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floppyhatwitch · 4 months

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This is Part 2 of my 2023 new year's resolution recap. If you want to see part 1, click here.

And we're back! If you've read the first part, you're all caught up with the gist of everything, so I'll spare the extensive intro.

Long post coming up again, art under the cut :)

This is one of my favourites

I saw some tips on how to make a sketchbook more fun that included working with the fact the drawings are within a book and so I decided to make a portal between two characters.

How whimsical!

I reused the cutout bits to decorate the glossy front cover of the sketchbook too, which resulted in me having to glue it back on more times than I'd like to admit.

The return of my son <3

I think the key features to really nail down when drawing bonnie are the upper jaw and the eye socket. Obviously not the be all and end all, but they really add to his signature style. I mention this only because my bootleg bonnie plush is widely different for both those features, which I find funnier than it has any right to be.

This one was a joke about drink driving and getting pulled over, but it was probably the best anatomy lesson I had all year. I somehow managed to portray the likeness of my friend half decently while working with dramatic lighting. I mean, it's no like, groundbreaking work or anything, but it's one that I take great pride in.

I LOVE HATSUNE MIKU AND JERMA!!!!! RAAAAAAAA!!!!!!!

If I could do this one again (which I inevitably will because look at them) I would definitely make Jerma more like the creature he is and exaggerate his distinct features a little more.

Anyway the reason I put this up is because I accidentally titled it "Jerma and Hatsune Mike" because of autocorrect, which led to the creation of

HATSUNE MIKE!!!!

Miku's older and less famous sister. Although from what I've been told, her slices are the best in Queens, hands down.

Quick Australian politics tangent. We recently had a referendum that proposed adding an advisory group for First Nations peoples into the constitution. It was like the tiniest step forward towards actually repairing the generational trauma and long-term effects of colonialist genocide by simply asking Aboriginal and Torres Strait Islander people how they could be best assisted.

Despite being one of the easiest choices I've ever seen in my life, the referendum DIDN'T PASS. I was genuinely pissed when I found out so I tore up the bullshit misinformation flyers handed out by the opposition volunteers and made it into this. It's probably the most "teenager with too much angst and no actual action" thing ever, but it was how I felt at the time.

After that whole debacle I went through a phase where I used a lot of imagery of revolutions to try and process the feelings I was experiencing on the matter.

I thought the foreshortening and perspective on this one kinda popped off. The decision to place the viewer at the level of the executed was intentional. It's one of the only angles anyone would have seen a guillotine this close up in practice.

On Day 300 I saw the FNAF movie and wow was it different than what I expected. I drew my son looking on in horror as his character was assassinated in front of his eyes. Looking back, it might have been a little dramatic, but I'm just like that at the end of the day.

BONUS: If you wanna see my full review of the FNAF movie, you can read it here

I really wanted to get some expressive posing and particle effects going so I took inspiration from that "THINK FAST CHUCKLENUTS" meme and tried to imagine what it would look like if it was an overedited comic strip.

I lobe scou tf2 :))))

This was the day before my Media exam and holy hell was I nervous. If I'm remembering correctly, I was actually so anxiety-ridden that I was nauseous, which doesn't happen often. I channeled my borderline religious regard of the exams power into creating a monument to its supreme importance. That's me praying underneath it.

As you can tell, I was hoping so hard that I would do well on it, which makes the next one just even more satisfying.

I DID WELL ON IT!!!!!

I legitimately felt like omni man afterwards, so I did a study of that scene where he crushes red rush's head. It's a bit rough around the edges but that final panel still gets me. I should watch the new season.

Spidergwen Spidergwen Spidergwen Spidergwen Spidergwen

I'll know I'm a good artist the day that I make a couple pages as good as Miles does in atsv. Like that dude is talented as hell WHY CAN'T I DO THAT.

Speaking of the dude. Spider-Man, Spider-Man and his pal Spider-Man. Technically spectacular spider-man, but I kinda messed up the head shape a bit so it's not as obvious. Whoopsieeeee

I will always consider myself superior to fish because if I saw a mysterious hook in my environment I would simply disregard it. I will however, walk blindly into a situation that will inevitably lead to my downfall under the pretense that it will be beneficial for my future. No I don't see the irony in that, it's different I swear.

FUN ANGEL FACT! While it is technically correct to refer to these as "biblically accurate angels", they aren't the only forms of them. These are specifically referred to as Ophanim, and they're like wheels? I don't know, my knowledge kind of falls off after that point, the way they're described reminds me of those eldritch horrors that make people insane from their incomprehensibility.

Anyway I adore theological imagery but steer far away from the actual implications of any of it. To quote one of my favourite tumblr posts of all time, "narratively christianity is pretty cool i think it should have been a jrpg instead of a religion though" - Roisheep

This one came straight out of the brain tubes after I accidentally created an endless loop in my twine project and I got scared shitless that it was gonna brick my computer or something. In reality, it was the equivalent damage of refreshing a page a whole bunch of times, but I'm always jumpy when it comes to techy stuff.

One little detail I really like about this one is that the green light from the screen is actually reflected on the face and eyeballs! How fun!

This is how I'm gonna die, if it has to happen. To dissipate into a swarm of butterflies and have your cloak float down to the ground is to have lived a fulfilling life. They gotta have some pink ones though, I like those ones.

I saw a tiktokker who shades with a whole bunch of dots like some crazy kind of pointillism (if you know who I'm talking about PLEASE tell me, I can't find them) so I wanted to give it a crack.

It's nowhere near the same thing that they do, but I think it really sells the macabre and grotty nature of the cow skull and doesn't look half bad in the process. One day I'll do the cool stuff though.

WIZARD! TESTICULAR! TORSION!!!!!!!!!!

Still gotta learn how to render cloth folds.

This was me dramatically kicking the door down when I realised I had a new idea for a video game to make. This is definitely a more accurate depiction of how inspiration feels for me than anything else.

Madvillainy!

I knew from the moment I started studying metallic objects under light that I had to take a crack at the illest villain. Even just from recreating the album cover, I feel so much more knowledgeable in shading metal. You gotta get those hard transitions between highlights and shadows to sell the shine.

Almost there! This was a tribute to all the PHENOMENAL art I find on here. Like HOLY HELL everybody is so talented. Sometimes it can be demotivating, but then I remember that I could be phenomenal if I keep up with the practice. And that is the BEST feeling.

Seriously though, if you're an artist on tumblr and you're reading this, without exception you are unbelievably amazing at what you do. I haven't seen a single piece that didn't absolutely rock.

And that brings us to the last one!

I did a little caricature of all the different forms of art and expression I did throughout the year.

Clockwise from the green we have witch, punk, cyber, trans, goth, everyday, Rodney (character in my short film) and media versions of who I am. Isn't that cute?

Decided to go back and do a rundown of all my pieces and make a little recap within a recap.

But that's the lot! 2023 was a super fun year and I attribute a majority of that to this project. If you're reading this and you have something you want to do, this is your sign to just do it! Forget about new years resolutions, start today. Right now. Doesn't matter what it is, if you start now and do it every day, you'll get it done. 5 minutes, an hour, 30 seconds, whatever. This is the best choice I've ever made and that's why I'm doing it again!

A lot of the stuff I make is private or classified, but I'm gonna post all the publicly presentable stuff here, cause why not!

Anyway, that's all. Take care, stay hydrated, eat your greens, love you xx

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somnianus · 3 years

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On Eastern dramas vs Western dramas

Part 2: On Theatricality and how it transfers into Chinese/Eastern Dramas and Cinema

Part 1 Part 2

Here, I reference a fantastic article from the Asian Theatre Journal, 2008.

So to recap, the problem I’m exploring is this: Why do some East Asian dramas/movies look so over the top? Overacted? Overemotional? Why is it not more realistic?

My answer is in part 1, on the concept of mo, which is the traditional Chinese thought that emotional revelation is more important than accurate realistic depictions in art. Western audiences are more used to plot-heavy, realistic depictions of dramas, whereas traditional Chinese audiences are used to the opposite. They find the plot not so important, but focus more on the content of the work, the spirit of it, how it makes you feel.

1. How traditional Chinese drama translate into cinema/screens?

Making the jump from Beijing/Peking opera stages, or jingju, to cinema screens caused a lot of trouble.

a. Production-wise, early 1900s

It was difficult to adapt the very open, 3d stage into a “realist flat screen,” which was much more advantageous to Western eyes because the camera lens was invented based on “Renaissance principles of fixed point perspectives and foreshortening.”

b. 1950s-60s

Many still tried to adopt the Beijing opera style into film, but it was still very hard because the two mediums were so contradictory. Beijing opera relied on live, grand aesthetics along with the knowledge that the important aspect of drama was emotion and internal struggle, vs film at the time was very focused on accurate “mimesis,” or imitations of real life. One such example was critics actually laughing about the adaptations because the opera actors mimicked riding a horse in the traditional style - that is, minus the horse. Film would have them ride a prop or real horses.

Eventually, many changes were made to the style to better incorporate it into film, and it still kept a lot of its original roots (i.e. makeup/grandiosity in costume, emotions, etc). Western concepts of a limited stage, and emphasis on plot and tragedy were expounded upon. And eventually you have the modern-day dramas (1970s+).

2. Japanese Noh 能 theater - Kurosawa’s Ran

Noh is a Japanese form of theater that is a dance-based dramatic work. It tells stories of supernatural beings transformed into humans and etc. One of its major notes is its very stylized conventional use of specific gestures to portray emotions. Iconic, specific masks are used to portray the roles of the actors such as the ghosts, women, deities, and demons.

Akira Kurosawa’s Ran is lauded as one of the greatest films ever made. It’s a Japanese-French production heavily inspired by Shakespeare’s King Lear. There are many many detailed videos on YouTube about his precise filming methods and movement aesthetics. The body language can be seen as “over-acted” if you come from a Western background. Why? Because it takes from traditional Noh theatre:

Long periods of static motion and silence, followed by an abrupt, sometimes violent change in stance. Heavy ghost-like Makeup. Highly emotive gestures, sometimes repetitive to emphasize the characteristic of a character. All very unrealistic, but that’s not the point, right? Because this also displays mo, it takes the emotive expression, the revelation of fear/action/hope to the front of the stage.

3. Japanese Kabuki theatre - acting style is also larger than life

Kabuki actors also make great effort to express themselves in highly stylzed gestures (i.e. the men play women’s roles and over-act their femininity).

One major difference between Kabuki and much of Western theatre is that kabuki actors make less of an attempt to hide the “performance” aspect of the work. They’re fully aware that they’re performing, and the audience isn’t there to get “lost in the moment.” Everything -- actors, costumes, dialogue, is larger than life. Realism is far less emphasized, the form generally favoring what is often referred to as “formalized beauty.”

One example of this is the highlight of an aragato kabuki performance: the famous mie. The mie is a dramatic pose adopted by the main (oftentimes male) character during moments of emotional intensity. (The proper phrase for this action is mie o kiru, or to "cut a mie.") Announced by the beating of wooden clappers, the actor freezes in a statuesque pose and crosses one or both eyes. Often it's preceded by a head roll. The idea is to capture the highest moments of tension into one physical gesture and to more or less hold the actor and the audience in a breathless trance. After a few seconds, the actor relaxes and the play continues. A mie can be cut in various specified positions, depending on the character and the moment. When exiting, an aragoto character may perform a roppo exit, which combines several of these poses in rapid succession, before leaving the stage.

The mie pose

This is not to say that modern Japanese dramas and works directly descend from Kabuki or Noh or other theatrical traditions. But like the Chinese beijing opera, the concept of aesthetic beauty/mo, emotional revelation, these ideas all combined with Western influence and modern Western perceptions of good story-telling/acting to make up the modern Eastern dramas of today.

4. How do all of these things combine into the supposed “cheesy/corny/over-acting” of modern Eastern dramatic works?

All of these cultural roots combined with Western depictions of a modern story (i.e. Shakespearean tragedy in five parts: Exposition, Rising action, climax, falling action, and denouement, ofc there are other ones but this is the one I learned in school), I believe make up what we see today in modern Eastern dramas.

A. Acting Comedy: My specific examples are first, comedic examples from the famous 1986 Journey to the West

Comedy and the feeling of happiness and joy are also very important aspects of emotional revelation. Journey to the West depicts one of the most beloved comedic characters, Sun Wukong, who goes on a journey with Tan Sanzang, a Buddhist priest, to find the sacred Buddhist texts. His exploits are highly unrealistic and highly comedic. It is one of the epitomes of the “spirit” over the “form,” the internal emotional journey over the actual realism (or unrealism) of the journey. Many of the characters exhibit over-the-top facial expressions, some expressions too subdued, and the plot can be very winding and haphazard, but that’s not the point! If you’ve been reading this far, you’ll know why. It’s about how his adventures make you, the audience, the reader, feel.

B. Acting Villainy: More modern Chinese dramas i.e. The Untamed & Word of Honor

I cannot attest to the quality of the acting nowadays, but it’s a common idea that the supporting cast of the international hit, The Untamed, was a bit weak in terms of acting. If I were to step into my Western lens, I would agree that yes, many characters over-act (i.e. Xue Yang, below):

And Wen Kexing, Word of Honor:

And Journey to the West, Underworld Lord:

However, now with all that cultural context, I can see this choice of acting in a different light. The over-acting and depiction of villainy is over-the-top because it’s meant to inspire that emotion of (this guy is whack, like really). It’s not supposed to be realistic villainy, like how a real person would look if they were these people in real life. To judge it by a completely Western lens is doing a disservice to them I think. You could say that maybe they just can’t act well, but in a Chinese/Japanese/Eastern cultural theatrical context, their acting is actually par for course. It’s even more subdued than the traditional roots of Eastern theatrical performances actually.

This goes for many other C-dramas / Eastern dramas that have these instances of highly emotive performance. It’s a product of hundreds of years of Eastern cultural theatrical/artistic production combined with Western acting styles and cinematography.

Is it cheesy? Maybe. Is it over-acting? Could be, but what is “over-acting” vs what is “enough?” Is that not the distinction between mo and Western realistic imitation? For me, as someone who’s very used to this uniquely different style of dramatic production, I’m not too bothered by it. It, after all, makes me feel such an incredible range of emotions that the acting is just a fun, interesting perk.

Thinking that these dramatic productions were originally seen as extensions of poetry, I can see why the exaggeration is necessary to fulfill what mo means:

If I feel some intent, I must write it - it becomes a poem.

If that’s not enough, I must sing it - it becomes a song.

If even singing isn’t enough, then I sigh, and have to express by dancing - it becomes a performance.

Part 1

#cdramas #jdramas #kdramas #eastern cinema #acting #theatricality #asian cinema #east asian cinema #chinese culture #the untamed #word of honor

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steve0discusses · 3 years

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Yugioh Ep33 S4 pt 2: The Best Storyboarder Came Back Just so They Could Draw Tristan Getting Hit in the Nuts

OK lets just get to the good stuff.

God bless you, storyboarder.

(read more under the cut)

The team has entered the Atlantis lair of Dartz, which is also accessible through Paradius in San Fransisco, but youknow...we don’t have magic so it’s not like we could’ve skipped like 10 minutes and just done that instead of the helicopter escape, the Military moment, and the ride through a hurricane.

Oh wait, we do have magic, that’s right...well...for now, pretend we don’t.

Enjoy the snakes.

Strangely, Kaiba does not feel comfortable with the snakes, when snakes really just a smaller and cuter dragon. I love snakes. Never owned one...but I trust em.

Dartz has the Yugioh “old guy” aesthetic of “We just really like yellowed sandstone”

I get that they want this place (and also Yami’s house) to look like a tomb so there won’t be any paint on the wall but this is just a pet peeve of mine that Ancient times freakin loved garish colors on the wall in layers and layers of patterns and yet in fiction we never show that.

But...it doesn’t go with the vibe. I’ll let it go because it would absolutely ruin the vibe to have a bunch of swirly stuff in neon orange and green.

Before we have a chance to grab a step stool and just kinda yoink Yugi Muto, Dartz shows up, and this shot happens.

I couldn’t not grab a cap of that. I mean...look at it. It is SO HARD to foreshorten hands so it looks right and then bam they just did that. It’s just...

...I’ve been breaking down foreshortening in Yugioh shots for a while now trying to figure out why when I do it, it looks like a busted huge hand, but when they do it, it looks really good, and I’m starting to realize that maybe it’s more than just stacking but also...the composition?

You can’t really look at this picture as a whole. The hand is such a strong focal point that you must start there, and then follow down the arm to the face. I think when I do these foreshortening shots I make the hand the same weight as the face, and that’s my downfall. You gotta let the composition force the viewer to slow down and take time in order for the optical illusion to happen...maybe? I’m like over 30 now, you’d think I’d figure this out by now.

Whatever, that’s another post.

So like...what happened to those two people who used to be there????

And now prepare thyself for my lazy math. I know this math is bad. For people out there who feel like working out the geometric growth and calculate just how many souls Dartz slurps up--feel free to tell me. If I like the explanation, I will adjust the Death Count to match it. It’s just too 2020 for me to do more than multiplication at the moment.

Did I count how many people would have existed 10,000 years ago? no. Did I account for plagues? No. Like this math of 4 a day is bad...but eh it’s all I got right now in my mental ammunition.

Something that we did think about was...

Why not slurp up the Pharaoh soul when Yami was still alive? Like we assume the puzzle existed in the past but like...did Yami not get superpowered until Yugi woke him up? Was he in fact useless until he got a little bit of a battery charge during Season Zero when he was dumping people off of bell towers?

And like I get not knowing about the underground Ishtars, and not being able to get a hold of Shadi because Shadi is a lazy ghost, but Bakura was RIGHT THERE. You can’t munch up Pegasus off screen and then say “eh but Bakura’s kinda low tier” we know for a fact that Bakura is not...so like...there must have been some copyright situation where they couldn’t use certain characters. This is a filler arc--but it would have been nice to have at least some explanation as to why it took Dartz so long to finally murder the hell out of Pharaoh.

Which is me expecting way too much out of this show. Just something I was really hoping would get addressed but leave it for the headcanon.

It’s at this point that Mokuba realized he’s standing on top of people.

A crypt made out of human souls! Crazy, usually we’re in a crypt made out of one single human soul....and both of these crypts have Yugi in it.

In Raphael’s storyline, he’s been busy just cleaning up after everyone else. It’s supposed to come off as very serious but I was totally busting up when he’s just dropping bodies into the back of this jeep.

And in the Kaiba Corp plotline, Roland is anxiously wondering if he should be a Dad and save the kids or if he should be a dog and stay in the plane.

He stays in the plane.

Strangely this was the right call. (And this is why Roland has never died)

So they start throwing around cards, as you do, and Dartz puts down his Orichalcos, has he does, when suddenly...they started seeing stuff again. Can’t have a single card game without it.

So the Orichalcos is just a backstory device? For reals?

Something I alluded to quite a few episodes back with Valon was just...wondering why the hell the Orichalcos crew had so much freakin magic as to make all these visions during duels. Turns out...it’s just a thing to occasionally trip on Oricalchos juice. I’m not sure why we never had a vision with Mai, Weevil, Rex, or Gurimo, but at least we now know that Raphael and Valon weren’t as magical as I thought they were.

So we’re in like...outer space. Kind of the last place you’d expect out of ancient Atlantis and Dartz isn’t having ANY OF IT.

And honestly that makes sense. Imagine giving someone 10,000 years ago the run down on outer space. They’d freak. They’d definitely think you’re talking about demons.

If space is an elaborate analogy, we don’t know that yet. For how this is presented, it’s just an old man hootin and hollerin about how much space sucks, and I love that.

PS how anime is this shot of the earth behind the orichalcos symbol and the dude in the middle with the ass length blue hair--really damn anime, right?

Like at least one of you has this wall hanging, right?

For those that are too tired to look it up, Pangea was 280-230 million years ago.

THAT REALLY CHANGES MY MATH.

AND I’M TOO TIRED.

So my thoughts are...either the math is wrong and I’ll fix it eventually in post, depending on my mood come next Wednesday, OR...humanity was deleted and then came back later??? (because the dawn of mankind was 7 million years ago)

OR...

They just felt like drawing Pangea 10 million years ago. Maybe that’s all. Maybe I don’t have to fix anything. I dunno.

Maybe this isn’t Earth.

Maybe Yugioh Earth never had Loma Preita because it isn’t actually Earth. And, like a Final Fantasy situation, is a second planet on a parallel plane of our own?

Either way, I’m not redoing the math because I actually don’t know how to change it anymore. I’m v undecided of the timeline now......maybe the next episode will tell us more? (I doubt this very much)

RIP deathcount.

Yo Atlantis!

I have a lot of questions!

About Atlantis!

And the purpose of the aqueduct going the wrong direction.

Is that in fact the poop shoot?

But wtv it looks neat.

So anyway, that’s all for now, I hope you enjoyed my bad math, and I hope you enjoy your Halloween. Ours is a whole lot of nothing. I’ll be watching lots of Phasmaphobia streams while eating Butterfingers that I legally can’t give to children because it’s an epidemic (butterfingers is like the last candy that my old 30 yo ass can handle without passing out or gagging. Weird how getting older makes me hate all the good things I couldn’t eat when I was younger because I was too young to be allowed to eat them.) and that’s about it.

WHY did Halloween finally fall on a Saturday DURING an epidemic? I only get so many Saturday Halloweens in my youth...just why.

(and here’s a link to read these in chrono order)

#ygo #yugioh #recap #photo recap #humor #atlantis #yami #seto kaiba #mokuba #dartz #tristan taylor #getting hit in the nuts #roland #hallucinating while playing cards who knew?#S4 #Ep33

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ageofdragon · 4 years

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The Next Dragon Age, Analysis #3

Analysis #1 Skeletor | Analysis #2 Location, Location, Location

*Due to length, a Read More has been added. TDLR under cut, at the end.

It is finally time to talk about That image. There is so much going on in that image. It’s brightly colored, full of motion and detail. We see familiar faces and new ones. It’s another eye-catching and gorgeous concept art. I am of course talking about this one.

Now rather than touch the obvious first. Because oh the Obvious it is so great and exciting, that we’ll leave it for last.

Rather I want to start with the overall concept. We see a group of characters diving underwater into a coral reef area. They are doing so, presumably to escape the archers above; as we see a rain of arrows into the water.

So there are two ways this could happen. This could be a scripted event within the game, in which this scene needs to take place or is an option that can take place. This could also be showing off the PCs and NPC companions abilities to FINALLY after three games be getting a swim mechanic. As we’ve spent two games confined to land and a third insta-drowning on the Storm Coast. It would certainly open up new options for moving across maps and exploring beneath them, with new treasures and areas to unlock. The last game gave us jump puzzles, we could be looking at swim puzzles in the near future. It also makes sense for this to be the game for underwater travel and just water travel in general. As the entirety of Northern Thedas has some access and dependency on coasts, bays, and oceans surrounding it.

Now let’s return to the image. If we look closely, we can see some fish among a coral reef and far in the distance is the shadows of sharks. Which could be enemies similar to those found in the Assassin’s Creed franchise or just environmental/aesthetic additions.

I also want to point out that we can see where this group is coming from. At the top of the image is the shadows of boats, which again hint towards at least having ship exploration in cutscene or mechanic. These people aren’t jumping from a dock or shore, but from ships.

The last thing I want to touch on briefly, before moving onto the characters populating this image is the treasure. At the very bottom of this picture there is a skeleton, it has pieces of coral growing out of it. Obviously it rather gruesome in a way, but has a level of nature overcoming beauty to it (for some). So I’m not going to post a close up of it, but just wanted to point that out. The skeleton also has a treasure chest in it’s arms and the lock glints, to draw attention to it. Similar to the mechanics used in many games to distinguish loot chests, again hinting towards possible underwater exploration.

Now then...the characters, I’m still going to hold off on the obvious cause I’m cruel and I Mean ;) why not. So I’m going to start in the very back first.

In the back we see the skull-headed individual from before. Though this one doesn’t have any glow to the skull. I’ve seen a lot of other theories being brought up about this character too, so I still can’t definitively say much about them.

I am still kind of under the impression they are a Mortalitasi or tied to them. Many others have pointed out it could be a Higher Undead (mentioned in Tevinter Nights, as I stated in Analysis #1), a self-aware spirit in the body of someone who once lived and I believe similar to what Justice and Kristoff became. I’ve also heard some people wonder if it isn’t Audric, a specific higher undead that was a main character of the aforementioned Tevinter Nights story; he is known as a guardsman who was killed before filled by another character with a spirit, and later became an archivist for the Mourn Watch. Which would tie him to the Mortalitasi, but if it is him and he is shown in all concept arts; it makes me wonder why he would be performing a dissection of a Dragon.

Next we have this woman.

I have a friend who on first glance thought it to be Scout Lace Harding, which could be possible given the company. She also has similar armor, a possibility of freckles, and similar physical features. However, it is strange that they would choose to loosen her hair, unless it is specifically to give more convincing towards the underwater scene. And the foreshortening of the drawing, makes it hard to gauge the woman’s height as dwarva or not. It’s a bit of an unknown. That said, if it isn’t Scout Harding, I have a strong feeling it could be a default PC stand-in. There is no extremely distinct feature about her and her face is rather basic to be an instantly recognizable companion. Which says to me she’s a NPC, like Scout Harding or a PC stand-in. Unless of course Scout Harding is a companion, which I certainly won’t say no to.

And Finally, I suppose we can talk about our last two characters in this concept art.

Still working from the back, we have this handsome and fine piece of art who I really wish I could 100% confirm is our favorite Tevinter piece of ass art. However...I cannot. On first glance, it absolutely looks like Magister Dorian Pavus.

The hair, skin color, and even aesthetic all seem to match. However, there are subtle changes to the hair and facial hair (against his long-haired epilogue look) that could be enough to claim it’s another person.

He is also wearing something similar to a crow uniform and wielding a rapier. In fact, in another concept art, what I originally thought could have been Zevran; actually seems to be this guy. Though I can’t confirm that either and Maker do I hope the other guy is Zevran. If this guy is Dorian tho, then Dorian could be undercover or has a few new tricks (maybe dual-classing or going back to dao unrestricted-class weapon loadouts?) It could even just be a style choice, though it still begs the question why.

So the possibilities are that he is Magister Dorian Pavus of Ventus or some unknown Crow. Either of which aren’t bad options, but one is definitely more exciting to me than the other.

Lastly, my favorite character to ever grace the Dragon Age fandom. The Queen of the Seas herself, and beloved Rivaini.

Captain Isabela of the Felicia Armada (allegedly).

She is honestly the only one in this entire picture, I can say with almost no doubt, who she is. There is such a slim margin for this not to be her. She has her gold decorations (including the overly large, penis necklace), her captain’s pants as seen in the comics, and her top and sash as seen in the Dragon Age Inquisition multiplayer. Her appearance is one of the most unique in the series, so for her to be unrecognizable would be a hard sell. She even has her one shouldered armor piece and her earrings.

Which Isabela has been in every game to date and I do mean EVERY game, even the spin-offs for PC and mobile, why wouldn’t she be in the one game that goes north near her hometown and the seas she roams? She could be working for herself, the Inquisition, or even Hawke. But it seems no doubt we’ll be running into her and she’ll be running into a good bit of booty. After all is it even a Dragon Age game anymore if the Queen of the Seas isn’t there (and like fewer dragons than the number of times she shows up?).

tldr; underwater or at least the sea seems to be a part of the Next Dragon Age game. And Captain Isabela seems to be too, in passing or sticking around a while we don’t know. We can also count of some new companions and maybe more familiar faces, but wherever it takes us we’ll be in good company.

#Dragon Age 4 #DA4 #DA4 Speculation #speculation #long post #ageofdragon speculates #idk what to put down but there is coral growing from a skeleton and that's kind of disturbing #tryphophobia #DA4 BTS Analysis #Analysis 3

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samrosemodblog · 4 years

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Looking back at my art from the 2010s. I went through and picked 1 piece I drew/wrote from each year that I felt either showed off my best art, my most iconic art, my best improvement, or was simply a personal favorite of mine.

There were a lot of possible choices and it was kind of difficult to narrow it down to 1 per year, since each piece tends to encapsulate so much more than just a single moment per year. Especially with stuff like Motherly Scootaloo or Aria’s Archives encapsulating so much history in a single picture. But under the Read More are my choices at the end of the decade:

1.) My Old Drawn Blog # 53

Man, the years before MLP existed were really weird for me. I knew I liked drawing and telling stories, but I had no consistent direction on what I wanted to do with my art. I was still jumping between different comics and ideas, and in 2010 I was going through some of the worst depression I’d ever felt in my entire life. I hadn’t even had the experience of being kicked out of the first place I tried to move out of home to yet. It was wild.

As for the ‘joke’ that seems ‘so obvious’ in this post, I had a running gag back then of the face the Flower makes, known as the ‘screaming window’ face. I drew it whenever I needed to draw something screaming in pain or fear for maximum comedic effect. Maybe I’ll bring it back some day lol

2.) Silent Ponyville

I couldn’t NOT put Silent Ponyville on this list. I was gonna have both 1 and 2 as different spots, but I wrote them both in the same year. That seems insane to me now?? Like WOW, I just WROTE those fics and then they became fandom-wide phenomenons. To the point where even in 2019 I’m still getting people drawing fanart of it, or people telling me “Yeah, I got into Fanfiction because I read Silent Ponyville”.

I don’t know if I’ll ever make a creative piece as universally known in a fandom as Silent Ponyville again, but I sure would love to make an original piece of art that is as beloved as Silent Ponyville one day, if not more so. It’s a testament to the fact that if I put my mind to it, I can create a really amazing horror experience, and I know I do plan to do so again some day.

3.) Pirate Dash x Dead Rainbow Dash

Who doesn’t love shipping wars that get large numbers of people involved? This is probably the second most involved in the ‘community’ I got, though it was certainly the better experience of the two. And it was all just for silly fun at the end of the day.

And funnily enough I never ACTUALLY shipped these two, I just thought the reactions from the creators seeing them be shipped was hilarious, so it just kind of grew from there. It was all fun and games at the end of the day, and made for a good memory, and a pretty dang ambitiously drawn pic for the time!

4.) If Twilight Wasn’t a Princess

2013 was surprisingly sparse as far as ambitious projects or art pieces go. I was in full swing with Motherly Scootaloo, and nothing really ‘amazing’ happened in 2013 for the blog. Which was surprising. But Season 4 of MLP DID happen! And it started with the Princesses going missing, and authority over Equestria being transferred to Twilight as the next closest Princess around. And with Cadance ruling the Crystal Empire, I thought, who did that leave to rule if Twilight HADN’T been able to temporarily take the role?

And judging by the length of the comments section on DA, a lot of people found the idea hilarious as well lol. Blue Blood NEVER showed up again for the entire run of the show, and it’s a shame because there was a lot of hilarious joke potential they could’ve done with him. But ya know, the show is what it is is, and this joke still makes me laugh.

5.) My Time

My first original music video, with a song I had commissioned and everything! While it wasn’t my first video involving music and MLP, it was the first time everything was mine in one way or another. I wish I could write music, but the ambitiously talented AllLevelsAtOnce and Queen Mickey the Sass Master made this project well worth the time and effort put into making it!

And of course, it encapsulates the kind of futures I wish the CMC had acquired, with Sweetie Belle finally achieving her foreshadowed talent of singing. Apple Bloom built the stage, and Scootaloo likely would’ve ended up the choreographer if not for her baby. Sadly we shall only ever have fanon for that.

6.) Demonloo

Love or hate the wedding arc of Motherly Scootaloo, this will always be one of, if not my top, favorite panel from the entire arc. Scootaloo looks just so appropriately menacing, and the effects placed on her are glorious. And then of course, I love the little twist of “That’s not just an audience visual effect, she actually looked that way in the comic” rofl

Motherly Scootaloo was a trip that got weird with my inclusion of magic and magical beings from the show, so much so to the point that if I were to ever remake the whole thing one day, a LOT of that would be toned down. Probably to the point Chronus wouldn’t exist. But hey, things are the way they are, but I will forever love the art of this arc.

7.) A Motherly Scootaloo Christmas

If there ever was a picture that basically summarized the entirety of Motherly Scootaloo, it was this picture. Pretty much ever major character of the stories over the years was in the picture (minus Starlight) and showing their relations to everyone pretty much. I remember this picture basically killing me when I was drawing it, but was really proud at the time of how it came out. Of course, I could see how to improve it now, but I’m not gonna lol

It’s still crazy to me how many years Motherly went on for, and how much time and effort was put into it. But I’m still glad I did all of it over those years. It taught me so much about art, and about myself, and in the end, taught me the skills I needed to make art a true career for myself. And I’ll always love it for that. And introducing me to the best friends I’ve ever had, of course.

8.) Twilight-Midnight is PISSED

Look. I recognize the Aero crossover had some convoluted issues with it, but god DAMN if I didn’t enjoy drawing that fight scene! I GENUINELY loved every panel of it! I can only hope that in the future the fight scenes I draw will be just as fun to draw as these were. And as visually impressive!

That’s ultimately why this won my pic over say, the time-glitch arc with her Mom. The explosions, the action lines, the visual foreshortening, I’ve never seen such visual improvements in a single update from me quite like I have these entire scenes. When I push myself to be amazing, I can pull off some fantastic art, and I need to do it more!

9.) A StarTrix Christmas

2018 had a LOT of really good choices. Like. Too many choices. So many art pieces I was super proud of, so many pieces that showed growth as an artist, was a personal favorite, that people loved... So in the end, I went with the piece from the end of the year that is still a piece I hold up as truly a cultivation of how much effort I can put in to a picture.

Also it’s Christmas related. I LOVE Christmas. Never enough Christmas.

And as much as I hate FriendLight Glimmer, I still ADORE StarTrix content. It’s the good food for me, one of the rare things that the later era of G4 got right for me. And since I can make them be however I want in fanon, making them a GOOD loving couple was top priority for me, and I just adore them together. I truly do. And this picture is beautiful because of the love I put into it.

10.) Fate of the Lost Princess

I couldn’t NOT put Fate of the Lost Princess on this list. It’s too important to me, means too much to me, and shows my growth as an artist the most. And of the pages of Fate of the Lost Princess I have done so far, the piece of Tina and Noah on a bus stands out the most for me because, I ACTUALLY managed to make it look and feel like they were on a bus! I was so worried about this page and I spent so long working on making it look right, and in the end, I succeeded in a way I never thought I could!

It feels good to end the decade on my original webcomic, showing just how much I’ve grown as an artist. Going from a successful fanartist, to a successful original artist, that still does fanart on the side, but I’ve grown into my own person now.

I’ve lost track of how many times I tried to start an original comic, only to stop working on it and let it fade into obscurity. Fate of the Lost Princess is the most effort and work I’ve put into an original comic before, and I’m so proud of myself for not only getting as far as I have, but proud of how much effort I plan to put into it in the future, and how much effort I’ll put into the comics beyond Fate of the Lost Princess.

It represents everything that is me from the last 10 years, and I hope it’ll be the fantastic start of the 2010s I want it to be. And I couldn’t have picked something to be more proud of to wrap this decade up with.

#Personal Art #Looking back at the decade #Art of the 2010s #Silent Ponyville #Motherly Scootaloo #Tumblrpon #Friendship is Magic #StarTrix #Fate of the Lost Princess

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min-xie · 6 years

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old art! i’m so horribly embarrassed by the actual animatic but the drawings by themselves look nice. i uploaded some of these before but here’s some more :^)

let’s go!

my oc looks cute here hehe

what is style consistency

i like how these looked haha

i went overboard but i rly wanted to draw the bg... her hand is so tiny

hot mom comin thru

“woah look at this skinny penis” HAHAHA jk

god the anatomy and foreshortening is terrible... and i was like 18? there are ppl who actually make good stuff and then theres me LMAO i hope they do great things. i am not very good at storytelling if you cant tell from the aesthetic 3/4 facing girls at i always draw.

i tried so hard and it turned out so cringey rip

ignoring bad anatomy, the explosion looks nice

and my fave from the entire dumpster fire

i just love the concept of glowing markings, espcially my oc’s “crown”

what actually happened was i had to bullshit a story to storyboard and i heard some good music and tried to make it match and uhhh yeah this happened. it’s very hard to read/ not very clear because i didnt want to record any lines and only craed about making pretty things. this was the first draft and then later i remember having one where my oc walks to some ruins but idk what happened to it??

and this is why i dont major in animation.

if u clicked read more ur brave and i thank you

#minxie art #doodles #storyboards #this is from 2017

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my-comic-academia · 6 years

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Day 3: Comic Creating Advice #1 - Composition: Focus and flow

Note: this post is a little long but completely covers the advice I’d like to give so please bear with me.

If you’d like an example of what I will mean (in the application form) by composition within comics and illustrations - to help you understand, here are some example panels that I created for a collaboration comic that was cancelled. I’d like to analyse them to show how they have a reasonably strong composition - They are perhaps not perfect but they were created by me so it’s convenient to use them.

In American comics, the page reads left to right (as will be in the ‘My Comic Academia’ zine), and so the flow of the reader’s focus is, in general, from top left to bottom right.

Note: When I talk about the reader’s eye/focus, I am referring to where they are looking.

First panel:

Here is a ‘full page’ panel. The focus of the piece is the building and it is centred and enlarged so as to emphasise its large scale (the purpose of the panel is to show the building as foreboding - a key point here is that everything should have some purpose). Smoke from the top of the building is a point of interest and will start the reader in looking at the top of the piece, then the previously mentioned flow of the comic will bring the reader’s eyes down to the other point of interest, the bell-ringing and the group of people align the bottom.

Blue is the general comic page flow and red is the flow created by this specific panel.

The panel shape is also important in creating an effect here. The building bleeds off the page- they are not constrained by a panel border and this makes the building appear even larger. The irregular shape of the inner panel emphasises the contrast between the looming atmosphere of the building and the sharp sound of the bell.

An extra tip: I mentioned before that I centred the building to be the focus of the reader’s attention. I can do this as the building is such a large part of the panel. However, this is not always the case and splitting any panel into nine equal parts will help you identify points of focus that the reader will automatically look at - no comic reader systematically reads a page like a scanner! This is where it is best to put points of interest.

Following the lines or putting objects directly in the crossing point is a good idea.

For example, let me show you a pretty well-composed piece by the mangaka of My Hero Academia himself, Kohei Horikoshi:

I picked something out at random. You can see pretty easily how the most eye-catching parts of the image follow the lines of the grid. Iida’s expression is important and placed right on a crossing point. Also, Izuku and Todoroki are both closely aligned with the two vertical lines.

Features don’t have to be exactly on the line to work and I doubt he used an actual grid in composing the panel, so it wouldn’t be perfectly aligned.

Plus, the flow I described earlier is present! Manga reads right to left and the first focus of the piece (Todoroki’s group) is facing in a right to left direction towards the second focus (Izuku). The importance of this will become much clearer in a moment.

Second panel:

This panel has a different purpose to the full page panel I displayed earlier. This panel fits at the top of a page of multiple panels and has a flow that is just left to right rather than focusing on a top to bottom flow. Additionally, this panel needs to lead the reader onto the next panel. The direction that characters face and the direction of lines are important in this part of the comic. The floor pattern foreshortens towards the door, which is the direction that the narrative will move (ie the characters will move towards the doorbell - this panel comes first in the sequence).

Furthermore, the walking of the character on the right matches the flow of the comic to bring the readers eye across the door and to the second character. This character’s body faces left and so brings the flow back left to the next panel below.

If this panel was at the bottom of a page and I needed to bring focus right and to the top of the next page, I would turn the body in a slightly more right facing position, but keep the head in a similar position (ie looking at the approaching character).

A key tip: The body is a much better indicator of flow than the face. This means it’s alright to have characters facing each other in a conversation as long as body language and position creates movement instead.

In fact, you don’t always have to follow these rules perfectly, if you want to create a one-time effect to surprise/create a jarring effect on the reader.

It may seem complicated but these aspects are not difficult to implement. Very often, it only takes knowing what to consider, a couple attempts at the page and then the drawing will ‘feel right’. Looking at the work of good comic artists will help you get that feeling as well.

Hope that was adequate and I wish you the best of luck!!

- Moddo

#mycomicacademia #moddo #information #composition #answers #applicationcountdown #comic-advice

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ocgear · 3 years

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Devlog #6 Writing, Music, and Art

Hey y’all! I wanted to give an update since I’m pretty sure everyone thinks I’m dead ^^;

For quick updates on the project: OCG is being produced in two parts now. Part 1 will contain the many mysteries that the world of OCG has to offer and part 2 will be a sort of answer arc. The first draft of OCG part 1 is written and I’ve been hard at work revising and editing the prologue and chapter 1 of the script. For part 1, there is roughly 6-7 chapters of planned content. I’m hoping that at the end of the day, Part 1 will resonate with you, the reader.

Covid has been extremely hard on my ability to complete the project. I won’t get too personal on a devblog, but my health and finances were impacted. I apologize for the delays and this account’s inactivity. I feel like I'm letting down the people who want to read OverClock Gear and I just want to let everyone know that I'm still committed to working on the project and that despite the inactivity, I'm still working hard to improve every aspect as much as possible.

I'd like to share some of the things I learned along the way so that maybe future devs can learn something from my struggles.

WRITING:

As a warning, I want to say that none of the following are hard rules of writing. These are just things that I've observed as a writer and as a consumer.

Probably the most challenging part of a Visual Novel is writing a script that works with the format. The rules for VN writing are different from traditional novels and screenplays as many elements will be shown on screen but usually not enough to get a full sense what's going on. This is more of an opinion, but I feel that the descriptions should supplement the action and we should pick and choose when to show with sprites instead of describing. This is especially true when considering dialogue and internal monologue will make up a majority of the script akin to a movie.

It's not to say you should ignore everything you know about writing, however. There's still things about structure and character arcs that are useful.

Speaking of characters, balancing your cast is also a challenge. Every character is fighting for enough screen time to develop enough for the reader to care. As I'm writing OCG, I am trimming down and trying to give each cast member enough time to breathe while keeping in mind the characters' backstories and motivations. There's also the delicate balance between backstory and current events to keep in mind. I think it's especially hard to figure out how to reveal backstory without dumping a history lesson on the player.

There's also the issue with paragraph length for display purposes. VNs have a unique format that breaks down text into easily digestible chunks. However, overutilizing the space can sometimes make the reading experience worse.

There are a lot of things to consider visually too when writing your script. I've had to think about the actual space that they occupy so that chain of events make sense. Since there will be visual elements to the story, I need to try to figure out how those elements fit in too as I'm writing. For instance, how characters will appear, do gestures, and different CGs that need to appear are crucial to the format and needs to be considered.

From a general storytelling perspective, I've been toying with the idea of including gameplay. However, I realized that in trying to do so, I'd have to create a bunch of excuses to play the minigame which would be:

1. Unsatisfying without enough stages to challenge the player

2. Disrupt the story to challenge the player

I think that if I wanted to have gameplay, I should plot out the game in a way such that the story fits the gameplay and not the other way around. Since I'm working on a primarily story driven experience, I won't be including any minigames that would take the player out of the experience. However, I have ideas for games that could take place in the world of OverClock Gear. Those are sitting in the vault until I release OCG part 1.

There's also something interesting I learned about twists and keeping people engaged in stories. Maybe this is something of a beginner's trap, but when people say a character isn't interesting it's usually because a character doesn't have anything meaningful to say or do, or they're simply floating through the story without influencing it. Giving a character powers and an award winning backstory isn't really enough to make someone interesting in a story. Giving a character flaws also doesn't make them automatically interesting. It's how you tie all these traits into story and their impact on other characters that make it interesting.

In today's day and age, readers have become more critical and perceiving than ever before, so it may seem like you'd need to hide more information to make your twists have impact. But I think it's better to show some of your hand. Twists also need room to breathe. They need to be logical but unexpected. A reader needs to convince themselves that it was possible through several minor clues leading up to the event. But balancing what to show and what to hide is a challenge in itself. Through showing off my script edits, I came to the conclusion that setting up expectations is a lot more satisfying than trying to make everything a mystery. Readers seem to get frustrated when the mystery leads nowhere in a story for an extended period of time. However, that's not to say every mystery should be revealed in a quick fashion. I think it's a balancing act, one in which we have to reveal what we can to keep the reader engaged while hiding the bigger stuff behind the curtains. In a way it's like slight of hand: We try to misdirect the audience with "true" events in the story and then blow them away with something they never saw coming.

An example of a bad twist from a scrapped project that I did several years ago: The main character meets a super secret organization who protects her from a military government. One of the people who protects her is a commander in that organization and seems to know a thing or two about the MC. However he is shot and killed before anything could be revealed.

There are elements that we can anticipate from the scenario: The MC is caught up in some crazy conspiracy with rogues and the military. However, the characters don't come off as interesting because they aren't given room to breathe. The organization became a device to set up the premise of the story. The commander doesn't impact the story and basically anybody else could've stepped in to save the MC. The MC isn't given time to bond with the commander and as such the twist at the end doesn't come across as earned.

These are just some thing that I've been thinking about as I've been consuming media and writing. There are too many games and fictional works that I've ruined for myself by being too critical. But through this, I'm hoping that the final script for OverClock Gear will be something I can be proud of.

Art:

I'm studying animation production to try to incorporate some of that knowledge into my VN. I want to be able to create a more immersive experience and make my VN more visually appealing. Some works that I really like are Muv Luv and Phoenix Wright. They're both unique in their presentation and utilize different parts of visual media that make them stand out.

The Muv Luv team are masters at using dynamic camera movement to craft visual spectacles. Despite the sprites being mostly non-moving, the way they are tweened and the few pose changes they have are combined with the camera in a way that almost makes them feel alive. Even in the first cutscene of Muv Luv Alternative, the parallax effects and strong camera angles help to sell that cinematic feel that isn't really found in any other VN's I've read.

Phoenix Wright's sprites are a joy to look at. The animations are done with such strong key poses that I sometimes forget the game's animations were meant to be limited. In the modern day, there are many tools that are used to create smooth looking animations with complex actions like 3D models or Live2D. I'm honestly not a huge fan of Live2D animations as it often looks as if a puppeteer is handling the rig. 3D also presents the issue of having to create specialized rigs that can handle weird scenarios like foreshortening. For example in Dragon Ball Fighter Z, there's a lot of model distortion in cinematics that is pretty complicated for someone with no 3D expertise. Facial expressions are also a huge part of making visual novel character appealing which can be difficult to do well on a 3D model. Not to mention, to emulate a 2D style, the frames need to be displayed at 24fps which means chopping frames in-between the interpolated keys. It can be a lot of work to create something that closely resembles "Anime". There is also a charm in a more traditional approach to animation that I think more visual novels should employ. Though I recognize that for complicated sprites, a traditionally drawn 2d animation isn't practical at all, I want to use the idea of strong key poses to create more lively sprites as well as play with depth to further immersion.

There are some more ideas that I have for creating a better visual experience, but I don't want to go into too much of a tangent ^^;

Music:

I went back to learn more about music theory and I came across some great videos that emulate the Japanese video game/Pop style. If you're curious, you can check out Gavin Leper's channel on YouTube. That being said, something I realized about music in Visual Novels and Film in particular is that sometimes the music should accompany the dialogue or actions in the work instead of overpowering it. There are moments when elevator music is important and when it's important to use a swelling emotional piece. Not everything in life "goes hard" and I think that also applies to music in stories as well. Music in games is also designed to loop in contrast to film where individual pieces can be created for specific scenes. This adds an entirely new thing to think about since it needs to be repeatable without getting annoying. I don't really have a clean answer to this, but to observe songs from games you like and see how they transition from the end to the part that loops.

This was a long post and there's so much more I want to talk about but I'm trying to stay productive and get the script done. For anyone else struggling with finishing their VN, "Finish the Script" by Scott King is an excellent book. Wishing everyone the best!

- OCGDev

#visual novel #gamedev #anime #writing #music #art

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storyofmorewhoa · 6 years

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Fan Review/Rant: Rogue & Gambit #1

"Ring of Fire:" The arc "Ring of Fire," links Rogue and Gambit with another iconic Southern duo in sharing its name with the 1961 country song written by June Carter and covered by Johnny Cash-- while they were both still married to other people-- equating sensuality with destruction. A line from the song, “I fell for you like a child,” particularly fits Rogue and Gambit. For in leaving home, traveling the world, and in ending up falling in love someone from the other side of the river-- is the unspoken hope of a second chance at childhood. Further layering the multi-tiered work R&G is proving to be, is the possibility that the title could additionally refer to the zone of volcanic and seismic activity that surrounds the Pacific Ocean which is also called the "ring of fire". This is interesting because not only does volcanic activity have the potential to create lush and fertile tropical islands, which is where R&G is set, but because it further alludes to natural intensity churning below the surface which has been essential to much of Rogue and Gambit's relationship.

The cover: The cover of R&G #1 is drawn as though from the perspective of someone about to be punched in the face by Rogue with a split second before the punch lands to enjoy a superb view. Kris Anka’s proportions and foreshortening are flawless. With Gambit’s care-free grin, Rogue’s smug smirk and raised eyebrow, the cover suggests that the series is going to be as much fun as those two are having. Frank D'Armata makes fantastic use of their signature colors, incorporating both the same shade of pink for Gambit’s eyes, armor, and charged playing cards, and the same green for Rogue’s eyes and suit into the series’ title lettering. Though the cover is undeniably enjoyable and gets the reader’s curiosity as peaked as Rogue’s eyebrow, it would have been more engaging if it was specific to this particular issue since the absence of plot-related substance makes it feel slightly generic. However, the technical skill behind it is too solid for any criticism beyond that.

a spread of ice or glass?: The comic begins with nine ordered rectangular panels containing: white blank spaces; images of Rogue and Gambit in a fight that is yet to come; and images of their shared past. The next two pages contain a spread of the two crashing through more past images in broken shards, displaying both Rogue's borrowed "flying brick" powers and Gambit's explosive force powers that break things apart from the inside. The broken shard imagery calls to mind two things: glass and ice. Viewing the shards as glass can be further broken down to two readings-- the first of which is best described by Battle of the Atom's Zach Jenkins as a shattered stained glass window. It is as though their relationship itself is a great mosaic of moments that is being destroyed. The second reading regarding glass is that each shard is merely reflecting Rogue and Gambit, but at a different times in their relationship. This recalls the images of Rogue contained under glass in framed photographs and on screens in Gambit vol.4-- as though their relationship was preserved but inaccessible. Lastly, the imagery also suggests ice, and that what they are crashing through is merely the surface of their relationship. Only once that is broken through can a deeper meaning be discovered. The significance of ice is evident with Rogue #1 (2001), in which Rogue is described as "a river of anger beneath... frozen indifference," the events in Antarctica of UXM #348-350 (1997), and XML #234 (2010) in which Rogue likens her sexual attraction to Gambit to melting snow.

"If time is a circle...": The prologue: “If / time / is / a / circle / then / everything / happens / at // once" indicates that the series will recap the evolution of their relationship. Much of this approach works and is achieved with small details in the writing and art. For example Gambit leaning in a doorway, allied with "Stormy" lightly retreads his introduction in Uncanny X-Men #266 (1990). Pérez gives the characters a fantastic range of facial expressions from smug to sensual, and Gambit's boyishness shines through, especially in the shard containing the aftermath of the X-Men #4 (1992) basketball game in which Gambit grabs Rogue. Gone is the chiseled pirate that Jim Lee drew. Instead Pérez draws Gambit like a big goofy kid, suggesting that even though the basketball game was over, Gambit and Rogue were still playing, although it was another kind of game. My favorite of Pérez's variations on back issues is the addition of Gambit's smile in a panel from X-Men #24 (1993). Pérez's action sequence in the Danger Room is fantastic, particularly when Rogue is so distracted by Gambit that she is hit by a sentinel fist, which takes on symbolic poignancy as a superhero whose powers are initiated through touch is immobilized by a giant hand. After the training session, Gambit ends up on top of Rogue with their lips centimeters apart, recalling Gambit #1 (1993). Their post-breakup friendship which was highlighted in XML #265 (2012) is emphasized as Gambit calls Rogue his best friend, and later Gambit suggests that they seize the opportunity for legitimate romance in the midst of an obvious trap as he did in Astonishing X-Men #4 (2017).

"Same as ever?": Other details in the characterizations do not work quite as well, specifically Rogue's return to her XM #4 (1992) disposition that requires Gambit to insistently initiate any kind of communication, and even worse, perpetuates the stereotype of a woman who says no-- but really means yes. It reads like they are back in the 1990s-- before they lived together, and before they were able to treat each other civilly as friends. Rogue even protests being in the same room as Gambit. While this is done to reestablish their early dynamic within this series, I would rather that behavior be left to the past. I also disliked their discussion on Deadpool. Instead of taking issue with Rogue becoming romantically involved with an assassin (to which Rogue could have rebuffed with Gambit's marriage to the head of the Assassins Guild), Gambit complains, "He doesn't even have a face." A lot of Gambit's charm is not just that he is conventionally attractive, but that he treats others as though they are too, and in Deadpool v Gambit (2016), Gambit even seemed to think of Deadpool as friend. While I understand that it is meant as a joke, and appreciated Rogue's defense of, "I didn't kiss Deadpool. I made out with him," her line: "maybe not having a face makes people... I don't know try harder. Maybe people as pretty as you have it too easy" struck me as too immature to be redeemably funny. In Uncanny Avengers #8 (2016) Rogue is confronted with Deadpool appearing as he would prefer to look, and tries to break the illusion gently knowing he is sensitive about it. Part of what made Rogue's brief romance with Deadpool so memorable was her willingness to take on Wade's scars and tumors in UA #22 (2017)-- especially when taking into account her character growth since preferring to kill Angel rather than take on his physical mutations in Dazzler #22 (1982).

"...something bigger": Shadowcat's line, "You're focused on the wrong thing. These mutants need your help, Rogue," and the inclusions of a gay couple and an interracial couple suggests a progressive social commentary in the background of R&G. Already, two very different sides of Paraíso are shown: a city where people presumably live, and the beautiful exclusive resort that locals probably could not afford to stay at. Perhaps R&G will indirectly touch on the effects of colonialism, or the exploitation of a country's natural beauty while ignoring the needs of the people who actually live there. As Gambit is from New Orleans, which depends on tourism for a large part of its revenue, it will be interesting to see if these dynamics will play a role as the series continues. The greatest of Rogue's and Gambit's many similarities to each other is not that they are from the south or had troubled childhoods. It is their acknowledgement that everyone needs to be accepted regardless of their differences. Being on a team that works towards everyone being accepted as they are and being free to love who they love is what brought them together. It's not just fighting, it's work, and I hope R&G allows them to work towards achieving that acceptance and love for others, and finally for themselves.

#Rogue & Gambit #marvel comics #but what i really want to know is if rogue and gambit took turns sleeping on that couch

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unsettlingshortstories · 4 years

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The Signal-Man

Charles Dickens (1866)

'Halloa! Below there!' When he heard a voice thus calling to him, he was standing at the door of his box, with a flag in his hand, furled round its short pole. One would have thought, considering the nature of the ground, that he could not have doubted from what quarter the voice came; but, instead of looking up to where I stood on the top of the steep cutting nearly over his head, he turned himself about and looked down the Line. There was something remarkable in his manner of doing so, though I could not have said, for my life, what. But, I know it was remarkable enough to attract my notice, even though his figure was foreshortened and shadowed, down in the deep trench, and mine was high above him, so steeped in the glow of an angry sunset that I had shaded my eyes with my hand before I saw him at all.

'Halloa! Below!' From looking down the Line, he turned himself about again, and, raising his eyes, saw my figure high above him. 'Is there any path by which I can come down and speak to you?' He looked up at me without replying, and I looked down at him without pressing him too soon with a repetition of my idle question. Just then, there came a vague vibration in the earth and air, quickly changing into a violent pulsation, and an oncoming rush that caused me to start back, as though it had force to draw me down. When such vapour as rose to my height from this rapid train, had passed me and was skimming away over the landscape, I looked down again, and saw him re-furling the flag he had shown while the train went by. I repeated my inquiry. After a pause, during which he seemed to regard me with fixed attention, he motioned with his rolled-up flag towards a point on my level, some two or three hundred yards distant. I called down to him, 'All right!' and made for that point. There, by dint of looking closely about me, I found a rough zig-zag descending path notched out: which I followed. The cutting was extremely deep, and unusually precipitate. It was made through a clammy stone that became oozier and wetter as I went down. For these reasons, I found the way long enough to give me time to recall a singular air of reluctance or compulsion with which he had pointed out the path. When I came down low enough upon the zig-zag descent, to see him again, I saw that he was standing between the rails on the way by which the train had lately passed, in an attitude as if he were waiting for me to appear. He had his left hand at his chin, and that left elbow rested on his right hand crossed over his breast. His attitude was one of such expectation and watchfulness, that I stopped a moment, wondering at it. I resumed my downward way, and, stepping out upon the level of the railroad and drawing nearer to him, saw that he was a dark sallow man, with a dark beard and rather heavy eyebrows. His post was in as solitary and dismal a place as ever I saw. On either side, a dripping-wet wall of jagged stone, excluding all view but a strip of sky; the perspective one way, only a crooked prolongation of this great dungeon; the shorter perspective in the other direction, terminating in a gloomy red light, and the gloomier entrance to a black tunnel, in whose massive architecture there was a barbarous, depressing, and forbidding air. So little sunlight ever found its way to this spot, that it had an earthy deadly smell; and so much cold wind rushed through it, that it struck chill to me, as if I had left the natural world. Before he stirred, I was near enough to him to have touched him. Not even then removing his eyes from mine, he stepped back one step, and lifted his hand. This was a lonesome post to occupy (I said), and it had riveted my attention when I looked down from up yonder. A visitor was a rarity, I should suppose; not an unwelcome rarity, I hoped? In me, he merely saw a man who had been shut up within narrow limits all his life, and who, being at last set free, had a newly-awakened interest in these great works. To such purpose I spoke to him; but I am far from sure of the terms I used, for, besides that I am not happy in opening any conversation, there was something in the man that daunted me. He directed a most curious look towards the red light near the tunnel's mouth, and looked all about it, as if something were missing from it, and then looked at me. That light was part of his charge? Was it not? He answered in a low voice: 'Don't you know it is?' The monstrous thought came into my mind as I perused the fixed eyes and the saturnine face, that this was a spirit, not a man. I have speculated since, whether there may have been infection in his mind. In my turn, I stepped back. But in making the action, I detected in his eyes some latent fear of me. This put the monstrous thought to flight."You look at me," I said, forcing a smile, 'as if you had a dread of me.' 'I was doubtful,' he returned, 'whether I had seen you before.' 'Where?'He pointed to the red light he had looked at. 'There?' I said. Intently watchful of me, he replied (but without sound), Yes. 'My good fellow, what should I do there? However, be that as it may, I never was there, you may swear.' 'I think I may,' he rejoined. 'Yes. I am sure I may.' His manner cleared, like my own. He replied to my remarks with readiness, and in well-chosen words. Had he much to do there? Yes; that was to say, he had enough responsibility to bear; but exactness and watchfulness were what was required of him, and of actual work--manual labour he had next to none. To change that signal, to trim those lights, and to turn this iron handle now and then, was all he had to do under that head. Regarding those many long and lonely hours of which I seemed to make so much, he could only say that the routine of his life had shaped itself into that form, and he had grown used to it. He had taught himself a language down here--if only to know it by sight, and to have formed his own crude ideas of its pronunciation, could be called learning it. He had also worked at fractions and decimals, and tried a little algebra; but he was, and had been as a boy, a poor hand at figures. Was it necessary for him when on duty, always to remain in that channel of damp air, and could he never rise into the sunshine from between those high stone walls? Why, that depended upon times and circumstances. Under some conditions there would be less upon the Line than under others, and the same held good as to certain hours of the day and night. In bright weather, he did choose occasions for getting a little above these lower shadows; but, being at all times liable to be called by his electric bell, and at such times listening for it with redoubled anxiety, the relief was less than I would suppose. He took me into his box, where there was a fire, a desk for an official book in which he had to make certain entries, a telegraphic instrument with its dial face and needles, and the little bell of which he had spoken. On my trusting that he would excuse the remark that he had been well-educated, and (I hoped I might say without offence), perhaps educated above that station, he observed that instances of slight incongruity in such-wise would rarely be found wanting among large bodies of men; that he had heard it was so in workhouses, in the police force, even in that last desperate resource, the army; and that he knew it was so, more or less, in any great railway staff. He had been, when young (if I could believe it, sitting in that, hut; he scarcely could), a student of natural philosophy, and had attended lectures; but he had run wild, misused his opportunities, gone down, and never risen again. He had no complaint to offer about that. He had made his bed and he lay upon it. It was far too late to make another. All that I have here condensed, he said in a quiet manner, with his grave dark regards divided between me and the fire. He threw in the word 'Sir' from time to time, and especially when he referred to his youth: as though to request me to understand that he claimed to be nothing but what I found him. He was several times interrupted by the little bell, and had to read off messages, and send replies. Once, he had to stand without the door, and display a flag as a train passed, and make some verbal communication to the driver. In the discharge of his duties I observed him to be remarkably exact and vigilant, breaking off his discourse at a syllable, and remaining silent until what he had to do was done. In a word, I should have set this man down as one of the safest of men to be employed in that capacity, but for the circumstance that while he was speaking to me he twice broke off with a fallen colour, turned his face towards the little bell when it did NOT ring, opened the door of the hut (which was kept shut to exclude the unhealthy damp), and looked out towards the red light near the mouth of the tunnel. On both of those occasions, he came back to the fire with the inexplicable air upon him which I had remarked, without being able to define, when we were so far asunder.Said I when I rose to leave him: 'You almost make me think that I have met with a contented man.' (I am afraid I must acknowledge that I said it to lead him on.) 'I believe I used to be so,' he rejoined, in the low voice in which he had first spoken; 'but I am troubled, sir, I am troubled.' He would have recalled the words if he could. He had said them, however, and I took them up quickly. 'With what? What is your trouble?' 'It is very difficult to impart, sir. It is very, very difficult to speak of. If ever you make me another visit, I will try to tell you.' 'But I expressly intend to make you another visit. Say, when shall it be?' 'I go off early in the morning, and I shall be on again at ten to-morrow night, sir.' 'I will come at eleven.' He thanked me, and went out at the door with me. 'I'll show my white light, sir,' he said, in his peculiar low voice, 'till you have found the way up. When you have found it, don't call out! And when you are at the top, don't call out!' His manner seemed to make the place strike colder to me, but I said no more than 'Very well.' 'And when you come down to-morrow night, don't call out! Let me ask you a parting question. What made you cry 'Halloa! Below there!' to-night?' 'Heaven knows,' said I. 'I cried something to that effect----' 'Not to that effect, sir. Those were the very words. I know them well.' 'Admit those were the very words. I said them, no doubt, because I saw you below.' 'For no other reason?' 'What other reason could I possibly have!' 'You had no feeling that they were conveyed to you in any supernatural way?' 'No.' He wished me good night, and held up his light. I walked by the side of the down Line of rails (with a very disagreeable sensation of a train coming behind me), until I found the path. It was easier to mount than to descend, and I got back to my inn without any adventure. Punctual to my appointment, I placed my foot on the first notch of the zig-zag next night, as the distant clocks were striking eleven. He was waiting for me at the bottom, with his white light on. 'I have not called out,' I said, when we came close together; 'may I speak now?' 'By all means, sir.' 'Good night then, and here's my hand.' 'Good night, sir, and here's mine.' With that, we walked side by side to his box, entered it, closed the door, and sat down by the fire. 'I have made up my mind, sir,' he began, bending forward as soon as we were seated, and speaking in a tone but a little above a whisper, 'that you shall not have to ask me twice what troubles me. I took you for someone else yesterday evening. That troubles me.' 'That mistake?' 'No. That someone else.' 'Who is it?' 'I don't know.' 'Like me?' 'I don't know. I never saw the face. The left arm is across the face, and the right arm is waved. Violently waved. This way.' I followed his action with my eyes, and it was the action of an arm gesticulating with the utmost passion and vehemence: 'For God's sake clear the way!' 'One moonlight night,' said the man, 'I was sitting here, when I heard a voice cry "Halloa! Below there!" I started up, looked from that door, and saw this Some one else standing by the red light near the tunnel, waving as I just now showed you. The voice seemed hoarse with shouting, and it cried, "Look out! Look out!" And then again "Halloa! Below there! Look out!" I caught up my lamp, turned it on red, and ran towards the figure, calling, "What's wrong? What has happened? Where?" It stood just outside the blackness of the tunnel. I advanced so close upon it that I wondered at its keeping the sleeve across its eyes. I ran right up at it, and had my hand stretched out to pull the sleeve away, when it was gone.' 'Into the tunnel,' said I. 'No. I ran on into the tunnel, five hundred yards. I stopped and held my lamp above my head, and saw the figures of the measured distance, and saw the wet stains stealing down the walls and trickling through the arch. I ran out again, faster than I had run in (for I had a mortal abhorrence of the place upon me), and I looked all round the red light with my own red light, and I went up the iron ladder to the gallery atop of it, and I came down again, and ran back here. I telegraphed both ways, "An alarm has been given. Is anything wrong?" The answer came back, both ways: "All well."' Resisting the slow touch of a frozen finger tracing out my spine, I showed him how that this figure must be a deception of his sense of sight, and how that figures, originating in disease of the delicate nerves that minister to the functions of the eye, were known to have often troubled patients, some of whom had become conscious of the nature of their affliction, and had even proved it by experiments upon themselves. 'As to an imaginary cry,' said I, 'do but listen for a moment to the wind in this unnatural valley while we speak so low, and to the wild harp it makes of the telegraph wires!' That was all very well, he returned, after we had sat listening for a while, and he ought to know something of the wind and the wires, he who so often passed long winter nights there, alone and watching. But he would beg to remark that he had not finished. I asked his pardon, and he slowly added these words, touching my arm: 'Within six hours after the Appearance, the memorable accident on this Line happened, and within ten hours the dead and wounded were brought along through the tunnel over the spot where the figure had stood.' A disagreeable shudder crept over me, but I did my best against it. It was not to be denied, I rejoined, that this was a remarkable coincidence, calculated deeply to impress his mind. But it was unquestionable that remarkable coincidences did continually occur, and they must be taken into account in dealing with such a subject. Though to be sure I must admit, I added (for I thought I saw that he was going to bring the objection to bear upon me), men of common sense did not allow much for coincidences in making the ordinary calculations of life. He again begged to remark that he had not finished. I again begged his pardon for being betrayed into interruptions. 'This,' he said, again laying his hand upon my arm, and glancing over his shoulder with hollow eyes, 'was just a year ago. Six or seven months passed, and I had recovered from the surprise and shock, when one morning, as the day was breaking, I, standing at that door, looked towards the red light, and saw the spectre again.' He stopped, with a fixed look at me. 'Did it cry out?' 'No. It was silent.' 'Did it wave its arm?' 'No. It leaned against the shaft of the light, with both hands before the face. Like this.' Once more, I followed his action with my eyes. It was an action of mourning. I have seen such an attitude in stone figures on tombs. 'Did you go up to it?''I came in and sat down, partly to collect my thoughts, partly because it had turned me faint. When I went to the door again, daylight was above me, and the ghost was gone.' 'But nothing followed? Nothing came of this?' He touched me on the arm with his forefinger twice or thrice, giving a ghastly nod each time: 'That very day, as a train came out of the tunnel, I noticed, at a carriage window on my side, what looked like a confusion of hands and heads, and something waved. I saw it, just in time to signal the driver, Stop! He shut off, and put his brake on, but the train drifted past here a hundred and fifty yards or more. I ran after it, and, as I went along, heard terrible screams and cries. A beautiful young lady had died instantaneously in one of the compartments, and was brought in here, and laid down on this floor between us.' Involuntarily, I pushed my chair back, as I looked from the boards at which he pointed, to himself. 'True, sir. True. Precisely as it happened, so I tell it you.' I could think of nothing to say, to any purpose, and my mouth was very dry. The wind and the wires took up the story with a long lamenting wail.He resumed. 'Now, sir, mark this, and judge how my mind is troubled. The spectre came back, a week ago. Ever since, it has been there, now and again, by fits and starts.' 'At the light?' 'At the Danger-light.' 'What does it seem to do?' He repeated, if possible with increased passion and vehemence, that former gesticulation of 'For God's sake clear the way!' Then, he went on. 'I have no peace or rest for it. It calls to me, for many minutes together, in an agonised manner, "Below there! Look out! Look out!" It stands waving to me. It rings my little bell----' I caught at that. 'Did it ring your bell yesterday evening when I was here, and you went to the door?' 'Twice.' 'Why, see,' said I, 'how your imagination misleads you. My eyes were on the bell, and my ears were open to the bell, and if I am a living man, it did NOT ring at those times. No, nor at any other time, except when it was rung in the natural course of physical things by the station communicating with you.' He shook his head. 'I have never made a mistake as to that, yet, sir. I have never confused the spectre's ring with the man's. The ghost's ring is a strange vibration in the bell that it derives from nothing else, and I have not asserted that the bell stirs to the eye. I don't wonder that you failed to hear it. But I heard it.' 'And did the spectre seem to be there, when you looked out?' 'It WAS there.' 'Both times?' He repeated firmly: 'Both times.' 'Will you come to the door with me, and look for it now?' He bit his under-lip as though he were somewhat unwilling, but arose. I opened the door, and stood on the step, while he stood in the doorway. There, was the Danger-light. There, was the dismal mouth of the tunnel. There, were the high wet stone walls of the cutting. There, were the stars above them. 'Do you see it?' I asked him, taking particular note of his face. His eyes were prominent and strained; but not very much more so, perhaps, than my own had been when I had directed them earnestly towards the same spot. 'No,' he answered. 'It is not there.' 'Agreed,' said I. We went in again, shut the door, and resumed our seats. I was thinking how best to improve this advantage, if it might be called one, when he took up the conversation in such a matter of course way, so assuming that there could be no serious question of fact between us, that I felt myself placed in the weakest of positions. 'By this time you will fully understand, sir,' he said, 'that what troubles me so dreadfully, is the question, What does the spectre mean?' I was not sure, I told him, that I did fully understand. 'What is its warning against?' he said, ruminating, with his eyes on the fire, and only by times turning them on me. 'What is the danger? Where is the danger? There is danger overhanging, somewhere on the Line. Some dreadful calamity will happen. It is not to be doubted this third time, after what has gone before. But surely this is a cruel haunting of me. What can I do?' He pulled out his handkerchief, and wiped the drops from his heated forehead. 'If I telegraph Danger, on either side of me, or on both, I can give no reason for it,' he went on, wiping the palms of his hands. 'I should get into trouble, and do no good. They would think I was mad. This is the way it would work:--Message: "Danger! Take care!" Answer: "What danger? Where?" Message: "Don't know. But for God's sake take care!" They would displace me. What else could they do?' His pain of mind was most pitiable to see. It was the mental torture of a conscientious man, oppressed beyond endurance by an unintelligible responsibility involving life. 'When it first stood under the Danger-light,' he went on, putting his dark hair back from his head, and drawing his hands outward across and across his temples in an extremity of feverish distress, 'why not tell me where that accident was to happen--if it must happen? Why not tell me how it could be averted--if it could have been averted? When on its second coming it hid its face, why not tell me instead: "She is going to die. Let them keep her at home"? If it came, on those two occasions, only to show me that its warnings were true, and so to prepare me for the third, why not warn me plainly now? And I, Lord help me! A mere poor signalman on this solitary station! Why not go to somebody with credit to be believed, and power to act!' When I saw him in this state, I saw that for the poor man's sake, as well as for the public safety, what I had to do for the time was, to compose his mind. Therefore, setting aside all question of reality or unreality between us, I represented to him that whoever thoroughly discharged his duty, must do well, and that at least it was his comfort that he understood his duty, though he did not understand these confounding Appearances. In this effort I succeeded far better than in the attempt to reason him out of his conviction. He became calm; the occupations incidental to his post as the night advanced, began to make larger demands on his attention; and I left him at two in the morning. I had offered to stay through the night, but he would not hear of it. That I more than once looked back at the red light as I ascended the pathway, that I did not like the red light, and that I should have slept but poorly if my bed had been under it, I see no reason to conceal. Nor, did I like the two sequences of the accident and the dead girl. I see no reason to conceal that, either. But, what ran most in my thoughts was the consideration how ought I to act, having become the recipient of this disclosure? I had proved the man to be intelligent, vigilant, painstaking, and exact; but how long might he remain so, in his state of mind? Though in a subordinate position, still he held a most important trust, and would I (for instance) like to stake my own life on the chances of his continuing to execute it with precision?Unable to overcome a feeling that there would be something treacherous in my communicating what he had told me, to his superiors in the Company, without first being plain with himself and proposing a middle course to him, I ultimately resolved to offer to accompany him (otherwise keeping his secret for the present) to the wisest medical practitioner we could hear of in those parts, and to take his opinion. A change in his time of duty would come round next night, he had apprised me, and he would be off an hour or two after sunrise, and on again soon after sunset. I had appointed to return accordingly. Next evening was a lovely evening, and I walked out early to enjoy it. The sun was not yet quite down when I traversed the field-path near the top of the deep cutting. I would extend my walk for an hour, I said to myself, half an hour on and half an hour back, and it would then be time to go to my signalman's box. Before pursuing my stroll, I stepped to the brink, and mechanically looked down, from the point from which I had first seen him. I cannot describe the thrill that seized upon me, when, close at the mouth of the tunnel, I saw the appearance of a man, with his left sleeve across his eyes, passionately waving his right arm. The nameless horror that oppressed me, passed in a moment, for in a moment I saw that this appearance of a man was a man indeed, and that there was a little group of other men standing at a short distance, to whom he seemed to be rehearsing the gesture he made. The Danger-light was not yet lighted. Against its shaft, a little low hut, entirely new to me, had been made of some wooden supports and tarpaulin. It looked no bigger than a bed. With an irresistible sense that something was wrong--with a flashing self-reproachful fear that fatal mischief had come of my leaving the man there, and causing no one to be sent to overlook or correct what he did--I descended the notched path with all the speed I could make. 'What is the matter?' I asked the men. 'Signalman killed this morning, sir.' 'Not the man belonging to that box?' 'Yes, sir.' 'Not the man I know?' 'You will recognise him, sir, if you knew him,' said the man who spoke for the others, solemnly uncovering his own head and raising an end of the tarpaulin, 'for his face is quite composed.' 'O! how did this happen, how did this happen?' I asked, turning from one to another as the hut closed in again. 'He was cut down by an engine, sir. No man in England knew his work better. But somehow he was not clear of the outer rail. It was just at broad day. He had struck the light, and had the lamp in his hand. As the engine came out of the tunnel, his back was towards her, and she cut him down. That man drove her, and was showing how it happened. Show the gentleman, Tom.' The man, who wore a rough dark dress, stepped back to his former place at the mouth of the tunnel! 'Coming round the curve in the tunnel, sir,' he said, 'I saw him at the end, like as if I saw him down a perspective-glass. There was no time to check speed, and I knew him to be very careful. As he didn't seem to take heed of the whistle, I shut it off when we were running down upon him, and called to him as loud as I could call.' 'What did you say?' 'I said, Below there! Look out! Look out! For God's sake clear the way!' I started. 'Ah! it was a dreadful time, sir. I never left off calling to him. I put this arm before my eyes, not to see, and I waved this arm to the last; but it was no use.' Without prolonging the narrative to dwell on any one of its curious circumstances more than on any other, I may, in closing it, point out the coincidence that the warning of the Engine-Driver included, not only the words which the unfortunate Signalman had repeated to me as haunting him, but also the words which I myself--not he--had attached, and that only in my own mind, to the gesticulation he had imitated.

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