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not to be pretentious but yall should really read this… C.H.A.T. (Come Here for All Talk)
- Thread starter Astra
- Start date
this reminds me of the time one of my friends had a really insightful comment on how women are percieved in media but everyone's main takeaway was that he wasn't a complete idiot
What's your favorite past time? Mine is discussing why I have personal beef with historical figures that died hundreds of years before I was even born.
in all honesty i can understand the "i do not like this person and their actions have indirectly effected me" lens. 'personal beef' is just a more witty and humorous way to frame it that gets roughly the same point across
if i ever die i don't care where i go, i'm making a pit stop in protestant hell to beat the shit out of oliver cromwell first
I hate it soo much when public opinions are overcorrected, especially when the actual opinion that's getting "corrected" wasn't even wrong
"Avatar has no cultural impact"
"Nuh uh it totally did dummy"
Yeah because there are so many avatar inspired stories and because there are so many public avatar fans
"Avatar has no cultural impact"
"Nuh uh it totally did dummy"
Yeah because there are so many avatar inspired stories and because there are so many public avatar fans
This isn't based on a whole lot, but the impression I get about the first Avatar film is that it's probably high cultural significance (I distinctly remember it being "the thing people talked about" when it came out), high industrial significance (landmark CGI spectacle; the new standard that CGI showcase films had to aspire to), and low cultural impact (didn't inspire direct copycats for the most part, was largely not talked about once the year had passed and people had moved on).
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I've always liked it and rewatched it often since it came out, but I'm also a sucker for good world building and willing to overlook stuff. Things might've been different if the series continued faster like it was talked about to att, with avatar 2 rumored to release just a few years later instead of 13. The movies are more like big events you go to, you leave the lore at the door.
gonna be real i've been giving it some thought and i think we should cancel animal crossing. too many of the textures in the game are low resolution and flat. acnh resident house wallpapers like the interior window ones (snow lodge comes to mind), a lot of the brick textures in general. unfathomably ugly and immersion breaking. it's really embarrasing behavior, especially coming from such a big company. we as animal crossing fans need to make it clear to nintendo that we will not tolerate a violation of our standards like this
is this serious? I genuinely can't tell
We need someone like EazySpeezy to play old flash games but instead of speedrunning, make challenge runs out of them,
genuine question guys.
is 67 really gone or is it still going going.
if its gone, petition to #bringback67??
is 67 really gone or is it still going going.
if its gone, petition to #bringback67??
my line manager kept saying 6 7 this afternoon so i can confirm it is not only alive and well but has reached a larger audience than ever
Humans are all disgusting meatsacks, ur just only supposed to stare at the ones u think are hot or fashion
TikTok has lots of people that are neither hot nor fashion
TikTok has lots of people that are neither hot nor fashion
it's reaching the point where older generations know about it and use it, which means it's probably on its way out. usually when kids see people over 40 adopting a meme they lose interest because use of the meme no longer signifies them as part of the cool trendy in-group that knows things the adults don't know
how do people unironically use a laptop with a number pad? every time i reach for the backspace key on my moms gigantic ass laptop my finger lands on the numlock key by pure chance about 50% of the time and its pissing me off. I don't have this issue with any of my other keyboards because there's either nothing there (hence my muscle memory is fine) or there's a ~5mm gap between it and the function keys so there's no chance my finger slips off to insert or f13 or something.
I found a new video snippet to obsess over for a week. It's a good opportunity to jot down thoughts on things I find lacking in a lot of animation I see - setup and focus / pace.
Like a lot of pieces I discuss, this one is so full of material that I can dig in seconds by seconds here, yet it's still relaxed, mellow, and free instead of being rushed and noisy. Its willingness to set up ideas helps, as does it ensuring a real pace - things can happen quickly, but they get their own focus in turn and with breaks and exhales, instead of being jammed together.
This is the opening to The Legend of Zelda: Spirit Tracks. I encourage you to watch it yourself and then see what I have to say.
Spirit Tracks explains its gimmicks quickly, but in a methodical sequence, such that you can process each one individually to build up the composite picture.
First, we know a train will be important. It dominates the frame, huge and not competing with anything for attention. Trains are not a huge part of Zelda, but one is huge here, so it makes sense to highlight the train while giving us a moment to focus on it. Similarly, the audio only holds the whirr of the train. That whirr will be continual guiding tempo or percussion beat to this scene - quick motion, but steady - and a unifying element of it all, alongside the train.
We smoothly transition, with the mouth of the tunnel growing to prepare us. Clearly, once the train comes out of the tunnel, something else important will come out the other side. The mouth light fades the scene to white, and all at once,
We're somewhere completely different, both visually and musically. The train is still central, but the outside reveals a lovely green meadow with mountains rising and clear blue skies. The train's whirr is still there, but the adventuresome music kicks in as well.
Now, the train remains important, but the beauty of the natural wild is too. Trains and industry are often framed as enemies of the natural world, but there's clearly a different idea here. The quick mechanical train and the unchanging, unmoving nature coexist, and we're establishing a positive, cheerful mood. Even with the new train, the traditional Zelda focus on natural beauty and adventure will remain. One might wonder, how will the game bring these ideas together?
Note also the simplicity of the natural world. There's only one departure from a perfectly normal green field and sky - the mountains, which themselves are simple and easily recognizable shapes, and they help the composition by framing the grasslands and incoming train. By choosing not to add anything else in this basic world that would distract or draw our attention, like trees or characters, the game tells us that this simple natural world worthy of care and attention on its own.
A character is appearing in a second or two, Link, but he unintrusively pops up in the far bottom corner. Just like you, he's drinking in the beauty of the natural world as it is. He's also a conductor now? That's cute! Don't worry that you'll miss a detail, though - the scene gently and slowly pans away, with no cuts, showing him in greater detail.
This pan is great. Now is a natural time for an exhale. We've gained the basic premise of the game, and a second to digest that information and get ready to move on is fantastic. The full, shining sun is a perfect note to continue our joyful, even triumphant tone and adventure, as it gently draws further along Link's face.
Oh, that music cue is suggesting a new melody! Does the game have something else important to establish?
Someone in fact! It looks like Zelda is joining us for this adventure! Zelda's presence here, even this individual frame, establishes a pretty thoughtful center to found her dynamic with Link. She's equally important, and that equality comes through a series of trade-offs that help differentiate her from Link.
She's sitting higher, closer to the center of the frame, a position of power, but also further to the back of the train, away from the front and its control. She's some kind of ghost or spirit, which probably lets her do things Link can't – like reasonably sit on top of a clipping train, but that also implies she died, which is not advantageous usually. Her visual design helps here, showing that she's probably some kind of physically weakened spirit with her paler colors, but still herself as Zelda, as her design is blooming with color and style even with its fading.
We also learn that Zelda is playful here, not just with her seat choice, but also how she "sneaks" into the scene and into Link's slightly surprised – but happy and not worried – view.
That's a lot of information - our second character, a foundation for her personality and plot situation, and a foundation on her dynamic with Link. Trains and nature coexisting, the living and dead coexisting... it seems like we're building up to a broader theme on how seeming opposites can thrive together. That's cool! But it's probably time to slow down again. Zelda's a ghost! What's going on there! Lots to process.
The scene gets it, and from now on, while we're keeping up the cheer, there's no big transitions or information pieces. We're 15 seconds in, and for the next 25, it's Link, Zelda, the train, and the wilderness hanging out together, doing small incremental buildups of their established ideas. With that slow incremental building, we can just process and drink it all in. We get to see Zelda doing her cool ghost things, with some beautiful personality touches in her flight. There's just one more moment I want to focus on.
It's great and cool how Link watches Zelda fly in wonder – he clearly likes and cares for her a lot. But this just takes the cake.
As Zelda chooses herself to fly down his way, how he's just so genuinely beaming and happy to see her. It warms my heart. I found the best snippet I could, but the developing animation really seals it here. Link clearly loves his position as the conductor, and from a place of zero desire to lord over that type of control. He's lit up like a Christmas tree as first he makes space for her, and then gestures with his arm to give a conductor's welcome for his adored passenger to board.
Zelda gracefully sits down with him, with a more human seating arrangement than before, and doubles up with him to eagerly see where their new train adventure is taking them. Seeing the two of them together there... maybe these seeming opposites aren't so different after all.
Like a lot of pieces I discuss, this one is so full of material that I can dig in seconds by seconds here, yet it's still relaxed, mellow, and free instead of being rushed and noisy. Its willingness to set up ideas helps, as does it ensuring a real pace - things can happen quickly, but they get their own focus in turn and with breaks and exhales, instead of being jammed together.
This is the opening to The Legend of Zelda: Spirit Tracks. I encourage you to watch it yourself and then see what I have to say.
Spirit Tracks explains its gimmicks quickly, but in a methodical sequence, such that you can process each one individually to build up the composite picture.
First, we know a train will be important. It dominates the frame, huge and not competing with anything for attention. Trains are not a huge part of Zelda, but one is huge here, so it makes sense to highlight the train while giving us a moment to focus on it. Similarly, the audio only holds the whirr of the train. That whirr will be continual guiding tempo or percussion beat to this scene - quick motion, but steady - and a unifying element of it all, alongside the train.
We smoothly transition, with the mouth of the tunnel growing to prepare us. Clearly, once the train comes out of the tunnel, something else important will come out the other side. The mouth light fades the scene to white, and all at once,
We're somewhere completely different, both visually and musically. The train is still central, but the outside reveals a lovely green meadow with mountains rising and clear blue skies. The train's whirr is still there, but the adventuresome music kicks in as well.
Now, the train remains important, but the beauty of the natural wild is too. Trains and industry are often framed as enemies of the natural world, but there's clearly a different idea here. The quick mechanical train and the unchanging, unmoving nature coexist, and we're establishing a positive, cheerful mood. Even with the new train, the traditional Zelda focus on natural beauty and adventure will remain. One might wonder, how will the game bring these ideas together?
Note also the simplicity of the natural world. There's only one departure from a perfectly normal green field and sky - the mountains, which themselves are simple and easily recognizable shapes, and they help the composition by framing the grasslands and incoming train. By choosing not to add anything else in this basic world that would distract or draw our attention, like trees or characters, the game tells us that this simple natural world worthy of care and attention on its own.
A character is appearing in a second or two, Link, but he unintrusively pops up in the far bottom corner. Just like you, he's drinking in the beauty of the natural world as it is. He's also a conductor now? That's cute! Don't worry that you'll miss a detail, though - the scene gently and slowly pans away, with no cuts, showing him in greater detail.
This pan is great. Now is a natural time for an exhale. We've gained the basic premise of the game, and a second to digest that information and get ready to move on is fantastic. The full, shining sun is a perfect note to continue our joyful, even triumphant tone and adventure, as it gently draws further along Link's face.
Oh, that music cue is suggesting a new melody! Does the game have something else important to establish?
Someone in fact! It looks like Zelda is joining us for this adventure! Zelda's presence here, even this individual frame, establishes a pretty thoughtful center to found her dynamic with Link. She's equally important, and that equality comes through a series of trade-offs that help differentiate her from Link.
She's sitting higher, closer to the center of the frame, a position of power, but also further to the back of the train, away from the front and its control. She's some kind of ghost or spirit, which probably lets her do things Link can't – like reasonably sit on top of a clipping train, but that also implies she died, which is not advantageous usually. Her visual design helps here, showing that she's probably some kind of physically weakened spirit with her paler colors, but still herself as Zelda, as her design is blooming with color and style even with its fading.
We also learn that Zelda is playful here, not just with her seat choice, but also how she "sneaks" into the scene and into Link's slightly surprised – but happy and not worried – view.
That's a lot of information - our second character, a foundation for her personality and plot situation, and a foundation on her dynamic with Link. Trains and nature coexisting, the living and dead coexisting... it seems like we're building up to a broader theme on how seeming opposites can thrive together. That's cool! But it's probably time to slow down again. Zelda's a ghost! What's going on there! Lots to process.
The scene gets it, and from now on, while we're keeping up the cheer, there's no big transitions or information pieces. We're 15 seconds in, and for the next 25, it's Link, Zelda, the train, and the wilderness hanging out together, doing small incremental buildups of their established ideas. With that slow incremental building, we can just process and drink it all in. We get to see Zelda doing her cool ghost things, with some beautiful personality touches in her flight. There's just one more moment I want to focus on.
It's great and cool how Link watches Zelda fly in wonder – he clearly likes and cares for her a lot. But this just takes the cake.
As Zelda chooses herself to fly down his way, how he's just so genuinely beaming and happy to see her. It warms my heart. I found the best snippet I could, but the developing animation really seals it here. Link clearly loves his position as the conductor, and from a place of zero desire to lord over that type of control. He's lit up like a Christmas tree as first he makes space for her, and then gestures with his arm to give a conductor's welcome for his adored passenger to board.
Zelda gracefully sits down with him, with a more human seating arrangement than before, and doubles up with him to eagerly see where their new train adventure is taking them. Seeing the two of them together there... maybe these seeming opposites aren't so different after all.