#i have just TUNNEL VISIONed in on this new form of creating

[two-hands-toward-the-sun]

i just scrapbooked for almost four hours straight. i have completed my first seven pages!!!

[imababblekat]

So Close

@badlywritten-stuff2 ,"i am a sucker for spiderman reader w the turtles so i was hit w a potentially galaxy brain (and. shippy.) idea; the reader and leo are about to have like, a spiderman-esqe kiss where the reader is hanging upside down on their web with only half their face showing (you know the scene-- that's ROMANCE baby!) maybe it's a little farther down the line, in terms of their relationship and it's crept into less platonic and more 'i like you' vibes but still very much leo doesnt know our beloved spidey's identity. then the boyz show up and they're all like "YALL WAS GONNA KISS??" and leo and spidey are like "NUH UH" or something idk! have fun with it i just got the sillies. thank you! i hope youre doing well!"

◌ S,p = Spider Persona ◌

~xXx~

The air felt chill across green pebbled skin, a light rain cascading down from the sky and creating a beautiful wash of colors of the city scape for Leo to gaze upon. Despite being a stickler for always staying together, especially when in the world above his home, the mutant turtle felt he exceptionally needed this moment of peace. Away from the loud bustle of his brothers, away from the grueling training he’d tunnel vision himself into in moments like these, and away from the heavy expectations of being not only the eldest but the leader put upon him.

With a heavy breath through his nose and eyes shut closed, the terrapin in blue had not noticed the quiet pitter patter of feet behind him.

“Looks like someone finally learned to get out and have some fun for once.”

Leonardo nearly jumped out of his shell, but was quick to recover and turned with a glare that quickly dissipated at realizing who his uninvited guest was.

“(S,p), what are you doing here?”, he questioned, trying his best to stop the small flutter in his chest.

Sitting on the ledge of the door that led to the roof they both now occupied, the eyes of the friendly neighborhood (S,p) motioned in a way of how one would quirk a brow.

“Uhm, fighting crime. What are you doing out here? Thought Raph was the one to go soloing about.”

Leo looked down to the city streets below, his face scrunching up at being reminded of one of his latest stressors.

“Nothing, I. . .I just needed some air.”

(S,p) frowned at this. The hunched form, stiff shoulders, and shadows beneath gorgeous blue eyes were only a few tell tales of what Leo was currently going through.

“Hey. . .”

Leo watched as (S,p) hoped down from their perch, walking only a few steps before sitting down on the edge beside him. A gentle hand had come to rest on Leo’s forearm, and even through the miraculous suit they wore, he could still feel the comforting heat of their touch.

“Remember what we talked about?”, (S,p) questioned, looking up into Leo’s cerulean(?) eyes, that of which shyly wished to look away but held firm.

“You can’t keep things bottled up, Leo. It’ll weigh you down till it suffocates you.”

Swallowing a tightness in his throat, said terrapin could no longer hold his best friends gaze, and instead focused on the smaller hand still rested upon him.

“I know. I’m still just not used to this kind of thing.”, he admitted, a dusting across his chilled cheeks in the New York night.

For a brief moment, he wondered if you were cold as well, and could not help the feeling of concern at you becoming sick for being out in such weather trying to comfort him. Though, he knew any attempt at dissuading you would be futile. The more time you and the four brothers had spent together, the closer you and honorable terrapin had grown, no way was he going to get rid of you that easily. Your gentle caringness you were about to display proving as such.

“That’s okay. That’s why I promised to always be here when you needed and were ready.”, you beamingly reminded, taking your other hand to gently cup Leo’s face and direct his focus back to you.

The flutter felt earlier returned once more to Leonardo’s chest, his wrapped hand reaching up to gently lay over the hand that still caressed his face.

How had he become so lucky to meet someone like you? He knew not of your true identity, but Leo still fully believed he could trust you with his life and vice versa. Maybe it was because you were not so normal yourself, but whatever the case may be, you never treated Leo like a freak. Not only that, but you saw more of him then some cold hardass leader. You saw past the wall he built, the façade he wore as his duty placed upon him at such a young age. It wasn’t that Leo disliked being a leader, but it hadn’t been easy on him and he very much felt alone at times. Yet, when you had stumbled into their lives, it was like a ray of sun came to cast out the rays of his lonely mind. You had always cared for him, and you still continued to do so, as he found himself doing for you as well.

There was no one he felt closer to in his whole life but you.

“So, do you feel up for talking? Or do you just wanna hang for a while?”, you quietly asked, tucking one of Leo’s mask tails aside.

With a warming smile, Leo stood, taking your hand he still held and pulling you up gently as well.

“I think I’d just like to hang, if you’re not too busy kicking bad guy butt.”

You giggled, a melody like sound to Leo’s ears as he watched you walk back to the place you once sat perched upon.

“For you? Never busy! I know this cute little roof top café we can hit up. It’s got a little private area the owner set aside for me to take breaks at. Won’t have to worry at all about any surprises.”

Watching you jump up to the higher roof ledge, Leo thought about your proposition. Sitting in a cozy area with calming night rain in New Yorker city, enjoying a nice warm cup of coffee with the one person who could light up a whole room? What could be better?

“That sounds really nice actually. They have any pastries?”, Leo asked, getting ready to follow you up.

“As a matter of fact, they do! Oooh, their honey rolls are just ab-shit!”

Leonardo's heart spiked as he saw you suddenly slip on the wet surface above, and with quick reflexes he lurched forward, ready to catch you in his arms. Unfortunately, your own reflexes had kicked in just in time for you to web your self to the dryer, bottom portion of the ledge, leaving you effectively upside down. Combining both of your quick movements, neither Leo or you had time to stop the momentum of your faces colliding together. Despite being masked, there was no doubt in either of your minds the connection you each felt upon one another's lips. As quick as it had happened it was just as quickly over; Leo stepped back faster than lightning and his face lighting up as red as his brothers mask. As for you, your whole body felt it’s only electricity, spidey senses going awry from the incident.

“I-I’m so sorry!! I was just trying to catch you and-“

“N-no, I should apologize! I’m the one who slipped!”

The air grew thick with silence, as neither you or Leo looked at the other, hearts still racing and emotions on the high end. You were still buzzing, a new feeling you had never felt before coursing through you. It was your spidey sense, that you knew, but it hadn’t been the same as every other time you’ve experienced it. It was warm, soothing, elating, like taking a nap cozied up in bed with the window open to allow for a nice spring breeze.

Taking a chance, you glanced over at Leo, the later still looking to the ground. Not aware of the eyes upon him, Leo slowly had reached up to touch his own lips, a glimmer in his eyes that had not gone unnoticed by you. The sight sent a flutter of your own though your chest, as you thought back on all the special moments that you both had shared.

Almost similarly to Leo, you had felt alone for so long. A hero with abilities never heard of before and no one to learn from. Navigating a new world and taking on responsibilities and hardships you’d never asked for. When you met the ninja turtles though, and found yourself in an ever growing friendship with Leonardo, you suddenly found yourself almost not ever remembering what loneliness felt like.

“Hey, Leo?”

Said terrapin was quick to look your way, feeling the shyness of your gaze as you called for him.

“Yeah?”

“Do you uhm. . .”

Your voice fell to a mumble, your characteristic bravado suddenly gone. Leo chanced stepping forward, and once sure that you were comfortable with him moving into your space he continued closer.

“I’m sorry, I didn’t catch that.”

Leo felt a new nervousness within him. You both knew it was an accident, but dear god, did you hate him now? Was this going to change things for the worse? The thought of your friendship dwindling caused an ache in Leo’s heart as he worriedly waited for you to repeat yourself. However, the next words you’d speak would be the complete opposite of the turmoil within his mind.

“I-I said. . .do you want to try that again?”

Leo gulped, his eyes behind his blue mask widening.

“What? Kiss?!”

“Yeah.”

“Uhm, but your mask. Are you sure your okay with?”, Leo gestured to his own face, knowing how important your identiy was to you.

You simply nodded, gaze just as soft as the handsome one now mere inches from you.

“You can pull it down part way.”

“Are you sure?”, Leo asked once more, half lidded stare looking into the eyes of your mask, that of which he swore for but a brief second he saw (e,c) orbs.

“Yeah, I trust you.”

That was all that Leonardo needed to hear, his heart now feeling like it would explode just by your simple, but powerful statement. Ever so gently he peeled down your mask, mind a flutter at finally seeing some hint of your true self. This whole action and moment had been elating for you as well, a thrill in your heart at feeling the brush of Leo's hands across your bare skin.

With the ambiance of falling rain, glowing lights of ranging hues, and the warmth of the others breath, the kiss Leo was about to share with you, would be a cherished memory for a life time and more.

“Hey, guy’s! I found him!”

Never had you pulled your mask up so quickly, and never had Leonardo let out such a roaring groan. Foot falls came to a halt as Raphael, Donatello, and Michelangelo hopped onto the roof top you both occupied.

“What the hell, man?! We’ve been tryin’ to reach you all night!”, Raph glowered throwing his hands up as his brother in blue sent him the sharpest of glares.

“There’s been a Foot Clan robbery, and NYPD needs back up.”, Donnie hurriedly spoke, too focused on one of his gadgets to take notice of the same death glare sent his way.

Ultimately, it was Mikey who had come to read the room, going to give you an excited greeting when he took notice of the bashful look displayed on your mask, Leo’s deep scowl, and the close proximity between you both. The biggest, toothiest of smiles breached the youngest face, but Leo had no time to stop him from speaking out.

“Yooo!! Were you two about to do what I think you were about to do?!”

Raphael and Donnie confusedly looked to Mikey, Leo furiously making motions to get Mikey to shut up.

“What are you talking about, Mikey?”, Raph spat, not in the mood for his antics.

“Oh you knooow~ Leo and (s,p), sitting in a tree, K-I-S-S-I-N-G!”

Realization smacked both Raph and Donnie in the face at that moment as they quickly looked between you both, each’s expression brimming with surprise.

“Wait, seriously?! Is that why you weren’t answering your phone?!, Donnie gawked while adjusting his glasses.

“So, like. . .with mask or no mask?”, Raph questioned with a shit eating grin.

Another heavy groan reverberated from Leonardo as his brother huddled together to begin their collective teasing. How was he going to survive this? Cheeks hot with embarrassment as his brother laughed and continued to banter from a distance, Leo turned to apologize to you, only to find you suddenly absent. Leo felt a sudden sadness at your disappearance, but a ping to his phone caught his attention. A text notification, above the many missed calls from his siblings, caught his eyes.

“Meet you dorks at the robbery! Coffee after? Or will you be too busy dying from your brothers torment? ; )”

Leo let out a breathy chuckle, and with a warm grin and even warmer heart, sent a message in return.

“For you? Never busy!”

~xXx~

[thebramblewood]

Hey! :) First I want to say I just loveee your story and the universe you created and the lastest update is truly heartbreaking but I was super curious on the spellcaster vs vampire dynamic in your world and what are the limits of it, especially morally for Caleb:

If giving the chance, would Caleb have turned Morgyn and the sages to vampires in order to save them? Would Caleb even want to do that, would that even be saving them in his eyes or would it be condemning them - a fate almost worse than death?

Thank you soooooo much! I'm having so much fun writing, sharing, and discussing this story with you all, even when it's painful. 😭

Before I get to these questions directly, I want to reiterate that this all originates from me deciding to kill off the Sages as an inciting plot point in the legacy-based story I started this blog with, Escape from Windenburg. I posted that story here in short snippets, but in its original form it was essentially written like a novel. You can read it at my retired blog if you're so inclined. (Yes, I was doing all that for nobody but myself.)

Since I know most people don't have time to casually read a 17-chapter story, I'm going to link the most relevant parts. The attack on the Sages (which is shown but using EA animations, so it's not terribly graphic) and Misael's defeat is here. An explanation for why the Sages cannot be revived is here, and I semi-rewrote this for Caleb's talk with Grace a few weeks back. Honestly, the reasoning behind why the Sages are dead dead has always been kind of hand-wave-y, but the essence of it is that they'd been using magic to extend their lifetimes already and since they were already overdue for death, the universe literally refuses to give them back, even if methods of revival technically exist.

Combined with that fact, I know there are lots of different takes on vampire creation lore, but in this universe it's only possible if the person is still alive. They might be barely hanging on (like Helena), but they can't be fully dead. Therefore, Caleb still wouldn't have been able to fly to the Realm after getting the news from Grace and save the Sages by turning them. It was far too late by then. Now, if he had gone as soon as he started to worry and found them still alive, would he have actually turned them? This is a trickier question!

Keep in mind Helena is the first person he's ever turned, and he was faced with a similar conundrum - let her die or "save" her by turning her. In his mind, being a vampire is a curse, but if it's the only way to prevent an otherwise untimely and undeserved death, maybe it's worth it. Of course, as much as he'd like to downplay the role it played, the fact that Lilith begged him to do it can't be discounted. Would he have intervened if Helena were a random person attacked by a random vampire who he just happened to stumble upon in an alley somewhere? Probably not. He's not really the type to get involved in a situation if he doesn't have to (unless it's one created by his sister).

But if he was willing to do it for Helena, he would have absolutely turned Morgyn if given the chance. He certainly wouldn't have been thinking rationally, and he would've seen turning them as the only way to hold onto them. They were the one person Caleb had fully let know him and let himself fall in love with, and he would've done anything not to lose that. It would've been a selfish move, and he might've had to deal with the consequences later (especially if it wasn't what Morgyn wanted), but it would've felt like the only choice. As for the other Sages, if his tunnel vision even allowed him to register them, he'd hesitate at turning them because he has less of a personal connection. (Simeon and Faba were older and more traditional, so Morgyn didn't see much of them outside work and Caleb barely knew them).

I know that was a lot, but I hope it satisfied your curiosity! There's sometimes so much context crammed into my head that I can't fully fit into the posts themselves, so I always welcome questions or theories! 💜

[flippythedoodle]

hey can u give some tips for a beginner ambigrammist to refine her ambigrams and make the process easier?

i'll just put what ive learned from others and my own experience (i kinda put a lot so imma put it all under a read more)

1. you need to really know what letters look like

one of the talents an ambigrammist needs is to know the details of what makes a letter a letter, and what strengthens or weakens this reading. for example:

on the right are what i would say are very readable letters, almost instantly recognizable. on the left however are essentially the same letters, but missing the core elements of what makes them them. i recommend looking at fonts if you really want to fully understand, but as long as you know the glyphs, you can ambigram them!

additionally, there are so many other forms to choose from. we're all used to the simple, elementary alphabet we were taught, but there is a vast sea of different forms of letters you can try! things such as style, form, and mutations if done correctly will look cohesive in a design! experiment with cursive, square, fancy, blackletter, capitalization, italicization, the world is possible! for example, here are the many ways to write an r that i've collected:

14!!

14 for the LETTER R ALONE. the modifications may be subtle, but in the world of ambigramming where totally legible ambigrams are far and few between, every possible form counts bc you'll have more options at your disposal to choose from. as you see more ambigrams (and trust me, you probably will), you'll learn more about what's possible with them!

2. get feedback!!

the unique thing about ambigrams is theyre made to be seen by others, to be read and gawked at by onlookers, and so any outside feedback means the world to development. let family members, friends, preferreably people that mostly read normal words, try to read them, if they missed any letters, try and improve it. reiteration and tiny modifications help so much, even the tiniest of changes can help. sometimes we may be tunnel-visioned into thinking our ambigram is legible, because we know the word already, we see what it's supposed to look like. but when you get opinions from others, its almost like getting a new perspective, the ambigrammists equivalent of flipping a canvas. there are also communities dedicated to creating good ambigrams out there! (to name some, Ambigram Aficionados the discord server and ambigr.am the website, both of which are linked if you want :3)

3. know the methods!!

there are two main methods that ambigrammists "officially" recognize, downstroke matching, and shape matching

shape matching

this is the more freeform of the two methods, providing more space to do whatever, and thusly, maybe come up with either cool new stuff or bad new stuff. this matches "shapes" of letters, straight, curvy, half curve, spirally, etc etc. this one takes more experience to master, but if done well works wonderfully. heres an example with "greener"

(hey, look! weird R from earlier!)

downstroke matching

is one of the easier of the two, and most often than not yields the best results. in essence, letters are broken down into their vertical strokes, which are then "cut in half" and aligned to each other. this comes from the notion that people read the top parts of a letter more than its undersides. so, when flipping, all that crazy stuff that used to be on the top is now on the bottom, becoming flourishes and designs. this is kind of a precursor to shape matching, as if pretending all letters are squarish before actually taking into account their shape. an example with the word "Basket" would be:

this of course, has its downfall in curvy letters like b and o, as these have specific curves to follow, which may get lost in how strokes are made straight. i got lucky here with the e curving the same way the B would normally, but this isnt always the case.

the best ambigrammists tend to find a good balance between the two, making sure both form and style are as optimized as possible!

finally,

4. not all ambigrams are possible*.

*as a normal rotational

unfortunately, jojo, hello, uwu, and many more words aren't (currently) possible just because of how theyre built at words. so don't be disappointed if some seem impossible, because (like chloe *wink wink*) they might just be. you can then resort to different types of ambigrams, or different modifications!

here jojo works okay as a lake, uwu works perfectly and naturally as a mirror, and chloe and hello work as chain rotationals! another somewhat crucial element of making an ambigram work is flourishes. these help hide the modifications made to a letter, almost like camouflage, or even to hade a letter itself. here are some examples:

this one uses a curvy flourish for the hoops of the Ps, tiny dots for the i tittle and the Es midline, and a bit more flourishes to hide them like serifs and extra curves

this one turns a C into a drawing of a cockatoo! the flourish being the cockatoo, hiding the otherwise awkward C

this one's rather extreme, S and e being turned into flourishes. these are then surrounded by more flourishes to hide them, which works semi-okayly

thats all i think i know about ambigramming, i hope it was semi-useful!

(find me on ambigr.am at chump, and discord as shin_dig :3)

bonus resources: John Langdon (ambigram god)'s advice: https://www.johnlangdon.net/thoughts/advice-on-ambigrams/

Write Words Make Magic (who's also on here @writewordsmakemagic! makes much more in-depth videos on downstroke matching and ambigrams in general on youtube and tiktok)

[pjunicornart]

Here I go again pairing Sans' to things.

First it was with MLP characters, this time it's songs from Melanie Martinez's new era of music, Portals. Now with explanations! Okay:

DEATH - Error "Death, is life, is death, is life, is death, is..." My reason for pairing Error with Death is pretty straight forward. He destroys things. In the multiverse, he causes death.

VOID - Geno Being stuck in the save screen I feel is pretty close to a "void". But I also feel like he relates to the lyrics and themes conveyed in the song. The lyrics that cements that for me is "Like a priest behind confession walls I judge myself. Kneeling on a metal grader, bloody like a body that has died, and it's myself."

TUNNEL VISION - Nightmare Whenever I listen to the song with this specific context in mind, I always imagine Nightmare going through the process of becoming goop boy. Having "tunnel vision" for his goals, and following a tunnel to corruption. Yes... I am aware of what the song actually means and some choice lyrics, but the main vibe still hits for Nightmare.

FAERIE SOIREE - Paperjam Okay, to be fair, I had no fucking clue who to pair for a few of these songs, and this was one of them. At first I pictured all of the Sans', but that felt like a cop out. But then I imagined Paperjam just kinda vibin' and creating art to this song and I was like, okay. Sure. It's especially funny because this song symbolizes escapism via kush. I think at the end of the day Paperjam just wants to be left alone.

LIGHT SHOWER - Flower Fell I... feel like I don't need to explain this one too much. I love Frisk and Sans' friendship in this AU. Even though Light Shower can be interpreted as a love song, I feel like you could spin it in the context of friendship easily. Sans felt cleansed by Frisk's kindness. Washed away the mold that his past grew around his heart.

SPIDER WEB - Sans Spider Web is an allegory for internet addiction and fame. Well, Sans is an icon here, and he's not particularly happy being stuck in the middle of the spider web, slowly losing life...

LEECHES - Fresh My reasoning for this one is also pretty straight forward. Fresh, at his basic form, is a parasite. Sucking life from his host. He's a nasty leech.

BATTLE OF THE LARYNX - Swap I think due to his nature, he's often downplayed and seen as a joke. But poke him to battle, and he'll smile as you fall to your feet. Maybe not with his attacks... but with his larynx. He'll be silent until you cross the line. Don't you battle with his larynx tonight.

THE CONTORTIONIST - Fell For this one, I remembered that Fell Pap is like... a huge asshole. Controls Fell with fear and intimidation. For this song though, he's had enough of contorting himself for Papyrus. He's done.

MOON CYCLE - Nymph I fucking struggled with this one, bro. Because Moon Cycle is centered around periods, and describes a man who likes to eat a bitch out while they're on their period. Plus, I don't think any of the Sans' experience menstruation... So, I decided to revive an old AU idea for this one. One where all major characters are gender swapped, and the theme of the AU is all nature-y. Meet Nymph, she experiences periods and her powers - the power to grow flora - heighten while she's shedding any lessons and making room for blessings. (I shall see no Moon Cycle hate. It is my favorite song off this album and it needs to exist.)

NYMPHOLOGY - Dream Dream gives me boss bitch energy. That's pretty much all the reason I have. He'll make you choke on your doubt, ha ha.

EVIL - Cross If you're familiar with Underverse's story, I think you can gather why I chose Cross for this song. If you want to twist the narrative, then sure. He's evil.

WOMB - Ink Same sort of reason for pairing Error with Death. Ink creates and protects, therefore his role is centered around life. In multiverse, he protects life. "Life, is death, is life, is death, is life, is..."

PLUTO - Reaper I really don't like this song, so I just went off vibes for this one. This song gave me Reaper vibes, so there you go.

MILK OF THE SIREN - Cove Again, this is one of those songs where I was like... Pairing a Sans with this song would be weird because they're - for the most part- all masculine presenting, and this song is about misogyny and feminine rage. So I revived another AU idea for this one. Cove is another gender bent Sans. She's a Siren who lures people in with her voice. She never feels bad when those fuckers drown.

POWDER - Dust In the original context of the song, "Powder" is in reference to hard drugs. But obviously, in this context, powder refers to the dust of Chara/Frisk's victims. This song could be from Dust's perspective, confronting Chara after their many genocide runs. Telling them to "Clean it up - watch you die, it's yours to decide".

Well that was a lot! I'm curious to see if anyone else has given any thought into this or if I'm just weird. Let me know in comments or reblogs I guess!

[woulddieforloki]

I get the anger behind the lack of proper genderfluid representation in Loki, but I think the line “have any of you ever met a woman version of us” and all the Lokis saying no is less of transphobic intention, like a lot of people have been saying, and more of Michael Waldron really wanted to use the cliché joke of “haha women=scary” and not bothering to create a scenario where this bad joke would actually work. Because something that I noticed in his projects is that a lot of the time he has ideas, doesn’t bother to actually flesh out situations where they naturally fit and just brute forces these things into the story. Classic tunnel vision syndrome.

no you know what kills me about this though is that Michael Waldron was clearly thinking 'hashtag feminism' when he wrote it because they used the words "woman variant" instead of "female variant." he's clearly in-tune to the "don't call women 'females'" thing, except he doesn't understand why, which is that "female" is an adjective and it's demeaning as a noun, and "woman" is the correct noun form. grammatically speaking, it should have been "a female variant," and he didn't write that (presumably) because he thought it would be anti-feminist, which is why it doesn't make sense to me that he would follow it up with some vaguely misogynistic bullshit. I think it was supposed to be a feminist thing that Sylvie is, like, The One Female Loki Ever™ and that's why she's so cool and that following it with Loki agreeing that she's "terrifying (affectionate)" was supposed to be a comedic feminist thing because hell yes, badass terrifying queen, but it's just so poorly executed that it circles back around from Comedic And Feminist™ to cringey, misogynistic, transphobic, and dismissive of the comics they're supposed to be bringing to life. I love this series, but Michael Waldron is incredibly talented at taking a great concept and ruining it with shit dialogue. (And ngl Kate Herron talking about how important it was to make sure they brought up Loki's canon comic sexuality and then allowing them to dismiss Loki's canon comic gender identity is so ???????) I'm glad they're putting season two in new hands :/

[tenebraevesper]

Sonic the Hedgehog Analyzer, Imposter Syndrome Issue #1: Imposter Syndrome (Part 1)

Finally, we’re officially starting The Imposter Syndrome Miniseries, featuring two new rivals for Sonic and Tails - Surge and Kit! I have to say, so far, Imposter Syndrome is my favorite miniseries (I still need to see how Scrapnik Island turns out). Already, I’m at a conundrum, because I cannot decide which of the Covers is better: Cover A above, or Cover RI below?

To me, both look amazing, so you know what? Screw it! Imposter Syndrome gets a two-cover introduction! As for the story itself...

We start off with Dr. Starline making one of his video logs. He notes how “Operation: Remaster” is moving to its final testing stages, wanting to break what he calls “The Sonic Cycle” - basically, that being Sonic ruining each and every of Dr. Eggman’s plans and saving the day, everyone rebuilding whatever was destroyed and return to their normal lives. There is no evolution, no vision, no future.

Well, I wouldn’t say that there is no evolution - Sonic and Eggman still learn from their battles, and I doubt Eggman would want to repeat any of his old plans, like say... use the Eclipse Cannon to destroy the world. But, hey, we don’t know how familiar Starline is with his past exploits and the consequences considering he brought the Zeti over to control the Zombots.

Starline continues, explaining how his plan is to remove Eggman from the play - sure, he respects the Doctor, but notes how Eggman has tunnel-vision when it comes to Sonic (he’s not wrong). Starline has studied Eggman and perfected his techniques, deciding he’ll take his place in this battle.

Next, he needs to replace the so-called “heroes”, noting how the general populace relies on them too much, which... honestly, it really depends. Sonic and his friends have battled Eggman for a long time, so it is only natural that civilians would rely on them to take care of things.

Starline decides to take control of the whole “hero-versus-villain” dynamic and shape the world with the very theatrics they became accustomed to. Okay, honestly, that is genuinely an interesting plan. Basically, he’d be creating a hero he can control, a narrative he can manipulate to his advantage while everyone else is none the wiser.

The way he wants to achieve this is by gathering a few necessary components, like Tails’ fur (presumably for his DNA), the Tricore, Belle’s coding and, of course, two test subjects - noting how they’re ready.

This is followed by video footage of a green streak of light doing an obstacle course as Starline notes how Sonic, as a hero, is about more than raw power and how just building another Metal Sonic won’t suffice. He’s about attitude, possessing a roguish charm which Starline replicated in the form of Surge the Tenrec, one Starline can keep on leash. We see Surge beating a robot, just as another one attempts to attack her.

Starline continues with his narration as Surge is saved by multiple water whips, saying how there are several design flaws inherent to Sonic, which is why Surge needs a support unit to make up for her own short-comings; she needs someone to look before she leaps, presented in the form of Kitsunami the Fennec, who uses multiple water tails coming from his backpack as a weapon, making him a reference to the kitsune, a mythical multi-tailed fox Tails is based on.

Surge proceeds to destroy the robot, thanking Kit for his help.

Kit then reminds Surge how they got only one minute to complete the course, with Surge quickly speeding off, confident she can make it, destroying the Badniks in front of her and only succeeding because Kit kept the door open for her. 

Surge is proud of her achievement, but Starline is not impressed, noting how she forgot Kit. Kit joins the two quickly, noting how he needed to recharge his backpack. Surge proceeds to argue with Starline how Kit made it here, and how she reached the goal in record time, so they passed the test. She’s impatient, wanting to finally move on with the actual mission. Starline tells her how they’ve proven proficient in controlled environment and that they need field testing, but Surge has enough, being tired of Starline talking down to her and wants to go now.

Starline uses his hypno-glove on Surge and Kit, noting how it is a pity this isn’t potent against anyone else and how the two have a built-in weakness to the hypnosis. As Surge and Kit awaken, Starline tells the two how they had pushed their enhancements too far, which caused a brief blackout. The two, still dazed, agree to discuss the field test.

Now, before I move on with the story, I need to stop to discuss something else for a moment. I’m sure that by this point, we all know that Starline, Surge and Kit are actually based on glitches: Starline being based on the ********* glitch found in Knuckles' Chaotix; Kit being based on a glitched version of Tails from Sonic the Hedgehog 3 & Knuckles; and Surge is inspired by the infamous Ashura glitch from Sonic the Hedgehog 2, as well as a very infamous certain hedgehog who has remained in people’s mind to this day.

Yeah, Surge can be seen as a spiritual successor to Scourge the Hedgehog, one of my favorite characters from Pre-SGW Archie. Sure, this guy might look like a recolour Sonic (and technically, he is), but under Ian Flynn’s writing, he actually became a stand-out character who stood on his own as a challenge to Sonic and I seriously wish we could’ve seen more of him. He is Sonic with his worst traits amplified, and he clashes with his heroic counterpart in really interesting ways, able to become more, but taking the opposite direction of Sonic. Sonic_Speed summed up well his realized potential and story (and seriously, just read Hedgehog Havoc, you won’t regret it).

As I mentioned a moment ago, Surge can be seen as a spiritual successor to Scourge, and I have seen people comparing the two, but honestly, Surge is NOT Scourge 2.0. Their similarities are only on a surface level (both being green in appearance, being delinquents, having super speed and hating Sonic). Scourge wanted to prove that he is better than Sonic by rising above him, conquering his own world and beating him, yet is revealed to be nothing but a bully who got drunk on power and decided to destroy everything he came across, so he could remain on the top. Scourge is what Sonic could’ve been if he had one bad day and decided to quit being a hero. It would be game over.

As for Surge? Surge is an entirely different story. Yes, she has that cocky and destructive attitude Scourge has, but her character is taken in a completely different direction thanks to one man - Starline. All I have to say, is that I absolutely love Surge and she is has pretty much kicked off Tangle and Starline from their spot of my favorite characters.

However, I’m getting ahead of myself. Let’s see what Starline’s field test was.

Starline wants to first weaken Sonic’s support base, so Surge and Kit set the fire in the forest Amy, Belle, Tangle and Jewel were camping at, with Starline figuring that suffering from a tragic loss will break Sonic’s morale. Fortunately, we know that the girls saved the day, so let’s move on to the next part.

The next part of his plan involves testing Surge and Kit’s finesse by telling them to cause chaos without getting caught. Surge and Kit are standing in an alleyway, and Surge remarks on everyone returning to their normal lives, with Kit noting how the Restoration helped them fix everything and how everyone wants to have peace. Surge notes how that sucks for them, coz she wants to misbehave. Kit suggests that he uses his hydro-coil tails to cut the wiring and mess with the traffic lights and power grids, while Surge decides to go fast.

Surge then proceeds to spin-dash her way through the city, knocking civilians over, causing lampposts to break and being the reason for the car crashes.

Meanwhile, in Emerald City, Starline is at Tails’ workshop, worried that Tails might figure out why he kidnapped Belle and develop a counter-measure, wanting to know what Tails knows (I sincerely doubt Tails bothered to do that). He uses the Power Core to break in, only to realize it is reinforced.

Starline is irritated, and when Surge (Surge being proud of her achievements) and Kit arrive, he tells Kit to unlock it with his hydro-coil tails. Kit fails, while Surge is annoyed that Starline is ignoring her. She clearly wants recognition from him, but Starline ignores her, complimenting Tails’ security measures. So Surge decides to break in herself. I guess that she was being sick of being ignored and wanted to do something that would make Starline acknowledge her. Starline stops her, telling her how the whole point of the exercise was stealth and decides that they should return to the base.

Back at the base, they learn that their plans had pretty much failed (at least when it comes to the campground fire), but Surge notes how they didn’t get caught, which was the point. Surge then notes how she wanted to deal with the girls directly, but someone told her to set a fire. Starline does acknowledge that they did well, with Surge being elated that they are finally getting some action, only to groan in annoyance when Starline tells her that they’re ready for the final test.

I absolutely love Surge’s exasperated expression here. 

Surge yells at Starline how he gave her those powers to destroy Sonic, so he should let! her! destroy! Sonic! Starline replies how he gave her power to change the world, but it would only work if she follows his plan. He wants to first remove Eggman from the play and they’re going to do that by infiltrating one of his bases. Surge interrupts him how they’re only going to get another base to continue with those stupid tests, while Kit notes how he agrees that they should be careful and that he doesn’t want Surge to get hurt.

Surge wonders if he’s thinking she cannot handle herself and how he won’t do his job watching her back, with Kit replying that that’s not the case, cowering before her as she yells at him to shut up.

Surge turns to Starline, noting how she is the simple and straightforward one - she hits Sonic, and she hits him hard, until he doesn’t move anymore. Starline asks her how she plans to find him, with Surge saying how she’ll run laps around the planet until she meets him and if his friends are with him, she’ll take them out as well. Starline gives her a scenario where Sonic is supported by Tails, Tangle and Whisper, with Surge yelling back how she’ll handle it, adding that Kit can deal with the extras and when he tells her he’ll do his best, Surge thinks he’s patronizing her.

Surge runs out of patience, yelling at Kit to stop cringing, with Kit apologizing to her. Surge then asks him why he even wants to help her, with Kit responding how he doesn’t know.

Surge suddenly stops, asking herself why she even wants to destroy Sonic, since she has never met him. She’s starting to crack, and we see here the first difference between her and Scourge - while Scourge knows exactly why he wants to destroy Sonic, having dealt with him before, Surge has never met him. She doesn’t understand why she feels hatred for Sonic nor why she wants to replace him as a hero.

Kit asks her whether she still wants to destroy Sonic, and Surge replies that she does, but she has no idea why and asks him whether he wants to do the same. Kit responds how he wants to do everything she wants and Surge asks him why. Kit is silent for a moment, replying how he has no idea.

“Aaaand reboot.”

Starline has apparently already seen it all, as he uses his hypno-glove on the two, noting how he figured that keeping things simple would make things easier and adds how he should’ve given them a backstory, only for Surge to rise and attack him, but Starline manages to put her back to sleep, looking freaked out.

He leans back, noting that when he used Belle’s base code when he wrote their personalities, he had hoped for a little more stability, wondering what the difference is (we’ll get into Surge and Kit’s creation in the next Issue). He also notes the resistance they have to the hypno-glove, calling it an unwelcome bug. However, he had already invested too much into them and decides to handle them with more care, figuring their personalities will even out once they start fulfill their primary directives.

Once the Surge and Kit come to, Starline notes that it is showtime.

Surge and Kit get up, dazed and wondering what happened. Starline enters what I like to call “Dad Mode”, acting all concerned about them and asking them whether they’re okay. Surge and Kit are confused, and Starline explains how Surge is fine because Kit caught her even though he was also glitching out. Surge thanks Kit, having nicknamed him Drippy, and asks Starline about them glitching out. Starline tells her how they got into a heated argument, which overloaded their upgrades. He isn’t completely lying, since they did get into a heated argument.

Starline turns to them, explaining how Surge wanted to complete one more optimization test, but he wanted to push ahead with the main mission and tempers flared... yeah, yeah, keep lying. He apologizes to them and says how they will go ahead with the final testing phase, if that’s what Surge wants.

Surge asks Kit if that sounds right to him, with Kit replying how he wants to make sure she’s safe and Surge agrees. Satisfied, Starline then proceeds to explain to them how they’ll remove Eggman from the play and strip him of his support, having already selected which base they’re gonna infiltrate.

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#Sonic the Hedgehog Analyzer (Masterlist)

[beevean]

i think i would feel more sympathy for u if ur alienation from sonic wasn't.......completely self-imposed. even amongst the valid criticisms u have for modern sonic media, all of it seems to stem from this very......for lack of a better term, boomer-esque viewpoint. idolizing the way sonic characters and stories were written and told back in the classic era - dark era, and hating every even slight change to style of creating. because like i said even ur few valid criticisms are kind of rendered feeble when ur core reasoning for believing them isn't about objective quality, and way more about nostalgia-tinted longing for the past. after all even when u list the qualities u like about a newer sonic installment, u always gloss over them. as if the positive aspects of newer sonic that u like are mere afterthoughts, and u believe the flaws and negative qualities are worth dwelling on more. which is not a wrong outlook on criticism at all, but it certainly is a little suspect when all the negatives u focus on are centered around how everything is so different from older installments. this is not even to mention the "flaws" u point out that are blatantly the result of bad faith criticism, such as blaming the sonic material for you misinterpreting the emotional tone of a scene.

from what i see in the things u say, u just deeply want sonic to return completely to its older methods of storytelling. which is not only unfeasible but, if actually ever fulfilled, it would just result in actual objectively bad sonic material. trying to return to the "glory days" never goes well for anything. and even if u try to argue that u don't actually believe this, please have the dignity to be honest with urself. even if u convince urself u don't want sonic to return completely to its past style the way boomers tend to say, every viewpoint u have is way too influenced by classic sonic style storytelling, so much so that it blinds u. this viewpoint of urs exemplified by, once again, the majority of ur criticisms being made in bad faith. u always assume the worst and most insensitive interpretation of something even when ur interpretation is clearly wrong when taken in full context. it's as if u've already decided since long ago that u just dislike everything if it's modern sonic, regardless of the actual material. no matter how objective u attempt to be, everything u have to say is just so obviously taken from this tunnel-vision, inflexible point of view.

but of course not to say that classic sonic storytelling is bad, or u are wrong to prefer it so strongly. that's just objectively wrong, both writing off classic sonic as bad and trying to police ur specific personal taste. i don't wish to say or express either of those statements and i hope i can be clear about that at least. but the specific way sonic has been written back in the day is over now. it has had its run and it is now retired. modern sonic, as it is ongoing with all these new forms of media, comprises of the sonic creators trying out all new things to grow themselves and their creations better than before. honoring the past, both the glory days and the embarrassing mistakes, while aspiring to push their limits to newer heights. and yes all of it is extremely flawed and much of it could be vastly improved, but everything is being made from a genuine and earnest and passionate love for sonic.

and.........this might be a bit mean to say but. there really is something unsettling about the way u and ur little friends here always react with cynicism and irreverence when new sonic material has heartfelt moments. that u perceive these bits of writing which are just trying to express earnest and honest emotion as "emotionally manipulative", solely because the execution is clumsy and elementary and even hamfisty, is just..........very telling of the type of person u are. sonic is a children's franchise. of course the emotional beats are going to have the tone and complexity of a bleeding heart. maybe calm down.

there's nothing wrong with preferring older sonic material and really disliking new modern sonic media, but..........if that is the case then i don't understand why u continue to consume the newer version of the franchise. i think u've already been told urself but the rest of ur friends who might read this should be told the same: it would make u much happier if u gave up on modern sonic, only kept consuming the old sonic material u love, and moved on entirely. and if u are deciding to stick around out of a tiny sense of hope that ur desires will be filled, i say this with the most kindness: u have better things to do that are worth ur time and effort. please make urselves happier and just move on from modern sonic. it's been long enough that it's time to accept that the trajectory of where sonic is heading from now on? it is not for u and never will be

Well. This may be the longest "shut the fuck up" I've ever seen. I wish I had your perservance when writing my essays. Do I really annoy you this much? Although of course you still hide behind anon :)

even ur few valid criticisms are kind of rendered feeble when ur core reasoning for believing them isn't about objective quality, and way more about nostalgia-tinted longing for the past.

Who are you to tell me where my criticism comes from? I prefer A compared to B. A is older than B. It's not that hard.

is a little suspect when all the negatives u focus on are centered around how everything is so different from older installments

When I say stuff like "Lost World did the 'Sonic fucks up' plot better than IDW", it's not muh nostalgia talking (I haven't even played LW): I really believe Lost World did it better. When I say "Eggdad is stupid because it's OOC", it's because Eggdad spits in the face of 31 years of consistent characterization. You can disagree, but don't put words into my mouth.

such as blaming the sonic material for you misinterpreting the emotional tone of a scene.

Forgive me for being arrogant, but while I don't believe I'm right and everyone else is wrong, I always make sure to use the source material to explain where my interpretation comes from. Guess I shouldn't bother anymore!

u just deeply want sonic to return completely to its older methods of storytelling. which is not only unfeasible but, if actually ever fulfilled, it would just result in actual objectively bad sonic material.

every viewpoint u have is way too influenced by classic sonic style storytelling, so much so that it blinds u.

Are you talking to me, Beevean? I'm not a Classic fan. I grew up with the Adventure games. I thought it was obvious by the way I keep gushing about ShTH of all games.

u always assume the worst and most insensitive interpretation of something even when ur interpretation is clearly wrong when taken in full context. it's as if u've already decided since long ago that u just dislike everything if it's modern sonic, regardless of the actual material. no matter how objective u attempt to be, everything u have to say is just so obviously taken from this tunnel-vision, inflexible point of view.

Source for this claim? No, really. Since when did I express biased dislike for Modern Sonic? I don't even care to separate Sonic in eras.

(I also used to love IDW before issue #23 and I was super hyped for Frontiers which proves that I'm not some bitter bitch who loves to hate stuff for no reason, but whatever)

both the glory days and the embarrassing mistakes

Honoring the embarrassing mistakes is Sonic Team including Crisis City in Generations, and taking the chance to make good levels out of a stage coming from a reviled game, exploiting its potential. "Wildly inconsistent" and Eggman making fun of Baldy McNosehair feel too meta, because they come from an external writer, and not Sonic Team themselves "apologizing".

everything is being made from a genuine and earnest and passionate love for sonic.

"Passion" is not an argument. Sonic '06 had passion behind it and it nearly killed the franchise. You can appreciate the intent, but the actual quality is another thing.

and………this might be a bit mean to say but. there really is something unsettling about the way u and ur little friends here always react with cynicism and irreverence when new sonic material has heartfelt moments. that u perceive these bits of writing which are just trying to express earnest and honest emotion as "emotionally manipulative", solely because the execution is clumsy and elementary and even hamfisty, is just……….very telling of the type of person u are. sonic is a children's franchise. of course the emotional beats are going to have the tone and complexity of a bleeding heart. maybe calm down.

And this is why I don't do that. I don't. I don't care about what the others do. I did not make fun of the Tails flashback in Prime. I did not make fun of Surge's panic attack: I explained seriously why in my opinion it doesn't work. I did not make fun of The End because I don't think it's as ridiculous as other say. Ngl, even I'm bored with Frontiers criticism by now.

I'm the idiot who cries at Sonic's "alone" scene in Lost World! I wrote four fanfictions out of ShTH, the game that to this day is renowed for being shittly written! I'm well aware that Sonic doesn't have the deepest writing ever. I still like it! And there are things I don't like! And when I don't like them, I either give my serious piece if I think it's worth it, or leave it alone. Yes, I used to harp on IDW much more in the past, and now I regret it. Nowadays I keep it to myself unless I'm prompted.

Don't accuse me of things just because I interact with people who do them. I'm not part of a hivemind and I'm sick of this.

And you can keep your concern trolling for yourself. I know you don't really care about my well being and my happiness: you wrote a whole ass text because you want me to not ruin your fun. On anon. Instead of blocking me, you took 867 words to tell me "you're a boomer and you're such a drag". When you say "it would make u much happier if u gave up on modern sonic", what I hear is "get lost and stop bothering me".

Fine. Sorry for being a random blogger writing on my blog. Thanks for your concern.

[crusherthedoctor]

i think i would feel more sympathy for u if ur alienation from sonic wasn't.......completely self-imposed. even amongst the valid criticisms u have for modern sonic media, all of it seems to stem from this very......for lack of a better term, boomer-esque viewpoint. idolizing the way sonic characters and stories were written and told back in the classic era - dark era, and hating every even slight change to style of creating. because like i said even ur few valid criticisms are kind of rendered feeble when ur core reasoning for believing them isn't about objective quality, and way more about nostalgia-tinted longing for the past. after all even when u list the qualities u like about a newer sonic installment, u always gloss over them. as if the positive aspects of newer sonic that u like are mere afterthoughts, and u believe the flaws and negative qualities are worth dwelling on more. which is not a wrong outlook on criticism at all, but it certainly is a little suspect when all the negatives u focus on are centered around how everything is so different from older installments. this is not even to mention the "flaws" u point out that are blatantly the result of bad faith criticism, such as blaming the sonic material for you misinterpreting the emotional tone of a scene.

from what i see in the things u say, u just deeply want sonic to return completely to its older methods of storytelling. which is not only unfeasible but, if actually ever fulfilled, it would just result in actual objectively bad sonic material. trying to return to the "glory days" never goes well for anything. and even if u try to argue that u don't actually believe this, please have the dignity to be honest with urself. even if u convince urself u don't want sonic to return completely to its past style the way boomers tend to say, every viewpoint u have is way too influenced by classic sonic style storytelling, so much so that it blinds u. this viewpoint of urs exemplified by, once again, the majority of ur criticisms being made in bad faith. u always assume the worst and most insensitive interpretation of something even when ur interpretation is clearly wrong when taken in full context. it's as if u've already decided since long ago that u just dislike everything if it's modern sonic, regardless of the actual material. no matter how objective u attempt to be, everything u have to say is just so obviously taken from this tunnel-vision, inflexible point of view.

but of course not to say that classic sonic storytelling is bad, or u are wrong to prefer it so strongly. that's just objectively wrong, both writing off classic sonic as bad and trying to police ur specific personal taste. i don't wish to say or express either of those statements and i hope i can be clear about that at least. but the specific way sonic has been written back in the day is over now. it has had its run and it is now retired. modern sonic, as it is ongoing with all these new forms of media, comprises of the sonic creators trying out all new things to grow themselves and their creations better than before. honoring the past, both the glory days and the embarrassing mistakes, while aspiring to push their limits to newer heights. and yes all of it is extremely flawed and much of it could be vastly improved, but everything is being made from a genuine and earnest and passionate love for sonic.

and.........this might be a bit mean to say but. there really is something unsettling about the way u and ur little friends here always react with cynicism and irreverence when new sonic material has heartfelt moments. that u perceive these bits of writing which are just trying to express earnest and honest emotion as "emotionally manipulative", solely because the execution is clumsy and elementary and even hamfisty, is just..........very telling of the type of person u are. sonic is a children's franchise. of course the emotional beats are going to have the tone and complexity of a bleeding heart. maybe calm down.

there's nothing wrong with preferring older sonic material and really disliking new modern sonic media, but..........if that is the case then i don't understand why u continue to consume the newer version of the franchise. i think u've already been told urself but the rest of ur friends who might read this should be told the same: it would make u much happier if u gave up on modern sonic, only kept consuming the old sonic material u love, and moved on entirely. and if u are deciding to stick around out of a tiny sense of hope that ur desires will be filled, i say this with the most kindness: u have better things to do that are worth ur time and effort. please make urselves happier and just move on from modern sonic. it's been long enough that it's time to accept that the trajectory of where sonic is heading from now on? it is not for u and never will be

cool copypaste bro

[ninjapotatohead]

i think i would feel more sympathy for u if ur alienation from sonic wasn't.......completely self-imposed. even amongst the valid criticisms u have for modern sonic media, all of it seems to stem from this very......for lack of a better term, boomer-esque viewpoint. idolizing the way sonic characters and stories were written and told back in the classic era - dark era, and hating every even slight change to style of creating. because like i said even ur few valid criticisms are kind of rendered feeble when ur core reasoning for believing them isn't about objective quality, and way more about nostalgia-tinted longing for the past. after all even when u list the qualities u like about a newer sonic installment, u always gloss over them. as if the positive aspects of newer sonic that u like are mere afterthoughts, and u believe the flaws and negative qualities are worth dwelling on more. which is not a wrong outlook on criticism at all, but it certainly is a little suspect when all the negatives u focus on are centered around how everything is so different from older installments. this is not even to mention the "flaws" u point out that are blatantly the result of bad faith criticism, such as blaming the sonic material for you misinterpreting the emotional tone of a scene.

from what i see in the things u say, u just deeply want sonic to return completely to its older methods of storytelling. which is not only unfeasible but, if actually ever fulfilled, it would just result in actual objectively bad sonic material. trying to return to the "glory days" never goes well for anything. and even if u try to argue that u don't actually believe this, please have the dignity to be honest with urself. even if u convince urself u don't want sonic to return completely to its past style the way boomers tend to say, every viewpoint u have is way too influenced by classic sonic style storytelling, so much so that it blinds u. this viewpoint of urs exemplified by, once again, the majority of ur criticisms being made in bad faith. u always assume the worst and most insensitive interpretation of something even when ur interpretation is clearly wrong when taken in full context. it's as if u've already decided since long ago that u just dislike everything if it's modern sonic, regardless of the actual material. no matter how objective u attempt to be, everything u have to say is just so obviously taken from this tunnel-vision, inflexible point of view.

but of course not to say that classic sonic storytelling is bad, or u are wrong to prefer it so strongly. that's just objectively wrong, both writing off classic sonic as bad and trying to police ur specific personal taste. i don't wish to say or express either of those statements and i hope i can be clear about that at least. but the specific way sonic has been written back in the day is over now. it has had its run and it is now retired. modern sonic, as it is ongoing with all these new forms of media, comprises of the sonic creators trying out all new things to grow themselves and their creations better than before. honoring the past, both the glory days and the embarrassing mistakes, while aspiring to push their limits to newer heights. and yes all of it is extremely flawed and much of it could be vastly improved, but everything is being made from a genuine and earnest and passionate love for sonic.

and.........this might be a bit mean to say but. there really is something unsettling about the way u and ur little friends here always react with cynicism and irreverence when new sonic material has heartfelt moments. that u perceive these bits of writing which are just trying to express earnest and honest emotion as "emotionally manipulative", solely because the execution is clumsy and elementary and even hamfisty, is just..........very telling of the type of person u are. sonic is a children's franchise. of course the emotional beats are going to have the tone and complexity of a bleeding heart. maybe calm down.

there's nothing wrong with preferring older sonic material and really disliking new modern sonic media, but..........if that is the case then i don't understand why u continue to consume the newer version of the franchise. i think u've already been told urself but the rest of ur friends who might read this should be told the same: it would make u much happier if u gave up on modern sonic, only kept consuming the old sonic material u love, and moved on entirely. and if u are deciding to stick around out of a tiny sense of hope that ur desires will be filled, i say this with the most kindness: u have better things to do that are worth ur time and effort. please make urselves happier and just move on from modern sonic. it's been long enough that it's time to accept that the trajectory of where sonic is heading from now on? it is not for u and never will be

You lost me at the exact moment you made the assumption that I require sympathy from some hypocrite hiding behind Anonymous.

[aquillis-main]

i think i would feel more sympathy for u if ur alienation from sonic wasn't.......completely self-imposed. even amongst the valid criticisms u have for modern sonic media, all of it seems to stem from this very......for lack of a better term, boomer-esque viewpoint. idolizing the way sonic characters and stories were written and told back in the classic era - dark era, and hating every even slight change to style of creating. because like i said even ur few valid criticisms are kind of rendered feeble when ur core reasoning for believing them isn't about objective quality, and way more about nostalgia-tinted longing for the past. after all even when u list the qualities u like about a newer sonic installment, u always gloss over them. as if the positive aspects of newer sonic that u like are mere afterthoughts, and u believe the flaws and negative qualities are worth dwelling on more. which is not a wrong outlook on criticism at all, but it certainly is a little suspect when all the negatives u focus on are centered around how everything is so different from older installments. this is not even to mention the "flaws" u point out that are blatantly the result of bad faith criticism, such as blaming the sonic material for you misinterpreting the emotional tone of a scene.

from what i see in the things u say, u just deeply want sonic to return completely to its older methods of storytelling. which is not only unfeasible but, if actually ever fulfilled, it would just result in actual objectively bad sonic material. trying to return to the "glory days" never goes well for anything. and even if u try to argue that u don't actually believe this, please have the dignity to be honest with urself. even if u convince urself u don't want sonic to return completely to its past style the way boomers tend to say, every viewpoint u have is way too influenced by classic sonic style storytelling, so much so that it blinds u. this viewpoint of urs exemplified by, once again, the majority of ur criticisms being made in bad faith. u always assume the worst and most insensitive interpretation of something even when ur interpretation is clearly wrong when taken in full context. it's as if u've already decided since long ago that u just dislike everything if it's modern sonic, regardless of the actual material. no matter how objective u attempt to be, everything u have to say is just so obviously taken from this tunnel-vision, inflexible point of view.

but of course not to say that classic sonic storytelling is bad, or u are wrong to prefer it so strongly. that's just objectively wrong, both writing off classic sonic as bad and trying to police ur specific personal taste. i don't wish to say or express either of those statements and i hope i can be clear about that at least. but the specific way sonic has been written back in the day is over now. it has had its run and it is now retired. modern sonic, as it is ongoing with all these new forms of media, comprises of the sonic creators trying out all new things to grow themselves and their creations better than before. honoring the past, both the glory days and the embarrassing mistakes, while aspiring to push their limits to newer heights. and yes all of it is extremely flawed and much of it could be vastly improved, but everything is being made from a genuine and earnest and passionate love for sonic.

and.........this might be a bit mean to say but. there really is something unsettling about the way u and ur little friends here always react with cynicism and irreverence when new sonic material has heartfelt moments. that u perceive these bits of writing which are just trying to express earnest and honest emotion as "emotionally manipulative", solely because the execution is clumsy and elementary and even hamfisty, is just..........very telling of the type of person u are. sonic is a children's franchise. of course the emotional beats are going to have the tone and complexity of a bleeding heart. maybe calm down.

there's nothing wrong with preferring older sonic material and really disliking new modern sonic media, but..........if that is the case then i don't understand why u continue to consume the newer version of the franchise. i think u've already been told urself but the rest of ur friends who might read this should be told the same: it would make u much happier if u gave up on modern sonic, only kept consuming the old sonic material u love, and moved on entirely. and if u are deciding to stick around out of a tiny sense of hope that ur desires will be filled, i say this with the most kindness: u have better things to do that are worth ur time and effort. please make urselves happier and just move on from modern sonic. it's been long enough that it's time to accept that the trajectory of where sonic is heading from now on? it is not for u and never will be

I JUST REALIZED THIS IS AN EFFING COPYPASTA

FUCKING HELL, WHY DO I FALL FOR THESE????

[kinopioa]

i think i would feel more sympathy for u if ur alienation from sonic wasn't.......completely self-imposed. even amongst the valid criticisms u have for modern sonic media, all of it seems to stem from this very......for lack of a better term, boomer-esque viewpoint. idolizing the way sonic characters and stories were written and told back in the classic era - dark era, and hating every even slight change to style of creating. because like i said even ur few valid criticisms are kind of rendered feeble when ur core reasoning for believing them isn't about objective quality, and way more about nostalgia-tinted longing for the past. after all even when u list the qualities u like about a newer sonic installment, u always gloss over them. as if the positive aspects of newer sonic that u like are mere afterthoughts, and u believe the flaws and negative qualities are worth dwelling on more. which is not a wrong outlook on criticism at all, but it certainly is a little suspect when all the negatives u focus on are centered around how everything is so different from older installments. this is not even to mention the "flaws" u point out that are blatantly the result of bad faith criticism, such as blaming the sonic material for you misinterpreting the emotional tone of a scene.

from what i see in the things u say, u just deeply want sonic to return completely to its older methods of storytelling. which is not only unfeasible but, if actually ever fulfilled, it would just result in actual objectively bad sonic material. trying to return to the "glory days" never goes well for anything. and even if u try to argue that u don't actually believe this, please have the dignity to be honest with urself. even if u convince urself u don't want sonic to return completely to its past style the way boomers tend to say, every viewpoint u have is way too influenced by classic sonic style storytelling, so much so that it blinds u. this viewpoint of urs exemplified by, once again, the majority of ur criticisms being made in bad faith. u always assume the worst and most insensitive interpretation of something even when ur interpretation is clearly wrong when taken in full context. it's as if u've already decided since long ago that u just dislike everything if it's modern sonic, regardless of the actual material. no matter how objective u attempt to be, everything u have to say is just so obviously taken from this tunnel-vision, inflexible point of view.

but of course not to say that classic sonic storytelling is bad, or u are wrong to prefer it so strongly. that's just objectively wrong, both writing off classic sonic as bad and trying to police ur specific personal taste. i don't wish to say or express either of those statements and i hope i can be clear about that at least. but the specific way sonic has been written back in the day is over now. it has had its run and it is now retired. modern sonic, as it is ongoing with all these new forms of media, comprises of the sonic creators trying out all new things to grow themselves and their creations better than before. honoring the past, both the glory days and the embarrassing mistakes, while aspiring to push their limits to newer heights. and yes all of it is extremely flawed and much of it could be vastly improved, but everything is being made from a genuine and earnest and passionate love for sonic.

and.........this might be a bit mean to say but. there really is something unsettling about the way u and ur little friends here always react with cynicism and irreverence when new sonic material has heartfelt moments. that u perceive these bits of writing which are just trying to express earnest and honest emotion as "emotionally manipulative", solely because the execution is clumsy and elementary and even hamfisty, is just..........very telling of the type of person u are. sonic is a children's franchise. of course the emotional beats are going to have the tone and complexity of a bleeding heart. maybe calm down.

there's nothing wrong with preferring older sonic material and really disliking new modern sonic media, but..........if that is the case then i don't understand why u continue to consume the newer version of the franchise. i think u've already been told urself but the rest of ur friends who might read this should be told the same: it would make u much happier if u gave up on modern sonic, only kept consuming the old sonic material u love, and moved on entirely. and if u are deciding to stick around out of a tiny sense of hope that ur desires will be filled, i say this with the most kindness: u have better things to do that are worth ur time and effort. please make urselves happier and just move on from modern sonic. it's been long enough that it's time to accept that the trajectory of where sonic is heading from now on? it is not for u and never will be

Huh, you literally copy pasted this from Beevean's ask. I'm unimpressed

But I'll humor you

-using classic-dark era

Classic only lasted till 1993. There are way more eras between that and now. Dark era is also a cruddy fan term, done out of bias to Sonic 06

-Your core reasoning isn't about objective quality

Mkay, so tell me why a Sonic comic with the author directly saying in the 2018 interview "Eggman is top villain" has someone else completely taking the spotlight for 30+ issues? Tell me how IDW Sonic is compassionate when he dismisses Tails and others frequently? Tell me why ABT's art went from REALLY good the first 10 issues, to suddenly a blobby mess after? Tell me why Shadow was written decently in TSR's comic that would have the exact same "mandates" as mainline IDW? Tell me why for a supposed high tension fight or chase a joke punking suddenly occurs almost as bad as an MCU film? Why so many already established characters have little involvement overall, vs new OCs having multiple arcs of their own?

-Classic Sonic storytelling is unfeasible

I mean yeah, that's why they stopped starting with Adventure. No more having lore only in manuals since thay can be easily missed. Oh, you thought that was all of Sonic before Colors, too bad

-Sonic creators trying out all new things to grow themselves and their creations better than before

Ian is literally recycling his ideas scrapped from Archie. Starline became Snively 2.0 in harping Eggman, same with Surge becoming Scourge 2.0. His overall writing and mischaracterization is similar to Archie, only with Shadow being more off

-That u perceive these bits of writing which are just trying to express earnest and honest emotion as "emotionally manipulative"

Weird, I never posted anything about th- oh right, you copy pasted this.

Also, for Surge's case it very much was. It came out of nowhere, contradicts her hyper aggressive hide, and just makes her look more like a coward. Yet we're somehow supposed to sympathize that, someone who literally ignored Kit when on a rampage for no reason

Speaking of, rip Kit. Poor kid actually is deserving of sincere sympathy, but Blue hedgie and Green Tennie are stupid

-why u continue to consume the newer version of the franchise

Gee, someone missed my old ask. I'm here for da memez ;]

Also despite criticisms, I prefer Barnes and Caleb's writing vastly over Ian and Evan's. I wish to see both of them grow. Similarly, some of IDW's artists like Aaron are good, Jack becoming good after Scrapnik, and some other cover artists

For games, I'm fascinated by Frontiers gameplay, and to see how it'll be expanded on

[gritsandbrits]

i think i would feel more sympathy for u if ur alienation from sonic wasn't.......completely self-imposed. even amongst the valid criticisms u have for modern sonic media, all of it seems to stem from this very......for lack of a better term, boomer-esque viewpoint. idolizing the way sonic characters and stories were written and told back in the classic era - dark era, and hating every even slight change to style of creating. because like i said even ur few valid criticisms are kind of rendered feeble when ur core reasoning for believing them isn't about objective quality, and way more about nostalgia-tinted longing for the past. after all even when u list the qualities u like about a newer sonic installment, u always gloss over them. as if the positive aspects of newer sonic that u like are mere afterthoughts, and u believe the flaws and negative qualities are worth dwelling on more. which is not a wrong outlook on criticism at all, but it certainly is a little suspect when all the negatives u focus on are centered around how everything is so different from older installments. this is not even to mention the "flaws" u point out that are blatantly the result of bad faith criticism, such as blaming the sonic material for you misinterpreting the emotional tone of a scene.

from what i see in the things u say, u just deeply want sonic to return completely to its older methods of storytelling. which is not only unfeasible but, if actually ever fulfilled, it would just result in actual objectively bad sonic material. trying to return to the "glory days" never goes well for anything. and even if u try to argue that u don't actually believe this, please have the dignity to be honest with urself. even if u convince urself u don't want sonic to return completely to its past style the way boomers tend to say, every viewpoint u have is way too influenced by classic sonic style storytelling, so much so that it blinds u. this viewpoint of urs exemplified by, once again, the majority of ur criticisms being made in bad faith. u always assume the worst and most insensitive interpretation of something even when ur interpretation is clearly wrong when taken in full context. it's as if u've already decided since long ago that u just dislike everything if it's modern sonic, regardless of the actual material. no matter how objective u attempt to be, everything u have to say is just so obviously taken from this tunnel-vision, inflexible point of view.

but of course not to say that classic sonic storytelling is bad, or u are wrong to prefer it so strongly. that's just objectively wrong, both writing off classic sonic as bad and trying to police ur specific personal taste. i don't wish to say or express either of those statements and i hope i can be clear about that at least. but the specific way sonic has been written back in the day is over now. it has had its run and it is now retired. modern sonic, as it is ongoing with all these new forms of media, comprises of the sonic creators trying out all new things to grow themselves and their creations better than before. honoring the past, both the glory days and the embarrassing mistakes, while aspiring to push their limits to newer heights. and yes all of it is extremely flawed and much of it could be vastly improved, but everything is being made from a genuine and earnest and passionate love for sonic.

and.........this might be a bit mean to say but. there really is something unsettling about the way u and ur little friends here always react with cynicism and irreverence when new sonic material has heartfelt moments. that u perceive these bits of writing which are just trying to express earnest and honest emotion as "emotionally manipulative", solely because the execution is clumsy and elementary and even hamfisty, is just..........very telling of the type of person u are. sonic is a children's franchise. of course the emotional beats are going to have the tone and complexity of a bleeding heart. maybe calm down.

there's nothing wrong with preferring older sonic material and really disliking new modern sonic media, but..........if that is the case then i don't understand why u continue to consume the newer version of the franchise. i think u've already been told urself but the rest of ur friends who might read this should be told the same: it would make u much happier if u gave up on modern sonic, only kept consuming the old sonic material u love, and moved on entirely. and if u are deciding to stick around out of a tiny sense of hope that ur desires will be filled, i say this with the most kindness: u have better things to do that are worth ur time and effort. please make urselves happier and just move on from modern sonic. it's been long enough that it's time to accept that the trajectory of where sonic is heading from now on? it is not for u and never will be

I'M NOT READING ALL THAT

[sciencestyled]

Tiny Art for Big Brains: Sculpting Masterpieces One Atom at a Time (But You Probably Won’t Get It)

nanotechnology. The brave new world where science meets art, and by "art," I mean something so mind-bogglingly complex that your average Instagram “art influencer” would probably give up and go back to their avocado toast in despair. Yes, dear students—if that’s even the right word for this room full of glow-stick-addled TikTok zombies—today we’ll be diving into the riveting world of nanotech sculpture. Imagine, if you can (though I highly doubt it), sculpting not with clay or marble, but with molecules. Yes, those tiny little things that you likely think are just words on a periodic table you once Googled. But don’t worry—I'll dumb it down just for you.

Nanotech: Not Just for Sci-Fi Villains Anymore

Let's start with the basics, because I can already see your attention wandering toward whatever nonsense is currently trending on your YouTube channel subscriptions. Nanotechnology isn’t just something Dr. Doom fiddles with in an attempt to out-villain Thanos. No, it’s a real, functioning field of science—one that involves manipulating materials on an atomic scale. That’s right, we’re talking about the kind of microscopic precision that makes your favorite Instagram filters look like cave paintings. Nanotech has already made some humble contributions to society, like curing diseases and developing materials that are stronger, lighter, and more fabulous than anything your pathetic IKEA coffee table could ever dream of being.

But science is a fickle mistress, and naturally, once we perfected the trivial stuff like saving lives and making billionaires even richer, we turned our attention to the obvious next step: art. I mean, if we can use nanotech to create new drugs and faster computers, why not use it to make sculptures that will probably be misunderstood and underappreciated by 99.9% of the population? Seems logical, right?

Nanotech Art: For the Two People Who Get It

Art and science, of course, have been cozying up to one another for centuries. But nanotech sculpture? Now that’s a different beast. It’s the kind of art that requires not just vision, but also a PhD in molecular physics, access to a cutting-edge laboratory, and the patience of someone who willingly watches every single director’s cut of The Lord of the Rings. Imagine arranging atoms one by one, meticulously stacking them like some deranged game of atomic Jenga. But instead of winning, you end up with a tiny, invisible-to-the-naked-eye masterpiece that no one will ever fully appreciate because, well, it’s smaller than the viruses clogging your Twitter feed.

Oh, but don’t let the minuscule size fool you into thinking this art isn’t groundbreaking. Nanotech sculptures are so precise that you can create things that change depending on the environment. Yes, because nothing screams "art" quite like a sculpture that morphs like it’s auditioning for the next reboot of The Transformers. Today’s nanotech artists are essentially mad scientists with the soul of a tortured Renaissance painter, manipulating individual atoms to create sculptures that, in their humble opinion, rival anything by Michelangelo—if Michelangelo had been given access to a scanning tunneling microscope instead of chisels.

Molecular Art Forms: Now with More Atoms!

Now let’s pretend for a moment that any of you actually understand what a molecule is. (Spoiler alert: it’s not that thing you keep mistaking for your mood ring.) In nanotech sculpture, artists manipulate atoms to create forms with a level of precision that would make even the most perfectionist chef at Gordon Ramsay’s restaurant break down in tears. We’re talking about shaping molecules as if they were blobs of Play-Doh, except these aren’t the kindergarten-grade blobs you’re used to—these are molecules that can be twisted, turned, and stacked into whatever bizarre, impractical, and totally unmarketable form the artist desires.

Think of a nanotech sculpture like a piece of avant-garde performance art, except instead of being performed by a human being wearing an alarming amount of black turtlenecks, it’s done by atoms that rearrange themselves based on temperature, light, or the simple act of you giving it your best confused stare. Some nanotech sculptures could even heal themselves, so if you accidentally sneeze on it, it might pull itself back together like a low-budget Wolverine.

Of course, explaining this to you is like trying to explain quantum physics to a cat—you’ll sit there, vaguely intrigued but ultimately more concerned with the shiny object in the corner. But don’t worry, we’re still in the early days of molecular sculpture, so there’s plenty of time for you to catch up before nanotech art becomes the next big thing that no one really understands but everyone pretends to.

Welcome to the Sci-Fi Future, Where Art is Smarter Than You

Now, if there’s one thing you kiddos do understand, it’s the sci-fi future. You’re basically living it, what with your smartphones and your binge-watching of dystopian Netflix originals. So let’s take a moment to dream about a future where nanotech artists rule the world—or at least the niche corners of the internet. Imagine walking into a gallery where every piece of art is alive, shifting, and self-repairing like some twisted version of Westworld. (No, seriously—half of you probably think the nanobots are going to rise up and enslave us any day now. Newsflash: they’re too busy being stuck in art installations no one visits.)

In this brave new world, you won’t just look at sculptures—you’ll interact with them. Art could be commissioned to change color based on your mood, or maybe it will decide it’s had enough of your side-eye and slither away in protest. We might even see sculptures that evolve over time, shifting and adapting like that one overly clingy ex who just won’t let go. Think of it like The Sims, but with atoms, and no one constantly removing the ladders from the pool.

Ethical Concerns (Because of Course There Are)

Now, as with all scientific advances, there are a few pesky ethical concerns. You know, minor things like “Should we be manipulating matter like gods?” or “Will nanotech sculptures one day gain sentience and declare war on humanity?” Of course, none of this will concern you, as you’ll likely be too busy live-streaming your latest half-hearted attempt at cooking to even notice when the molecular revolution begins.

But still, we must ask ourselves: Is it really a good idea to let artists—who, let’s be honest, are known for being a bit unhinged—tinker with the very fabric of matter? Imagine if Banksy got his hands on nanotechnology. He’d create a self-replicating graffiti tag that would cover every surface on Earth by next Tuesday. And what if someone weaponizes nanotech art? One minute you’re admiring a lovely sculpture; the next, you’re being atomized by a shape-shifting statue that decided it’s had enough of the human race. It’s Terminator meets Bob Ross, and honestly, I’m here for it.

The Future Is Tiny, and You’re Probably Not Ready

In conclusion, my dear pupils, the world of nanotech sculpture is full of promise—and peril, if your imagination is even half as paranoid as mine. On one hand, we’re on the verge of molecular-level masterpieces that could change how we experience art and maybe even life itself. On the other hand, we’re also one step away from nanobots with superiority complexes deciding that humans are simply too stupid to exist. And, based on the blank stares I’m currently receiving, they may have a point.

So, what have we learned today? Probably nothing, but that’s fine. You’ll forget all of this by the time your next YouTube channel notification goes off anyway. But maybe, just maybe, some of you will have the decency to pretend you were paying attention as we embark on this tiny, bizarre future. Or, you know, just go back to texting.

[cleekleequlee]

More than “more-than-human centered design”

Earlier this year when presenting in EASA 2024 with anthropologists and peer design researchers, I (after my presentation done and a drink in the kitchen at 11pm Hong Kong time) responded rather strongly to the idea of more-than-human design as “more-than-human centered” design. Example is to consider how wildboar moves around and create tunnel in urban spaces. At that time I cannot quite articulate where that sentiment is from. I still cannot today, but finds two reference helpful in explaining my opinion, that more-than-human design, or more accurately posthumanist design, is not just design for more-than-human.

One reference is Alex Wilkie’s co-authored paper on speculative design brief. Knowing his strong theoretical foothold in process theory gave me the confidence to read the paper in detail and multiple times. What I take away so far is that the design brief meant by Wilkie and authors is not only concerned with the outcome of design but also the process of design. This is key for understanding their concept of “design event”. This is under the premise that designers don’t start the design process knowing exactly what they want to design. Rather than “allowing drift” which is the idea of “design drift”, Wilkie takes a more radical position seeing this formulation of design brief as part of design process. This the design brief includes the intention of design and instructs processes for designers to map the network with existing and absent (more-than-human) actors. Theoretical conceptualization proceeds the forming of brief for articulation through design. In an other word, theory not only serves as providing the mechanism of design (as designers always go to psychology for ways to do something), but is the fundamental reason and drive for design articulation.

The next reference comes from a quick read of Annemarie Mol’s latest book Eating in Theory. I have yet to wade through the whole book. But based on the first chapter where Mol introduced the intention and structure of the book, it surprisingly shed some light on my research. In this new book the topic Mol explored is eating - an mundane, too ordinary experience that everyone cannot do without for every 12 hours they are alive on earth. Mol sets off to challenge the separation between survival and living, between labor and actualization which is very much in line with my idea of practice theory. What makes my eyes wide open with excitement is how she does that by reframing the not-worth-mentioning experience of eating. There is nothing new actively being done or designed, but this reframing is enlightening for us to take another look at all the everyday experience we have and see them in new, philosophical lights. In a nuanced way this reframing to me is connected to what Foucault and Braidotti always does, and according to (the amusingly mysterious) Barad, another way of spacetimemattering. If we call any intentional doing with a purpose as design, then Mol’s approach is also design with changed theoretical lens (from Hannah Arendt / Aristotelian) division of body and mind (labor, work and politics) to something else. A missing step if there is to call it design is to prove that such reframing gets to people’s mind, and make concrete, material change in their doing, even if it is just to feel how their throat is in touch with the other - plants and animals that we call food. I was definitely inspired by a talk by design researcher /to-be anthropologist Duan Zhipeng last week that what interests him more is not doing any form of intervention directly - like me he is no believer that the top-down approach would work, but to better “describe”. In this sense, the cosmetic work of design - I have graphic design in mind - can also be critical in forming new ways of thinking, and a lot of the top-down structures that we have relied so much in the past won’t be too helpful in achieving this vision of graphic design.

So design - I’ll use the term posthumanist design for now, is not about more-than-human centered. It is the reshuffling the conceptual construction of the world for everyone, from designers (in Wilkie’s case of attuning to MTH as part of design brief) to people who eats (which is everyone who is alive). If this can be done in the most mundane experience of eating, it can certainly be done for other groups - certain professions, certain geographies, certain practices. Finding the existing contact with MTH or stage such contact, reframe the experience as transformative learning opportunities (Mezirow) to prepare for the conditions of social change (Manzini).

ps. Some of the discussion on the relationship between theory and empirical in introductory chapter also reminds me of the many methodological books by Matz Alvesson where the empirical is not only for applying theory but for generating novel theories.

I hope I will get more thinking disturbed in reading Mol - I’m in discussion with peer PhD student to do a book club on Mol’s two books. I also am curious how other design students think of them.

References:

Wilkie, A. and M. Michael (2023). "The aesthetics of more-than-human design: speculative energy briefs for the Chthulucene." Human–Computer Interaction: 1-13.

Mol, A. (2021). "Eating in Theory."

Alvesson, M. and D. Kärreman (2011). Qualitative research and theory development : mystery as method. London, Sage.

Alvesson, M. and K. Sköldberg (2009). Reflexive methodology : new vistas for qualitative research. London ;, SAGE.

[mi4011hemanshapeiris]

Animated Documentary: Narrative 03

After the feedback session on Monday, I decided to work on a new narrative.

But in the end, after having a one on one session with the lecturer, I realised this narrative was also still generic, and was sticking to the elements of the previous narrative. I wanted to let go of my tunnel vision and look at the project in a new perspective, instead of letting myself be held back by the fear of not being able to animate my idea. The conversation with our lecturer inspired me to use elements from Isha's concept art, and the way she has used backgrounds and animals. Using this idea, I came up with a new concept, which is original, and has little to do with the past 3 ideas.

I'm quite intimidated by this narrative for two reasons; one being the lack of confidence in my skill level to effectively bring this story to life, and also a worry that this won't fit into 30 seconds. But I made a very rough storyboard for it nonetheless. 0--------------------------------------------------------------------------0

Storyboard:

NARRATIVE:

The animation starts with a shot of young Isha preparing to kick a soccer ball. The setting she is in is unconventional for playing football, but this will represent her love for nature, as she is in a jungle surrounded by thick greenery. We see that the football goal net is made out of vines and leaves. Using all the force she can muster, she kicks the soccer ball, and watches it fly with anticipation. But just before it hits the net, it pauses, as if hitting an invisible forcefield. Then, it'll fall down, and roll back to where Isha is standing. Undefeated, Isha looks determined as a pencil materializes in her hand, and she uses it to draw a stronger force that captures the football and launches it across the air. This time, it hits the net, and even rips through it, as the scene transitions into a beautiful sky. The football breaks through the net to this new setting, and a bird that resembles the logo of Ghost Animations captures it in its talons. The bird flies across the sky, and we see a goal net made of clouds. The bird kicks the ball in, and it breaks through the clouds, reappearing in the familiar jungle like setting from before. It soars across the air and bounces on the ground, ultimately rolling into the net. When the camera pans to Isha, we see that she has grown up, and as the bird lands on her shoulder, she smiles into the camera with a satisfied expression. 0---------------------------------------------------------------------------0

The symbolism I've used for this scene: Isha and the football, and the force that stops the ball from going in would show an obvious obstruction to her passion. The pencil would show her love for art and how she uses it as a form of activism and communication. The bird managing to score a goal would symbolize how joining Ghost Animations gave her an opportunity to express herself and create stories that speak about important things. It will also show how it provided her an outlet to create a story inspired by her experiences of not being able to play football during her school days. The visuals will bear resemblance to Isha's concept art for backgrounds, as well as character designs.

The audio will consist of uplifting music when appropriate and sound effects.

2024/04/03

----------------------------------------------------------------------------

IMPROVED NARRATIVE:

The animation starts with a shot of young Isha preparing to kick a soccer ball. The setting she is in is unconventional for playing football, but this will represent her love for nature, as she is in a jungle surrounded by thick greenery. We see that the football goal net is made out of vines and leaves. Using all the force she can muster, she kicks the soccer ball, and watches it fly with anticipation. But just before it hits the net, it pauses, as if hitting an invisible forcefield. Then, it'll fall down, and roll back to where Isha is standing. Isha kicks the ball once more after failing the first time, and while it flies through the air, she quickly sketches out a bird that resembles the Ghost Animation profile picture.

As the ball soars through the sky, the bird catches it in its claws and scores a goal. When the camera pans to Isha, we see that she has grown up, and as the bird lands on her shoulder, she smiles into the camera with a satisfied expression. 2024/04/06