not even part animals

To Propose

This is my impromptu thank you for reaching 1500 followers! Thank you so much my darlings- I love all of you and appreciate all of you- I am always happy to have a chat to you and get to know you, I LOVE MAKING FRIENDS!

Anyways- Here it is, my little thank you, 

How would the RFA + V + Saeran propose? 

Keep reading

snowley  asked:

I have a question- is a transformer "body" and "armor" separate or are they one piece?In movies it seemed a tranfromer has a basic body that it covers with an armor (the colorful part). In the comics or cartoon I'm not so sure but if I remember correctly in IDW comics Overlord was in some kind of tube and he was "naked", had some sort of robotic, thin body. So is the "armor" - the rest of the transformer - just like clothes or more like a bioarmor they can feel? Is this referenced anywhere?

As ever, such things tend to vary by continuity. There’s plenty of examples of a bit of a Transformer being removed, and all that’s revealed beneath is a basic mechanical skeletal structure of struts and wires that’s you couldn’t believe is ever supposed to be “exposed” at any time. In instances like these, human analogies aren’t perfect, but its probably best to think of a Transformer’s armor, or exoskeleton, as their “skin” which goes over their “skeleton” - not something, generally speaking, that they’re supposed to “take off.” Take a look at what’s going on inside Ironhide’s forearm, for instance:

Or these shots of a damaged Megatron from the Marvel comic - you can see there’s no “head” underneath his “helmet,” just internal robotic matter.

Protoforms from Beast Wars suggest something similar - a basic endoskeleton existed at the core of a protoform, but the substance of its outer body, well beyond simple armor, is formed from living liquid metal.  The protoforms seen in Transformers: Prime also follow this course - they formatted from featureless mannequins into exact replicas of Starscream, armor and all, all formed from the same living metal as if they were one body.

But you’re quite correct in also recalling an un-armored Overlord in the IDW comics, whose external armor was removed so his endoskeleton could be fused with indestructible ununtrium:

And even Transformers: Animated showed us that certain external parts of a Transformers body were armor that could be harmlessly and painlessly removed like “clothing” - witness helmet-less Bumblebee:

We would later seen that, although protoforms can be brought to life and given form, as seen here with Yoketron:

…in order to be “complete,” rather than this minimalist look, a protoform would have to be placed in a pre-existing “mold” that included certain key parts of the armour, into which it would then grow, filling out the rest of the body (this, then, explains shared body types among robots).

You raise the subject of movie ‘bots, and per the details given in the Transformers: The Movie Guide book, they seem to rather split the difference between these two ideas. For them, the protoform is the core body of the Transformer, but it generates the robot’s external armor (in accordance with the shape and colour, etc, of the alt mode) from both its own mass, and from any additional matter it can absorb and reformat into living metal.

Similar to that. the Transformers: Shattered Glass prose story “Blitzwing Bop” has noted that Cybertronian technomatter can accept replacement parts and repairs made using conventional metals, plastics, and circuits, because a Transformer’s biology is such that it will break down any such matter and convert it into living metal. It also feels like IDW concept of a spark’s “animating force" factors in here - that’s something that’s only come up in regards to Ultra Magnus, and his spark’s rare ability to animate the very large suit of armor that surrounds his body, but it makes it seems that we can’t think of it just as something that a Transformer “wears,” but something that is genuinely part of them, animated by their lifeforce

im still picking away at that fe13 animation so take this still as a wip lol

mnmega  asked:

Huh, apparently said modeler posted them on a public sharing site. You HAVE to be credited if someone's using your works even if it's public, but unless they were part of the animating team they can't make a claim legally. That would be like if Lego sued every person that used lego pieces for stop animation films.

Difference here is:
Lego makes money selling its pieces, the modellers as far as I know don’t.
See this is something that really pisses me off, and it’s not necessary about this issue. It’s that people for the most part really don’t care to fuck an artist over to make profit off them.
But yea screw the artists am I right.


darklng0  asked:

How do developers get animations incredibly fluid? Like Platinum Games for example, in Nier Automata the animations can be breathtaking at times. Is it only motion capture or do they use that in tandem with something else? Like let's say that a character has centipede like tendrils protruding from his back and most of his moves involve flips and feints of the tendrils in tandem with hand to hand combat. How does that work?

Let me try to answer your question in a slightly roundabout way. Let’s talk about motion capture for a moment. A lot of gamers seem to think that, for video games, animators will hire actors to wear the motion capture suits, record some data, and then just plug that data into the game and everything is great. This is not how it works. Mocap is only the beginning, not the entire process.

If you’ve read my [Animation Primer], you know that animation data is generally represented as a sequence of specific positions over time. Each of these sets of positions is called a frame. The character is placed in these positions in order. The speed at which the character changes position to match the frame is called the frame rate. However, frame rate isn’t just used for playback. Computers run things in discrete time steps, after all, and computers capture motion data. When we record motion capture, we record it at a certain number of frames per second too. Most motion capture data is recorded at much higher frame rates than we expect games to display - typically around 120 to 160 frames per second. Just consider - if we have 120 to 160 frames per second of animation data, how do we choose which frames to display for the game that displays at 60 frames per second?

We could do it the basic way - just show every other frame we recorded. 120 fps becomes 60 fps this way, and everything is played back at the same speed it was captured. But that’s assuming that the data we motion captured is enough, and assuming that real life motion is what we’re after. If we’re talking about a game like Nier Automata, for example, where the main character is an android with greater capabilities than a human actor who’s goal isn’t to actually hurt anyone during motion capture settings, things change. So who decides what frames of animation get put into the actual final product? This is where the animator comes in.

A lot of dealing with motion capture data is “cleaning it up” - chopping off the bits that lead to and from the reference pose, making it run to the target frame rate, and choosing frame data that looks right for the game experience. These changes can be subtle or they might be large. Sometimes you want a 1:1 rate with the original mocap data, and sometimes you want to slow something down, or speed something up so that it reads better or gives a different impression of the motion. There are even times where animators will adjust certain parts to be faster while others are slower. Look at the differences in the above animations - they might seem small at first glance, but the edited frame has a lot more emphasis of the action to the viewer. The raw mocap looks more like the attacker is simply walking up from behind and pushing the victim. While this might work in real life, it doesn’t read as well in a video game. In the edited animation, the attacker has some anticipation built in before the stab to make it look better. Look at the added pull back and then stab forward with the left hand and how the attacker grabs and maintains his hold on the victim’s mouth in the edited animation. See how the overall time is about the same, but some parts were sped up in order to make room for the added anticipation movements?

Motion capture suits also don’t have the extra bells and whistles of in-game costumes. Any extra bits like tendrils, robot arms, wings, tail, or clothing has to be animated separately. That typically means either some sort of simulation (usually via physics or some sort of procedural system), or hand-animating the extra bits. Some stuff lends itself more easily to procedural motion, like clothing. Physical features like tentacles, antennae, wings, or tails tend to be hand-animated, and that’s all about the animator’s skill at making legible motion.

The real answer to your question is that fluid-looking animation isn’t so much a question of the frame rate as it is a testament to animator skill. Animation looks fluid because the animators have carefully selected the right frames to string together to best convey the motion you’re seeing. This is the major difference between really good-looking animations and passable “ok” animations. It’s not a question of how many frames of animation there are, it’s what the animator does with those frames.

Got a burning question you want answered?

Tips for transitioning from 'realism' to 'cartoons'

( this is mostly for @stiles-and-the-sourwolf but you’re welcome to read it either way.)

Okay so the thing about drawing in a ‘looser’ style (or a more cartoonish style) is you must must must MUST learn to trust yourself, and be forgiving. It’s really about loosening up the 'rules’ of anatomy and letting things become more exaggerated and fluid.

It’s a huge problem that I’ve found amongst many of my artist friends who tend to draw in a more realistic and 'refined’ style. They’ve gotten into the habit of working into a piece for long periods of time, and striving for a certain level of anatomical perfection that is often—if not always—on par with photo realism. This means that their process usually involves working into small, key parts of the art until it fits together like a lovely puzzle. This is typically called the 'grid technique’, whether you use actual grids or not, and it’s perfect for creating a well rendered, full-feeling piece.

The problem is is that it tends to set you up for a few different problems when it comes to a more cartoonish style.

For one thing, cartoon anatomy is never as it should be, and things are generally never WHERE they should be, either. Buuut, that’s kind of the point, because the style leans heavily on the motion, the shape of the character, and the fluidity of their form.

What matters most in these types of styles is showing the character through their forms as much as possible, and often as SIMPLY as possible. Think about all the hundreds of Disney characters out there, and think about how each one has a very specific body shape to match their personality.

For example: Bell’s father. He’s the typical Disney short, round-bodied, mustaches father figure that you see throughout many Disney films. He has a sputtering voice, a general doofy personality, typically kind of useless, and tends to bounce around like a bouncy ball. His round form encompasses his character much better than, say, a long, tall, skinny body would.

Another (not Disney) example: Miyazaki’s strong female lead-characters. They all tend to be sort of squat, strong bodied, slightly rounder (more trustworthy) faces, with a stubborn pout. You automatically know that this girl/woman means business, and is going to kick butt and take names and, like, save someone/everyone/herself.

Now, a lot of this all comes down to animation, and the fact that simplicity is necessary for something you’re drawing a million times. The simpler the design, the easier it is to draw frame, by frame, by frame. But, even without animating, a key part of drawing in a cartoonish style is always going to be expressing as much information about the character/environment/story as possible with the smallest amount of effort.

A prime example of that would be the Tintin comics, or Charlie Brown. Each comic has it’s own level of simplicity that is, seriously, basically down to single lines and blobs of color. And if you look closely at a comic panel, you’ll probably feel like you’re falling into some abstract piece of art. But, the thing is… they work.

Tintin’s head is about 14 lines total, and yet somehow Hergé manages to bring forth a vast range of emotions and expressions with very little effort at all.

This, again, is also due to repetition. Comic books have always had a tendency to lean towards the more simplistic styles do to the whole, you know, drawing the character over and over again thing. Not that there aren’t comic book artists who totally ignore that and go into some insane levels of detail for each frame, but as a general rule, you’re going to see the 'cartoon’ style in comics. It’s easier to draw, less time consuming, and is often contributed to easier/smoother reading.

Now, trust and forgiveness.

The thing about shooting out a quick sketch is that there’s a certain level of 'I don’t give a fuck’ that goes along with it.
You’ve drawn it, it’s done, it’s out there, who cares?

And to many artists, that’s a screech-worthy sentence right there.

But, it’s sort of an integral part of loosening up your style.

Sketching or drawing out a cartoonish character takes a lot of confidence, trust, and again, that forgiveness thing. You need to teach yourself to let those lines flow freely, to trust that you can complete this figure with or without mistakes, and to forgive yourself when it doesn’t come out looking 'perfect’. This can be hard, or even next to impossible for certain realism artists to accomplish. It can be infuriating for them, especially when they can render so masterfully, and yet this simple… doodle seems to be the bane of their existence.

The trick, for me, is to set yourself up with limitations.

Try drawing with only an ink pen. No erasing, no fixing mistakes, no sketch layer. It might smudge, it might leak, and the second eye might end up too high up. Take the risk, and draw.

Try doing very light blocking with the pen, try going completely free hand and see where some of your anatomy strengths and weakness are.

Try drawing the same face over and over again, until you can get the same amount of details/information down without a second thought. Try simplifying the first drawing. Try limiting the amount of lines or shading used. Challenge yourself to be quick, to finish a complete character in ten minutes or less.

Try using a medium you’ve never used before. Learn to love it or hate it.

Try drawing with your opposite hand. (Does it look terrible? Maybe, but I bet you automatically tried to simplify and expedite the drawing process.)

Try using only blocks of color or shadow to make a face. Do not add details. See how recognizable it looks just from shading.

Try focusing on character qualities and the shapes, poses/posture, and colors that they brings to mind.

Draw a loud, boisterous person. (What shape would they be? Are they muscular, tall, threatening? Do they stand with their chest out? Do they wear reds and warm colors?)

Draw a quiet, timid person. ( are they small, hunched, slim? Do they wrap their arms around themselves a lot? Do they wear blues and browns and colors that blend in with the background?)

Draw a hunter.
Draw a mother.

Draw types of people/animals/environments you’ve never drawn before. Push yourself to do create people with more exaggerated features or postures. People with bigger, longer, skinnier, wider, smaller elements of anatomy.

And, like I said, it will be a challenge. It will feel silly and frustrating and even demeaning. But trust me, learning to loosen up and trust yourself enough make mistakes and accept them can be extremely freeing no matter what style you use.

In the Service of the Princess

Author’s Note: Guess what I’ve been worshipping playing for the past month. Heavy spoilers ahead

Series: Legend of Zelda: Breath of the Wild

Pairing: Zelda/Link

Length: 1550 words

Rating: Safe

Her Appointed Knight.

That’s what her father called him. What he was assigned to, with virtually little to no say in the matter from her. Zelda didn’t ask to be defended. Nor did she want to be a bystander; considered a vulnerable liability in a war.

And now she had a living reminder of that, following her around at every turn.

Goddess Hylia must have had a cruel sense of humor. Her father as well. He considers this boy to be the royal knight who was destined to seal the darkness plaguing their lands? He was hardly her age, much less her height. One of few words, that much she was thankful. Zelda could hardly stomach the idea of him boasting of his status, his knightdom handpicked by the king of Hyrule himself and (to her dismay) blessed by her.

That was Revali’s job, after all.

This Link was surely going to be the bigger grievance than Calamity Ganon at this point.

The knight was persistent, she’ll give him that.

She knew her father didn’t take too kindly to her inquisitive nature. That must have been part of the reason why he assigned the knight to her side; to discourage her from conducting her research. That didn’t stop the princess, not while a threat was looming right at their doorstep.

Zelda was resourceful. Many a time, she’d given him the slip, off to Purah’s lab to continue their research of the Sheikah technology. Discovering the mysteries of the Sheikah Slate, learning more of the robots and such, it made her giddy as a child. She’d excitedly arrive at the lab…

…Only to find him. Having tea with the 6-year-old Sheikah, no less.

He said nothing, allowing his “innocent” smile and ignorant casualness to speak for him. She must have been getting predictable.

Zelda was starting to think that her father was torturing her.

Li-…The Knight was no slouch in combat.

For one who lacked in size, he made up for in skill. Zelda watched as the boy overpowered two of the castle’s royal guard. For a sparring match, neither of the two were able to make a scratch. Zelda couldn’t tell if this was saying something for the castle’s guards as a whole. She watched as the boy wielded that sword with deadly accuracy. He was going easy on them.

Zelda scolded herself for concerning herself with the boy. He was her knight and nothing less.

Zelda didn’t expect him to be so…compliant with her research.

Since the boy had persisted in accompanying her wherever she went, Zelda decided to make the most out of it, testing some of her more…outlandish theories.

She expected him to decline, better yet, leave her to her own devices but the knight surprised her. Wordlessly as always, he’d sit with her and listen to her prattle on about the properties of monster parts and the sciences of wild animals. She even somehow got him to taste a frog of all things!

Yet, Zelda felt…something, a feeling inexplicable even to her, when he remained with her

Another lecture from Father about “The duties of the Princess”.

Had it never occurred to him that finding ways to improve the castle’s guards was something that should be considered one of her duties? Why was she the only one who saw the importance in using Elixirs? Now she was down another book on recipes.

Her knight stopped by her room, no doubt sent by the King to ensure that she sulks in safety. Though he seemed to be grinning wider than usual. It took Zelda a moment before she realized that the boy had indeed had a present for her.

Zelda couldn’t believe her eyes as he’d brought her the very same book. Did he sneak past the Sheikah guards just to get it? He offered her the book with a smile, watching her face light up. Zelda hatched an idea. She sat the boy down next to her, moving to the shelves and cupboards of her room to reveal an assortment of glasses with multicolored liquids. Zelda excitedly swiped the book from his hands.

“Now then, Knig-er…Link, elixirs have the potential to turn the tide in any battle. Here’s what you should know…”

“Clock’s ticking, princess.”

“Yes, I know. These divine beasts are proving to be much harder to control than I-”

Urbosa chuckled, leaving Zelda to gaze at her in confusion. “Not what I meant, Zel.” From their perch atop Naboris, the Gerudo warrior pointed at the tiny speck of a warrior just below them, traversing the desert sands in nonchalance.

Zelda knew exactly what Urbosa was alluding to but she stubbornly feigned ignorance.

She shot her a knowing smile. “I see you’ve started warming up to him.”

“Well…” she stuttered, looking away from Urbosa who saw straight through her. “He’s…proven himself.”

“Mhmm?” the Gerudo rested her head on her arm. She decided not to comment on the fact that Zelda was now blatantly staring at Link.

The princess crossed her arms. “I-I don’t know what you could possibly be referring to.”

Urbosa’s smile grew wider. “Take it from a Gerudo. With a prize like that, I wouldn’t wait around.” she didn’t wait for the princess to respond, giving her a sly wink and leaving Zelda to her intrusive thoughts.

She was a princess! She had no time to spend on such frivolities as courtship! Not while a great evil was just at their doorstep. Besides, Link of all people? That seemed incredulous at best. He probably wouldn’t feel the same way.

Would he?

Zelda shuddered.

She was unsure if that was due to anticipation or anxiety. All of her hopes, prayers, and studies lead to this singular moment.

The path she stood before them lead up to Mount Lanayru. The Spring of Wisdom, Zelda’s last chance of awakening her true potential, was waiting for her. Today was the day of her awakening, yet…

She couldn’t move.

Her body tensed, hearing the disapproving voice of her father, the whispers of the knights and residents from the castle, all those who told her that her motivations were naught but a fantasy. Her legs refused to move and her stomach churned.

However, one force managed to repel those fears.

The reassuring touch of her knight dissipated all of Zelda’s worries. One look towards Link’s smile and Zelda no longer felt alone.

“I’m alright,” she said, returning his smile, “I think I’m ready now.”

Link nodded as they began their trek up the mountain.

The rain was heavy.

The smell of fire and ash burned her lungs.

Her eyes were momentarily blinded by crimson before hearing the beeping targeting system native to the Guardians. Zelda watched in horror as Link, weakened and injured was caught in its sights.

Link, who devoted himself to her well-being, even when she pushed him away.

Link, who willfully allowed himself to be a guinea pig for her outlandish experiments.

Link, who stood by her through her best and her worst.

Zelda didn’t hesitate. She was not about to lose him.

Not like this.

In moments, all she saw was white, a glowing symbol formed at the back of her palm and all the autonomous threats were destroyed.

Zelda could hear Link behind her, groaning weakly before collapsing. She turned to him, mortified as he writhed in pain. She ran to his side, assuring him that he was going to be fine. She didn’t know if she was trying to convince him or herself.

They had all come so far. They had prepared for all of this. How did it all go wrong?


He was her knight.

The one to bring peace to Hyrule.

Zelda would be damned if she was about to let him slip through her fingers.

The other heroes were out there, using their divine beasts to push back Ganon’s corruption. That was all they can do and it was all they needed to do. To delay Ganon’s evil, buy Link more time and ensure that he recovers.

Zelda needed to see him. Just one last time.

He was asleep in his pod, his wounds deep but healing, ever so slowly. He looked…peaceful. The last she seen of him, Link was battered and beaten, trying to speak but his injuries getting the better of him, slipping into unconsciousness. The nightmarish memory was still fresh in her mind. Tears streamed from her face.

It wasn’t supposed to happen like this.

All the preparation, all the training, and for what? Their weapons turned on them, her castle was now the enemy’s fortress and the hero that was meant to end it all was defeated.


Not defeated.

Not yet.

Zelda looked to her right hand, still glowing with the symbol of the Triforce, the power she used to give the kingdom one last chance, to give him one last chance. She knew what had to be done.

One last look to her knight. Her hand brushed along his warm face.

Wait for me, Link.

Alrighty, so my flight to China is tomorrow morning. 

Not sure I’ll be able to post here while away, but my brother is going to make a blog on another platform for updates, and I’ll try to post the link to that before we leave. (if not, i’ll have to wait til i get back to share photos and draws) 

But I will see you all in 11 days! Take care everyone =D

Oh, and happy early Canada Day! 

you know………….my dumb ass realized……….that dio is literally…….my character……….and if i don’t like how they are……..i can change them…………why did no one tell me this

6969 fan video update 2!

Hiiii guys! A reminder that we have passed week 2 of submissions, and I still need you guys to send me your submissions if you’re interested!

The end date is August 24th: record yourself, animate yourself, lip sync, and even act out the parts to 6969 (in its entirely) and email them at

The full post with info is here: