#and that's thinking about just the texturing n model tweaks
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Bruh someone built a whole ass Lidl in SketchUp and I feel compelled to port it to Skyrim, today's gonna be a fucking day :'^)
#joel hell mods goin well ported a cool outfit n made lidl shoes#made a start on custom weapons with a funky burning skull staff#burning super death sword and a squeaky hammer for fren next#hopefully SketchUp exports are easy i wanna throw it in blender n substance painter but I've never tried a full goddamn building before#this is gonna kick my ass i know it#and that's thinking about just the texturing n model tweaks#I'm gonna have to navmesh it and get in the fucking game too goddddd
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do you have any suggestions for making second life characters n models?
OKAY! So basically in terms of pricing it is much cheaper and more accessible to be a furry than a human in second life, usually with people you gotta hunt a bit more but I’ll list you some basics that I think are a good start. Here's a couple things I have off the top of my head, there is a TON of stuff out there on second life but here's the ones I use!
THIS WILL BE LONG SORRY. I REALLY LOVE RAMBLING ABOUT STORES YOU CAN USE IN SECOND LIFE I broke the links by spacing after the colon so if you want to copy and paste it just delete it! You know how tumblr gets with a lot of links LOL
FURRY STUFF:
If you want to be a pony, the Open Pony avatar is free and extremely customizable. You’ll start with only two basic mane and tail items and will probably have to spend some money if you want more stuff, which typically for the pony ranges from 200-600ish lindens depending on where you shop. This is about 3usd, but you can also customize the hair by selecting individual faces in the editor to get the colors and textures you desire.
MAJOR DOWNSIDE TO BEING A PONY THOUGH IS THAT THIS AVATAR WAS MADE BY *THOSE* KINDS OF BRONIES. THERE IS REALLY GROSS STUFF ON THE SECOND LIFE MARKETPLACE FOR THE PONY AVATAR :( USUALLY YOU CAN FILTER ADULT CONTENT BUT SECOND LIFE SEARCH ISN’T ALWAYS SO SEAMLESS. It is extremely unfortunate that this is like, the only up to date my little pony avatar we currently have on the marketplace but we make do, there are a lot of normal horse people out there it just is heinous if you go to my little pony sims.
https: //marketplace.secondlife.com/p/OP-OPEN-PONY-Basic-Pony-Avatar/22771877
Some of the free manes/tails/outfits/etc. I know currently exist are here:
https: //marketplace.secondlife.com/p/OpenPony-Shadowbolt-Suit/22790327
https: //marketplace.secondlife.com/p/HMART-Summer-Dress/23599366
https: //marketplace.secondlife.com/p/NX-Short-Bob-Mane-Add-Me/23761577
https: //marketplace.secondlife.com/p/OP-mesh-brows/24547847
https: //marketplace.secondlife.com/p/OP-I-LOVE-MOM-TATTOO/23808113
https: //marketplace.secondlife.com/p/HMART-Izzy-Mane-Tail/22786915
https: //marketplace.secondlife.com/p/OP-rainbowshine-kit/24806876
https: //marketplace.secondlife.com/p/NX-Rainbow-Bright-Mane-Add-Me/23671728
https: //marketplace.secondlife.com/p/OP-mail-set/24794285
For FURRY furries, like if you want to be an anthro animal, there is a lot of body mods out there for standard human avatar bodies (which I’ll get to in a moment) but for the most bang for your buck, I would recommend the SugarCult Regalia body. It is the easiest to customize if you ever look to wanting to make your own custom skin textures and is also modded a ton in the community so there is a load of content at the ready for it, the body link is here:
https: //marketplace.secondlife.com/p/Sugarcult-Project-Regalia/18217485
This one costs money, but it is pretty good for the price deal, you’ll get multiple body shapes that you can customize and tweak to your liking. When/if you want to shop for custom textures, make sure you look for ones that say are BOMR or BOMR compatible for the best results!
Really good beginner furry heads that have great animation quality and accessible prices are the Happy Paw heads! The link to the Happy Paw store is here:
https: //marketplace.secondlife.com/stores/175788 These heads often have a ton of textures made for them, and you also get a developer’s kit with the purchase of them! I use these heads a lot.
Another good store is Anima, though it recently disbanded. Their products are still available on the marketplace and are good if you want a less toony and more oddball looking furry, the prices are a bit higher but they are also pretty easy to custom make textures for too! And like Happy Paw, a lot of mods are available on the marketplace for them!
https: //marketplace.secondlife.com/stores/244580 Here’s the store link for Anima!
HUMAN/HUMAN ADJACENT STUFF:
You can still use the Regalia bodies for people, but Regalia tends to be more specialized by the community in furry texturing, so finding human skins will be harder if you don’t make your own. There are a LOT of human bodies to choose from, and usually I say the best thing to go with are the ones with a ton of mods for on the marketplace so it is easiest to shop. The ones I use are Belleza Jake and eBody Reborn.
Belleza Jake usually goes on sale pretty regularly while eBody is kind of a fancier body model and costs more LOL it is so pricey to be an up to date human model in second life. Ugh okay I’m like writing this whilst looking at the second life marketplace right now and for whatever reason I literally cannot find the belleza jake bodies. -_- I’ll keep you posted if I can find a link to it because that’s annoying idk why SL does this sometimes.
The body I use aside from jake is the eBody Reborn, and the downside to that is they only allow like, known store owners to get the texture kits from the eBody Reborn if you want to make it, for that you’ll just have to go to the eBody inworld store to get it LMAO it’s pretty pricey though, I got it because it is kind of on sale right now but it’s still probably about ~10usd. There is literally so many mods for it on the marketplace though. I use it because literally everyone and their dog has stuff on sale that’ll usually fit the ebody and it’s perfect if you want to have a billion fun outfits.
ANOTHER downside to the ebody is that the ass is so big, you have to find a good deformer that’ll fit it if you want to make a smaller body that doesn’t have a huge ass. Second Life creators are usually all insanely horny!
HEADS I KNOW OF AND/OR USE:
https: //marketplace.secondlife.com/stores/101160 Raven Bell is what I use for my people avatars, and here is the whole store since it also sells hair that usually is pretty good too! The heads are about 2,000L and more expensive than the furry body entirely though… but! I have wound up using it a ton to make other avatars. There’s an older model of head they have that they no longer support though since it’s old that still has more mods than their more recent stuff from other developers, hilariously enough. If you don’t care for all the fancy new animations you can go to their inworld store and get the old head.
https: //marketplace.secondlife.com/stores/210372 This store has two free anime styled heads that are better than most the anime heads you’ll run into on the marketplace purely because it’s free to use and there’s a texture and developer kit that comes with it. I think it was ripped directly from that pixiv free to use avatar? It’ll say it’s one linden on the marketplace but if you go to their inworld store you can get it free of charge.
Some hair stores that are typically unrigged and can fit most heads with minimal editing (just stretch/rotate/reposition to fit):
https: //marketplace.secondlife.com/stores/167897 This one has some genshin impact hairstyles LOL
https: //marketplace.secondlife.com/stores/68045 this one by far has a TON of random hairs that I use.
Overall, with human avatars it’s much more vast and hinges on what you’re looking to make. Let me know if you or anyone else has any further questions! I usually know a few stores off the bat that can fit specific looks people are going for haha
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Donkey Kong Country
In my previous post, I talked a little about Snake Rattle 'N' Roll. My recollection of that early Rareware entry is, like most NES gems, rooted in early memories of BlockBuster rentals. However, Snake Rattle 'N' Roll is not the game I would casually throw out as the defining hit that cemented Rare as a developer juggernaut in my mind.
That game is strangely GoldenEye for the Nintendo 64. That would mark the first time I was conscious of the company in a capacity that separated it from Nintendo, despite its close relationship with the Japanese company.
That's not to say I never played Rare games. But I was so young; I only knew such games as Nintendo products because I didn't understand the licensing relationship Nintendo had fostered with third-party developers. A relationship that was so important to Nintendo that it would go on to delay the Super Nintendo amid a global chip shortage during the late 80s because they could not get out enough development kits.
But this fact about my childhood makes it hard to see Rareware's classic Donkey Kong Country trilogy as anything but peak Nintendo. You have to consider how confusing this all was for a child. Because Donkey Kong, the character was indeed Nintendo's creation. Shigeru Miyamoto had breathed life into him and Mario when making the original Donkey Kong in one fell swoop. I played the arcade cabinet at Pizza Hut on many occasions. I had a copy of the NES double bundle of Donkey Kong Classics that I played with my mom at home. So when I first laid eyes upon Donkey Kong Country for the first time over at my uncle Nathan's house, I thought Nintendo was just doing what it did best.
Making pure fucking magic.
To be fair, I think one can argue that Nintendo did have a hand in the success of the Donkey Kong Country series. For one, they were open to the idea of Rare using the character of Donkey Kong. But they also gave Rare a boost of cash inflow by buying stock and letting them go buck wild in the development phase, with Nintendo mainly being hands-off because of the tremendous faith they had in Rare's ability to push pre-rendered graphics.
As a kid, the results were hard to ignore. Donkey Kong Country had an art style unlike anything else in the SNES library. Even close to thirty years later, it still manages to impress me. And it should impress. Donkey Kong Country was made on some truly costly hardware. Rare used Silicon Graphics workstations that ranged anywhere from 45,000 to 100,000 USD each. Rare's cash infusion from papa Nintendo allowed them to afford several SGI workstations that used Alias PowerAnimator. Alias PowerAnimator had gained traction in the cinema world for special effects in The Abyss and in the film Terminator 2, both James Cameron movies. So it was the perfect software suite to create Donkey Kong Country's tasty visuals.
Rareware would create the 3D models, textures, and shading in Alias PowerAnimator. They would finish with the animation and then downsize it to fit the hardware requirements of the SNES, with developers hand tweaking the sprites to give the most detail. This is bonkers when you consider that the SNES was still a tile-based system, which meant that the super detailed backgrounds of Donkey Kong Country's many levels had to have been a pain in the ass to cobble together.
It's the level of dedication to craft that I could only associate with Nintendo as a kid. Even the lush score by David Wise seemed too wild a concept for my then 7 or 8-year-old brain. No, this had to be the work of Japanese game developers.
Why I had sanctified Japanese developers in my most formative years is an interesting question. My exposure to Japan as a kid was minimal. Beyond Nintendo, there were only Godzilla movies. I didn't even have anime as the usual suspect because early anime distribution in America was abysmal.
If I had to explain it, I think it was a child's misunderstanding of two very different cultures and their relationship with each other. In my naive mind, Japan was full of creative and carefree people. They made things like kaiju films and video games. The few images I had seen of Shigeru Miyamoto in Nintendo Power painted a fantasy character akin to Willy Wonka.
This was in contrast to my perception of how most adults viewed video games in the west. If you are an adult now, you may remember that video games, along with heavy metal and dungeons and dragons, were the primary corruptors of the youth. Conservatives and even dull liberals were making it a habit to highlight the addictive nature of games, much less the violence in some of them. So many people in government wanted the average family to be more like the Walton's and less like the Simpson's; an actual quip from that was uttered by President Bush in 1992.
As weird as it might seem. I thought the average American and European person was too uncreative to make video games. And depending on what year on the timeline gets brought up in my afterlife, that idea might still pan out.
So it would probably shock the kid me to learn that Donkey Kong Country is a product of probably one of the most vanilla plain places on the planet. Bloody England. Twycross in Leicestershire, to be exact, if my notes are correct. Especially when you consider that the 40 levels offered in DKC are some of the most fun you can have on the system.
To give the game it's proper historical ranking by yours truly, I must admit that the original Donkey Kong Country was a well-respected game but often passed over when picking a game for a play session. This might seem weird, but you have to consider that my SNES collection was not gained piece by piece but gifted in bulk by my uncle Nathan when he got his Nintendo 64. As a result, some games that should have got a hefty amount of playtime might have been a little light because I had an overabundance of choices.
Still, there are a lot of games I would have passed over to play Donkey Kong Country. Especially considering my age at the time. As much as I might find Drakkhen charming and memorable today, I could only put up with so much robust RPG bullshit before I needed a simple platformer to soothe my worries.
In terms of difficulty, the game was hard enough to offer a challenge but with the level of approachability that was typically reserved for Nintendo's own games. Unlike earlier versions of Mario, the titular Donkey Kong was not alone. Donkey Kong had his little buddy Diddy Kong to back him up, allowing the players to take up to two "hits" before losing a life and having to restart the level. As a kid who grew up playing bullshit like Contra, I thought any introduction of multiple hits before a life/level wipe was fair.
Like Mario World, Donkey Kong Country had its own cast of loveable ridable animals that would assist the Kong crew on their adventures. Don't ask me their names; I just remember a Rhino, Ostrich, and the Swordfish for the water levels.
As far as the gameplay loop went. It was not precisely reinventing the wheel. You jumped on the bad guy's heads. You collected bananas like Mario's coins for 1-ups. The platforming was Mario tier, with some complexity here and there on some of the mine cart levels, but nothing so infuriating as the Mega Man jump puzzles.
Still, the design carried a lot of weight. Moving Donkey Kong away from his initial King Kong appearance to that of a tie-wearing cartoon character did a lot. The additional cast of characters such as Diddy Kong and the Kermlings supplemented this move. The pre-rendered graphics, while still looking fuzzy due to being downscaled, still gave the illusion that the game was punching graphically above its weight. But don't ask me if I know how much the game actually pushed the hardware.
If I had to rank Donkey Kong Country on a tier list. I would probably give the game a solid A. That ranking might fluctuate once I consider other games that would have to share space with it. But the game's visuals, tight controls, and impressive soundtrack might still win me over.
If I had one wish for this game in the modern era. I wish there could be a remaster using the full-size images from Rare's SGI workstations. I don't even know if that is technically possible or if the work is still available to Nininteo or Rare. But I can dream, right?
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hi sovo! i'm about to replay kotor 2 and i was wondering if you play with any mods? aside from the restored content mod of course :) thanks! <3
yeah of course! i use a bunch, and i actually saved a list of everything i installed when i re-modded my copy of kotor 2 a little while back. here it is!
> Essential Mods
TSLRCM 1.8.5 (Restored Content Mod) | tslrcm185_2020.exe
https://deadlystream.com/files/file/578-tsl-restored-content-mod/
the mod. the myth. the legend
UNIWS (Universal Widescreen)
https://www.wsgf.org/article/universal-widescreen-uniws-patcher
enables widescreen. apparently this isn't necessary for the steam version, but i still remember having to install it?? weird
Widescreen UI Fix for Knights of the Old Republic 2: The Sith Lords 4.1 | Widescreen UI for Steam.7z
https://deadlystream.com/files/file/332-widescreen-ui-fix-for-knights-of-the-old-republic-2-the-sith-lords/
fixes a few instances of GUI stretching at widescreen resolutions
Improved Widescreen Experience 1.0.0 | kotor2-wsui_1_0_0.zip
https://deadlystream.com/files/file/839-improved-widescreen-experience/
fixes more instances of GUI stretching at widescreen resolutions
KotOR 2 Remastered (AI Upscaled) Cutscenes 1.0.0 | 1080p.zip, 1080p Patch.zip
https://deadlystream.com/files/file/1522-kotor-2-remastered-ai-upscaled-cutscenes/
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> Personally Essential Mods
Textures Improvement Project 0.4.1 | TIP_0.4.1.rar
https://deadlystream.com/files/file/462-textures-improvement-project/
makes game textures utilize game shaders
Unofficial TSLRCM Tweak Pack 1.2.4 | URCMTP 1.2.4.rar
https://deadlystream.com/files/file/296-unofficial-tslrcm-tweak-pack/
rolls back a few of tslrcm’s changes/additions
installed kaevee removal (pt 1 & 2) and gand check
KOTOR 2 Community Patch 1.5.1 | KOTOR 2 Community Patch v1.5.zip
https://deadlystream.com/files/file/1280-kotor-2-community-patch/
a combination of a bunch of bugfix mods, making the ultimate bugfix mod
got an error "Unable to locate archive "....\Steam\SteamApps\common\Modules\001EBO.mod" to modify or insert file "sensor_droid.utc" into, skipping..."
fixed by making a Modules folder in SteamApps\common and copying 001EBO.mod there, then moving the .mod file back
TSL Improved Party Outfits 1.0.1 | TSL Improved Party Outfits.zip
https://deadlystream.com/files/file/1012-tsl-improved-party-outfits/
makes companion’s default outfits more useful in combat
lets me justify keeping atton in his iconic jacket all the way through the game. jedi robes? never heard of em
also installed improved Handmaiden's Robe
Player & Party Underwear 2.0 | TSL_Player_and_Party_Under_wear_v2_by_RedRob41
https://deadlystream.com/files/file/344-player-party-underwear/
gives companions unique underwear that matches their default outfits
installed atton, baodur, disciple opt 1, “male standard fixed”, and “dancer muscles match standard underwear”
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> Expedite/Improve Gameplay Mods
Thorium charge mod | thorium_charge_mod.rar
https://deadlystream.com/files/file/147-thorium-charge-mod/
adds a thorium charge right next to the mandalorian cache door on dxun
Remote Influence | remote_influence.zip
https://www.gamefront.com/games/knights-of-the-old-republic-ii/file/remote-tells-influence
talking to bao-dur's remote lets you find out everyone's influence stat
i don’t really use it but it’s nice to have the option to see how i’m doing, especially with "modified influence" installed
Modified Influence System 1.0 | Modified Influence.rar
https://deadlystream.com/files/file/99-modified-influence-system/
gives influence opportunities different weights. normally each one gives 8 points, but now they'll reward small (2 points), regular (6 points), or high (12 points). game isn't balanced for this, so it might become impossible to turn certain companions into jedi
i have it installed because i LOVE weighted approval point systems and i’m willing to take the risk bc the only companion i absolutely care about turning into a jedi is atton, who i’m pretty sure i have down pat
TSL Prestige Class Saving Throw fixes 1.0 | TSL_prestige_save_fixes.zip
https://deadlystream.com/files/file/828-tsl-prestige-class-saving-throw-fixes/
fixes jedi master/sith lord saving throws, optionally standardizes jedi weapon master/sith marauder saving throws
i always make cela a jedi master so this one was instant
Workbench Crystal Attunement 1.2 | WCA1.2.zip
https://deadlystream.com/files/file/18-workbench-crystal-attunement/
with wisdom >= 16 you can attune your personal crystal without having to talk to kreia
chose version b, which also removes the "learn how to use the workbench" option
Dahnis Flirt Option for Female PC 1.0 | Dahnis Flirt Option for Female PC.zip
https://deadlystream.com/files/file/1400-dahnis-flirt-option-for-female-pc/
lets you flirt with the pazaak twi'lek on nar shaddaa
TSL Ebon Hawk Downloadable Map 1.2.1 | TSL EHDM v1.2.1.7z
https://deadlystream.com/files/file/1406-tsl-ebon-hawk-downloadable-map/
gives you an option to get rid of that blurry “undiscovered area” edge on the ebon hawk's map
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> Story/Cutscene Mods
Extended Enclave (TSLRCM add-on) 2.5.1 | ExtendedEnclave2.5.1.rar
https://deadlystream.com/files/file/428-extended-enclave-tslrcm-add-on/
extends rebuilt enclave sequence (when you return to dantooine after gathering the jedi masters)
Extended Carth Meeting 1.2 | Extended Carth Meeting 1.2.rar
https://deadlystream.com/files/file/366-extended-carth-meeting/
extends the meeting with carth after the ravager
Kreia's Fall cutscene (in-game) 1.1 | Kreia_Fall_In-game_1.1.rar
https://deadlystream.com/files/file/1228-kreias-fall-cutscene-in-game/
makes kreia's fall an in-game cutscene instead of a bik movie
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> Atton Textures
for reference, these are the textures atton uses:
P_AttnH1 – face
P_AttnH1D1 – face, partial dark side
P_AttnH1D2 – face, dark side
P_AttonBA – ribbed jacket outfit
P_AttonBAD01 – ribbed jacket outfit, dark side
Atton - Faithful HD Reskin 1.1.1 | HD Atton Reskin 1.1.zip
https://deadlystream.com/files/file/1121-atton-faithful-hd-reskin/
this is the best atton outfit reskin out there. this is it. it just don't get any better than this
covers textures 4-5
Shirtless Atton Retex 1.2 | Shirtless Atton Retex v1-2.zip
https://www.dropbox.com/sh/8294q454ax3zysc/AABuIMjKRl16cDcjjU90GnsPa?dl=0
self promo time it is MY mod and it is VERY canon compliant
covers textures 4-5, can be combined with the HD reskin above for maximum effect
also up on deadlystream and nexusmods if you find yourself wanting to leave a comment about how perfect and faithful it is to his character bc clearly the option that artfully rips his shirt draws an additional, visual parallel between himself and darth “sleeps-with-vibroblades” sion which ultimately deepens kotor 2′s rich storyline--
arrenkae’s reskins | P_AttnH1.tga
https://arrenkae.tumblr.com/post/137520491505/yoooo-guys-im-going-to-share-some-stuff-heres
includes atton, disciple, mira, Exile head PFHH01 retextures
covers texture 1, so you’ll still see the vanilla ds transition unless you wanna add in textures 2-3 from the reskin below to get a subtler transition
tiredschutta’s reskin | Atton (vanilla).zip
https://web.archive.org/web/20190225073107/https://tiredschutta.tumblr.com/post/182894978091/no-one-me-%EF%BE%89-%E3%83%AE-%EF%BE%89%EF%BE%9F-heres-an-atton-reskin
i think they’ve changed names since that post so i can’t link directly to it-- the dropbox links still work though
atton (vanilla): https://www.dropbox.com/sh/s9kwbnhp9vqcvxp/AABAytlbyqPm2-pTQCjgDqKna?dl=0
atton (veryveryveryslightlydarker): https://www.dropbox.com/sh/4r9dmlm9klvlame/AAARZkvrImX9U0vHHJbYBvuAa?dl=0
covers textures 1-3, and has a subtler ds transition than vanilla bc his skin doesn’t go as grey
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> Texture/Model Mods, part 1
grouped bc these don’t use tslpatcher, they’re all direct drag n drop
TSL Better Male Twi'lek Heads 1.3.1 | TSL Twilek Heads v1.3.1.7z
https://deadlystream.com/files/file/1432-tsl-better-male-twilek-heads/
improves head mesh & textures
chose option a (slim neck, no collar clipping)
Side Opening Doors on Malachor | Malachor_Side_Door.zip
https://deadlystream.com/files/file/593-side-opening-doors-on-malachor/
changes the direction in which doors open on malachor
originally they slide open vertically; now they slide open sideways as the door design suggests
Telos Citadel Station Skybox by Quanon 1.0 | Telos_Backdrop.zip
https://deadlystream.com/files/file/311-telos-citadel-station-skybox-by-quanon/
improves skybox outside the windows of telos citadel station
Peragus Administration Level Room Model Fixes 1.0.0 | [TSL]_Peragus_Administration_Level_Room_Model_Fixes.7z
https://deadlystream.com/files/file/1275-peragus-administration-level-room-model-fixes/
fixes geometry of room, realigns scrolling text
TSL Backdrop Improvements 1.4 | TSL_Backdrop_Improvements-922-1-4.7z
https://deadlystream.com/files/file/949-tsl-backdrop-improvements/
improves space scenes with new textures
already includes the textures in [TSL] HIGH QUALITY STARS AND NEBULAS (TSL_HQStarsAndNebulas_1_3.zip)
already includes HIGH QUALITY RAVAGER BACKDROP (HQRavagerBackdrop.zip)
[!!!] contains 351NARsb.mdl which for me caused a weird geometry glitch on goto’s yacht -- deleted that one file
Kotor 1 Texture to Kotor 2 Game Bridge 1.0.0 | Kotor 2 to Kotor 1 Game Bridge.rar
https://deadlystream.com/files/file/1330-kotor-1-texture-to-kotor-2-game-bridge/
kotor 1 files were downgraded for kotor 2, this mod puts the original quality files back in
possible transparency issues with vogga-- lengthy discussion in the comments of the file about possible fixes, but i chose to just delete the 4 hutt files
Invisible Headgear | invisible_head_gear_tsl.zip
https://deadlystream.com/files/file/690-invisible-headgear/
makes any gear that blocks atton’s face from view illegal
Malachor Exterior Reskin By Quanon V1.3 | Malachor_Exterior_ReskinV1.3.rar
https://deadlystream.com/files/file/423-malachor-exterior-reskin-by-quanon/
Replacement Texture for Lightning on Malachor V 1.2 | Malachor5Lightning.rar
https://deadlystream.com/files/file/298-replacement-texture-for-lightning-on-malachor-v/
two versions, i chose the flare version
Star Wars KOTOR 2 "Realistic Nar Shaddaa Skybox" | rnssb1.zip
https://www.gamefront.com/games/knights-of-the-old-republic-ii/file/realistic-nar-shaddaa-skybox
Hi-Res Beam Effects 2.0 | DI_HRBM_2.7z
https://deadlystream.com/files/file/221-hi-res-beam-effects/
replaces Force Drain, Force Lightning, Death Field, cold ray, ion, and neural pacifier beam effects
Fire and Ice HD, Whee! v2.1 | FireandIceHDWhee.zip
https://deadlystream.com/files/file/454-fire-and-ice-hd-whee/
replaces flamethrower flame effect
My Realistic Improved Effect Retexture Mod 1.0 | Improved_Realistic_Effect_Retexture_Mod.zip
https://deadlystream.com/files/file/513-my-realistic-improved-effect-retexture-mod/
replaces a lot of stuff, i only use the spark texture
JC's Supermodel Fix for K2 1.6 | JC's Supermodel Fix for K2 v1.6.zip
https://deadlystream.com/files/file/1141-jcs-supermodel-fix-for-k2/
fixes combat animations, optional running fix to match kotor 1
Boma Beast Teeth Fix 1.0 | Boma Beast Teeth Fix.zip
https://deadlystream.com/files/file/338-boma-beast-teeth-fix/
Achilles TSL Robe Mod (TSLRCM Edition) | Achilles Robe Mod for TSLRCM.7z
https://deadlystream.com/files/file/339-achilles-tsl-robe-mod-tslrcm-edition/
went through and picked out the textures i wanted
TSL HD Cockpit Skyboxes 3.1 | TSL HD Cockpit Skyboxes - High Resolution.zip
https://deadlystream.com/files/file/931-tsl-hd-cockpit-skyboxes/
added the optional nar shaddaa realistic skybox
KOTOR2 More Subtle Animated Ebon Hawk Monitors (still not including Galaxy Map) 1.2 | SH_EH_Animated_Monitors_Subtler_Look.7z
https://deadlystream.com/files/file/1237-more-subtle-animated-ebon-hawk-monitors-still-not-including-galaxy-map/
[TSL] Animated Computer Panel 1.1.0 | [TSL]Animated_PLC_comPanel_v1.1.7z
https://deadlystream.com/files/file/1385-tsl-animated-computer-panel/
chose solid monitor, but honestly couldn’t tell the difference between the options unless i looked closely
Improved Dantooine Skybox 1.0.1 | Improved Dantooine Skybox.rar
https://deadlystream.com/files/file/1372-improved-dantooine-skybox/
Mira Shirt Edit 1.0 | mira shirt edit.zip
https://www.dropbox.com/sh/tymwnez3yjrckul/AAAJhTKJJPXNszX32kXJ98gfa?dl=0
gives mira a top to layer with, either sweetheart neckline or v-neckline
also on deadlystream and nexusmods in case the dropbox link ever fails
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> Texture/Model Mods, part 2
grouped bc these use tslpatcher instead of the usual drag n drop
TSL Default Replacement Hilt Megapack 8.1 | TSL_DRHM_8.1.zip
https://deadlystream.com/files/file/496-tsl-default-replacement-hilt-megapack/
replaces default lightsaber hilts, updates icons
High Quality Blasters 1.1 | TSL_High_Quality_Blasters.zip
https://deadlystream.com/files/file/915-high-quality-blasters/
replaces blaster models & textures
TSL Galaxy Map Fix Pack 1.0 | TSLGalaxyMapFixPack.zip
https://deadlystream.com/files/file/1057-tsl-galaxy-map-fix-pack/
moves planets to canonical locations and animates it
chose vanilla/tslrcm option
Fixed Hologram Models and Admiralty Redux for TSLRCM 1.61 | [TSL]_Fixed_Hologram_Models_and_Admiralty_Redux_for_TSLRCM_v1.61
https://deadlystream.com/files/file/1201-fixed-hologram-models-and-admiralty-redux-for-tslrcm/
fixes the hologram models, swaps some heads around, and puts hologram!carth in an unfortunate hat
Realistic Visual Effects | visual_effects_tsl.7z
https://deadlystream.com/files/file/735-realistic-visual-effects/
gets rid of visual combat/force ability effects
sure these effects communicate what abilities are being activated on screen but as someone who plays kotor 2 as a love story with a video game attached to it they're meaningless to me
Luxa Hair Fix | TSL_Luxa_Fix_by_RedRob41.zip
https://deadlystream.com/files/file/452-luxa-hair-fix/
fuck that "this mod can adjust her body model so that her figure is much more shapely" shit i am here for NEAT HAIR ONLY
[TSL] NPC Overhaul Mod 1.22 | OverhaulTSL.zip
https://deadlystream.com/files/file/345-tsl-npc-overhaul-mod/
differentiates npcs to prevent the clone effect
seems to cause issues for a few people (?) and takes literally forever to install; i installed it bc i guess i love pain but i don’t think i’d do it again
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> non-mod changes
fix inability to move after combat:
choose screen resolution @ 59 or 60 fps, no higher
OR enable vsync
fix lightsaber texture not showing up in certain lighting:
in swkotor2.ini, edit to "Disable Vertex Buffer Objects=1"
fix dxun fog:
https://www.youtube.com/watch?v=ftSrN9hMJ1M
enable console:
in swkotor2.ini, add "EnableCheats=1"
enable screenshots:
in swkotor2.ini, edit to "EnableScreenShot=1"
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across the sea | a bokuaka fanfic (act. II)
inspired by the movie ‘portrait of a lady on fire’ by celine sciamma which is sad and lesbian
pairing: bokuto koutarou x akaashi keiji
word count: 21.8k words
contains: historical setting (actually the setting is vague bec if i tried to describe it more it would take 5 extra pages), heavy angst, slight fluff, greek mythology references, implied smut
summary: when Bokuto accepted a portrait commission for the young, engaged Akaashi Keiji, he never expected him to be so beautiful. he knows it's a mistake to be attached, a mistake for them to fall in love in a time when they know it's impossible for them to be together.
a/n: i’m a sad gay who loves sad lesbian movies and portait of a lady on fire is peak film. a lot of the things here are based on the film so i suggest you check out this beautiful movie, but i added a few tweaks here and there to make it my own.
chapters: act. I, act. II., act. III
The next day, Bokuto found Akaashi in the kitchen, of all places, kneading what appeared to be a bread dough next to a distressed looking Kageyama. Bokuto paused for a while, standing by the kitchen door with his arms crossed and a smile on his face, as he watched the young master, who was probably forbidden from working in the kitchen, and the house butler, who was probably worried there were repercussions for allowing Akaashi to do what he was doing.
“Akaashi-san, please allow me to take over from here,” Kageyama pressed.
“Nonsense,” Akaashi chuckled. “I never knew bread-making was this fun. And the dough texture isn’t even near what you described.” Just then, Kageyama had discovered Bokuto was already there.
“Bokuto-san! Please tell Akaashi-san that I can handle preparing breakfast myself!” he demanded. Akaashi lifted his head slightly to greet him.
“Good morning, Bokuto-san. I hope I’ll be able to make you a good enough breakfast with my limited cooking skills.”
“I’ll be making breakfast!”
Bokuto chuckled and approached the wooden table where they were walking. “Kageyama’s right you know. You shouldn’t be the only one making breakfast.”
“Right,” Kageyama nodded. A look of slight annoyance crossed Akaashi’s features. Up close, Bokuto see that a corner of his cheek and a bit of his brow was streaked with flour.
“In fact, I should be helping Akaashi out!” Bokuto grinned cheekily at an even more flustered Kageyama. “Come on Kageyama. Sit this one out just this once. We won’t burn down anything. Promise.”
“And as owner of the estate, I demand that I get to cook breakfast in my own kitchen,” Akaashi backed him up.
“Alright, I guess I’ll sweep every inch of the manor,” Kageyama huffed.
“Nope, not even that,” Akaashi shook his head. “Don’t you have some kind of hobby?”
“Well… I,” Kageyama cleared his throat and looked away with a slight flush in his cheeks. “I suppose I can work on my embroidery.”
“That’s the spirit,” Bokuto grinned. Akaashi had finished kneading the dough and was now shaping it into a bowl on a wooden board. “I’ll scrounge up something to fry,” he said, heading into the larder. A moment later, he came up with some unsliced bacon and a basket of eggs.
“That should go well with the bread,” Akaashi remarked as he slid the unbaked dough into the oven before dusting off his floury hands on his apron. Seeing him without his usual jacket and scarf with the sleeves on his shirt rolled up had a certain charm that stopped Bokuto from looking away as much as he should.
“Would you like to do the frying?” he asked, plucking a knife from where the kitchen utensils were to slice the bacon into thick strips.
“You’ll have to show me how first,” Akaashi said. After slicing the bacon, Bokuto ignited the stove and instructed Akaashi to place a pan over it. As it turns out, Akaashi was a quick learner, even with Bokuto as a mediocre cook and instructor, and in a short while, all the bacon had been fried perfectly and all he had left to do was to crack eggs one by one into the pan.
“You’re not that bad of a cook yourself, Akaashi,” Bokuto commented. The two of them were standing next to each other by the stove, barely inches apart.
“If I’d have known I should have told my mother earlier,” Akaashi smiled wryly. “I feel guilty for saying this but I’m glad she isn’t around. I wouldn’t be here cooking bacon and eggs if she was.”
“Well, not be an instigator but…” Bokuto shot a sidelong glance at him. “Would you want to… do some things you wouldn’t be able to do?” Akaashi raised his eyebrows at him.
“I’m surprised you didn’t think I was already planning to do such things.”
After the bread finished baking and the eggs finished frying, they lay their breakfast out on the kitchen table and brought out plates and forks for everyone. Kageyama, who seemed to have finished a good amount of his embroidery and was no longer distressed, thanked them for the breakfast. Bokuto couldn’t help but watch Akaashi eat with his hands: picking up bacon with his fingers and mopping up egg yolk with bread. His master told him that hands were the hardest things to sketch so Bokuto spent an entire year on hands until sketching them became second-nature to him.
After finishing breakfast, Akaashi met Bokuto again in the dining room to continue the portrait. This time, Bokuto decided to paint more slowly, taking the opportunity to perfect mixing his colors. He hadn’t foreseen needing to paint a second portrait so he noticed that he was running low on oil. ‘I could ask Kageyama to buy some for me from the town nearby,’ he thought, before glancing up at Akaashi. ‘Unless…’
“What are you thinking about Bokuto-san?” Akaashi spoke up, as if reading Bokuto’s thoughts.
“I, uh…” Bokuto stammered. Akaashi cocked his head.
“You had that look on your face again,” he said.
“What look?”
“The one where you’re deep in thought and you raise your left hand to your chin,” Akaasi smirked as Bokuto realized that he was in fact holding that pose. “I do have an excellent view of how you work from here and while I’m not adept at painting, a lot of your habits have been noted down in my mind.”
“Most subjects wouldn’t even pay any mind to the painter,” Bokuto raised his eyebrows.
“You’re not just a painter,” Akaashi said simply. “Back to my question, what are you thinking about?”
“Well, since I didn’t prepare for painting two portraits during my stay here, I seem to have run out of oil,” he sighed, rubbing the back of his hair, no doubt leaving streaks of paint there, not that he particularly cared. “I was thinking about asking Kageyama to pick some up for me at the town tomorrow, but I’m also curious about the town here.”
“So am I, I’ve never been,” Akaashi said. Bokuto felt a smile play on his lips.
“Your tone suggests that you know exactly what I’m planning.”
“Kageyama would forbid it.”
“As if that’s going to stop you, Akaashi.”
“You know me well,” Akaashi chuckled. It sounded like music to Bokuto’s ears. “Are you always this chatty with the people you paint?”
“I do try to get into some casual conversation to put the model at ease,” Bokuto said, dipping his paintbrush in a lighter color to highlight the edges around the portrait. “And I can’t imagine how boring it must be for them to have to sit completely still for hours.”
“Just out of curiosity,” Akaashi cleared his throat. “Have you ever had to paint nude models?”
Bokuto chuckled. “Almost everyone asks that. And yes, I did. My master sent me to classes on nude painting with live models in front of us. Though, it’s not as erotic as most people think. At one point, while painting a woman, I found myself sobbing because it had been more than an hour and I couldn’t get the shadows right and I had run out of paint.” Akaashi laughed again.
“That certainly clears up a lot of mystery,” he said. “Although, I can’t imagine you a sobbing mess.”
“Oh, I was very moody growing up,” Bokuto grinned. “I’d easily feel down when I couldn’t do something right. And that was often.”
“How did you readjust your mindset?”
“Well, I took a step back to look at how far I’ve come. Once I remembered that years ago, I couldn’t even sketch an apple but had reached a point when I can paint one in less than 10 minutes, I knew I could do so much more with practice. And now, I’m here.”
“Now, you’re here,” Akaashi smiled. And Bokuto knew there wasn’t any place he’d rather be.
That night, they convinced Kageyama to let them go to town the next day and that Bokuto would know doubt watch over him and that they wouldn’t let Mikoto-san know. Kageyama agreed, and the next day, after breakfast that was once again cooked by Akaashi and Bokuto, the three of them headed out to town. Something about the day and occasion made Bokuto bring out his nicest shirt which was powder blue in color, with pristine, white buttons. Akaashi looked more casual in his appearance than usual dressed in suspenders and a light, cotton shirt that he had left unbuttoned from his chin to the top part of his chest.
The town near the estate was quite different from the ones Bokuto visited in the city. For one, it was much cleaner, less-populated, and less noisy. Most of the houses and buildings were low, at most three floors in height, and the pathways around town were in cobblestone. The townspeople however, were busy and hard at work preparing for what seemed to be a summer festival. ‘It is the first of May,’ Bokuto remembered and paused during their walk to watch a group of men erect a tall, twelve-foot maypole that had colored ribbons tied around it. Bokuto took a mental image in his head of the scene, eager to recreate it.
“It’s a May Day Eve festival,” Akaashi said, standing beside Bokuto. “Right, Kageyama?”
“Yes sir,” he nodded.
“Have you ever been to one?”
“My hometown celebrates it,” he said, a faint smile crossing his face. “We have a similar way of celebrating as the people here, actually. There will be stands serving blackberry wine and cold drinks. Special stew and fried food made with fresh, summer vegetables. The flower sellers would be weaving flower crowns and selling them for people to wear. And at night, the dances will begin.”
“Is it true that the young girls dance around the maypole?” Akaashi asked.
“Yes. It is a sight to see,” Kageyama nodded.
“If that is so, maybe we should stick around to witness it,” he said. Bokuto raised an eyebrow and smiled at the suggestion.
“But—”
“Come on, Kageyama. Even you want to stick around,” Akaashi nudged him, smiling playfully. “My mother is a boat ride away. The worst thing that can happen is that I get the flu again.”
“We’ll return home before midnight,” Bokuto added. A conflicted look came upon Kageyama’s face.
“Eleven o’ clock,” he finally said.
“Deal!” Akaashi said quickly before turning to Bokuto. “Now, where to?”
The festival was still hours away from starting so after Bokuto purchased his oil, the three of them roamed around town, being dragged off to wherever Akaashi pleased. But neither Bokuto nor Kageyama minded much, seeing as how happy Akaashi was to finally get a glimpse of the outside world. They visited dress shops, groceries, a woodworker’s studio, and florist’s shops where people had already begun making flower crowns. They lingered in a shop selling fabrics and yarns where Kageyama had perused and bought different threads for his embroidery before passing by a bakery to buy bread for lunch.
By the time the sun was close to setting, the town had come to life as the May Day Eve festival began. The town was lit with lanterns everywhere and a bonfire in the town square. “Well, it has started. Anything you want to do first?” Bokuto asked Akaashi.
“Well, the blackberry wine seems interesting,” Akaashi said, looking at one of the stalls.
“Have you ever drunk alcohol before?” Bokuto asked.
“I have the occasional glass of wine when my mother lets me.”
“Just, make sure not to get too drunk,” Kageyama muttered. But Bokuto was feeling mischievous and he was curious as to how a tipsy Akaashi looked like.
“You heard him, Akaashi. Let’s drink to our heart’s content!” he cheered, slinging an arm around Akaashi’s shoulder as they made their way to the stall with Kageyama following behind them. Bokuto had never tried blackberry wine but it was much cheaper than usual wine and sold by the bottle. He bought all of them one each. The wine was sweet, much sweeter than grape wine, but packed more of a punch. Kageyama only finished half of his bottle before retiring to one of the benches to sit down and most likely take a nap, leaving Bokuto and Akaashi to roam around the different stalls by themselves. They passed the rest of Kageyama’s wine between them and Bokuto was highly conscious of the fact that their lips were touching the same bottle. Bokuto knew that at some point, he’d have to stop drinking if he wanted to make it home with Akaashi and Kageyama, but it was a summer night and summer nights were dangerous and recklessness hummed through the air and Akaashi’s smile was dangerous and his hands were warm, and both of them ended up visiting the blackberry wine stall a few times.
By their third bottle, Bokuto found himself standing to the side and watching Akaashi peruse the flower crowns being sold by a vendor. Both of them were sweating from the summer heat and Bokuto could see that Akaashi’s cheeks were especially flushed by the alcohol. “Bokuto-san, how does this look?” Akaashi asked, looking up at him with a daisy crown on his head. Bokuto chuckled, noting that Akaashi seemed to be a bold, impulsive kind of drunk.
“This suits you better,” he said, gently removing the daisy crown and placing one of golden chrysanthemums on Akaashi’s head. “The gold brings out the green in your eyes.”
“You sure seem to like looking at them,” Akaashi scoffed. Bokuto could tell he was teasing him. The blackberry wine made him bold too, and two could play at that game.
“I’m supposed to. I’m your painter, aren’t I?” he raised an eyebrow, nearing closer to Akaashi’s face. By the way his eyes darted, he was caught off-guard for a second, but quickly regained his footing. Just as he was about to respond, a loud call echoed throughout the square.
“The maypole dance is beginning now. If you would like to join, come up front,” a young man yelled. Almost immediately after, people began skipping over to the maypole to claim one of its long, colored ribbons, most of them being young girls. But there were a couple of men as well.
“You should join,” Bokuto blurted out, nudging Akaashi with his shoulder. “To make the most of your May Day Eve festival experience.”
“You think so? What if I get the dance wrong?” Akaashi asked.
“You won’t,” Bokuto grinned.
“Alright,” Akaashi agreed, stepping forward, and turning around to say “But your eyes better be only on me,” he said, fixing Bokuto once again with that piercing stare of his. ‘Dangerous, dangerous,’ the insides of Bokuto hummed but he could only nod and watch Akaashi walk over to the maypole to claim a ribbon. He held it in his hand, taking position with the rest of the dancers. When the music began, Akaashi keenly observed the dancers’ movements, moving slowly at first to copy them, before slowly gaining confidence to not have to look at the others around him. As he danced close to the maypole before spinning outwards, Akaashi caught Bokuto in his gaze once again for one second, before smirking and turning around. Again and again, their eyes would meet, almost as if Akaashi was making sure Bokuto was looking at only him. ‘No, he’s definitely doing that on purpose,’ he said to himself. But with the way Akaashi looked tonight, he shouldn’t have even been worried about Bokuto looking at other people in the first place. His movements were graceful and elegant, especially for someone who had just learned the dance a few minutes ago, and the light from the lanterns and bonfire nearby made his tanned skin appear to glow.
Finally, the dance ended and Akaashi rejoined Bokuto. He was flushed, breathless, and his clothes were in disarray, but he looked more alive than Bokuto had ever seen him. “How was I?” he asked.
“It was as if you were on fire,” Bokuto answered.
They rejoined Kageyama by one of the benches and headed home, occasionally laughing and jostling each other like the young men on the way to serenade a woman. Only, Bokuto had never in his life been interested in women. Not even the most beautiful models that he had encountered during his apprenticeship. Rather, he found himself more drawn to men: those in famous paintings recreating Greek myths and stories from the Bible. His first time had been with a male model he had been working with. It was no secret among painters that homosexual relationships do occur, but it was scandalous enough to be kept secret and away from prying eyes.
Except now, Bokuto could tell that something was different about his feelings for Akaashi, the same way he knew to destroy his first portrait of him and delay the wedding. As a painter, Bokuto was only ever concerned about whether his paintings captured every lifelike detail of the model. But as he progressed through the portrait, he found himself constantly wondering whether Akaashi would accept the final product as a reproduction of himself. Bokuto found himself hating Mikoto-san and Akaashi’s arranged suitor, wherever in the world she was. How could they expect Akaashi to be married to someone who only saw a portrait of him? Especially one created by someone who had actual feelings for Akaashi.
“Akaashi-san, please be careful,” Kageyama said, helping up his master who had tripped once again inside the house. The alcohol seemed to have taken full effect as Akaashi could barely stand and his eyelids kept drooping. Kageyama put an arm around him and attempted to help him to the stairs.
“I can do that,” Bokuto volunteered, quickly lifting Akaashi in his arms. He weighed very little, most likely because of how sickly he was, and he groaned a reply before leaning his head against Bokuto’s chest. “It’s alright, Kageyama. I’ll put him to bed.”
“Alright, you can definitely handle him,” Kageyama nodded. “Well, good night, Bokuto-san,” he bowed, before leaving for his own quarters.
“Mmm… tired…” Akaashi mumbled.
“I know, I know. I’m getting you to bed now,” Bokuto said gently before going up the stairs. He struggled a bit with getting the bedroom door open with one hand before finally making it inside. Gently, he lay Akaashi down on his bed and lit the oil lamp on his bedside table to prevent himself from bumping into anything. Akaashi was still wearing the flower crown and Bokuto plucked it from his head and lay it gently on the table when Akaashi stirred awake.
“Bokuto-san,” he blinked, sitting up.
“You’re in your room now,” Bokuto smiled, lifting the blankets to tuck Akaashi in. “I’m guessing this is the first time you’ve gotten drunk.”
“How could you tell?” Akaashi raised an eyebrow.
“I can’t believe you’re still like this even though you’re drunk,” Bokuto chuckled and shook his head.
“This was the best day I’ve ever had,” Akaashi sighed happily, looking up at Bokuto with sleepy eyes. “Thank you.”
“You’re welcome.” And, without him thinking, Bokuto found himself bending closer to Akaashi and gently stroking the side of his face. To his surprise, Akaashi didn’t pull away, rather, he raised a hand to press Bokuto’s against his cheek. It felt as if there was something he should say at this point, and so he said “You were an amazing dancer.” His voice was surprisingly hoarse and deep, even in his own ears.
“And you kept your eyes on only me,” Akaashi whispered in return, he was sitting up on his elbows and their faces were even closer.
“How could I not? You were the most beautiful one there.”
Bokuto had always read that summer evenings were wonderful, magical, and passionate. A time when the impossible crosses into the realm of the possible But, they were also dangerous. As dangerous as the look in Akaashi’s eyes, as dangerous as the heat that radiated outside and inside Bokuto. Not only were summer evenings dangerous because of the air of recklessness and impulse, but because anything good that happened lasted dangerously short. ‘I’m going to regret this someday,’ Bokuto knew. He could tell Akaashi knew. But that still didn’t stop them from closing the distance between their lips, for Bokuto to instinctively wraps his arms around Akaashi to pull him closer, for Akaashi to, in turn, wrap his arms around Bokuto’s neck. It was a kiss as passionate and dangerous as a summer evening, but nowhere near as short. When they emerged, both of them were as breathless as the maypole dancers.
Bokuto sucked in a breath and stood up, swallowing hard. Akaashi was wide-eyed, seemingly snapped out of the drunken state he was in. “I…” Bokuto stammered. “Should I…?”
“I think, it’s time we said good night now, Bokuto-san,” Akaashi nodded, sounding back to his rational self. Bokuto couldn’t agree more, muttering a hasty ‘good night’ before leaving the room, the summer evening’s kiss still on his lips.
…
Both of them were quiet the next day, even during breakfast that Kageyama woke up, earlier than both of them because he wasn’t hungover, to make. Bokuto couldn’t help but glance up sat Akaashi as he nursed his cup of strong, black coffee, only to find the young man distractedly looking out the window. ‘He couldn’t have forgotten about last night, could he?’ Bokuto wondered. He wouldn’t help but feel disappointed if Akaashi had. It couldn’t just have been the wine doing the talking, or rather, kissing.
Finally, it came the time for them to work on the portrait. Akaashi came into the dining room dressed once again in the same expensive suit with his hair fixed and yet, Bokuto couldn’t help but remember the wild-eyed, breathless Akaashi from last night. Wordlessly, the Akaashi in front of him sat down, got into his pose, and waited for Bokuto to start. Only, he was only able to get a few strokes of paint in before putting his brush down and confronting Akaashi.
“Are we not going to talk about last night?”
Akaashi’s eyes widened a fraction at the sudden gesture. “I…” he began and trailed off.
“Was it just… the wine?” Bokuto asked, feeling the wave of disappointment begin to wash over. “Because if you think that’s the case—”
“I was scared that you’d think that,” Akaashi suddenly interrupted him. There was a conflicted look on his face. This time, Bokuto waited for his full response. “I may have been drunk but, kissing you, that was fully intentional. I think, I think I wanted to do it for some time.”
“Y-you have?”
“I was just unsure if you felt the same way,” he continued. “That night, when you told me about you being a painter, I wanted to see if you befriended me because you saw me as someone worth being with. And when you said that you did it just to get the job done, I was disappointed.”
“I’m sorry, I lied,” Bokuto sighed. “I was, I didn’t want to finish the painting at that point. I thought it would be better if you hated me and I moved on from this whole thing.”
“But you didn’t finish the painting,” Akaashi said, a smile playing at the corners of his lips. “Why?”
“Because it wasn’t you I painted. It was so different from the you I know and it didn’t feel right for me to turn that portrait in,” Bokuto answered, stepping forward. “Why did you finally choose to pose?” he asked, walking to Akaashi. Although, at that point, the answers were falling into place.
“Because I didn’t want you to leave. I wasn’t ready for you to leave,” Akaashi said, his smile growing until Bokuto stopped in front of him.
“I’m here now.”
“I know.”
“Can I kiss you again?”
“You know the answer to that.”
And Bokuto did. Bending down, he cupped Akaashi’s face in his hands and kissed him. Gentler this time, gentler than their summer evening kiss last night. He felt Akaashi’s hands on the sides of his waist, clutching at his shirt as if he was scared of him letting go. Bokuto gently circled his thumb on Akaashi’s cheek, as if to say ‘don’t worry, I’m not going anywhere,’ and the grip on his shirt relaxed. It didn’t matter that what they were doing was taboo or that Akaashi was engaged. In this estate, one that villagers didn’t visit and was bordered by the sea, no eyes were on them. They were in a world of their own.
“Where have you been all my life, Bokuto-san?” Akaashi murmured once they parted, their foreheads pressed against each other. “It’s strange. One of the reasons why I’ve never run away from this place despite the engagement and the constraining feeling is because it felt as if I would get a moment of liberty if I just waited. And it has come, in the form of you.”
“I don’t know about that. All I know is you’re the most beautiful and hardest thing I’ve ever had to paint,” Bokuto whispered.
“That beautiful?” Akaashi laughed, his breath tickling Bokuto’s nose.
“They say you’re more beautiful than your suitor.”
“Who’s they?”
“The ferryman of the boat I came here in,” Bokuto chuckled and stood up.
“Is it true?” Akaashi raised an eyebrow.
“You are a self-indulgent man, did you know that?”
“And you are the one who indulges me,” Akaashi grinned. “I don’t feel like posing for the portrait today,” he sighed. “Can’t we do something else.”
“We did something else yesterday,” Bokuto said. “But I think an extra day can’t hurt,” he smiled.
“Can we go to the beach again?” Akaashi brightened.
“Of course,” Bokuto chuckled.
This time, when they walked to the beach, they walked hand in hand, laughing and talking, stopping once or twice to kiss again. Years later, Bokuto would find himself unable to recall what it is they were talking about and instead, remembering only sights and sensations, which was more than enough for him. By the time they reached the beach, instead of Akaashi exploring the tide pools and wading in the water with Bokuto sketching in secret, they both sat down in the sand and spread their jackets out to lie on. Akaashi rest his head on Bokuto’s lap and handed him the volume of Greek Mythology book that he had snuck out.
“Read it to me again,” he said.
“Demanding, are we?” Bokuto raised an eyebrow but opened the book nonetheless.
“Of course,” Akaashi smiled and closed his eyes.
“Any particular story you have in mind?” he asked, thumbing through the pages.
“Look for what interests you,” Akaashi waved. Bokuto shrugged and went through the book until he came across a beautifully illustrated picture of a man staring at his reflection.
“The Myth of Narcissus,” he read aloud. “Am I saying the name right?”
“Yes,” Akaashi nodded. “Read on.”
And so Bokuto read aloud, feeling much more confident now than when he first read to Akaashi. Maybe its because he knew that the young man lying on his lap enjoyed the sound of his voice, something Bokuto never thought he’d bring. After a good half hour of reading, Bokuto himself felt tired and lay back in the sand. “Your turn,” he nudged Akaashi’s shoulder gently.
“Me?” he sat up, smiling sleepily at him before laying down on his chest with the top of his hair tickling Bokuto’s chin. It was a welcome, warm, weight on his chest and Bokuto circled an arm around Akaashi’s shoulder, pulling him close.
“Tell me a story.”
“Another Greek myth?” Akaashi asked. “Which one do you want to hear? I don’t even need to read aloud from this book.”
“Hmm well then. I’ve never really understood that epic poem. The one about Troy with Achilles and Hector,” Bokuto said. “I tried to read it once to study on Greek myths since they were so popular with painting commissions but it gave me a headache.”
“Ah, the Iliad,” Akaashi said. “Well, I’ve read about a million times. You’ve come to the right person.” Bokuto planted a kiss on his forehead. “There are many ways to start the story, but I like to take it back to when the goddesses Hera, Athena, and Aphrodite appeared in front of a poor boy named Paris.” And so, Akaashi told the story of the Iliad. His voice was nice and calming, enough to make Bokuto’s eyelids grow heavy, but engaging enough to keep him awake. Akaashi colored the tale with his own inserts and opinions, sometimes going to into detail about a particular hero’s story. And then, they came across the part of the story when Achilles had heard of Patroclus’ death.
“According to the story, he mourned for days and days on end for his dead lover,” Akaashi told.
“Wait, his lover?” Bokuto jerked his head up in surprise. “No one told me that his lover was Patroclus.”
“Well, in most translated versions of the text they describe Patroclus as a companion and a close friend. In the original text however—”
“Wait, you know Greek?” Bokuto sat up, disturbing Akaashi from his resting place. Akaashi raised an eyebrow at him.
“I can speak quite a few languages, Bokuto-san. I didn’t just twiddle my thumbs right here.”
“I should have known then,” Bokuto chuckled. “Anyway, you were saying…”
“Right. In the original Greek text, or as much was restored of it anyway, Patroclus is described as Achilles’ lover. And in fact, homosexuality was quite normal in Greece. There was a special troop of soldiers who fought in pairs with their beloved. They say they were won of the best fighters out there, because they always fought for their beloved. Additionally, it was believed that unions of the same sex were the only true kind of romantic love since it is not based on procreation unlike that of a man and a woman. And let’s not forget Sappho’s poetry and the Island of Lesbos,” Akaashi enumerated.
“Wow. So, why have I never heard of it before?” Bokuto said.
“The usual. The Christianized, civilized societies frown upon the practice so they conceal it in the translations,” Akaashi shrugged. “But I’ve always liked Achilles and Patroclus.”
“It’s all the more tragic then,” Bokuto sighed.
“Yes, but upon Patroclus’ death, Achilles wished for his ashes, when he died, to be buried with Patroclus’. So that they’d meet in the Underworld even after he died,” Akaashi smiled wistfully.
“So, that was after Achilles got shot in the heel, right?”
“You’re skipping ahead,” Akaashi nudged him.
“Tell me the rest of the story then,” Bokuto nudged him back.
“It’s getting dark,” Akaashi shook his head. And true enough, Bokuto looked up to find that the sun was just about to set. He always loved watching for sunsets and yet, he didn’t notice it.
“Tomorrow then,” Bokuto pouted slightly and stood up, dusting the sand off his trousers before picking up his and Akaashi’s jackets.
“Unless… you would be content with reading by the fireside in my room.” Akaashi had said it almost nonchalantly but even in the dim light, Bokuto could catch the hopefulness in his gaze. And who was he to refuse?
“Alright. But let’s have dinner first. I think we’ve worried Kageyama to death staying outside this long.”
Although, it seemed that Kageyama wasn’t worried one bit as he was doing his embroidery by the small fireplace in the kitchen when they came in. Bokuto wondered if Kageyama was doubtful of how much time Akaashia and Bokuto had spent together that day that wasn’t related to the portrait. Either he wasn’t that perceptive or he just didn’t care. Akaashi and Bokuto finished dinner quickly and locked themselves in Akaashi’s room. Instead of going to bed, he stretched out on the carpet by the fireplace and patted the spot next to him. ‘Just like the beach,’ Bokuto thought with a smile and stretched out across the carpet with his head tucked on Akaashi’s lap. He closed his eyes and felt a hand gently run through his hair.
“Aren’t you going to continue the story?” Bokuto mumbled.
“I may have decided to preoccupy myself with,” Akaashi hummed and Bokuto felt fingers lightly skim over his cheeks and forehead and down his nose. “I wish I had your eye and skill to capture a subject through a painting.”
“How do you know I have skills with painting? The first portrait was a ruined one and you haven’t even looked at the one I’m painting now.”
“I just know,” he felt Akaashi shrug. “What goes on in your head when you paint me?”
“Well,” Bokuto opened his eyes to look up at him. “First, I sketch a basic outline on the canvas, just so I know where everything is in relation to each other. And then, I pencil in your features. You have really delicate features so I try to keep a light hand,” he said, raising his hand to brush against Akaashi’s cheek. “And I spend as much time as I want to on your hands.”
“And then?”
“Then I start mixing my colors. That was always my favorite part when it came to learning how to paint. It’s how my master trained me too. I would sit for hours scrutinizing something and mixing the right shade,” Bokuto chuckled at the memory. “I take my time too when I mix the color of your skin. Browns and yellows and a bit of red. And then I make different shades from that color with white or mixing in a bit more brown for shadows, and a bit more red for that healthy flush on your cheeks.”
“At least I look healthy in my portrait,” Akaashi said dryly.
“You look absolutely stunning in your portrait,” Bokuto laughed as Akaashi playfully swatted at him.
“Once I have your healthy complexion, I move on to other bits. Like mixing the perfect color and shades to match your green robe. The dark brown for your hair. And then I paint it all in, adding colors and blending in shades so that it looks as realistic as possible. And by far,” Bokuto ran the crook of his finger near Akaashi’s temple. “Your eyes are my favorite thing to paint. Actually, I could spend hours just looking at you and sketching you.”
“Haven’t you already?” Akaashi smiled.
“Eveything I’m doing now feels slightly different though. I guess it’s quite task having to paint someone you love.”
The word left Bokuto’s mouth before he even knew what he was saying. He could feel Akaashi tense slightly under him and he sat up quickly. “I—I didn’t mean, I mean I did but—I’m sorry, let’s pretend that never happened,” he stammered, seeing the shocked expression on Akaashi’s face.
“There’s no need for you to apologize,” he shook his head with a slight laugh. “Actually, I thought I was the crazy one for thinking that.”
“Wait, you mean…?”
“Would it be crazy for me to say that I think I’ve loved you ever since the day we first met?” Akaashi asked. “I know it sounds crazy, but I’ve always had the feeling that you were someone I’ve always known would come into my life.”
‘What a naïve thing to think,’ was what Bokuto knew he and Akaashi were thinking of. But Bokuto had also witnessed it happening. There were friends he knew back at the studio or met in bars who would talk about the ease they felt when falling in love. ‘I’ve been with many women before, but this one felt coming home after a long journey,’ one friend had told him.
“When you think about it, what were the chances of me being chosen to paint you, out of all other painters? What were the chances of me having to paint you, out of all other subjects? What were the chances of me arriving here safely out of all the accidents that occur at sea? What were the chances of the days we’ve spent here happening smoothly in perfect succession out of all other outcomes?” Bokuto said. He saw his questions answered in the look on Akaashi’s faces. “Maybe we were meant to meet each other.”
With that, Akaashi leaned in close to kiss him again, and again, and again. It was no longer that summer night kiss but one of longing and elation of having met and knowing that they were both on the same page. Bokuto could feel Akaashi’s hands cupping his face and sliding down his torso, thumbs hesitating near the buttons of his shirt until Bokuto permitted them to undo each one. Meanwhile, his kisses trailed down from Akaashi’s mouth to the side of his jaw, down to his neck, and in the center of his collarbone, just under his throat, lingering like a question mark. Akaashi adjusted his position, lying back onto the carpet, and slowly undid the buttons of his shirt, baring his chest.
“I’m yours… Koutarou,” Akaashi whispered, beckoning him closer. Bokuto ran a finger tip down from Akaashi’s throat and down to his sternum. For once, he couldn’t imagine sketching nor painting this scene because there was no way it would be complete without the warmth and heat in their stares and beneath their fingertips. Sometime after Bokuto leaned down to kiss Akaashi and before they fell asleep in each other’s arms with only a thin blanket pulled from the bed to cover them, the image of the ghostly figure of Akaashi that Bokuto saw a few nights ago flashed in his mind.
…
The next few days were spent like so: Akaashi would pose and Bokuto would work on the portrait for a few hours each day before they’d go to the beach, or walk through the fields, or stroll through the town. At night, after dinner, they’d retire to Akaashi’s room with the door locked and their clothes ending up on the floor on more than a few occasions. Bokuto had never been happier waking up feeling Akaashi buries his face in the crook of his neck or waking up in the same position they had fallen asleep in when morning came. He’d always wake up before Akaashi did and held him tightly in his arms, praying that the sun would rise a bit more slowly or that Kageyama would wake up a bit later each day.
And the portrait was almost finished. Bokuto could feel himself subconsciously painting less each day or tweaking things like changing the color or painting over a finger again. He remembered one of the stories that Akaashi told him about Odysseus’ wife, Penelope, who had been left in their home island when he went to fight in the Trojan war. She was courted by many suitors and in order to delay having to marry someone until her husband came back, she excused herself by weaving her bridal train and unraveling the works she made each night. In the end, it felt pointless because delaying the portrait wasn’t going to do anything. Akaashi’s mother would return in a few days and leaving the portrait unfinished would just leave Bokuto without a job and having to cross the sea to go back home.
Bokuto took a small brush with a bit of the dark brown color he used to draw in details and scanned the canvas for anything left that he could possibly fix only to find nothing else. He was done. Bokuto stepped back and put down his paintbrush and palette.
“Do you need to take a break, Bokuto-san?” Akaashi asked.
“It’s…finished,” Bokuto shook his head. The look of concern on Akaashi’s face dissolved into his usual stoic expression. “Would you, uh, like to have look?”
“Alright,” he nodded, standing up from his chair and walking over to look at the canvas. Bokuto knew that it was a lot better than the previous portrait that he made and destroyed. While looking at it, he couldn’t help but feel that everything about the portrait was truly his because only he could look at it and know that he captured more than Akaashi’s likeness, but everything he had come to know about the young man over the past weeks.
“Is that really how you see me?” Akaashi asked.
“Yes.”
“I look beautiful.”
“You do.”
“Do you think my fiancée would be pleased?” he asked. Bokuto felt a lead weight in his stomach.
“She should be. I could imagine this hanging over your mantle in the parlor.”
“I heard she lives in Kyushu, the place where my Mother is visiting now. It’s quite far from here,” Akaashi kept talking, his voice sounding dead in Bokuto’s ears.
“I’ve never been to Kyushu but my master has. He says its beautiful during the springtime with all the cherry blossoms in bloom. There are wonderful art museums to visit and there’s a local theater nearby that places traditional music ensembles,” Bokuto trailed off when he saw Akaashi looking out of the window where the sea was.
“I know you’re saying all these things to comfort me Bokuto-san, but to me it all just sounds like you’re trying to console me. Like how mothers would talk to their toddlers about giving them a treat to stop them from crying,” Akaashi said.
“What else am I supposed to say, Akaashi?” Bokuto sighed. “You know as well as I do that this can’t last. The hate and the scorn we’ll have to experience. I could lose my credibility. Your family would disown you.”
“Then let’s run away! Can’t we? We could just pack our things and leave on a boat and get out of here,” Akaashi exclaimed. Bokuto saw so much hope in his eyes and was loathe to crush it. The world that he wanted to live in existed in the pages of a book.
“They’re going to do everything to find us. Do you really want us to live our lives on the run? And what will we do when they do? I don’t know if your parents would still force you into an engagement but they’ll throw me in jail for kidnapping you,” Bokuto argued. He didn’t notice that his hands were balled into fists.
“Why does it sound like you’re just willing to let this pass?!” Akaashi suddenly raised his voice, shocking Bokuto. “After all this you’ll still find someone to love and warm your bed, maybe in secret but you’ll still have that chance. Once you hand over that portrait to my mother, there’s nothing more for me!”
Bokuto stepped back. In front of him was the Akaashi who had grown up in a lonely manor surrounded by books, who had seen himself in the love that Achilles and Patroclus shared but knew that it was frowned upon in the world outside, who had purposely delayed his inevitable engagement by putting off any painters who came. “I’m—”
“I need to be alone,” Akaashi cut him off, walking around and past him to leave the dining room. With nothing left to do, Bokuto sat back in his stool and stared at the painting of Akaashi as if it would give him answers. He received no answers, only the knowledge that this may be the best painting he had ever created.
…
Akaashi had locked himself in his room for the rest of the day, and the day after that, so it came as a surprise when Bokuto saw him in the kitchen with Kageyama. The two of them were seated at the table, sifting through grains of rice to find tiny insects, rice weevils, that hid themselves among the grains. Kageyama looked up to greet him first.
“Bokuto-san. Dinner won’t be ready until an hour from now. Do you need anything?” he asked.
“No, it’s alright,” Bokuto shook his head, eyes unable to help themselves from glancing at Akaashi whose head was bent over in his task, before sitting down at the table. “Actually, I’ll give you guys a hand.”
“It’s not an immediate task. Although, I find it quite relaxing to do so,” Kageyama explained.
“I could use some relaxing,” Bokuto nodded, looking down at the bed of rice grains that had been spread out on a large platter made from woven leaves. He spotted a weevil, as small as a rice grain but standing out due to its black color, and picked it out quickly before crushing it in between his fingernails. Akaashi still said nothing.
“The madam is coming back in two days,” Kageyama said. “She didn’t entrust me to check on the portrait but personally I do wonder about how it’s doing.”
“It’s already finished. I think she’ll be happy with it,” Bokuto answered.
“I’ll definitely miss this place,” Kageyama hummed to himself as he sifted absentmindedly through the grains with his fingers. They were long and elegant too, but not as fine or delicate as Akaashi’s was.
“Where will you once we leave?” Akaashi asked, looking sideways at Kageyama. “If ever you need a job, I’m sure I can lend a hand.”
“Thank you, Akaashi-san. Actually, my family comes from Kyushu. My grandfather and older sister run a small bakery and I was thinking of working there from now on until I get bored,” he said.
“That sounds wonderful,” Akaashi gave a small smile. “I’ll be nearby then.”
“I was also thinking of working at a library.”
“A library?”
“Yes,” Kageyama nodded. Bokuto smiled slightly to himself at how chatty Kageyama was being today. Maybe it was all that time they spent talking to him and trying to make breakfast in the kitchen. “My sister works as a governess and she made the effort to teach me how to read and write. Sometimes I…” he glanced at Akaashi and blushed slightly. “Forgive me but, sometimes I borrow a few books from the library to read at night.”
“You don’t need to be ashamed about that,” Akaashi chuckled. “That makes me happy, actually, knowing that I’m not alone reading all those books.”
“I also browsed through your favorite book once. The Greek mythology one…” he added shyly.
“What was your favorite story?”
“The one about Hercules because it sounds so amazing,” Kageyama smiled. “What about you, Akaashi-san?”
“I have a lot of favorites,” Akaashi smiled wryly, picking out a weevil and crushing it between his fingers. “But the one that resounds quite a bit with me now is the myth of Orpheus and Eurydice.”
“I don’t think I’ve read that one.”
“It’s quite the tragic love story, actually,” Akaashi said. This time, when Bokuto looked up, he caught his eye and held his gaze for a few moments. “I could tell it to you if you like.” It was directed not only to Kageyama but to Bokuto as well, so he nodded his head almost imperceptibly.
“Once upon a time, there was a man named Orpheus. He wasn’t a man though, not really, because his father was Apollo, the god of the sun and music and medicine, and his mother was a Muse. Because of that, he was gifted with the art of music. He traveled with a lyre and his voice was so high and sweet that anyone who heard it couldn’t help but stop and look for where the sound was coming from.
“Now, Orpheus fell in love with a woman named Eurydice. But their love didn’t last long for Eurydice died from being bitten by a snake. Orpheus was distraught with the loss of his wife that he resolved to save her. So, he took his lyre, and plucking it with his fingers, he sang a song so beautiful that the ground underneath him opened and he could walk all the way down to the Underworld. He kept singing on the way down and his voice lulled Cerberus to sleep and kept the monsters guarding from attacking him, all the way until he came upon Hades, the God of the Dead and Ruler of the Underworld, and his wife Persephone. And Orpheus sang a song about them that was so beautiful, they both bowed their heads and let him pass to greet the ghost of his dead wife, Eurydice.”
“That sounds beautiful,” Kageyama said.
“But it doesn’t end there,” Akaashi shook his head. “Hades allowed Orpheus to travel to the surface with his wife and for her to come alive once they returned to Earth. But he gave one condition: Orpheus wasn’t allowed to turn around once during their walk on the way up because if he did, Eurydice would return to the Underworld.
“Orpheus agreed to these conditions and set off with Eurydice following behind him. As he neared the surface, his heart was overcome with fear that he was walking alone and longing to see his wife again. And in a single, tragic moment of weakness, he couldn’t help but to turn around to see his wife tumbling back into the darkness.”
Everything was silent for a moment, except for the shifting of fingers through the rice grains. And then, Kageyema spoke up: “That’s pretty foolish of Orpheus to do.”
“Maybe,” Akaashi chuckled. “But there are different versions to the tale. In some, they say that Hades tricked the both of them, not intending for Eurydice to be let go, and so designed an impossible task for them to fulfill. In another, Orpheus instead chooses the memory of Eurydice and so turns around to have one last look at her. And in another, Eurydice knew that the test was impossible in the first place and whispered ‘Turn around’ to see her lover one last time.”
“It’s a tragic story,” Kageyama said. Bokuto silently drew swirling patterns in the rice when Akaashi said,
“All the real ones are.”
…
This time, it was Akaashi who knocked on Bokuto’s bedroom door. It was nighttime, almost an hour until midnight, and they were both far from the shores of sleep. Bokuto wordlessly stepped aside and let Akaashi in. He scanned the surroundings of the room curiously before choosing to sit at the edge of the bed where Bokuto joined him. “I… wanted to apologize,” Akaashi spoke up. His head hung down and he played with his hands on his lap. “It was unfair of me to ask unreasonable things of you when both of us knew where this was eventually going to head. I knew it even before I kissed you. I just… wanted to hope, that’s all.”
“There’s nothing wrong with that. I wanted to hope too,” Bokuto reached over and took Akaashi’s hands in his. “I knew a fellow painter, we both attended classes together, who was caught sleeping with one of our male models. Both of them were kicked out of their respective guilds and blacklisted from ever being able to take commissions or enter another guild. I saw him in the street once with slurs being hurled at him while he begged around for alms.”
“That’s terrible,” Akaashi shook his head. Even recounting that memory left an acidic feeling in Bokuto’s stomach. He felt Akaashi clutch his hand gently with both of his, as if he was cradling a bird, and press it to his chest. Akaashi hung his head down and from the shake of his shoulders and the dampness on Bokuto’s hand, he knew he was crying.
“I don’t see what’s so wrong with us being like this,” he sobbed, his words coming out in hiccupped breaths. “I’ve had to deal with knowing this all my life and the one time I’ve found someone to love, it’s all going to be taken away again.” Bokuto wrapped both of his arms around Akaashi and pulled him close. Akaashi clutched at his arms and buried his teary face on Bokuto’s shoulder.
“I just want you to know that I regret nothing from these last weeks. Nothing at all,” Bokuto felt his own voice breaking.
“I regret locking myself in my room for so long. Who knew that an entire day could be wasted so, so much?” Akaashi hiccupped. Bokuto pulled away and brushed the hair that stuck to Akaashi’s forehead, cupping his face in his hands.
“Let’s make the most of the time we have left then,” he said, leaning in to kiss him. Akaashi’s mouth was soft and warm and wanting as they both fell down into the bed. They rushed through nothing, taking their time memorizing as much as they could of each other’s bodies and as much as they tried to fight it off, sleep came eventually.
…
“You know, you’re probably the only person who’ll ever get to touch me like this,” Akaashi said, breaking the silence of the muggy, summer morning air. It was the day of Mikoto-san’s return and they hadn’t left the bed yet. Bokuto wasn’t sure if he had really slept that night, only that Akaashi was continuously stroking his hair and their breathing fell into the same pace.
“I’m probably the only one who knows how to touch you,” Bokuto rolled over to press his face against Akaashi’s bare chest.
“Yeah, that too,” Akaashi said sarcastically. “If only we could stop time and let things just pass like this.”
“If only, if only,” Bokuto sang, propping himself up by his elbows on the bed to look down at Akaashi. His hair messier than usual, mostly due to Bokuto’s wandering hands, and there were a few marks on his collar bone, also due to Bokuto. He liked seeing him like this and knew he would keep this image in his head to save for his future mornings.
“I could draw you like this,” he mumbled, dragging his fingertip lightly across Akaashi’s cheekbone.
“Then draw me like this,” he smiled.
“Alright. So, I have something to remember you by.” He got out of the bed and walked over to where he kept his sketchbook and drawing charcoals before coming back.
“How do you want me to pose?” Akaashi asked.
“Just like that,” Bokuto smiled up at him as he flipped to a fresh page and started sketching an outline. Akaashi held his position: head propped up with his hand with an elbow on the bed, the curves of his body just barely covered by the thin blanket. Bokuto made sure to capture everything, going in with a heavier hand to make Akaashi’s facial features as stark as possible. He prayed that termites or insects wouldn’t eat at his sketchbook, that the charcoal lines would never fade, that the paper would never tear. Finally, he finished and showed it to Akaashi.
“It’s beautiful,” he smiled, running his fingers on the paper around the sketch, careful not to smudge anything. “Make one for me too. Something to remember you by.”
Bokuto unhooked the small mirror that hung on the wall above where he kept a basin of water for washing his face. Akaashi took it from him and held it steady in front of his chest while Bokuto peered at his reflection in between sketching. He had opened his sketchbook to a fresh page when Akaashi stopped him.
“Wait, can you sketch it here?” he asked, handing over his book of Greek Mythology that had somehow made its way to Bokuto’s nightstand.
“Are you sure?” he asked.
“I’m sure.”
Bokuto thumbed through the pages until he landed on one with a good amount of free space. He had been trained to create self-portraits and could do passable ones. This time, he took extra care in capturing the details of his features. It was the only thing Akaashi would have left of him, so Bokuto wanted to capture himself as accurately as possible. ‘Remember this, and everything that happened here,’ he whispered into his sketch. Finally, he passed the book back to Akaashi.
“Page 57. I’ll remember it,” he smiled, sitting up to kiss Bokuto on the lips. It was sweet and wonderful and made them both long for more, but they knew it was there last. “I’ll always love you. No matter what happens,” Akaashi whispered, taking Bokuto’s hand and pressing his lips against the knuckles. “My beautiful painter.”
After dressing up and going downstairs for breakfast, they passed the time playing chess in the library, barely speaking except for when Akaashi was teaching him how the game was played. Finally, they both heard a knock at the door, the sound of Mikoto and other people coming in, and knew that their time had come.
The rest of the events that happened were a blur for Bokuto. He nodded and smiled as Mikoto gushed over the portrait and praised his skill before sealing the canvas away in a wooden box, much like the one Bokuto traveled with. The sound of nails pounding into the wood to seal it shut made Bokuto think of coffins. Mikoto called Akaashi to his bedroom upstairs to present him with a gift. After making sure the portrait was safe and taken care of, he headed to Akaashi’s room to bid his goodbyes.
Before that though, he clearly remembered Kageyama approaching him to say goodbye. He had said something along the lines of ‘Thank you for coming here. Akaashi-san was happy these past weeks,’ to which he nodded and smiled, giving him a hug before saying his goodbye to him. Bokuto threw his things into his suitcase before finally going to Akaashi’s room.
What happened upstairs wasn’t a blur in his memory either. Bokuto remembered, knocking politely on the door, hearing Mikoto inviting him to come in, going inside to receive his payment from her. He was aware of Akaashi standing in the middle of the room but couldn’t raise his head to meet his eyes. ‘Aren’t you going to say goodbye to me?’ Akaashi had said out loud, calling to him. Bokuto could hear the slight crack in his voice. As much as he knew it would be more painful for him to do so, Bokuto walked forward, his eyes still downcast, to wrap his arms around the man he loved with all his heart. He closed his eyes to remember this last feeling of warmth before quickly disentangling himself and heading out the door.
His own footsteps thundered loudly in his ears, especially because of how little he could see in the dark interior of the manor. Bokuto almost slipped on the carpet but caught himself using the stairway railing. As he reached the bottom of the stairs, he was suddenly aware of another set of footsteps but it was only when he opened the manor’s door that he heard Akaashi speak:
“Turn around.”
He didn’t even need to be told twice. Bokuto turned around to find Akaashi standing in the middle of the parlor, illuminated by the single shaft of light spilling into the slightly ajar doorway, wearing a new, navy blue suit that his mother bought. The suit he was going to wear for his wedding. Akaashi’s eyes betrayed the words ‘Keep this memory.’
Bokuto let out a single, choked sob before leaving the manor, shutting the door, and losing Akaashi to the darkness.
#across the sea#bokuaka#bokuto koutarou#akaashi keiji#bokuaka fanfic#haikyuu!!#haikyuu!! fanfic#portrait of a lady on fire!au#across the sea: act. II
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Lanning says real-time rendering is now at the point where it's possible to create movies and TV shows using virtually the same assets as a game project. For Soulstorm, the models and rigging in the cinematics are essentially the same as what players see during gameplay; the game just uses higher resolution texture maps for cutscenes. Lanning says that having such unified data sets gives game developers tremendous business opportunities to take their creations into other media.
"If we look at TV series, real-time is perfect for episodic series because the database is continuous," Lanning says. "I have Abe, I bring him in to the next shot, I tell him to run and I'm not re-animating anything… But for Hollywood, if we were to make a pilot, the pilot is the cheap thing. If it's greenlit, then you can get into the real costs. The problem with the real-time capability is that the pilot's the most expensive thing. You have to build real-time databases that have all this knowledge and logic built in that have to be smarter than the film databases."
In that sense, making a game like Oddworld: Soulstorm is in essence like making a pilot for a future TV series.
"One of the reasons we overinvested in this project is because we still share that dream that databases can cross-pollinate into different verticals for media. In order to get there, you have to somehow be able to have the opportunity to go past the cost of that initial high-priced pilot... Then if we're talking to someone who's interested in a linear series of the IP, we can say this is going to carry over. We can make that pilot."
(Full article under the cut for posterity)
At this year's Electronic Entertainment Expo, Oddworld chief creative officer Lorne Lanning and executive producer Bennie Terry III are talking up their latest project, Oddworld: Soulstorm. But they don't have a booth of their own, and they aren't hitching a ride with a publishing partner or platform holder, either. Instead, they are being hosted by Unity, the engine in which Soulstorm is being built.
Naturally, they want to talk about technology, and there's plenty of reason for it. After all, the Oddworld franchise was built on high production values. Lanning and Oddworld chairman Sherry McKenna co-founded the company in the mid-'90s after working together at Hollywood visual effects house Rhythm & Hues, and the studio's early titles showcased cinematic visual and storytelling sensibilities that set them apart. Abe's Oddysee and Abe's Exoddus were heavily promoted exclusives for PlayStation. Then Microsoft lured Oddworld away from Sony to show off the Xbox's technological virtues with the exclusive Munch's Oddysee.
But things got tricky after that, and Oddworld's position in the industry shifted. Its fourth title, 2005's Oddworld: Stranger's Wrath, launched late in the Xbox's lifespan and with an unimpressive marketing push from Electronic Arts, which wanted a PlayStation 2 version that never materialized. Months after Stranger's Wrath launched to critical acclaim but commercial apathy, Oddworld shut down its development studio and shifted its focus to film and TV. Oddworld would return to games years later, but it was no longer in the business of AAA system-selling exclusives.
"What I saw happening in the industry was the ambition of what you needed to get a project greenlit and funded from publishers was getting to be a really difficult bar to reach in the Xbox 360/PlayStation 3 generation," Lanning says. "Things were starting to look better and people were realizing art assets cost a lot more, animation fidelity had to be better, lighting had to be better, they had to bring in Hollywood art directors, screenwriters... everything got more complicated. Everything got more expensive.
"For the developer, the incentives became less because it didn't mean everyone was selling a lot more units; it just meant games were more expensive, the market's more cluttered, your chances of success were lower, it would cost you more time, more energy, and you're going to get less of a deal on your end because it's a higher risk for the investor. That's just capitalism."
In large part because of that hostile environment for creators, the company has slowly built its way back up to the point where it could self-finance Soulstorm, porting its catalog of games to new platforms and partnering with Just Add Water to develop 2014's Oddworld: New 'n' Tasty, a modern remake of the studio's first game.
"We're small. We're lean, we're mean," Terry says of the studio, but he adds that the company is still striving for a "near-Pixar level of quality" on a budget. That's where the studio's partnership with Unity comes in, as Terry says the engine maker has been "absolutely instrumental" in guiding the developers to best take advantage of what the engine can do.
The "near-Pixar" quality goal is only possible because the quality of real-time rendering has closed the gap with pre-rendered computer graphics, Lanning says, and the big quality benefits now come not from rapid iterations. Real-time graphics might not be as technically impressive as something pre-rendered, but he says whatever shortfall there is can be more than offset by being able to tweak and revamp things again and again, rather than making a change and having to wait overnight for it to render to see what impact it had.
"The efficiency of the models and computing is such that when we're working on our cinematics now and show them to someone, they think it was probably done in Maya," Lanning says, "But they're not. They're rendered in real-time in Unity. And in doing that, we're able to adjust lights on the set in real-time, adjust performances in real-time. We're able to play with all kinds of things that would have taken longer with a different mindset. If you're pre-rendering movies, you don't mind waiting until tomorrow to see the shot. But we don't have the time and efficiency for that."
He recalls a joke about Stanley Kubrick: "On the seventh day, God said, 'Let's rest.' And on the eight day, Kubrick sent it back for changes."
"I'm not calling myself a perfectionist, but that's the nature of a perfectionist," Lanning says. "They just want to keep tweaking and tweaking it. The faster they can make those tweaks, the better the quality you're going to get, provided the horsepower is under the hood to get there."
Lanning says real-time rendering is now at the point where it's possible to create movies and TV shows using virtually the same assets as a game project. For Soulstorm, the models and rigging in the cinematics are essentially the same as what players see during gameplay; the game just uses higher resolution texture maps for cutscenes. Lanning says that having such unified data sets gives game developers tremendous business opportunities to take their creations into other media.
"If we look at TV series, real-time is perfect for episodic series because the database is continuous," Lanning says. "I have Abe, I bring him in to the next shot, I tell him to run and I'm not re-animating anything… But for Hollywood, if we were to make a pilot, the pilot is the cheap thing. If it's greenlit, then you can get into the real costs. The problem with the real-time capability is that the pilot's the most expensive thing. You have to build real-time databases that have all this knowledge and logic built in that have to be smarter than the film databases."
In that sense, making a game like Oddworld: Soulstorm is in essence like making a pilot for a future TV series.
"One of the reasons we overinvested in this project is because we still share that dream that databases can cross-pollinate into different verticals for media. In order to get there, you have to somehow be able to have the opportunity to go past the cost of that initial high-priced pilot... Then if we're talking to someone who's interested in a linear series of the IP, we can say this is going to carry over. We can make that pilot."
This is not a new goal for Lanning, as he's never been quiet about his transmedia aspirations. And while he's seen skepticism from the film and TV industries about the potential advantages of re-using assets from games to linear media, Lanning's insistence in the idea's merits is unwavering.
"George Lucas understood this by saving every model from Star Wars and amortizing it into Empire Strikes Back," Lanning says. "You can bet every little TIE Fighter that was built got amortized. He saved all that stuff because he saw the benefit of having one IP that continued over time, and how you could re-use things. Hanna Barbara figured this out where Fred and Barnie were running across the same seamless painting in the background 10,000 times because they were doing a cheaper Disney that was more economical. But the barrier has to be broken. Someone has to prove it where it doesn't look like low-budget CG."
Lanning believes game technology is finally at the point where it could produce real-time CG TV shows that look a step up from Saturday morning cartoon fare. While that could help developers like Oddworld build a viable business, Lanning doesn't believe all the efficiency and rapid iteration can do anything to reverse the escalating cost of competing in the AAA market, or even hold it in check.
"If you're striving for the top, no. [It doesn't get cheaper] because someone's always going to want something better, faster," Lanning says. "And even if we reached the point where everyone who's capable can do magnificent, then the arms race is about who can do magnificent cheaper and faster again. So in that respect, speed will always be an issue. The creation of databases, the creation of rigging, there are all these areas that can be more highly optimized and smarter."
Terry adds, "In the arms race itself, there are elements that lend themselves to becoming less expensive because it's easier and more democratizing technology."
He points to his own stint at Rhythm & Hues in the 2000s, when someone needed to understand how light behaves at a very deep level in order to work with it in computer graphics.
"We were trying to pierce through an uncanny valley using decades of experience to pull off mind-bending tricks in the engine," Terry says, "where now I can get to that quality by hitting a few buttons and executing it without having to be a graphics engineer... But the creativity to push it further to that next level always takes more time and energy, resources and money, because your talent needs to push the tool."
The talent obviously makes a huge difference in any project. For Oddworld: Soulstorm, Lanning says it helped create a game that should realistically have cost a lot more than its actual development budget.
"We just have a lot of history, we do it a certain way, we're deeply involved, and we get no sleep," he says.
That leads into the second part of our interview, in which Lanning discusses his views on crunch and unionization. It should run later this week.
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Who’d I Put In Smash: Crash Bandicoot
You bet your fuckin ass. Since I’m away from White and... well, everything, I figured hey, what’s the point of having my own video games blog for games and video games blogging that I’d be doing on my own weblogging platform for video games if I don’t dabble in the realm of ‘you know who’d I love to see in Smash? Goku.’
Except, this time, instead of Goku, it’s Smash Crandicoot! You know why? Because I fucking love the Crash series.
Whenever I was a small, itty bitty being, I was super goddamn poor. As a result, it wasn’t exactly, like, feasible for young me to indulge in the hobby of videos game, especially since video games cost a billion goddamned dollars back then. Seriously, look up game prices in the nineties. As bad as a new video game can cost nowadays, they’re still cheaper now than they ever were.
Anyway, as a result of this, I got new games on my birthday/Christmas, and only games that my mother and stepfather wanted to play anyway. And, believe it or not, one such series of games was the Crash Bandicoot trilogy on PS1, which my stepfather liked to play.
Maybe I’m just so fond of Crash because of how much I was exposed to him as a child. Maybe I just like Crash because the original trilogy is rock fucking solid. Maybe it’s because Crash Bandicoot is a tried-and-true ICON of the eeeearrrly PS1 days.
Either which way, I love my boy Crash. And I think he should be in Smash!
However, don’t think I’m Joker-ing this situation. While Smash is flush with third-parties, even with some that have little-to-no experience on a Nintendo console, I still think a good idea is to ensure Smash reps do have said experience. And, believe it or not, Crash had some very nice games on the GBA! Crash: Purple aside (since we don’t uhhhh talk about that one), The Huge Adventure and N-Tranced are both solid platformers. This isn’t even mentioning ports to Nintendo consoles, like with Wrath of Cortex, N. Sane Trilogy, whatever the fuck you can quantify Skylanders as, or those fucky titans games that Radical Entertainment put out.
Despite being a Playstation icon, my boy Crash has Nintendo experience! Shit, I even thought up some potential specials.
Neutral B would be the Fruit Bazooka, which would, naturally, be the wumpa fruit bazooka from Crash 3: Warped. I think an interesting idea would be, when it’s out, the reticle would be able to be moved around, and, by hovering it over another fighter, you can lock onto them.
Side B would be the Death Tornado, the upgraded form of Crash’s spin from Crash 3: Warped. Rather than the normal spin, which I assume would be incorporated in Crash’s normal attacks, this one can be mashed in order to prolong the spin, which would be able to moved around, similarly to R.O.B’s spin. Likewise, this could potentially block or reflect projectiles, as well as glide.
Up B would be the Rocket Jump, from Crash 2: N-Tranced. Very self-explanatory, would allow for a boost upwards that could damage anyone Crash runs into.
Alternatively, you could do some kind of usage of the jetpack from Crash Bandicoot 2: Cortex Strikes Back. Either a hover-on-demand, once again like R.O.B’s, something like K. Rool’s Up B, or a one-and-done boost upwards.
Down B would be the Super Belly Flop, from Crash Bandicoot 3: Warped onwards. Also self-explanatory, it’s Crash’s body slam. Maybe it also provides a little bit of upwards momentum (as it does in the game), for some kind of slick recovery game.
As for the Final Smash, I was puzzled. For, like, five seconds, until I realized exactly what could, should, and would be done. Invincibility, baby!
With three masks, Crash becomes invincible, and uses this valuable time to stomp a hole in all competitors’ faces. Complete with music!
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And hey. Hey! You know what’s better than one bandicoot?
As of N. Sane Trilogy, Coco has all of the same skills and abilities as her darling big brother. Echo! Echo! Or, uh, maybe an alt. Either way, Nintendo, I already did all the heavy work for you! All you have to do is secure copyrights, negotiate with Activision, create models, texture them, rig them, create animations, align animations with the models, create UI elements, work on marketing materials, write a script, record voicelines, potentially rerecord/reformat various musical themes, create sounds, program a character, and tweak balance values, among any other steps that I may have forgotten!
C’mon, I’m waiting!
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Best Latte and Cappuccino Machines 2019: Top 5+ Recommended
I HEART coffee!
Especially on a cold morning— when its aroma fills your entire home and waking up every cell in your body.
But, not just ordinary coffee will do. Like any other coffee enthusiast out there, I like sipping on all kinds of coffee and experimenting on the extensive menus of coffee shops.
But, do you know what I like most? Something that I will order over and over again?
Creamy lattes and cappuccinos!
So, if you are like me who’s pretty addicted to the heavenly creaminess they bring, then you might want to try making one of your own.
You could do just that and unleash your inner barista with the best latte and cappuccino machines at your disposal!
Why Invest in Latte and Cappuccino Machine When I Can Just Buy My Coffee At The Coffee Shop?
Uhm, I think you pretty much answered that question there.
Why buy your lattes or cappuccinos at the coffee shop?
Don’t get me wrong, I do buy lattes or cappuccinos at my local coffee shop, but I do so when I’m already out and taking a break from grocery shopping.
Unless you are a fan of overpaying for a cup of coffee and standing in lines every time you want a coffee, I don’t really see how you would think that buying cappuccinos and lattes at a coffee shop beats having your own best latte and cappuccino machine at home.
First and foremost, getting your own latte and cappuccino machine will save you lots of money. Although, buying your own coffee machine seems like a massive purchase, but how much do you think you spend in your local café monthly?
Go on, get your calculator and do the math. I’ll wait…
But, kidding aside, I’m guessing you could pay off the best latte and cappuccino machine easily with that sum, couldn’t you?
Oh, and it is more convenient that way! You do not have to plan your entire morning around waiting on a long line in your local coffee shop. You only see in, create your own cappuccino or latte (whichever you like) and start the day at your own. Sounds hassle-free, right?
And the greatest of all:
It is way more fun figuring everything out on your own, creating your own lattes and cappuccinos, experimenting with various flavors and maybe mastering the art of decorating your cappuccinos and lattes with those intricate patterns and shapes that will surely WOW your family and guests every time they visit you.
Tell me that does not sound exciting at all and I will delete this article, right away!
Latte VS. Cappuccino Showdown
I’ve been talking about latte and cappuccinos for some time now, but for the new coffee lover, it might sound confusing.
Latte (also known as Caffé latte) and cappuccino are the 2 most popular Italian coffee drinks and are both prepared using creamy, hot milk. But, they do have their own differences.
What is Latte?
It is an espresso-based milky coffee drink with 1 – 3 or 1 – 9, espresso to milk ration. It is nothing else than milk with coffee.
It is quite popular since the coffee content is quite diluted and the standard recipe can be tweaked by adding different flavors, creating latte a dessert. Its frothed milk layer also allows baristas to create intricate patterns and beautiful drawings.
Latte Coffee Recipe
The standard latte recipe is prepared in an 8 ounces cup and contains the following ingredients:
1 or 2 shots of espresso ( 1 shot = 1 ounces)
About 5 – 6 ounces of steamed milk
Top up with a thin layer of frothed milk
Flavorings as desired
What is Cappuccino?
Anther espresso-based drink, Cappuccino is a stronger coffee with equal volumes espresso, frothed milk, and steamed milk. So, as you can see, the main difference between latte and cappuccino is its milk content— latte is creamier thanks to its greater amount of milk, whereas cappuccino is just a milder coffee.
The coffee to milk ration of cappuccinos is about 1 – 1.5, considering that the foamed milk is at least double in amount compared to steam milk. Cappuccino offers a bold and rich taste, like any espresso coffee would, but is slightly toned down, due to the steamed milk.
Cappuccino Coffee Recipe
The standard cappuccino recipe contains:
A single shot of espresso which should not be drip or instant coffee.
1 ounce of steamed milk
1 ounce of microfoamed milk
Understanding Espresso Machines: For Latte and Cappuccino Making
Now, for the newbies, I understand that you might be confused.
We’re talking about latte and cappuccino machines, how come espresso machines suddenly appeared!
The simple answer
Lattes and cappuccinos are made with espresso machines.
Both coffee needs espresso coffee as their base. People use different recipes for lattes since the amount of milk sometimes covers the coffee taste. However, for the authentic cappuccino taste, real espresso is the best choice.
And both can be achieved with a great espresso machine.
Espresso Machines are group into 2 categories: super-automatic and semi-automatic
1. Super-Automatic Machines
If you are a die-hard latte and cappuccino lover, have a generous budget and do not mind relinquishing full control over the brewing process, then the super-automatic espresso machines are for you.
These machines can do everything for you— from milk steaming to micro-foaming. You can even adjust the setting in order to create minor tweaks to your brew. So that every time you press the button, you will get exactly the same brew!
You usually do not get that in coffee shops since every barista uses a slightly different technique in creating their coffees, especially lattes and cappuccinos. For consistency of texture and flavor, super-auto machines are the best.
Another great feature of these machines is the micro-foam they produce. You simply cannot replicate the velvety and smooth texture of the froth that a super-auto machine using regular milk frothers.
2. Semi-Automatic Machines
If you’re tight n budget, and you already have a decent barista skill or just want a mix of convenience and control, then a semi-automatic espresso machine should give that to you.
A semi-automatic machine comes with 3 advantages:
Flexibility: It allows you to customize your drink
Reliability: It will not let you down when you needed it most
Price: Affordable and mid-range price tags for most coffee lovers
Also, if latte and cappuccino art is your thing, then semi-automatic machines are perfect.
The only thing you need to consider with semi-autos is the number of drinks they can create. If you wish to create several cappuccinos and lattes at a time, then look for one that has 2 boilers— one for steaming milk and one for espresso.
A single boiler machine is fine if you only need to create cappuccino or latte for yourself, however, it will be too slow if you want to serve multiple drinks to your guests.
What Makes the Best Latte And Cappuccino Maker? 5 Things To Consider
When buying the best ate and cappuccino machine, there are very important considerations you need to check. This is to make sure that you do not get an inappropriate device which does not suit your need. Here are some of the considerations you should check before making a purchase.
1. Easy to Use
Sure, it may look simple when the barista does it. However, once you are the one controlling those control keys, levers and whatnot, you will probably wish that you bought a more user-friendly latte and cappuccino machine.
If you are new to making cappuccinos and lattes, never fool yourself that you can try the more advanced model from the beginning.
Oh, and by the way, ease of use also means ease of cleaning. IT should not take about forever just to take the machine apart, washing everything and putting it back together. A complicated cleaning process typically results in giving up on using the machine entirely.
2. Size
You also need to figure out where you are going to put your new latte and cappuccino machine. Is it an additional kitchen appliance that satisfies your specialty coffee cravings or is it going to replace your old coffee maker?
Think about this for a second.
This is because you need to make sure that you have enough space for it in your kitchen, particularly if you plan on using it to create creamy lattes and cappuccino every single day!
3. Reservoir Size
Wait, let me rephrase that:
How many people want your coffee?
You need to choose a tank size depending on the answer. Larger reservoirs simply mean fewer refills.
And trust me that when it is finally time to show off your newly discovered barista skills in front of your guests and friends, a substantial reservoir is truly a life-saver.
In terms of cleaning and maintenance, I would also like to point out that removable water tanks are a big plus!
4. Speed
Choose a latte and cappuccino machine which can work according to your desired speed. This is quite important, particularly in a busy environment where you will need a machine that will work at a faster rate when you are late for work.
5. Budget
So, how much are you willing to spend to hone your barista skills and start creating your own lattes and cappuccinos?
Prices vary drastically, depending on the model and features of the machine— from around a hundred dollars to a thousand. So, where do your budget limit fall?
Here’s the thing though
I do not recommend letting the cost of the machine be the primary factor of your purchase. Even if you chose a lower end latte and cappuccino machine, you can always make sure that it has at least a couple of crucial features that you want. Otherwise, you will probably just regret purchasing it in the first place.
The Top 5 Best Latte and Cappuccino Machines
#1: Mr. Coffee Café Barista Cappuccino and Latte Maker
Via Amazon.com
Quality
Price
Our rating
This entry level cappuccino and latte maker eliminates all the guesswork that goes into steaming your own milk since the machine already does it by itself. Everything about this machine is automatic and all you need to do s to make sure that all the needed ingredients are in place, press the appropriate button an wait for your latte or cappuccino.
Simplicity, it the right term for this machine. Just fill the water tank, the milk tank if you plan on making a cappuccino or latte, put your coffee in the ground baskets, click a button to choose what you are making and that’s it! You will be making lattes, cappuccinos, and espresso in just a few seconds.
It also has a large 55 oz. the reservoir that allows you to brew one cup from another without refilling the tank. Also, it can be easily removed for refilling and cleaning. Cleaning is also automatic with this machine with is Programmed Cleaning Cycle.
What We Like
Dedicated buttons for making latte, cappuccino, and espresso
Integrated milk frother
Best value for the price
Self-cleaning
Double-shot capacity
Larger reservoir
Completely automated
What We Don't Like
Lacks personalization
Needs priming for optimal performance
Milk frother can create a bit of mess
Water temperature is not consistent
#2: DeLonghi Magnifica XS Cappuccino and Latte Machine
Via Amazon.com
Quality
Price
Our rating
The DeLonghi Magnifica XS offers you the Italian versatility and expertise packed in this elegant model! This compact espresso, latte and cappuccino machine has a stainless drip tray, water tank, and ground bins which slide out to the front of the machine. Its 60 ounces water tank is removable and ground bins can hold up to 14 single espressos.
It has a professional burr grinder with a total of 13 adjustable settings that grinds fresh beans every time in order to ensure freshness. It has an adjustable manual Cappuccino system that mixes milk and steam in order to create thick and long lasting foam.
Easy to use, you only need to adjust the menu settings for temperature, cup size and coffee strength and the machine will take care of the rest! The Magnifica XS also self-adjusts for a single or two shots of espresso and brings consistent brewing every time!
What We Like
Small size
Easy to use control panel
Large water reservoir
Built-in coffee beans grinder
Heats up fast
Allows personalization and adjustments
What We Don't Like
Can be quite loud
Cleaning of steam wand is a pain
#3: Breville BES870XL Barista Express
Quality
Price
Our rating
The Breville Barista Express is among the favorite latte and cappuccino maker on this list. If you really want something that is close to professional so you can create some latte and cappuccino art and be a true home barista, this machine is the right one for you!
It is a feature-rich coffee maker with just a small footprint so that it does not take up too much of your valuable counter space. With a 67 oz. removable water tank, you do not need to frequently refill it after every few cups. Featuring a built-in conical burr grinder, you can grind beans and also choose both the grind dose and size.
The machine comes with digital temperature control in order to ensure that you always get a precise espresso extraction. And there is also an auto purge function which helps ensure optimal extraction. In terms of latte making, its 360-degree swivel steam wand is a joy to use since it makes milk steaming effortless.
What We Like
Removable drip tray
Comes with all the necessary equipment for latte art
Lot of settings and options
Makes precise extraction
Great water tank capacity
Easier and quick cleanup
What We Don't Like
The grinder can sometimes be messy
Build quality is bit flimsy
#4: Gaggia 14101 Classic Latte and Cappuccino Maker
Via Amazon.com
Quality
Price
Our rating
If you tend to make a lot of coffee every day, then the 72 ox water tank capacity of this latte and cappuccino maker from Gaggia should be perfect for you! Other than having the largest capacity among our latte and cappuccino reviews, this espresso machine is well-built with sturdy stainless steel housing and commercial components such as the 58mm portafilter that makes it durable and longer-lasting.
Frothing milk for cappuccinos and lattes is also super easy, thanks to the efficient Pannarello wand which can also be used for dispensing hot water. Featuring a dual boiler, this coffee maker can heat water faster than most espresso machines, making it ready to brew in under 5 minutes and ready to steam in 20 seconds.
Operating is also super easy with user-friendly rocker switches. The machine itself is easy to assemble. And if that is not enough, Gaggia also provided a very clear installation instruction manual for your convenience.
What We Like
Simple yet functional design
Easy to assemble
Large water reservoir
Durable housing and components
Faster heating time
Easy to use control
Easy and quick milk frothing
What We Don't Like
Unable to brew carafe sized beverages
Cheap plastic steam wand
#5: Nespresso Inissia Espresso Maker
Via Amazon.com
Quality
Price
Our rating
Lightweight, compact, tiny footprint and fully equipped with ergonomic handles, the Nespresso Inissia fits perfectly into any interior design and is available n different colors to find the right one for your kitchen counter.
With this machine, you do not need to wait for it to warm up. In a single touch and less than 25 seconds, the water will reach the ideal temperature in order to create 9 cups of coffees with its 24 oz. water tank capacity. And you can even adjust the cup size with its 2 programmable buttons— Lungo and Espresso.
It offers great barista-style tasting, thanks to its single-touch operation and patented extraction system that delivers up to 19 bar pressure. It has a folding cup tray that can accommodate tall recipe glasses and used capsule container can hold at least 9 – 11 capsules. Energy-efficient, this latte, and cappuccino machine automatically switch off after 9 minutes in order to save energy.
What We Like
Energy saving
Colorful and compact design
2 programmable buttons
High-pressure pump
Fast heating time
Folding cup tray for larger cup sizes
Affordable
What We Don't Like
Consistent drips after brewing
The Crema-Maker King
Taking everything that a latte and cappuccino machine should have, I must say that the winner of this roundup would be…
Breville BES870XL Barista Express!
A favorite, this latte and cappuccino maker unleashes the barista in you and allows you to master the art of latte and cappuccino arts! It is compact and comes with a decent water tank so you do not have to refill it every now and then! Oh, and the built-in burr grinder is pretty useful, too! And yes, it is super easy to use and clean!
Creamy Thoughts
Smooth and creamy coffee drinks are definitely one of life’s little pressure. Cappuccino and latte make even the most stressful or lazy day manageable and a bit sweet! And with the best latte and cappuccino maker at your disposal, you can always get your hand on sweet lattes or frothy cappuccinos without standing on long lines, ever again!
I hope you find this article helpful. If you have questions or suggestions, feel free to voice it out and hit up the comment section below!
Until then, have a sweet and smooth day!
The post Best Latte and Cappuccino Machines 2019: Top 5+ Recommended appeared first on Cooky Mom.
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Critical Analysis
As with every project, I struggled for a good number of weeks on deciding exactly what to do. As it was stated, that your final project really defines the route you want to take into the animation industry. This really had me worried as I still don't really know exactly what I would like to do.
I decided to go with what I knew, and what I had always been involved in, making a music video. It took me a while to pick a track to use as I had no recent material, having put my music on hold while I am at Uni.
I picked a track that I thought had lots of strong visual ideas, I had always imagined a groundhog day scenario for the song, where a man sits in a chair all day not really doing much. I used this as a basis to form my idea. The lyrical content links to many different subjects, such as social media addiction, social exclusion, depression, anxiety, agoraphobia, repetitive lifestyle, routine, trapped in the system, simulation, virtual reality and many more, which can be picked out in the lyrics. So I researched these areas, to build my idea on solid foundations, and form some strong visual representations.
I was keen to build on the compositing module and do some kind of compositing for this project, but the more I planned it out, the more I thought it would work entirely in 3D, but with added composite footage of me performing the song, to the actual animation instead, so the opposite of what I had been doing really.
Once I had my idea down, I began to plan it out, using all the techniques learnt from previous modules. I broke down the character design and modelling module again, and repeated all the stages of that process to make sure I was doing all that needed to be done. Bible, Colour Sheet, Movement Sheets, Negative space etc. I created two characters, one is a male, wearing large sunglasses, dressed in shorts and t shirt. The other is like the manifestation of all of his fears and worries (demons) which only becomes visible as he visibly becomes worn down by the repetition of his everyday life. I wanted to create the kind of Bill Murray groundhog day effect to it, but I also loved the scene in Westworld, where the man discovers he has been made into one of the hosts. As we see each day repeating for him, living out the same scenarios with the same person, until he glitches and things go downhill pretty quickly. I liked the idea and wanted to bring a little of that into my piece too. As the climax of my video results in the characters environment glitching and a door appears, but the door is just painted on the wall, the character kicks down the wall and reveals he is in fact in a large white space surrounded by other 'sets' where he has been living. He turns to look back into his home, taking off his glasses, we find out that he was just an avatar in a virtual reality scenario for a real human, who is left standing, holding a VR headset in a large white open space surrounded by nothingness.
I created the the T-pose images and modelled the characters using Maya. I was a little rusty with doing a lot of these things so had to watch a few tutorial videos again to recap how to do certain things. I only had to UV map one of the characters for texturing as I intended the shadow like man to be completely black, casting no shadows and reflecting no light, so just a dead blackness, only with 2 eyes reflecting the light. I also think I may render him out separately so that I can composite him n the shots with some transparency possibly, still unsure on that part. I enjoyed texturing my character using UV snapshot in Photoshop, and trying to create a nice looking texture and bump map for him, only a really subtle amount. Feedback from a few people have stated he looks a bit like a Muppet, and I think that works really well for this.
I created rigs for the characters using Advanced Skeleton again, following the procedures taught to us last year, checking back on last years blog for reminders. I really enjoyed this process, trial and error of getting the joints in the correct places for the movement you desire. Then came the weight painting, I had a lot of problems on my character to begin with, which was really frustrating, I still don't feel I know exactly what I'm doing regarding that area, but I think I managed to do it well enough so that it all works ok. I still need to go and tweak a few areas like the fingers. But the biggest problem was the sides of the beard being affected by the arms. I managed to get through that part in the end though, so that was a huge relief.
I had 4 sets to design, and used techniques learned from the Game Design to help me plan those out too, sketching and testing out the shapes and sizes of the spaces, and also create the large empty kind of feeling I wanted to go for. The design is also similar to my games design, following quite a creepy and sinister looking environment, dark, dirty and mouldy looking walls and assets. I went by my designs to create the first room, the main set in which most of the action takes place, the sitting room. I intend to make a lot of textures for the walls using the UV snapshot again, and adding peeling wallpaper, mouldy wet patches, etc. Hopefully producing something that looks a little unsettling. I will repeat this process for each room. I am modelling as much as I can, but I may also use a few free download models from websites, which I will give credit for in my notes when I write it all up.
I hadn't really created an animatic before so this was my first go with that, I drafted out a rough storyboard using biro, and a lot of people commented on how they liked the look of that style. I did too, but its not something I wanted to carry onto the final look of my film really. I edited the storyboard along to the music, to try and structure out the plot of the video, trying to get timing right and to see if it worked. I think it works really well, I was concerned that it all may be happening too quickly and would have liked to linger on some shots a little longer, but having made many music videos I have found that generally they tend to be really quick cuts between shots, flashing things up just to help the narrative advance. So I am still confident that will be fine.
It will probably mainly consist of scenes with little to minimal movement, until the end sequence, as it is very quick flashes of the repeating scenes each day until that point. Hugo commented that my storyboard had a lot of mid shots and not much diversity in the camera angles. I think I just like to plan out a basic look of the shots, because when I get hold of a camera in 3D space, I know I will be able to find much better angles to represent each shot, so I imagine it will stray slightly from the ones in the animatic, but to something a little more pleasing or disturbing to the eye. Using Dutch angles and slow zooms and pans, I think I will be able to create something quite cinematic. I would also like to try out focus shifts in some scenes, which is something I have never tried in Maya, but will be doing a lot of research on to find out how it works.
I have done most of the work so far at home on my home PC, just to save bus fares really. But when it comes to animating I plan to use the Uni computers, so I have been a little concerned about transferring my files to the Uni computers as previously I have had problems with all my textures etc. when opening them up. As I have been setting things up in Renderman 22.3 and Gary mentioned there had been issues with it, and that the Uni computers didn't have that version on yet. So I was worried that I may have to reapply all of the textures to everything again. But I will cross that bridge when I come to it, and for now I will just finish the models and maybe finish the texturing off first thing when we come back, after checking out what the situation is with Renderman.
I have really enjoyed this module and found myself really throwing myself into it and just cracking on, the thought of having a really nice animated music video for one of my own songs, is something I am really excited about. Creating everything from the music to the video, using techniques that I have learned over the last year. I hope to have something very professional and cinematic looking, that carries the message from the song, and bridges that gap between audio and visual for the listener. It will also be great to have something that I could add to my show reel, as an impressive piece of animation work.
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