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bitty-bits · 2 years

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Back In Action

DALL-E 2 Background (Prompt: Dreamy background painting with a checkered pattern grass and blue mountains in the distance), Emojis made for the SineTri Discord. Join us!

After a few months, I'm finally back doing this thing.

I'm back here probably cuz I do have a lot more to say than last time. Tumblr's embeds of posts don't seem to be very good, I've noticed. Oh well. Again you'll likely see me on that dreaded hellsite a lot more than here, but I'll still try to write here to maintain a tradition, and hopefully I won't be gone for too long again. Anyways here's what I've been doing lately.

New Computer

Yeah!

Without giving away too much details as for how this happened, I indeed have a new computer (notebook, specifically, as I've been used to the form factor my whole life, probably) and probably the first time it is almost on par with the latest high end specs, and, no memes, it has an RTX graphics card. What else can I say about it... well, using it so far has been a positive experience for the most part, my only complaint would be how "not good" the trackpad is. Cuz you know, I actually got used to drawing with the trackpad (believe it or not) on my previous notebook, which is still a pretty good notebook that still works and can still do a lot (I was able to play and beat Super Mario 3D World emulated on it at almost full speed, so I think that says something) so I hope whoever uses it next makes a good use out of it. I'd say outside of being "mid" (that's the Funny Word Them Kid's These Dayz R Usein' Right) its only problem is its battery doesn't really work anymore so it'll only work while plugged in, which is probably completely my fault, so I'm hoping to avoid this issue on the new computer. (Tip: There's an useful VBScript you can get and put it on Windows' "startup programs" folder that will show a message whenever your battery is close to 100% charge. Google it!)

Trackpad issues aside, I still have a standard optical mouse to use, but even then, It's still gonna take getting used to... using one again. I'm weird.

Cut it Out, Ninjin! - Preservation Efforts (Post-Warner Bros. Discovery Fiasco Update)

With all the clownery going down lately with the Warner Bros. + Discovery merger, the Ninjin cartoon series (my biggest "brainrot" of the year pretty much) unfortunately also fell victim to the "great cartoon purge" that happened as a result of WBD's terrible (and inefficient) cost cutting decisions. Fortunately, the timing for me to get into this series couldn't have been better, and at least the show staff got to finish a season right before the shitstorm, so finished material didn't go unreleased. That said we can only hope the series somehow makes a comeback or is revived in some form, as at least Warner doesn't own the Ninjin IP (as far as I'm aware).

With the series gone from HBO Max, YouTube and all of Cartoon Network itself (though not without a few exceptions still left here and there), it's important to remember that preservation is a must, and something to keep in mind from start to end in any project. Here's what a staff member at Birdo studio had to say on the matter (Portuguese):

for those who work on animated shows, for the love of god, don't forget to always keep a copy of the final versions of your scenes/episodes downloaded (and if you're the director, back up the entire series) cuz if we just rely on the son of a bitch companies and channels everything will be gone then we won't even be able to assemble an animation reel / portfolio afterwards

As I have shared in the first blog post, I have made an archive of pretty much all the CN Ninjin content that I could find, on a MEGA folder, which I've recently updated in light of the unfortunate news - Every episode is now available as MKV (Matroska Video) files with multiple audio channels (Original Portuguese, as well as the Spanish and English dubs!) which I plan to later still update to have English fansubs done by yours truly (So you don't have to stick to the... not very amazing English dub), you will also find the shorts (which I've already given subtitles!) and some comics too, which I still gotta translate.

I'll also make extra links for easier sharing soon.

We can't let the big corporations win again as they usually do.

You can buy Ninjin: Clash of Carrots (the game the series was based on!) on Steam here, and Pocket Trap's latest game, Dodgeball Academia, here!

Let's try to keep Ninjin alive. Please.

Do it for her.

Calimero Subtitles Project Returns

After staying stagnant for at least 2 years, interest in subtitling Calimero's 1992 anime by Toei Animation (easily my favorite Calimero-related media) ressurged. Likely due to me... having figured out what an MKV file even is and what it can have, as well as coming across what is now my favorite software for subtitle making in general, SubtitleEdit (Not very creative, I know), and learning about the more advanced, fancy subtitle formats a good chunk of anime (fan)subs use. Also the project expanded a little; it's gonna be more than just the subtitles over a single specific dub of the anime, actually it'll have most of the dubs ever made of the show that can be found. A lot of audio tracks in still considerably small files! I sure do love me some Matroska files. The current plan is for me to subtitle the first half of the series (26 episodes, "season 1", if you will) all by myself, while the second half is a bit tricky, as only the German, Italian and Arabic dubs have the entire series found. But I already have a German friend willing to help with those, and there are also a couple episodes from the second half in the original Japanese version found, so if you're fluent in any of these languages and are interested in helping out, feel free to tell me! Once the project is finished we will finally have one convenient place to watch this series, in a variety of language dubs, and English subs, and hopefully more people in the West will acquire interest for it.

My Channel for posting Video Game Music, CalimeroVGM on YouTube

Not "high quality rips" in the SiivaGunner sense, but actual VGM that either can't be found on YouTube elsewhere, or if it can be, the quality kinda sucks, or it's in a video with other tracks. I may have done a lot for SiivaGunner, and continue to do "high quality ripping" over on my music channel (ples suscribe), but I also have been contributing a lot to actual ripping and video game music preservation in general, and decided to make a channel dedicated to it (here), so I don't have to pollute my channel of miscellaneous whatevers, Lu9.2, which is already kind of polluted. So whenever I have any new rips, or even a few "experiments" with VGM, I'll put it on this relatively new channel. I encourage you to subscribe to it at least so I can get to 100 and get a custom URL, because I just am the weird kinda guy who likes neat looking URLs.

What I've Been Playing / Watching

Just in case people would want to know, I'd probably talk about it on Twitter anyways, but let's go:

Klonoa Phantasy Reverie Series

I love Klonoa. Babe, GIVE me Klonoa. Played the first game (original PS1 version) back in either 2015 or 2016, though I was already a fan for longer, but loved it. The remastered version is very charming and combines the best of both the original colorful PS1 version and the Wii remake. And with this I was finally able to experience the sequel for the first time, and again, a masterpiece. Wish they kept some of the classic UI for the first game and other minor details, but that aside, this collection needs to succeed. This franchise needs to succeed.

Lucky Star

After giving up on watching it in 2015 (I was watching the English dub and didn't know what type of anime I was even expecting, Oops) I decide to give this another shot, this time subbed. What I can say is - I enjoy. It's fun. I guess my tastes have changed over the years too.

More Stuff

Moving (Again)

Seems like I do that a lot, but hopefully it'll actually stick now. Some unexpected problems rose in the current apartment I'm in. Nothing too serious (though it's only a matter of time) but the new place will be pretty big I think. I just hope I don't lose anything during the moving process again.

Fonts For Fun

Sometimes I also try my hand at typography, mostly recreating stuff I see, and this year I've made a few (and posted some older ones I had) fonts just for the fun of it (though they probably are useful)

You can check them out here.

Where's Part 3 Of Closing Logos Extended By Jukebox AI?

Not too long ago after releasing Part 2 of my intriguing Jukebox AI series, already some of the more "peculiar" logo-obsessed (presumably) children started to "predict" Part 3, some eben by just posting what will be on Part 3, conjuring up facts, classic Greeny Phatom style. Told that guy to wait until August.

...and I really wish I could keep such promises but I really just don't find the time and energy to put into those videos, not to mention the upsampling process that I still have to put some of the samples through. Though it's less time consuming now, there's still the entire editing and visuals part. I'm doing these videos completely for free, you know. Unless you're fine with something half-baked, be patient.

Also there will be more Jukebox AI videos in general, not just the logo ones, I hope you look forward to those too.

Donald Alves' Original Flash Website Is Now A Progressive Web App

Yeah. Did this just for fun. And to see what kind of stuff I can do with PWA features in general. It's still not a full "installable" web app, but it should work as its own thing on your phone no problem. Don't know who Donald Alves is? Well, this is one of those things that you just had to be there at the time, dude.

Conclusion

That was a big one! Hopefully next post will come before Christmas. Maybe before Brazil's presidential elections too... oh god I'm scared

Bitty's Message of the Day

I do not like beans.

#newsletter #preservation #personal

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nocturnal-impala · 2 years

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What program do you use to create your animations? I'd like you to teach me.

Hello!

I use many different programs, for drawing and coloring/digital painting the bg I have actually 2-3 different paintprograms, different softwares and programs to stitch up the frames and coding, for audio and music I have convertors and editing programs. I probably still have something I forgot to mention -in short, a great variety of different tools.

If you want to learn to animate, you must start with the basics. Maybe doing some simple gifs for a start? For example Gimp is a free program and has many useful tutorials online.

I'm selftaught and I don't concider myself qualified for teaching others: I've created a personal way of doing things and I'm probably doing it in an unnecessary complicated way. Most of this is due the fact I lack expensive professional tools. Also, I simply don't have time to start tutoring anyone. But I can't tell you anything a good guide book wouldn't tell better!

There are no short cuts, you need to study animation. You need to build your skills on your own.

Animation is hard work. You must be ready for it and commit yourself because the labour of your hard work will come slowly -maybe never. The animation of 10 mins I make takes avarage of 3 months to finish even though I work on it daily.

I don't want to be a party pooper, but most people get excited about animations, then realize how much hard work it is and sadly give up. I can tell my very first animations were royal shit lol and it was hard to continue and hope to improve -but because I enjoyed it I kept on going and I love it :)

The moral of the story: think really carefully if you want to invest your time in making animations. The road from making a stick man run to a full color anime character run is long and painful. You know yourself, so if you think you're up to it I can only wish you good luck and hope you'll achieve your goals!

Studying for free is easy with internet guides. This is a good site to begin with or you can search more results with Google etc: https://www.skillshare.com/blog/guide-how-to-animate-for-beginners/

Have a nice day!

#ask #answer #I don't intent to discourage #but reality is reality #I do hope you'll be able to achieve your goals #best of luck #animation #EDIT: fixed the link #:)

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ninelivesart · 4 months

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About Me (Kind of)

Doing this Drawing My Reads challenge this last year, made me realize there's a lot people don't know about me. You don't have to know anything about me, of course. But since I've had an uptick in followers, I thought I'd share a few things anyway. For context.

I'm a librarian! Technically a Library Clerk because I don't have my Master's. But this last year I got promoted to Programming Clerk. And I specifically run my library's Makerspace. Which means I get to play with cool, creative machines all day. This also means that I sometimes get to just vibe to audiobooks and draw stupid stuff (it's ideal). My primary focus at the moment is our laser printer. So I will 1000% be adding those creations into my rotation soon. Expect to see some SVG files and wooden bookmarks and things on my Etsy shop soon.

2. That being said, it's important to note that I hardly ever pay for books. I have access to a full library 40 hours a week. So please don't think I'm out here spending hundreds of dollars on these books. I very rarely pay for them.

3. My education is in books. I have a degree in English and Literature. I minored in Journalism. I didn't get to go to art school because there just weren't a lot of options for me back then. So I am a self-taught artist. And I'm lucky to have found a job that combines both of my passions.

4. I am a fully adult woman. I read a lot of very adult books. I'm closer to 40 than 20 and I have a teenage son. Please keep that in mind when interacting with me.

5. My reading tastes can sometimes seem contradictory. I love romances but I tend to stick to fantasy and scifi. I don't do contemporaries very often. And I don't read classics because chances are, I've already read it, analyzed it, wrote an essay on it, and read it again. I did my time and now I'm in debt for classic literature. I'm just trying to have fun. So sometimes I might diss a popular book and be very critical about it. And then turn around and wax poetic about alien smut. I don't expect much from the alien smut. I do expect more from serious books.

6. I pick my reads with a randomizer! This is why I sometimes take a long time getting to a sequel. I have made exceptions for a series I wanted to continue right away. And sometimes I roll again if I'm not in the mood for the book I got. I'm going to try to be a little stricter on this in 2024 though. With the exception of the audio books I listen to at work. I always search Libby for what's available now so I'm not wasting my work time, searching every book on my TBR to see if it's in.

7. You are more than welcome to send me suggestions! I'll probably just stick them on my TBR so I can't guarantee I'll read it quickly. But if you think I'll like it, feel free to recommend it. I'm also happy to talk books with you if you need someone to vent to about a book you know I've read.

8. You are also welcome to add me on Storygraph (beautawn) or TikTok (NineLivesArt). I'm stepping away from Goodreads, so you probably won't see a lot of updates on there. But I post drawing videos on TikTok and I update my Storygraph pretty regularly.

9. However, I don't do reviews! Why? They make me uncomfy! Sometimes I really need to marinate with a book before I decide if I like it or not. Rating systems make me anxious. And my mood alters my decisions. I also don't like being mean. I'm fine talking about my feelings with other readers, but I don't like leaving reviews. Especially if I plan to make art for it. Don't want to draw a lovely portrait and then bash the book.

10. I do plan to continue this project into the new year. But I am planning on doing it a little different. I have some other (non book related) projects I want to work on, and I want to push myself to focus more on the things I need to improve. I really want to focus on environments this year, so I'll be drawing scenes from the book instead. Which means I may not draw a book even if I loved it.

Thank you for following my reading/art journey! I didn't expect this silly little project to have such a positive response. I love when people talk books with me and I actually made friends with a few authors this year! So overall, it's been a very positive experience and I'm ready to jump into the New Year and see what it brings!

#frequently asked questions #that weren't actually asked #just thought i'd provide some context #for why i am the way that I am #and why i read what i read

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my-darling-boy · 3 years

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how do you do your photo sessions? is it just you and your camera or is someone else taking photos ? theyre all so cool and im rlly curious as to how you do it !!!!!!

I’m so glad someone finally asked this, I was just talking about this with someone and honestly it is SO funny.

The trick is: as long as you’ve got a camera, luck, and at least one tripod—along with understanding of some basic photography and a good imagination—you can do a LOT. I’m known for having whacky set ups! My sister helps me with them when I can’t do them all myself and let me tell you, we’ve come up with some weird things. I’ve been teaching my sister what I know about photography and film over the years, so she’s been a big help getting my own photos done, and in return I do ones for her.

In most of my photos, I’m in the bathroom. I don’t care what you think you see, I’m probably in the bathroom. Bathrooms have great lighting most of the time, and our bathroom has a skylight which is great natural lighting. If you don’t have access to a lot of professional lighting, setting up rigs in front of windows is great. I love using everyday objects and making them look ambiguous to suit my needs for a different object. My “halo” is literally a paper plate. I’m wearing a pillowcase. I set up the camera, my sister just had to check my positioning and lighting and click the button since I don’t have a remote.

Again, I am in the bathroom. I’m still sitting on top of a counter. This one, we stacked some boxes haphazardly and put our lighting on top, which is usually this really bright survivalist lantern. I also taped a clip lamp to a tripod. My sister was standing on the opposite bathroom counter. It was so hot in there so I was in shorts and thigh highs, but you wouldn’t know that just by the photo

I was in my bedroom for this one! A couple of tripods, an edited background, and a suggestive expression was all I needed to make this look like the Lieutenant and I were having a Good Time in his trench lodgings. If you don’t have an actual historical object like a swagger stick, a wooden spoon with a thimble on the end works too (as I found out). If you get creative enough, there are tons of objects and clothing you can fake. And yes my phone mount for the tripod is literally a macaron box I fashioned to hold my phone

This is a great example of knowing how to frame your subject. We loved the treeline in the back garden because it resembled being out in nature, but we have a rather unattractive space out there surrounding it. To solve this, I got up on a high stool and my sister knelt down below and shot the photo from the nearer the ground. You would never know just out of frame was a garage, a trash heap, a shed, a truck, and other suburban houses.

I’ll let you take a guess as to where I’m at for this one.... yes it’s the bathroom again. This time I’m by this awkward corner on the floor near the tub. We stacked a hamper on top of the tub and rolled some foam into a cone to direct lighting from a phone and lantern at my face. There was no angle to take the photo without running into the tub or shower so my sister had to take it in the tub. My knees and abs were killing me cos I had to half-kneel for the position, and strain my eyes to look up. There was also a low tripod behind me to drape my “mantle” over to keep it from falling flat against my back.

I don’t even know how to explain this one and I couldn’t even fit it all in the drawing. We got in front of the downstairs window, hung the same white bedsheet I use so much from the ceiling, I knelt on a chair, and I set up the tripod just out of frame in that drawing. We basically gathered every lamp we could reasonably put in the window sill and took the shades off two tall lamps or optimal lighting. I taped bee magnets to my skin. The “clouds” are actually just pulled apart cotton balls taped to a straw and held in various positions in front of the lens. Perfect perspective play.

An honourable mention was my audio set up for my October ghost video.

I don’t have professional audio equipment aside from a Yeti mic, so we had to get creative with how we would get the mic close enough to the subject. Yes, that is a tripod duct taped to another tripod and counter weighted by a bag of books. My mic is literally screwed into a socket it’s not supposed to even be in on the end of the tripod and the cord for it wouldn’t reach the couch to my laptop so I had to stack a stool on a chair next to this incredible contraption with the laptop on top so it could reach. How this entire thing did not collapse at any point is beyond me. (Can you tell I love tape and lamps?)

For photo editing programs, I hate editing on the computer and I will eat my own shoes before I give Adobe any of my money, so I use Enlight and Afterlight 2 from the App Store on my phone, and also FaceTune for certain face corrections. Afterlight 2 has a filter called “Himalaya” which is VERY similar to how 1880s-1920s photos looked and the app has plenty of dust overlays to make your photo look old. Enlight I use for broader ranges of image correction and background editing. Some examples of old photos I’ve done with a combination of those apps:

My sister and I are very resourceful and creative whenever we do these things. I don’t have any formal training in photography, I just have a vision of what I want and I try to do what I can to achieve it. I’ve had photographers with masters degrees in photography tell me it’s astounding I’ve been able to achieve photo results that rival their own with what limited resources I had while they had access to everything under the sun at their uni.

In short, all I really do is pull out my camera and some tripods and other makeshift items with a photoset in my mind, and sometimes I burst into my sister’s room standing like “hi welcome to chili’s” if I need some assistance

#I actually get asked photography questions A Lot but this touches on most of it #long post #photography #me #my sister

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blankd · 3 years

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Thoughts on The Mitchells vs the Machines

I watched it a while ago and kept forgetting to post my thoughts on it, but some posts here on tumblr recently reminded me.

I disagree with the majority takeaways I see but is that not the spice of life?

As a standalone movie its inoffensive and the writing of it will likely exit my brain in a few months. However I can appreciate that the visual style was different from the typical fare and the mixture of 2d elements for visual embellishments were mostly enjoyable and well-suited for Katie as the POV character.

It's a bit "hyper" for my liking, but that's fine, it's likely intended for an audience that's accustomed to the flood that is the current norm of the internet. It was probably made with GIFable moments in mind and that is the most frequent content that is shared about it, so it certainly succeeded in that regard.

My more critical take is that jokes are delivered at the expense of what could be more authentic themes. Quips are made that draw attention to character flaws or undercut questions the movie should try to answer, but inevitably they are ignored to move onto the next joke or story beat.

The rest would fall more into spoiler territory, so read more for that.

--"They Were Both In the Wrong"

I personally disagree heavily with the thrust of how "both sides" were wrong when the degrees are disproportionate.

I've seen claims that Katie was "as in the wrong" as her father, but she's incredibly patient to the man who does her material harm.

I've yet to have seen someone say specifically what Katie did *wrong* to her father that is at all on par with the *years* he at best hasn't been able to interact with her or worse, actively refused to engage with her interests.

I would generously venture that her flaw was that she was more willing to communicate her feelings to strangers, but she easily talks to her mother and brother- her brother even helps her with her movies and she happily engages him with his own interests, which pivots the point back to how her father is physically/emotionally unavailable and led to the erosion and distance between the two of them.

Due to this, MvM comes across more as Kaite having to do so much more to guide her father rather than a more mutual learning experience for the both of them.

--"Technology that [Dis]Connects"

It's probably beyond the scope and intent of the film, but I was surprised there was no examination about why technology can be more alluring than interacting with physically present people.

For better or worse, the internet can be used as a means of supplementing the validation and acceptance of family. It can also lead to no longer connecting to people around them because of the validation high of appealing to a constantly 'awake' sea of strangers- the spotlight is warmer than the cold reality that they are not the internet image they have cultivated.

For example, the rival 'perfect' family was never revealed to be a carefully constructed highlight reel that Mrs. Mitchell envies, they really were actually that perfect- because that provides an easier punchline than an examination or acknowledgement of how the internet can create unhealthy expectations.

I also can't expect MvM to acknowledge the reality that LGBTA+ people who are rejected by their family resort to seeking a new one through the internet because it would be much harder to redeem/rehabilitate a man defined by being tethered to "old values" if he was homophobic instead of "overprotective" and apprehensive at his daughter's departure from home and her dubious art career.

But hey we got that quick line at the end that Katie likes a girl, so that's a diversity win or something.

(To be clear I'm not expecting a whole parade or even an A or B-plot dedicated to it, but I think it should be acknowledged that this kind of "surprise inclusion" is very easily erased with a change of audio and would be completely unsurprised if this were the case for countries that are homophobic. People can be happy about it, but it is dishonest to pretend that this is a bolder statement than it is.)

In that sense, I do and don't hold MvM to taking a "safer" route about how family always has your back, but this still feels like an important omission considering the focus on technology and its dynamic with the Mitchells.

I will also say that it was also bizarre, to me at least, that the obvious route that her father sees the value of home videos didn't become an active point between him and Katie. Or that Mr. Mitchell's carpentry never really amounts to anything despite having a sentimental wooden moose.

Lastly, I think it's an unintentional, but it's interesting that Katie going to college to pursue her passion is viewed as a Terrible Thing by her father even though if he had his way, he'd be ostensibly living in the woods away from everyone else except his wife.

This isn't a problem, people are a collection of contradictions, but It's fascinating to see what the *narrative* treats as a difficult sacrifice while simultaneously pulling at heartstrings when PAL cites how children ignore their mothers. There's an unexamined comedy that Mr. Mitchell's losing out on his 'passion' to live in the woods away from people is treated as tragic despite the movie's insistence on staying connected with your blood family.

--"The Inconsistent Personhood of AI"

PAL is rightfully angry at being discarded for something new; it's provided as a glimpse of what Katie will do when she finds 'her people' at college.

This in of itself is a good hook, because there is no one universal answer to when a flawed relationship should be mended with compromise or if it's better off being broken for the wellbeing of the ones involved. Family and relationships are not programming, it's a choice and a gamble for whatever it brings but is nonetheless something that must be mutually worked upon.

Initially I thought that PAL was being set up as an exaggerated parallel to Mr. Mitchell. PAL and Mr. Mitchell did their best to provide for their family. PAL and Mr. Mitchell are in different stages of being 'discarded' by their family. PAL and Mr. Mitchell both retaliate at their lack of power in the scenario by using the power granted by their roles to infringe on the autonomy of others for selfish reasons.

PAL even gives a 'chance' for her plan to be halted with, I had assumed this was being set up as the thesis of the movie, about humanity and the value of family, relationships, etc. being used to help someone who is already hurting.

But despite Katie looking at the camera and explaining herself, it is never actually directly resolved or challenged because a punchline was deemed more desirable for this narrative climax.

This begs the question of why PAL bothered with the pretense that she could be reasoned with, especially since this is not some question leveled at all of humanity, just two people.

I'm curious how the writers came to the conclusion that this was the best execution of the scene or if Katie's speech was considered immune to any challenge from PAL. Would anyone have accepted this outcome if PAL were not an AI but instead a person?

It's not necessarily bad writing they went this route, but I doubt anyone would consider this good writing either.

By the end of the movie, PAL is no longer a 'person' who was betrayed and is lashing out, she is an object to be destroyed because the movie has to wrap up. No compassion or chances are spared to this AI that did literally everything asked of her except take being discarded quietly.

Did PAL deserve a redemption arc? For this length of movie, probably not. But it could have concluded with a commitment to doing no further harm. Instead it is an accidental glimpse at how easily the pretense of compassion can be quickly discarded and mostly unexamined with the right framing.

A likely unintentional example is the conditional humanity given to Eric and Deborahbot who are adopted as "family" while the rest of the robots are mowed down without another thought. Some are even beaten and broken while begging for mercy, because again, it is a funnier punchline.

Far be it for me to advocate that the murderbots needed 'a second chance uvu' but for a movie whose conceit rests on 'sticking by family' and 'giving chances', the writers certainly made a choice in deciding which AI get honorary humanity and spared violent death- perhaps PAL had a point about humanity's callousness after all. Bad robots are discarded, good robots get to live.

Even the CEO who realizes he enabled this mess (easily the most unrealistic part of the movie, honestly) is given another chance and he manages to take away a completely wrong lesson.

Speaking of-

--"Maybe I Shouldn’t Have Used Tech Like This"

There's a particular image/gif set posted about MvM with the CEO apologizing for the machine uprising, attributing it to unchecked technology and monopolies. I've always seen it accompanied by people congratulating the scene as if any of this is at all relevant to the movie.

Charitably, these are people who haven't watched the movie and don't know that PAL is a phone AI single-handedly doing this, but most take the stance that this scene is proof the movie is not saying technology is bad, only corporations are.

The speech isn't technically wrong but it is so utterly divorced from what happens in the movie that it's surreal to see people congratulate it as anything but a moment of soapboxing.

None of the datagrabbing was used at all as part of the takeover. It's all magical kid-friendly terminators with no relevance to what anyone's browsing history is. If the company was one that produced robot assistants instead of a being a super tech monopoly, there would be no narrative difference.

The closest to a predatory tactic that is used in MvM is the offer of free wifi which is used to lure most people into their cells which they happily comply with. Curiously this... commentary of people’s mindless addiction to technology is not acknowledged by the Tumblr Court with the same intensity as the CEO’s speech.

But more constructively, I do feel it’s a missed opportunity that Katie who's supposed to be an extremely online person apparently never said any bad things about her family or made any petty vent films for PAL to weaponize. Instead an in-media audio at one of the outskirt locations was used to accomplish its Traitor Revealed moment.

IN CONCLUSION

MvM is a movie that involves topics that ought to be touched on and explored properly in media and chickens out on all of it due to possible concerns with age-appropriate handling or because it was more committed to its comedy than whatever it has to say about family, change and how technology affects people.

It also reminded me that I hope media will finally graduate from the trope that if you spec into any ‘outdoorsy’ hobby you are incurably afraid of technology.

#the mitchells vs the machines #let me ramble to you #text post #hot takes probably

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azurite-writes · 3 years

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Problem One: The Screen(s) and Digital Workspace

Part one of my multi-part doc about what I learned from doing online college at a non-online institution. This chapter: my Desktop as a Desk

Highlighted points: learning styles, work type/function in relation to the computer

My biggest problem with being pushed online after being at an in-person institution was, and still is, my forced reliance on the computer. I have to sit in front of it for hours: attending classes on Zoom; checking email every three hours; accessing Moodle pages for class and out-of-class work (Moodle is what my institution uses, other web management/e-learning software platforms include PowerLearning, Blackboard, and OU Campus, among others). And the work itself can be watching documentaries, watching seminars, accessing ebook/PDF documents, annotating documents in online portals… it's a lot. People have talked at length about "zoom fatigue," as well as the eyestrain headaches that can come with staring at said screens for hours at a time. I'll talk about my own lessons learned about that later.

The assumption among the administrators and (some) people of older generations than those currently in school seems to be that working online with computers and smartphones is more efficient. That isn't necessarily true; it all depends on the type of task and the person being expected to complete it. In my case, I cannot, for the life of me, focus on dense sections of text presented on a backlit screen. Thus, reading and answering emails is okay, but downloading scanned textbook pages to be read on a laptop screen (along with trying to highlight and annotate them) is hell on earth.

Why is this? Different reasons for different people, but in my case it's because reading/"writing" on a screen interferes with my learning style(s), which are visual/spatial, audio, and kinetic. Audio doesn't come into play for reading on a screen, but seeing words physically in a certain location relative to other words on a page is very important to my memory of the material. Computer screens can display pretty much anything at any given time; book pages can only display whatever was permanently printed onto them. That is, the content of a book page in physical space will always be the same unless you, the reader, manipulate it; a computer screen can have any type of content displayed as long as its pixels can light up and process the information. And for me, that's a problem because I don't have any physical space to relate the information to, plus I don't get a sense of how long the document is. Recalling a passage in a printout, for me, goes like this: "I remember it was on the top-left of a page towards the beginning, the shape of the paragraph was funny too… ah, there it is." Recalling a passage on a digital scan of the same document is much harder for me by contrast: literally any of the paragraphs could have made its way to the top-left of my computer screen, if I moved the window around or zoomed in to better read the text; documents are an endless scroll upward or downwards, with (maybe) a sidebar to tell me what page I've landed on. All of my "landmarks" are functions of the program I am using to access the document. They're static and contained to a window... that can show up anywhere on my computer screen. Not conducive to the way I learn at all.

My kinetic learning style comes into play with the computer, too. Annotating a document? In the physical world, a pen on the document itself does the trick; going through the physical movement of circling a word or making a note are things that solidify the information in my mind. Annotating a PDF document? First of all, it's difficult to do with a mouse (and God help you if you have a trackpad), and it's highly dependent on the program that the user selects to open the PDF. I could connect a drawing tablet, if I have one, but they're very expensive and their use is, again, dependent on the compatibility with whatever reader program the user selects. All this to say: annotating on the computer doesn't work for me, either. My kinetic and visual learning styles come together with note-taking. My memory is highly dependent on seeing words as they are formed by my own hand, processing them, and connecting meaning to them as they sit in a specific place on the page (am I over-explaining this? Basically, writing notes by hand and seeing where those notes are on a piece of paper help me remember them). Typing notes isn't a replacement for hand-writing notes for me; while I'm busy fixing my typos (on words I would never misspell on paper, usually, since my fingers are just moving weirdly over the keys), the professor moves on, and I'm not listening well enough to catch the fact that I've missed new information.

The takeaway here is figure out your individual types of work relate to being on the computer. As I said, the computer hinders many aspects of my learning when it comes to memory and efficiency. As a creative tool, however, it has almost the opposite effect; writing assignments for fiction, poetry, and screenwriting classes are much more efficient on the computer. From creative thought to keystroke, I have less time to second-guess or forget my ideas, and both the immediacy and changeability of word processing programs actually works in my favor for those sorts of things.

What I did differently from first online semester to second:

1) I figured out which materials helped me remember my notes the best. Honestly, I wasn't even doing this when I was at in-person college, and to my detriment, but I couldn't get away with it at all once I went fully remote. Think back to when you were in lower levels of school: were there certain types of materials you gravitated towards in the classroom? Did you like basic composition notebooks with faint blue lines? Wide-ruled or college-ruled paper? Did you discover that graph paper just worked really nicely with all notes besides math, or that blank pages were less busy for your eyes? When you used pens, did you prefer blue or black ink, or did colored ink help certain things stick? If you can control what materials you use to take notes with, consider using ones akin to those from a class you either a) remembered the most fondly or b) remembered the most information from. Scour your memories of class experiences for anything, no matter how small, that may have made your life easier. Equally, take note of what tasks actually worked well digitally. Adjust accordingly.

(Personally, I found my magic formula was a 1-subject memorandum notebook — marginless, with very narrow line rulings; while I hesitate to direct you to Amazon, they are hard to find at a decent price otherwise, and you can get a 12 pack for just over $40 from them — with black ink from a 0.38-size gel pen (I used a basic Pilot G2 pen until it ran out, then bought ink refills in the smaller size). To "highlight" my notes, I circled or underlined information with a blue gel pen of the same variety. Keep in mind again that I'm learning to be a translator; this is just what works for me.)

2) If I needed to print something out, I printed it out. Environmental guilt is something I struggled with a lot, and there was always something about staying on the computer that convinced me I was being "less wasteful" by staying digital. But with how much time and energy I ultimately saved reading a printed document that can be recycled vs the electricity I ate up spinning my wheels in front of the ebook… to me, it was worth it. If you find that helps you, too, don't be ashamed to print certain things out.

(If conserving ink and paper is a concern to you, it is possible in some viewing/editing apps to remove or cover images, either with white squares or by taking the images out completely. I have an old MacBook Pro and on current versions of Preview, one can draw shapes and fill them in white to cover parts of the scan that would eat up ink, such as blurred black borders and scanned images. For documents in a word processing program like Microsoft Word or Pages, it may also be possible to print the documents out at a smaller size, allowing more text or even multiple pages to show up on a single sheet of paper.)

| In the coming days/weeks I hope to be posting more content about how I tried to adapt to fully remote learning and the things I’ve learned along the way! Follow for updates ♥︎ |

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beca-mitchell · 4 years

Photo

you are my favorite thing (1/1)

Summary: Beca and Chloe find themselves alone in their apartment after the instruction comes to self-isolate. Set pre-PP3. Just pretend PP3 doesn’t exist.

Notes: Apologies for this fic. It stuck with me...and I had to write it before it drove me crazy. I know it's not that good but hopefully it brings a small smidge of levity to your lives. <3 I promise I'm working on other stuff, just haven't been feeling well lately.

Word count: 3.1k

Rated M/E.

Read below or on AO3.

When the announcement came that it would be in everybody’s best interest to self-quarantine and self-isolate, Beca hadn’t really known what to expect. In fact, she feels kind of bad for not taking this more seriously and leaving Chloe to pick up the slack. Chloe, who had been almost zealously preparing for the “worst to come” by her standards.

And now, apparently the CDC’s standards.

With the rampant news updates and social media seemingly tearing itself apart at the seams, Beca kind of wishes she had picked a career that required her to be on her computer less but now as she lugs her two laptops and three pairs of headphones home from the label’s head office in midtown, she supposes that she has no choice.

“Oh good, you’re home,” Chloe says upon seeing her. She reaches out automatically to help Beca with her bags as Beca belabours the fact that they live on the fourth floor of their walk-up. She tries to smile gratefully at Chloe, but Chloe is already pacing across the small kitchen space in front of her.

“No welcome home?” Beca jokes. She shrugs off her blazer and moves towards the rack of clothes so she can hang it up neatly. Chloe quickly places a hand on her chest but before Beca has a chance to squawk indignantly at Chloe’s hand placement (Beca totally doesn’t think it’s nice or whatever...because she doesn’t care), Chloe stares at her seriously.

“Do we have enough groceries?”

“Did you eat all the groceries from two days ago?” Beca asks, confused. She turns on her heel to open the fridge to check. “Nope, we literally have all the food that we still haven’t eaten.”

Chloe slumps, moving to sit at the table instead. “Sorry, it’s just been super hectic today. I know we just went to get stuff, but my parents are stressing me out so much.”

Beca smiles sympathetically. “I get it, my dad was messaging me all day today. I told him it would be fine. It’s just a matter of waiting it out.” Beca injects some optimism into her tone. “Plus, Amy isn’t around this weekend so…” she trails off hoping Chloe will understand.

Chloe brightens. “Trashy television night?”

Internally Beca groans, but the smile on her face is genuine because it’s worth it to see Chloe smile.

— — — — —

So the whole having a crush on your captain/co-captain/best friend/bedmate thing?

Kind of overrated. Beca’s over it—or she wants to be over it.

She wants to stop thinking about how nice Chloe’s smile is or how effortlessly Chloe can lift her when she overenthusiastically hugs Beca.

Or how ridiculously happy Chloe makes her.

All those dumb things and dumb feelings that she never really felt to any extreme or significant levels with Jesse. And definitely not that one night stand after her break-up with Jesse.

It’s just that Chloe had somehow always been there, somehow slipping through the cracks and all the crevices of Beca’s carefully constructed walls—places that Beca didn’t even know were available to fall victim to Chloe’s special brand of love and care.

But if there’s one thing that Beca has come to love about Chloe, it is exactly that care—that specific way Chloe somehow makes her feel like she’s the most cherished person in a room. In the world, maybe.

It’s gross and cheesy.

Beca loves it.

It just kind of sucks that all of this pondering—all the pondering the world, maybe—wasn’t enough for Beca to be wary of what it would mean to be stuck twenty-four-seven in an enclosed space with the girl she’s in love with.

— — — — —

With how busy their lives have been, Beca realizes with a pang in her heart that she really hasn’t had time to just sit down with Chloe and just be. It’s Tuesday and after a weekend spent just catching up with Chloe and meal-prepping for the rest of the week, Beca realizes that this whole situation could be a lot worse.

I’ve missed you, is what she wants to say.

Like most things when it comes to her feelings for Chloe, it just sticks inside her head instead and she settles on saying good morning to Chloe.

“It feels weird,” Chloe admits, sitting down next to Beca on Tuesday morning. She scoots her chair closer to press her cheek against Beca’s shoulder.

Beca scrolls lazily through her social media feeds, a habit she picked up from Chloe. Naturally, her body turns into the warmth offered by Chloe’s close proximity. “What feels weird?”

Chloe sighs. It is a large enough sigh to shift Beca’s shoulder as Chloe moves against her. “Not having work.”

Unlike Beca who was permitted to work from home, Chloe’s supervisor suggested that she just take some time off. It wasn’t like Chloe was really being paid a lot to begin with, as a temporary veterinary assistant, but Beca knows that the blow must be hard on both the financial and emotional level.

“You can be my assistant for the day,” Beca suggests. “I have to finish finalizing a few tracks on this album. You can give me feedback. It’ll just be like the old days. Just, um, don’t tell anybody about it. And no posting on social media.”

Chloe immediately brightens at that, like Beca just offered her the entire world on a silver platter. The kiss that she presses to Beca’s cheek is absolutely worth it.

— — — — —

Chloe is, as Beca has always known, incredibly attentive. She also has no real concept of personal space.

Beca knows however, that if she had bothered to say anything to Chloe about that, Chloe would have backed off years ago, but Beca kind of likes that it’s their thing. Kind of.

So when Chloe leans right over her shoulder to watch her work, Beca says nothing.

Whatever.

This is way better than being stuck in an office.

— — — — —

“Hey,” Chloe says, drawing Beca’s eyes up from her screen. “I’m just going to shower, do you mind.”

Beca shakes her head, no, because she doesn’t mind. Chloe lives here too. Chloe can totally walk around half-naked if she wants. She’s confident about all that. Chloe can toss a towel over her shoulder and hum to herself. Chloe can squeeze Beca’s shoulder in affection. Chloe can step into their dingy bathtub, draw back the curtain and proceed to strip off all her clothes in front of Beca—almost quite literally—and just shower a few feet away from where Beca is accidentally deleting an important layer in her audio editing program.

Chloe can do whatever she wants because Beca and Chloe are roommates and that’s what roommates do.

— — — — —

Chloe doesn’t need to shower every day, Beca’s sure of it.

She’s not really complaining. It’s not like she can even see anything, though the reappearance of her rather vivid sex dreams about Chloe on Thursday night is alarming.

But honestly, Beca’s not really complaining even though she hundred percent moves her seat at the kitchen table on Friday so her back is towards the shower.

She thinks Chloe pouts at her on the way to her shower, but Beca’s too busy renaming arbitrary files on her computer to really pay attention to that.

— — — — —

It’s crazy that it is in these circumstances that Beca is really truly considering that she should just tell Chloe how she feels. It’s just hard, wanting to kiss Chloe all the time. It’s hard because they’re really and truly alone and Beca has nothing to do but stare at Chloe’s stupidly perfect face and her lips and she has to see her sweet smile.

It’s gross. Beca’s gross.

(It also doesn’t help that sometimes she catches Chloe staring back—with the same degree of affection to boot. The same care, affection, and desire in her eyes that Beca knows must be shooting out of her own like fucking spotlights.

But she supposes that she could be imagining it too.)

“Beca?” Chloe asks. “Are you watching?”

Chloe’s voice cuts through Beca’s thoughts gently. Beca gazes up at Chloe who has not moved her attention from the screen. She takes the moment to genty observe the curve of Chloe’s nose. The fullness of her lips. The way her lips gently part as she expels a breath.

“Yeah,” Beca says before slowly dragging her eyes back to the screen with some reluctance.

She’s fucked.

— — — — —

Beca Dude where are you

Fat Amy At a friend’s place, don’t wait up xoxoxo

Beca What???? Come home now Amy?????

— — — — —

“Remember college and how I said I wish I experimented more?”

Beca chokes on her water.

“N...yes? Why?” Beca demands, ignoring the way her heart races. Being in close proximity to Chloe tends to do that to her. Nothing new.

Chloe hums to herself. “Nothing. Just lots of time to think today.”

“Oh,” Beca says. “Okay.” She quickly refocuses on her work.

Chloe sighs and returns to her textbook.

— — — — —

Beca blames the long, extended time spent inside. She kind of forgets that they had dinner plans. Or that she probably should have sent that email to her boss.

It’s so easy to forget that they’ve been confined to their apartment for days, but Beca can’t complain.

Mostly because Chloe’s tongue is in her mouth doing absolutely sinful things.

And well—now they’re kind of tumbling onto their deeply uncomfortable but satisfactory for the moment bed, Beca grunting as her back hits the mattress heavily.

“Sorry,” Chloe pants out, drawing back. “Are you—”

“M’fine,” Beca mumbles, pulling Chloe back down for a kiss. Chloe responds eagerly, not-at-all minding that she had been cut off. Instead, she makes a happy little sound, curving her body neatly into Beca’s. The warmth of Chloe’s body on top of her own is driving Beca crazy—that and the distinct lack of friction between her own legs. “Wait,” Beca says, after pushing lightly at Chloe’s shoulders. “Wait—can you—”

Chloe’s brow furrows. “What is it?”

“Just…clothes,” Beca mumbles.

“Oh!” Chloe grins then. “So forward.”

Beca’s cheeks heat up spectacularly. She both loves and hates that Chloe can still tease her like this, even though they’ve both completely eviscerated whatever fragile lines they had set up in their already-confusing friendship.

Chloe, ever the master of making Beca feel many things at once, doesn’t stop there, however. She smiles, leans back—sits all the way upright for Beca’s viewing pleasure—and pulls off her shirt in a smooth motion that makes Beca’s mouth go dry.

Then, when Beca thinks that it can’t get worse…

“I like it when you’re forward,” Chloe murmurs, leaning back down to cup Beca’s cheeks before kissing her so thoroughly and deeply that Beca thinks she might soak through her jeans completely.

Speaking of her jeans—

Beca whimpers into Chloe’s mouth when she feels Chloe’s thumbs expertly popping open the button on her jeans before Chloe is pulling away again to slide the offending material down her legs. Beca scrambles to sit upright so she can pull off her shirt quickly.

It is all pent-up urgency and flying clothes as Chloe climbs back over her, all messy hair and flawless skin, and pulls her into another sweeping kiss. It ought to be illegal, the way Chloe’s tongue flicks through her mouth, desperately seeking out Beca’s. Chloe somehow has made making out a high-level art form and Beca is only all too willing to pay full price for admission to that particular show.

Beca has imagined this, she would be remiss if she weren’t going to admit it right off the bat. It is just difficult reconciling her imagination with this reality because the reality is making Beca’s imagination look very, very weak.

Chloe’s arms come around her, pressing against the mattress before Chloe is rolling them all at once. Beca groans, moving to straddle Chloe which proves to be a mistake, somewhat, because suddenly she can feel the ripple of Chloe’s stomach—damn abs—right against her soaked center. She bites her lip, leaning back slightly and watching with rapt attention as Chloe follows, folding Beca into her arms again.

“I want you so much,” Chloe rasps, voice hot and low against Beca’s neck. “Like, right now.”

Have me, Beca wants to say. I’m yours.

A whole slew of clichés float through Beca’s mind, but all she manages is a guttural moan because Chloe chooses that mount to eagerly palm Beca’s stiff nipple while sucking a nasty hickey into the side of her neck.

“Was that a yes?” Chloe murmurs.

“Fuck yes,” Beca grits out, holding Chloe’s head against her as Chloe’s kisses descend lower so she can envelop Beca’s neglected nipple in her mouth. The sensation of Chloe’s lips, her tongue, the graze of her teeth—all of it right against Beca’s sensitive flesh.

— — — — —

So how that happened is kind of a long story and it might or might not be Beca’s fault.

The short story is that Chloe wanted to watch a movie and Beca had agreed because movie nights with Chloe usually meant cuddling.

But strange times call for unexpected occurrences, though upon reflection, the build-up had been there all along.

(Literally. For years.)

Beca just didn’t really expect the whole making out thing. And the sex thing.

Oh—

And the whole ‘watching Chloe sleep next to her while she runs her fingers through beautiful red hair to calm herself down because her heart is threatening to burst out of her heart’ thing.

That thing.

— — — — —

“You’re horrible at picking up signals,” is the first thing Chloe says to her when Beca wakes up on a bright and sunny Saturday morning.

“I am,” Beca agrees, rolling into Chloe’s body with no intention of going outside ever again. “But maybe you’re horrible at dropping hints.”

“Maybe,” Chloe murmurs, breath hot against Beca’s mouth.

— — — — —

“So this is week two,” Beca says in the most dramatic voice she can muster. She grins at Chloe’s little delighted giggle as she pulls the sheets over both of their heads. It is early Monday and Beca’s phone has been on silent pretty much all weekend. She and Chloe pretty much only left the bed to shower and eat, both of which were activities that could be pleasantly underscored by sex.

“It is week two,” Chloe echoes, pulling Beca in for a slow, muted kiss. It reminds Beca of the kiss Chloe had woken her up with after their first time—the mild disorientation had faded away quickly.

“Whatever shall we do?”

— — — — —

Beca thinks that morning sex absolutely should be part of her regular routine—no matter the circumstances.

Chloe trails gentle fingers down Beca’s neck, between her breasts. Beca waits with heavy breaths, watching Chloe’s progress as she maps out invisible lines on Beca’s body, like an artist at work. Beca clenches her hands into fists, resisting the urge to pull Chloe into another messy kiss. She kind of likes this slower pace—this care and attention bestowed upon her. Chloe’s eyes are incredibly blue as they track over Beca’s body carefully, like she doesn’t want to miss a thing.

“You’re so…” Chloe trails off, sighing happily as she presses lazy kisses around the curve of Beca’s breast before leaning up to suck gently at her nipple. A familiar sensation now, Beca’s back still arches obediently as her breathing quickens.

She doesn’t need Chloe to finish her sentence. She just needs Chloe to continue whatever she’s doing. Naturally, Chloe settles between her legs after a few more torturous minutes of lavishing attention on Beca’s chest. Beca’s hips rock up impatiently, almost of their own accord. She is wholly aware of how uncomfortably wet she is and she knows she’s going to need another shower, but she doesn’t care about that at the moment. The ache between her legs only intensifies when Chloe’s fingers finally make their way to her aching clit.

“Oh fuck,” Beca mumbles. She slowly moves her hand to tangle her hand in Chloe’s hair, needing to feel Chloe closer on all accounts. She spreads her legs wider to accommodate her lover, heaving a breath when Chloe shifts closer still and leans up to press a kiss against Beca’s neck delicately.

“I think I love seeing you like this the most,” Chloe murmurs.

“Like—how?” Beca squeaks out when Chloe’s fingers press down more firmly against her clit. A soft whine escapes her lips.

“This. Spread open. For me.”

Chloe says that like it is the most natural thing she could say to Beca. She says it like she is simply discussing a reading assignment or that she thinks Beca should add another layer of harmonies.

Not at all like she's describing exactly how much Beca wants her; how wet she is; how much she needs Chloe between her legs before she combusts.

Beca pulls Chloe in for a messy kiss, already aching for Chloe’s tongue in her mouth. Chloe indulges her for a few moments, sweeping her fingers through her wet folds. Up, down. Around.

Beca cries out, muffled against Chloe’s mouth. She rips herself away from their kiss. “Chloe, please. Fuck me.”

Chloe grins and leans back in to nip at her lower lip gently. “I thought I was?”

Beca groans in frustration. Fucking tease. She tightens her legs around Chloe’s waist, moving her hips so that Chloe’s fingers almost slip inside her. At the sensation, her head falls back and she lets out a broken whimper.

“Oh,” Chloe murmurs. “You meant like this.” Chloe gently pushes a finger past her folds and Beca clenches hard around it. Chloe begins a slow rhythm, curling her finger every now and then. “And like this.”

It is such a slow, steady pace that Beca has no real reason to complain. Uncomfortably, her neck arches. She reaches down to grip at Chloe’s wrist with a trembling hand, but she does not stop her. “More,” she whimpers. Begs. “Please, baby, more.”

Chloe seems to perk up at the pet name (or the begging—Beca thinks she should do more research; she can absolutely do more research with all the time in the world at her disposal) and to her credit, she listens to Beca for once. She picks up the pace, this time adding a second finger to join the first. Beca grunts at the fullness, blinking up at the ceiling for a brief moment before she squeezes her eyes shut only to see stars explode behind her eyelids. She grunts again, louder, slackening her grip on Chloe’s wrist. Automatically, her hand drifts to her momentarily-neglected clit and she rubs at it with as much pressure as she dares.

Chloe growls—full-on growls—and nips at her throat before using her free hand to move Beca’s hand out of the way. “I want to,” is all she says when Beca opens her eyes, ready to demand Chloe explain herself.

Oh.

Well, if Chloe wants to do that, Beca isn’t going to stop her. They’ve got weeks to figure it out.

— — — — —

Beca Amy, nvm, you should probably stay exactly where you are Just to be safe yknow thanks

fin.

#bechloe #beca mitchell #chloe beale #anna kendrick #brittany snow #pitch perfect #its dumb i know #au #gif #my fanfic #mine #queue #mine:au

410 notes · View notes

satoshi-mochida · 4 years

Link

Tobyfox has provided a status update on the second chapter and beyond of Undertale sequel Deltarune in celebration of Undertale‘s fifth anniversary today.

First, here are the latest screenshots from Deltarune‘s second chapter:

Get the full update below.

Introduction

Hi everyone.

If you’re reading this, you must have been sticking around for about five years.*

I want to express my gratitude for everyone that has supported and encouraged me over this time.

Thank you.

I’ve said it many many times before, but I didn’t expect the simple game I made to receive so much attention. Because of that, many interesting things have happened, and now I can even spend my time making another game.

It seems both of us received a lot of happiness from this occurrence.

If it’s okay, I would like to keep striving to do things that make both of us happy.

Let me know what you think about that.

*Since the Undertale demo released in 2013, the game has really existed for 7 years. It’s already been more than 25% of my life…

Deltarune

I will make another.

I am making a game called “Deltarune.” It is the second game in the Undertale series.

The game will be released in many “Chapters,” the first of which I released two years ago on Halloween. Since that time, I’ve been working hard to figure out the rest of the game.

However, it’s a game that’s much harder to make than Undertale.

Graphics are more complicated and several times more involved.

Systems are more complicated.

Exposes the weak points of my creative and artistic ability.

Plot is much harder to tie together (more characters, more important locations).

Significantly more content than Undertale in one playthrough (especially cutscenes).

I have only made one game ever.

Unlike Undertale, this is the type of game that would normally have many designers working on each aspect of the game.

A story writer, a composer, an audio director, a map designer, a battle designer, a minigame designer, and an overall director. Instead, all of those roles end up handled by me.

The good news is that a few months ago, I completed a significant milestone regarding the game’s design. I completed readable outlines for every chapter in the game, including first-pass dialogue for almost all the cutscenes, examples of the music, etc.

Although certain details are still hazy, the flow of the game and all major events and battles that take place are now clear.

In summary, I largely spent the past two years writing, composing, designing, and drawing. However, that’s not the whole story.

We had actually attempted to develop the game since the time too. Development started around March 2019 and a 99% work was spent on investigating engines alternate to GameMaker, which I used for Chapter 1.

Without getting into the details, I decided a few months ago to go back to GameMaker after all. It still felt like the best fit for the project. So using Chapter 1 as a base, we’ve started creating Chapter 2 since May 2020.

A lot of progress has been made since that time. I believe we can complete this chapter, content-wise, before the end of the year (not accounting for translation, bugtesting, and porting).

I feel very confident. And the strange thing is, even though we ended up using the original engine, I don’t regret the lost time, either. Not only was I still busy designing the game, but during that long period, I was able to think of many ideas that make the game’s story and characters better.

I’m glad that I’m making the Deltarune that I have now and that we are making healthy progress.

Deltarune Status Estimate

■ Chapter 2 (04.15.20 – 08.13.20)

Phase 1: Design

Main Design: 100% (dialogue, etc.)

Initial Setup: 100% (stuff involved setting up people to make the game, adding debug tools, documentation, etc.)

Phase 2: Implementation (05.01.20 ~ 08.13.20)

Art: 90%

Cutscenes: 80% (90% are started, needs 2nd pass)

Bullet Patterns: 70% (enemies are mostly completed, bosses are about 40% done, needs 2nd pass)

Non-Bullet Battle Elements: 30% (Some ACTs are done and enemies are fightable, but interactive ACTs need to be completed and polished and the bosses aren’t programmed outside of bullet patterns)

Audio: 80%

Maps: ??% most are started or placeholder, most need 2nd pass. NPC interactions are completed in all spots where written.

Other: 65%

Phase 3: Finishing

Balancing: 0%

Bugfixing: 0%

Translation: 0%

Porting: 0%

(Honestly, a lot of stuff FEELS like 80% to me, but the truth is that what’s there is quite rough now. Polish ends up taking a lot of time, so the real actual time value may be around 50% done…? We’ll see what happens. It’ll be a lesson for everybody.)

■ Chapters 3 and Beyond

Phase 1: Design

Story and General Game Progression (first-pass): 100%

Cutscene Dialogue (first-pass, lacking cutscene instructions): 95%

Map Design (textual): 70% (varies per chapter, earlier chapters totally completed)

Map Design (drawn): 0% (this takes a lot of wrist energy so I don’t do it until we start programming)

Enemy Design (conceptual): 90% (all bosses are known)

Enemy Design (bullets / visual): 80% (varies per chapter, earlier chapters totally completed)

Music (concept): 95%

Music (completed): 50%

Visual Design:BG Concept (first-pass): 75%, Important Character, Bosses (first-pass): 100%

Phase 2

Sprite Art: 20%?

Other Content Creation: 0%

Phase 3

Release Readiness: 0%

(These numbers can be somewhat deceptive though. My true design style is to reach the moment where we have to make something, then suddenly think of something different at the last minute. This is always how it’s been with me and my work. It feels like no matter how much I plan, everything comes down to what I think of at the last second…)

Team and Disability

You may have noticed from my phrasing, but yes, there is a team helping me create the game. Other than me, there are about three active team members working day-to-day, with a few other people pitching in from time to time.

Their roles of the main members are overall content implementation and organization, bullet pattern implementation (part-time), and art (Temmie). Other than designing, I still have the role of system programmer.

I’m extremely grateful to have a team helping me carry out my design especially because of my disabilities, which have also made development more difficult.

Although I have long suffered from wrist and hand pain, about five months ago my wrist was the worst it’s ever been. I could not play the piano, use the mouse, and barely could use the keyboard. I navigated everything through voice to text.

Through weightlifting, exercise, and various equipment I have been able to somewhat increase the stamina of my wrist to an extent. Various solutions have included trackball mice for each hand, using voice to text whenever possible, using a foot pedal to click the mouse, etc.

Now I can use the mouse and keyboard for a certain amount each day provided I take frequent breaks. I wish I could work without stopping. Once the world situation improves I would really like to take physical therapy again and/or investigate surgery to repair my wrist.

Future Plans

Once we finish Chapter 2, I would like to use it as the base to create future chapters from. After gaining experience from this chapter, I think making future chapters will be easier.

Part of me wonders if we could make the game faster if we increased the size of the team and did something insane like create multiple chapters in parallel. However, another part of me understands that, adding more people doesn’t guarantee that the game will be created faster if it’s not done properly. I’m already just barely avoiding becoming a bottleneck on development even with a team of this size, due to my physical limitations.

To that end, I am interested in making a list of people that could potentially help me make the game. I’m not 100% sure if I’m going to ask anyone to help, but I think if I could find just 1 person that works well with me, it’s worth asking.

Chapter 2 is proceeding at a good pace, so if we do take anyone on, it will probably only be for Chapter 3 onward. So please understand that anything you send in may not have an immediate result.

People I Am Looking For

Feel free to send in your portfolio if you have the following qualifications:

Worked in the game industry before

Worked under NDA before

Have professional references

A degree of creativity while also being okay with just following directions

Fluent in English

People I Might Actually Use

Music Transcription / Basic Arrangement (Part-Time)

I usually start making songs by playing the piano and singing. An important step after this is to take this basic outline and transcribe it into melodies and chords. Though there are not too many remaining songs to transcribe, it would still help my wrist to have someone else start this process for me. Although I know many musicians, I’m sheepish to ask for help to them, because the main role is actually just to help me compose my own music…

Helpful qualities:

Good at transcription.

Can stand listening to me sing.

Optional: can use an old version of Fruity Loops.

Bullet Pattern Programming (Part-Time)

I’m looking for someone to help me program bullet patterns into the game. These people will work from text and visual designs to create fun battles that match the feeling of the game. I already have one person helping with this, but I think a second person would help a lot. You have to be able to use Gamemaker Studio 2 to manipulate objects on the screen / okay with using pre-existing scripts to accomplish this.

Helpful qualities:

Sense of fun and understanding of player perspective and gameplay balance. This aspect is [many times] more important than programming ability.

Reliable.

Able to make patterns based off of visual/text instructions.

Fine working with a poorly made battle system.

Able to sprite bullets.

Good visual / timing sense.

Minigame Programming (Part-Time)

There are a few minigames and small interactive events in the game, which appear in and outside of battles. These could take any kind of form… who knows what I’m thinking! Have you made a game before?

Helpful qualities:

Same sense of humor as me.

Some level of spriting ability is useful.

You have to have made a game that is fun.

Ability to work together with me.

Unlikely to Hire, But Send Me Your Information Just In Case

Cutscene Programming (Part-Time)

Besides the battles, the largest amount of content in the game is definitely the cut scenes. You will have to understand Gamemaker Studio 2, but the majority of the work is simply using a scripting system that I created to make characters move around the screen. The most important quality you can have here is not programming ability but the ability to efficiently use the system in order to create scenes with a good sense of humor, timing, and emotion.

I’d strongly prefer to hire someone I know to do this because it involves the story. So I most likely won’t hire anyone else.

Helpful qualities:

Can take text instructions and impart a proper sense of timing, humor, and weight to them.

Fine working with a custom scripting system (or smart enough to make something better that makes the game easier to make).

Art (Part-Time)

Sprite art—Temmie has already drawn a massive amount of art for the game, and continues to do so. And I actually already have a few other artists that have helped me that I’m more than happy to keep working with if things become more overwhelming. So currently I actually don’t need any more artists.

However, personally, I’d really like to build up a portfolio of available pixel artists and even concept artists. It’s not as if this is the only game I will make during my life. Anyone chosen for this game needs to be able to match the style of the game, but I’m interested in seeing people with different styles as well. Knowing that I have different options can open my mind up to different creative pathways.

Helpful qualities:

Can take bad looking sketches and turn them into art that looks good (magic).

Don’t mind if your work gets completely drawn over or thrown out.

Anyone that can draw cute or cool poses is good.

Uninterested in seeing people that have an art style outside of the scope of the game.

Write (Full-Time)

Someone needs to transform into a new wrist for me.

Helpful qualities:

Flexible.

Doesn’t hurt.

Musical sense.

That’s everyone I’m looking for. The only other kind of person I might hire would be a single jack-of-all-trades type that can do any sort of things such as cutscenes, bullets, or even system programming, with a good degree of visual flair. (But if you can do those sorts of things, aren’t you busy making your own game already!?)

Anyway, I’ll show you the e-mail now. Just make sure you read these rules first:

Don’t send in e-mails about anything else!

Don’t send to other team members, Fangamer, etc. about helping out!

Got it? Then please send your information to this e-mail address:

[email protected]

Since Fangamer will be sorting through the e-mails for me, we’ll stop taking e-mails at the end of September so they don’t get overwhelmed. Ultimately, I’m only looking for one or two people, and to make a list of the rest of the potentially helpful people in the world.

Undertale is available now for PlayStation 4, Switch, PS Vita, and PC via Steam and GOG. Deltarune Chapter 1 is availble for PlayStation 4, Switch, and PC via Deltarune.com.

#Deltarune Chapter 2 #Deltarune #Undertale #Tobyfox #RPG #Gematsu #long post

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demifiendrsa · 4 years

Video

youtube

Braid Anniversary Edition - Announcement Trailer. It’ll launch for PlayStation 5, Xbox Series X, PlayStation 4, Xbox One, Switch, PC, Mac, and Linux in Early 2021.

Overview

I’m very happy to reveal that we’ve been working in secret on Braid Anniversary Edition for a while now.

Back when I was originally working on Braid, even when it was a simple project with ugly programmer art and looked nothing like a respectable game, I knew that one of the primary goals of the project was to treat video games as a medium with serious artistic potential. That potential involves longevity: many great works of painting, sculpture, and architecture have lasted for centuries and inspired generations of people. Video games weren’t like that back then (and still mostly aren’t today), and I knew I couldn’t predict what would be necessary to keep the game alive and available many decades into the future; but I knew it was part of the project, and that I would try my best.

Back when Braid was originally being developed, with its launch platform being the Xbox 360, 720p seemed like a pretty high resolution. Neither the Xbox 360 nor the PlayStation 3 could render most games at higher resolution than that; a few games could barely do 1080p, if they were very spare with regard to per-pixel detail, which Braid was not (Braid‘s style involves drawing lots of translucent particles over each other, which means each pixel is drawn many times!). But when David Hellman came on to the project to do the game’s visuals, we decided we would future-proof the game by drawing all the source art at *twice* 720p, then scale it down for the game’s release. At the time, around the year 2007, this was difficult to do; the tools we were using would chug unresponsively when trying to edit such large bitmaps. But surely this would all be worth it, because it would allow us to re-release the game with sharper graphics later on!

We just didn’t think far enough ahead, I guess; before too long, 4K monitors became available, some folks are using 5K monitors, and 8K is on the horizon (though that seems pretty excessive to me, right now!) If you play original Braid on a 4K monitor, the result is blurry and unpleasant to look at. The original double-scale art that we had archived for Braid would still be blurry at 4K, and anyway it was never really meant to be seen at that level of detail.

So, if we want people with modern computers to be able to enjoy the game the way it was meant to be played, how do we do that? Well, I guess the answer is for David to repaint the whole game at much higher levels of detail, so that is what we did. While we were at it, we could add extra animations and effects to make movement feel better; we could use more sophisticated brush-stroke effects to animate the foregrounds and backgrounds; we could go to some of the scenes that, in retrospect, could have used more attention in terms of visual concepts like unique landmarks, and build them out into what they deserved to be. Then we could upgrade the sound and music (the original sound effects were mostly bought by me for 99 cents each from a random sound-effects web site); Martin Stig Andersen (who worked on Control, Inside, Limbo, and other games with great audio) and Hans Christian Kock (who has done extensive film and TV work) have been handling this and the results are very moody. Don’t worry though, the soundtrack is all the same music, though the guys have done some great mixes that really amplify the mood in the late-game.

In fact, the whole time, one of the guiding principles has been that we must not _Star Wars Special Edition_ the game. Greedo doesn’t shoot first, we don’t add a bunch of CGI that sticks out like a sore thumb and ruins the mood, and so forth. So whenever we add a graphical enhancement, we’re careful to respect the original game, and to ensure the new thing fits well. Sometimes this is very difficult! But it’s important that we don’t change the fundamentals of the game in the process of upgrading it.

If you miss old Braid, you can toggle between the original and the _Special Addition_ at any time by pressing a controller button or keyboard key. This changes not only the level of graphical detail, but the sound effects and music and the extra elements in the scene. It’s a cool effect, and we use it sometimes in the commentary when talking about the changes we’ve made.

Oh, I haven’t mentioned the commentary yet!

Of course it was natural to think of doing commentary in a re-release like this. I wish more games had good developer commentary in them. But as I think about the games that have commentary, my impulse is, I want to push this a lot further. I want to go much deeper into the subject matter than developers usually do; I want to say stuff that really gets to the heart of why things are the way they are, rather than just saying some surface stuff for the sake of doing commentary, as often happens. I want to cover all subjects involved in the game—art, programming, game design, level design, history of independent games, whatever else—and if you want a high-level, short explanation, you can get that, but if you want a 20-minute-long explanation of why a particular puzzle is the way it is, you can get that too. You can follow particular threads of commentary spatially, through wormholes that go from level to level, to see examples of particular concepts; the commentary has lots of markup so we can circle stuff on the screen, point arrows at whatever visual detail we are talking about, show diagrams, play back recordings of gameplay to show what happens if you try doing this or that in a particular level… and many other capabilities.

The goal is to make it the craziest, most-in-depth commentary ever put in a video game.

#Braid Anniversary Edition #Braid #video game #PS5 #Xbox Series X #PS4 #Xbox One #PC #long post

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christyto4d-beyond · 4 years

Text

Inspirational Artist Link: Responses

Electric stimulus to the face: This felt a little disturbing to me to watch - to see people’s faces and muscles moving without their will. It felt to me like a commentary on how much of human experience is actually just reaction or reflex and we are all programmed the same.

Alter Bahnhof: I thought this concept was fascinating - I didn’t realize until several minutes in that what was on the screen wasn’t what was currently happening. At first I thought we were watching the artist record. The way she used the overlay of past and present was really powerful - especially as she was talking about national and personal memories.

Bike Lanes: Oh my gosh! I loved the brashness of this piece. And Casey’s commitment to a kind of physical comedy to drive home a point.

Candice Breitz’s Portraits Legend + Queen: Neither of these albums are sound tracks that I have spent much time with, though I am familiar with many of the songs. So the musicality pieces was not a huge draw for me. However, I love the structure of these works. And I love thinking of them as portraits because it’s a true description on several levels. It’s a portrait of the original artists and a portrait of the album. It also ends up being portrait-like of each of the participants.

Meat Joy: This one made me curious. It sounded like the audio was reading instructions for something and I wonder if they were written for something else and then applied as part of this piece or if they were written for this piece? Between the French and just the older sounding audio I don’t think I caught all the words. What I could see and tell was that this piece was really pushing boundaries and it felt like it was making a statement about bodies that really resonated with me.

Vanessa Beecroft VB40: More than beauty and suffering, it seems like Beecroft’s pieces (and especially VB40) are commenting on what it means to be a woman in this society. This is one that will stick with me and that I will be reflecting on for a while. One of the things that really struck me was how some of the women would glance around and once they saw others sitting or resting, only then would she give herself permission to do so also.

Quintet of the Astonished: I love this deep dive into human emotion. With the 5 actors, it feels like a commentary on how everyone works through series of of overlapping and even contradictory emotions and that we all respond to a similar event a little differently. What resonates most with me is that it feels like an almost giving permission for viewers to deeply feel their own emotions.

Staging: Listening to Hassabi speak, I was so aware of the building tension and discomfort watching someone just be somewhere and to move so slowly and intentionally - it also made me much more aware of my breath. It made me hyper aware of the space and their surroundings, as she said. It feels like she is slowing down time by literally slowing down movement in the moment, rather than editing it later. I’m really interested in the contradictory reaction her work elicits - in me and it sounds like in others.

Talking Tongues: Wow - I feel she’s just sitting next to me chatting - and it’s horrifying to think how little has changed to protect women from routine violence.

Perimeter of a Square: The main elements of this piece (the taped square, the movement in time to the metronome) are very fixed, rhythmic and almost rigid. There was a disjarring contrast between that almost static/fixed nature of the primary elements with the disorganized background and the occasional awkward transition between sides or directions. It leaves me thinking about structure - how can it can scaffold a form and create deeper meaning, but also how it can stifle content/meaning if it’s too rigid.

Punk Prayer: Using music and performance to challenge the power of the church and state resonates so much with me. At first I was wondering how did they have get permission to produce this in such a traditional looking church - and then I realized they hadn’t and were just doing it!

Cut Piece: This piece made me super uncomfortable - particularly seeing the men come up to cut pieces of her dress off. Especially the man at the end, who cut off the straps of her white camisole or undershirt made me squirm and made me mad - particularly because that was outside of the bounds of what [I understood] she had invited people to do (cut the black dress off).

Interior Scroll: This appeared to me to be a commentary on where we as women look to for guidance, purpose or meaning. Is it exterior like in books? Or interior? And when we look and are guided from inside ourselves it makes others really uncomfortable. I really loved this and that message really spoke to me.

Bound Foot + Mouth: To me, this piece felt like it was about the entrapping nature of shame: it keeps us slipping and sliding, on unsure footing and with no words, to move forward. The other words in the pudding I think were sexual slurs -- maybe part of the cyclical nature of causing and perpetuating feelings of shame?

Wholesome: This film resonated for me as an allegory for information - we are force-fed way too much information to process and healthily integrate or respond to every day.

Roll of a Woman: The double entendre of this is amazing. Nice to way to end a list with some heavy topics

How to Earn a Glass of Water: This is so hard to watch and reveals such a hard truth about disparate access to resources.

Can knot: Guitterriez wrote about the need for patience and perseverance in attempting to solve problems as the meaning behind the piece. However, what stood out and resonated with me the most was that the microphone was the last cord to be untangled. It said something to me about voice and how (especially as women) there is so much built in to silence us, to make us stay small and those systemic pressures have to be worked through and untangled interiorly to find our (my voice) to be then be able to address them exteriorly.

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rk800downloading · 6 years

Text

“Save me” Chapter 15 - Connor x Reader

Disclaimer: Last chapter before the storm guys! Thank you all so much for reading this far. YOU are the heart of the story ❤

Previous Chapters: 1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 / 12 / 13 / 14

“Detroit is so big!” You gasped, eyes wide.

Everything glowed neon above you - malls as big as skyscrapers, rails reaching so tall it seemed as if the trains flew through the clouds.

“Makes it easy to get lost, huh?” Tim squeezed your arm. “Stick with me okay?”

“Mhm!” You chirped, breathing in the sights and smells as if your life depended on it.

The sounds of street performers mixed with the chaotic noises of politics, store chimes, and chatter. For once, you felt so alive, so exhilarated.

You loved the city, loved how people would run around with their coffee cups spilling, how they would smile and swear - had places to be, family to visit.

If you lived here - in a sleepless city with bustling people - would it make you feel less alone?

Would you have things to do?

People to visit?

A strange heat began forming in your eyes.

“Tim,” your voice wavered, “do you ever think I could live in a place like this?”

“What do you mean?” He led you to a bench overlooking a fountain.

You bit your lip. “I don’t think I’m going to be adopted.”

“Hey, now,” Tim’s expression grew sad, “why would you say that?”

“I’ve watched so many kids come and go.” You breathed deeply. “I’m not dumb. I know that no one wants me, I’m worthless.”

Tim pulled your head to his shoulder, letting you hide the tears threatening to fall.

“You can’t base your value off others - those people who don’t want to adopt you are all idiots. They’re nervous of how smart you are, how much talent you possess.”

You sniffled into his sleeve, “Ugh, you’re so full of crap - but thank you.”

“I’m not just saying things.” Tim laughed, stroking your hair. “I’m not programed to be inefficient, why would I waste time lying?”

You sat up, rubbing your eyes. “I guess I’ll believe you.”

“And you know,” Tim smiled at you, gaze sparkling - full of hope. “If you want to live in Detroit one day, I believe that you will.”

---

“Clothes,”

“Money - in cash,”

“And a cellphone.”

The three of you stood in Hanks room, over the scattered contents of the black bag.

You had steeled your emotions, focused your mind. You weren't a police officer. You had no training on offense, defense, or investigation - but you were no longer a girl who would hide while others protected you.

Today you would visit the graves of children and your family.

Today you would hunt for GOR - you would find Tim.

But first, you needed to understand why you were at this motel before - to connect the last piece of the missing memories. Or, at least attempt to.

“Clothes makes sense, you obviously planned to stay in Geneva for a few days,” Hank mumbled, crossing his arms.

“Not the cash though.” Your eyes narrowed. “I never carry cash - I'm always broke. There must be at least 500 here.”

“525 dollars,” Connor corrected. “But nothing appears to be suspicious about their serial numbers - no correlation of where the bills came from.”

“The cellphone though…” Hank’s gaze rested on the device. “Gotta be something here.”

You watched as Connor grabbed the phone, hand fading to white. The screen booted up at his touch, prompting a password.

“4678,” You spoke without hesitation - it was a number you could never forget.

Connor’s eyes shifted to you, head tilted. “4678… What is the significance of these numbers?”

You blinked hard, caught off guard by the question.

Why did he want to know?

“Well it’s George, Ophelia, Richard, Tim. The first letter of their names in T9.”

“G, O, R…” his LED blinked yellow. “...T?”

“Shit.” Hank shook his head. “It was so fuckin’ simple it pisses me off. He made an alias out of the people he killed?”

Your lips grew thin.

This whole time, you secretly wanted to believe in Tim and your childhood memories of him - but the evidence was damning. It continued to pile up - started to make you feel numb to Tim and who he used to be.

“Apparently.” You choked back your building disgust and stuffed it deep into your stomach. “Any clues on the phone?”

“Two messages,” Connor offered you a look at the screen. “From an android.”

You squinted at the pixelated font.

(2) New messages (15 d ago): (01-16-400) 089-567-888.

“This isn’t even a proper phone number, how could I have received texts from it? How do you know it’s an android?”

“Androids don’t communicate using hand-held devices. We contain a radio transmitter and receiver within our audio biocomponents that allow us to communicate with each other as well as other electronic devices via data packets and electrical signals, but because it is apart of our OS-”

“Connor. Please.” Hank interrupted, sighing exasperatedly “Simple.”

“My apologies.” Connor rubbed the bridge of his nose. “Androids have cell phones built into their ears, but because they are a part of our bodies, we don’t have normal phone numbers - instead we use our serial numbers.”

You grimaced. “So this is probably Tim’s serial number?”

“The prefix of numbers ‘01-16-400’ do indicate an AP400 model.”

“The same model as the one who left the handprint on her neck… Yeah, that sounds about right.” Hank rose from the motel carpet, pacing around the room. “Alright, what do those texts say?”

You pressed on the screen, revealing only symbols and binary.

“They don't say anything.” Connor’s voice grew irritated as he tried to access the messages. “I don't detect any malfunctions in the phone. The data packet must have been corrupted before it even sent - it would take days to decrypt this.”

“Of course, why would it ever be easy?” Hank grumbled, pulling a beer from the room’s mini fridge.

“A beer?” Connor was skeptical “Really Hank? It is currently 9:02 in the morning...”

“Shut up. It helps me think.”

“Pass me one?” you asked, receiving an even more incredulous look - you had never seen Connor's eyebrows raised so high.

“That's my girl!” Hank laughed, tossing a can in your direction.

You gave Connor a quick smile before popping the tab and sucking back the bubbles. Its bitter carbon snapped at your throat, working the gears in your brain, forcing you to think.

“Okay, so we know I had contact with Tim before I came to Geneva. The message was from 15 days ago, and I checked in to this motel 12 days ago, right? Is that all we’ve learned?”

“No, there is something else as well…” Connor shook away his shocked expression, taking on a serious tone. “Tim must have already been damaged when he sent these messages. Do either of you remember how Tim looked when we saw him at the abandoned warehouse?”

“That’s a no from me.” Hank gulped down the last of his drink. “I kind of fucking tripped and knocked myself out, just in case anyone forgot.”

Your shoulders rattled from holding in laughter.

Hank glared.

“It’s not funny, not at all,” you sputtered, before regaining your composure. “I can remember, but it’s blurry.”

“I’ll draw it.” Connor stood, grabbing a small notepad and pen from the room’s desk. All you could hear was a flurry of scribbles before he returned 30 seconds later.

“Wow,” You and Hank spoke in unison, nodding in appreciation of the artwork. Connor’s ‘scribble’ was worthy to hang in The Louvre.

“It’s a masterpiece, isn’t it?” You looked in awe.

Hank pompously moved a hand to his mouth, taking on a pretentious tone. “Doesn’t it invoke a feeling of sadness? That’s what I’m getting from it.”

“Yes… Quite.”

“Mmm.”

Connor sighed, “No- the details, look at the details!” he pointed vigorously. “The jaw! Look at the way it’s slacked!”

You looked closely at the picture, piecing it together with what you could remember about the encounter.

“That’s right, his jaw looked stretched...”

“Yes,” Connor straightened out his leather jacket. “I’ll try to spare you the complex explanation this time Hank, but as I’ve said before, androids are made in the same anatomy as humans. There is a joint that connects the jaw to the ear - stretching out the jaw would cause system errors to the audio biocomponent - to his transmitter - effectively corrupting any outgoing data packets and signals.”

Hank leaned against the wall. “So, you’re saying his jaw was fucked before he sent the messages and that’s why they were damaged?”

You frowned. “But that could have happened when he murdered everyone in the orphanage - they would have fought back.”

“Androids are both faster and stronger than humans.” Connor’s voice was grave. “From the picture I’ve seen, no one looked physically able to even dent him without a gun, and there was no evidence - from the way his jaw looked or the police records of the incident - that a gun was ever involved.”

“Get to the point, kid.” Hank’s gaze sharpened.

Connor sat on the edge of the bed, resting both his hand between his legs.

“Something isn’t… making sense. The android from your memory said he was the only android Tim ‘kept around’. I think it is safe to assume that the rest of the androids were disassembled like the one we saw in the warehouse. What I’m concerned about is who made Tim’s face look like that. An extreme amount of force must have been exerted.”

“Could that be why he was talking about revenge?” you added. “He said something about taking revenge out on someone when he broke that android.”

“You think there’s someone else involved?” Hank’s curiosity piqued.

“Someone strong enough to damage him to the point that he would want to retaliate?” Your brain hurt from all the information, all the new ideas. “Could someone have taken revenge on Tim for what he did to the orphans?”

The room fell silent.

Your head was spiraling - you felt dizzy, sick.

GOR, Tim, murder, red ice, thirium, blood...

Revenge.

And now something - or someone else.

“Fuck!” Connor swore, breaking the pen in his hand. “I don’t know…!”

Hank pushed himself off the wall, reaching into his pocket.

“Only one way to find out, kid.”

The jangle of his keys echoed throughout the room.

“Lets go ask the bastard ourselves.”

Next Chapter: CHAPTER 16

#detroit become human #detroit: become human #Detroit: BH #detroit: connor #detroit connor #rk800 #rk800 connor #dbh #dbh connor #connor x reader #fanfic #hank anderson

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