#trends 2020/2021

[classycoffeecat]

The boop withdrawl is real

[ooblech]

i wonder if post god's menu stays realise how much of a shift that era was for skz? like obviously you can see retroactively by looking back at their discography irt their sonic signature, but i don't think people who weren't there can seriously grasp how big of a shock it was, they went from stan twitter's favourite punching bag to one of kpop's biggest up and comers practically overnight. they were already relatively popular by virtue of being a big 3 group, and they'd had a bit of success with miroh and less prominently my pace, but the absolute explosion after god's menu and their continued upward trajectory ever since was completely unprecedented for them. and especially given that they had JUST dropped a member. kpop groups do not tend to have massive spikes in popularity after losing members, and when levanter dropped we were all incredibly anxious for skz's future because it looked so bleak. we were crying cheering throwing up over ONE MUSIC SHOW WIN. ONE. they used to be less famous than everglow. do you understand me? are you understanding me.

[mg549]

5 years in review (2018-2022)

[kurokoros]

damn, the way I’ve so far written more words in the last month than the previous two years combined.

[lesbianwilby]

howdy wil! Answer any or all of these if you want :D

violet— do you like to cook or bake? if so, what is it that you like to make?

azalea— what is the most recent song you listened to? how do you feel about it?

lotus— what is your favorite color and in what shade? e.g. sage green, navy blue, ect. dahlia— do you like to follow current fashion trends or do you have a particular style that you prefer to stick to?

HELLOOOOOOO thank u for adding the questions w ur ask i an in the middle of watching youtube videos n i dont have the brainpower to copy/paste these LMAO (so sory i didn't for u i do not think very well)

violet: i do sometimes!! theres not a lot of food or ingredients n shit in my house n cant rly buy like .any n also massive lack of energy so i cant a lot but i love cooking n baking even if its usually just helping my mom 🫶 im very fond of making things w chicken massive safe food 4 me in many ways

azalea: salamander by deco*27‼️ i adore this song SO much i just have to ignore that its about cup noodles and im good .most recent english song tho would be electioneering by radiohead which!! is actually my current favorite song off of ok computer :3

lotus: this is such a hard question for me to answer bc im so odd w colors 😭 i think?????? probly like a dark brick red.. overall i tend to stick more to color schemes vs specific colors n .all my color schemes tend to center around either red or neutrals so

dahlia: RAHHHHHH FASHION QUESTION so. for me its kinda a mix of both? it REALLY depends on the trend n who i see in it n how accessible it is to me n if i actually LIKE it.. like im not going to sit here n deny that my style has never been influenced by or even changed by trends bc thatd be a goddamn lie but also its not been like. a permanent change ig???? leme like share examples to fully explain

so heres two outfits i wore in 2021, first was sometime in summer second was during october or september probs?? now obviously these aren't like the same exact style but like in my brain n for how i dress they come close enough (also yes i had my hair dyed red two times in a row .no they were not the same shade or anything. btw think in second picture i already had my mullet why didnt i wear my hair up wth was up w that)

these r some more recent outfits!! first one is actually the most recent picture i have of any of my outfits i wore it to a job interview :3 and yes the three others have the same exact top and yes i am wearing the same two pairs of pants in these and yes i did wear both my necklace and pocket watch with them all and yes i did carry the same bag .my style has been toned down a LOT recently tbh n im ngl its def been at least partly influenced by trends.. i dont mind it tho its comfy n cute n i dont have to think much

however sometimes i do still go back to my "old" style that never rly left tbh (in the og pics the only thing i dont have anymore is the skirt n thats bc i dont wear those colors rly anymore).. first one was sometime this summer? second time i think was last month actually!!

n like even still w my toned-back style n shit i still make 3d kandi cuffs n i still listen to music that someone who would see me in passing wouldn't expect n even if these outfits r "tame" bc im way too lazy to go n find pictures from high school (my kandi cuffs used to get worn almost daily + my beloved reflective galaxy platforms have gotten so scuffed from the steps to the front 🫶) they're still pretty different in my mind i think to what i wear now so like .yeah what i wear out has been influenced by whatever trend i see on tiktok however its never been fully based on that 4 many reasons n the old parts of my style never rly "leave" they just get pushed back until a later time

[bomnun]

not a very relevant post at all, once again just talking to myself, but I really feel my interest in the kpop industry and checking up on many groups fading so fast. wkly and lghtsm were the two “next generation” groups I liked the most and was the most attached to, and, idk, my enjoyment of them has become really … stunted mostly after the members leaving, and the obvious display of the fact that neither company wants to keep working on the (good) sounds and concepts they had going that I really liked … wkly’s next comeback (if ist decide to give them one at all) will probably not be in the same genre and style as ven para was, but I don’t think they’ll care to go back to bubbly, fun, songs sounding more like after school or tag me because that’s considered “too childish” and ist clearly doesn’t do that. with lghtsm it’s obvious a 180 is coming, and considering cube’s most popular group these days I don’t think it’ll be a 180 with…music enjoyable to me… plus idk the removal of the two members makes me feel so off. I like all eight, and I want to see the remaining six flourish too, but even if I end up liking the new stuff it’s going to feel…wrong.

[reinemichele]

We're in your car (in your car) It's still silent (so quiet) Can you break the silence? 'Cause I don’t want it All I can hear is the sound of the radio in here (in here) This is so sad, say something please... We're not talking at all in the moving car And we just ride (na-nanana) I'm staring at my phone, you're looking out the window I'm so frustrated; we're hopeless, babe I know, you know, we both know We must break the silence (I don't understand) I know, you know, we both know But we just can't start a conversation...

[icaninfotech]

Technology is advancing rapidly, resulting in faster progress and change, leading to acceleration in the rate of change. IT professionals have come to the realization that their role will not remain the same in a contactless world. To make the most of this time, individuals should consider keeping an eye on the top emerging technology trends.

[doyoulikethissong-poll]

The Longest Johns - Hoist Up The Thing 2020

The Longest Johns are a British folk musical group from Bristol, consisting of Andy Yates, Jonathan "JD" Darley, and Robbie Sattin. They are known for performing folk music and sea shanties in the English tradition, and they also compose and record their own music.

The band has self-released four albums and several EPs. Between Wind & Water (2018) included their rendition of the folk song "Wellerman." This recording, as well as the one used in the bands' Sea of Thieves series "Open Crewsing" would later fuel the sea shanty viral trend, principally on TikTok, in early 2021.

"Hoist Up The Thing" received a total of 76,3% yes votes!

[batmanisagatewaydrug]

Do you have a list of good sex ed books to read?

BOY DO I

please bear in mind that some of these books are a little old (10+ years) by research standards now, and that even the newer ones are all flawed in some way. the thing about research on human beings, and especially research on something as nebulous and huge as sex, is that people are Always going to miss something or fail to account for every possible experience, and that's just something that we have to accept in good faith. I think all of these books have something interesting to say, but that doesn't mean any of them are the only book you'll ever need.

related to that: it's been A While since I've read some of these so sorry if anything in them has aged poorly (I don't THINK SO but like, I was not as discerning a reader when I was 19) but I am still including them as books that have been important to my personal journey as a sex educator.

additionally, a caveat that very few of these books are, like, instructional sex ed books in the sense of like "here's how the penis works, here's where the clit is, etc." those books exist and they're great but they're also not very interesting to me; my studies on sex are much more in the social aspect (shout out to my sociology degree) and the way people learn to think about sex and societal factors that shape those trends. these books reflect that. I would genuinely love to have the time to check out some 101 books to see how they fare, but alas - sex ed is not my day job and I don't have the time to dedicate to that, so it happens slowly when it happens at all. I've been meaning to read Dr. Gunter's Vagina Bible since it came out in 2019, for fucks sake.

and finally an acknowledgement that this is a fairly white list, which has as much to do with biases with academia and publishing as my own unchecked biases especially early in my academic career and the limitations of my university library.

ANYWAY here's some books about sex that have been influential/informative to me in one way or another:

The Trouble With Normal: Sex, Politics, and the Ethics of Queer Life (Michael Warner, 1999)

Virginity Lost: An Intimate Portrait of First Sexual Experiences (Laura M. Carpenter, 2005)

Virgin: The Untouched History (Hanne Blank, 2007)

Sex Goes to School: Girls and Sex Education Before the 1960s (Susan K. Freeman, 2008)

Bonk: The Curious Coupling of Science and Sex (Mary Roach, 2008)

Transgender History: The Roots of Today's Revolution (Revised Edition) (Susan Stryker, 2008)

The Purity Myth: How America's Obsession with Virginity is Hurting Young Women (Jessica Valenti, 2009)

Not Under My Roof: Parents, Teens, and the Culture of Sex (Amy T. Schalet, 2011)

Straight: The Surprisingly Short History of Heterosexuality (Hanne Blank, 2012)

Rewriting the Rules: An Integrative Guide to Love, Sex and Relationships (Meg-John Barker, 2013)

The Sex Myth: The Gap Between Our Fantasies and Realities (Rachel Hills, 2015)

Come as You Are: The Surprising New Science That Will Tranform Your Sex Life (Emily Nagoski, 2015)

Not Gay: Sex Between Straight White Men (Jane Ward, 2015)

Too Hot to Handle: A Global History of Sex Education (Jonathan Zimmerman, 2015)

American Hookup: The New Culture of Sex on Campus (Lisa Wade, 2017)

Histories of the Transgender Child (Jules Gill-Peterson, 2018)

Revolting Prostitutes: The Fight for Sex Workers' Rights (Juno Mac and Molly Smith, 2018)

Ace: What Asexuality Reveals About Desire, Society, and the Meaning of Sex (Angela Chen, 2020)

Pleasure in the News: African American Readership and Sexuality in the Black Press (Kim Gallon, 2020)

A Curious History of Sex (Kate Lister, 2020)

Boys & Sex: Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity (Peggy Orenstein, 2020)

Black Women, Black Love: America's War on Africa American Marriage (Dianne M. Stewart, 2020)

The Tragedy of Heterosexuality (Jane Ward, 2020)

Hurts So Good: The Science and Pleasure of Pain on Purpose (Leigh Cowart, 2021)

Strange Bedfellows: Adventures in the Science, History, and Surprising Secrets of STDs (Ina Park, 2021)

The Right to Sex: Feminist in the Twenty-First Century (Amia Srinivasan, 2021)

Love Your Asian Body: AIDS Activism in Los Angeles (Eric C. Wat, 2021)

Superfreaks: Kink, Pleasure, and the Pursuit of Happiness (Arielle Greenberg, 2023)

[unknought]

In 2007 the US Department of Housing and Urban Development started reporting homelessness rates:

As you can see in this chart (from Statista) there was a fairly steady decrease in the number of homeless people from then until 2016. It flattened out for a couple years in 2017 and 2018, and then rose in 2019 and 2020. No data was collected in 2021 (due to COVID) and the increase from 2020 to 2022 was negligible, so one might hope based on the data from this chart that the upward trend was flipping around, and that by now by now it might be on its way back down, but this does not appear to be the case.

For 2023 the Department of Housing and Urban Development reported a homelessness count of 653,104. This is a dramatic increase which blows previous annual changes out of the water. It's a 12.1% increase relative to 2022, an 18.7% increase relative to the low in 2016, and the highest absolute number of homeless people since data started being collected in 2007.

So this is one way, at least, in which standard economic metrics being up has not translated to people doing well.

An objection one can make here is that even this new high is only about 0.2% of the national population, and while things may have gotten worse for the people in the very worst of economic straits, this doesn't say much about what things are like for the rest of us.

I agree with this up to a point. (Probably not the implied argument about what we should care about but let's not get into that for now.) It's probably true that homelessness rates don't shed a lot of light on how the median American is doing. But I think they are relevant to the well-being of a lot more than 0.2% of the population.

Even though only a small proportion of Americans are homeless at any given time, there a lot more for whom the threat of homelessness looms very large in their financial considerations, not irrationally. More people who are homeless probably means more people who can just barely make rent as long as they skip a few meals, more people who stay with an abuser because they wouldn't have anywhere else to stay, more people who can't quit their job to find a better one because they couldn't afford to miss a month's rent, more people who can't move out of a mold-infested apartment, more people who are just struggling with anxiety about whether they're going to be able to make rent every month. It also almost certainly means more people couch-surfing and more people who were homeless for part of the year that happened not to include late January, neither of which would be counted in the official statistics.

How much of an impact does this end up meaning, on how many people? I'm pretty unsure, but here's a suggestive statistic from the Federal Reserve:

> Challenges paying rent increased in 2023. The median monthly rent payment was $1,100 in 2023, up 10 percent from 2022. In addition, 19 percent of renters reported being behind on their rent at some point in the past year, up 2 percentage points from 2022.

It seems at least very plausible to me that claims about how great the US economy is doing merit a substantial asterisk.

[year2000electronics]

wow. four years old huh. i'll keep this part short but sappy rant under the readmore! happy four years!!

it feels like just yesterday when i watched this series on a whim because my friend kept making jokes about my ocs with hlvrai quotes and then it was so funny and engaging that it pulled me out of a months-long depressive slump... feels like just yesterday that my work was finally being seen by people, yesterday that the summer of 2020 was one of the most interesting summers ive ever had, yesterday when the 2020-2021 school year ended up being one of the most difficult times of my life and hlvrai really helped me get through it. without exaggeration this series has changed my life

yeah we all may have had ups and downs, like a LOT of downs, but ill always consider hlvrai to be very special to me, not just because i love it but because it represents so many good things to me: friends joking around having fun, friends carrying their past experiences with them (gmod rping, an affinity for extensively-planned bits, jokes that could ONLY be made by rtvs with each other, you get it), and how the best things often come from happy accidents, from people who DARE to CARE, because hlvrai is good because theyre not afraid to be silly! theyre not afraid to be stupid and sincere and ridiculous!!

and the most inspiring part to me has always been that hlvrai wasnt made to chase any trends. it didnt come in the wake of anything, it was made, and then after it was made, rtvs pretty obviously made it clear that they wouldnt let their lightning-in-a-bottle series box them in. like everyone on the team is very strongly against ppl being parasocial to them, they dont let people beg them for the funny half life info and references, all that. as a creator its cool to see people doing what they love and not succumbing to any pressure algorithmically or otherwise, especially during the lockdowns, when a lot of other streamer-based fandoms cropped up that had a VERY big 'encouraging being parasocial' problem. its always been nice to have a web series thats just one of many awesome things rtvs has done

hlvrai was everything i could have ever asked for and more, and me myself i was perfectly content with just having the standalone series forever, because sometimes a standalone thing is all you need. but with hlage, bbvrai, and hl2vrai being announced, im still so happy to be here and so happy that i get to keep enjoying one of my favourite pieces of media <3

[canmom]

Animation Night 189: Nonphotorealistic

There is a funny trend in animation-related terminology to define things by what they aren't. Animation is any technique for creating film that isn't live action. Limited animation is any style of 2D animation that doesn't follow the conventions of Disney's 'full animation' on 1s and 2s - a category that includes a wildly diverse range of approaches and techniques, as this wonderful history by Animation Obsessive describes.

In 3DCG circles, there is a similar term: nonphotorealistic. Which describes, naturally, anything that isn't trying to look like a photograph of a real scene. There has been a real boom in this of late, and just like the other terms, it really doesn't narrow it down very much. Other terms like 'hybrid animation' add a bit more hints.

Of course, if you've been anywhere near animation in the last few years, you'll probably know another term: 'Spiderverse style'.

There is no denying that Spider-Man: Into the Spiderverse (2018) by Sony Pictures Animation was an absolute landmark for animation. (I wrote about it way back on AN21, focusing more on the cultural angle.) The ludicrously stylish film pretty much set the direction for animation in the 2020s - making a bunch of money and awards and thus finally throwing open the door to 3DCG animation that doesn't look like the style set by Pixar/Dreamworks in the 2000s. Its sequel, Across the Spiderverse (2023), was even more ambitious and successful (despite a troubled production involving a lot of needless crunch). We'll be showing that soon in a Spiderverse double bill so look forward to it!

So perhaps not surprising that when people see the use of graphical styles, 2D elements, limited framerates and the like in 3DCG these days, Spiderverse comes to mind. In its wake have come various films and series that apply these and related techniques: 3DCG animation is more varied than ever, and it's cool.

It isn't really a style, tho.

Here I'm indebted to youtuber Camwing who has made a nice video overview breaking down the animation of recent movies in this vaguely defined paradigm. Among them we have The Mitchells vs the Machines (2021, also Sony), Puss in Boots: The Last Wish (2022, Dreamworks), and Teenage Mutant Ninja Turtles: Mutant Mayhem (2023, animated at the French/Canadian studio Mikros animation), and of course over on Netflix you got the wildly popular League of Legends spinoff series Arcane (2021, Fortiche Productions), and the romance film Entergalactic (2022, DNEG), tying in with an album of the same name.

None of these films has exactly the same style, but they all pull from a related bag of tricks. The core techniques are animating on reduced framerates for a 'snappy', high-clarity feeling, the combination of 2D and 3D elements in some fashion, and taking inspiration from traditional media such as paintings or comic books.

For example, Arcane and Entergalactic both use the trick of 2D backgrounds/projecting paintings onto 3D geometry, inhabited by 3D characters with a stylised shader. Arcane is dripping with 2D visual effects. Puss in Boots drops the framerate during its action scenes - the opposite of the old paradigm of full animation, where fast actions would get more frames. Spiderverse draws 2D expressions onto its 3D models to push them further, and is full of all kinds of colourful stylised rendering - screentone effects, kirby dots, outlines, the works.

It's tempting to link this to 2D-in-3D animation, and certainly many of these films apply this technique - this is the major niche where Blender has found its way into industry pipelines. But using 2D isn't mandatory to count here. For example, TMNT Mutant Mayhem has an incredibly striking storybook-painting style, accomplished largely by clever shader work and a strong sense of graphic design. Genndy Tartakovsky's canned 2014 Popeye project was planning to use a ton of 2D-style posing and squash-and-stretch, accomplished largely with rigged 3D models. There are many paths to take!

And mind you, I haven't even covered one of the biggest angles here. Search for nonphotorealistic 3DCG on Youtube and what you'll probably find most is information about cel-shading - aka 'anime style'. This has also advanced considerably in the last few years, with the techniques pioneered by Arc System Works in Guilty Gear such as editing the normals of characters for more precise control over shading, and minute adjustments to break up the mechanical feeling of 3D, becoming widely copied in both games and films. (And particularly, animated porn.)

Vtubers in particular have really run with this technique, generally speaking using cel-shaded models with edited normals, inverted eyes, etc. etc. to try and get the feeling of an anime character come to life. [You can see a lot of these state of the art techniques if you download Pixiv's free VRoid Studio software and import the model into Blender using the VRM plugin.]

Naturally this kind of cel-shaded approach has found a particular home in Japan. In anime, the biggest champions of it are certainly Studio Orange, whose hybrid approach involves planning out shots with 2D animation before matching them with the rigs. We've covered their adaptation of Houseki no Kuni in great detail on Animation Night 97; their Trigun reboot was perhaps even more popular. But cel-shaded techniques, 3D previs and the like have also made their way into big films like Eva 3.0+1.0 (AN66).

Although this type of rendering aims to recreate the look and feel of 2D animation as much as possible, it always ends up being something new: character models that would be too complex to draw, an ease to 3D movements and camerawork that would be challenging in 2D, and generally a new hybrid style. This is good! 2D animation is already very good at being 2D animation - it's fascinating to see what 3DCG becomes with that inspiration.

So with that brief overview, where does that take us tonight?

I'm not quite ready to do a Spiderverse double bill tonight, so instead the plan is to check out a couple of recent American franchise films that are taking on the new suite of techniques. I've mentioned them up above, but let me introduce them more fully here.

Puss in Boots: The Last Wish is a sequel to a fairly unpopular spinoff about a side character of the Shrek franchise (AN75). Not, on its face, very promising - which is why it is all the more striking that I was told on all sorts of sides that I must watch this movie. I'm finally going to make good on that.

The title character is a kind of feline musketeer type, now facing the end of his swashbuckling career as he's lost 8 of his 9 lives. Not wanting to hang up his hat, he goes on a quest to restore them. What makes it stand out its the action scenes, which go all in on the anime-influenced, extreme perspective and lighting, limited framerate style that we're discussing above. Apparently it looks sick as shit.

Teenage Mutant Ninja Turtles: Mutant Mayhem is a fresh reboot of the venerable TMNT franchise, which pretty much describes itself in the title: four turtles (named after Renaissance painters, of course!) live in a sewer as ninjas, led by their aging master who is a rat. Starting as a comic book, it became one of the iconic toyline-driven TV shows of the 80s - but it's still going! Indeed, Turtles has been on a roll of late (at least going by animator scuttlebutt), with Australian studio Flying Bark Productions turning a lot of heads with their neo-Kanada School style (and for really stretching the definition of 'storyboard').

This new film takes a different approach to the bombastic action of Rise. It focuses on a new origin story for the turtles, telling a kind of coming of age story - but what makes it unique is the animation style and cinematography. Cinéma vérité is not a phrase you really expect to be associated with ninja turtles, but the film seems to really go all out in a way you wouldn't really expect from a franchise movie, shooting the young turtles in a handheld style and focus heavily on character. Marcel Reinhard's shader work, allowing the animators to isolate lights to specific objects and characters and introducing graphical elements of cross-hatching, stippling, etc. etc. to the lighting, gives it a uniquely painting-like feeling, augmented by a lot of 2D creativity in lighting and effects.

Turtles has never really been my thing, but this film looks unique enough that I really want to see it - and I hear it's a good film too.

So that's our bill for tonight! Puss and Turtles. Let's see what the big studios have been cooking of late...

Animation Night 189 will be starting around 10pm UK time (roughly three hours hence) and carrying on til about 2-3am same! We'll be on twitch.tv/canmom as usual. Hope to see you there!

[alphynix]

April Fools 2024: The Curious Case Of The Chunky-Necked Ceratopsians

Much like the aquatic Compsognathus featured here a couple of years ago, not every novel idea that came out of the Dinosaur Renaissance was a winner.

And one of the oddest examples came from author/illustrator John C. McLoughlin.

His 1979 book Archosauria: A New Look at the Old Dinosaur featured an unusual interpretation of ceratopsian dinosaurs' characteristic bony frills, proposing that they were actually muscle attachment sites for both powerful jaw muscles and enormous back muscles to help hold up their large heavy heads. This would have completely buried the frill under soft tissue, giving the animals massive thick necks and humped shoulders, and resulted in an especially weird reconstruction of Triceratops with a grotesque sort of wrinkly sewn-together appearance.

This concept didn't entirely originate from McLoughlin – three years earlier in 1976 he'd illustrated Ronald Paul Ratkevich's book Dinosaurs of the Southwest, which seems to have been the inspiration for Archosauria's fleshy-frilled ceratopsians. A few paleontologists had also proposed jaw muscles attaching onto the frills during the 1930s and 1950s, and there's even a book from as far back as 1915 that also shows the top of a Triceratops' frill connected to its back! But McLoughlin's Archosauria image is still by far the most extreme and infamous version of the idea.

There were a lot of things in Archosauria that were actually very forward-thinking for the time period, such as putting fuzz and feathers on small theropods and depicting non-avian dinosaurs as active fast-moving animals. The unique ceratopsian reconstructions, however, never caught on for several big reasons:

Firstly, all that hefty muscle tissue would have locked ceratopsians' heads firmly in place, unable to move at all, which just doesn't make sense biomechanically. Then there was the lack of skeletal evidence – muscles that big should have left huge visible attachment scars all over the frill bones, and there was no sign of anything like that on any fossil specimens. Finally, it turns out the ceratopsian head-neck joint was actually highly mobile, suggesting their heads were free to make a wide range of motions in life.

As wrong as they were even at the time, McLoughlin's ceratopsians were still an interesting speculative idea, and notable for advocating for fleshier dinosaur reconstructions at a time when paleoart was trending towards shrinkwrapping.

Further reading under the cut:

A Very Alternative View of Horned Dinosaur Anatomy, Revisited – https://tetzoo.com/blog/2020/11/22/alternative-view-of-horned-dinosaur-anatomy

Trope of the Buffalo-Backed Dinosaur – https://tetzoo.com/blog/2020/11/27/trope-of-the-buffalo-backed-dinosaur

Vintage Dinosaur Art: Archosauria - Part 3 – https://chasmosaurs.blogspot.com/2013/10/vintage-dinosaur-art-archosauria-part-3.html

Vintage Dinosaur Art: Dinosaurs of the Southwest – https://chasmosaurs.blogspot.com/2016/11/vintage-dinosaur-art-dinosaurs-of.html

The Forgotten John C. McLoughlin Book – https://www.manospondylus.com/2021/03/the-forgotten-john-c-mcloughlin-book.html