my estimate

maniacaltoaster  asked:

Do you think it's kinda weird that even though the characters in Villainous don't TECHNICALLY have good designs, while that kind of thing destroys other cartoons, in this one, it seems to work in its favor? Like, they look ridiculous, over the top, and crazy, but that feels like exactly what they're supposed to look like.

oh sweetheart let me tell you a little secret

the people who genuinely think the Villainous character designs are bad don’t know a damn thing about designing characters for animation

STRAP IN FOLKS IT’S TIME FOR ANOTHER RANT LESSON ABOUT ANIMATION CHARACTER DESIGN WITH NOVA (brought to you by SCAD: “I pay $35,000 a year to learn how to make cartoons so trust me I know what I’m talking about”)

The first thing any character design class (including the one I took) will teach you is “have a strong silhouette”

You can probably recognize almost if not every single one of these characters just from their outlines! So let’s take a look at the silhouettes of the Villainous cast…

HOLY SMOKES THEY ARE HELLA DISTINCTIVE!!! And here we even see what is probably the design reason for Dr. Flug’s paper bag and Demencia’s huge fluffy ponytail - they add to the strength of their silhouettes immensely.

Now let’s examine both the shape language of the characters AND how they’re likely divided in terms of their digital puppet rigs (as Villainous appears to use both the hand drawn and rigging techniques), because the former is the second thing any character design class will teach you and the latter is incredibly important to the modern digital 2D animation process. (Apologies if my rig estimates are off, I haven’t had as much experience with 2D rigging as I have with hand drawn.)

Black Hat has the most variety out of the cast, but broken up he’s really just a combination of rectangles, triangles and one or two circles. His hat is also kind of a shape in and of itself, one that comes very naturally when drawing his head. Like a lot of villain characters his sharpness is highly emphasized.

Dr. Flug is ALL about squares and skinny rectangles, with his only rounded shapes being his eyes and shoes. Normally when you see boxy characters they’re on the very masculine or muscular side, meant to seem strong or imposing, but Flug is a wimpy, scrawny twig. That’s really unorthodox and something I like a lot about his look.

What’s super interesting about Demencia is that next to 5.0.5, she has the most circles and rounded shapes. Sharpness is added in her details which makes her design look a lot more complex than it really is. What’s great about digital animation and 2D rigging is it makes characters who have a lot of specific details like her much simpler to animate, so she really isn’t impractical at all provided you’re animating her using a computer.

And finally we have Beariplier Markibear 5.0.5, who I’m sure surprises no one by being a big old round baby full of circles. His nose and snout are of course triangles though. I like how he’s the most intentionally simple out of the cast, even going so far as to have a different eye style that almost makes him look like something out of an ultra-cutesy anime. He doesn’t fit in with and stands out a lot from the others, which is entirely the point.

To sum up, the Villainous characters are both simple enough to animate on a budget/deadline and interesting looking enough to want to watch, the perfect combination for modern 2D digital TV animation. These designs were MADE for a 2017 Cartoon Network show in every sense, with just enough early 2000s influence to feel fresh and new as well as classic and nostalgic. I want these guys to represent and become iconic of CN the same way Finn, Jake, Mordecai and Rigby have.

Just some Viktor Analysis for you kids, because you know I love it:

Figure skating, in general, is a Much Bigger Deal in the YOIverse than it is in real life. To the point where Viktor gets name recognition from people who don’t know anything at all about figure skating. I say this because I’ve been interested in figure skating my whole life, unlike I think a lot of the fandom (I could absolutely be wrong here, but that’s my estimate of the situation) and I learned very early on that Nobody Knew Jack About Figure Skating. Like I can name a total of TWO figure skaters off the top of my head who generally get name recognition–Kristi Yamaguchi and Michelle Kwan–when I talk about them to people who aren’t in the know. And even Kwan is a bit iffy. I can’t think of a single male figure skater whose name I could say in casual conversation and have someone say, “I totally know who that is.” I think this might be because the general population thinks figure skating is mostly just women, and also because figure skating really just isn’t on most people’s radar. This could be different in other countries, but even then I don’t think Viktor would have his International Celebrity status irl.

On the other hand, Viktor could just be one of those category-defying athletes who gain international attention because they are literally Just So Fucking Good at what they do. Think Michael Phelps or David Beckham. Nobody, in general, cares about swimming, but they sure do care about Michael Phelps. Everybody knows who David Beckham is, even in America, a country that doesn’t even have a real fanbase for the sport he plays. It’s entirely possible that at some point, someone realized that Viktor Nikiforov was Winning Everything and everyone got super curious over whether he would continue to do that–much like Phelps.

Also, Viktor is a very handsome European man, which probably helped a lot.

Either way, Viktor is an unusual celebrity who probably came up in the world very, very fast. As in, all attention was just on him suddenly one day. This probably happened somewhere around the 2010 Olympics, if you assume that Viktor probably hadn’t reached his full potential by his first Olympics, which was probably Turin 2006. I’m pretty sure Viktor Nikiforov stepped off the podium in Vancouver, suddenly a Russian household name and an international figure at an age where most people haven’t yet moved out of their parents’ house.

By the events of the anime, Viktor has been central in the public eye for over half a decade. He’s been TMZ’d and had a paparazzo follow him home, he’s done ads for sports drinks and athletic wear and shoes and cologne, he’s been put on diets–not Athlete Diets; Celebrity Diets; ‘eat four saltine crackers and a glass of coconut juice for two meals a day’ diets (Yakov put a stop to this quickly)–he’s had a publicist scream bloody murder at him over the phone because he did something stupid outside a club in Ibiza. One of my favorite ‘why Viktor cut his hair’ headcanons is that he had to cut it off because people kept pulling it in crowds, or trying to cut off pieces when he walked by.

These are not the typical experiences of a career athlete.

Viktor is a Celebrity Athlete, probably figure skating’s only celebrity athlete. There are probably a lot of people in the sport who don’t really even consider him an athlete, but at the same time he isn’t a movie star or a pop star, not One Of Us among the red carpet elite. Also, figure skating is unusual because it is an intersection of sport and performance. People get confused about where someone like Viktor lies on the athlete versus celebrity scale because he’s beautiful, he dresses up in costumes and performs to music. This isn’t football, or hockey or even track or swimming. Nobody is sure what Viktor Nikiforov is. He’s a creature unto himself.  His experiences are so drastically different from the experiences of everyone he knows that he literally has no one to relate to.

It creates distance. It makes him untouchable. 

And Viktor? Viktor is so fucking starved for genuine human contact and connection by the time he meets Yuuri that he’s willing to take himself halfway across the planet to get it.

With all of this known, can you imagine how powerful it was for Viktor to hear Yuuri say, “I just want you to be yourself, that’s all I need”?

It’s probably reason number one (of roughly ten thousand) for why Viktor fell in love with Yuuri.

@namtif I had a feeling that their heights would end up being the next possible question from my post lol!

A while ago @mlscience did an incredible job at calculating Chat Noir’s height from the dimensions of the Mona Lisa! Their use of math is way beyond my abilities or comprehension, but I can try my best at estimating an approximate scale for how tall they could be. Just remember, I’m probably not going to be very accurate. ^_^

It took me a bit to find some decent images that showed his full body with a open hand for scale. Thankfully for the wonderful pictures provided by @officialmiraculousladybug I got this excellent character model reference:

I was able to mark the length of his hand, and the number of those that would fit within his height. As you can see he is about 9 hands high (insert horse jokes haha)
But just to be sure, and have a reference for Marinette as well, I applied the same measurement to another image:

Again I got close to about 9 hand lengths in his height. So if according to my previous estimate, Adrien’s hands are about 20cm long, then that is 20 x 9 = 180cm or roughly 5ft 10in. Marinette’s is about 8 hand lengths, which would be 20 x 8 = 160cm or 5ft 3in. Giving a few centimeters for a margin for error, they could both be slightly taller or shorter than my measurements.


the tenth doctor by the numbers (info)

Real Estate Revenge

(TL;DR at bottom)

I’ve been a real estate broker in Chicago for nearly 20 years. I started at a very small independent brokerage. It was my first week there when the broker/owner gave me a lead. He was older and wasn’t in very good health, so he passed a lot of his leads to his agents.

One of the broker’s friends passed away and the friend’s son wanted to sell the house. I call the son who tells me he’s known the broker for 30-plus years and how close their families were. He seems like a really nice guy. I go over and check out the house. I work up a gorgeous comparative market analysis. I have other brokers check my numbers (I was new and wanted to do a perfect job for my new client). I rehearse my presentation, have my stuff professionally printed, prepare for any possible questions, have responses ready for objections, and I head out.

I dazzle this guy with my presentation. He likes the $135,000 list price I recommended. He’s fine with the commission. He has no objections, but he asks me to give him 2 months to clean out the house, give his siblings a chance to go through everything and then repaint.

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For an introvert like me, the best thing about national holidays like Juhannus (Midsummer), is how it leaves even the busiest city areas deserted. Everything is quiet and peaceful, with only a couple of tourists walking about, wondering where is everybody. Well, they’re in the sticks, of course. 

During Juhannus, Finns migrate in large numbers to the country, where drunken festivities wait for them in the form of primitive living conditions, disease-infested ticks, and billions of mosquitoes. Some of these people won’t make it back from the festivities. 

Every year there’s a large number of alcohol related deaths, especially drownings. Since the weather is a bit cold, my dead pool estimation for this Juhannus says that less than ten will most likely end up dead. Last year fourteen people died, and in 2015 nine died. During my tenure on this planet, the largest Juhannus casualties were in 1974, with 24 deaths. 

A bit morbid, sure. But that’s Finland.

anonymous asked:

Important Question: Since Josuke is such a big child around the waist, it got me wondering what is his pants size and jacket size for his clothes and school uniform and do Tomoko have to special order them herself for her son?

That’s a pretty technical question. Well, with how I draw Josuke, it’s his hips that are large, along with a tiny little waist. His pants are easy. I feel he’d just buy pants that are too big for him since he likes them baggy; maybe somewhere between a 38″- 40″ waist and then a 34″- 36″ leg length? From there he can just draw-string them with a belt to fit his actual waist.

His jacket’s another story. I make his waist really small compared to his hips, so he’d have to get something much larger than his top half to compensate for his hips but that means it’d be super big around the shoulders; maybe a 2X?? (using U.S. sizing). But, he has a handy-dandy stand by the name of Crazy D that can fix and re-morph things.


anonymous asked:

writing prompt: a messenger/guide shows up in your house asking you to travel to his magical world to help save their kingdom, but he seems surprisingly unenthusiastic about it, almost resentful/bitter

“–so we need you, oh chosen one, to come and save us,” Gregory finishes. He’s still looking at the corner of the room where you’ve hung a wisteria and hasn’t made eye contact since giving you his name. He never asked for yours.

You feel distinctly uncomfortable, sitting on the couch with your hands folded neatly in your lap. You’re still in your work clothes, black pants and t-shirt the hair salon requires, and you’ve counted at least three different types of hair on you since Gregory’s explanation began. Compared to Gregory’s armor, jaunty hat, and formal footwear, you are very underdressed.

“Um,” you say, “no.”

Gregory rises and sighs heavily. “Oh, thank you, chosen one, we are forev–” He breaks off, eyes finally dropping to meet yours. You see that his eyes aren’t light green like you thought. They’re yellow. “No?”

Yeah,” you say and try to brush the grey, three-inch long hair from your left knee. Ms. Simpson’s, you think. She’d gotten a healthy trim. “No.”

“Is it because you’re not magic?” Gregory asks, looking down his hooked nose at you. “Because I thought I did a good job explaining that, in my world, you are magic and–”

“It’s because that sounds hella dangerous,” you say. You shrug sheepishly. “I’m not really looking for a fast way to die so…” You shrug again.

“I told you that that’s what I’m for,” Gregory says irritably. “I’ll protect you from Lord Deigh’s henchman as you search for the lost heir. I’m your guard.”

You squint at him. “It doesn’t seem like you particularly want to be my guard, dude.”

Gregory, tellingly, says nothing.

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klance || truth or dare || 6.5k || nsfw

The paladins introduce Allura to the age-old Earthling game of truth or dare. Keith shares unwelcome knowledge about his sex habits. Hunk may or may not eat a sock. Somehow, sexual tension and relief ensues. Also, there are jokes.

i apologize for the memes, but be aware, it’s about 80% jokes, 20% smut

>> READ ON AO3 <<

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Because of this ask I received, I was inspired to find the clock in Mason Industries at the end of each mission to see how long they were gone. The clock starts the second they leave for the past and stops when they return. It is not visible every time (especially not in later episodes), but I’ll share what I can find or derive.

So, for anyone else curious just how long the team was in the past each episode, here you go.

1.01 - Pilot

15 hours, 8 minutes, 46 seconds

1.02 - The Assassination of Abraham Lincoln

23 hours, 48 minutes, 56 seconds

1.03 - Atomic City

13 hours, 48 minutes, 18 seconds

1.04 - Party at Castle Varlar

21 hours, 29 minutes, 26 seconds

1.05 - The Alamo

*This timeline is a conundrum.

Historically, the Alamo falls early in the morning on March 6th. Jiya says Flynn jumped to March 2nd. Lucy says the Alamo is not supposed to fall for four more days, so March 2nd. And yet the date that the title card flips over from in the beginning of the episode says, “03041836″: March 4th.

Considering the long shadows coming from the tents in Santa Anna’s camp, Flynn does not first meet with him at midday. It is morning or afternoon. Enough happens during that day (also the team would arrive later than Flynn and did not do so at night) that I’ll assume it’s morning and Flynn interrupts Santa Anna’s breakfast. That night, Flynn kills William Travis. Most of the episode takes place during the second day, March 3rd. I see no evidence of a second night, but for the title card to say March 4th implies that is when the battle takes place. (Even though the displayed date is usually the first day they jump to. However, 1.07 is another exception to this.) The conclusion for this trip is indeterminable. Perhaps the title card date is wrong, confused by the fact that their interference made the Alamo fall prematurely. I will ignore the title card and remark on what I see. Flynn arrived in the morning. There is one night. The Alamo fell in the afternoon of the second day. 

This trip lasted two days but less than 48 hours.

1.06 - The Watergate Tape

*Given Flynn’s time limit of five hours + any time before/after it until they returned, this trip most likely lasted 8-10 hours.

1.07 - Stranded

*NOTE: This screenshot is taken at the beginning of the episode, three hours after Flynn returned. The team remains in the past another night and day.

This trip lasted four days.

1.08 - Space Race

*Flynn arrived late at night and left the next afternoon. The team was there for a lesser amount of time.

This trip lasted less than one day.

1.09 - Last Ride of Bonnie & Clyde

*They arrived during the day, stayed the night, and left early the next morning.

1.10 - The Capture of Benedict Arnold

58 hours, 46 minutes, 38 seconds

*Blurry but the best shot I could get. I could be reading it wrong. I know the adventure itself lasted two days, and, logically, Wyatt and Rufus would then have to travel back to where they left the Lifeboat. 58 hours is a reasonable length of time, though it pertains only to Wyatt and Rufus. Flynn and Lucy would have been there less than 48 hours (perhaps 36 hours). They arrived on the morning of September 25th and left early in the night on September 26th, just after sunset.

1.11 - The World’s Columbian Exposition

*After the episode first came out, I calculated that Lucy was with Flynn for at least 18 hours. Then she escaped. Lucy and Flynn arrived, presumably, at night (if not before) and left at night. They were there a full day. Wyatt and Rufus were there for a shorter amount of time. We don’t see them until the next day.

This trip lasted one night and day for Flynn and Lucy, around 24 hours (or possibly more). Wyatt and Rufus were there 20 or less hours.

1.12 - The Murder of Jesse James

*In the original timeline, Jesse James was killed by his partners in the morning. The time travelers were there that entire day. They camped at night. Spent the next day traveling. Made it to Emma’s cabin that night. Left the next day. 

This trip lasted three days and around 48 hours.

1.13 - Karma Chameleon

*Don’t hold me to this, but I believe Claire’s plane landed at around 1pm. I think the clock on the screen with the flights says 13:17. Last call for bars in Ohio (when Joel’s shift would end) is 2am. Shortly after that time, Joel and Claire went back to her hotel room, and later Wyatt interrupted them. After Joel’s death, Wyatt and Rufus leave. In the present day, it goes from being late at night/early in the morning to nighttime again in the end.

This trip lasted around 14-16 hours.

1.14 - The Lost Generation

*Charles Lindbergh was supposed to land after 10pm. Flynn must have intercepted him in the late afternoon. The rest of the episode takes place at night without ever seeing morning.

This trip lasted several hours of an indeterminable count. Probably no more than 12-13 hours for the team.

1.15 - Public Enemy No. 1

*I believe the clock above the hotel’s front door when Flynn first meets Capone says 11:10am. (But he would have been there a few hours already to steal all of the evidence he presented. Maybe since around 9am.) The team arrived four hours after him. When they go to the hotel later with Capone’s brother, the clock says 1:29am. They parked the Lifeboat in a field outside the city so travel needs to be included. 

This trip lasted 14-16 hours.

1.16 - The Red Scare

*They arrive during the day. The exact time is unclear, but with the Rittenhouse summit being that night, Flynn wouldn’t have risked waiting around for Lucy and Wyatt to show unless he had time to spare. He probably arrived in the morning or midday. The summit and climax occur that night. Don’t know what Flynn, Lucy, Wyatt, and Ethan spend the rest of the night doing, but they don’t drive into the warehouse with the Lifeboat until early the next morning.

This trip lasted two days but less than 24 hours.

There’s no real purpose behind this list besides curiosity. However, if you are interested in setting a fic during any of the episodes, here is the time span you have to do it in. Maybe that will help someone somewhere.

anonymous asked:

how tall is Vern and his siblings/friends?

Vern is probably 6′5″ or so- this puts Tina and Klaus at 7′ ish, Monique at 5′3″, and Clarion at about 23′ (all stiletto heel appendages accounted for so I guess take off 5-7 inches otherwise)

Hugo falls comfortably in 5′5″ territory, Mal would be about 5′3″ and Rick about 5′7″!

anonymous asked:

in stormcast you mentioned that every other johnny is bi/pan but ults johnny is gay and also mentioned that you went through a lot of careful examination to come to that conclusion? is there anything that stands out about why ults johnny is clearly more boy leaning? (i really ought to start signing the, what, four anons ive asked about ults johnny as like ultimate anon or something im really just very desperate for people to actually talk about 1610)

Hi Ultimate Johnny anon! I’m more than happy to chat about 1610 with you – I think ultimately (badumpsh) we’re going to have to do a proper 1610 Johnny issue of Stormcast, when I can mention Ultimate Marvel without prompting the Yuuhy edition of “we need to delete 45 minutes of this.” So as per usual “careful examination” means “a lot of twitter conversation between your @johnnystormcast hosts and also @teenbrigade“ but yeah okay I’m about to scan the text waaaay too closely for a sec. Here’s my reasoning behind the headcanon:

So first off, while 616 Johnny has a truly disastrous love life, Ultimate Johnny has basically no love life. Two issues is a long relationship for him and he has no actual serious relationships. He expresses a lot of interest in girls initially within his story, but with one notable exception that I’m going to get to later, it’s entirely on the physical side. (Again, as opposed to 616 Johnny, who wants to Fall In True Love and Get Married. I have a lot of thoughts about 616 Johnny and the typical male superhero model but that is another post entirely.) As one of his girlfriends notes, “It’s like your afraid of your own feelings.”

But with guys? Ultimate Johnny pays a lot of attention to guys. He comments to Ben that his eyes are the same before and after the accident, which is notable because Johnny knew Ben for like five whole minutes before they were transformed, so he must have really been looking at his face in those five minutes. Later, when Ben is pursuing Liz Allan, who has fire powers in Ultimate Marvel, Johnny asks him if it’s not some sort of weird power transference thing and it’s not him Ben’s really in love with. When Ben molts his rocky shell, Johnny as well as Sue (who would propose marriage to Ben at the end of this story) gets touchy. (Ask me about how the Storms have similar taste in men, a totally different post altogether.)

And then there’s Peter. Ultimate Johnny adores Spider-Man like, from the first minute. At the bonfire on the beach in Ultimate Spider-Man #68 (a group date, which is Ultimate Johnny’s favorite kind of date, and I’m going to get to that), he says “I love that guy” when Spider-Man comes up in conversation. He’s awestruck and impressed by Spider-Man when they meet face-to-mask for the first time (which is specifically on Mary Jane’s suggestion that Peter should go cheer Johnny up). Peter is Johnny’s inspiration to use his powers to help other people. Later, after the mask comes off, he uses Peter as an excuse to get out of a date he doesn’t want to be on and generally seems to want to be around him, showing up at his school after a bad date and going to the beach with Peter’s group of friends.

After his father dies in the Ultimatum wave and the Fantastic Four break up, Johnny disappears for a while. When he makes his return (exhausted and beaten up, something that’s never explained) it’s to Peter’s house in Queens, not to his sister. Peter seems to give him a sense of security – he’d rather repeat high school and live with three other teenagers in Queens than go stay with Sue in her science tower.

Look at how cute this hug is.

In fact, the only girl 1610 Johnny displays 616 Johnny’s tendency to go “hi we just met but I LOVE YOU and we should GET MARRIED I’ve already named our 8 children which I will stay-at-home parent” is Ultimate Jessica Drew, who is not the 1610 counterpart of 616 Jessica Drew but instead a clone of Peter Parker.

Johnny doesn’t know she’s Peter’s clone but he does know she’s a spider-powered brunette and at one point asks Peter if she’s his cousin, so I think it’s fair to say the resemblance to Peter probably plays into things here.

After Peter’s death, instead of staying with May Parker (like Gwen does) or returning home, he goes with Bobby Drake (another resident of May Parker’s Home For Wayward Youths) to Kitty’s mutant underground in the Morlock tunnels, where his main connection is to Bobby. 

Ultimate Johnny also really, really, really likes double-dating. He mostly suggests it with Peter and Bobby, but he went on a double date early in Ultimate Fantastic Four with Ben&Alicia where Alicia set him up with one of her friends. He proceeded to be completely uninterested in Alicia’s friend. 

On the last double date we see him go on (which is almost certainly the last double date period, since after Peter’s death Bobby and Johnny join the mutant underground, ultimately leading to Johnny’s capture and imprisonment), he has this conversation with Bobby while walking home:

“But would you want to kiss a girl who only wanted to make out with you because you were Iceman?” is some pretty big character development for a guy who claimed to be a totally different celebrity to score a date with a girl at the beginning of Ultimate Fantastic Four. Notably at this point we don’t really see Johnny pay romantic attention to any girl. So I do headcanon that Ultimate Johnny used double dates as a way to go on a date with a guy he liked (primarily Peter and Bobby) without ever actually having to ask the guy out. 

I think a lot of Ultimate Johnny’s story is about him learning what he actually wants: his desire to be around people his own age (USM 68), his desire to be a superhero (USM 69), his desire to live with Peter and May Parker and to have a normal, stable life, and I think ultimately his desire to be romantically involved with a man. But also the Ultimate universe is dead now and Johnny was pretty much totally out of the picture by the end of it so. Jazz hands.

Well lads, it’s been a while since I last wrote a Random Venezuelan Rant™, so lets correct that, shall we?

Today’s topic


Alright, a bit of a background, the city of Maracaibo, my home, has had, at least for the last 30 years or so, a massive water distribution problem, which is blamed more or less on an old, outdated and badly maintained water distribution infrastructure, limited capacity for water treatment, and unreliable sources of water, so by my estimates, at least half of the city doesn’t have access to constant running water, instead relying on water tankers to fill up rooftop and underground tanks.

Now, I say constant, because at random intervals, from days to weeks, water does arrive, and most people use those precious few hours of running water to fill their tanks, as said water tankers can be very expensive, specially during the drought season. 

My neighborhood is not exception to this, in fact, it’s infamous for how long water takes to get here, the longest time being 4 months, so my house came equipped with an underground tank with a capacity of some 15,000 liters or 4,000 US gallons, alongside a water pump and “lung” to keep the pressure steady within the house.

Our water tank and auxiliary water “pipe”, which is basically a second connection to the main pipe we made ourselves in desperation during the 4-moth drought, it looks like shit I know, but hey, it works! 

Our water pump and pressure system, please ignore the leaky valve.

And the thing is, the infrastructure is so damaged, we know water is arriving because the streets get flooded, as many pipes are broken and no one ever bothers to fix them, but to be fair most damage comes from the people themselves, doing what we did just to get a bit more water from the mains.

The funny thing is, water has been arriving with increasing regularity lately, which should be a great thing! But since this is Venezuela, the weirdness doesn’t never stops, as those leaky pipes have been keeping varios streets constantly flooded, leading to deteriorated asphalt, many houses with water damaged, and extreme proliferation of flies and mosquitoes, which has always been a problem as bug spray has been very scarce for the last 4 years, so rather that being a blessing, it’s becoming a nuisance, quite the ironic predicament. 

There’s a big-ass pothole hidden under the water in the last pic, I blew a tire on it three weeks ago. 

Now, as you may have noticed, this all looks unsanitary as fuck, and well, it’s because it is! All this water is used for household cleaning, personal hygiene and cooking, but drinking it raw is a big no-no, forcing people to rely on watercoolers/bottled water for that, many also using that water for cooking as well, as even boiling it is not recommended.

We cook with ours because fuck it, we’re used to it (and the diarrhea went away after the first month anyway).

It also used to give us, specially mom and me, skin rashes, but those went away with time as well, although I’ve heard that many prefer to bath their babies and toddlers with bottled water, as skin infections are very common among them because of it.  

So yeah, water is a big problem here, it has been for the longest time, and will be for God knows how long, but people get used to it, hell, I did, although every time I go back to Colombia, the first thing I do is drink water directly from the faucet, a commodity I sometimes miss, specially every time I have to drag around one of those big-ass water bottles to the kitchen. 

As far as I’m aware, this problem has become widespread in recent years, as overall there has been a massive deterioration of the Venezuelan infrastructure, but Maracaibo still is the worst example of this, the ridiculousness of this whole situation greatly increasing as for once, water is finally flowing.

This country is fucking ridiculous at times, but hey, it’s home! 

The challenging decisions of game development, or how good people can end up making bad games

The following scenario is a work of fiction and not based on any specific game I’ve worked on, or any specific experience I’ve had.


You’re sat in a meeting room with a bunch of other game developers; key representatives from every department that might be affected by animation. There are people from the design team, the engine team, gameplay programmers, AI programmers, the tools team, technical animators, animation programming, the animation director, and a producer. The meeting is about the future of your animation technology.

It’s relatively early in your project; the third game in a successful series, and the animation department wants to do a major upgrade to the core animation technology. Their argument is simple: The animation team has been using the same tools and tech for the last two games, and they’re concerned that if the animation technology isn’t improved, the animation will start to look bad compared to your competitors. There have been some minor improvements since the first game in the series, but no real major steps forward. Since the original tech was created, the rest of the industry has made some pretty major breakthroughs in animation technology; breakthroughs that this team would like to try and implement.

The big problem: The new technology is a paradigm shift. There’s no easy way to convert all the old animations and game code over to the new system, so doing this big upgrade to the animation tech, means pushing the reset button on all the gameplay and AI systems that were built for the last two games. Everything will have to be built up again from scratch.

It’s your job to decide whether or not they should do it.

The producer is the first to chime in…

“How long do you think it’s going to take to get the gameplay and AI back into a state where we can start playtesting and building levels?”

“I’m pretty confident that in 6 months we’ll be good to go”, says the animation programmer.

“Well… 6 months to do the tech and tools… it’ll be maybe another 6 months on top of that to rebuild each of the game systems to get things back to where they were”, offers up one of the technical animators. “I still think it’s worth it though. Once we have the new tech, it’s going to make producing new features way faster than before.”

“You have to bear in mind”, says the Animation Director, “What we did on the last game is pretty much hitting the ceiling of our current technology. It was a real strain on the team. I really don’t want to go through that again on this one.”

“I’ll be honest, I have some concerns”.

Everyone looks towards the lead engine programmer.

“I thought the whole point of this next game was to try and push the cooperative experience. That’s what the directors said was their number one priority”, he nods towards the game director, “And I thought the publisher had already signed off on that. Weren’t they saying that’s what they were most excited about?”

“We can’t do both?”, says the game director.

“We’re probably going to have to rework a whole lot of the systems anyway if we’re going to make them replicate properly over the network,” says the lead gameplay programmer. “The first two games weren’t really built with that in mind. It could be a good time to do this as well since we’ll be rewriting a bunch of the systems anyway. That said, it does add to our workload.”

“And for you guys?”, the producer asks the lead AI programmer.

“It’s pretty much the same situation as gameplay”, she replies, “It’s a lot to take on. I have to say, I think 12 months is optimistic. Things always come up that we don’t expect. I’d say closer to 18 months. I mean… remind me, when are we supposed to be shipping again?”

“We’re aiming for 2 years from now”, says the producer.

“Well if it ends up being 18 months, there’s no way my team can work with that”, adds the lead level designer. “We can rough some things out, but gameplay needs to be solidified a lot earlier than that.”

“Well we could build the new system in parallel with the old system, and let people switch between the two”, says the animation programmer. “That way you can start building levels with the old systems, and we’ll switch it over further down the line when the new systems are in a better shape. It’s a bit more challenging to do it that way, but it’s doable. Honestly though, when I say 6 months for my stuff, I mean 6 months. I can get most of it up and running in 3, but I’m saying 6 to give us a buffer.”

“And how confident are you about the extra 6 months for building out the game systems”, the producer asks the technical animator.

“Reasonably… I mean it’s tough to say… it’s new technology. I’ve got nothing to refer to cause we’ve never done this approach before”, they reply, “6 months is my ballpark estimate, it could be 4, it could be 12. We’ll have a much better idea once the core tech is done and we start working on the first systems. Bear in mind, it’s not like we’d have nothing until that 12 months is up. Systems will be gradually coming online as we go. We’ll get core movement done in the first few weeks.”

“I’d feel much more confident about it if we had another technical animator on the team”, says the animation director.

“I’ll ask if that’s possible but we’re close to our headcount limit, and tech animators aren’t the easiest to hire, so I wouldn’t count on it”, says the producer. “Remind me again, what we’ll be gaining for all this work?”

“It’ll be much faster for us to put animations into the game, and then easier for us to tweak and bug fix them”, says the technical animator. “In general, faster iteration time should also mean the quality of the animation will go up. Basically, it’ll be easier for everyone to do their best work.”

“I think we all want that, but it’s a lot of risk to take on with only a 2 year timeline”, says the lead engine programmer, “there are other teams besides animation who are also proposing some pretty ambitious tech goals as well. We’d maybe have to make some concessions there if we want to go with this”.

“Does anyone really think that it’s going to be 2 years though?” says the animation programmer. “Looking at the scope of this game, it’s probably going to end up closer to 3, with or without the animation system”.

“I can only tell you what I’m being told now, but the publisher seems pretty adamant about it being a 2 year project”, says the producer.

“So what are we going to do about this? Are we going to push ahead with this or not? What’s the call?”


This is what game development is like.

Should the team go with the new animation system? Everyone makes good points. It’s a tough call. You have to think about the people in the room: How confident are you in the projections of each person? Are some people known for being overly ambitious? Are others known for being too conservative? How much is the value of the new animation system versus the cost of building it? How many extra-people will you be able to get to work on it? Will other departments suffer if you put development effort here? Will the game really come out in two years, or is it more?

In one potential future, you decide to go ahead with the new animation system. Things are rocky at the beginning, but with a some hard work and late nights, the animation programmer and technical animators manage to hit their estimates without too much disruption to other teams. The game scores highly, and is praised in particular for it’s strong animation.

In another potential future, you go ahead with the new animation system and it’s a train wreck. The animation programmer was low-balling their estimates because they were excited about working on the new system, and expected the release date to be knocked back a year (it wasn’t). The technical animators were genuine when they gave their estimates but didn’t account for the complexity of making the same systems work in an online cooperative game; something they’d never done before. The difficulties with the animation system caused problems for other teams, especially for the designers, who had a tough time making fun systems and levels, as bugs in the animation system made it difficult for them to play the game throughout development.

Another potential future has the team saying no to the new animation system. It ends up that even without the new animation system, the scope really was too big in other areas, and the game ends up being released after 3 years instead of 2. By the time the game is released, the animation does look horribly outdated, despite the best efforts of the animation team. The issue is specifically called out in reviews.

Then there’s the future where the team says no to the new system, making it much easier for the team to hit the 2 year deadline. It’s a struggle, but the animation team is still able to produce some decent results, and it turns out gamers were more interested in the new cooperative features anyway, leading to great reviews and great sales.

On any game there are a thousand calls like this. Some are big, some are small, and many can lead to the success or failure of your game.

The process of making a game has so many moving parts it’s incredibly difficult to to account for every eventuality. It’s about the technology you’re working with, it’s about your ideas and your ability to execute on them, it’s about what the rest of the market is doing, and most of all it’s about the people on your team: Who they are, how they work, and what else might be going on in their lives.

The point here, and stop me if you’ve heard this one before, is that making games is really fucking hard. You’re faced with so many of these kinds of decisions, the answers to which are highly subjective. It’s likely not every person in the meeting room comes to a consensus, and when a game comes out with some aspect that players don’t enjoy, more often than not there were a whole lot of people on the dev team that argued for the exact same thing that the players are arguing for.

It’s been said many a time before, but it’s true nonetheless: No-one sets out to make a bad game. In the cases where someone on your team was faced with one of these difficult subjective decisions, and made a bad call, they agonize over it. If you have empathy, you look at that decision and say, “That’s not necessarily a bad developer. It was a tough call. It could have gone either way, and it could have just as easily have been me”.

Of course, this doesn’t mean that gamers shouldn’t still be free to critique the games they spent their hard-earned money on. At the end of the day, it’s our job to entertain. Just please, remember that games are made by real people who are running a gauntlet of very challenging problems. 

The answer to “why did this game suck?” isn’t always as simple as “because the developer sucks”, or the even more cringe-worthy “they were just lazy”: It’s because making games is really fucking hard.

anonymous asked:

What do you like to do in your free time? Do you spend most of it drawing or doing other things? I always imagined you as a very solitary kind of guy but I realized that's not actually based on anything.

Here’s an estimate of my regular day. I don’t have routines so it’s very rough guess.

You also aren’t too far off from the solitary thing.

anonymous asked:

Supercorp: Lena decides to get a tattoo of Kara's crest in a very intimate area. Healing time is twelve weeks. Kara wonders why Lena doesn't want Kara to touch her. Kara always means to ask but Lena distracts her by satisfying her until she's seeing stars.

Lena sat down and winced slightly; she realistically had known how much a brand new tattoo would hurt, but she still found herself slightly unprepared for just how tender she currently felt. She found herself questioning her sanity for the fourth time that afternoon for deciding to get the rather small tattoo, just below her bikini line.

Every time she moved, the tiny House of El crest ached and made Lena suck her breath in rather sharply.

She had been told that the tattoo would take twelve weeks to heal, which seemed reasonable enough, until Lena remembered she wanted the tattoo to be a surprise for Kara, which meant her girlfriend couldn’t see her without her knickers for twelve weeks. That, Lena decided, was going to be an issue.

That evening, Kara flopped onto the bed next to Lena, a mischievous glint in her eyes. Her fingers started trailing patterns over Lena’s stomach, occasionally dipping under her top to dance across the bare skin.

Lena placed down her book and turned her head to face Kara, a smirk on her lips, a quip on her tongue, but found her lips suddenly pressed against Kara’s. Lena deepened the kiss, her tongue swiping across Kara’s lips to gain entry. Kara shifted slightly, her knee moving between Lena’s legs, which caused Lena to still momentarily as she remembered her new tattoo.

In one decisive movement, Lena rolled, gently pushing Kara back onto the bed and moved to straddle her hips. Lena slowly drew her top over her head and grinned at the way Kara drank in her form. Kara moved to sit up, to undo the buttons on Lena’s trousers, but Lena took Kara’s wrists in hers.

‘Uh uh’ she tutted and moved Kara’s hands away from her, ‘let me look after you darling.’

Kara grinned, assuming she’d be able to return the favour, and settled back as Lena slowly undressed her, kissing each piece of newly revealed skin.

She convulsed as Lena nipped at her abs, and squirmed as Lena trailed kisses from her navel, lower and lower until Kara let out a small gasp as Lena ran her tongue over her clit.

Kara tangled her hand into Lena’s hair, her head rolling back against the pillow as her girlfriend continued to gently tease her with her tongue.

She looked down and locked eyes with Lena, who raised an eyebrow and brought up two fingers, slipping them easily into Kara.

Kara moaned as Lena set up a slow pace, fingers pumping at a deliberate pace to keep Kara on the edge, while slightly increasing the pressure with her tongue.

Lena continued this pace, waiting for Kara to ask for more, to beg for more.

‘Pl… please Lena’ Kara eventually relented, ‘I need more.’

Lena sped up her fingers, curling them as Kara panted above her. She felt the grip in her hair tighten and Kara’s thighs clench as Kara’s hips bucked, riding Lena’s face.

Kara came with a loud cry, repeating Lena’s name over and over again as her orgasm shook through her body.

Lena didn’t let up and continued to flick her tongue over Kara’s clit, coaxing her through her second orgasm.

As Kara’s body convulsed for the second time, Lena crawled her way back up the bed to scoop the twitching Kryptonian into her arms.

‘Gimme five mins’ Kara mumbled, ‘and I can return the favour’

‘Just sleep darling’ Lena chuckled, stroking Kara’s hair.

Less than five minutes later Lena heard low snores from beneath the blonde curls strewn all over the pillow.

Lena found that she could keep up the same pattern of behaviour over the next few nights, but feared Kara would call her out on it soon enough.

Thankfully Lena was able to distract Kara for a few weeks; diverting her attention from the fact Lena hadn’t let her touch her in two weeks. It was simple enough at first; she made sure to wear Kara’s favourite bras; the ones that pushed up her breasts and encased them in lace.

She had to get slightly more inventive when Kara questioned why Lena kept wearing her more risqué underwear, but she wasn’t a genius for nothing, and distracted Kara by providing a rather sensual lap dance.

Massages had also been used to ensure her tattoo remained a secret, but Lena was starting to feel guilty about not telling Kara, plus she was only three weeks into the twelve it would take to heal; she wasn’t sure she would survive that long.

Kara had picked up that there was something Lena was keeping from her, but she couldn’t lie; she was loving all of Lena’s distraction techniques. After all, there was no way she was quizzing Lena when she was dressed in a black lace corset with a garter belt.

Kara debated using her x-ray vision, but decided that if it was serious enough, Lena would have told her.

Finally, Lena’s tattoo healed and Lena was ready to cry with relief. As she hadn’t allowed Kara to touch her, Lena hadn’t let herself come at her own hands. She was frustrated beyond belief and couldn’t wait to show Kara her tattoo.

Kara landed on the balcony of Lena’s penthouse and followed the dim flickering light to the bedroom. Upon entering, she discovered Lena laid out on the bed, wearing only one of her checked shirts, bathed in candlelight. Her skin was luminescent as the candles scattered around the room flickered.

‘There’s been something I’ve wanted to show you for a while…’ Lena started.

‘Does this have something to do with why I have had, in my estimation, roughly a thousand orgasms in the past twelve weeks?’ Kara questioned.

‘You noticed…’ Lena bit her lip.

‘I’m not complaining!’ Kara grinned.

Lena smirked back and slowly lifted the bottom of the shirt to reveal she wasn’t wearing any underwear.

Kara gulped.

Lena continued to raise the shirt until it was high enough to show the small crest tattooed on her lower pubic bone.

Kara stepped closer to take a look and looked up at Lena, eyes wide. ‘Is that..?’ she questioned.

Lena nodded.

‘Can I..?’ Kara didn’t finish the sentence; instead her fingers hovered over the black ink.

Lena nodded again.

Kara gently ran her fingers over the small tattoo, looking up at Lena again when she whined at the contact and her hips bucked slightly.

Kara giggled at the reaction her fingertips had caused, but stifled it when Lena cocked an eyebrow.

‘It’s been twelve weeks Kara; twelve weeks in which I have been unbelievably turned on, but not let myself come…’ Lena stated seriously.

‘You’ve not even touched yourself?’ Kara asked incredulously.

‘I thought that would be a little hypocritical as I was not letting you touch me…’ Lena reasoned.

‘You’re so wet…’ Kara marvelled as she slid her fingers down a little further, running them through Lena’s folds.

‘Twelve. Weeks.’ Lena husked at Kara slipped two fingers into her and quickly sought to bring her to release.

It didn’t take long until Lena was wrecked; panting, writhing, begging Kara to fuck her; fuck her deeper, fuck her harder.

Kara obliged and Lena toppled over the edge, Kara’s name on her lips.

Kara spooned Lena as she shuddered through the aftershocks of her orgasm, her fingers trailing down Lena’s body until they were ghosting over the tattoo.

‘Do you understand what this means?’ Kara whispered, unsure if Lena was aware of the full implications of having her crest permanently etched into her skin.

‘It means I’m yours forever’ Lena stated simply.