designer plugs


a plague doctor: what’s up with that?
answer: we just don’t know.

Another fun character design done for @shoutaction ‘s upcoming comic!!
(funny that she almost came out as an alt universe me we have the same dimple piercings plugs outfit and foot tattoo haha and it wasn’t on purpose)


SPOTLIGHT: Happy Plugs Customizable Speakers

We’re completely obsessed with Swedish fashion and lifestyle brand Happy Plugs’ line of 100% customizable speakers. Offered in two different sizes (Sound Piece and Sound Piece Mini), the line comes with a full range of easily changeable grills in the dopest prints, vibrant colors, and textures to match your home decor or style.

With a 15 hour battery lifespan along with a built-in microphone, the Sound Piece also services as a conference speaker and speakerphone. Having tested out the Sound Piece Mini ourselves, we can attest to the incredible sound attributed to the speakers bass vent for max bass performance and its 2x2 W full range drivers. Even as the mini, the awesome sound quality could easily carry a house party in your largest room!

Shop Happy Plugs’ entire Sound Piece range at
The White Box: A Game Design Workshop-in-a-Box
From savvy advice to myriad bits, The White Box has everything you need to start creating the game in your head.

Tada! A professor and close friend of mine at my college just launched the kickstarter for his project. If you’ve ever had an idea for a game but not quite the means or know-how to get it out there, or you just want to try game design…this is for you.

Advice for New Voice Actors: A Guide from Codot

I’ve been getting quite a few messages asking for advice in the Voice Acting field, so I’ve written a bit of a guide! I hope it’s helpful.

First off, I would have never considered myself to be an expert on something like this, but then I realised I’ve been doing it for about twenty years now, so I guess I have SOME advice I can pass along.


Nothing pulls a listener out of the world you’re trying to create like those pesky pops in your recordings (Tuhs, Kuhs, and Puhs), or those sharp “Ssssss” noises that slice through the mic. Luckily, they’re fairly easy to prevent. BUT HOW?!? I’M TELLING YOU HOW! SIT DOWN! The best advice? Get yourself a pop filter. They’re relatively cheap and very effective (however, if you are BROKE AF like I was when I started recording, get an embroidery hoop and some dollar-store panty hose and you are SET. No joke – that was my first pop filter. I held it between me and the mic and it WORKED). Now sometimes a filter isn’t enough – if you’re really yelling it out, a filter will not save you. In these cases, you wanna make sure you know where your plosives are, and tilt your head accordingly. You only have to move a few degrees to avoid it – just put your hand in front of your mouth when you rehearse and you can feel where your air is coming from. Just don’t do the whole performance pointed away from the mic – it will hollow your sound out.


You do NOT need top of the line gear to sound good; your performance is what makes or breaks you. That said, you can’t use a headset microphone and expect studio quality. For the best quality (without breaking the bank), I recommend microphones from the Blue line – Snowballs and Yetis specifically. They’re both designed for podcasting, plug DIRECTLY into your computer, and sound incredible! I still use my Yeti every once in a while – it’s a great piece of tech!

WARNING: These microphones, although amazing, rest on your table. That means you will have to pay attention to a few things – not touching the table while recording, not moving around in your chair while recording, and (most importantly) watching your computer placement! If you’re using a laptop, it will undoubtedly be sitting beside your mic and your mic will HATE IT. You may not hear the fan on your computer, but your microphone will. Vibrations will ruin your recordings, BUT there’s a solution! Well, two actually: You can fold a towel up, place it on the table, stack a few books on top of the towel and sit your mic on top of that, OR you can move your computer to another surface. It really depends on your space set up. Just make sure you have a USB long enough to reach the mic to the computer and you’re set.

Now, there’s the issue of reverb in your chosen room of recording. Almost every room will have an echo in it, and you will pick it up. You can prevent this a few different ways - you can spend hundreds on soundproof foam (took me a while to save up for that, totes worth it), you can record inside a closet (brilliant idea, enclosed, clothes absorb echo), or you can drape a blanket over you and your mic (gets warm fast, but it works!). Whichever way you choose, you will notice a boost in quality - the less ambient noise you have going on behind you, the better. All ambient noise in my recordings is put in AFTER I’ve finished editing my clips. It’s the same for any production - if you rely on your actual background noise for ambience, you will not be able to edit yourself properly as the cuts become too noticeable, ESPECIALLY if you’re recording a dialogue.

A quick note about SOFTWARE: I always use Adobe Audition – I enjoy the look and feel of it, and have never really used anything different. However, it’s not free! If you want a great, FREE program for audio recording, I wholly recommend Audacity! It’s a brilliant, powerful, and free program that will give you great results!


There has always been one thing I love about Voice Acting over Acting – No one has to LOOK AT ME. I’m not insulting myself here, I’m just saying sometimes you have to make some STUPID faces to get a voice you want. Voice Acting is incredibly freeing in this regard – you can be ANYONE or ANYTHING, and that is very exciting!

I can’t make this point enough times – in most cases, you’re doing this solo, so DON’T BE MODEST. It will hold up your performance – if you hold back in any way when voicing, you’re only hurting yourself. Sure you may feel silly doing certain things, but no one listening will think that. Some voices give me fifty chins, some cross my eyes, but if I didn’t do it, every character would sound the same.

Now let’s talk about PACING! My Friend and Mentor (may she fight well in Valhalla) gave me the best advice in this regard; she said, “If it feels like you’re going too slow, go slower.” Too often we feel we’re keeping a proper pace when recording, but the truth is we are rushing it. In an actual conversation, you haven’t rehearsed – you rarely know EXACTLY what you’re going to say to someone else, so your dialogue should be no different. Your character needs time to think, to react. If you ever want a moment of high tension, you CANNOT rush it. You need the pauses and the breaths, or else it just becomes unrealistic.



Having clean audio has become a relatively new addition to my work – I used to simply use the Noise Reduction effect on my recording and call it a day, but it doesn’t get rid of the new bane of my existence: MOUTH NOISE.

We do it. Everyone does it. I did it five minutes ago and I’m gonna do it again. We smack our lips, we flick our tongue, we click our teeth, we make stupid noises when we’re not talking, and the MIC WILL HEAR IT. My best advice is, after reducing the noise in your audio (all programs have a basic preset to kill the dead air noises in your recordings – google it to find how to your respective noise reduction), highlight the sections between your audio and reduce the volume to ZERO. Just kill the noise between your speech (the whole sentence, not silencing between every word, that would be crazy) – you can leave the sound of your inhales in if you want, but even they can be taken away for a cleaner sound. Just make sure you don’t chop your words off – especially the ends of your words.

Make sure you clean your audio BEFORE you add ANY form of reverb or echo! Otherwise cleaning is impossible.


Voice Acting isn’t easy. Nothing infuriates me more than actors talking about how they like Voice Acting because it’s “EASY”. If it’s easy, you’re not trying hard enough. You have to convey thoughts, feelings, and ideas ALL WITH JUST YOUR VOICE. Anyone who says it’s easy is a fool.

Always try your best to create something you feel proud of. You take as many takes as you need, but never compromise your quality for the sake of just getting it done.

If you can’t get a voice down right today? Do it tomorrow.

Above all else: HAVE FUN WITH IT

I hope this has been helpful to you – if you have any questions about specific things/things I may have missed, shoot me a message!

Codot xx


Working together with MINI, Channel Islands Surfboards proudly offers one of the first Gold Level certified eco-friendly surfboards design in collaboration with professional surfer Kalani Robb. Available in surf shops today. 

Near finished product, but I’d still like to do some touch ups with the background and maybe shading. Thinking of getting rid of the landscape altogether….
😛 *Psst, also check out my story “Seasons” at if youre looking for more MarlinxJill 💓*

Type A: USA, Canada, Mexico and Japan
Type B: A grounded version of Type A
Type C: Europe, South America and Asia
Type D: India
Type E: France, Belgium, Poland, Slovakia and the Czech Republic
Type F: Europe and Russia, except for the UK & Ireland (Types C,E and F are all cross-compatible)
Type G: United Kingdom, Ireland, Malta, Malaysia and Singapore
Type H: Israel, the West Bank and the Gaza Strip
Type I: Australia, New Zealand, China and Argentina
Type J: Switzerland, Liechtenstein and Rwanda
Type K: Denmark and Greenland
Type L: Italy and Chile
Type M: South Africa
Type N: Brazil
Type O: Thailand

anonymous asked:

Hello! I've been wondering, what does a developer do with code that's probably not going end up being used in the final version game? (Stuff like, unused gameplay functions or features) Do they just end up scrapping the code entirely, or is it wiser to save it for something else?

Unfortunately, almost all of the time the answer is “nothing”. There have been many times where I written code for a system that didn’t actually ship. That code wasn’t necessarily excised from the codebase, it was just locked off and never called. This is because uncalled code is effectively benign - it might bloat the program size a little bit, but it will (should) never affect anything. Engineers usually don’t remove it because of potential stability issues - there might be something that depends on something in that code, and removing it might have unforeseen detrimental knock-on effects that we couldn’t predict.

Also, software systems aren’t just something you can take out of one codebase and insert into another and expect everything to work. It isn’t that easy. There are all sorts of assumptions and expectations in code - what data is being presented, how that data is organized, what subsystems can be called upon to act upon that data, and so on and so forth. Making old game systems work with a new codebase is often so difficult that it is better to write entirely new systems based on the principles of the old, rather than using the exact implementation. 

The main exception to this is large software packages that are designed to be plugged in to any codebase like Renderware, Havoc, Scaleform, etc. These sorts of packages are built from the ground up to be usable with anything, and have significant resources spent developing the documentation, interface, and ongoing support for dev teams that license them.

Got a burning question you want answered?


Sequels Disney wouldn’t dare to make, Roger Rabbit 2 

Who Plugged Roger Rabbit

Kirk Enigman is one of the actors considered for the part of Rhett Butler in the “Gone With the Wind” toon remake (Starring Jessica as Scarlett, of course). 

from Gary K. Wolf’s sequel “ Who P-P-P-Plugged Roger Rabbit? ”, 

Main Reason: Disney hates 2D animation

I mean…the novel needs some tweaking, but it could be definitely made into a brilliant script, it’s full of interesting new characters, this guy here has an amazing psychedelic scene with Eddie Valiant

Next Characters: Lupe Chihuahua, Jessica’s sister, Queenie