that is because i composited that part!

anonymous asked:

Have any advice for accessorizing outfit designs? I feel like i either go too elaborate or too dull and cant seem to find that middle ground

I’m not a huge expert on this and am guilty of oversaturating my characters with unnecessary stuff, but when I actually try to design properly I usually go with first making the silhouette, then adding finer details (like jewelry or filigree or other deets) in places where I want to lead the eyes- like, let’s say the facial or neck area!

I usually make sure the other parts aren’t as detailed as the part I want to emphasize~

e.g. for this illustration (again thank you @aomaoe for lending your spicy boi) I poured My Soul into detailing and using more contrasts/darker shadows on the hair, faces, floral hairclip, lace glove and coat because that’s where I want you to look (if you look again everything else was intentionally left chunky and two-toned).

the ribbons and general flow of the composition lead towards the subjects as well, while the red blooms make sure to nail your eyes towards that part once you’ve locked on!

this one was intentionally made to be a clusterfuck of stuff for that UTAU Aesthetic ™ but I tried to keep the general silhouette and main color blocks intact, so your eyes have places to settle on once it gets sick of all the other details~

same general rule for this one despite the saturation of patterns- mostly black and simpler patterns on the bottom, more light colors and details on top (an exception would probably be  @magebomb‘s Tyr, whose tie leads the eyes towards the pattern on his skirt, and it better did because I Poured My Tears Into That Pattern)

In honor of the new year, here is my simple tutorial for setting up and maintaining a language journal. I’ve made 3 so far using this method for spanish, french, and italian because it’s so simple. Disfruta y espero que logres sus metas de lengua este año! <3


What You’ll Need:

  • composition book
  • highlighters
  • flashcard(s)
  • black ink pen

Keep reading

anonymous asked:

Hey, I was wondering if you wouldn't mind talking abt how you do your colouring atm?

Hi anon ^^

To be honest, I’ve been working with the same technique for years. Basically, I sketch, block the colors, work on a first series of details, do some color adjustments, add shadows, add highlights, add more details, rework the skin texture and…voilà roughly!

In order to show you my coloring process, I did what people have been asking me to do for a long long time, I took screen shots of my work as I was working (see gif below). As you can see, there are a lot of comes and goes, “yes…but no…but yes…but shit…that was better before”. Sometimes I’m not satisfied so I change a whole part of the drawing, like for instance the color of the sheets (from white to blue) or Bucky’s right hand (the first one was awful). I also use the “Liquify” and the “free transform” tools to fix things I’m not satisfied with (here: the eyes that were not centered properly). However, don’t get me wrong, I know where I’m going when it comes to colors, compositions, textures, etc…What I change are just minor adjustments. I also work on the hair at the end because for me, it’s the cherry at the top of the Sunday. When I can leave it as the last step, I do it. You see, for instance here, I used as a reference a picture of Sebastian Stan with short hair. I just drew the basic shape of the hair in black and drew the long hair and all the details when the art was almost done. (I started to draw long strands at the beginning, but finally no, I stepped back)

When it comes to the palette itself, sometimes I keep a palette close to the reference picture because I find it interesting or beautiful, sometimes I create my own palette and go wild when it comes to colors but at a moment or a another, I do some color adjustments. Choosing my palette comes rather naturally, it’s a question of habits too but I never strick to a restricted palette. I love it when it’s flamboyant and shinny. :)

Tools of the trade: Photoshop CS6. I use the Photoshop Default set and also the Mar-Ka brush set. Here is a gif that includes all the steps of a color artwork I did for this tut:

Voilà! I hope that now my way of coloring an artwork is less obscure. Thanks a lot anon ♥

anonymous asked:

fyjjong-nim are you okay? I hope you're not sad TT thanks for sharing all the blue night translations here all this time.

i’ll be honest: i’m sad. not just because blue night has become a big part of my daily routine (as in: listening to it whenever i can and taking a lot of jonghyun’s inspiration comments, etc. to heart) but because i know much it means to him. 

so, ultimately, i’m more sad for him than anything else. he’s been doing blue night for over three years now and it’s obvious how he’s grown from it, not only as a musician but as a person. blue night gave him the confidence to show his personal compositions more often to the world, and i think that it was a source of great relief for him / it became something of a space space for him just like it did for shawols around the world. i feel that leaving (regardless of when and if he comes back in the future) was not an easy decision for him to make, seeing as he’s tried his hardest to make scheduling work around it in the past, not only through touring but four group comebacks, two solo and one subunit. i just hope that he knows how much he’s positively affected shawols with his words and that mbc really does give him the chance to come back when and if he’s ready to.

Hey folks.  I need a favor.

I’m asking you all for some kind of accountability.  I have been spiraling for a good solid two weeks now and I have probably wrecked a couple of friendships over it.  I learned all about some trigger points I have and how they affect me.  This was a really bad one.  It’s had me yelling at people I love, being unreasonable, being combative and reactionary, crying, isolating, and basically being a complete fucking nightmare.  I’m only just now coming out of it, and I’m still feeling a bit hypersensitive.

I’ve considered meds (but found the risks more than I’m comfortable with given my current situation) and I go to therapy, and right now I’m on a waiting list for a cognitive behavioral therapy program (that honestly seems like the best tool I’m going to find).  That being said, in the short term my coping skills suck.  The only thing that I know for a fact works for me with any regularity is exercise and getting outdoors.  Of course I have an excuse for that too and I haven’t been working out because I have some negative body issues, I don’t deal well with street harassment (especially the “are you trans?” and “you look like a man” type that I’ve encountered on my runs in the past) so I’ve been avoiding it.

Basically, I need to start exercising again because it’s the only surefire tool I have in the short term.  I don’t want to turn this into a fitness blog, and I don’t want to upset anyone with posts about body composition (or recomposition), weight, or running/exercise posts, but I do want to start keeping a sort of daily fitness/wellness check-in.  I’d like to know what people’s thoughts are on a post a day about my personal exercise goals being part of the normal feed here.  You can respond to the post or in an ask.

Thanks in advance.  I know a lot of folks have expressed interest in trying to help me in various ways, and this kind of accountability is a real concrete thing that you all can help me with, but only if you’re ok with it.

anonymous asked:

So, I'm going to start working on my own AMV/PMV, and I wanted your opinion. What things do you believe are crucial for a good PMV/AMV? You seem pretty good at making these amazing SIMVs, and I would like to know what you look for when making your own videos.

man ok well obvi we’re not experts bc we have a long way to go still, but some things we try to keep in mind/usually follow are -

1. environment palettes - just like a map, we usually make several palettes to fit our pmvs. it helps give the video a strong united theme throughout and you can really play with color theory and how it affects the mood (best example is our leopardstar mv where the colors change from red + gold to purple + gold)

2. timing + storyboard - are you telling an interesting story?? i think a lot of problems ppl have w/ PMVs is that they choose slow songs because they don’t want to draw as many frames/drawings, and while it can be great, often times it comes off boring and slow (and people tend to click away). try and think of neat ways to break up your composition in your storyboard and always be sure to include environment shots - these are real characters in a real setting, not just cats on a black BG

3. originality - if someone has already used the song for something warriors related, we usually won’t do it. a lot of our storyboards/ideas have been left to collect dust bc someone put out a map with the same song (even if it’s different characters). try and broaden your music taste + character range (minor characters!!!) and do stuff that no one else has 

4. the hot stuff - does your storyboard/idea make you super excited??? are there parts where you’re like “oooOHHHHHHH!!!!!” ???? if you find it super hot, chances are that most other people will like it too. don’t be afraid to revise your storyboards/ideas a lot, our original ideas + compositions usually contrast wildly with what our final product is.

5. editing - i can’t say too much on this because I’m not the editor, but editing is crucial in making an interesting pmv. always try to have something moving, even if it’s just a slow tween of clouds going by or a slow zoom. your mv needs to be visually interesting as well as tell a good story. try not to get too caught up in adding camera effects + tweens though, it is easy to go overboard and do too much so make sure that it flows with the song + mood. 

(English) After the Rain interview from Utattemita no Hon Magazine (May 2017 edition)

Buy the magazine overseas here (Includes large poster of the Soramafu cover art, as well as lots of other utaite pics and posters!)

After the Rain was interviewed in the utaite magazine “Utattemita no Hon” for their May 2017 edition, which was published at the start of April. They discussed each track on their 2 new single CDs, the process that went into making them, and they also answered some random April-themed questions at the end :P Italicized questions here are what the interviewer was asking them to respond to. Enjoy, and let me know if you spot any typos or anything weird~!

Keep reading

The List

Since the portal accident when he was fourteen, he’d been keeping a record of all ghostly abilities that he exhibited as well as a short explanation of each power. At age fifteen, with everything that had happened and continued to happen, Danny was still just as confused about his ghost-half as he had been a year previously.

Maddie and Jack had offered to analyze his notes to determine whether or not his abilities were finite or if they would continue to grow along with him, which Danny had refused at first. When Danny discovered that he was continuing to add to his ever-growing and ever-changing list of powers, the boy consented to letting his parents look at his recordings. His only question was: “Am I finished getting new powers, or should I expect more?”

This was why both adults were slack-jawed in their lab, Danny and Jazz upstairs with their own business to attend to, staring at the expanse of paper before them. This was his latest, most recently revised list and it was more than impressive; organized by the amount of energy spent on each ability.


Accelerated Healing - The title underestimates the actual ability. Mortal wounds become not-so-mortal when in ghost form, unless the central-core energy is specifically targeted to be harmed or weakened. When in ghost form and with enough energy, anything but complete disintegration would bring me little (real) harm. In human form, I can tap into these healing abilities to a lesser extent of my ghost self. (Energy Drain - Instinctual)

Enhanced Sensation - All of my five senses are much more sensitive. (Energy Drain - Instinctual)

Ecto-Location (Ghost Sense) - When a ghost is nearby, a cold puff of air from my core is sent out (usually through my mouth). If I focus just slightly, I can also determine the ecto-signature of the particular ghost (provided they are familiar to me, i.e. Skulker, Box Ghost, etc.…) (Energy Drain - Instinctual)

Invisibility - Manipulating both myself and the light around me, I can make it so I am unable to be seen without special equipment. (Energy Drain - Instinctual)

Intangibility - I can become abstract in a way that means I cannot be touched by any human-world item not meant for catching and/or harming ghosts. Tied slightly to invisibility; often, when intangible, I revert to a more corporeal form that is difficult to see (not impossible, but difficult nonetheless). (Energy Drain - Instinctual)

Flight - Probably because of the composition of ectoplasm in comparison to the Earth’s atmosphere, I can fly without accessories. (Energy Drain - Instinctual)

Body Modification - Includes (but probably not limited to): formation of a ghostly tail when flying at high speeds, ethereal fog materializing between body parts to stretch them, also I can shift to a rubber-like constitution at will. (Energy Drain - Instinctual to Low)

Ghost Stinger - If I react quickly enough, I can turn other ghost’s ectoplasmic energy against them and re-direct the energy. Often this produces an electrified effect on the ‘already-used’ (meaning the energy wasn’t mine to begin with) ectoplasm. If I choose to, I can use energy from my own core to amplify this effect. (Energy Drain - Low)

Ecto-Blasts - I can release energy from my ghostly core outwards in varying degrees of power (up to my control when coming to how much I want to release). (Energy Drain - Low to Moderate)

Ectoplasmic Manipulation - Instead of unfocused ectoplasmic energy, I can dictate what the energy from my core does. Shields, ecto-weapons, and bindings (like chain or rope) are my most often used forms of ectoplasmic manipulation. (Energy Drain - Low to Moderate)

Cryokinesis - Same premise as Ecto-Blasts, provided I concentrate on cold energy rather than unfocused ectoplasm. (Energy Drain - Low to Moderate)

Telekinesis - By surrounding an object (or objects) with a light form of ectoplasm, I can move things around. Size and weight of the item are factors, but longer distances make it harder to move the object(s). (Energy Drain - Moderate)

Ice Fog - If I slowly release cold energy from my core and with it releasing minute amounts of raw ectoplasmic energy, I can create a dense icy fog that decreases visibility around a particular area. (Energy Drain - Moderate to High)

Beacon - Using energy from my core, I can create a beacon of white-green light (from my hands) that attracts ghosts in the near vicinity-friend or foe. The stronger the beacon, the greater area the light reaches (meaning more ghosts the beacon calls to). They seem to be entranced by the light enough so that they’re unaware of their surroundings until I stop the beacon. (Energy Drain - Moderate to High)

Duplication - While making sure not to split my central core, I can manipulate the ectoplasm inside of me to create an identical copy of myself. The more core energy I use, the easier the copy is to maintain, the more durable they are, and the closer they are to. Side note, memory transfer is still a pain. Currently able to maintain 2 low-stamina clones, 1 moderate-stamina clone. (Energy Drain - High)

Ghostly Wail - Using the raw energy from my central core, I can create a series of ectoplasmic sound-waves that do severe damage to those in range of the attack. Also slightly inflicts damage on those not in direct attack but who are close enough to me that the screams penetrate their ears. (Energy Drain - High to Critical)

Arctic Howl - Using more central core energy with focus on its element of ice, a much more devastating effect to the original Wail can be achieved by the waves manifesting into a blizzard. The above effects of the original Ghostly Wail remain in place with the addition of the deep-freeze extending the attack radius. (Energy Drain - Critical)


Jack was the first to speak up.

“Heh… Who knew he was holding out on us this whole time?” He chuckled with an odd sort of smile, still unable to process that his fifteen-year-old son possessed the power that he did. Maddie was still gobsmacked as she flipped through the pages of edits that her son had done.

How he was doing abysmally in English class with this obvious mastery of the language was beyond her, for one thing.
For another; after his list of powers, Danny had composed several theories and hypotheses that could put other doctors in the Paranormal sciences to shame. They were well thought out and carefully laid down with just enough proof threaded in with his theories that made them seem credible. The woman seated herself and blinked. Who knew? She’d always thought that it would be her daughter to follow in her footsteps, even when Jasmine had proclaimed her love for psychology. Jazz had been the one with the book-smarts and Danny had been the boy with his heart in anything he does. The way his notebook looked, however, told her that Danny wasn’t letting on nearly how intelligent he actually was; and it also told her that he had a knack for the thing that her and Jack had devoted their lives to. Rather than her eldest taking over the Fenton family tradition of ghost-hunting when they were gone, it seemed that her youngest was more than equipped with the knowledge to step up to the plate now.

For once in her life, Madeline Cassandra Fenton was truly stumped. She’d thought that she’d have an easy answer to her son’s question, but she was absolutely, 100% baffled just by what Danny was stating simply in his journal as if it were nothing. Jack was too, if his calculating expression told her anything. Despite his tactless way of approaching situations and his general lack of common sense, Jack Fenton was truly a genius and had a wonderfully creative mind; it was one of the many reasons that she’d fallen in love with him. He was deep in his ‘scientist-mode’, as he said it to be. Brows drawn together, the man nodded and looked to his wife.

“I think that he’s yet to apex, as far as these powers go. From the looks of things in here,” he referred to the generous edits made to the notebook-including the changing ‘energy-drain’ levels, “the longer he has these powers, the more control he has. Probably even the strongest attacks he has now will be nothing if we give it a couple years.” Jack grinned like a child in a candy shop. “Who knows, Mads, he might just be the most powerful ghost ever! And he’s only halfway there!” Maddie found herself smiling at her husband’s eagerness.
“Maybe, Jack, maybe…” She trailed off in favor of looking over the book again while Jack began rambling about he and Danny teaming up to be a dynamic duo of sorts.
Through all of the questions that his notebook had left her with, one thing was clear to Maddie when she finally left the lab that evening; she had really only just begun to learn the double-life her son had been leading for the past year and a half.

And she was more than ready to continue learning, as any good scientist would be.

blue night radio ♡ 170311
translation: fantaemsie

jonghyun: as much as possible…, it’s early to talk about this again but, since there’s people who always listen to blue night and there are some who only come from time to time, i plan on talking about me leaving blue night often. i wrote this in the past as lyrics. there’s a part from my song “warm winter” that i’m itching to quote. “i’ll be back” is something beautiful to say because the day we meet again will be a promised “hello”. there’s a part of the lyrics that goes like that. i had different feelings when writing those feelings, of course, i didn’t write it back then with leaving blue night in mind but i think it’s fitting for this moment. anyway, as i said, i will surely come back.

Hi guys. This weeks video is another dragon age video. I really love solas as did my inquisitor, who was his best friend. I wanted to show a softer side to solas because most of my piece show a darker side to him, but i really don’t feel that that is all there is to him.
I like the composition the most. I feel it gives that softness that I was going for, but add a bit of a protective vibe to the piece.
Honestly  my inquisitor would probably help solas in destroying the word.
As for the painting part of this piece, I had some trouble with getting the colors to look right. Also I feel it’s missing something not sure what thou.

If you would like to watch me paint this here it the speedpaint

Print are available here

“So we only exist with heavy metal as a part of our genetic composition, right? But heavy metals only exist because the first generation of stars after the big bang died. Heavy metals didn’t exist before that. The first set of stars had to die and reform into the second set of stars for heavy metals to exist.”

“Yeah?”

“So we’re, like, literally made of stardust.”

“Mhm?”

“I just think that’s really beautiful and kinda tragic?”

“I love you.”


Namjin for @uziregar

anonymous asked:

What works do you consider your best and your worst? In term of techniques etc? Much love!!

Hi anon ^^

Thanks a lot for your question! Someone asked me a rather similar question 2 months ago so I’m gonna copy/paste it but I’m gonna change a couple of things though, because the other anon was asking about my most recent works. I’m gonna back to 2010, so…here we go!

THE ONES I DON’T LIKE:

The very first artwork I did for The Life of Bucky Barnes (Bucky Barnes) - It was the first one, I didn’t put a lot of effort into it and it really shows. Buck has no body hair on his arms, the background is a mess, the texture of the bear is a disaster. I wish I could redraw it and replace this version but it’s worthless because you can’t edit the artworks on Instagram and it was already reblogged quite a few times on Tumblr so, I just leave it as it is. (but I don’t wike it)

A face in the Crowd. (Bucky Barnes) - One word to describe this artwork: lazy. I took a pic of Sebastian at a fashion show and did a Bucky version. In other words, I just drew him with his hair longer and a metal hand. I don’t like it a lot because I find the composition horrible too. There were so many options and I went for this. I like his face and his hand but the rest is mew, particularly the background.

Summertime. (Dean and Castiel) - I wasn’t into “line arting + coloring” for a long time when I drew this one and it shows. I would have drawn it rather differently today. Not to mention that a part of the anatomy is off. Yup, not a huge fan.

You can add 50% or the artworks I published in my pig PDF, that is to say, my very first digital works. I mean, nothing surprising, I was a newbie, I had a shitty computer, a shitty graphic tablet. But also…HOLY ANATOMY BATMAN. What the fuck xD Sam has a horribly BIG hand in the last one xD

I could have fixed a good part of the mistakes, particularly anatomy mistakes but then I thought, “What the hell!” and 1) It can be “inspirational” (what a pompous word, whatever) for young artists who get into art. All these drawings with shitty textures and anatomy mistakes are here to prove Rome wasn’t build in one day. Kids, here is my shameful past. Take it as it is and you see, practice pays. Eventually. 2) Let’s face it I have a soft spot for all these drawings, they were my first steps in the Supernatural and Marvel fandoms, they are the reflection of so many good moments I had so, yeah, I’m keeping them as they are. I just changed the brightness/contrast of some of them because they were far too dark but otherwise, I didn’t touch a thing.

*****

THE ONES I LIKE:

Divided We Fall. (Avengers, group picture) - This one took me ages. I don’t like it because I spent a lot of time on it but rather because I love the textures, very shinny and smooth. Also, I used this art as a playground to experiment tons of things when it came to textures and lights. A lot of fun!

Read my Skin. (Dean Winchester) - A Dean Winchester fan art I enjoy a lot. I love the tattoos particularly the one on his chest but also the textures of the whole artwork. Bonus point: Dean is hot in that one

Big Avengers Selfie (aka, one of my most reposted artworks without credit because, why bother! ^^) - This one was a lot of fun to work on because the pic is very crowded and the perspective was interesting to do. Too bad that I had no pics of Cumberbatch as Dr. Strange at the time because I would have added him somewhere at the back. I think it took me a whole week to complete T___T

You can add to the list THIS ONE and THIS ONE that I’m really proud of, because of the composition, THIS ONE because of the texture of the skin, THESE ONES because of the lighting and the texture work and the DOCTOR STRANGE ONE because the likeness and the lighting are good. (that was my “I’m happy with my art” moment, it will be over in 10 minutes)

Thanks a lot for your question ^^ Much love too ^^

mystereoheart  asked:

hey! now that i know you're a general art history nerd, do you have any analyses about the Madonna With the Long Neck by Parmigianino? I hate on this painting so much any time the subject of mannerism comes up but every time I visit the Uffizi I have to visit it, it makes me laugh and cry tears of frustration and I can't help but love it a lot. It's just a beautifully rendered goddamn mess. I was wondering if you had any insights?

Hey! I’m so sorry it took me so long to answer this! I’ve been caught up in school, but I didn’t mean to put it off for so long!

Anyhow, I actually LOVE Madonna with a Long Neck. Haha! That being said, I ALSO agree that it is a “beautifully rendered mess”- but that’s part of why I love it. For anyone reading this response who doesn’t know what we’re talking about, here is “Madonna with a Long Neck” by Paramigianino from 1535-1540:

There’s definitely a lot about this that is distinctly wtf. The weird composition with everyone pushed up to the front, the strange, incomplete architecture in the background, the strange dude in the right corner that looks tiny and far away but the longer you look the more it seems like he’s actually much close and just abnormally tiny like a barbie doll. The terrifying, giant baby Jesus that looks a few steps away from being a Silent Hill monster…. There’s…. a lot going on here.

So this painting is one of the most well-known and typical paintings in what is called the Mannerist tradition of art (as you already mentioned in your ask). I will preface by saying that I haven’t studied Mannerism extensively so I may be a bit off on a few points, but what I will say is that Mannerism is WEIRD. It’s important to note that while there was a particular trend of art style in this time which is denoted as “mannerist”, the artists themselves didn’t come up with the term or defined “movement”. 

“Mannerism” was a term applied by later art historians who came up with it from an except in Vasari’s Lives of the Artist’s about Michelangelo. Vasari referred to Michelangelo’s individual and idiosyncratic style as his “maniera” in reference to his particular handling. (Not that Michelangelo is considered a mannerist- this is just where historians got the term. This is important to note because the sort of post-definition of the art movement means that he artists themselves weren’t necessarily working with a set of rules defining the “movement” they were a part of, and so mannerist paintings can vary wildly. 

The main definer of Mannerism, though, is the sort of decadence which led to a distinct sense of artificiality to the work. I mean look at the painting up there: the lushness of the fabrics, the compressed and therefore almost chaotic but beautiful composition of figures, the elongated anatomy and poor sense of gravity- Baby Jesus looks like he’s in the middle of straight up dropping off of her lap and onto the ground. 

Perfect example? Look at that angel in the front’s leg. It’s out there like BAM. Saucy. It’s like Angelina Jolie’s leg at the Oscars- and like Jolie’s leg, the effect is both dramatic and beautiful while also being so performative and jarring that it’s ridiculous at the same time and you can’t help but laugh.

But that’s just it. That’s what I love about Mannerist paintings: their artificiality and almost parody-level dramatics are so perfectly balanced with the beautiful elements that you’re not quite sure if the ridiculousness was intentional or not. Look at another classic example of Mannerism to drive the point home. 

Venus, Cupid, Folly, and Time, by Bronzino from 1545:

Like…. Holy shit. There is…… I don’t even know where to begin with this cacophony of confusing, vaguely terrifying/vaguely erotic shit right here. Somehow, the longer you look, the pre-teen-looking Eros with a spine made of silly puttie casually getting to second base with his own mom is the LEAST unsettling thing here.

But I don’t know. It’s certainly an engaging painting. And despite the numerous classically technical flaws, it’s extremely technically impressive at the same time.

For me, what I’ve always liked about Mannerism is that I’ve always kind of thought of it as a sort of pseudo-pre-surrealism. 

So that was probably a way longer answer than you wanted, but it’s pretty difficult for me to not go on endlessly about art history.

Hey everyone! I’ve seen a few people comment on the recent gameplay video with the sentiment of random encounters being not their favorite thing, which I totally can get behind! but, I think for FIGHT KNIGHT there are unique reasons to use them as well as ways that we’ve worked around common roots of why people dislike them. So I wanted to answer what I imagine could be the reasons for that generally, as well as go over a bit of why FIGHT KNIGHT works the way it does.

So why would one dislike the way “random encounters” generally work in video games? I’ve tried to think of some likely answers:

“Random encounters don’t take difficulty or pacing or design into account in the way that a hand placed fight can.”

This is often the case! In FIGHT KNIGHT however, I actually have a fine control over the composition of enemy groups in any given position or area, as well as the frequency/likelyhood of encounter, as well as being able to force a specific fight to occur (or forcing there to be none at all). The end result is that I essentially AM hand placing the fights, and I can very much craft an experience that accommodates the pacing of the game and changes as you move around to different parts of the dungeon. So I think I’ve got the “too samey” issue figured out!

“Random encounters are boring because RPG combat is inherently boring outside of key moments like bosses.“

This is exactly why we wanted to make the fights exciting and real-time in the first place! The hope is that the combat itself is inherently enjoyable, instead of being something where you hit the attack button during your turn and fall asleep (in the worst examples)

“Random encounters don’t take the surrounding environment into account to create interesting combat scenarios“

This isn’t always the case but I definitely understand the complaint! In FIGHT KNIGHT, the surrounding environment will actually be taken into account (albeit in a somewhat abstract way). This hasn’t been implemented yet, but the concept I have in mind is that if an environment has a hazard, that will be reflected in the fight stage for that area. For example, a swamp themed location could have swamp water on the sides of the hallway instead of walls, allowing you to knock enemies into it

“I don’t like not having control over when fights happen, I like being able to avoid combat“

This is the most understandable reservation out of what I can think of. BUT I think this is getting into “I want a different kind of game” territory! Part of the design of dungeon crawlers along the lines of what we’re going for (like SMT or The Dark Spire) is that there is an inevitability to combat that slowly puts a strain on your resources and eventually forces you to exit and recuperate. As you build up your character and get more familiar with the environment you’re able to penetrate deeper into the danger zone and accomplish your goal. This is more or less reflected in FIGHT KNIGHT, however because the combat is real-time the “character building” is less of an emphasis than your actual understanding of and skill in combat. So it’s really key to the entire experience, and I think if I were to change that I’d have to completely change the kind of game we’re making. AND on a lighter note: you’re playing as FIGHT KNIGHT. do you think someone who calls themselves FIGHT KNIGHT would run away from a fight?

Fanfic art: a process

I had fun doing a few drawings for @this-too-too-sullied-flesh‘s fic “The Next Wounded Soul,” so I thought a few people might be interested in the process behind it. It was really great to work with Kristen, and I also had fun experimenting a bit with materials because she was so open-minded about everything. So here goes (it’s gonna be a long post, so most will be under the cut):

It started with me reading her story (duh), and then coming up with a few thumbnail sketches of scenes and quotes that hit me - just 5 minutes of sketching for each:


Keep reading

2

Hello! I finished my Unsounded fanart entry for the contest! Before midnight there I think! It’s been a while since I put more than 10h on a drawing, but I think it was worth it!! I’m excited to see everyone entries. I chose Duane and Lady Ilganyag (did I get it right??) for this one. My last fanart was this one: http://leidensygdom.tumblr.com/post/126684122761/this-is-lemuel-from-unsounded-go-read-it-best which I did less than 2 years ago when I was 16- 

Drawing the eels was probably the best part of it. I wanted to draw more but they broke the composition, so I had to stick with these three. It’s mostly inspired by Chapter 10 with all that silver as a frame, the tittybird in the background and the red all over the place~

Also, an extra discarded sketch:

youtube

Bach - Two-Part Inventions

“Honest method, by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts correctly and well; and along with this not only to obtain good inventions (ideas) but to develop the same well; above all, however, to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition.” so titles the Two and Three part inventions, which are also labeled Inventions and Sinfonias, respectively, each a set of 15. No matter the title, the pieces contain Bach’s least technically challenging keyboard music because they were written as exercises for his children and students to play and practice. They have become another milestone in the ammeter pianist’s repertoire [along with pieces like Beethoven’s Für Elise, or Mozart’s Sonata 16 in C major, though the Inventions are a grade above I believe]. Despite the fact that they are basically homework assignments, and despite the more clerical and cold language Bach uses to explain their purpose, the Inventions are charming and deceptively mature works. The two part counterpoint is still complex in its harmonies, and adding expression and energy does wonders, elevating the music to the heights of Bach’s more respected keyboard music. There is still emotion and musical maturity here. Though I’d argue that the music is best experienced when played or listened intimately. At home, or for a few friends, or to play on your iPod while walking around your neighborhood. My own goal is to learn how to play all of them, and so far I’m only 1/15th of the way there. And even in the first and minuscule C Major invention I can see and hear how much Bach can do with so little material.

2

Yu Yu Hakusho 2017 #YuYear event

February 3 prompt: #15 “Miracle”
Urameshi Yusuke and Matsuo Suekichi
Brush pen, watercolour, gold watercolour (second image is a photo attempt to capture the shiny)

HEY REMEMBER THAT TIME YU YU HAKUSHO TURNED INTO A BOXING MANGA????????? Er, I do…

This prompt is doubly appropriate because finishing it was a bloody miracle. I had so many problems drawing this lmao. WHAT ARE POSES. WHAT IS COMPOSITION. WHAT IS BOXING. WHAT ARE BOXING GLOVES. WHAT DO PANTS LOOK LIKE I have no idea sob

Anyways, that aside, this manga-only 2-part story has a special place in my heart for lots of reasons - one being that Suekichi is, aside from Keiko, the only early childhood friend of Yusuke’s we ever meet, and two being that Yusuke takes on a mentor role and reveals his strategy to fighting, explaining how a huge part of it is psychological. Lesson number 1: Use your facial expression and body language to intimidate the hell out of people. Suekichi has the most powerful eyebrows in the entire series so he should be able to take advantage of this. I like to imagine he succeeds in his dream of becoming a professional boxer, and maybe he visits Yusuke at his ramen stand and Yusuke goes to check out his matches sometimes :D

Waaa only one more day to go!! Push push push

Logical fallacies

I was going to post the second “Thinkbox” today but I noticed that this might be more important. So I will list logical fallacies that most people fall into all the time. It is really important that these fallacies don’t cloud your mind when you try to make accurate deductions. If you, the reader notice that you may be a victim of any of these fallacies try to change your way of thinking.

Formal logical fallacies

- Anecdotal fallacy - To use personal experience as proof instead of statistics.
Example: “All women have long hair” because I’ve only met women with long hair.
A way to avoid: Realize that personal experience isn’t as accurate as statistics that have been done on many more people than you can meet.

- Appeal to probability - To think that because something is probable it’s also always the case.
Example: “You must be right handed” because most people are.
A way to avoid: The probability of something does never grantee you that it is correct.

- Conjunction fallacy - Assumption that an outcome simultaneously satisfying multiple conditions is more probable than an outcome satisfying a single one of them.
Example: “Linda is 31 years old, single, outspoken, and very bright. She majored in philosophy. As a student, she was deeply concerned with issues of discrimination and social justice, and also participated in anti-nuclear demonstrations.
Which is more probable?
1. Linda is a bank teller.
2. Linda is a bank teller and is active in the feminist movement.”
Most people chose 2. But the probability of the two occurring together is less or equal to the probability of them occurring alone.
Pr(Linda is a bank teller) = 0.05
Pr(Linda is a feminist) = 0.95
Pr(Linda is a bank teller and a feminist) = 0.05 x 0.95 = 0.0475.
So the probability of her being both are lower than the lowest.
A way to avoid: Just because something seems to fit well together doesn’t mean it does. Try to think critically.

Informal logical fallacies

- Argumentum ad lapidem - Dismissing a claim as false without proof of its absurdity.
Example: “A: Atoms does not exist.
B: Why do you say that?
A: It’s ridiculous.”
A way to avoid: Don’t dismiss anything at first until you have researched the subject you think may be false.

- Argumentum ad ignorantiam - Assuming that a claim is true because it hasn’t been disproven.
Example: “A: Spirits exist.
B: No.
A: Prove that they aren’t real.”
A way to avoid: Don’t think that a hypothesis you have come up it true just because someone else can’t prove it wrong. Extraordinary claims require exceptional proof.

- Divine fallacy - You can’t imagine it to be true so it must be false.
Example: “A: Murder only happen in films
B: Why do you think that?
A: I can’t imagine anyone doing something so wrong.”
A way to avoid: Stop thinking that improbable is the same as false. Like the great Sherlock Holmes once said “When you have eliminated the impossible, whatever remains, however improbable, must be the truth”.

- Argumentum ad nauseam, argumentum ad infinitum - A topic has been discussed so much that is is seen as true or people don’t care anymore.
Example: “You have the left thumb over your right when your fingers are intervened. That means that you are right handed.”
A way to avoid: Stop accepting statements as true, conduct som research. Even if it’s on a small scale it might give you som pointers.

- Argumentum ex silentio - Conclusion is based on the absence of evidence instead of proper evidence.
Example: “A: Ah you are quiet so you did kill him.
B: But I didn’t say anything?
A: That’s why I know!”
A way to avoid: Try not to assume anything without evidence.

- Argumentum ad hominem - To attack a person instead of their argument.
Example: “A: I like ice cream.
B: Well you’re stupid.”
A way to avoid: You likely know that you’re doing this to some extent, so try to be a good debater and come up with a good counter argument. Or maybe just try to understand the other persons point of view.

- Onus probandi - To make a claim and think that other people must accept it or disprove it themselves.
Example: “A: Dogs always lick their owner when greeting them.
B: Not always.
A: Prove that they don’t.”
A way to avoid: Always try to prove your claims, it is your responsibility.

- Circulus in demonstrando - When you begin with the conclusion you’ll end up with.
Example: “A: I think he is right handed.
B: Why?
A: Emm.. Maybe because he has his watch on the left arm?
B: That doesn’t necessarily mean that.
A: It must mean that!”
A way to avoid: Try to observe first and make a conclusion based on the facts. Like Sherlock said “It is a capital mistake to theorize before one has data. Insensibly one begins to twist facts to suit theories, instead of theories to suit facts”.

- Post hoc ergo propter hoc - Assumption that correlation is the same as causation.
Example: “He had an heart attack when riding a roller coaster, so that means I will have one on the roller coaster too.”
A way to avoid: Think about the problem you have, does the correlation really equals causation?

- Fallacy of composition - To assume that the whole is true because a part of it is true.
Example: “All cells are aquatic. Therefore all organisms (which are composed of cells) are aquatic.”
A way to avoid: Like earlier, try to be critical and don’t accept something as true without research.

- Black or white fallacy - Two statements are held to be the only possible option, when in reality there is more.
Example: “The coin can only land heads up or tails up”.
A way to avoid: If you are used to problem solving this shouldn’t be to much of a problem. Try to keep an open mind when solving a problem.

- Fallacy of the single cause - Assumption that there is one simple cause of an outcome when in reality it may have been caused by multiple events.
Example: “She has a fear of spiders because she had one in her hair when she was young” When it may have been more that contributed to the phobia.
A way to avoid: Don’t assume that everything is caused by one event, try seeing the whole picture.

- Psychologist’s fallacy - Presumes you can be objective in your judgement.
Example: “A: Something will happen to you if you go out this late.
B: You only say that because I’m your daughter.”
A way to avoid: This is something that is hard to avoid, we as humans will always be biased when it comes to things we care about, so try breathing and think calmly about the problem you wish to solve if you can’t ignore it.

Even though you know these fallacies they will still affect you. No human can get rid of them all, “errare humanum est” (to err is human). But being aware of them hopefully helps you think about the problem you face a bit more.
The ones you should be most aware of is:

Anecdotal fallacy.
This I see all the time. People think that their own experiences must be what everybody else is experiencing too. This is a problem when reading studies and the results of the studies doesn’t correlate with your own experience, so you don’t believe it as much.

Appeal to probability.
Something that people new to deduction often seem to think is that it’s always foolproof. That even though most things in deduction is statistically based it must come true all the time. This isn’t the case, and new people discard deduction as something they cannot learn or something that is false and that’s tragic.

Argumentum ad lapidem.
If you as a deductionist disregard a fact as false without proper evidence you may have trouble learning the art of deduction. Being critical is good but to disregard it entirely isn’t.

Argumentum ad ignorantiam.
Likewise assuming that a fact is true because it can’t be disproven seems to be a trend in the world of deduction. I am still baffled by how many people think that long fingers is connected to piano playing (it’s the fingers flexibility that is connected to it.)

Divine fallacy.
This falls into the same category as the two above.

Onus probandi.
If you have come up with something then it’s also your responsibility to prove it to be right, if you care about it being proven to be correct.

Circulus in demonstrando.
My students in deduction have all done this mistake at least one time each. Try to observe then make deductions.

Post hoc ergo propter hoc.
Correlation does not equal causation.

Fallacy of composition.
If a deductionist have some parts of deduction figured out, well that doesn’t mean they know everything.

Black or white fallacy.
Most of the time it exists more than two options, your job as a deductionist is to figure out which of the options is more likely.

Psychologist’s fallacy.
Don’t ever believe yourself to be completely objective.

And with that, I’ll see you my irregulars.