When I approach Yelan (or anyone else I've written), I don't just look directly at her character, but I also look at her surroundings. Both the ones that she knows by some semblance of necessity, but also those that she chooses. Like here, I talked about the Chasm, and what being 'okay' with existing down there needs to mean for a character, because it's not normal. Someone's surroundings, room, or home say a lot bout who they are and what their mindset, or specifically, their perspective is of the world. And sometimes, I think it says more about people than even the characters realize.
This brings me to the topic of the city of Fontaine. Now, I personally think it's rather obvious that a lot of the nation takes from historical France, and so when looking at it, I think it really adds to remember its monarchy, the view that the 'common folk' had of it, and its inevitable demise to non-existence today in terms of importance as a result. So my first question is, who constructed or decided on its layout? Was it Furina, Neuvillette, Egeria? Whoever it was, there's a lot that can be said about their view of the world and their placement in it when you look at locations of buildings. Look at where Palais Mermonia, its governing body, is located within the city; it sits at a rather astounding elevation in comparison to, well, everything and everyone else in the city. This frequently represents the concept of 'distance' between groups in one way or another, and seeing the consistency in other nations, this is something that is rather intriguing to me, especially keeping Fontaine's characters in mind (and considering this is the nation of 'justice'). Mondstadt has everything almost entirely uniform, with arguably the church on the highest level (but it isn't greatly elevated in comparison to all else), but it's joined with the plaza and statue which are a common gathering site for all people in the city. Liyue had the gods and adepti visibly living among the humans back in the days of the Guili Assembly for reasons of 'integration' (my apologies to numerous from our dear Guizhong!) The fact that numerous adepti now live far outside of the harbor is a different matter entirely, and the one who seems to function within a semblance of separation of sorts is Ningguang with the Jade Chamber (but I'm not one to speak on behalf of her character as I don't bear the knowledge). Inazuma also has the Tenshukaku at a higher elevation in comparison to the rest of Inazuma City. Sumeru is interesting, but ultimately Nahida was kept at the very peak of the city, far out of reach of humanity— but that's exactly the common denominator that has my interest, the distance between the 'governing body' and humanity for one reason or another.
But Fontaine really takes separation to a different level in my opinion (and again, think of this when you think of the person having designed the whole city), not only because of the above which I'll elaborate more on in a moment, but also its separation from the outside world. Now, this is interesting to think about if you keep in mind that it was perhaps done in eventual protection of the city's inhabitants in terms of the prophecy (which means that this would have been constructed anywhere during or after Egeria's reign), but then why is only Palais Mermonia far above the water's reach? If the walls surrounding the city were ever breached during said prophecy, all its inhabitants are pretty much immediately caught in the flood and would drown, which tells me nothing positive of the city's 'architect' or whoever signed off on the designs. But if not done for the prophecy, then why? Stand in the middle of the Court of Fontaine and really look around you, the only sights you really have of the outside world are the sky, and it's obstructed by a fair bit of the waterways and gardens that hang overhead, which you can only properly enjoy when you take the ages long elevator to the upper level where the palace is located (which, credit due, seems freely accessible to everyone in present-time). But if you don't venture up, how much of the outside world do you get to see? It feels very secluded, very much under lock and key. On some level (and this is one of the many reasons why I think that the Meropide is so excessively important in Fontaine and it's likely why we spent so much time there; it's all to show the ever, ever important contrast and nuance between this 'autonomous nation within Fontaine' and, well, 'Fontaine'), it almost feels like a prison, regardless of how pretty it may look or come across (and despite not 'lacking rights'). And considering how people in the Meropide speak of not always wanting to return back to the 'overworld' following their sentence, I think that there's definitely quite a bit of truth in that. But again, stand there and look around for yourself.
Now to return to the original topic, but keeping the last one in mind as well, look at one other thing that I'm unsure how many have really kept an eye on: the massive effect Palais Mermonia's level has on the rest of the area (inside and outside of its walls). Have you ever walked through the city of Fontaine at any given time of day or night, north to south, east to west, clockwise or counter-clockwise circling through it; have you ever seen how it overshadows an immense part of the streets below it either entirely on its own (which to me signifies a very domineering presence), or together with those outer walls that surround the city? I know how I've spoken thoroughly with people before about how much I enjoy Fontaine and how dark it is in its storytelling, but despite how gorgeous this region with its water- and landscapes are; its city bears quite a heavy weight to me. I don't know who designed it, or ordered it to be constructed in this way, but nothing about the city itself truly, rationally, shows a healthy perspective versus its citizens.
Me: /continues on to ramble in tags because I'm me and I'm a nuisance with always more to say than I know how to coherently put into these posts.
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Folks talking about Game Devs dropping Unity or how it won't hurt small indie devs with under 200,000. Are missing the point.
Some of these Unity games can't change to another engine because they have years of code piled on top of each other at this point. aka POKEMON GO. They'd basically have to rebuild the game from scratch.
Not to mention Unity is mostly used by phone app games or Indie's that are lucky enough to get picked up by console. Indie games on Mobile easily pass 200,000 downloads. Temple Run 1 and 2 are in Unity, Crossy Road, Angry birds 1 and 2, and Hearthstone. All of these past 200,000 downloads years ago but aren't bringing in money now except hearthstone.
The Developers will do what happened to the first Angry birds app. They'll take it down, build it in a new engine for "HD", and add a shit ton of micro transactions. We are about to lose countless original versions of the OG pre lootbox mobile games.
We are also about to lose some of the biggest Indie games of the last decade. Among Us, Plague Inc., 7 Days to die, the original Slenderman game and it's sequel, I am Bread, Ori and the Blind Forest, Dream Daddy, Overcooked 1 & 2, Pathfinder online, Cup Head, Bendy and the Ink Machine, Oxygen Not Included, Bloons Tower Defense 6, Beat Saber, Subnautica, The Stanley Parable, Untitled Goose Game, Power Washing Simulator, Fall Guys, Inscryption, Phasmophobia
And the big one FUCKING HOLLOW KNIGHT. Silk song has already been pushed back out of this year specifically because it's being made by a team of like 3 people. It is so close to being finished and now they are being told they have to start over from scratch basically. Hollow Knight got over 200,000 downloads from being on playstation and was eventually put on Playstations subscription service. Every cent they made from hollow knight has gone back into making silk song. Which might now be delayed by multiple years and oh they are going to have to use some of that funds to pay unity now. Or find a way to get out of a contract with playstation. Because folks will keep downloading Hollow Knight for free and Unity will send the Hollow Knight team the bill.
oh and there's one more teeny tiny game made in Unity that you guys might not want to suddenly disappear. One with almost 3 years of monthly code updates, one with 139 million downloads to date, and 4.8 million monthly users.
Genshin. Guys Genshin Impact is made completely in Unity and that's not a game that can have it's code just copy and pasted to another engine.
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T4TM (Theseus4TheMinotaur)
lost wax cast bronze, patina & paste wax
2023
(process photos & info under cut <3)
my minotaur boy!! pls click on the photos for higher res! my thesis is focusing on trans men and creatures (how original ik) and this was last semester's final. i spent a lot of time looking at sculptures of the theseus/minotaur story, and yknow? a LOT of them are erotic! i'm pretty sure i saw some of them on tumblr a decade ago, and that's led to this now!
as you'll notice, the minotaur has a big t-dick! i wanted to give him breasts and an enlarged clitoris to present a very masculine trans figure. the boy on the bottom is also trans because i say so . the piece is about looking up to older, bigger, hairier trans men and seeing something awe-inspiring and beautiful. the minotaur was locked up by a cruel father for being different, and i think modern adaptations tend towards a sympathetic asterion (his name in one version)
making this piece was. so much effort. it took me about 3 months to get it all together - from clay model (plasticine) to 3D print to silicone mold to wax cast, and finally bronze pour into the shell mold. and then a TON of filing, sanding, dremel-ing, and various other metalworking techniques that probably took years off my life.
i started with sketches and made theeeeeee ugliest model ever:
then used a 3D scanner to get it digital, then spent a goooood month or two making him pretty in blender! then i spent an agonizing few weeks trying to get it print-ready, and fiiiiiinally did
^^^ an early resin printed draft of the model - you can see in the final that i added lots to theseus after some feedback, but sadly the nosering broke off every time i cast it so i just. let that be <3
then came the moldmaking, and then the wax dipping!! the yellow stuff is shell mold (ground up ceramic bits and algae soup, sticks to the wax, then silica sand in varying sizes on top) which gets the wax melted out, and bronze poured in!
then it's all metalworking, cutting stuff off, and working with hot metal. they don't tell you about all the bronze dust and how annoying it gets wearing a respirator AND goggles. but it is for me health, me boy. here's him all cleaned up before the patina:
and then i spray him down with various chemicals to make it "patina" (aka rust) in pretty colors. wait a few days, then apply paste wax to seal it and give it that shine!
then we get what you see above!!! the blue was actually unintentional, and i'm still not super sure why it looks that way.. but it's pretty so idc <3
thanks for reading!! if you ever have any bronze/casting questions, don't hesitate to message me! <3
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