fienix has several great clients to choose from including Thunderbird and Evolution.

Media: The Kodi app has been getting some buzz lately due to their recent releases. Kodi is currently in testing for a Fienix release. Of course, VLC and SMPlayer are ultra-versatile players as well.

Office/Productivity: Most everyone has at least an occasional need for a good office program, and LibreOffice definitely has all the bases covered. Their upcoming release is getting some buzz as well.

Communication & Connectivity: Cross-platform communication tools that allow seamless messaging between phone, desktop, and/or web based clients will continue to be important to users. Facebook and WhatsApp are the most popular services, but apps such as Telegram are growing quickly. Fienix has support for a number of these protocols via Pidgin, but unfortunately Telegram isn’t yet one of them. KDE Connect is also a cool concept that isn’t yet available in Fienix, but may be at some point.

11) Are any of these applications is missing or seriously malfunctioning on PowerPC?

Puppy Linux Ppc

I think the most important bases for the “average user” are covered. When I think of some of the most popular “use-cases” there could be some upcoming issues that will need to be addressed. For example, for graphic design the newest version of GIMP needs some work. For video editing the most recent versions of OpenShot and Kdenlive need some attention. Fortunately we have recent versions of these apps that are stable to use until the issues with the newest versions can be looked into.

There are some apps that do not function on PowerPC that I have not dedicated much time to looking into because there are viable alternatives. For example, the Telegram client does not function correctly on PowerPC; however, there are several alternatives such as Simple and XMPP that are integrated into Pidgin. Similarly, Darktable does not execute but RawTherapee functions perfectly.

It’s possible we could also see connectivity features in Fienix similar to those provided by KDE Connect in the future.

12) Are any further applications missing from the PowerPC scene that you would like to include in Fienix?

I’d like to have the ability to access or sync cloud folders (such as DropBox, OneDrive, etc.) with Caja. There is a potential solution for this that I’m looking into.

We need to get GIMP 2.10, Blender 2.8, OpenShot 2.4, and Kdenlive 18.12 running stably (previous versions of these are all functional).

A secondary browser like Midori would be good, especially since they’ve begun focusing on WebApps. Right now the source compiles and the binary executes but it won’t connect to a network.

Finally, it’s not really an application, but important nonetheless, it would be great to have hardware acceleration on Radeon cards released after SI (HD7000 and later). Driver support for these cards has been limited to fbdev. Fortunately, SI and prior cards are pretty well supported and perform well.

13) Is there an application or tool that posed particular issues while porting to PowerPC?

Mozilla has decided to forgo the portability that use to be a strong point of theirs.

There was an issue with the game Hero of Allacrost (which by the way is a great game if you enjoy RPGs) that made it unplayable, and a different issue with the game engine ioquake3, but both of those were resolved with some help from their developers. Several games, like SuperTux and Yamagi (Quake 2 engine) also had issues with background music playing as static. Chrisitian Zigotzky provided the fix for SuperTux and I fixed Yamagi through a config change. There were also some issues that have since been resolved with VLC.

In general, I’ve been surprised how many developers have been responsive and helpful with resolving issues on PowerPC systems.

14) As you may know, here at the Power Progress Community we are strong supporters of PowerPC 64bit big endian and Altivec based Linux distributions. Do you have any plan in releasing a 64bit version of Fienix?

The first release of Fienix has a 32-bit userland primarily because Debian 32-bit PowerPC packages were more stable than the 64-bit versions. Fienix still has some of the benefits of a 64-bit OS due to using a 64-bit kernel, such as with memory management. That said, yes, I plan on working on a pure 64-bit version.

As far as Altivec goes, most programs determine if a system has Altivec at runtime, and then runs the appropriate code, either vector or scalar. GIMP and the libjpeg-turbo library both work in this way, as do many others. However, it is possible to compile a program in a way that does not conditionalize vector instructions. A program compiled in this way will not execute on systems without Altivec.

Fienix contains many programs that include Altivec optimizations, and will continue to do so as long as the vector instructions are conditionalized. Fienix will not contain programs that do not conditionalize vector instructions.

15) As an association targeting the PowerPC platform we would like to support your initiative. How can we best support your effort in trying to make Fienix one of the best Linux distributions for the average user?

Use Fienix and test the apps in the Fienix repository. If you come across bugs and know a solution or workaround, share it. Fienix has a rudimentary bug reporting forum on the website.

Try to build new programs from source if they aren’t included in the Debian repository. If you’re successful, share it. Fienix includes a rudimentary new software request forum on the website. If you’re not successful, put a bug report in with the developer (make sure you understand how to submit a bug report and what information to include first). You may be surprised how accommodating the developer may be. Regardless, bug reports help put the word out there that people are using PowerPC systems, and PowerPC systems are still in production.

Help test and debug Debian PPC64 packages, they will serve as the base for Fienix 64-bit.

Test Fienix on whatever PowerPC systems you have.

Spread the word!

16) Have you ever had the chance to try a computer equipped with an IBM Power8 or Power9? Do you know that a micro-ATX motherboard called Blackbird is being released by a company called Raptor? What do you think about it?

I’ve been following Raptor since they announced the first Talos system. When the Talos II system was released I confirmed with Raptor that it can be run in big endian mode (it can). I sadly have not had the chance to use one of these machines yet, but the Blackbird is surprisingly affordable considering what you’re getting, so perhaps sometime in the near future…

17) Many people says that PowerPC is dead. What do you think about the current state of the Power(PC) architecture? Do you think it is a suitable architecture for home computing?

PowerPC has never been dead in terms of the embedded and server markets, but after Apple transitioned to Intel it certainly seemed to be going that way for the consumer market. However, if you look at where PowerPC is today, there is a small resurgence going on. A-EON and ACube both make systems powered by PowerPC, Raptor Computing Systems makes an assortment of high-end PowerPC POWER9 systems, and a promising PowerPC notebook is in the works. Long gone are the days when PowerPC had a chance of overtaking x86 in the consumer market, but I don’t think that’s the point. PowerPC is in a better place today than it has been in years. If privacy, security, and open-hardware are important to you then there is no better architecture than PowerPC. These new PowerPC systems finally give consumers a real choice in the marketplace, and I think that is something to be very enthusiastic about.

Linux For Mac G5 Ppc

18) Are there any other Operating System other than Linux you want to see running on PowerPC?

I’m personally most interested and involved with Linux, but having a choice is always good. We have Linux, FreeBSD, MorphOS, and AmigaOS for certain systems. I think I’d be most enthusiastic about having another Linux distribution pick up PowerPC as a supported architecture. That may seem a bit odd because of course I’d like people to use Fienix but like I said, choice is good!

19) Is there anything else you would like to say to people interested in the PowerPC platform?

If you’re someone who likes learning and experimenting with hardware and software, or you have an appreciation for the principles behind open-source, or you want to contribute to a community where you can make a difference, then the PowerPC platform is a great option for you!

Rather than scour various forum posts i've decided to put some of my contributions here. These are things i've either created, ported, forked, compiled or contributed to. PowerPC Mac OS X 10.4 and 10.5

Linux On Powerpc Mac

Arctic Fox web browser : info and download IceWeasel-PPC web browser : info and download TenFiveTube & YewTube apps to watch YouTube : info and download (10.5 only) Facebook, Twitter and Sound Cloud mobile apps : info and download (10.5 only) Google Hangouts app : info and download (10.5 only) Facebook Messenger app : info and download (10.5 only)

PPCBrowser lightweight webkit browser : info and download TenFourKit webkit browser duckduckgo start page mod : download (10.4 only) LMMS Linux MultiMedia Studio : homepagedownload (10.5 only) Intel Mac OS X 10.6 and above SpiderWeb browser : download and info Arctic Fox web browser : downloadinfosource

Ppc Linux For Mac Operating System

Browser lightweight webkit browser : download Facebook and Twitter mobile apps : info and download Sound Cloud mobile app : download Yewtube tonvid/youtube app : info and download HookTubeX hooktube/youtube app : info and download Pale Moon 27.9.4 web browser (32-bit) : download Pale Moon 27.9.4 web browser (64-bit) : download Intel Mac OS X 10.7 and above InterWeb web browser : download and info SpiderWeb browser and e-mail client : info and download PowerPC Linux (32-bit) Ubuntu 16.04 / Debian 10 / Fienix Lubuntu 12.04 & 16.04 Remix (live CD / DVD + installer) : info and download Debian Sid Remix : Info and download Arctic Fox web browser : (see links above for OS X 10.6) SpiderWeb browser : info and download SpiderMail e-mail/news/rss : info and download InterWeb browser : Info and download

Linux For Mac Ppc G4

Extra rebuilt packages for 16.04+ : Download Repository Other useful links Mac PowerPC

Linux For G5 Mac Ppc

0 notes