hi there! do you know if inu inu is a scam? sure hope not lol :///
Hello, I’ve never shopped at Inu Inu myself and have actually heard some unfortunate things about their store.
I haven’t written a post up about it myself, but I did find this one that basically outlines what they did wrong. Here is another post, a lot longer with greater detail.
They are incredibly overpriced. You can find these exact items on other stores, ebay, aliexpress, etc for MUCH much cheaper
They target smaller stores who sell the same products and go after them claiming copyrights even though they do not own the original products or design since they are all from the same manufacturer
They ripped off one of their manufacturers by ordering loads of stock but refused to pay for over ~4500 products
They block anybody who tries to call them out
Horrible customer service
If you’ve ordered from them and you haven’t got your item yet, I’d still wait it out. It can take weeks to months for a package to arrive, but if you’re thinking about ordering then I wouldn’t. While they’re popular, there are so many other alternative stores - with good customer service and prices to shop at, here are a few:
The manufacturer that Inu Inu ripped off opened their own store:
Some of the above stores will have the same stock, I would just pick whoever has it cheapest - doesn’t mean it’s a worse off quality than any of the others.
Anyway, I’m sorry if you’ve had a bad experience with Inu Inu but the best thing you can do before buying from any online store is giving the name a quick google by itself, and then adding ‘review’, ‘scam’, ‘tumblr’, or ‘psa’ after it and see if any negative articles come up!
So I finally saw “Your Name” in theaters yesterday and it was SO GOOD! I was left so inspired and it was a firm reminder as to why it is that I love animation and why I do what I do! I teared up at the end. The production and design was just incredible, Makoto Shinkai has totally outdone himself with this one! If you haven’t seen it and are an anime fan or animation fan in general you definitely had to check this one out! Don’t miss it! @anime
I know you can't tell us if/when Infinity Train gets greenlit (I, for one, am hoping it does!), but I wanted to know how hard it was, overall, to make the pilot, and whether you think you'd be capable of running a full show.
It’s hard to say how difficult it was. Kinda difficult? It was the exact amount of work I expected it to be. I feel like “hard” or “easy” is sort of a relative term that often shows that something was more or less work than expected rather than objective difficulty. I planned things out as much as I could and tried to be easy to work with. I tried have a looser hand in some areas and stronger in others. Part of running a show is being able to give up certain aspects of the art of making a show to other people. So while I was allowed to do as much as I wanted, I intentionally tried to limit myself so I could practice.
Like for example, I was interested in doing the music, but I also knew that if I got my own show I wouldn’t be able to do that as it’s too much extra work. So I got Chrome Canyon, who I trust a ton, and sort of used this as practice in learning how to talk about music with someone. Talking about music can be difficult and it’s not something I have a lot of experience in, even though I make a lot of music myself.
The shorts crew is also very experienced, so even though I’m told my process went pretty smoothly, whenever I DID hit a bump they all knew what to do and had my back the whole time. They were super supportive. The shorts program is sort of there to help you learn about all the bits and pieces that go into a show and see how you handle them.
So for another example, something new I hadn’t done before is attend a breakdown of my episode. Breakdowns are where the art director and the production team sit and figure out every asset that needs to be made for an episode. This means they end up paging through the entire storyboard, panel by panel, and find every:
- new background
- new prop (anything a character interacts with like if they pick up a spoon or adjust a rear view mirror etc)
- new special effect (like a glint on a sword or an explosion)
- special poses (if a character makes a really weird reaction face someone has to design it)
- special colors (if a character changes to a different scene they might need new colors or rim light designs).
- every reused background/character/prop
- Just in general go over design notes
I’ve had experience doing all aspects of production in my own work, and as a storyboarder on Regular Show JG had occasionally allowed me to take part in different aspects of production, but I had never seen a breakdown before. Now that I have, on my own board no less, I very much feel it should be a requirement for every storyboarder to attend one breakdown meeting in their career. Seeing other people try to decipher your work is very illuminating and instantly made me change the way I boarded and labeled things so I could be more clear in order to make their jobs easier. Like they always told me “add this background” or “label stuff” but you don’t really KNOW know until you see exactly what they’re looking at and swearing about in the room.
I absolutely think I’m capable of running a full show. It would be a learning curve, but so is any new job. Just about everything that I can think of that a show runner does is stuff that I really want to do. It sounds like a lot of fun and I’d love to give it a go.
Dear Archy, Do you have an idea about Movie Production Studio designs? Or Motion Picture/animation Studios that have interesting designs. And if there is a possibility to find any floor plans for Pixar Headquarters in California! 🙏🏼
Bohlin Cywinski Jackson designed the Pixar Animation Studios in Emeryville, California. I will tell you that the floor plans are probably not public but I found some floor plan diagrams here.
I’ll be perfectly honest, this is everything the DC Cinematic Universe should be, but that Warner and the creative-folks behind it will never let it be.
The film, well where do I even start? The production design is gorgeous, with a very busy; visually bright and colorful aesthetic brought around, like everything people like about Tetsuya Nomura’s work and the sort of vibe I’d go with if I were making a proper Final Fantasy movie. Highlights include the incredibly action-y and visually stunning opening amd the Joker’s final lair; the best depiction of a Ha Ha Hacienda (Look it up) in cinema.
Not lying, an adaptation of the New Gods would be ideal for this format. But, anyhoo, the writing is great too. The comedy is snappy and the actors are excellent; with a special shoutout to Zack Galifinakis as the Joker; one of the best adaptations of the Silver Age Joker out there.
And, really, I bring up the Silver Age because it brings back all the fun parts of the Silver Age and silver-age-throwbacks that the DC Cinematic Universe threw in the trash, the bizarre aesthetic baroqueness with no need to apologize or justify it; the actual rapport between the characters; sympathy for the actual stakes and some actual goddamn levity for once.
Like, legit, the whole plot of the movie is essentially about how the grim-n-gritty I-work-alone schtick is fundamentally immature, where the day is saved by the power of friendship and how the Bat Family is a fundamental part of the character and him moving on and rebuilding from his original trauma.
It seems like a direct rebuttal to Zack Snyder’s nihilistic DC Universe; which one critic-who-is-disgraced-to-me said were about “the death of God,” and they’re not only more mature than the “grown-up” films but do more fundamentally interesting things with the character; especially in the Joker’s main scheme and how it ties in directly with those themes and relies on a super-common criticism of Batman to work.
Of course, they’re probably never going to do with the mainstream DCCU because of that exact sort of fetishization of looking superficially “grown-up” than being actually mature that I think plagues Western media in general, but I digress.
Speaking of things they’d never do in the DCCU, there’s a major part of the Joker’s scheme with a whole bunch of major appearances from all different franchises that I don’t want to spoil except for you definitely won’t see them coming and that it’s one of the best crossovers I’ve seen in years.
But yeah, it’s one of the best Batman movies I’ve seen; the closest thing we are ever going to get to a film of the excellent Brave and The Bold animated series.
It was such a good Batman movie, that it was kinda jarring when they did bring up periodic reminders of its Lego-ness, like the mention of Master Building and the metaphysics of the Joker’s main scheme. But that’s a minor quibble.
Are you alright? Lately it's seems like you're under a lot of pressure and stress, and I just hope there's some good in your life and that you're okay and taking care of yourself
It’s been pretty rough, that’s true.
Right now I am leading a really unhealthy, stressful life. I don’t sleep enough, I don’t eat enough (I don’t even have real comfort food anymore. And that’s super shitty) and I don’t relax enough.
But I think it’s getting better now. I try to take some time just for myself and do stuff I really enjoy. Without pressure and stress. It’s hard, because for some reason I end up stressing about everything, but then I remind myself that I don’t have to be stressed when I’m playing video games and that it’s okay if some things don’t work out for the first few times.
I need to learn how to enjoy things like drawing again. I see myself only drawing for the sake of others lately and it frustrates me. I just hope after this semester it gets better. After that I can choose my major and then I go to illustration and I can finally do what I want. Bye bye product design!
I’m pleased as punch to announce that Amazon has ordered Carnival Row to series. This, as I may or not have mentioned, is the series based on my first script. And it’s been a long journey for me. I was a second-year film student when I had the idea. I don’t know where it came from. Maybe that trip to England, with the production of Midsummer Night’s Dream and the Jack the Ripper walking tour. Or the film noir class and the Brian Froud book I picked up after a shift at the school library. But at some point, this imaginary place, this sooty Victorian city where humans and mythical creatures lived side by side started to come into focus. And I wrote a short student film about a police inspector who shows up at a brothel where this faerie prostitute has been un-winged and murdered. And we come to realize that he’s hiding something from the other police on the scene, that the victim means something to him.
I was probably biting off a little more than I could chew, but I was desperately in love with it. It had big wet emotions and English accents and social implications and fog and gaslight and creatures. I wanted to film it. Very badly. And I was hell-bent to figure out a way to do it. I wrangled some friends. I found a production designer. Went driving around at night after class and found like the only cobblestone street in Winston-Salem.
I was crushed when the school rejected the pitch, but my screenwriting advisor convinced me to turn it into a feature script. I didn’t want to at first. I was heartbroken. I’d wanted to make it. But he was insistent, to his credit, and the idea wouldn’t go away. So I spent the next two years writing, bringing pages to him, etc. And he’d give me notes. How to write economically. Using white space to draw the eye. Using active verbs instead of “is.” The script wasn’t just a sandbox. It was a classroom. It was the script I learned to write on.
I never thought of selling it at that point. Hollywood seemed lightyears from my little room in North Carolina. I honestly never imagined it could sell. I liked it too much to think so. It was just some fun I was having. Written for an audience of one. So in my last year at school, when an alumni in LA called to say his boss was looking for material and asked if I’d send that thing I’d been working on, I sent the script along, not really expecting anything to come of it. But a few months later, I get this call in my dorm room. And he says, “I can’t say much. But you should know — you’re about to start getting phone calls.” And my life was never the same. By the same time the following year, the script, Killing on Carnival Row, had been bought by New Line. I had reps. I had meetings on backlots. I had a career.
Even so, Carnival Row sat unproduced for over a decade. And for much of that time, I harbored almost no hope for it. It was either unlikely to get made or unlikely to get made in a way I’d have anything to say about. I had to learn to think of it as a sacrificial lamb. This thing I loved very intensely once, and gradually had to let go of. It was my first good idea. The one I bought my career with. And that was that.
The fact that it’s getting made now is extraordinary. The fact that anything gets made is extraordinary, of course. But the fact that I get to be there. Talking about the color of the wallpaper or the shape of faerie wings. Giving notes to artists. Going over lists of actors and location photos. Looking for the right cobblestone street — That, my friends, is a miracle. Because after all these years, that kid who was too dumb to be afraid he was biting off more than he could chew is back in my life, and he’s finally getting to make his weird little movie. And like Rene said at lunch the other day, “If that isn’t the fun we signed up for, it doesn’t exist.“
What about a guy that already has a programming background in web development? this guy has no university degree, just some superior degree on multiplatform development (2 years degree). He goes to the interview presenting a humble CV and a website containing his own works (maybe an android game or two, some game maker studio small games, nothing fancy though). This guy can demonstrate he has programming skills, no art skills at all and a lot of will. Can that guy get into the industry?
Once again… doing what? We’re not going to hire people who’s only qualification is wanting to be here. We need people who can do a job for us. You need to be honest with yourself about what it is you want to be doing. Web development? Gameplay programming? Combat design? Concept art? Production? QA? What sort of work do you want to go into the office and do each day? Unless you can answer that, I really don’t know how to answer you.
Do you want to be a programmer? If so, you should be knowledgeable on common algorithms and data structures. You should be able to come up with efficient code, and that includes knowing which data structure to solve the problem with great run time efficiency. You should understand terms like “Big O Notation” and “Object Oriented Programming”. If you want to get into AAA dev, you should probably know C++ very well, because it’s the go-to language for consoles and most PC development. You probably should also know your linear algebra - you should be able to demonstrate mastery of matrix math, vector operations, and how to represent objects in 3 dimensional space. You should understand what the word “virtual” means with respect to computer science. The term “cache” and “multithreaded” should hold special meaning for you.
Do you want to be a designer? Then be prepared to demonstrate your ability to craft experiences with the tools you’ve learned. You need to show that you understand how to represent complex processes and manipulate the awareness and feelings of the player. You need to show that you can build content and systems that are intuitive and require minimal amounts of hand holding, but are still engaging and fun for many types of players. The content the designer creates is what the players will directly be interacting with, so you should be able to demonstrate that you can construct engaging and interesting quests, conversations, lore, items, and/or systems.
Do you want to be a producer? If so, show us that you can manage tasks for a team of people working together. We need to understand that you can prioritize tasks for everyone, that you can communicate with people working on different parts of a project and keep everything coordinated and on schedule. Be prepared to talk about problems that your team encountered, and things you did to deal with those problems. Even better, tell us about how you empowered others on the team to solve those problems.
I’ve been getting a number of these questions lately, but I can’t give a real answer unless I know exactly what sort of job it is you want. It can’t just be “I want to work in the industry” because there’s a lot of different roles in the industry, each with a skillset and knowledge base. The different roles exist because the work that they do needs specialists and experts, which means that anyone who is going to do them needs to be a specialist and/or expert. I’m not the sort of person who will pat you on the head and say “Keep dreaming big and one day you can do it too” because I don’t think it’s particularly helpful advice. If you want to work on games, you need to have a clear idea as to what it is you’ll be doing day in and day out to contribute to the project. If you don’t know what sort of jobs there are, I heavily suggest you read my past posts tagged with [roles in the game industry] to help figure it out. But you have to bring something useful to the table - some sort of skill that we need that you’re so good at that we’ll want to pay you for it. I’d be more than happy to tell you “You should know this, this, and this” if you ask “What do I need to know if I want to be a _______?” However, if what you’re looking for is reassurance that you might someday have a place here if you just keep dreaming, I’m the wrong person to ask. “Game developer” isn’t an actual job description, it’s a collective descriptor. If you want to work with us, you need to know what it is you’ll be doing.
Amanda is no longer attending the con due to “work commitments” so here’s an updated post of the new panels and how they’re not insults to TJLC.
An updated attendee list:
Mark Gatiss (Mycroft)
Arwel Wyn Jones
Andrew Scott (Moriarty)
Una Stubbs (Mrs. Hudson)
Wanda Ventham (Mummy Holmes)
Timothy Carlton (Daddy Holmes)
Alistair Petrie (Sholto)
Johnathan Aris (Anderson)
Now we play the game of: “Who Can Do A Panel Together So We Don’t Have Ten Panels With One Person Each While Also Keeping It Interesting”
It’s always nice to have a behind-the-scenes type panel, so we’ve got an executive producer and a production designer to tell us all about what goes into making Mofftiss’s writing a reality; “The Birth of an Episode”.
“Meet the Makers” is for the big three of course, so they can gloat about how popular the show is because it wouldn’t be a Sherlock Con without a panel like this. Alliteration to catch your attention.
Buuut Mark also plays Mycroft, so we can have him talk about his experience on the other side of the camera to fill time, no? They stick him with Una so that the conversation stays on-track about characters and not writing, since Mrs. H has got the most interaction with Mycroft out of all the other actors attending. “Get Out of My House You Reptile” is nice name and reference to an interaction they had this season to get the talk kicked off about their characters.
In the spirit of characters, Andrew’s character is pretty central to the show compared to everyone else attending, so it would make sense that he gets a panel about his character; “Every Good Fairytale Needs a Villain” is pertinent to the panel topic and is based on a line his character said. This has nothing to do with Eurus.
Una, Wanda, and Timothy get to do the same thing, but they aren’t as central, so they’re all grouped together in “Would You Like A Cup of Tea?”, whose name fits a loose theme of “hospitable caretakers” (Mrs. H being a sort of mother to Sherlock and 221B).
Now the only attendees who don’t have a panel is Alistair (Sholto) and Jonathan (Anderson), but they were never in an episode together (unlike the TSoT panel Alistair was going to do with Amanda). Their characters aren’t major enough to constitute whole panels alone like Andrew, and their characters don’t easily fit a panel “theme” like the one with Wanda, Tim, and Una, so what do we do? We group them with the production designer and have them talk about the diversity of their acting careers in “Sherlock to Sci-Fi”! Arwel has done work on Doctor Who and the Sarah Jane Adventures, Alistair and Jonathan were both in the recent Star Wars prequel-prequel Rogue One, and Jonathan was in The Martian. This has no relevance to the weird events of TFP (an episode neither of them were in btw).
You need to take into account what goes into holding a con before you judge the panel content. The Sherlocked USA con staff are in charge of coming up with names and events, not TPTB. Mofftiss is not pulling the strings to make sure every TJLCer is personally offended by panel names.
Made by Colt Manufacturing Arms Company in Hartford, Connecticut c.1872-73 - based on the Richards-Mason conversion of older Colt revolvers - serial numbers 3010 & 2993 & 827. .44RF Henry six-round cylinder, single action, side loading gate wih spring-loaded ejector rod. Developed as soon as metallic cartridge revolvers became patent-free, the Colt Open Top was at first intended to secure a military contract. Its failure to do so resulted in a short production span and the designing from the ground up of the Colt 1873 Single Action Army by the Richards-Mason duo.
"Sup Darkie," a smirk crossed the maroon haired person's face as they looked at Dark. "I'm kinda bored and figured, 'hey, why not come bother you?'" they walked up to Dark's desk and jumped up and sat on it, "hope ya don't mind, I know you love your desk but,' they shrugged 'My legs as tired"
“You know what I find interesting.”
Dark began speaking only after the person had situated themselves onto the pride that was his desk. After digging a mental hole into his chest, trying to keep calm, as well.
“Is that when I come to be bored, I do things…. productive. I create. I design. I answer and influence and change things around me for what I can only assume to be is for the better. And yet, here you come. And your first initial thought to solving your boredom is by testing me. Someone who would find it rather EaSy, and PaiNLLESs, and remORrseless, to kill you. Someone who could drag you effortlessly into a room that would make your screams sound animal. You would not recognize the sound of your own wails, because they would be wails you have never created before. You would know your own last name, but you would know my name. Every strike would dig myself deeper into you. Your last dying breath would be begging for me. Whispering my name on your ending lips. So, what do you prefer. Tired legs…. or dead ones.”
Instead of voicing my anger at the new Zesty X episode, I decided to do something “productive” and procrastidoodled a quick design sketch merboy-leo for my non-existant Zestiria x The Little Mermaid AU. I’ve done a couple of sketches before, but Meebo’s tail was different everytime because I simply never designed it, so now I googled “pretty fish” (not joking) and settled for shiny white. There’s two versions of this AU. One is more based on Andersen’s fairytale and Edna and Lailah are also pretty fish ladies. Because I’m a sucker for mermaid tails and putting sea jewelry on everyone The other version shares more plot elements with Zesty and other Tales games, except all Seraphim look less human, aren’t called Seraphim, and the plot doesn’t involve any malevolence or purifying it. It also lacks armatization, which nags me, but I might want to make up for it with seamonsters and having the not-Seraphim retain their flashy elemental powers. ALSO PIRATES. In both versions, everyone still has the same character traits as their game selves (felt like mentioning it because Zestiria the X aka the “offical AU” neglects this). Rose is a pirate and Dezel survives. This time for real.
The things my brain comes up with, I have a cinema in my head, let me tell you
P.S. There’s never enough Merleo fanart. NEVER. Have I mentioned he has gills, because I accidentally covered them with his crossed arms, whoops
would you guys be interested in enamel pins? mostly i want some for myself, but i have a good production company and i would love to do some designs! they would be limited runs, about 50 of each design available. if interested, let me know what you’d like to see in the replies!