More info (and insane screenshots) from the House MD DS game for those who want to know.
Way, way too much info under the break!!
The game took me about 5 hours to play total, including pauses for screenshots and cackling laughter. There are 5 cases, and each one has: the main case, a clinic patient, and a small subplot about Cuddy that strings through all 5 cases and concludes at the end of the game. It's extremely linear. To solve the case, you do activities when you are prompted, each having its own types of mini games. Activities include: examining the patient, ddx-ing, running tests, running labs, questioning the patient/friends/family, and searching houses/other areas for clues. All of these mini games suck. The best one is when House has to have an epiphany so you play brick breaker with his brain:
WHEN YOU DDX THEY USE THE MOUSE BITES PHOTO
You'll notice here that the visuals are a little uncanny valley. The likenesses are... not good.
The worst offender is 13, who always looks just a little bit off.
One of my favorite parts of the game is that you get graded on your performance and if you do bad, Cuddy doms you.
And when you do good, Wilson kind of negs you?? Feels like the people who made this game were obsessed with him (same). The contrast in these two screenshots really gets me.
More insane top screen screenshots without context:
Honestly, some of my favorites need both screens to really be appreciated:
I do not recommend playing it, really. These are the best parts, and the game itself is slow and can be frustrating. There is also... a lot of problematic nonsense. Worse than the show. Not going to try to make excuses here.
That being said, it's surreal. House is like a bad stand up comic for most of the game, and so much is out of character - House visits the patient FIRST THING every case, the whole team misses very obvious deductive leaps, there's no gay sex, etc, etc, etc. But at the same time, the people who made the game clearly had a love for the show. It follows the typical structure of an episode faithfully and has some detailed, satisfying visuals in it. Everyone's clothes change each episode, even in their little bottom of the screen sprites. This Wilson makes me happy with his show-accurate mug and hand gesture:
And there are some nice interiors/exteriors of the hospital and better rendered pictures that make me smile:
It made me and my friends laugh a lot. And it also makes me a little sad. I spent a lot of my childhood playing shitty licensed games like this (remember the madagascar one???), but they are mostly a thing of the past. I know they were cash-grab trash, but it's odd that there's this genre of game that doesn't really get made any more. I guess what I'm saying is that I'm glad this game exists.
Anyway, here's an upsetting House and Wilson for the road:
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HOW DO YOU DRAW FACES??!?! seriously, everything about your art is pure eyecandy, I love it SO MUCH, but faces. YOUR FACES. the faces are perfect. they capture every detail. they feel so human. so expressive. i would love to know how you draw/structure your faces because it's the biggest thing i'd like to improve on with my art!
Art is a translation of how you perceive the world. Art is both extremely watered down and painfully vulnerable with emotions. The artist translates the world, and people translate the art. Lots of art gets lost in translation. My goal is to make people read my art regardless of my language. I want my art to speak louder than my simple cluttered words could.
How can you read a face with no words? You have to find your own way to do that, but here’s a very rough way of how I read people and attempt to translate their world into mine.
One practice is drawing straight from a reference. I've been watching TLOU, which has some of the best acting ever and is perfect for screenshotting specific moments to recreate. Pulling scenes from episode five, I stretch and amplify the facial features to properly read their emotions in my style, ex, making Ellie and Sam's eyes bigger to amplify their youth, smoothing out facial wrinkles for simplicity, and (my favorite) exaggerating the mouths so they emote louder.
Second method is feeling how your face moves. Ethan Becker on YouTube explains it better (go watch all his videos) of how to feel and observe how your face compresses and works with different features to properly express emotions. Using your own face as a stencil to understand how your muscle and jaw work is both simple, and always accessible for artist reference.
An example of how I break down bits of a chapter into chunks for each panel while still attempting for it to run smoothly like the writing. Honestly, a lot of this part rides on wanting to do the author justice for their fabulous work. You want to show them how much their work affected you and why it’s totally worth it to draw their stories.
Some examples of scenes from media (that almost made me cry) and how I translate and manipulate it into my style. This is why I redraw scenes from movies so often, not only is it fun and easy, but it’s a great way of studying the masters
But, to actually answer your question, I think the reason my drawings are so expressive to you is because I still follow somewhat typical human anatomy while still being cartoony enough to break the uncanny valley and create an aesthetically pleasing style. I’m still practicing and studying everyday to get better. You must work as much as possible to attempt to properly translate the world.
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bear with me bc this is gonna be a bit of a long one, but i've seen folks talking about how they're excited to get the horrors back on the qsmp and while i totally agree that i miss those blood-curdling, creepy, uncanny valley sort of scenes... i think the beauty of the overall storyline (as much as it's execution can be criticised ) is that we as the audience are seeing things in a vacuum.
the qsmp storyline is a living breathing player alongside our povs, and while we're aware of that, we're also not always engaging with it. we're getting swept up in the day-to-day of it all and getting lulled into a sense of security that ultimately makes us unable to truly comprehend the horror of the last few months until we take a step back and analyze it bit by bit.
children went missing in the night, leaving only their identifiers behind on empty beds. there were no leads. people looked and looked, and found nothing. parents were mad with concern and grief, and the all-seeing, all-powerful entity that rules their lives trapped in this hamster wheel of an island has no answers.
then, the items left behind on those beds vanish too.
then, there's mind-controlling, happiness inducing drugs being pumped into people against their will. still no news of the children. people are falling apart at the seams.
people are led to a maze where a wheel is spun and everything they have left of the children of this godforsaken island is gone. burned up. what does it mean? no one knows. they have to live on.
suddenly, a game is played. a clone of a dead child shows up, leading some of them into the same maze, forcing them to walk through a maze of doors and corridors, only to find a game of dice orchestrated by an unknown entity.
new people arrive, bearing witness to the hopeless, grim, sad reality of everyone who was already there. there's hope — there's always hope — but my god the pain is overwhelming.
there's clues, but there's not. the government keeping them trapped here against their will still has no answers, nothing to point them in the right direction.
faceless bears go missing.
faceless bodies show up on the streets. bloodied. dead. eaten.
suddenly, there's thunder and lightning and oh! oh, their children! of course they'll get on the train, that's where the children are!
but they're hijacked. stolen. once again, their autonomy is stripped entirely as another entity with power they cannot comprehend forces them to split into factions and compete for... something. their children's lives are on the line and they maim and kill those they call family because they fear they have no choice.
everyone went through hell — purgatory was a bad title for what they went through. it was hell, with no salvation in sight.
when all is said and done, when all the murder and backstabbing is over, they see their children through glass they cannot break. one escapes because chance said so, and the rest are left behind as the ceiling collapses on them.
the world is ending and their salvation is one singular boat a thousand blocks away. lovers can't say goodbye, friends run for their lives together, a father and a son dash desperately with no hope in sight. some stay behind, through choice or chance.
the government official that has made their life hell returns the children to them, and brings some new ones. those new children get carted off to new parents without option (again) and suddenly everything's supposed to be fine! nevermind your friends are gone! nothing to see here!
behind the scenes, the all-seeing all-knowing government is breaking apart, there's something far more horrifying and twisted at play in the background... but it's nothing the islanders can help with. nothing they can do. they have to live on and pretend their golden cage is fine and dandy bc at the end of the day, it's their only option.
one-eyed creatures show up demanding something "of theirs" back and bc humanity is strong, one islander refuses to hand someone kind and innocent off to them.
it dooms them, as their humanity has every single time.
now, they're under attack and they can barely defend themselves despite months of prep and having amazing gear — again, they try their hardest but everything is stacked against them. they fight, and fight, but their children are on the line and that's their main concern.
every fight? there's bodies littering the ground and panicked screams. explosions. chainsaws revving, and worry, and it's a war ten times a week.
a child loses a life, and now it's personal, but what can they do? no one listens to them, no one has ever listened to them.
and in the middle of all of this? their family is still gone, trapped in a wasteland, or missing, or... dead.
there was no funeral for q!maxo bc there's no stopping to smell the roses on quesadilla island, not really. where's slime? where's pol? where's the people who they haven't seen yet? gone, yes, but they don't have time to stop and worry about them. they don't have time to mourn losses and grieve their dead.
luffy, who came to try and help their friends, was stolen and hurt.
those eyeball workers? they were people once, maybe good people. maybe the best people we never got to meet, but they got shifted and changed into something monstrous and out of their control.
my point being: the story that the qsmp is telling is innately horrifying. it's not just creepy — it's twisted, and tragic, and absolutely terrifying. it's about loss of agency and running on an endless hamster wheel of someone else's making, and how you just sort of... live with it after a while.
and i think that's really fucking cool, because like these characters we too get used to the tragedy of life, little by little, and forget to see the whole thing from a bird's eye view (pun intended).
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