whose idea was it to design that

quetzalrofl  asked:

Why did the guys that wrote up things like the bag of devouring or those insta-kill flesh-boring worms hate DnD players so much?

(With reference to this post here.)

That’s actually a really fascinating question whose answer touches on not only the history of Dungeons & Dragons as a game, but some fairly fundamental issues regarding the tabletop roleplaying hobby as a whole.

Folks who have only casual contact with the tabletop roleplaying hobby tend to have a pretty standard idea of what’s involved: enter dungeon, kill monsters, get treasure, rinse and repeat.

For some games, Dungeons & Dragons among them - as its name suggests - that’s broadly true. However, there can be substantial disagreements between games - including the various editions of Dungeons & Dragons itself - regarding how players are expected to go about achieving these goals, and even what the basic process of play is supposed to look like.

Naturally, individual groups can play the game however they want. By nature, however, even the simplest game rules encode a vast array of assumptions about how the game ought to be played. For brevity, I’m going to call this body of baked-in assumptions a game’s default or assumed mode of play.

As noted, different editions of D&D have very different assumed modes of play, to the extent that Dungeons & Dragons basically isn’t one game, but half-a-dozen completely different games that just happen to share a title and a handful of common terminology.

Of course, the fundamental activity of D&D generally remains “enter dungeon, kill monsters, get treasure”, so the question of what D&D’s assumed mode of play is reduces to a more focused question: what is a dungeon? There are about five different answers to that question, each reflecting broad trends in the tabletop roleplaying hobby as a whole.

1. A Dungeon is a Logistical Puzzle

Though D&D has a lot of superficial trappings lifted directly from Tolkien, at its inception the internal nuts and bolts of the game were much more strongly informed by the swords-and-sorcery fiction of the 1960s and early 1970s: writers like Fritz Leiber, Michael Moorcock, and Jack Vance.

One of the common threads in the genre is that your typical swords-and-sorcery adventure is basically a heist narrative: a group of highly skilled professionals, each with their own signature specialty, must combine their talents to break into a secure location and steal some desired object without being apprehended. Think Ocean’s Eleven with evil wizards.

Early D&D - or OD&D, for brevity - followed largely in these footsteps. Each dungeon was essentially a logistical puzzle: how can the party marshal their resources to extract the treasure from the dungeon as efficiently as possible?

Unlike many later tabletop RPGs, experience points in OD&D were awarded primarily for recovering treasures, not for killing monsters, so combat was something of a failure state - a high-risk, low-reward activity to be avoided wherever possible. It was preferable by far to trick, sneak or fast-talk your way past the monsters; indeed, the desire to have fast-talking always be an option is the reason that most D&D monsters are intelligent and capable of speech, even the really weird ones - a quirk that would carry forward into most later iterations of the game. Out-of-combat activities had a formal rounds-and-turns structure, just as combat did, creating a constant time pressure with the threat of the dreaded Random Encounter Table hanging over players who might otherwise prefer to dally.

The drawback to this heist-style mode of play is that it’s extremely demanding on the GM (that’s “Game Master”, for those just tuning in - i.e., the person who’s running the game); in order to play this style of game effectively, scenarios need to be very carefully designed, and running them demands keeping track of a great deal of information. Among many groups, there was a natural tendency to de-emphasise the logistical big picture in order to focus on overcoming individual set-piece obstacles, which leads us to…

2. A Dungeon is an Obstacle Course

In order to fully understand how this mode of play developed, you have to bear in mind that Dungeons & Dragons started out as a hack for tabletop wargames - the earliest rulebooks explicitly positioned it as a fantasy roleplaying “overlay” that could be added to your wargame of choice, rather than as a standalone game - and for the bulk of its early history, wargaming clubs remained its primary venue of play.

It’s for this reason that, once D&D had become popularised, the question of how to play it competitively arose. This might sound like a very strange notion to modern gamers - competitive roleplaying games? - but it seemed perfectly obvious at the time.

In order to avoid damaging the game’s party-based structure with infighting, rather than having individual players compete against each other, the approach that was eventually settled upon was to hold tournaments at gaming conventions, where several groups would be run through the same adventure in parallel. Some tournaments emphasised speed of play, while others awarded points for completing specific objectives, prefiguring the ideas of both speed-running and video game achievements by some decades. However, the variant that emerged as by far the most popular was the survival module.

A survival module was a pre-written adventure that, unlike others, was not actually expected to be completed. A typical survival module consisted of a relatively linear series of extraordinarily deadly obstacles, many of them blatantly unfair, intended to kill player characters as quickly as possible. Each player would typically be allocated more than one character, with replacement characters dropped in as the current one expired (e.g., like lives in a video game); the tournament’s winning group would be the one whose last surviving character’s corpse hit the ground furthest from the dungeon entrance.

Advanced Dungeons & Dragons 1st Edition (which is actually the third iteration of the game, owing to its somewhat muddled early chronology) was the child of this era of play. It’s here that the screwjob monsters and magic items discussed in the previous post came into their own - and in context, it’s easy to see why! Many of the era’s infamously deadly pre-written adventures were originally survival-based tournament modules, repackaged and sold in hobby stores with no indication of their original purpose, which inadvertently helped to popularise that style of play among players outside the tournament scene.

Further developments aren’t strictly germane to the question, so I’ll touch on them only briefly:

3. A Dungeon is a Story Path

The “dungeon as obstacle course” mode of play would remain dominant throughout the life of the game’s 1st Edition and into the early part of the 2nd. However, changing trends in the tabletop roleplaying hobby - brought on in no small part by the unprecedented popularity of White Wolf’s “World of Darkness” games (i.e., Vampire: The Masquerade et al.) - created demand for more a narratively focused gaming experience. By the mid-1990s, Advanced Dungeons & Dragons 2nd Edition had shifted to adventures structured less like obstacle courses and more like Choose Your Own Adventure novels, with each room in the dungeon serving as a decision point in a branching narrative. Of course, not all adventures were created equal; many were derided for their penchant for “railroading”, essentially reducing the player characters to passive spectators to a story whose outcome was already determined.

Toward the very end of the 2nd Edition’s tenure, another shift began that leads us directly to…

4. A Dungeon is a Simulated Environment

If you’re playing a game where the walls have hit points, you’re playing this. Coming into its own in the game’s 3rd Edition, the major impetus of this mode of play is to provide a single, unified set of game mechanics that allows the dungeon to be treated as a simulated environment - a sort of Sim Dungeon, if you will. This unification extended beyond characters and monsters, to the extent that everything up to and including individual ten-foot sections of dungeon walls would be assigned its own traits - hit points, elemental resistances, etc. - to govern basic interactions. Dungeons & Dragons 3rd Edition was also the first iteration of the game to post-date mainstream Internet access, so this is where theorycrafting and competitive character-building - facilitated by the game’s emphasis on mechanical rigour - really took off.

It wouldn’t be Dungeons & Dragons without an abrupt shift in focus every few years, though, which is how we get…

5. A Dungeon is a Series of Tactical Set-Pieces

Motivated partly by a dissatisfaction with the 3rd Edition’s perceived tendency to emphasise theoretical character-building over actual play, the game’s 4th Edition pulled a hard 180. Returning to D&D’s roots as a modified tabletop wargame while incorporating elements of modern board games, this mode of play reenvisions a dungeon as a series of tactical set-pieces: carefully constructed combat scenarios that focus on heavily stylised map-based play with no pretence of simulating anything in particular. The GM’s role shifts from that of a supervisor or referee to that of an opposing player, and the tone departs from high fantasy to become more like that of a kung fu movie - the kind where people are leaping and being hurled all over the battlefield and calling out their special moves by name.

(This was, needless to say, a controversial move. Dungeons & Dragons 4th Edition was perceived as hostile to its online community in many circles, and was widely derided as being too video-game-like in is execution - though ironically, most detractors compared it to completely the wrong genre of video games, failing to recognise that most of the elements they decried as MMO-isms had been borrowed by MMOs from earlier iterations of D&D in the first place. In practice, if video game comparisons are unavoidable, it plays more like a tabletop implementation of Disgaea or Final Fantasy Tactics.)

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GHOST RIDER - ROBBIE REYES Design Process by Felipe Smith and Tradd Moore (2013)

I’m often asked whether Felipe or I designed All-New Ghost Rider Robbie Reyes, and the answer is… we both did! Here are images chronicling our design process in order from start to finish.

I’ve included some never before seen sketches so you can see when elements were added, altered, jettisoned, embellished, etc.

Felipe ( @felipesmithart ) got the ball rolling with the first drawings of Robbie, then passed it to me. We emailed sketches and ideas back and forth (and back and forth) until we ended up with the final design. Easy, right? ;)

A huge amount of credit also goes to Marvel editor extraordinaire Mark Paniccia whose vision, direction, and feedback was integral to the design process–Robbie Reyes would not exist without him!

You can check out Robbie in the pages of ALL-NEW GHOST RIDER (2014), GHOST RACERS (2015), and in the upcoming series GHOST RIDER. Issue 1 is out THIS WEDNESDAY, November 30th!

-Tradd

It’s not, by the way, designed to be a series finale. We feel very good about a season 5. I’m not breaking any news about that today, but everything looks very positive for the continuation of the story after season 4. There’s a crazy idea for season 5 that was given to me by someone who’s very close to the decision making, whose name I won’t mention, which I love. So, all systems go. We’re not running out of ideas, the world is rich, there’s a ton of great characters.
— 

Jason Rothenberg at SDCC 2016

(AKA stop saying the show is getting canceled antis)

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Continuation of this

yesterday i couldnt sleep thinking all the stuff i could have made with this idea. And how fell Goth does his shit

BUT LISTEN: the first idea was about fell Goth and fell Pal being killers for someone (kinda like a mafia thing going around) not hitmans (well not for Goth, he was hired)

but then what if fell Goth was an actual musician??? and then meets fell Palette who is a sadistic guy (whose always carriying a battle knife) and correct me if i’m wrong but isnt the real goth afraid of knives???? does it apply to fell as well?????

and what if the musician fell Goth meets CC Palette?? asdasdasdasd so many ideasss for thissss

PS: fell Goth’s personality differs from each story

PS 2: These designs are based on the  Nerd and Jock au from @blogthegreatrouge

Palette:@angexci
Goth:@nekophy

these shitty ideas and the art : me

László Moholy-Nagy - A Little Bit of Everything

#László Moholy-#Nagy was one of the most famous Bauhaus professors, whose contribution to the school’s learnings had redirected the curriculum moving it closer to the idea of industrialization and the unity of art and technology. Moholy-Nagy’s position at the school was very important, as he was the instructor of the foundation course. In addition and prior to his work as an educator, he was also an innovative man of many talents and interests, associated with the fields of photography, typography, sculpture, painting and industrial design. Still, most of his research was based on photography and the advancements it brings, which is how he got to coin the term “new vision”, that referred to the capacity of photography to convey reality in a way different from the one we know.

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Paint Ideas: All Wrapped Up

Envelop an entryway with bold, cabana-style stripes

Vertical stripes “bring the eye up,” says Atlanta interior designer Dayka Robinson, whose entryway is shown here. “I opted for horizontal stripes because I wanted to create one long path from the front of the house to the back, lengthening the space.” She also wanted to mask a door with a seamless pattern. Along the way, she created a snazzy, elegant introduction to the rest of the house.

See the full story and more details in the March/April 2017 issue of This Old House magazine.

Photographs by Deborah Whitlaw Llewellyn

Designing some Planes

I’m not sure who to tag to get some much needed feedback here, but I figured I would throw these out there, and in a worst case scenario, nothing would come of them.  If you have nothing to say, but know of someone who might, please signal boost this to them. Alright, here goes, I’m casting a super wide net here (hopefully none of you will be annoyed): @flavoracle, @magicarasa, @vorthosjay@blackdeckwins, @isharton, @sarkhan-volkswagen, @frigidloki. Thanks in advance for even glancing at these, folks!

I’ve been casually designing planes (at first only one) with the idea of making a custom Magic set. The idea, as it stands now, is to design just enough of Five Planes so that I can craft a set styled around a similar dynamic to Origins. The conceit of the set is to follow some of the early travails of a single planeswalker who I have created whose arc will take him to these various places. One is his birth plane, another his first ‘walk, and each of the others will fit in in some small way to his journey. I don’t yet have a name for this proposed set. Another detail, is that each plane will be based in a single color and likely have a secondary (likely enemy) color for cards to appear in, again, like Origins.

So, I am posting this to see if I can bounce some ideas around, garner a bit of feedback, and hopefully hone these ideas from some very raw forms into something a bit more.. well, good.

What follows (which I will apologize in advance, is super long) is a bit of “art” done to show off the name of the set with a nifty font/style and display a rudimentary expansion-like symbol as a jumping off point.

The first of these planes is called Ocaeryx and is the white-based plane. I don’t have a ton of information in my head yet, but I envision this plane as one where the major aesthetic is of gemstones and crystals. I am likely going to have them integrate with living things too, a la Mirrodin but with crystal instead of metal. As far as the beings that live here and what life is like? No real idea. This plane is the location the protagonist will ‘walk to first. I picture him tumbling down a hill after he “lands” there and encountering a giant plain coated in a crystalline glass which is bright with reflected light.

That’s about it.

Next up is Vaznikep. This one is basically just a cool logo with something to do with fire and rituals. I want it to be somehow inspired by Hebrew myth/legend… which I know almost nothing about except that it is WAAY under-utilized in fantasy. There will likely be golems? This plane is, for now, the red-aligned plane in the set.

Ajopuåd… Is by far the LEAST fleshed out. For this one, I literally only have the images above to guide me. I mean, I don’t know anything about this one but it is going to be black-aligned. I am thinking some sort of Nordic or Islamic aesthetic going on here? No idea. What do YOU folks see when you see the symbol or the loops in the name?

Metzicatli was the first plane that I made for this project and the one I know about the best. This plane will take inspiration visually from Meso-American cultures and lore. Now, with the recent “leak” of Atlazan, I feel like my thunder may have been stolen a bit… but I think I have an intriguing twist with this one. Metzicatli is a plane that is in ruins and completely taken over by the wilds and the beasts that call them home. The wilderness has completely reclaimed what was once a proud Incan/Aztec-esque culture and not a single humanoid life lives here anymore. This plane, in case it wasn’t obvious is green-aligned. I am toying with the idea of there being a primal and violent version of the Nantuko that call this plane home, to counter point the monks we saw when last we met this tribe. If you want to know more about this one, just ask!

And, finally, is Runaulje! This plane is second in terms of my knowledge and fleshing out of it. Runaulje is inspired visually by Slavic cultures and that aesthetic. Its spells are all derived from books, and tomes and the written word. Like Kaladesh where the artifact is king, here it is the grimoire and scrolls that rule the land. No one is more respected than the Librarian (who is more soldier-mage and protector of the books than mere scholar). Secondarily, is the scribe who is charged with the important job of using rare and magical inks to transcribe these precious parchments. I’m thinking this plane will have an emphasis in Enchantments and Artifacts. Oh, and since learning is super important too, this plane is aligned with blue, primarily.

Soooo, that’s that. Hopefully one of you fine folks can help me refine these ideas and make them even better. Thanks in advance for any help you can offer!

3

Ok… Why did I think it was a good idea to draw this unnecessary angst in the middle of the night? Just because :D

Arthur’s an alien robot, Alfred’s a human boy. They saved the world, Arthur died :p 

Anyone whose roughly around my age and grew up in a country where Doraemon was (and still!) a big deal, might remember a scene similar to this from the robot army adventure comic (and the new movie).

To give it context, in the story, earth was attacked by an army of alien robot and they sent a robot purposely designed to look like a human girl as a spy (In this case, Arthur :D). But the kids befriended her, and she ends up sacrificing herself by going to the past and rewrite the history of her planet to stop the invasion. 

I changed the dialogues, but this scene was based on her last moments where she said to Shizuka, “If I was ever be born again, I want to be an angel-like robot. And I want to be your friend…”

Challenge Your-Shelf 2016

Hi all! With 2015 coming to a close I realise I didn’t blog this year nearly as much as I would like so I’ve made a 366 (Leap Year!) day book blogging challenge for 2016! Each prompt requires you only to snap a photograph or write a sentence, but it’s a good way of building up your blog! Plus every month has a designated ‘Wildcard Day’ for you to focus on whatever you want :D

Booklove,

Grace

PS  I hope you all have a Happy New Year and a special shout-out to @books-cupcakes​ whose amazing photo challenge gave me the idea! Please use the tag #challenge your shelf OR #alwaysbringabookwithyou OR @alwaysbringabookwithyou so I can see all your wonderful responses and reblog them! <3

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ZX Tunes alternate cover set, brought to you by some of the more preeminent Rockman artists of Capcom lore. ‘Who’s who?’ credits from the jacket included as well.

However, despite the great art, I wonder whose bright idea it was to design a CD with yellow on white text and graphics? Yes, adjusting contrast does wonders after the scan, but to the human eye, the disc itself is even worse in person, than how I purposely left this scan. Ugh, eyesore.

Scanned from: Rockman ZX Tunes Soundtrack, Circa 2006, by IntiCreates

anonymous asked:

Hi!! So as I understand you work at a editorial? I'm just really interested into getting into that world and I was wondering what did you study or what kind of profiles are they looking for? Thanks so much and sorry if this is kind of ramdon! lol!

I do work at a rather large publishing company whose books you’ve no doubt read or studied from, but unfortunately I have never worked in editorial. If that’s what you’re aiming to do you might want to shake another tree. I have had ‘editor’ as part of my title at times (copyright editor, permissions editor), but I think that’s mostly because there used to be a quite specific idea of what moving parts existed in the machine of publishing and how to designate them. That specific idea has been blown to bits over the last ten to fifteen (and maybe hundred) years as “publishing” has come to mean a whole myriad of different things in order to keep up with the world and the ways the world wants to tell stories and share information. 

So I say this in all honesty, with love, and completely seriously: If you want to get into the publishing industry then study whatever you want. Use your time as a student to learn about the things that matter to you and what among them informs what stories mean to you, and then find or create a company that publishes things that jive with what you learned about yourself. Do whatever you can for that company and make yourself invaluable. In my experience it’s less about what you studied or what track you put yourself on than it is about timing and interest. I know very few people who work in publishing because they studied publishing and were really chomping at the bit to end up there. Though that might be because I don’t work in New York or at one of the Big Four, so take the rest of this with as much salt as you like. 

Keep reading

Those Squad Uniforms

Ashihara must have really had fun showing the personality of the teams with the uniforms. There are quite a few movie archetypes in there - clearly, Ashihara watches a LOT of TV and movies.

___________________


A001 Tachikawa: over the top, a riff on mentor shinoda’s similar trenchcoated uniform, Even Ashihara comments that Tachikawa should be ashamed of his flashiness. But really, we can’t pick on Tachikawa - after all, he liberally borrowed (nearly wholesale) from mentor Shinoda. They aren’t really into the whole team dynamic so much either - Tachikawa always has the top strap undone (an ode to his laidback personality).

Look familiar?

I can’t help but think of the Matrix trenches for Shinoda’s especially.


And of course, the logo is a play on Tachikawa’s name (Tachi is an old term for sword and Kawa is river - whose Kanji is three ‘slashes’: 川 ) with his sword Kogetsu (moon) in the background. It’s quite clever when you think about it - so don’t believe Tachikawa’s ad lib in the manga when he tells Yuiga it’s for him, Izumi….and his second sword.

Since this is a team not really known for its teamwork - each wears the uniform differently (Tachikawa always has the top clamp open).

_________________________


A002 Fujushima.  It looks like Touma was the designing force on that one that coat and definitely it is straight out of the movie Grease - the Kenickie look (1960s greaser).

Complete with ‘pompadour’ hairstyle.

Kenickie from the Grease movie:

Clearly, only Touma decided on the uniform- here’s squad leader/trapper Fuyushima:

He’s clearly going for a military special ops type of look. E.g., here’s Bradley Cooper from American Sniper (I think Ashihara watches too many movies!)

Interesting how fuyushima’s necklace has 2 holes - we know Ashihara loves his circles to denote rank (here for 002 squad maybe but also on both the Aftokrator and Galapoula forces).

Their squad badge, however, is all Fuyushima. He’s a trapper whose job is to control movements on the battlefield - much as the same way a chess player controls movements on a chessboard. The knight is the exception and the only piece that can ‘jump’ (or warp in this squad’s case) so I can see why that was chosen. No clue on why the knight is a unicorn, though.


___________________________________

Kazama 003 is all utility. The green ‘buttons’ are one of the few mod add-ons - a design to reduce the amount of trion used during chameleon (so they have a ‘beep’ and blink when chameleon is used). This is probably the most complicated uniform - one that Ashihara says causes him to die whenever there is a Kazama Squad sequence.

It has the border “cross’ at the collar and chest - I’m guessing that Border is considered a ‘crossing’ between two worlds and so there is that intersection at so many uniforms.  The reversing of the colors in the crosses is also a point - Kazama Squad’s tactic is to use chameleon so they come in and out of view. I’m guessing the reversed colors and color blocking reflects that. The blue is likely to reflect Kazama’s first name, meaning blue (though of a bit darker indigo shade). The looping at the thigh is a nod to the other Border uniforms, most of which have a belt there instead (they are all attackers/all arounders so they don’t need bags to hold their trigger while they shoot away).

Their squad badge? Definitely the easiest of them all to interpret.  This is the ‘high concept’ stealth squad and so we have an eyeball with the international symbol for ‘no’.  It could also stand for Utagawa’s unparalleled ability to completely disappear in any scene he’s in. They are a tight team known for their teamwork - and so they all wear the exact same version of the uniform.

———–


Jumping down to Arashiyama Squad 005. They have a variation on the ‘standard’ uniform of Border including the cross at the collar (a “tracksuit style that won’t intimidate civilians “)  - likely because they are representing Border and therefore shouldn’t stand out from the Border norm (e.g., Jin has nearly the same uniform in blue). Since they are a tight team, they all wear the same uniform in the same way.

The Arashiyama badge is pretty obvious: they are the Hollywood ‘stars’ of Border and each start is the same size and in a circle - showing that they are a team of equals who work together. I love that all the 5 stars equal one big star in the middle - representing the synergy of the team working together creates an even great star/team.

_______

And on to Miwa Unit 007.  The uniforms are SWAT-team styled storm troops - also based on a common Border uniform (seen in the background on Border employees).  Although it appears purple, it’s description is usually grey. This is a team who values aggressive attacking - and so their uniform looks very militaristic.

And here is Yoneya’s customization, complete with animals buttons (characters from Ashihara’s other series, Super Dog Rilienthal.

As for the squad badge, we have a squad of pairs (twin snakes) in the form of two attackers (Miwa/Yoneya) and two Snipers (Kodera/Narasaka). In both pairs, there is someone who shoots bullets. It’s as if it makes a statement that if one pair doesn’t get you, the other will.

————————————-

B001 Ninomiya Squad

The sly joke from Ashihara with this squad is that leader Ninomiya despised the ‘cosplay’ aspect of uniforms and so put his team in business suits. Of course, because they are wearing suits, they are the most cosplay type standouts of all. 

Their squad badge is located on the end of the 1960s slim tie - you can see it best in Inukai’s image at the bottom. Because they aren’t really a team so much as some backup players to ‘Terminator” Ninomiya, their uniforms are each worn differently.

The influence (and likely statement about Ninomiya himself) is probably Pulp Fiction. it matches up with the blood in the B001 logo.

The squad badge is, fittingly, blood dropping into a puddle of blood. But it is also in a shape of a crown - Ninomiya clearly thinks he’s the King and the top of the Border pack.

2

World War I dogfighting and the Synchronization Gear,

 Originally during World War I, airplanes were originally used for reconnaissance purposes; to scout out and map enemy positions or direct artillery fire.  Then pilots began firing pistols, rifles, and shotguns at enemy planes.  Then they had the idea to mount machine guns, operated by a spotter/gunner in the rear seat.  Then militaries had the idea of designing and fielding specially made planes with forward mounted machine guns whose only purpose was to shoot down other planes.  When those “fighters” began to do battle with other “fighters”, the art of “dogfighting” began. There was only one problem, how do you shoot a machine gun through a propeller?

One of the first solutions to this problem was to mount the plane with an armored propeller that would deflect bullets.  This was obviously far from a perfect solution. It was only a matter of time before the propeller wore out and failed.  In addition, the extra weight put added stress on the engine and crankshaft, and there was always the risk of ricochets striking the pilot

The solution to this problem was the invention of the synchronization gear, a device which prevented a plane’s machine guns from firing when the propeller was in the way. There were a few pre-war designs, and several designs used by both the Allies and Central Powers, but the first practical and reliable design was invented by Dutch aircraft designer Anthony Fokker in 1915.

For the next year, the German Air Force had a great tactical advantage over the Allies, an event which was called the “Fokker Scourge”.  During this period, the Allies either had to mount machine guns on the top of the wing, use armored propeller blades, or use unreliable synchronization gear designs.  By 1916, the Allies had developed their own comparable synchronization gear, evening the playing field.  Over time, a number of improvements were made to the Fokker synchronization gear and other designs.  The end of the synchronization gear’s usefulness came with the coming of the jet age. 

Minecraft: Education Edition ramble

DISCLAIMER: Now obviously, as a content creator whose sole achievement in life has been to draw cube heads doing the SEX, I’m not very well suited to sharing opinions and ideas.

Regardless, after poking around in recent Minecraft news, I thought I might as well share some thoughts since I’ve got nowhere else to share them. (hah)

Minecraft: Education Edition is a spinoff of Minecraft that’s been expressly designed with school-age kids and the classroom environment in mind. Obviously inspired by (or piggybacking on?) the massive success of the franchise with the younger audience, it seems like Education Edition is meant to be the ‘acceptable’ version of Minecraft for schools and for people who otherwise might be more concerned with the 'risks’ of exposing their kid/s etcetc to video games, especially those with violence (like classic Minecraft).

Now I don’t honestly have much to say, other than to counter some of the rhetoric surrounding its launch, since so much of it is insipid hyperbole (The easy and predictable response for a new anything, especially with a franchise like Minecraft).

Firstly, I’m of the opinion that the primary function of this game is to try and break down the wall between gaming and learning, by moving the 'education’ into a space that functions like the games that people play to *avoid* education. I used to play Minecraft in high school (at around 2fps on my potato netbook, huehue) but I was never particularly into the more complex aspects of the game (I liked building small houses and just planting flowers, for the most part ^^“). I remember friends who were really into maths and science would install mods like Tekkit and create hugely complex structures or redstone creations; things that weren’t fun to me, and more akin to work.
For them, however, it was an intellectual exercise, and a challenge to see how advanced they could be. This was a hobby for them, but it took them into the realm of basic scripting and design.

Now, I don’t think that they’re the target audience of Education Edition. They were old enough to have access to the full game, and E.E. isn’t meant to be the be-all and end-all replacement to classic Minecraft for anyone who’s vaguely interested in learning instead of just 'dicking around’. What E.E. is partially there for is to create a safe space, an alternative to classic MC, without violence, without 'uneducational distractions’, and without open multiplayer- therefore avoiding the risks that that entails (See: The online Minecraft community).

As I’ve stated before, it’s also a test to see whether the phenomenal success of Minecraft can 'break down the wall’ between education and gaming for kids. I live in… well, a pretty progressive and wealthy city there’s no denying that. My younger cousin who plays Minecraft also manages an online blog as part of their schooling, and that’s something that MC: EE offers. It’s not so much an attempt to merge learning into the game, I feel (Like how Mathletics worked, for example), but rather the creation of an educational space like a classroom or Virtual Classroom, albeit within a game many students already play.

I’m really interested to see if this works out successfully. Given the slow but steady rise of VR (Virtual Reality) and, by extension, AR (Augmented Reality), we’re bound to eventually see the merging of digital and physical teaching. If MC: EE takes off, it’ll be a real confidence booster for developers and educators in the potential for games to be educational tools. Portal 2 tried it a while back, but that didn’t really work so well.

Minecraft is simple; so simple, it’s basically an ageless game. Imagine teaching kids to work together by getting them to build a Lego city. That’s what this offers, but in a space that isn’t limited by how many bricks you have, or whether you’re even in the same place. It’ll be a long time, if ever, before games substitute all education, but for early years when learning is more about finding out how to cooperate, how to be compassionate, and basic 'building-block knowledge’ (literally and metaphorically huehuehue), a virtual space like Minecraft provides that without the same limitations that a classroom has.

That’s all I’ve got to say =) I just don’t want people to run off their heads ranting and raving about something because it’s new, because it seems 'useless’ to them or because they disagree with the idea of merging games with education because that’s somehow 'inherently wrong, or bad’. Nothing is wrong with making education more enjoyable and social, and Minecraft: Education Edition offers that without the bad bits.

-Obviously, it’s not going to work everywhere. It’s not something that could be implemented at a school where technology is extremely limited, because the kids would just go bananas over having access to something so novel. Same thing happened to my year level when we got netbooks- I installed SO many games and shitty features •~• It’s designed for the next generation, those who’ve grown up with technology and can see it as a tool, not just a toy.

If you’ve actually read all this nonsense, thank you very much ♥ Have a great day! More art coming soon ^‿^

I honestly have no idea whose AU this is, but I saw it, I borrowed amymvuong‘s design for Jack’s outfit, then was like “I’mma make something cute…” 

And voila! This was born!

EDIT:

I am so sorry, it was yinnggyinngg‘s design of Jack, from arcanabreak‘s AU and basically, quoting Ying now, the Hijack tag is a giant circle jerk. Sorry everyone for the confusion~

Special Announcement!

Hey, remember the SMT figure sale from last year? Hoooomygod that was last year?

Anyway, also remember when I said that the profits from that sale would go into a community fund? Well, that money has finally been spent! I think you all will be in agreement it was put toward something worthwhile!

Yep, DIJEH, linguist extraordinaire, is going to be translating the recently-released (today, in Japan!) SMT4F artbook’s demon design comments by Masayuki Doi and the interview with Yamai and the scenario writer (whose name I forget). So much information will be gleaned! I hope!

The book is on its way to me now. As soon as I get it (within a few days), I’ll send images over to Dijeh for translation. When it’s done, you’ll be sure to hear about it if you keep eyes on my blog or Dijeh’s. No ETA on when it might be done–I have no idea how many comments there will be or how long the interview is. As soon as possible, I guess!

If you want scans of the demon designs, they will be included (at least, that’s the plan) when it’s published on my Blogger blog (where Identity Crisis is). But, I probably won’t have to do many myself: Have you seen the high-quality rips of the digital assets that Primaeros got off Twitter? No way are scans going to beat those.

So that’s the plan! Please, please look forward to it. (Plus now that the money’s spent, I might put more figures up…)

vimeo

Pause 2017 Opening Titles - Different Perspective by Zaoeyo & Echoic by Pause Fest
This year’s theme of Pause is “Different Perspective”. The whole idea was inspired by an anime called “Digimon Adventure”, whose opening scenes show the different angle of a night city and digital creatures. Therefore, we decide to focus on a different angle or perspective of empty cities, to express a feeling of isolation, despite the fact we live in these spaces. The idea of using a cat for guidance is borrowed from an indie game called “HK”, which will enhance the feeling of isolation between human and their environment. Credits: Event : Pause Producer/Designer : Zaoeyo Music & Sound Design : Echoic Audio Special Thanks : George Hedon, Somei Sun, Yan Liang, Yuan Wang, XiangDong Cao and Lewis Orton Produced at BeautyofScience(Render Machine and resources support)

Seth, a god of sandstorms and foreigners, is a protective deity whose appearance is highly variable according to the eyes of his petitioners. For some he is Greek, to others Nubian. A god of many faces, even other deities may see him differently. There is perhaps only soul who knows his true face.

Obviously as a character in the comic there are going to be some things different from the general canons of Egyptian mythology, but hopefully I can stay fairly true to the spirit of the characters and ideas presented.

Anyway, this is the results of tonight’s stream! Next time I’ll be working on Ra, so if you have a chance swing on by!

So let’s say you’re the leader of a great new nation, but to your dismay you find your hard-built country teeming with pesky undesirables whose singular goal is to uproot your carefully constructed society by mooching off welfare and stealing all the jobs you created for your own loyal citizenry. What do you do about it? Well, if you’re old timey America, you forcibly uproot thousands of Native Americans from their own homes and send them to “reservations,” which is a euphemism for “population control camps,” or, more specifically, “concentration camps.” … Adolf “I know an evil idea when I see one” Hitler not only knew about these forced relocations and reservations, but actively studied the plans of Indian reservations such as Bosque Redondo, and designed his concentration camps based on what he’d learned. As John Toland wrote in his book Adolf Hitler: The Definitive Biography, “Hitler’s concept of concentration camps as well as the practicality of genocide owed much, so he claimed, to his studies of English and United States history.” In fact, Hitler so admired America’s approach to killing all the Indians that he “often praised to his inner circle the efficiency of America’s extermination – by starvation and uneven combat – of the red savages who could not be tamed by captivity.”

5 Of Hitler’s Worst Ideas You Didn’t Know Came From America