#i have NEVER done rendering (i think) so this was probably the hardest art piece i have ever done

[socksareunderated]

I don't know if i can say anything that hasn't been said before. All I'm going to say is.

I owe this game a lot. Without it, this blog wouldn't be here. Because of it, so many amazing projects have been made. It was a cultural moment and I wish to never forget it.

Can't believe that it came out 16 years ago.

-alt versions-

🖤 - Reblogs are greatly apricated - 🖤

[pyjamaart]

A looming presence... (A piece of fan art for Episode 11 of the Christmas Comeback Crisis)

Read more for an essay on all the memes and references ;)

So here it is. Finally. Only one month too late: This piece of CCC fan art I've worked on since the episode came out.

Sorry for the delay, but I just started at my new job this week and it's been a little stressful, so I didn't have much time to work on this. But now it's finally here!!! I gotta say, the hardest part by far was the background, lol. I didn't mean for it to escalate that much. At the end I was honestly running out of memes to draw.

I bet we can all agree that episode 11 of the Christmas Comeback Crisis was so worth the wait, right???? My god. Peak entertainment. I still can't believe I'm getting all this awesome lore and music for free, feels kinda criminal.

I'm so invested in this story, it's unreal. I can't wait to see how it will end. I can already tell it's gonna be pretty emotional. (And not to alarm anyone, but I have a slight feeling that the Voice is not gonna make it out of this story arc alive. I mean, after everything he's done, it's safe to say that he kinda deserves it. Of course I really don't want him to die, cause that would mean…….. Woodman would also have to die??? Otherwise the Voice will just keep coming back again and again because Woodman is keeping his memory alive…….. Oh man wait a moment….. I don't even want to think about that. Forget I said anything about this.)

Anyway, let's talk about this piece of art for a moment.

In the foreground, we have our brave protagonists. I really really like how Nozomi turned out, so I decided to make her my new icon from now on. Don't get me wrong, I love my old icon, but it's kinda zoomed out and you can't really make out any details when it's really small. So Nozomi it is. Meta Knights sword was shockingly difficult to draw, especially because I had to figure out how to draw it when he's holding it at an angle like that. Otherwise, drawing him was actually one of the easiest things about this whole thing. His design is really just two circles with some arms and armor. Figuring out how the circle tool in Gimp works has never felt this good. (Kinda crazy I can just draw him like this now, considering how obsessed with him I was when I was about 12-13 years old. Back then you had to download official renders of your favorite characters onto your computer, then print them out and hang them on your walls all around your room. Yeah I've always been like this.) Drawing Santa was really fun too, just his right hand was a little difficult. But that's just because I still can't draw hands in general. Maybe I should practice drawing hands more. (Naaaaaah I'm just kidding, I'll never do that.) Now that I'm looking at him again, he's also longingly staring at President Haltmann in the background. Doomed yaoi fr.

Speaking of the background, let's talk about that next. There's obviously the title-giving "looming presence" the Voice. I had his hands completely in the background at first, but I thought it looked cooler when they were hanging threateningly around Santa's shoulders. (You may ask yourself, 'man these hands look kinda alright for my usual hand drawing standards', and that is because I traced over pictures of my own hands. I love "cheating" at art.) I also gave him his stupid little bow tie and the colored buttons on his suit sleeves. Not only is that kinda my trademark for drawing him at this point, it's also supposed to show, that under all the threats and the evil villain persona, he's just kind of a loser. A real (male equivalent of a) girlfailure. That's why I made sure that half of the things shown in the background are there to make fun of him a little. I love the Voice dearly, but that's just what felt right.

And now let's get to the actual main course of this essay. I probably spent half the time working on this on the freaking background. I'm just gonna start in the top left corner and then go down each column and explain what each of these mean or what they reference. (Since there are some quite obscure ones in there.)

Let's start with the two ponies in the very top left. They're actually ponysonas of Nozomi Tojo (left) and Takane Shijou (right). Nozomi is an earth pony and has a tarot card as her cutie mark, specifically the ace of cups. Takane on the other hand is a unicorn and has some musical notes as her cutie mark, which you can't really see. I don't know enough about the Idolmaster to think of something more meaningful for her, sorry. ;)

Under that are Susie Haltmann and her father, President Haltmann. They were (after Woodman) the first characters I wanted to draw into the background. Susie has this black bar covering her face, since she was never really there to begin with. The whole story line with her father wanting to bring her back was actually so freaking sad. And when the Voice killed him in episode 11 and that image of Susie flashed on screen as the last thing he saw before he died….. Oof……… That's also why I drew that cursor looming next to her "window" about to click on the closing button. Haltmann himself is also the only character in the background to actually leave his little window, wanting to reach his daughter. He's also glaring at the Voice for causing him all of this grief and anger in the first place with his false promises.

Then there's…. ahem, "Hot robots in your area". With drawings of a random unnamed robot and Mettaton from Undertale. Which the Voice has apparently bookmarked. This is just a head canon, but I like to think he has a thing for robots, lol. ;)

Oh and on the left next to that on the very first column is Simpleflips' logo. Shoutouts to Simpleflips indeed.

Onto the next column. At the very top is Haruka Amami (also from the Idolmaster), who played a pretty huge role in the CCC, especially in the latest episode. That moment at the very end where she saved Grand Dad from certain death was just fantastic. Absolutely goated scene. She's kinda pressing her face against the window she's trapped in. I hope you can even see that from far away, haha.

Under that is one of the more obscure references. It's from a King for Another Day video, specifically one titled "The Hobart Hootenanny - SiIvaGunner: King for Another Day". It's a slideshow made of beautiful Hobart pictures. One that struck me personally the most was a little family picture of Hobart and the rapper Eminem, who was also a contestant in the KfAD tournament, looking lovingly over their son sitting in a cradle. Eminem is seen saying "Our son is beutiful". A truly touching photograph indeed. In that same slideshow is also another scene of Hobart together with the Voice, but we'll talk about that one later.

The next one is a reference to the CCC side story "I wanna thank me" and shows a pie chart with the election results that were discussed in that episode. Under the pie chart itself is a little box containing all the different parties and showing their respective percentages. On the left is a poster for the "Poké Poké Literature Party", showing Monika's head with the words "Just vote Monika" at the top of the poster. The words (and Misha.) are scribbled on the bottom, lest we forget that she's not running this party alone. This side story was first featured in the Christmas Comeback Crisis Watchalong in 2020, which was actually the first time I watched the CCC in its entirety. It all went downhill from there. ;)

Then there's the Voice's… thing? Object? Weird apparatus where no one really knows what it does or what its purpose is? Every time we see the Voice sitting in his office, this thing is sitting on his desk right next to him. There's been loads of jokes about its purpose. They've all been made before. I'm not going to repeat them. Only the Voice himself truly knows what this thing does. Probably. Could just be a decorative piece of art.

Then we have something veeeery self indulgent on the next column. It's Aquaman from Megaman 8 (With a not so subtle skull right next to him). You should all know by now that I'm the founding father of the Aquawood ship. And I also have the head canon that Woodman and the Voice are very divorced. Interpret into this whatever you want.

Next to Aquaman is the internets' favorite panel from the web comic Tails Gets Trolled. I fucking love that comic. If you haven't read it in its entirety, I highly recommend doing it. (Though be warned that it contains some pretty heavy topics, many many slurs and a plethora of gore.) Okay, maybe I don't recommend reading it. (Just read it with all of that in mind.)

Under that is a personal favorite joke of mine. It's supposed to be Spotify, with a playlist open that I created some time ago. I called it "Die Pizza Playlist" (Remember that die in German is just "the") which I always listen to when I'm baking my own pizza. Highlights include "Pizza" by Antilopen Gang, "Pizza Heroes" by Lemon Demon (You can actually see the album art for Spirit Phone on the left of the playlist.), "Pizza Pizza Pizza" from the Ratatouille musical and so on and so on. The first song in the playlist is obviously "We like pizza" by the Pizza kids, which is even playing in the image. On the side are two more music artists, at the bottom is the image for the Veggie Tales soundtrack, which also featured a song called "Pizza Angel". And over that is Mitski. I just feel like the Voice would listen to her music. Do not question me on this.

The audience laughs at the funny 7.

On the Voice's left shoulder sits a single green bean. It's flashing you a cheeky grin and a peace sign. While I didn't intend for this to happen, I accidentally referenced my own Woodman birthday gallery art from two years ago, where the bean also sits atop the Voice's shoulder. I know that next to "Yankin'", the bean is one of the most hated memes on SiIva, but I think he's just a silly little guy! :D

Let's head on over to the next column. Seems like the Voice has an incoming call from one of his guards, but he's ignoring it as he has more important things to do, like hovering intimidatingly over Santa Claus.

Next to that window on the right are the Voice's messages. I almost wrote "messanges". That would have been embarrassing, thank god I caught that in time. This is also (yet again) a little self indulgent, since the Voice apparently has the last message he sent Woodman pinned to the very top of his messenger app. His big triangular head is blocking most of it, but since I'm the artist, I can tell you exactly what it says: "Please call me back", which was sent on February 1st 2023, the day "The Disappearance of Woodman" was released. Yeah, I'm still very upset, how could you tell? :( Under that is a message to his trusty pizza guy asking for a pizza with extra cheese.

Next we have two of my favorite memes on the SiIvagunner channel (My absolute favorite being "Funny budots", since I never wrote that down anywhere.), one being Frisk Undertale becoming uncanny and the other one being the goat. I don't really know how to describe the goat, but apparently it was crafted by the same artist who made the stoned fox that's also very popular online?? I may just be stupid, but I didn't know about that until I looked up a reference for the goat. Since it often appears alongside Undertale and Deltarune, many have made the assumption that this is what Asriel would look like in real life. That's why Flowey is there next to it with an equal sign. Whoever drew up that calculation wasn't really sure of their work, which is why they drew a question mark right next to it. Between Frisk and the goat is a little Soul, also from Undertale/Deltarune.

Onto the next column, where I'm dropping very subtle hints that a specific character in this image might like pizza. Or might even be a little obsessed with it. On the left is a list with the contact details of three well known pizza chains, on the very top is Sonic the Hedgehog who just recently became a brand ambassador for Totino's and on the bottom right of this section is a flyer for some kind of pizza sale.

The next window contains my favorite joke of any rip on the entire SiIvaGunner Youtube Channel. "Peepoona 5. Let us shart the pants." Just typing this out is making me die of laughter yet again. (The rip in question is "Our Beginning - Persona 5".) But as you all know, I am very into toilet humor. That's why Aquaman is one of my favorite robot masters. And why I'm such a big fan of Youtube Poop. And why I watch Minion fart gun religiously. But enough of that, you get what I'm trying to say. I love funny poop jokes. That's why this is here.

Oh man. This next one is why I wanted to write this very detailed essay in the first place. A reference so obscure, even I can't find its origin anymore. And believe me, I tried. Thankfully, I took a screenshot of the original comment thread this was based on. A user called "The New Guy" commented on a SiIvaGunner rip, something along the lines about how much they enjoyed this specific rip. At the time, the comment had 920 likes, so I'm guessing it must have been a pretty popular video. (The comment should also be about 4 years old now?) Anyway, under that comment, someone asks them what their profile picture was from. They simply answered "wagon", since that was exactly what their profile picture showed. Someone on the SiIvaGunner team must have found this exchange so funny that they commented "wagon" as well. And that's the origin of this joke. If anyone knows which rip this is from pleeeeaaaase tell me. I need to know.

I don't think I need to explain who the next guy is. Just the love of my life. I specifically drew Woodman in his getup from the Nuclear Winter Festival, since that was the last time he appeared on the channel. He's looking kinda concerned in the general direction of the viewer, for obvious reasons. And right under him is his trademarked >:] emoji.

And last but certainly not least, the final column! Now I finally get to talk about this other scene from the Hobart Hootenanny. It shows Hobart and the Voice having a romantic stroll at a beautiful beach, while the sun is slowly setting in the background, making the water shimmer with its breathtaking colors. Okay, the last thing didn't really happen, since it's a shitty MS Paint drawing, but I like to imagine it did. Maybe I should draw a remake of this image one day. Now I'd like to quote the video in question: "A man and Hobart were walking together on the beach. He looked back and saw that in his times of sadness and need, there was only one set of footprints. He asked Hobart why he would leave him in his time of most need. Hobart simply turned to the man and said, VVVVVRRRRR SRRRRR RRRRGGGHHHH--" (Thank you SiIva Wiki for the transcription.) Now I don't think I need to explain why I drew Hobart in a bikini top and fishnets. The question answers itself.

The next image is actually quite easy to explain. It's mm5charge and smol Maki. In another universe, Chargeman and Maki might have been integral to the SiIvaGunner lore. This specific image is just stolen from my piece of fan art called "Megaman 5 Brainrot (featuring Acidman)", which I posted in 2022. I still head canon that Megaman and Love Live take place in the same universe. Just because I think it's funny. And because I want to see funny robot masters interact with the girlies from Love Live. How do I explain this? It's like…. balancing out the world? The robot masters are almost all male (with a few exceptions) and the characters shown in Love Live are all female. How would Thanos say? "Perfectly balanced, as all things should be." Don't question my cool head canons, okay?

After that we have a poster featuring the Jazz Cats! I really really love the little animations that showed their backstory when KfAD2 first came out. I don't know if it's okay for me to say this, but I also really really enjoy the song "But Not You" written (in universe) by Doge and Naxx. The text is veeeeeeery questionable, but man, does it sound good regardless… And shoutouts to wolfman1405 for the heavenly vocals.

On the right of that is a missing poster for Wade L.D.. Nothing much to explain here I guess.

Left of that is the Voices shopping list, which lists flour, oil, yeast… Wait a minute…. All of these are ingredients for pizza dough! Guys, I'm beginning to think that this guy might like pizza.

On the very bottom of this column is Mario 7 Grand Dad himself, who has his hostile gaze directed at the Voice. I would be pissed off too if someone kept me locked in a glass tube for 7 years.

The last little window just shows the Vineshroom with the words "fecal funny" written under it.

And with that, it is done. The entire background thoroughly explained. (I may have gone a little overboard this time.)

It's been a while since I posted new art, huh? In the meantime, a lot has happened. As I said before, I started a new job, got a tattoo of Woodman on my leg (best idea I've ever had btw) and I also started watching MLP, which explains the Love Live / Idolmaster ponysonas, lol.

And that's all I wanted to say. I hope that the next piece of art isn't that far off. Jenny out. (I think this might have been the longest essay I've ever written here. I'm so sorry. By which I mean, I'm not sorry at all. I'm not forcing anyone to read this.)

[jimlingss]

Sugar and Coffee [7]

Chapter 6 - Chapter 7 - Chapter 7.5 OR Chapter 8

➜ Words: 2.7k

➜ Genres: 99.5% Fluff, 0.5% Angst, Pâtisserie school!AU

➜ Summary: It isn't hard to be a pâtisserie chef, but it's not a piece of cake either. It seems like for you in particular, life keeps throwing in one wrench after another. It always finds ways to make your sweets bitter. The cherry on top is Jeon Jungkook — a rival with a sensitive sweet tooth who always finds ways to complain about you.

cr.

You thought about it over Winter break.   While baking and laying around your dorm room, you’ve come to a self-revelation. You spent only a week in Jungkook’s hometown before coming back for the other two, not wanting to intrude on his family too much, and during that time, you’ve re-discovered a strengthened will. You’ve decided to abandon your unproductive heartache in favour of nurturing a new ambition, a new eagerness to flourish and thrive, and make the most out of your time here.   And Jungkook is surprised to see this fresh enthusiasm.   “You’re here early.” He steps into the kitchen to see you crouched over the counter with notebooks and textbooks sprawled out, already studying at the beginning of the semester.   “I know.” You lift your head to grin at him. “Just thought I’d get a head start. Don’t slack just cause we’re in the same class, Jeon. I won’t always give you notes when you skip.”   He approaches with a small smile. “I’m guessing the rest of your Winter break was good.”   “It was alright. It’s nice to sleep in. How was yours?”   “Lia and Eunbi kept crying when you left. I swear my family likes you more than they like me.”   “Naturally,” you taunt while batting your lashes. “I’m just so likable.”   “Uh-huh.” But that still doesn’t explain why you’re humming and smiling to yourself. It’s only eight in the morning and he wonders where the usual Little Miss Cranky went. “Did something good happen?”   “What do you mean?”   “You’re giggling to yourself.”   “I’m not giggling.” You feign a glare. “I’ve just...found new motivation to work harder. I thought about it a lot and….”   “And?”   “I’m going to get back with Seokjin,” you declare. Jungkook’s eyes are wide and you smile. “I’m going to catch up and become someone worthy of him. Someone he won’t be able to let go. I’m going to work my hardest, so he can be proud of me.”   “Huh.” The boy nods. “Well, good for you.”   “Psh, what’s with the bland response. Listen, you better look out, Jeon. I’m going to make the best portfolio ever to submit at the end of the semester.”   He grins. “Okay.”   You return to your work, finishing up reading the section while humming to yourself.    Jungkook glad you found a new vigour to strive and do your best — but he can’t help feeling unsure of your reasoning. He’s pretty sure that this isn’t it.   //   The lectures and hands-on workshops at the very start of the semester are always the blandest. Introductions are done, course outlines are looked at, and the professor drones on and on about the course’s expectations and what the assignments and examinations will look like. Jungkook isn’t exactly enthused to hear what he’ll have to get done in the coming weeks.   And it’s in this very boredom that he knows he doesn’t need to say anything about your new-found determination. Eventually class will wear you down like it does for everyone, and you’ll become indifferent again. You’ll come to your senses one way or another.   But to his surprise, you’re still very much jolly after classes.   “It hasn’t been one day and classes are already fucking me in the ass,” Taehyung groans.   “Hey, guys!” You plop down with Jungkook beside you. “I missed you. How was Christmas break?”   “It was good.” Hoseok looks up, appearing utterly exhausted with dark circles lining the area beneath his eyes.    Yoongi actively glares at you. “You’re chirpy.”   Much to his dismay, you laugh. If Yoongi was a dog, he’d probably bite you.   Jimin smiles. “Did something good happen, Y/N?”   “Actually, yeah. I just realized some things over the break and I just have more motivation to work hard, you know?”   “Can you give me some of that motivation?” Taehyung groans. “What does it take?”   “A fear of flunking and getting kicked out should be more than enough motivation,” Yoongi deadpans.   “What’s your motivation, Y/N?” Hoseok asks, the corner of his mouth curling.   “I…” You glance at Jungkook, not sure if you should tell them the truth. But after a moment of hesitation, you go for it. There’s nothing to hide. “I’m going to try to get back together with Jin.”   At once, you receive mixed reaction — Jimin goes blank, Taehyung lifts his head off to the table and Hoseok’s brows are raised, lips tight. He’s the one who breaks the silence. “Wow, that’s great, Y/N.”   You grin. “I know, right?”   “How are you going to do that?” Taehyung looks at you. “If I can ask…”   “I’m going to improve myself and become someone he wants, someone worth him.”   “But is it really up for you to decide?” Yoongi asks out of the blue, piping up as he chews some chicken in his cheek. The black-haired man looks at you lazily. “It takes two.”   “Yeah, but I can try, right?” You shrug your shoulders, wearing a small smile.   But Yoongi doesn’t accept what he hears, not in the way you want him to. “He dumped you, didn’t he? What makes you think he’ll want you back?”   “I—”   Taehyung steps in before the situation can escalate. “Yoongi.”   But the tired man ignores him, his eyes piercing, even if he gazes at you languidly. “You think you can change him or change what happened?”   “I love him.” Your eyes are glossy and there’s an overwhelming urge to block out your ears.   Yet Yoongi scoffs. “Okay. So what? Who says you won’t be dumped again?”   “Yoongi, chill it, dude,” Taehyung intervenes and Hoseok is also alert, trying to change the topic to no avail. In the meanwhile, Jimin is caught in the conflict and rendered speechless, but what hurts most is that Jungkook doesn’t defend you. He doesn’t utter a single word of support.   “Is it so bad to want him back?”   “Yeah. If he doesn’t want you back.” He shrugs. “It would be more productive if you get on with your life, got better and showed him what he missed out on. Trying to get back together with him makes you look desperate.”   “I never asked for your opinion, Yoongi.”   “Fair, but that doesn’t mean you shouldn’t hear what I have to say. Plus, I’m just asking you questions and as of yet, I haven’t heard any answers, Y/N,” Yoongi bites back. It’s not like the friendly banter that you have with Jungkook. What Yoongi says is painful to hear, heavy on your heart. It’s argumentative with intentions to prove himself right, confrontational in a way you’ve always avoided. “Why are you setting yourself up to be hurt again? Don’t you think you deserve better than that?”   The group falls into strained silence. The tension wraps itself around your throat, robbing your breath from your lungs. Nothing is spoken, no one utters a word. They stare at you as if they’re waiting for a response, for your justifications. But they don’t need to hear it — it’ll sound like a broken record.   They’ll never don’t get it — how much you love Seokjin. How much you miss him. How much you want him back in your life. Someone who used to be your best friend, who was your entire world, your person, and how he’s turned into a complete stranger.   “Alright, guys. Let’s just agree to disagree, okay?” Taehyung laughs stiffly, trying to dial it back. But you abruptly stand, grabbing your tray of food.   “Y/N.” Jungkook grabs your arm before you can walk away.   You don’t face him. “I have some stuff to do. Catch you guys later.” After dumping the tray, you walk out of the building before they can see the tears in your eyes. And they watch your backside until you’ve disappeared from the dining center.   “You’ve really done it now,” Hoseok chides Yoongi.   The male shrugs. “Was I wrong? She needed to hear it from someone and apparently I’m the only one willing to be the bad guy.”   //   You continue to march across campus with no destination in mind, merely attempting to find some peace and quiet. You tear open the door to the west wing, sniffling as your breath heaves, and at your hasty pace, you fail to notice another person walking in the opposite direction until your shoulders collide with one another.   “S-Sorry.”   The rounded, short girl regards you with bright eyes, wearing a white apron and jeans. “It’s okay—oh, Y/N, right?”    “Do I….know you?”   “I’m Yoo Aeri. We met each other on orientation day, remember?”   “Oh my god.” It was four months ago, but you can vaguely recall the first person you befriended. You were so happy that you met someone friendly that you told Seokjin right away, even if you forgot to exchange contact information. “I remember now. I’m so sorry I forgot, my mind lately is just…”   She laughs. “Don’t worry about it. I actually switched into the culinary program recently.”   “Oh, really? That’s super cool. I heard it was hard.”   “It is a little, but the Baking and Pastry Arts program is a lot more competitive. I just found it wasn’t for me.”   “I know what you mean. I can get pretty tough.”   Aeri smiles and you realize she’s holding a plastic wrapped plate when she thrusts it towards you. “I’m actually walking around right now to see if someone wants to eat this — It’s seared salmon I made in class, but I made too much. As usual. Do you want to have lunch with me?”   You’ve never had such a proposition before. “I’d love to.”   //   8:12 pm. Jungkook: is the plan still on?   Every so often when Jungkook’s sick of you complaining about the vile food at the dining hall, the both of you go out to grab a bite to eat off-campus. His wallet cries but he has to admit that it’s fun.   Tonight though, you haven’t knocked on his dorm room yet and he hasn’t been in contact with you since lunch. Jungkook wonders passingly if you’ve permanently ghosted him — if so, he doesn’t know why he’s being punished for Yoongi’s actions.   8:14 pm. Y/N: oh yeah sorry 8:14 pm. Y/N: not tonight   The moment he gets the message, his brows shoot to his hairline. Jungkook audibly groans.    You should’ve told him sooner. He can’t get a good meal in the dining center when it closes in just fifteen minutes. But Jungkook wonders if you’re underneath your covers crying, if you’re really that weak willed to be broken down so easily by a few words from Yoongi, but then—   8:16 pm. Y/N: made a new friend   Wow. So you ditched his ass for someone else — now Jungkook has zero sympathy for you.   With the annoyance of a lifetime, he grabs his coat and decides to go out anyways. He doesn’t need you. He can enjoy a perfectly good meal off-campus by himself.   It takes Jungkook fifteen minutes by bus to get to the bustling street. He enters the cozy pizza restaurant down the block that you’ve both gone to a few times and orders takeout. He waits at the front playing a game on his phone to pass the time, hoping he can get home soon and enjoy the food in the comfort of his own bed.   But Jungkook’s ears perk when it catches loud voices that draw his attention. He naturally lifts his head. It’s a mistake.   He can’t even act that he doesn’t know them, that he didn’t see them, not when his eyes connect directly with Jin’s and they look at each other.   Yet, to Jungkook’s surprise, the older man stops with a smile. “Hey!”   The best way to describe his relationship with Seokjin was that they are acquaintances — similar to how he would’ve called you, excluding the recent months. Jungkook knows Jin from high school, saw him in the halls but they seldom spoke to each other. They hear things about one another but that’s the furthest extent of their interactions.   Until now.   “Are you here alone?”   “Yeah I’m just grabbing some takeout.” Jungkook awkwardly hitches a thumb over his shoulder.   Seokjin nods, plump lips naturally pouted. “Were you in the area?”   “Not really. I came from school.”   “Oh, that’s actually pretty far. I’m surprised you didn’t just do delivery.”   Jungkook’s doe eyes double. He feels like an idiot. “Oh shit, actually?! I didn’t know they had delivery!” He could’ve saved himself half an hour.   Seokjin grins. “Yeah, but it costs an extra two dollars.”   “Guess I’m saving money then.” He feels bitter. Sincerely, you are the curse of his life. Jungkook would’ve never been in this situation if he didn’t feel a need to imaginarily prove you wrong in his mind.   “Jin!” One of his male friends calls out, signaling him over as the waitress shows the rest of his friends to a table.   “I’ll be there in a minute.”   Jungkook can kind of understand the sad state you were in after the breakup. Aside from Seokjin’s handsomeness that even renders Jungkook speechless at some angles, it’s evident that Jin has a good personality. He’s friendly and warm, despite being an acquaintance. And Jin never once treated him poorly even back when he had his feud with you.   “Want to step outside for a minute?” Jungkook asks. “It’s kind of loud in here.”   “Sure.”   The two of them exit the restaurant and become enveloped in the chilly air. It is quiet out here, almost too quiet. They can finally hear each other properly but Jungkook finds his thoughts are deafeningly loud.    “So, what did you end up ordering?”   “Three sausage and two pepperoni.” Jungkook’s fond of the way you always call him a meathead as he stuffs his face with it. “It’s my favourite.”   “Oh really? I’m more of a pineapple man, myself.”   “I’ll admit, I hated pineapple myself until Y/N changed my mind.”   Seokjin grins. “She did for me too. How is she, by the way?”   “She’s...fine. Enough to drive me crazy.” Jungkook sighs with the force of his entire being and Jin nods with the corner of his mouth quirked.    “I'll admit, I was pretty surprised when I heard through the grapevine that you guys became friends. But I’m glad she has someone with her.”   “We’re not like that.”   Jin hums. “Doesn’t change the fact that she has someone to support her.”   There’s a pause. “Can I ask you something?”   It’s the reason Jungkook went out of his way to ask him to come outside. He’s curious and maybe it’s not his place to be, but he’s always felt more involved than he should be. Jungkook wants to understand, to clear his confusion, to hear the other side of the story.   “Depends on what it is.” Seokjin smiles.   “Why did you break up with Y/N?”   You had never really told him the reasoning, and he’ll admit it was bizarre when the two of you split. Jungkook always thought you were one of those irritating high-school sweetheart couples that would eventually get married and settle down with one another. The kind of couple that would get their love story posted in the newspaper after their seventy year anniversary.    A picture-perfect happily ever after.   Seokjin sighs, a cloud of condensation emitted through his parted lips. He leans against the brick wall and looks up at the night sky. “Sometimes...there doesn’t need to be a bad reason or a red flag or some kind of deal breaker.”   “Then why?”   Seokjin shrugs. “I always felt like Y/N loved me a lot more than I loved her. Always.”   “Sometimes, it felt like she put me on a pedestal. Other times, I think I made her feel inadequate. But she was always willing to give up everything for me.” Their eyes connect, Jin’s sheepish and soft. “And for me, I constantly felt like I had to play the part of a good boyfriend, rather than be one because it came naturally. It made me feel guilty. She didn’t do anything wrong. I think I just realized sooner that we weren’t the ones for each other.”   A disconnect. Jin liked you — he adored you — but you loved him wholeheartedly with your entire soul. Even now you still earnestly love Jin.   Jungkook isn’t sure what to do with the new information. But he suddenly feels bad for you. More than he ever has.

[satoniko]

anyways i rambled

November was good, i started substance painter work. It was a tutorial but i learned the software and i think that kinda helped a lot even tho i forgot most of it already. It made me understand the differences between the different texture maps that existed and how you can paint onto each for different material effects.

December was 5.4 release, i didn't do anything. January was Savage tier raidng, i didn't do anything. February i continued raiding and i didn't do anything outside of some art jobs for which i got paid handsomely.

March i spent coping with the year long pandemic and the approaching end of my student status. I start panicking over my weak portfolio and that i need a job to sustain myself. i reflected how March 20 was rough due to my bachelor application and I basically lost the entire 2020 on bachelor panic and i came out with very very amateur work in the end. March April 21 is where i started to slowly pick myself up. I started to think what projects i could do, what i needed, but i didn't do my market research as i should've, and i lowkey wish someone would've just smacked my head and put more pressure on me to just get properly started but alas. In April i started building a Maya animation rig for my character. It went semi successful as the character mesh was broken up at many parts which messed up the skinning massively, but the rig itself is functioning and with okay-ish IK handles, facial rig and tail and ear rigs. I could not animate it in the end due to the skinning issues.

My priorities right now is a well-payed solid job position for at least a year or so to build my social identity as atm i am nobody in this society system.

I gave up on becoming a 3D animator at the start of May.

Throughout May played xiv again and enjoyed fanfest a lot. After fanfest i started raiding e12s daily, the hardest fight at the game at that time. I founded a beautiful raid group in the 2-3 weeks we raided together. June i had trouble with my family, i didn't do anything outside of raiding. I started checking the market possibilities more properly but i could not make the connection in my brain between the market and my skillsets. Jobstress continued on therefore. End of June i went on vacation for a week.

July I came back from vacation and immediately started to check my job possibilities. I started writing down what skills i was lacking for job positions with my titles, i started digging out documentations and tutorials on substance designer and blender as a result. I learned the ways of Substance Designer up to a solid intermediate level. I learned the interface and ways of rendering with Blender, up to a simple intermediate level. I found a mass of Material Art resources and source files that i am still digging through step by step every other day.

I was sure I could make it as a Material Artist or 3D Generalist like this, given that my bachelor project was focusing entirely around shader/material creation for artists to use, but it is hard to find junior positions in that area, and my general 3D skills are very limited around Shader/Material Creation and Level Design with a serious lack of fully self-created 3D environments without majorly relying on other 3D model assets.

I was invited to work at 2 other projects during July. One is a project with friends, the other is a realistic UE game project with old industry people that i used to meet when i still worked. I have started another project with a friend to create Unity assets for the asset store in order to get more environment pieces for both our portfolios done. I feel positive about the Unity assets, but insecure about the UE project as my experiences with realistic textures and models is scarce and very much amateur work. However the people in the UE project are industry veterans, and I learn a lot about optimization from them which prompts me to stay. They were also very understanding of my limited time situation which helped massively.

For now I very clearly want to be a technical person in the pipeline, so i figured that stopping my substance projects for now to refocus on UE VFX and blueprint scripting will definitely be a very good skillset to have on my folio

in the end i just wrote this to reflect on the past months that i've lived thru after my horrific graduation. I'm still upset there was no graduation ceremony, no handshaking,no congratulating. I got my thanks from my both professors over zoom and never saw them again, so the transition from student to graduate was very blurry and confusing. I have also spent a lot of time recovering from my stress injury that i've received throughout the past year, which is probably why i've spent so many months just gaming and resting big time. I was not in a state of health to continue on with work these past months, even though i wish i had just never suffered through this type of burnout so i could've entered graduate programs of different studios in time, but alas. It's still very hard for me to keep a routine up, but at least i know my boundaries a bit better now and I try to handle my limit while not disappointing with the volume of work i present as well.

I'm proud of myself for finishing my academic degree even though the skillsets that i truly needed to get a job have only been acquired through the past month or so. I'll try become a tech artist for now and get really good at UE's blueprint and VFX pipeline in order to advance further into this career.

[aion-rsa]

15 SNES Games That Deserve a Sequel

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The SNES isn’t just the greatest Nintendo console of all-time: it’s the home of a truly impressive collection of classic games, underrated gems, and, for our purposes today, a shocking number of games that never got the sequel they deserved.

While you can usually list the business reasons why certain games don’t get sequels, that does little to diminish fans’ desires for more of a particular experience or even a second chance to get things right. In the case of some of these games, fans have been holding their breath for quite a long time.

Before we dive into this look at SNES games begging for a sequel, please note that while we will mostly focus on games that never got a sequel, a few of these titles did get underwhelming sequels that missed the mark or otherwise haven’t been revisited in over 20 years.

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15. The Adventures of Batman and Robin

While I actually slightly prefer the Genesis version of this game, this underrated SNES gem was still a Konami beat-em-up made at the peak of that studio’s efforts in that genre. Even better, it was based on arguably the best Batman adaptation of all time: Batman: The Animated Series. 

So why did this never get a sequel? It certainly wasn’t perfect, and Konami may have struggled to retain the rights, but given how much the company’s TMNT games improved over time, it’s hard not to wonder what Konami could have done if they had been allowed to expand upon this brilliant marriage of an expertly adapted world and nearly airtight gameplay.

14. Saturday Night Slam Masters

This game did technically get a sequel, but that title never officially made it out of Japan and also made some drastic changes that made the series more of a 2D fighting game. It was actually quite good, but it didn’t reach the heights of the original.

After all, Saturday Night Slam Masters balanced a fascinating mixture of fighting games and wrestling games that was compelling enough at the time but may bring a generation raised on increasingly stale WWE games to tears. This is quite simply one of the most entertaining wrestling games ever made. 

13. Super Star Wars Trilogy

This entry is a bit of a cheat since it not only combines three games in one entry but arguably ignores the fact that we’ve obviously gotten quite a few Star Wars games since these were released. Still, what I really want is a new trilogy of games that mimics the gameplay and style of these brutally difficult classics. 

Whether they’re based on the prequel trilogy, sequel trilogy, or tell entirely original stories, I’d love for a modern developer (probably someone in the Devolver Digital family) to make a modern Super Star Wars game that leaves you wanting to throw your controller through the window and enjoying every minute of it. 

12. Mario Paint

While Nintendo has made other strange games that emphasized player’s creative input (Mario Maker is probably the most notable recent example), they’ve never really properly revisited this Super Mario spin-off that showed Nintendo fans everywhere there was an artist inside of them.

Mario Paint may be simple by today’s standards, but that’s all the more reason for Nintendo to upgrade what was essentially an educational game that mastered the “gamify” concept long before that really became a talking point in the industry. 

11.  U.N. Squadron

The SNES wasn’t exactly lacking in worthwhile shooters, but there was always something special about U.N. Squadron. Granted, it was tough as nails, but the game’s upgrade system, visuals, and incredible level design typically made it easy to put up with the frustrations. 

Capcom is always talking about revisiting and reviving its back catalog, so why not release an “indie-style” sequel to this cult classic that’s always deserved another look?

10. Skyblazer

This largely forgotten gem from the SNES era shows just how spoiled we were at that time for these kinds of experiences. 

After all, Skyblazer was a game that combined great visuals, a killer soundtrack, puzzle-solving, platforming, and intense side-scrolling action, and few people ever actually played it. A simple re-release of this underrated classic would be more than I could hope for, but truth be told, my heart cries out for an admittedly unlikely sequel.

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9. Sunset Riders

Long before Red Dead Redemption offered arguably the definitive Western gaming experience, one of the most enjoyable ways to take a trip to that era was this run-and-gun side-scroller shooter that failed to really make a name for itself despite having so much going for it. 

Sunset Riders‘ old west setting carries a lot of this game’s weight, but it’s really this shooter’s gameplay (which feels like a combination of Contra and a light gun shooter) that makes you wonder how it spent so many years in relative obscurity. A sequel would go a long way towards helping to ensure this game gets the love it deserves. 

8. Weaponlord

It felt like every developer was trying to make the next great fighting game in the ‘90s. While most of those efforts fell well short of being the next Mortal Kombat or Street Fighter, the decade’s onslaught of subpar efforts meant that a few fighting games never got the chance they deserved. 

Weaponlord was one of those games. Sometimes referred to as the spiritual predecessor to Soul Edge/Soul Calibur, this weapon-based fighting game complemented its shockingly deep gameplay with a unique art style that stands out to this day. It wasn’t perfect, but it’s so easy to imagine how a sequel could have fixed nearly all of this game’s flaws.

7. Uniracers

A racing game about unicycles is strange enough, but what really sets this game apart is its surprising speed and wacky courses that emphasize almost “stunt-like” racing and tricks. I even kind of love this game’s weird ‘90s attitude. 

There was just so much more that could have been done with this concept had Uniracers gotten the sequel it deserved. Since its developer DMA Design (now known as Grand Theft Auto developer Rockstar North) clearly isn’t doing anything these days, I don’t see why they wouldn’t revisit this one. 

6. Secret of Evermore

It’s easy to get this game confused with Secret of Mana and some of the other titles of this era, but Secret of Evermore truly was a special piece of action RPG design that has been tragically overlooked over the years for reasons that have little to do with the game’s quality. 

At a time when many fans were looking for a Secret of Mana sequel, Secret of Evermore offered a somewhat similar but distinctly different gaming experience that was a little slower, a little stranger, and a little more complicated, but arguably never got the chance it deserved to really carve its own identity and find an audience. I think modern gamers would be more receptive to this title’s ideas, though it would be a lot easier to confirm that theory if we got a sequel.

5. Kirby’s Dream Course

Kirby’s Dream Course is one of those games that I feel was both hurt and helped by its license. While this project’s association with Kirby probably inspired more people to play what essentially amounts to a combination of golf and puzzle games (think Marble Madness), a lot of young gamers who took a chance on this thinking it was closer to a traditional Kirby game were left throwing their hands up in the air. 

Years later, though, it’s easier than ever to appreciate what Dream Course is going for. This almost zen-like experience challenges you to use your brain to solve its most fiendish puzzles but keeps things light enough to encourage you to progress even when you hit a wall. Even if an eventual sequel was nothing more than a mobile game, Dream Course is more than worthy of another look.

4. Illusion of Gaia

Illusion of Gaia was one of those SNES games that not everybody owned, but those who did own it typically wouldn’t shut up about it. To be fair to those sometimes persistent gamers, it’s kind of hard to forget about Illusion of Gaia once you’ve given it a chance. 

Though perhaps best described as an ARPG, Illusion of Gaia is actually sometimes closer to a more complicated take on a classic Legend of Zelda game. Its incredible world, surprising plot, fun action, and unique action/adventure concepts made it easy to love, hard to forget, and surprisingly difficult to play. While part of an unofficial trilogy of games, this one has always deserved a proper sequel. 

3. Super Mario RPG

While the Paper Mario series and some of the Mario & Luigi games eventually carried on Super Mario RPG’s legacy, you’ve got to forgive fans who still cry out for a “proper” Super Mario RPG sequel to this day. Maybe that’s because there’s really not another game quite like Super Mario RPG. 

Developed by SquareSoft during their 16-bit peak, Super Mario RPG combined the better elements of a Final Fantasy game with the more lighthearted nature of a Mario title. The result was an RPG that was much more “accessible” than other notable RPGs of this era but never left you feeling like you were playing a lesser game. At the very least, a Super Mario RPG sequel may be the only way that we get more Geno adventures. 

2. Demon’s Crest

There’s a loose rumor that Demon’s Crest‘s sales were so bad that it actually registered negative sales at one point due to an excessive number of returns. It may be little more than an urban legend, but it kind of goes to show you just how poorly this game performed when it was released. 

To this day, I’m not sure why Demon’s Crest wasn’t an instant hit. It was a bit short and some of its design elements were somewhat confusing, but this lovely gothic action title combined Castlevania and Mega Man in a way that is so easy to fall in love with. It’s the kind of game that practically begged for a sequel that it just never got. 

1. Chrono Trigger

While I’m actually a fan of 1999’s Chrono Cross, I understand why many fans don’t like it. I believe Kotaku once called it a great game and a bad sequel, which really kind of sums up some of the ways that game distinguished itself while seemingly ignoring so many of the ways the classic original made a name for itself as one of the best RPGs ever. 

So yes, count me among the many who still wants a “proper” Chrono Trigger sequel to this day. While there are plenty of reasons to doubt that a modern Chrono Trigger game could replicate the ways that this game’s “dream team” of developers made it arguably the best JRPG of the golden era of JRPGs, it’s almost impossible to walk away from this one and not be left wishing for more. 

The post 15 SNES Games That Deserve a Sequel appeared first on Den of Geek.

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[kierongillen]

Writer Notes: The Wicked + The Divine 33

Spoilers, obv.

I suspect this one may ramble. Or it may not. The odd thing is always when things which have been internally discussed forever end up not needing to be discussed in public. For Journey Into Mystery and Young Avengers, I always had the idea of the essay I'd end them with... but when I got there, I shrugged and did a couple of paragraphs which covered the basics.

(There was a grace note in both, in terms of highlighting a motif – Write Your Own Happy Ending and Be A Superhero. Save The World – but that's really minor detail compared to what I presumed I'd be writing.)

Well... I know it's going to be quite long, as I'm going to include the miniature essay on plot twists I lobbed up to respond to a question, just so I can include some WicDiv specific stuff.

So, WicDiv 33. The “Everything you knew is wrong” issue.

Jamie's Cover

Jamie coloured this himself.

There was a lot of discussion over this, in terms of how to resolve the equation that we'd set up. Where to go after the maximalist nature of Dio's 32? I won't mention the other options, as at least some of them may end up being used down the line. One suggestion I quite liked was doing the equivalent of the ABC Look Of Love album...

...which is this scene of posed romance on the cover, and when you flip the album, you see all the lighting and crew. In some ways, that's what this issue does.

But black makes sense on many levels as well. I suspect the idea of the specific bleakness will confound the expectations a little, but the statement of it is very there. We did say this was our Black Parade too.

Worth noting – first cover without a quote on the back. If we were sure the readers wouldn't have looked at the back cover before reading the book, we may have put Lucifer's “Am I the only one who didn't see that coming?” on there. But we couldn't be sure of that, so we didn't.

Russell's Cover

What Russell and Matt are doing over on Thor is state of the art superheroics. I've loved seeing what Russell's done across his time with Jason, and the idea of him doing a cover was just exciting. It's meant to be the full range of the medium, after all. I was surprised Russell went quite as maximalist as he did, but also pleased. I love this kind of operatic movie poster cover, and it screams Imperial Phase, including all the cast of the main arc. Dio's the hardest one to spot – that would be the black eyes over it.

IFC At this stage in the arc, working out what on earth to put in the synopsis is tricky. You have to throw your hands up to some degree.

The tweaks to the bios are the other thing – clearly we've got to set up the information required to comprehend the issue for those who may have forgotten it, without just saying what the thing is. For the very close readers, even the fact it's changed will be a tell. It was another reason we didn't do a preview for this issue, and even if we did, we wouldn't have released that page. Velocity in reading is key here.

With Woden we restate “She had some mysterious hold over him” rather than specifically talking about the Blakes. With Minerva we remind people that she was tortured on Ananke's machine, and then distract with a :(  emoticon.

Page 1

I believe the script for this page and the next is in the trade as “Making Of” material, which is fun. Chrissy tends to choose pages in terms of what's interesting, especially if we have something else to show. In this case, it's my drawing for the design of Woden's Secret Base.

My basic description for this was the Bat Cave, which is a man cave, if you squint. Having an enormous penny in it could have been a giggle. We had to have a few passes to get the lighting right on this – debating the colours on the bars of the cage was also tricky.

In terms of pulling out a detail, the suit of armour missing a head on the right would be a useful one. Balancing the “making sure it's visible” while not leaning too much into “LOOK AT THE HEADLESS SUIT” is Jamie's storytelling problem here.

The main dialogue problem was balancing the level of Cass' response here with her noise at the end of the last issue. Swearing to some degree is fine, but it has to be a specific kind of fffuuuucccckkk last issue. It couldn't be a swear that promised too much.

Page 2

And it's Pink Woden! But he's blue. Lighting, everyone.

Well... There was some debate on the colouring of Pink Woden, in various modes, and various reasons, not least the slight differences in colouring in his previous appearances.

(Issue 14 and issue 21-22, respectively.)

Have I said Pink Woden is my favourite fan name? We use it all the time internally, not least because Mimir is oddly hard to remember. Also, if we get used to saying “Mimir” we may end up saying accidentally in public.

Page 3

I had someone reach out to me wondering whether Cassandra choosing to gender someone by their voice and physical appearance was off. It's something I was thinking of at the time when writing it, and it's not exactly a line I'm happy with. But on balance, I felt it more likely that Cass would say that than Persephone would say anything.

Cass is imperfect in her language in lots of ways. I decided she's more likely to apologise about it down the line and kick herself, which I may end up working in, depending.

(You could also ask “why have anything there?” and that's only answerable in terms of the flow of information and ideas and conversation across the whole scene. Difficult Difficult Lemon Difficult.)

Lovely expression by Persephone in the background of the first panel – in fact, her conflicted expressions throughout. I especially love the reflection of the arriving Woden in the reflection of Mimir's mask in panel 6.

Page 4-5

The challenge here was always choosing where to put the page turns in this issue. What are the big beats. In my original draft the LITTLE WODEN BOY interstitial was actually on page 6, which would change the rhythm in lots of ways – not least in putting the Falling God sequence on a page turn. In the end, we gravitated to this. I'm much happier with it.

(Little Woden Boy works as a creepier punchline at the end as well.)

Anyway, hello! It's David Blake.

I... I maybe should save writing for the reveals all together. In fact, fuck it. Let's drop the ask essay here and we can then talk about the stuff I don't include in it. I'm asked whether you change something when someone guesses something, or how that feels?

****

Oh, god, no. Never change anything if someone’s guessed something. Nothing good lies in that direction.

Why?

Okay, let’s talk – with no specifics – Game of Thrones. If you go into the depths of fandom, Game of Thrones is – to some degree, in some areas – a solved problem. There’s a good selection of fan theories (some of which have come to fruition) which have so much meat on them it was clear they had to happen, or the book would break its structure and become unsatisfying.

These twists are available to anyone who wishes to google for them.

The vast majority of people don’t. So… why change the direction of the story? What’s the point of fucking over the enjoyment of the vast majority of people (i.e. making your story make less sense, as you’re abandoning the already existing thread) for playing gotcha on a tiny fraction of your audience?

(As a quick aside – compare and contrast theorising in a fanbase with actual events in the text that’s being adapted. Clearly, anyone who is watching GoT could have googled the synopsis of the book. Equally, anyone who’s read the books knows the big beats. Does the adaptation change the big beats? If surprise to everyone in your audience is all that mattered, you would. We don’t.)

It’s also worth noting that, while obviously some complain on the nature of the adaptation, most fans of a book generally complain that they wish it was more like the book. In other words, things that surprised them (i.e. differed from their knowledge of the text) were less satisfying. They wanted to see the big dramatic beats, even if they’re stripped of their surprise.

Surprise only matters the first time you read something. For me, any worthwhile piece of literature exists to be reread, and will open up more upon rereading. In other words, knowing the twist should add to the rereading of the book. If it doesn’t, and renders the story less than it was, it’s probably a bad twist – which is one reason why I don’t tend to call them “Plot twists” to myself. I call them reveals. The plot doesn’t contort. It’s merely revealing something in the nature of the world the reader was unaware of.

(As an aside, this means that someone who has guessed successful the direction of the plot is actually effectively skipping to their second read of the book earlier.)

There’s the other side of this as well – not just whether a plot beat has been guessed, but the almost inevitability of a plot beat being guessed. GoT fans have had twenty years to puzzle this out. In that period, a mass communication device emerged which allowed fans to talk to one another and share ideas. This machine would have torn apart any plot.

No one individual needs to guess anything. People can make one step in a chain, and then that step is exposed to thousands of minds. If even one of them can make the intuitive leap to the next step, then it continues. No one person needs to be clever enough to see the whole thing. The internet hivemind is Miss Marple, seeing through the most contorted of machinations.

(In passing, this is one reason why Alternate Reality Games are hard to do, because the mass hive mind will figure almost anything out, almost instantly. Equally in passing, the failure to understand this is another reason why Ready Player One is bad, but that’s irrelevant.)

In other words, the reason why twists are guessable is the same reason they are satisfying. A twist that isn’t foreshadowed sufficiently to give the possibility of being guessed by someone is not a satisfying twist, as it – by definition – came out of nowhere.

To make this specific to my own work. In the case of the biggest and most intricate of my current books, WicDiv, we sell about 18k in monthlies and sell 18k in trades (in the first month of release). That’s our hardcore devoted readership. How many people of them actually read the essays in the WicDiv tags? I’d say 500 at the absolute maximum, and likely a lot less. So for a maximum of 1.3% of our readership, we’d derail a still effective twist for everyone else? No, that would be a bad call.

Especially – and this is key – the people who have chosen to engage with a fandom are aware that they may figure something out. They are trying to figure something out. Why take that pleasure away from them?

In a real way, I think, in long-form narrative, pure plot twists which no one in the world guesses are dead in the Internet age, at least when dealing with any even vaguely popular work of art. You can do them in short-form narratives (like a single novel, a single movie and perhaps a streaming TV show they drop in one go) but for anything where you give a fanbase the chance to think, it’s just not going to happen. A creator should be glad their work is popular enough to have enough fans to figure it out.

Yes, I may have overthought this.

But that’s only half the question.

How do I actually feel when someone guesses something that’s going to happen? Well, this is long enough already. Let’s put the personal stuff beneath a cut…

*

I’d say you sigh “Oh, poop”and shrug.

And then you get over your ass, because you know all the above is true. Writers are often megalomaniacs who think they can control everyone’s response to their work. We don’t. We can’t control everything. We can barely control anything. We really have to let go. I’ve said WicDiv is a device to help me improve as a person, yes? It would include in this area. I have to learn to let it go, and internalise all of the above. If I can make most of my readership have the vague emotional response I’m looking for, I’m winning.

I’ve mostly succeeded at this. I’m certainly better than I was two years ago.

(I’ll probably write more about spoilers and twists and stuff down the line. I’d note that setting up twists that *are* easily guessable by the hardcore is part of the methodology. Having a nice big twist foreshadowed heavily is a good way to hide another twist behind it. “Hey – pay attention to this less subtle sleight of hand while I perform the actual sleight of hand over here.” In which case, there’s less of an Oh Poop response and more of a cackling evil mastermind response.)

The sigh can occasionally be accompanied with a “Hmm. I wouldn’t have posted that” or – more likely – “I wouldn’t have posted that THERE.”

To stress, what follows isn’t about my work per se, but culture generally, and is very much personal. This is stuff which good friends disagree with me on.

As a fan, I never tweet my own fan theories. I only tweet joke ones. Even my crack theories I don’t tweet, as they’re normally so bizarre that if they actually DO happen, I wouldn’t want to take the thrill away from people. Even in person in conversation I make sure we’re going into a deep fan hole before sharing them, aware that they may be true.

In a real way, the more likely I think something is true, the less likely I’ll say it. As this is my job, I tend to see basic structural ways stories are heading way in advance of most people. I’m a composer. I know how music works. You have a vague sense of what way they’ll go.

(One day I’ll write down my crack theory for the end of the previous Game of Thrones season. Maybe after next season, as it’s not impossible that they may end up doing it, though it’s increasingly unlikely.)

If I had a really good theory I’ve gathered evidence for? You can guarantee I’d put it beneath a cut. That’s the stuff which bemuses me. It’s a cousin of posting major spoilers about any piece of culture the day it comes out. The worst is one regular twitter trope – I’m always bemused when people do a “Calling it! XYZ will happen” tweet. Which strikes me a little like standing up in the cinema 20 minutes into a film and shouting out that you’ve guessed the ending. This ties back to the stuff I wrote above about twists being less effective in the modern age, except in a place where you can control the context and conversation. People may message in movies, but they rarely message everyone in the room.

(In passing, as it’s vaguely on topic – you may remember the research from a few years ago saying people who know a twist enjoy the story more than people who don’t know a twist. Even if this is true – and a single study should always get an eyebrow raise – it strikes me as a confusion over what “enjoy” means. All pleasure isn’t equivalent, and you can only have surprise on your first time through a work of art. That’s novelty. You can have that and then gain the “not surprise” experience second time through. If you spoil a work, it means the “novelty” experience is something you will never have. You may enjoy something more if you know the twist but you can always rewatch it to get that pleasure. If you’re spoiled, the individual specific pleasure of that first watch has been stolen.)

But that’s a conversation of social mores. Really, it doesn’t change anything in terms of how we act… and sometimes, I even grin when someone gets a twist in advance. The machine is working as intended. It’s actually kind of worrying if no one is thinking something is up in an area you’ve set up to be iffy. And… the alternative is worse – hell, there’s buried twists and details in Young Avengers that no one’s managed to figure out yet.

Twist ending: oh, no, I was a ghost all along.

****

I'm pretty sure the asker was asking about the Woden/Blake/Jon twist, and I'm primarily talking in terms of balancing the various needs of the group.

The problem with this twist was less making sure that people didn't get it, but making sure that everyone understood its import. If, hypothetically, I didn't want (barely) anyone to get it, we wouldn't have mentioned Jon after we introduced him in issue 6. Problem being, everyone needs to know Jon is a person who is Blake's kid when they hit this beat. My solution was to just reintroduce Jon hard, and resolve it, knowing that most people would just accept that. Then everyone knows who Jon is, so the father/son switch makes sense.

(In other words, far better some people suspect Woden is Blake rather than everyone going “Jon who?” Especially because the real horror of the Woden/Blake reveal is in its details.)

There's the other aspect to it as well – it's the sacrificial decoy aspect that I mentioned above. Even if guessed, it's a big enough twist to distract people. I reveal this at the start of the issue, so people will probably suspect that's enough big reveals for the issue. Yet no.

(See also: issue 11's dual deaths)

In reality, I was much more worried about the relatively small leap from realising Woden Is Blake And Jon Is Pink Woden to Mimir Is A Head.

But more on that later, I suspect.

Anyway! Storytelling!

There is something incredibly instantly disturbing about Blake without the helmet on, right?

Persephone's line was tweaked a bunch. I cut it as far as I could while still existing. It's a tiny moment of Rising Action, immediately squashed.

The switch to green as the cage goes to full power, plus Matt Wilson's wonderful pixel effects.

Love the Tron-eque light-bike trails seguing into flashback...

Page 6-7

The first date is just before Ragnarock 2013, where we first saw Jon on the stage in Laura's Flashback in issue 6.

This is a “Performance” by Jon, so is presented as such, in the same manner of Persephone's performance in issue 20. Jamie's integrated circuitry design is great, and allows us to go to a limited palette. 8 panel, 8-bit glory.

And Jon Blake.

You write and discover the characters. Jon has barely been in the book – he has a couple of lines of dialogue in issue 14, and that's it. I always knew why Ananke rejects him as unsuitable, but specifically how that would be articulated was something I thought I'd discover on the page. Writing a new character this far into the book is the sort of thing which keeps it interesting.

I was worried it would be hard, or shallow, as surely all the relevant little bits of me are already taken with the rest of the cast? Within a couple of sentences of typing, I knew I had completely forgotten one Gillen archetype.

I realised Jon was a heroic take on Lloyd/Mr Logos.

I laughed. Of course. Perfect.

The 11 days later says so much about how intricate the timeline is around here. It's the day before Baal and Sakhmet made their public debut.

The “She's a fucking weirdo/language” panel is a joy.

Yeah, Ananke really does like hanging around in people's gardens.

I specifically called for Ananke to be in an outfit from a previous God-creation sequence...

Page 8-9

...so Jamie could reuse the masks and only draw Jon transforming, and pull an extra page out of the budget.

The most embarrassing bit here is that I wrote this from my memory of Mimir's legends in the early drafts, and only remembered to actually check my notes at lettering. In fact, I'd got a couple of minor details of Mimir wrong.

(Or rather, didn't grasp the complexities of Mimir – it's very hard to get a take on Mimir, because the main myths we have of him are contradictory.)

Page 10-11

Man, I want to go to Mimir's club night.

In my original draft I wrote it as Jon cutting off Ananke's “Mimir” so that the god name wasn't revealed until the last page of this whole section. As in, it would stop people putting the book down, googling “Mimir”, realising “Heads” and then possibly seeing where we were going at the end of the issue.

I decided against it, in that's only going to be a tiny fraction of readers. If people want to break the flow of their reading to look up facts, I can't control that. Even then, I also knew it would be far from certain that just because they realised Mimir is a head, that they'd then realise others could be a head before the end of the comic.

And NOT including Mimir breaks the flow for everyone else, and is a bit cheap. Better than that.

That knife gets around.

Page 12

First panel: I never get bored of modern blur photoshop to show this kind of effect.

PoV shots are something I adore in comics. The six-panel grid gives it lots of space as well.

Honestly, that last panel with Mimir's own reflection is the creepiest thing in the world, and I love it.

Page 13

Yeah, I'm much happier with the interstitial here. Horrible.

(To state the obvious: Pinocchio reference.)

Page 14-15

I just imagine the tension in this room. Ugh.

I originally had a bunch more written for Woden here, but cut it. It was much better in the silent. He may say some of it down the line, but cutting it right to the basics – the particularly creepy basics – seemed key.

We went with a normal gun. Normal guns were at the start of the story, and have sort of disappeared. Once more we return.

Lots to unpick in all this dialogue, so won't give anything else. I'll say the whole exchange about the machine was as finely picked over to imply the meaning as much as anything else in the book – that's the thing about comics. The flowery fancy stuff? That's great and fun. But the real job is the compressing of precise exact detail, especially in a book which is nothing but precise detail.

I was chatting to Jamie about issue 34 earlier, and Jamie said how much he likes drawing Mimir's helmet. Looking at page 15 makes me see it – the second and fourth panels are just excellent in completely different ways.

Page 16-17-18

Jamie chose the steady angle, I believe, with a background drop, and Matt working the colours to show the emotions.

First panel is where the last of the fun drips out of Cassandra's expletives, and we're just left with something that's really just offensive and ugly. If there's any point where the issue reaches the black cover, it'd be this sequence.

I'm glad they've got here though.

Clearly, this is a Jamie masterclass. Pick it apart, learn. delight. Like – penultimate panel on page 16. The pause, the glance aside. Perfect. Look across page 17. There's a mixture of emotion and sheer dullness and boredom and fear, and how it all pushes and pulls again.

(“And I got it” is something else)

I believe I've said WicDiv contains a recapitulation of basically everything I've ever done as a creator. Mainly the Jamie and me stuff, but basically everything. I realised Laura's arc on Imperial Phase is me reprising what I did in Generation Hope – probably one of my least remembered things, which strikes me as fair – it only landed properly as we inched towards the end of the year. The plot was basically “Is Hope Good Or Bad?” when the answer was “Her Dad died a few days before the issue started. She's fucked up.” Only in mainstream death-happy superhero comics would that work as a twist. This was a bit like that – we distance the reader from Persephone and just show the actions and see what you make of it.

“Try to be kind. You have no idea what people are going through.”

That was the stuff I'd had planned from the start, but it only got more specific as I got nearer it and WicDiv became what it was. I've talked about having mixed feelings about WicDiv's success. Laura's arc is it writ large. I hate that the definitive work of my career is this. If my Dad was not dead I would not have written this book. There is a guilt and anger that is hard to articulate directly there, and is the material I was mining for this.

On a boring technical level, we did a lot of work with Cass explicitly saying facts to ensure that no one in the readership thinks Laura is confessing to killing her family. In an issue as twisty as this, I suspect some people would have.

(The second panel on page 17 is another one – tall enough to have a bunch of half ideas.)

And Laura, after making a breakthrough, immediately crumbles to another mistake.

The “Laura” line is a nod to the song, and one of the lines in the original WicDiv document sheet.

Page 19

I was going to tweak Cass' line – in some myths he's a giant – but that she's musing gives her a little freedom to dance around what we know.

You know, I suspect one reason why Mimir was never brought up as an option connected to Woden is that he's one of the very few Norse myths who've never appeared in a Marvel superhero comic. Or at least I don't think he has.

Normally we'd put something as big as the head remove on a page turn, but it's a physically small beat, so not something you will automatically recognise out the corner of your eye when you're reading.

I love Cass' thinking face in the penultimate panel. Thinkythinkythinky.

Two major beats happening on this page, of course – it appears Mimir is a head (or a robot head, perhaps?) and Mimir thinks the machine does nothing.

And then we hard-cut to what we do, but it's worth dwelling on this a little. When thinking of plot structure, I talk about a few ways to disguise twists. Earlier, I mentioned a Big Twist can make people suspect the twists are over. This is something I tend to think of as a revealed move. As in, you create a machine of logic with a missing part. You add the missing part as late as possible, and then immediately move to what has been concealed before the audience is able to process the new information.

Hence two beats and a hard-cut...

Page 20-21-22-23

Anyway – this clearly had to be a page turn. To state the obvious.

Steady angle shot here, to have the awfulness of it there. I suspect if I’d had space I'd have had the last panel on page 19 be a third of a page, so the two removed heads could mirror one another.

As a minor detail, Minerva's running feet in the second panel of 20 are really good.

Minerva's gesture on page 21.2 is a joy. I know that feeling, Mini.

I really wanted Inanna to be talking from off panel on page 21, but that definitely would give the game away. The problem with distinctive fonts...

And 22 is the reveal on the heads. Probably best not to say much more about this, as I suspect any of the design elements will intersect with what happens in issue 34, so I'll talk a bit about it then.

Tara and Inanna's expressions really are wonderful.

Luci's line came surprisingly late. The “Talking Heads” interstitial came early. The only reason I wasn't going to use it here was in case I wanted to use it later. I decided I didn't.

Okay... twists.

In reality, for me, it's a case of once you've decided that this is the plot, the only way to do it is dovetail towards an issue like this. Any of these individual beats provide too much connective tissue to the other ones, meaning all must be revealed or none.

(You could argue about Minerva, I suspect. Maybe.)

It's been strange writing a book like this – when so much is there early on. Seeing who got what and who didn't, and how people reinforced people has been interesting. That the core WicDiv tumblr community has never really suspected Minerva was off is in some way a surprise – though I've had people talk about that directly and personally. Blake/Jon and Minerva-is-Off-In-Some-Way were the two twists I would guard, but their primary importance was in how they led to the Heads.

When Ray Fawkes told me “There's a reason you're doing all the decapitations, right?” circa issue 2, I suspected that I'd overplayed the hand by having a literal talking head in issue 3... but it turned out fine.

“Played the hand” is interesting phrasing, and telling. Writing something as intricate as this is like doing a slow-motion card trick, in public, constantly. It is a form of constant stress. I have been paranoid of fucking it up in stupid ways, and it's impacted every single conversation I've ever had about WicDiv. Like just writing one name when I mean another or something. There was a hilarious panic when I added ‘Killer Queen’ to the playlist, just thinking of it as a quite funny Ananke song... and then realised there was only one character in the cast with a connection to the band Queen, and that was Minerva. Should I take it off the playlist? No, someone may notice that, and it's against my rules anyway. I quickly added a few other things to camouflage it.

As if anyone is watching that closely, y'know?

That's an extreme example, but an entirely characteristic one. I have lost sleep over it. Even a year ago, I wished I could just get to 33 and not worry about it. When 33 dropped, it was simultaneously excellent (the response was basically what we expected) and an anticlimax (The amount of emotional and intellectual effort you put into doing this is not worth it. It could never be worth it.) I've been telling friends that I'll never write a story that operates like this again. Partially that is because I wouldn't want to repeat myself, and partially because – as I said above – I think twists are less effective in long-form serialised work in 2017, but mainly as I don't think I want to do this to myself again. I'll find some other way to torture myself.

(Spangly New Thing certainly abandons the Scorpion's-Tale narrative model in favour of an intricate character clock of woe.)

Actually, talking playlists...  I have prepared something. There's a secondary WicDiv playlist which I've been using since July for songs which speak to the end of year three and the remainder of year four. I didn't want to add these songs to the main playlist in case a particularly determined WicDiv fan worked out issue 33 from them. This says a lot about the high levels of anxiety I've been running on for the last few years on this topic. It would be terrible to blow it in such a dumb way. Now, those reading in issues know secrets the trade readers don't. So it's going to be an interesting few months.

Here's the playlist. Keep it mum. I'll add it to the main list when the trade's out. Don't shoot me for the first track.

You may have seen us trying to prod people to reread WicDiv before 33. This was partially in response to a friend who read 33 before it came out who said – I paraphrase – “I wish I could tell people to reread the series now, because after they read 33, those issues are gone, forever.” She's right – it's a pure ‘everything changes’ issue, and you can't reread the comic earlier, because everything has transmuted beneath your fingers.

Which is by our design, but is still a grim thing to think about. We've destroyed all those issues on the shelves, and replaced them with a new story. On the bright side, we've given you 35 free comics. I suspect this returns to Jamie’s and my twitchiness over comic prices, and trying to make ours better value, every way we can. In this case, we want to make rereading valuable and exciting.

SIGH! This has been a journey, friends. I'm glad I no longer have to think about any of the above. There's huge stuff coming in the final year, but it's got entirely its own character and momentum. The cards we're playing with have fundamentally changed. There's so much stuff to come, but it builds from this.

Oh – I'm sort of regretting mentioning the thing about the third theme in the backmatter, as it's clearly the sort of thing that's going to drive a certain strata of reader to distraction – especially as if there's any number of other themes in the book. The one I was thinking intersects a little with pre-existing major themes, and speaks to the particular spin on them. We'll get to it eventually. Don't worry.

Anyway, to sum it all up, clearly with four talking heads, WicDiv is four times as good as Sandman. That is a FACT.

Christmas Special shortly, the trade collection in January, the 1923 Special in February and we're back with issue 34 in March, with the new arc.

Thanks for reading.

[carygarman980]

Business in the Front, Party in the Back: Garage Edition.

I’ve owned my house for over five years now, and I have never—not once—parked a car in my garage. Honestly I often forget that it’s even a potential option, even though it’s right behind the house and I see it everyday. Both online and in real life, people persistently tend to refer to my garage as a “shed” or a “shack,” which for a while confused me. It has a garage door that faces the street and everything! But then I realized…that I use it as a shed-shack…and think of it as a shed-shack…and more than likely talk about it like a shed-shack while I continue to not utilize the ENTIRE SEPARATE BUILDING that I have ON MY VERY PROPERTY built SPECIFICALLY for the ultra-fancy purpose of sheltering THE THIRD MOST EXPENSIVE THING I OWN, behind my house and my debt, and MAYHAPS I should really start thinking of it as a garage?

Which really conflicts with my evident aspiration to also have a personal lumberyard, so it’s a tough call. I don’t know. We don’t need to dwell on it. We’re just talking about what the shed-shack is like right at this moment in time. To do that, let’s look at where we’ve been. Behold:

This is when I bought the house. The great thing about having such dire before photos is that I can never really feel that bad about how things stand today because, well…look! Evidently, there had been some kind of half-baked effort to extend the garage to accommodate a boat, which—speaking as a person who can barely maneuver my small utility trailer into my own driveway (or any kind of space, really)—sounds patently absurd. Clearly the project was abandoned before it had really gotten off the ground, though, leaving this…weed and trash pit?

Additionally, take note of the little door in that first image, because it becomes relevant shortly. OMG HANG ON, we’ll get there.

SO. When ALL THAT ASPHALT got removed from the backyard (prompting the insane summer of dirt-hauling and praying for the sweet relief of death), so did that cinderblock foundation, which left this charming view! There’s something about an old sloppy siding patch that I’m actually kind of fond of, even though I have NO patience for new sloppy patch jobs. I finally made the connection that the missing window on the back of the garage never actually left the premises, but rather got recycled as the old laundry room window! Which has now also been replaced, but anyway. What an odd choice.

Inside the garage, things had gotten a JUST A LITTLE crowded. Demo over at Bluestone Cottage had left me with piles and piles of wood trim to store until it gets cleaned up and re-installed. My first fencing project had left behind an extra panel. Upstairs kitchen demo supplied a kitchen’s worth of base cabinets and formica countertops, poor decisions granted me a bunch of falling-apart shutters that I intercepted at the dump, a twenty-dollar price tag on a cute art deco dresser had saddled me with…an extra dresser. And so on. You get the idea.

I’m not really sure when or exactly why somebody drywalled the whole interior of the garage, and in retrospect it might have been kind of nice…but it wasn’t in good condition, appeared moldy in some spots, and somewhat interfered with the plan to install new electric in here to run power tools, new exterior lighting, etc.

SO! I gutted all the drywall, exposing the unpainted backside of the shiplap siding and the studs. Rustic? Sure. Rustic.

A couple months before, my friends Kim and Scott over at Yellow Brick Home had put some super impressive work into their own detached garage, including adding these simple and strong wood brackets for storing excess lumber. Their garage is what garage dreams are made of. “Great!” I said. “I’ll do that, too!”

So I did that too.

Except I have a lot more wood than Kim and Scott do. And also a much smaller garage. These are two facts you might think I would have considered beforehand, but evidently I’m incapable of thinking this many steps ahead.

Simple brackets. I can build simple brackets. Here I am, building simple brackets as day turns to dusk. Brackets out of scrap wood to hold more scrap wood.

Turns out there is a real compatibility problem between me and these brackets. You also might think I would have foreseen this, but once again. Too many steps ahead. Lower those expectations PLEASE.

See, each one takes up a lot of space. The space that is a particular issue is that diagonal brace, because once your wood pile gets to the base of that diagonal brace, subsequent pieces of wood inch forward, causing your pile to be weird and uneven, and things to fall, and general mishap. The solution here is obviously to not have so much goddamned wood that the piles ever get higher than the bottom of the diagonal brace, but that’s obviously too much to ask of me at this moment in my life. Someday I will have used up a lot of this wood (I SWEAR I HAVE PLANS FOR ALMOST ALL OF IT PROBABLY I THINK) and this might not be an issue anymore. Even still, though, it’s not an especially space-efficient design.

What I SHOULD HAVE DONE (and later did do on one wall) was suck it up and buy these storage racks, because they’re a) made for this very purpose b) well-designed and very sturdy c) pretty macho. Unfortunately once I started building my simple brackets I couldn’t stop building my simple brackets.

Because I simply must tell you EVERYTHING, demo revealed another now-covered window on the other side of the garage, directly opposite the other window!

Siding is patched over on the exterior, and this window faces the fence that divides my property line from the neighbor’s. Maybe someday I’ll restore it but for now it’s kinda not hurting anybody.

SO. Back to the wall opposite the garage door. At this point there is lumber everywhere so I take a break to use a very small amount of it.

Remember when I said to take note of the skinny door on the side of the garage? It’s only 28″ wide—which is fine for just walking in and out, but try carrying a table saw through it. Or a long piece of wood. Or the lawnmower.

YES there’s a big garage door on the opposite end of the garage, but it’s outside of the fence, doesn’t have an electric opener, and stays locked for security…so using it means making sure the dog is in the house, opening the garage door from the inside, out onto the sidewalk with whatever the probably heavy thing is, back into the backyard through the gate, back into the garage to close it, back to the house to let the dog out who has now eaten something I forgot I left on the table…this was a pain.

Long ago I dazzled you with this beautiful SketchUp rendering of my backyard, which is mostly different than anything I’ve done or plan to do anymore, but adding doors to the back of the garage didn’t change! The idea is that it allows more light into the garage, and provides an easy, convenient, and LARGE access to bring big things in and out. In theory you could put a table saw or a planer in the middle of the garage, open up both sides, and feed a long board through. In practice, thusfar there has always been too much stuff for this concept to become a reality, but I HAVE DREAMS, OK?

So, I invited my friends over for a relaxing afternoon of light framing work and demolition. And by friends I mean Edwin and Edgar, the ride-or-die power duo I rope into pretty much everything I do. We built a header with hoarded lumber and supported it with hoarded jack and king studs. Evil plan in action!

Then we cut a big hole! Light streamed in! Angels sang!

Into the opening, we inserted this set of pre-hung french doors. Pre-hung doors are so simple! So drama-free! A few shims, a few screws, and viola! Doors!

Edgar, who is magic with a circular saw, ripped off the ends of the siding around the door to accommodate a new casing.

The hardest part of assembling the new cashing is, luckily, not very hard! A few passes on the table saw and I had a good replica of the drip cap that sits over the other doors and windows on the garage and parts of the house. Some lumber yards have this piece available, too.

Some more scrap wood and a hefty dose of Bondo later…looking pretty good, doors!

Speaking of Bondo: Bondo is a bit tricky and, I find, unreliable for exterior wood repairs, at least in this climate. Some people swear by it, some people won’t touch the stuff—I fall somewhere in the middle. I’ve had repairs fail after just one year on bare wood, although repairs where I’ve used at least 1-2 coats of primer on bare wood before applying Bondo have been fine—for now, at least. A much better product—although more expensive and time-consuming (it takes about a week to cure)— is Abatron WoodEpox. For what it’s worth, although not recommended, I’ve never seen a Bondo repair on interior painted woodwork fail—just outside. It can’t seem to take the expansion and contraction that occurs with exterior woodwork in the upstate NY climate.

SO. Way back when I said I was going to do this, and then a bit later did it, and then neglected to blog about it, there was comment drama about the doors. They are pine. They are made for interior, not exterior use. They are single pane and not particularly weatherproof. I chose them in large part because they were affordable at $377, and I figured worst case scenario, someday I’ll have to replace them into a now-existing standard-sized opening, which isn’t really such a big deal. I stand by it! They’ve been through 3 whole winters at this point and haven’t shifted or shown separation at joints, etc., and I think they should last many more years without issue.

SO. Current Status: TOO MUCH WOOD. In fairness there are many not-wood items like a few large tools, 2 spare cast iron sinks (as one does), various gardening and landscaping accoutrement, roofing shingles for a rainy day (get it?), window sash (pl.), extra corbels, uh…I don’t know, stuff. It’s an overcrowded disaster which I swear is not nearly as disorganized as it might appear. I have a LOT of interior finishing work coming up (THANK GOD. I AM SO TIRED OF FRAMING AND PLUMBING AND ELECTRIC AND INSULATION AND SIDING I COULD SCREAM. I AM SCREAMING.), so I’m kind of perversely excited to see how thinned out I can get this in the coming months. Also, intensely motivated to get this garage back under control because this is driving me nuts. At a certain point the strategy backfires because there’s too much to even see what you have, and fishing it out becomes a big hassle.

Additionally. You may note. That the last two are recent pictures. And I mentioned these doors were installed 3 years ago. There is a simple explanation for this. I never actually finished painting the doors. Because I just did not. The options were to finish painting the doors or do something other than finish painting the doors, and I have consistently chosen the latter option for multiple years now.

Also, they really need hardware. The lack of hardware is an issue.

TA-DA!!!

[billydmacklin]

Business in the Front, Party in the Back: Garage Edition.

I’ve owned my house for over five years now, and I have never—not once—parked a car in my garage. Honestly I often forget that it’s even a potential option, even though it’s right behind the house and I see it everyday. Both online and in real life, people persistently tend to refer to my garage as a “shed” or a “shack,” which for a while confused me. It has a garage door that faces the street and everything! But then I realized…that I use it as a shed-shack…and think of it as a shed-shack…and more than likely talk about it like a shed-shack while I continue to not utilize the ENTIRE SEPARATE BUILDING that I have ON MY VERY PROPERTY built SPECIFICALLY for the ultra-fancy purpose of sheltering THE THIRD MOST EXPENSIVE THING I OWN, behind my house and my debt, and MAYHAPS I should really start thinking of it as a garage?

Which really conflicts with my evident aspiration to also have a personal lumberyard, so it’s a tough call. I don’t know. We don’t need to dwell on it. We’re just talking about what the shed-shack is like right at this moment in time. To do that, let’s look at where we’ve been. Behold:

This is when I bought the house. The great thing about having such dire before photos is that I can never really feel that bad about how things stand today because, well…look! Evidently, there had been some kind of half-baked effort to extend the garage to accommodate a boat, which—speaking as a person who can barely maneuver my small utility trailer into my own driveway (or any kind of space, really)—sounds patently absurd. Clearly the project was abandoned before it had really gotten off the ground, though, leaving this…weed and trash pit?

Additionally, take note of the little door in that first image, because it becomes relevant shortly. OMG HANG ON, we’ll get there.

SO. When ALL THAT ASPHALT got removed from the backyard (prompting the insane summer of dirt-hauling and praying for the sweet relief of death), so did that cinderblock foundation, which left this charming view! There’s something about an old sloppy siding patch that I’m actually kind of fond of, even though I have NO patience for new sloppy patch jobs. I finally made the connection that the missing window on the back of the garage never actually left the premises, but rather got recycled as the old laundry room window! Which has now also been replaced, but anyway. What an odd choice.

Inside the garage, things had gotten a JUST A LITTLE crowded. Demo over at Bluestone Cottage had left me with piles and piles of wood trim to store until it gets cleaned up and re-installed. My first fencing project had left behind an extra panel. Upstairs kitchen demo supplied a kitchen’s worth of base cabinets and formica countertops, poor decisions granted me a bunch of falling-apart shutters that I intercepted at the dump, a twenty-dollar price tag on a cute art deco dresser had saddled me with…an extra dresser. And so on. You get the idea.

I’m not really sure when or exactly why somebody drywalled the whole interior of the garage, and in retrospect it might have been kind of nice…but it wasn’t in good condition, appeared moldy in some spots, and somewhat interfered with the plan to install new electric in here to run power tools, new exterior lighting, etc.

SO! I gutted all the drywall, exposing the unpainted backside of the shiplap siding and the studs. Rustic? Sure. Rustic.

A couple months before, my friends Kim and Scott over at Yellow Brick Home had put some super impressive work into their own detached garage, including adding these simple and strong wood brackets for storing excess lumber. Their garage is what garage dreams are made of. “Great!” I said. “I’ll do that, too!”

So I did that too.

Except I have a lot more wood than Kim and Scott do. And also a much smaller garage. These are two facts you might think I would have considered beforehand, but evidently I’m incapable of thinking this many steps ahead.

Simple brackets. I can build simple brackets. Here I am, building simple brackets as day turns to dusk. Brackets out of scrap wood to hold more scrap wood.

Turns out there is a real compatibility problem between me and these brackets. You also might think I would have foreseen this, but once again. Too many steps ahead. Lower those expectations PLEASE.

See, each one takes up a lot of space. The space that is a particular issue is that diagonal brace, because once your wood pile gets to the base of that diagonal brace, subsequent pieces of wood inch forward, causing your pile to be weird and uneven, and things to fall, and general mishap. The solution here is obviously to not have so much goddamned wood that the piles ever get higher than the bottom of the diagonal brace, but that’s obviously too much to ask of me at this moment in my life. Someday I will have used up a lot of this wood (I SWEAR I HAVE PLANS FOR ALMOST ALL OF IT PROBABLY I THINK) and this might not be an issue anymore. Even still, though, it’s not an especially space-efficient design.

What I SHOULD HAVE DONE (and later did do on one wall) was suck it up and buy these storage racks, because they’re a) made for this very purpose b) well-designed and very sturdy c) pretty macho. Unfortunately once I started building my simple brackets I couldn’t stop building my simple brackets.

Because I simply must tell you EVERYTHING, demo revealed another now-covered window on the other side of the garage, directly opposite the other window!

Siding is patched over on the exterior, and this window faces the fence that divides my property line from the neighbor’s. Maybe someday I’ll restore it but for now it’s kinda not hurting anybody.

SO. Back to the wall opposite the garage door. At this point there is lumber everywhere so I take a break to use a very small amount of it.

Remember when I said to take note of the skinny door on the side of the garage? It’s only 28″ wide—which is fine for just walking in and out, but try carrying a table saw through it. Or a long piece of wood. Or the lawnmower.

YES there’s a big garage door on the opposite end of the garage, but it’s outside of the fence, doesn’t have an electric opener, and stays locked for security…so using it means making sure the dog is in the house, opening the garage door from the inside, out onto the sidewalk with whatever the probably heavy thing is, back into the backyard through the gate, back into the garage to close it, back to the house to let the dog out who has now eaten something I forgot I left on the table…this was a pain.

Long ago I dazzled you with this beautiful SketchUp rendering of my backyard, which is mostly different than anything I’ve done or plan to do anymore, but adding doors to the back of the garage didn’t change! The idea is that it allows more light into the garage, and provides an easy, convenient, and LARGE access to bring big things in and out. In theory you could put a table saw or a planer in the middle of the garage, open up both sides, and feed a long board through. In practice, thusfar there has always been too much stuff for this concept to become a reality, but I HAVE DREAMS, OK?

So, I invited my friends over for a relaxing afternoon of light framing work and demolition. And by friends I mean Edwin and Edgar, the ride-or-die power duo I rope into pretty much everything I do. We built a header with hoarded lumber and supported it with hoarded jack and king studs. Evil plan in action!

Then we cut a big hole! Light streamed in! Angels sang!

Into the opening, we inserted this set of pre-hung french doors. Pre-hung doors are so simple! So drama-free! A few shims, a few screws, and viola! Doors!

Edgar, who is magic with a circular saw, ripped off the ends of the siding around the door to accommodate a new casing.

The hardest part of assembling the new cashing is, luckily, not very hard! A few passes on the table saw and I had a good replica of the drip cap that sits over the other doors and windows on the garage and parts of the house. Some lumber yards have this piece available, too.

Some more scrap wood and a hefty dose of Bondo later…looking pretty good, doors!

Speaking of Bondo: Bondo is a bit tricky and, I find, unreliable for exterior wood repairs, at least in this climate. Some people swear by it, some people won’t touch the stuff—I fall somewhere in the middle. I’ve had repairs fail after just one year on bare wood, although repairs where I’ve used at least 1-2 coats of primer on bare wood before applying Bondo have been fine—for now, at least. A much better product—although more expensive and time-consuming (it takes about a week to cure)— is Abatron WoodEpox. For what it’s worth, although not recommended, I’ve never seen a Bondo repair on interior painted woodwork fail—just outside. It can’t seem to take the expansion and contraction that occurs with exterior woodwork in the upstate NY climate.

SO. Way back when I said I was going to do this, and then a bit later did it, and then neglected to blog about it, there was comment drama about the doors. They are pine. They are made for interior, not exterior use. They are single pane and not particularly weatherproof. I chose them in large part because they were affordable at $377, and I figured worst case scenario, someday I’ll have to replace them into a now-existing standard-sized opening, which isn’t really such a big deal. I stand by it! They’ve been through 3 whole winters at this point and haven’t shifted or shown separation at joints, etc., and I think they should last many more years without issue.

SO. Current Status: TOO MUCH WOOD. In fairness there are many not-wood items like a few large tools, 2 spare cast iron sinks (as one does), various gardening and landscaping accoutrement, roofing shingles for a rainy day (get it?), window sash (pl.), extra corbels, uh…I don’t know, stuff. It’s an overcrowded disaster which I swear is not nearly as disorganized as it might appear. I have a LOT of interior finishing work coming up (THANK GOD. I AM SO TIRED OF FRAMING AND PLUMBING AND ELECTRIC AND INSULATION AND SIDING I COULD SCREAM. I AM SCREAMING.), so I’m kind of perversely excited to see how thinned out I can get this in the coming months. Also, intensely motivated to get this garage back under control because this is driving me nuts. At a certain point the strategy backfires because there’s too much to even see what you have, and fishing it out becomes a big hassle.

Additionally. You may note. That the last two are recent pictures. And I mentioned these doors were installed 3 years ago. There is a simple explanation for this. I never actually finished painting the doors. Because I just did not. The options were to finish painting the doors or do something other than finish painting the doors, and I have consistently chosen the latter option for multiple years now.

Also, they really need hardware. The lack of hardware is an issue.

TA-DA!!!

Business in the Front, Party in the Back: Garage Edition. published first on https://carpetgurus.tumblr.com/

[firefliesinflames]

Thesis interview with Sarah Berry

Blair Schwartz: So, this is an interview with the Sarah Berry done by the Blair Schwartz. Okay Sarah Berry, so how did you get into art?

Sarah Berry: My kindergarten teacher, his name was Mr. Mac. he saw my art and he treated me like I was special, like I was a little better than everyone else. he did that to a few people and put them in a gifted and talented program so you got to draw instead of going to recess, you get to like go to his class. And I think he just kind of gave me confidence to believe I could be an artist or like he put that idea in my head by calling me special.

BS: And what was the art you were making? Like drawings or was it little sculptures made out of clay or something?

SB: You know, it’s like elementary school, so I guess it wasn’t just kindergarten. I guess it was like kindergarten through fourth grade. So, there were clay sculptures, lots of sketching, we did linocuts, and I was the only person who got to do an etching. It wasn’t like a dropped in acid etching, I just carved into the metal. So, he made that seem like it was a tricky thing.

BS: He was like here you special person. Okay, so then who was your first favorite artist? like the first one you remember really being like ‘oh my god’ they’re amazing.

SB: Probably Michelangelo

BS: Okay, like the Sistine chapel?

SB: the Sistine chapel or any of his other big works of art. and when I was younger I used to think that those were realistic renderings of humans. I just didn’t know. For some reason, I didn’t compare it to a photograph in my head. I was just like, ‘well that is the epitome of painting’ cause I feel like that’s what I was told.  

BS: That’s what people looked like in the old times [Laughing} So, when did your interest in tarot cards start?

SB: oh man, that’s a hard question. It was probably when I was in high school and I started exploring kinds of spirituality. and someone gave me a deck of Rumi tarot cards to borrow. So I just started looking at them and doing readings for people. I was just enamored by them.

BS: What age was this again?

SB: Sophomore year.

BS: Cool, how do the tarot cards influence your work?

SB: So what imp really concerned about is symbols and the tarot cards I look at especially the popular deck the rider weight deck, she uses symbols from hermetic societies and the occult and babala, and just all these different spiritual trains of thought and beliefs and she just draws all these symbols together in each card and puts them together in a way to create a new meaning. I think that’s really exciting. and I love the amount of knowledge you have to have about the symbols and their past. You have to understand so much to understand the full depth of the card. but you can still understand it at a surface level. like you don’t have to know everything but if you do you get so much more out of it.

BS: I never really knew that. I mean I knew that tarot cards were symbols based… Okay, what does design mean to you?

SB: So design I see as a very practical skill. I think its given me a good eye for composition. A steady hand because of how many times I’ve – I mean I can measure with an exacto knife very well. because so much of design is just that perfection and the nice edge. and you have to have the technical ability to make it exactly how you envisioned it.

BS: How do you start a project? What do you do? Like do you sketch in your sketchbook?

SB: my favorite way to start a project is to search imagery that I'm interested in or research a topic that I’m interested in and find like medieval style imagery that is associated with the topic. I draw from that and then just kinda go for it. I start with an idea but then kinda let intuition take over.

BS: What was your favorite project?

SB: probably the etching I did last year of the two hands with the circle between them.

BS: What do you prefer out of drawings, print, etching, all of the things you do?

SB: I think they do different things for me.  

BS: what’s your favorite process to work in, regardless of what piece comes out of it?

SB: I think, probably pen and ink? I get the results immediately. so, they’re satisfying in that way. I mean I love print because you get multiple copies of it. but you get instant gratification with pen and ink.

BS: I wrote these questions a while ago so this question goes, other than cats on shelves, what do you plan on doing this semester? Can you explain the cats on shelves?

SB: Well I was just thinking of making myself another studio buddy. like I have my chameleon in my studio and he’s been with me for, I don’t know, maybe six years.

BS: Wait, the chameleon has been with you for that long?

SB: yeah, he’s been there for about six years. I take him with me everywhere I go and I put him up on my wall and somehow he’s stayed very clean and very flat. I just love how I cut him out and then I feel like he came to life.

BS: Did you draw him and then cut him out?

SB: yeah I drew him and then cut him out. So I was just thinking maybe I could use another one.

BS: and put a cat on a shelf?

SB: uh huh

BS: So other than that, what do you plan on doing this semester? What are you working on?

SB: So I want to delve into the idea of symbols and really explore in an abstract way and conceptual way. so maybe drawing imagery and symbols and then taking the symbols out after. so then just explore symbols more through paint and print and everything

BS: Last semester you were talking about a book that you were gonna make for thesis. Want to explain the thought process behind the book even if you’re not going to make it? It’s a lot of work

SB: It is a lot of work. so the idea for the book is to make an artist book. So make a series of etchings that have influence by medieval style drawings also by scientific illustrations and just draw these creatures, these fantastical creatures and label them with kind of mysterious descriptions. the idea being that it’s like kind of if you’ve ever seen supernatural the father has this –

BS: the demon book?

SB: Yeah so like every creature they’ve ever encountered he knows how to kill it and he’s written down the way. So something like that perhaps and then take all the prints and bind them into a book.

BS: We will see what happens. Is that still a viable option or have you not started it yet so its not going to work?

SB: I’m worried about the content. because it’s a lot of illustration. I know I could handle the printing even though it would be a lot. I could handle the printing and the book binding but coming up with the content is going to be the hardest part for me.

BS: yeah cause you want it to be a decently thick book. That’s a hard thing to come up with in a semester.

SB: I might want to come up with a looser concept. so then it’s easier for me to come up with ideas. if it’s not so specific.

BS: I’m gonna avoid going brainstorming with you on this idea cause that’s what I want to do. So what art movement do you think your work best fits into?

SB: far in the past

BS: Far in the past? medieval style work?

SB: Yeah, I don’t think its style is very relevant today I think it speaks to people in a thinking about the past way.

BS: Okay, Last question. who are your favorite artists now? who are you looking at.

SB: I love mocha. mocha’s a classic. incredible line work. I guess there’s been a revival if interest in him in Japan recently which I didn’t know. he’s great. Art Noveau artists, so him and Aubrey Beardsley. I mean most of the artists I look at I really don’t know their names because they’re from so long ago.

BS: so how do you look at images? How do you find inspiration?

SB: So I google. I’ll start broad, with something dumb like occult. See some symbols that come up and then look into them or ill happen upon a new symbol and I’ll start reading about what its connected to all of its history and how relevant it is to today. and then find something else connected to that and I’ll go down these weird rabbit holes of imagery. and then I’ll just keep this folder of inspiration

BS: Well, that concludes our interview. Thank you, Sarah Berry, for being interviewed.

SB: of course, thank you for having me.

[aion-rsa]

How Luca Became the First Pixar Movie Made at Home

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Luca is the name of the next animated feature film from Disney’s Pixar Animation Studios, directed and conceived by animator and artist Enrico Casarosa. Working at Pixar since 2002 as a story artist in films like Cars, Up, Coco, and Ratatouille, Casarosa directed the 2012 short La Luna before making his feature directorial debut this year with Luca—an original fantasy based partially on Casarosa’s boyhood in Genoa, Italy.

Telling the tale of two teenage sea monsters named Luca and Alberto (voiced respectively by Jacob Tremblay from Good Boys and Room, and Jack Dylan Grazer of It and Shazam! fame) who spend a summer disguised as humans and enjoying life on land in an Italian seaside village, Luca represents two major firsts for Pixar: It is the first feature in the studio’s decades-long history to take place specifically in Italy and it is, for all intents and purposes, the first Pixar film to be made almost completely at home.

While the research, development, and production of the average Pixar film takes anywhere from four to seven years, the bulk of the animation and actual production, including voice work, happens during the last year before it is readied for release. With Luca set to arrive in 2021, this meant that Casarosa, producer Andrea Warren, and their extensive team of animators, artists and visual effects craftspeople would spend the majority of 2020 working on the film.

And that was the plan—until the pandemic hit and completely changed the way that the filmmakers would go about making their movie.

“I always joke that when we left our offices with our computers and papers in hand, I had a plant on my desk and I was like, ‘Should I take it?’” says Warren when Den of Geek speaks with her and Casarosa via Zoom. “[I had] zero idea of what the road ahead was going to be like. I think very quickly it was all about lifting barriers. Like, can we animate from home? Can we meet? Can we record actors? Slowly we answered ‘yes’ to all of those things. We realized we would actually get to continue making the film.”

With the Pixar campus in Emeryville, California effectively shut down by the spread of the deadly coronavirus, the Luca team found themselves all trying to get their bearings and continue their work while isolating at home during the pandemic’s peak months.

“I think that one of the hardest things for sure was just communication,” says Warren. “I think we learned very quickly how much we got done walking down the halls in between meetings, running into people at lunch… there are all these things that kept so much of the communication and momentum of the project going. Trying to do that from home is a heavier lift, as is staying connected even as everybody’s lives sort of collapsed into one pile of parenting and kids and school.”

Warren adds that other non-work struggles—such as the initial difficulty of doing once simple things like buying groceries, or evading the threat of California’s annual wildfires—added to the tests heaped upon the filmmakers.

“There were just so many phases of this that were challenging,” she explains. “I think the biggest challenge was to keep the team connected and clear, on the same path and on the same mission. But there were some interesting advantages that we learned too. It certainly makes you rethink everything. More people could attend certain things because you could just Zoom in. We worked with a writer in New Zealand for a little while that we would’ve probably never worked with because we thought, well, you can’t go anywhere, anyway.”

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Casarosa notes that even when it came down to recording the voices for the film, some of those sessions took place as far away as Italy itself—a sharp difference from the usual Pixar method of recording everything at the studio’s facilities. Casarosa adds that overall, making the movie this way was less about any new advances in the technology but finding new ways to use the existing resources in a new environment.

“There are a few tools that we have to go and tweak and enable the control,” the director says. “But it’s a little bit more about how we use them. For the style of our animation, for example, we didn’t have to reinvent the wheel. We just had to add a few possibilities and options and abilities, but I think it was really more like challenging ourselves to find different timings and vibes and energy.”

Citing a specific example, Casarosa continues, “We really had to learn how to record people from their homes. We thought that would be a problem. We thought that would be a huge loss in quality, but actually there’s enough technology that can clean it up. So that did not turn out to be a huge problem. But there were amusing things, like spending an hour with Maya Rudolph trying to figure out her iPad and not acting, but actually doing our own IT remotely.”

He adds, “But we realized—and it’s kind of amazing—that with an iPad and a microphone, and a little bit of work, you can do what we do at a state-of-the-art place like Pixar. That was really quite a journey, even if it was a little bit slower. Sometimes it felt like we were racing against the clock to be able to finish the movie… but now we know we can do this.”

Although it is a fable about friendship, told from the perspective of sea creatures who can shapeshift into human form while on dry land, much of Luca is immersed deeply in the natural beauty of the Italian Riviera and the rich culture and longstanding history of the small, sun-washed towns that nestle upon its shores and the hills. It’s somehow appropriate then that a film made under conditions of isolation, separation, and stress aims to transport viewers to an almost mythical yet still real slice of Italy.

“Even just the setting, we’re hoping, is wonderful,” says Warren when asked about releasing the movie into a world that’s tentatively emerging again. “That beautiful sense of getting to go somewhere that we all have been missing so much. We hope that it feels like being transported to this beautiful place that you would love to visit for real, but that you can visit through Luca. I think that’s one piece of it, that we’re hoping just to transport people out of our homes to feel like we went somewhere.”

Luca premieres exclusively on Disney+ on June 18.

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