#it's crucial for my character development

[yuriartillery]

i'd say my main complaint with cca is the pacing. it doesn't have time to say everything it's trying to. jumping in en media res to after char has already begun his war on the earth sphere was the first red flag for me in that regard.

almost every character that isn't char or amuro feels like fodder. they're the barest smidge of characterization in a fruitless attempt to gain some sympathy when they inevitability and unceremoniously axed. if they're lucky they get used to develop char or amuro a bit. and maybe i could forgive this if this was actually the Char and Amuro show, but instead we spend a solid chunk of movie focusing on quess and hathaway.

the quess storyline in cca is a trite retreading of the dozen or so "newtype girl on the enemy side that has a connection with the main male child soldier and then dies tragically" plot lines we've seen way too many times except paced way too fast to actually have any emotional impact. like i was already rolling my eyes when ple2 died and that had so much more time to develop. but by cca this trope is so over done in the uc that it's actively annoying. its not that i dislike quess as a character! i know some people hate her character but i actually think id like her a lot in a different (or at least more fleshed out) story. she's the best new character in the movie and a hell of a lot more interesting than hathaway, who feels like the most nothingburger character in a movie full of nothingburger new characters. but again my main complaint with the subplot is that honestly by this point tomino did not need to rehash this again. he's already rehashed the lalah story so many times in so many ways and this one doesn't do enough different to be interesting on it's own or in relation to the char/amuro story it's latched onto. like we did not have enough time in this movie do this whole plot and the time spent on it makes the char/amuro rivalry feel undercooked, especially in the context of this being the conflict that ends their rivalry in mutual destruction.

i felt so disappointed by cca that i haven't touched anything uc set after it. anyway i embrace the incoming artillery strike.

"a crucial part of CCA is the crushing sense of bleakness the feeling that nothing is getting better that something has to change. but no single person can make that change happen! thats why we see another generation of newtypes make the exact same mistakes. the very same mistakes that char and amuro made in 79" thats four and kamille! you've just described the point of four's storyline in zeta! char and amuro practically turn to the camera and say as much! and it was great in zeta in no small part because they had multiple episodes to build this parallel and develop the characters involved! but then tomino did it AGAIN and AGAIN with other newtype girls later in zeta and in zz! by the time of cca it feels less like tomino is making a point about the cyclical nature of war and more like he can't think of anything else to say and is just falling back on an Ol' Reliable which is so worn out it isn't very reliable anymore. the repetition isn't reinforcing the point anymore, it's just undermining the impact. i'm just glad tomino got over his obsession with this point by the time of turn a. turn a is good.

So, this might come off as a little harsh, but this is an extremely surface level reading of Char's Counterattack. What follows is a little unfocused but I just have so much to say about this movie.

Char's Counterattack is a film that is almost entirely about Char. Everything that happens in it can be traced back to Char, each character reveals or reflects something about Char. We begin in media res because after the end of Zeta and ZZ we already know what Char has been through to lead him here.

Char Aznable has tried to cut out his heart for the sake of revenge in 79. He's watched not one but two movement for spacenoid liberation collapse after going rotten from with in. His protege, Kamille Bidan, the child he tasked with building a new future, was subjected to a fate worse than death to protect the future from Paptimus Scirocco. He has been a traitor, a soldier, and a demagoue for his own sake and the sake of the future. And now he is staring at the end of history, he can see everything laid out in front of him getting worse, forever. Nothing he or anyone else has done has mattered at all. So he has resolved to do something that will change something, make the current order impossible to maintain, skip to the end! We know that as soon as we hear that Amuro Ray and Londo Bell are too late to stop another one of Char's rocks from hitting the Earth.

Quess is Kamille Bidan after Kamille Bidan. She is impulsive, emotional, selfish, immature, and has a strong sense of justice. Her relationship with her parents is terrible and she's stifled by the Federation's vision of the future and herself. Char takes her under his wing in the same way he mentored Kamille, but through their relationship we see how much worse Char has gotten. He doesn't try to help her grow into a soldier or a more complete person. He doesn't have anything to give her except proximity to authority. All Char sees in her is a means to an end. He doesn't care about the future any more.

Hathaway is the Fa Yuiry to Quess's Kamille. He's sort of a newtype but all of his concerns are very ordinary. What he wants for Quess is contrasted against what Char wants, and while it is marked by an masculine chauvanism, the immature vulgarity of it heightens the contrast.

But what it really comes down to is his relationship to Amuro Ray. Char Aznable is a man of deception. He deceives is allies, his enemies, and himself. The only person he feels he can be honest with now is Amuro. Even though he has told himself that he feels nothing, that he is doing what must be done no matter what, he doesn't want to kill everyone, deep down. He doesn't want to kill himself either. At every opportunity he gives Amuro Ray the ability to stop him and to prove him wrong. He sees Amuro as his equal and he wants there to be another path!

But Amuro Ray had his life destroyed by Char Aznable. Amuro Ray has spent his life desperately reacting to whatever new bullshit Char has pulled! He has no reason to want to save Char or to give Char another chance or any of it! So Amuro ends up fighting for a status quo that is killing everyone a little slower then Char's ultimatum will. It's only a rivalry in the broadest of strokes.

I think the film is paced and constructed perfectly to communicate that. Each scene does a wonderful job of advancing this world according to Char Aznable, where everyone has petty feelings that are missing the bigger picture, where everything is meaningless, and everyone hurts each other. Where nobody even tries to understand each other any more. And at the end, during the Axis Shock, Amuro Ray finally understands why Char is the way he is! There's understanding! It averts the crisis! For a brief moment there's a way forward! It makes me cry and cry and cry!!!

[bomusims]

track 02: check pattern

perhaps we are walking on many lines that are crossing one another meeting you was the coincidences crossing over if i think that was all maybe the breakup will be bearable ... maybe it's because we embody different colors so that we couldn't approach each other

track 03: i don't wanna do anything

over nothing at all i'm getting sensitive again piling up dust-like worries one by one ... right now, looking through the rain-streaked window i feel like i'm watching something everything's blurry and out of focus things that won't change

track 06: wednesday night

every wednesday night for some reason, my heart flutters even the stuffy weather and the congested roads i feel like i can forgive it all ... every time, i greet you with a smile and say, “hello” then, “thank you for making time for me” when we part, i say, “sleep well and don’t even dream” hope to be with you on every wednesday night

author's rambling

initial notes

i had my work cut out for me with this one—it’s on a completely different scale and style from my april entry. brunch club had 1 big render and 5 smaller edits with pics taken in cas; this project had a minimum of 3 big renders, with an undetermined amount of extra stuff. this time, instead of creating characters and developing lore for them, i wanted to create scenes that conveyed the emotions i feel when listening to the song, and the visions i imagine while reading the lyrics. i’m much more skilled with blender after almost 2 months worth of practical experience, so at least i didn’t have to learn an entirely new program. i didn’t even have to make renders for this, i just wanted to do it because they’re fun and i like the creative freedom i get with rendering vs taking in-game pics.

album - 30

this album really spoke to me because while it may not be the most groundbreaking work of art, it definitely holds significant meaning, especially to sungjin himself. it comes with the added bonus of two of the songs being right up my alley in terms of music taste—so much that it’s almost unnerving. it’s like that guy lives in my brain

there is something about this album that just goes so well with public transportation, and that's where the inspiration for my edits came from! you can take a peek at my moodboard here

check pattern

this one i had a pretty clear vision once i read the lyrics. it’s a song about going your separate ways after a breakup, and i immediately thought of an elevator scene (i also thumbnailed an escalator scene, but that was scrapped early on). i made a render and did all the editing for it, but i wasn't sure if i really liked or not, and then i ended up making a completely new render using the subway scene

i do think that as far as the meaning of the song goes, my original edit fits better, but overall as a set i like this one more

yes, i know, it parallels the shining twins. no, that was not my intention but what the hell, sure

did i sneak chuuves in here? yeah #ILoveLesbians

i don't wanna do anything

this actually the first edit i finished for this entry, and i liked it so much that i ended up using the same scene and overlays on the other two for #Continuity

the original idea was a snapshot from outside a city bus at night, with the silohuette of someone inside the bus behind a foggy, rain-streaked window. i was doing pretty alright when it came to building the scene and so forth, but i hit a dead end when i got to the window bit. there's a line in the lyric that goes 'right now, looking through the rain-streaked window', and so getting the rain on the window would be a crucial part of the render. at first i had planned to download someone else's shader and slap it on my window object, but the ones i found for free either weren't compatible with the blender versions i was working with or they simply were not cooperating with me. i didn't have the time to go through all the troubleshooting, so instead i watched a tutorial on how to make my own… which ended up being incredibly complicated and it probably would have taken me at least 3-4 hours if i had tried making my own shader. then i decided to just add the rain and fog during postprocessing, so i hit that render button and got to editing. but i wasn't feeling how that turned out either

i decided to go with a subway scene instead, and it turned out really well! i'm quite happy with the results on this one

wednesday night

this one sent me through the wringer and back. i went through so many thumbnails and drafts, but nothing was really hitting

about a week before the deadline, i had the genius idea to make mitsuaya-inspired sims for it. if i did it with chuuves, who's to say i can't pop some green yuri in there!

originally, i had in mind mitsuki offering her hand in escort to aya as she departed a bus, but trying to find pose references drove me up a wall. then i tried to make the poses without a reference, but i just could not get mitsuki to look natural. aya's poses were easy, but mitsuki always looked so stiff and i couldn't figure out how to make her relaxed without sacrificing posture and so forth. then i had the idea to make ALL of the renders using the subway scene, and i ended up with the two of them sitting down and leaning against each other

the sims themselves posed a whole other problem. aya, once again, was fairly easy to make and dress up in cas, but i went through four (4) different iterations of mitsuki and her outfits before settling upon the final one you see in the edit. i wanted to stay true to their canonic fashion taste, and mitsuki has a very androgynous/masc grunge-y punk-ish streetwear wardrobe. i tried referencing official art, but the pieces i had didn't quite fit the bill and i did not have the time to go cc hunting. in the end, i had to compromise and go slightly off canon (mitsuki has not and never will a cropped top or jacket), but i'm pretty satisfied with how she turned out!

the scene… oh boy. i tried extracting assets from in-game and cc, but the textures were off (i.e. there was a big ass american flag on the side of the bus and it's the only swatch but i'm not really rocking with patriotism like that) and i'm not quite there with my texturing skills yet, so trying to make a recolor was out of the question. then i tried using non-sims blender assets and 3d models, but trying to find decent quality models for free online is like searching for a pin needle in a haystack. and then i tried building my own scene completely from scratch—which means making brand new meshes and objects. the meshing went pretty okay, but trying to add materials and textures gave me a headache so that was a no-go as well. but once i decided to pivot to using the subway scene instead, things went rather smoothly! by that point, i had worked with that specific scene over ten times (mostly scrapped drafts), so cleaning it up was quite easy, and making poses and adding lighting were a breeze.

misc notes

what's club30, you ask? uhhhhhhh lesbian gay bar

i actually planned for a 4th render, but i ended up having to scrap it due to time constraints

my fave songs off the album are i don't wanna do anything and wednesday night! i love them so much yall i'm probably in the top 0.05% listener percentile or whatever the fuck it is

i was really close to redoing my first render so the models would be nanahachi instead, but alas… deadlines are a thing

@peachibunnii's server hosts monthly challenges, and this is for the may prompt! i'm also a mod over there! come and say hi :)

i'll be posting some behind the scenes wip pictures n things like that over on my patreon! you can find them here :)

thanks and credits: @peachibunnii and the bunniis for the prompt and encouragement; @salemssimblr and the crypt for their help and support; @vyxated for the life-saving ea rigplus; alex murias for the amazing scene i used in all of the renders; all the creators whose cc i used to make my sims: @jino-sims @seoulsoul-sims @jius-sims @charonlee @serenity-cc @caio-cc @sentate @hezeh @pralinesims @asansan3; blender, clip studio paint 4.0, sims 4 studio, and inkscape (the programs i primarily used); and last but not least, my emotional support brother from another mother beerkyeg. i'm definitely missing some people, but know that i love and appreciate you all! <3

[satellitesnotstars]

FALL OUT BOY COMING TO MY STATE FOR 2OURDUST W I T H T H E M A I N E FUCK YEAH

[icannothink123]

Just me but I dislike how often times thorn the “NOO DONT HURT THE BABY” princess, when betraying and stabbing her is critical to understanding her character. I understand she’s relatable and betrayal/abuse are harsh topics but my lord is it so demonize within the fandom.

Actually often times hurting princesses some may care about is demonized too when it’s critical understanding them.

[muscari-melpomene]

Y’all do know that character death happens and is done for a reason and a lot of times those reasons are valid, yeah? Like y’all understand that “this character’s death made me sad” and “this character’s death was important to the plot and held meaning and was done with intention” can coexist, yeah? We know that bury your gays did Not apply here, Yeah????

[mariocki]

Honor Blackman guest stars as art expert Syd Lewis in Saber of London: Deep in the Heart of Chelsea (1.3, NBC, 1957)

[prettypinkbubbless]

I am this close 🤏 to becoming a lesbian I think.

[lovinglin]

GOOD MORNIGN. Merry christmas and happy holidays to y'all 🫶💖

[olberic]

see the thing is. arise does have a finished story. it clearly wraps up the plot it set out to tell. its not outside the realm of standard tales storylines either in the whole “going to another planet” and “worldly energy” and “theres aliens” plotlines. the problem is just that its centrist (like vesperia and phantasia) and that a lot of the character relationships suck (graces). just since arise does weird plot AND centrism AND badly written pairs it gets a worse rep than other tales games. which i do think is ultimately unfair. most tales games do kinda suck a little bit its just that this site likes abyss so much which is strong in all the areas this one is weak. so yknow.

[ro-bug]

I like how Luva started out as this skinny, mean girl twink in her very first sketch

And now whenever I draw her she’s getting progressively BUFFER

Her ass is getting bigger too lmao

[the-leftover-rice]

LOL

Everyone Right Now

[maddisandy]

enjoy this clip of me realizing that felicity and gorim were finally reuniting in denerim

[theha1rarch]

me @ this entire article: YEAH NO SHIT SHERLOCK

[theaawalker]

Steps to Write a Genuine Platonic Relationship

follow for more tips 💋 || request writing tips 💌

1. Establish the Foundation

Define Their Connection: Decide what brings these characters together—shared history, common interests, or a deep emotional understanding.

Set Boundaries: Clarify from the start that their relationship is non-romantic, avoiding any lingering tension that could be misread as attraction.

Give Them Complementary Strengths: Show how they support and challenge each other without romantic implications, emphasizing mutual respect.

2. Shape Their Role in the Story

Decide Their Impact: Determine how their bond influences the plot—do they solve problems together, serve as each other’s moral compass, or push each other toward growth?

Avoid Romantic Clichés: Refrain from using traditional romantic tropes like longing glances, accidental physical tension, or excessive jealousy.

Show Their Value Beyond Love: Let their relationship be crucial to the story in a way that isn’t reliant on romance or tension.

3. Build Their Dynamic

Use Natural Banter: Let them have inside jokes, tease each other, or share moments of camaraderie without any romantic undertones.

Create Moments of Deep Understanding: Show how they confide in one another in ways they wouldn’t with others, reinforcing their trust and emotional closeness.

Let Them Have Other Romantic Interests: This solidifies that their bond isn’t about unspoken attraction, making it clear that romance isn’t lurking in the background.

4. Define Their Chemistry

Make Their Interactions Unique: Ensure they have a specific energy that distinguishes their bond from romantic connections in the story.

Emphasize Loyalty Over Possessiveness: They can care deeply about each other without feelings of possessiveness or unresolved tension.

Show Physical Comfort Without Romance: Casual, platonic touch like a ruffling of hair, a side hug, or a reassuring pat on the back can reinforce their connection without romantic connotations.

5. Demonstrate Their Impact on Each Other

Let Them Grow Together: Show how they influence each other’s decisions, ambitions, or emotional development without needing romance as a motivator.

Create High-Stakes Moments: Put them in situations where they rely on each other, proving their bond is just as deep as any romantic relationship.

Allow Conflicts Without Romantic Resolution: If they fight, let their reconciliation stem from their friendship and values rather than an underlying romantic interest.

6. Develop a Satisfying Arc

Decide Their Long-Term Dynamic: Whether they remain lifelong friends, drift apart naturally, or take different paths, ensure their bond leaves a lasting impact.

Showcase Their Relationship’s Meaning: Highlight how their connection was vital to their growth, reinforcing the importance of strong, platonic love.

Avoid Unnecessary Romantic Subtext: Let them stand as proof that deep, meaningful relationships don’t need romance to be powerful.

Examples of Strong Platonic Relationships

1. Film/TV Examples

Frodo & Sam (The Lord of the Rings): A loyal, emotional bond built on trust and shared hardship.

Robin & Steve (Stranger Things): A brother-sister-like friendship that develops beyond a possible hetero-romance.

Steve Rogers & Bucky Barnes (Captain America): Sibling-like love based on support, teasing, and mutual admiration.

2. Literature Examples

Duke the Guarder & Dawn Demiss (The Guardians of Camoria series): A deep friendship based on emotional intellect, trust, and shared insecurities.

Jo March & Laurie (Little Women, after rejection): A lifelong friendship that remains strong despite romantic expectations.

Harry Potter & Hermione Granger (Harry Potter series): A close friendship built on trust, emotional support, and respect without romantic tension.

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thank you, i am farkle :)

thank you @celestialgarden23 for the request :)

[fxrheisenn]

Andrus Laansalu talked about making Disco Elysium at EKA (Estonian Academy of Arts)

"Initially, the church wasn't a focal point. There were certain characters that needed to visit this location, and I asked, "Seriously, what do we have in our church?" The others replied, "Nothing at all. Our church is completely bare—just a wheel, really. It's quite basic."

That's when I decided to unleash my creativity in the design. For example, they chose to install a glass structure at the top of the church to create a reflective surface. It was like placing an optical clock up there. Therefore, one of the most crucial aspects of designing the church was ensuring the lighting was just right to create the desired atmosphere."

"Let me show you an example of Baroque architecture, which is rich in detail. We're also designing the interior of the church based on large cathedrals. However, the foundation you use might not yield the expected results, because the church itself doesn't require such intricate details. Sometimes, it's about simplifying the design."

"I used Articy for the initial scriptwriting of Disco Elysium. The image only represents a tiny fraction of the text and choice variables involved. This system was also the reason I eventually abandoned the project after a year of outlining the script and shifted my focus to becoming a sound designer. My mind struggled to keep up with the dynamic graphic rules, but fortunately, a more talented writer took over afterward."

"In terms of sound design, it's essential to develop different layers to bring out the charm of the church as a cohesive space. Although this represents only a small portion of the overall design, each layer actually requires a significant amount of time to compose the whole....... Whenever there's a shift or a change due to the dialogue itself, you need to adjust the background sounds. Each time you modify the details in the dialogue, I have to refine the background audio, ensuring that these elements build upon each other like an intricate layer of work."

"It's funny how many scenes involve characters getting smacked in the face. My job was to recreate those, so I locked myself in the bathroom with a recorder and hit my forehead until it turned red.

As a sound designer, I really dig those unsettling, drill-like sounds. So, I mixed in creepy lectures, metal scraping, moans, and cries of pain—because I just love that stuff! (laughs)

Players will be moving through all kinds of areas, so it's super important to make the sound transitions feel natural, trying to create a more immersive vibe in certain spaces.

With all the scenes featuring big cranes, you can hear them from far away, and I wanted to capture that eerie ringing in your ears. That's going to be a thing throughout most of the game. I've found ways to really mess with players while they're playing!"

"I've come across a lot of old objects (like phones and radios) that I needed to perfectly replicate the sounds. I started to become a bit of a hoarder, buying up different models of old phones whenever I found one to add to my collection. The sound effects I can simulate from them are really impressive."

"Some of the devices don't actually exist in real life—just a mix of architecture and tech. When I need to create sound effects, I first look for something similar that exists in our world, then I try to simulate what the sound and appearance of that thing might have been like a century ago.

Towards the end of the game, there's a character carrying a fuel canister. We needed the sound of the canister, so we dug one up from our garage—it had been sitting there since it was five! I realized this would make the sound perfect. So, it had been there for 50 years, and after 40 years, it finally found its purpose.

In some places, I needed unique sound waves, and recreating them was a real headache until one day I happened to walk by a swimming pool and stumbled upon an old wartime torpedo. You can rotate the torpedo's probe, and it slowly rises up, like a proud zombie head. The sounds it made were exactly what I needed!"

🙋How did you manage to get funding?

"Well, since we're in Estonia, you just need to know a wealthy person. You don't need five people—just two who can network, hang out together, and convince them to keep investing! (laughs) Back then, we constantly ran out of money and would tell them, 'Oops, looks like we spent it all! Can you invest a bit more?' That's how we made it through!"

🙋How did you all come together to make the game?

"Luck. It usually doesn't happen this way, and that's the key difference. It has to be. If not, you couldn't create a game of this scale - well, I mean in terms of budget. But creatively, Estonia definitely has writers and artists who can pull it off. With such a small population, there are a lot of quirky folks who are good friends. We were really lucky, though - lots of fortunate circumstances came together. It brought the right people together, allowing those talented fools to collaborate with us. They had experience but hadn't tackled projects of this magnitude before. So yeah, luck is pretty important!"

Lecture experience shared by 白兔YIYANG SUN on 小红书, reposted & translated by me with her permission.

[micromasterspaceshot]

I love seeing people find out abt batfam members that aren’t Bruce, Alfred and the four male robins

I have to say, Batman has a cow. It's called Bat-cow. She has a mask.

MEDIA: BATMAN

this si the funniest thing ive ever seen. why does it have human eyes.

PERSONAL RATING: ⭐️⭐️⭐️⭐️⭐️ 5/5