#i wanted to try a composition using 5 point perspective

[pain-tool-sai]

For #aprilluc day 16 - 'blood'

#genshin impact #diluc ragnvindr #watercolor #透明水彩 #traditional art #cw blood #i was sure i was not gonna finish painting this in time but i somehow did #i wanted to try a composition using 5 point perspective #best part of drawing this: opening the game just to barge into dilucs house take 1000 reference pics and then leave

[ririka-ilios]

Eidolon art "blueprint"

I've been looking over Eidolons in Star Rail today and thought it'd be fun to try and figure out how exactly the art on them works (i.e. what is the principle behind it, what they have in common between different characters, that sort of stuff).

There will be 1 (ONE) 2.1 story spoiler in here, so beware!

I haven't seen anyone else discuss this, so I've taken it upon myself to write an essay on it! This is relatively small and based entirely on my observations of the art. Feel free to use this as a basis for designing eidolons for your OCs if you want.

There will be example(s) for each part to help visualise the point I'm making as well as descriptions for the ones I'll use (some of the descriptions are much more detailed than others).

Eidolon 1

Shows view of the character from the back 3/4th to the left, up to their shoulders.

Eidolon 2

A close up of either of the character's eyes, showing off the details.

Eidolon 3

The view is entirely unique: the perspective, pose, and focus of the composition is meant to showcase an aspect of the character's personality.

Examples:

● Dan Heng. Back view, focus on his earphones as well as the maple leaf in his hand;

● Silver Wolf. Front view, focus on the game console in her hands;

● Himeko. Front view, focus on her facial expression and the pen in her hand.

Eidolon 4

Gives view of the character mostly from the front (either full-on or at an angle) or with them facing the camera in some way, up to their shoulders. Often has characters establish eye contact with the camera, but not necessary. Another showcase of their personality possibly might even represent how they interact with others.

Examples:

● March 7th. Back view with her head turned to look at the camera, making a peace sign. She's the only real outlier I've found so far, but it fits her personality fully;

● Aventurine. Front facing the camera, tipping (pulling down?) his hat and hiding one eye behind his hand as a result, obscuring his face;

● Bronya. Front, turned to the right, has a serious listening expression, one hand one her chest, closer to the heart. Perhaps a show of sincerity and dedication.

Eidolon 5

A close-up of the character's neck/collarbone area (despite the popular belief, it doesn't actually focus on their chest). The angle varies, as does the amount of character's expression shown, but generally, most of it is obscured (even in fuller pictures).

Examples:

● Herta. 3/4th angle, focus on the key hanging from her choker. The only part of her expression we see is her typical smug little smile;

(This Herta is one of many puppet avatars so the key might be a play on that. She also has a keyhole on the front of her outfit, though they're different sizes. There's also a key on a book cover in her splash art. Another fun fact, her upgrade materials are "Keys" as she is one of the first Erudition characters)

● Dr. Ratio. Focus on the pendant/decoration on his collarbones (maybe the Intelligentsia Guild insignia?), he has that "lips in a thin line" sort of expression;

● Black Swan. Focus on the heart decoration on her collarbones (reference to the stained glass in her ultimate, which in itself, loosely, calls back to Fuli, the Remembrance). She has her slight enigmatic smile.

Eidolon 6

Like E3, the view is entirely unique. The only consistent thing is that it ends at about the middle of a character's chest. The character is naked, showing them at their most vulnerable.

Examples:

● Misha. View from the side, his body turned in on itself as he hugs some sort of glowing orb. As a result, he's only illuminated at the points of contact. His expression is relaxed, but there's an interesting amount of seriousness in it, as if he's soothing/protecting the object;

● Sparkle. 3/4th to the left, has her hands up to her chest, one holding onto the other. A red string is tied into a four-petal flower shape around her pinkie finger, which sticks out from the rest of her fingers. Her expression is fully relaxed, her mouth is even slightly open, but the face paint is still on, and her hair is tied up;

● Acheron. View from the front, though her body is slightly turned to the left. She's in her self-annihilator state: hair white, the red thorn-like tattoos surround her lower neck and collarbones. There are red flowers outlined in white, either blooming on or flowing near her, some on her shoulders, some covering her left eye, others flying off. Interestingly, the flowers are placed loosely on a diagonal, bottom left to top right. Her expression is fully relaxed, mouth open slightly, and her hair is flowing to the side. That, paired with the flowers, makes it seem like there's a breeze passing by.

The conclusion I came to, upon finishing this analysis, is that Eidolons can be interpreted as the layers to characters' personality. With E1 being what anyone in the crowd could see – their back, no face, nothing to truly identify them by, and E6 is them at their most relaxed, most open point.

#honkai star rail #hsr #eidolons #analysis #don't mind me tagging literally everything I can #trailblazer #dan heng #silver wolf #himeko #march 7th #aventurine #bronya rand #herta #dr. ratio #black swan #misha #sparkle #acheron

[wasyago]

how did u get so good at composition:3 did u like to draw background all the time or it came to be after practice how long does one piece usually take:333

hehe well, thank you first of all. second of all... um both? practice yes, no one gets it on the first time. and just. i dont know? doing it over and over again and trying new things and experimenting, seeing what works, what doesn't, where the background is needed and not.

i remember i heard a lot of artists around me saying that they didn't like or couldn't draw backgrounds, and for some reason i decided that im not gonna be like other girls and learn to do it. and i uhhh.... just started? drawing backgrounds? i was trying, and watching tutorials on youtube, and seeing how other people did it and eventually it got easier? i can say that i definitely enjoyed figuring out how to do it, struggling to get the perspective and composition right. like, it was hard but i had a lot of fun doing it, so it felt natural and just like, normal art progression? it didn't feel like i was going out of my way to draw backgrounds, i just did it when i felt like it?

at some point i joined a character ask, you know, when people ask questions and you draw the character answering. and i decided that im gonna draw a background for each answer instead of it being a character on a blank background. and doing this, like, specifically trying to draw backgrounds and tell a story with them, and doing it regularly and coherently, it helped me progress a lot. like, i started with a character sitting on a couch in a room, and then it got better and better, multiple rooms, multiple angles of the same room, different locations and images. it helped me a ton. just, figuring out when you need a background, when its rather i did something simple for one frame and focused on the other instead, where the character needs to be positioned, etc.

i can say i didn't do a lot of proper studies, and if i did maybe it would've been helpful... i only drew things that were in my head, with characters that i liked, with imaginary locations and stuff. never really drew from photos... we did go on plein-airs, or whatever they're called, when i was in art school, so drawing backgrounds from real life probably also helped a little, but i can't remember anything about it so it didn't do as much.

i looked at a lot of art from cool artists and expanded my visual library, i analyzed their art trying to figure out why i like it and how to make my art have the same kind of feeling. and i still do! sometimes something just takes over me and i scroll pinterest for 3 hours looking at pretty art and going to artists' profiles and saving art and using it as inspiration later. and it helps! a lot!

i dont know where this post is going ummm. i guess if you want to learn to draw something, just like, start. scrap it if you don't like it and try again, have fun, don't get attached. and uhh, i felt a little nostalgic so here are some of my pieces that i did throughout the years. definitely feels like i got better at it recently, but there's still a lot of room for improvement

oh and for your second question. one piece takes about ummmm... more than a thousand episodes, thats 20 minutes times 1000 devided by 60 devided by 24... we're looking at about 14+ days of non stop watching?

no but for real. i dont really keep track of time when im drawing, uhh. plus depending on the complexity... my recent jrwi drawings are sketches, so they took maybe one or two hours max. something rendered uhhh, maybe 5 hours? if i don't finish it in one day the chances of this drawing ever getting done are super low, soo yeah

#yagotalk

[rachaelmayo]

This is Jazzdragon 5, another of the early "dancer" designs. I was trying out some weird pose ideas by this point, and wanted to use forced-perspective on the wings especially. Composition was also an especially strong point for this exercise, with a lot of active diagonal elements and curved lines.

I tried something different for the background fill, too: wax paper and watercolor. I laid down a watercolor wash, then set crumpled wax paper and a book on top. I gave it a couple of days to dry, and wound up with the interesting patterns you see here. I enhanced them with Prismacolors. The dragon is also colored with Prismacolor pencils.

#dragon #dragon art #jazzdragon #dancer #dancing dragon #composition experiment #perspective experiment #wings #contrast #watercolor #prismacolor #traditional media #traditional art #fantasy art

[ladditt]

V9 Ep1

okay! Chores are one so its RWBY time lessgo

1) okay right off the bat the first person perspective, music and editing are top fucking notch for this opening. The rising panic is palpable and it gets across how it must have felt to be trapped in a situation that’s getting worse by the second without having time to process the last horrific life changing event before a new one happens. I haven't seen something that well made from this show in a WHILE full props to the creative team for this one.

However, I do really want to see a behind- the-scenes clip of how this was animated from a third person perspective. Hysterically, shots like this are either animated by having two disembodied arm models fixed just behind the camera, or by using the actual character model but either distorting the neck or removing the head entirely so you don’t get any clipping. Either way it’ll be fucking hilarious.

2) that water is fucking beautiful, we sure have come a ways from the flat blue plane of V1

3) two suns? Is that a metaphor?

4) I’m not gonna point out every well crafted shot because from what I’ve seen so far I might be here a while, this episode in particular seems to be going out of it’s way to have varied, intentional shot composition but this shot?

Rubes tiny and isolated in a strange world? Physically surrounded by a dark unknown forest? That some good shit right there.

5) oh god the plant models. They’re excellent and the set design for this forest is perfect but I really hope that the staff were given adequate time to design and model them all….

6) aye, rubes. I don’t think that “keep moving forward” is the best way to deal with this one.

7) I will withhold my judgement until they’ve had more screen-time but, yeah little is really annoying.

8) “what happened after we fell?” nothing good blake, nothing good.

9) again, top notch animation, and the gang is back together way sooner that I was expecting. I’m gonna say that’s a good thing. Following four different plot-lines probably wouldn’t have worked.

10) don’t dodge the question weiss. I know you’re trying to be kind but you’re not gonna be able to put this off forever, and the longer you wait the worse it’s gonna be.

11) is that the jabberwocky? It’s… fine. The muscle texture looks cool but beyond that I’m not getting the “nightmare fuel”. according to the op it looks like it’s going to be more of a consistent antagonist though so there's still time for it to grow on me.

12) “if you thought we wouldn’t come for you, you must have forgotten who raised me” my HEART

13) also shout out to barbra for the line delivery on that “damn it” that was excellent.

14) if it were 2015 and I were still a 14 year old bee shipper I would have lost my mind at that hug. So for now I’ll just be happy for the people who ARE losing their minds.

15) “it must have gone pretty bad, huh?” Oh they’re addressing this NOW? I was expecting at least another episode of weiss tiptoeing around the topic before we got the reveal

16) oh shit ruby just went out like a lightswitch. Yeah that’s a pretty realistic reaction to hearing something like that, on top of the fact that volume 8 took place over like, what, four hours? No one here has had a chance to stop since salem showed up, they're all exhausted.

Considering this place is mindfuck central and we’re got a murderous shapeshifter milling around down here as well it’s really not going to take much for people to start losing their minds. And I mean, If this is wonderland “everyone’s mad down here” might end up being relevant.

17) blake stepping up as leader while ruby is out of action? Love to see it

18) ruby passing out from stress and then instantly pretending that nothing happened and refusing to let herself feel a human emotion? that’s my girl.

19) oh good fucking god. Yeah I understand completely why this took an extra year to make. I though the new assets for the forest were going to be it, but no it looks like we have five or six completely unique zones to this place. again, i REALLY hope that this wasn’t as hard on the animators as we’re all assuming it was.

20) i’m not gonna analyze the op because as a rule, i’m not a fan of them. but yeah, it looks like this is the beginning of the “ruby has a nervous breakdown” arc

aye, consider my thoroughly impressed. the filmaking for this episode was above an beyond what i was expecting. i can’t say i’m completely sold on the talking mice but i’m also not sure how literally we’re supposed to be taking what we’re seeing. from a lore perspective wonderland is... interesting to day the least. is this a separate world or a lower layer of reminant? was this created by the brothers or does this world have a different set of creators? humans and grimm don’t seem to exist here but the emotions of the characters do seem to have a physical affect on the environment, on top of that, the relics were explicitly created by the brothers to help humanity and atlas is the one that created those portals that brought us here in the first place. and atlas at least seemed to have some knowledge that wonderland was here considering he mentioned that falling would be bad. so, does this place have a connection to the power of the relics or was taking a detour through an alternate dimension just the quickest way to connect two portals?

my current theory as of episode one is that wonderland is the brother’s “WIP folder” so to speak, weird ideas and not quite finished creations that the brothers are keeping stored for a rainy day. like, the jabberwocky looks a lot like a first draft of what the grimm ended up being.

#RWBY #RWBY9 #RWBY Spoilers #Ladd watches V9

[hisui-cotton]

Hello Hello! Today I’d like to talk about my experience in going to digital art as my primary workflow over the past 5 or 6 years and what I’ve kinda wanted to do for my art in the past and now in the future. Overall I wanted to share my thoughts on the two primary programs I use, how I critique myself and what I’ve learned about art on a personal level.

To preface, as this is a newer format, you expect a level of self-reflection in this that may seem odd! This is both a report to my own brain cave (in lore it's Ithod my "home planet") and a personal exploration of aspects of my life that have taken my interest. This is one of my big steps into finding what I enjoy creating as a VTuber. So please look forward to it as the future has more of this type of blogging but on a variety of topics I find interest in in addition to my Art posts!

Alright let’s start from the…beginning? One of the first times I got a genuine chance to use digital art was in 2013 on a Acer laptop and a tablet I can’t remember the brand of. I didn’t learn too much, I kind of just went for it. It’s hard to explain that I was not really looking at digital art as something I needed to relearn compared to traditional art, not to mention that I was still not improving my art in a….genuine way? I think I was just trying things out to explore how it works. The main problem was that I just didn’t know what I wanted to be using it for at the time. Like yes I wanted to draw but what did I want to be using digital art for that I could use traditional art to do? Overall I didn’t do a whole lot with that tablet other than play around with it but that was a good entry nonetheless.

Sometime after that in 2016/2018-ish I began to draw on my phone and I got a Windows Surface Pro. These were the two steps that really gave me perspective on some of the stuff I can do in digital Art compared to traditional, especially since I had also by that point learned way more about concepts in art and planning my work. This is really where I leaned into taking stuff I learned concept wise and played around with the ability of digital programs like layers, clipping, and being able too revert to old phases of the process without having to totally restart. I played around a lot with making sure I was atleast TRYING to get fullbody work in my compositions as I noticeably struggled with getting body gestures down. Everything felt stiff and I couldn’t figure out how to get rid of that while getting line art in. A lot of that went on to mean that I just did a lot of sketching, studies and generally drew things I felt I had a vague idea for. I typically didn’t go beyond the testing/planning either there because that wasn’t what I was really aiming to do. If I wasn’t thinking of an image beyond it’s initial idea then I had no need to try things beyond that. This wasn’t like a bad time for my art though. In the one year of drawing on a Surface Pro I went from basic fanart doodles to a fairly well developed digital style. I hadn’t even really looked back at the progress of that first year of drawing on the surface pro till now. In the year before I had been drawing fairy consistently on my phone but it was doing basic little portraits and stuff like that. If I had to say I learned one specific thing in the time I used the surface pro (which was for about 3 years) it’s likely that the screen/tablet type you use has a greater effect on how you draw that you may realize.

The ability to draw in my phone was great for at work during lunches or for jotting down sketch ideas which I could use/develop later if I wanted to. I very much loved this convivence because I didn’t want to risk taking my Surface Pro to work or something like that and then it breaking or getting stolen. So the phone usage was very nice especially in our modern era where a good mini-stylus or just the right free app is enough. Specifically I worked in Pixiv Sketch, and still do when I draw on my phone. It’s got a great basic variety of brushes and then a layer function with a decent amount of layer limits.

The Surface Pro’s ability to make the process feel smooth and clean even at various pen pressures was really interesting to realize after switching to an XP-Pen Tablet. It was also really nice to have something to just pull up a full drawing program but also be able to lay in my bed lmao. It may not have done much for my quality but it made me feel like drawing wasn’t something that I had to be up and ready to do if I just wanted to doodle. It also ran really well with decent memory space. This bring me to Paint Tool Sai, the program that I’ve been using for most of my digital art.

I bought Paint Tool Sai back on my Acer laptop. It was $75 at the time which was a lot for me but now looking back…I’ve had like a lifetime art program that can be used at a professional level. I remember recently watching one of the BTS of Genshin Impact and seeing Paint Tool Sai open in on one of their PCs was really refreshing lmao. It was the same hat meme. It was great. But also the fact that it’s made by one guy in Japan, who has been developing the 2.0 for the past few years is crazy because it’s honestly such a great program. I got the 2.0 upgrade for free as well which was even nicer in regards to the fact I only paid for it once also 10 years ago.

Because of it’s program nature with various brush folders and texture folders, it’d similar to Clip Studio in it’s customization for brush textures and settings. You can create your own textures, brushes and such and import them into the program. I find it’s overall feeling when drawing is really smooth even in a lot it’s brush settings. It’s got great reaction time and feels a lot like traditional art for that reason. Even with a really high Stabilization it’s reaction and accuracy to the line is really nice. The digital coloring on the other hand doesn’t really feel as good. I like to use the marker tool because I personally enjoy the look of washed colors so it isn’t too bad for me but when I need flat colors or blended rendering I tend to personally struggle with getting it done at a decent speed. But all the conveniences of the placement for in-program functions like new-layer, merge layer, copy/paste and blank layer are in the same place which I prefer over Clip Studio’s spread out options. It’s possible I can move them around more but the built in thought of the placement for a lot of things in Paint Tool Sai is a nice start for someone looking to just get started within digital art and needs a program with just enough stuff beyond the essentials to let you do really good quality work.

Now I’ve upgraded to a full PC, which I got in 2020. I use an Omen as I expected that if I wanted to use other art programs or draw on even bigger canvases that I should need a more robust system than what I used on the Surface Pro, but I didn’t need anything too crazy that would require a custom system. I also took this as a time to get a slightly larger tablet. Currently I use a XP-Pen tablet which is noticeably different to use than a surface pro. Since a surface Pro is also a laptop/tablet it had a smoother screen, untextured and such, where as the XP-Pen has a slight Matte to it. The XP-Pen also has a layered screen, where theres a slight slight space between where your pen is and the actual place it’s drawing at.

My use of Sai has gone down in the last month however as I finally began using Clip Studio. I admit that theres still something about the feel of the program I don’t like in comparison to Sai but it’s a better overall experience for making higher quality, more complete work at this time. Partially because I still haven’t figured out my art process. Clip Studio has made the convenience of coloring much more accessible to me on a variety of levels. It let’s me feel like I’m not overly perfectionist on my sketch process or lineart in comparison to just laying down a few colors because I don’t have confidence with them. Now even without confidence in my color choices or usage I at least feel like I’ve been able to fake it. In sai it was very dependent on you knowing what colors you wanted to use and what tool you’d use to lay them down. So far it doesn’t feel that way in Clip Studio. I can choose a basic brush and paint bucket and get color laid down in about 20 minutes if I wanted or take more time with a slightly varied brush and get that washed style I like while also being able to properly fill the spaces of the work.

Overall in my art process itself it’s been a lot faster as well than in Sai, perhaps because I’m still taking it slower with the express reason of really learning to use it for efficiency. My progression through the years has sort of allowed me to take that previous knowledge I’d gained and use it in what I do next which is generally what one does when making a change to their professional processes. A lot of doing things new successfully depends on how much you can make it work with what you already know.

Finally let’s talk about my art process itself, what my sort of mentality is behind it. A lot of what I do is based on “Oh I really want to see something like this!” or “That would be a fun/cool image” if I’m drawing for myself. I start with a thumbnail sketch, enlarge that and then do another more detailed sketch on top of that. Typically I haven’t done lineart in the past because it adds a lot of time to the process and I never feel like it looks good compared to sketch. Now that I have clip studio though and the coloring process can go a lot faster with better lineart, I’ve been trying to do a bit cleaner sketches or full lineart. Coloring usually is flat colors first, washed shading next and then multiple layer styles on top of that of highlights and shading. I usually do washed shading as a sort of “sketch” for the shades. Usually a rough colored drawing takes about 2 hours? Sometimes a bit more depending on how much I clean up the lines, sometimes less if I just slap on the colors and lines.

The things that I feel I need to work on the most are usually in regards to colors and composition. I tend to focus up my character compositions to fill the whole page either by intentionally drawing them large or by enlarging the sketches to fill the page size. But if it’s a composition that isn’t character focused or has some more environmental aspects then I tend to struggle. My color choices also are hard to do because I don’t usually consider them in my sketching phase. Since I usually go into pieces with an idea of what person, character or outfits I’m drawing then colors tend not to be something I think too much about. This is something I notice a lot in environmental drawings though because the colors get so clashed when actual lighting and such needs to be planned out against a certain layout. Which sucks because I absolutely LOVE vibrant coloring and such but I don’t know how to make that work with environment stuff yet.

A lot of what I want to draw, in both style and “substance”, is character driven. I like action that shows a lot of atmosphere or feels very in character. When a still image can feel like it captures the feeling of a moment or feels like it was made with a real idea in mind that means a lot to me, so that’s what I try to go in with when I’m drawing. For characters and such that can be a variety of things from just lounging around or hanging out to getting dressed-up or a variety of actions. It’s really fun to see so much more in the things that I like and to be able to share those things through art is wonderful.

To send you off I want to say that…I like being an artist. It’s so nice to know and learn a skill like art since it can be a sort of perspective into a person’s views. People’s ability to connect over concepts and such is so cool and I feel like even today when we have fine art, fanart and everything in-between that it really sets up the fun of creativity and community. Right now there’s an ongoing official art series of Miku and Pokemon drawn by various artists. Some people have begun taking that concept and drawing it themselves, putting their own spins on it in their version of the pokemon style and outfits. It’s so cool that looking through it all I can barely tell which ones are official and which are fan made. Like it’s a clear cut conversation where everyone can give it a shot with their own ideas and can still be talking about the same thing. I think that’s lovely.

For my art in the future, I want to be able to design and draw a buncha stuff. I really like stationary and want to make some stuff in the future for it. These report logs are one place I’ll be playing around with that to test it a bit so I’m excited to continue these. I also want to better my Background drawing because I really love the idea of being able to put characters in a location, somewhere I can imagine them being. I’ve gotten better at character interactions but I want to think about how much further that can go if I add an environment. For the future of my style…I don’t know! I like to have a very dreamy or washed style but also bold colors and expressive lines. But I’ll definitely be thinking about it even more in the future as I start developing a finished my process (getting fully rendered colors, lineart, etc.).

#digital art #digital illustration #long reads #long post #clip studio paint #paint tool sai #paint tool sai 2 #digital aritst #thank you for your time I'm giving some stuff a go! #i'd love to hear about what other's experiences are with programs and learning digital art has been over the years #it's been a really really weird learning curve in that most of the learning was just...futsing around #Hisui Notes

[top10listsmagazine]

How to Take Good Pictures for Instagram: 10 Essential Tips

Greetings fellow Instagrammers! If you're reading this, I'm assuming you're looking for ways to step up your Instagram game and take your feed to the next level. Well, you're in the right place because I have some essential tips that will help you capture stunning visuals and create Instagram-worthy photos. With over 1 billion active users, it's essential to stand out on Instagram. So, let's get started with these 10 essential tips on how to take good pictures for Instagram. Tip #1: Lighting is everything! Whether you're shooting indoors or outdoors, always make sure to use natural light whenever possible. It creates a soft and flattering look that's perfect for Instagram. Tip #2: Play with angles and perspectives. Don't be afraid to get creative with your shots and try out different angles and perspectives. It can take your photos from good to great. Tip #3: Use the rule of thirds. This is a basic principle in photography, where you mentally divide your frame into thirds and place your subject at the intersection points. It makes for a visually appealing composition. Tip #4: Keep it simple. Sometimes, less is more. Don't clutter your frame with too many elements, and try to keep your photos simple and clean. Tip #5: Edit your photos. Editing can transform an average photo into an extraordinary one. Don't be afraid to use editing tools like Lightroom or VSCO to enhance your photos. Tip #6: Find your niche. Develop your Instagram aesthetic by finding a theme or style that suits you. It can be anything from minimalism to a bright and colorful feed. Tip #7: Use props. Props can add interest and depth to your photos. They can be anything from flowers to books or even food. Tip #8: Experiment with color. Embrace color and try out different color schemes in your photos. It can bring life to your feed. Tip #9: Pay attention to details. Sometimes it's the small details that make a big difference in your photos. Keep an eye out for interesting textures, patterns, or shapes. Tip #10: Have fun! Don't forget that Instagram is supposed to be fun. Enjoy the process and let your creativity flow. There you have it! Ten essential tips on how to take good pictures for Instagram. By implementing these tips, you can elevate your feed and capture Instagram-worthy photos that will make your account stand out. Finding Instagram-Worthy Photo Ideas As a passionate Instagrammer, I understand the importance of creating captivating visuals that enhance my Instagram feed. In this section, I will guide you on finding Instagram-worthy perfect photo ideas that will help you enhance your Instagram aesthetics and elevate your visual content. Let's dive in! Developing Your Instagram Aesthetic One of the key elements to creating beautiful photographs for Instagram is developing your own aesthetic. An aesthetic is essentially a visual theme that ties your feed together and makes it unique. To develop your own Instagram aesthetic, start by considering your personal style and the type of content you want to share. Do you prefer a bright and colorful feed or a more moody and muted one? Once you have determined your aesthetic, stick to it and use it consistently throughout your feed to create a cohesive look. Discovering Creative Compositions Composition plays a crucial role in creating visually appealing photographs. Instead of simply snapping a photo, take the time to consider the composition and how the elements within the frame are arranged. Experiment with different angles, perspectives, and framing techniques to create captivating visuals. Don't be afraid to get creative and try new things! Finding Inspiration One of the best ways to find inspiration for your Instagram pictures is to look to others for ideas. Follow photographers, influencers, and other creatives who inspire you and take note of the techniques they use. You can also find inspiration in your surroundings by exploring new places, attending events, and simply keeping your eyes open for interesting sights. Enhancing Your Instagram Feed A beautiful Instagram feed requires more than just good photos. Consider the overall look and feel of your feed and how each photo contributes to it. Use a consistent color palette and consider the overall grid layout of your feed. You can also use editing techniques, such as adjusting the brightness and contrast, to create a more polished look. With these instagram photo tips, you will be able to find inspiration, develop your own aesthetic, and enhance your Instagram feed with beautiful photographs and captivating visuals. Remember to stay true to your style and have fun with the process! Mastering Composition and Editing Instagram is a visual platform, and mastering composition and editing will take your Instagram photography to the next level. With the right techniques, you can transform an ordinary picture into a visually appealing and professional photograph. Here are some tips to help you master the art of composition and editing for your Instagram photos. Instagram Photography The first step in mastering composition and editing is to understand the basics of professional photography for Instagram. When taking photos for Instagram, make sure to use your phone’s high-resolution camera to capture the details. This will allow you to crop and edit your photos without losing their quality. It’s also important to consider the lighting. Natural light usually produces the best results, so try to take eye-catching photos in the morning or late afternoon when the sun is not too bright or harsh. When taking photos, pay attention to the composition. One of the most effective ways to create an interesting composition is to use the rule of thirds. This means dividing the frame into three equal parts vertically and horizontally, and placing your subject at one of the intersection points. This creates a balanced and visually appealing composition. Instagram Filters Instagram filters can enhance the mood and tone of a photo. When using filters, it’s important to use them sparingly and choose the ones that complement the photo. Some filters can make a photo look over-edited or too saturated. Alternatively, you can use Instagram editing tools to adjust the brightness, contrast, and saturation of your photos. This allows you to customize your photos to create a unique and consistent Instagram aesthetic. Creative Instagram Photo Composition Composition is all about arranging the elements within your frame to create a visually appealing photo. One way to create interesting compositions is to use leading lines. These are natural or man-made lines that guide the viewer’s eye towards the subject of the photo. Leading lines can be anything from roads and train tracks to the lines on a building or the branches of a tree. Another technique is to use negative space. This means leaving some space around the subject to create a sense of balance and harmony in the photo. Negative space can also be used to draw attention to the subject and make it stand out. Visual Content for Instagram Instagram is a visual platform, and having visually appealing content is key to attracting and retaining followers. By mastering the art of creative photo composition and editing, you can create photos that are not only visually appealing but also tell a story and evoke emotions. It’s important to focus on quality over quantity and post photos that are consistent with your brand or personal Instagram aesthetic. Tips for Capturing High-Quality Images Creating high-quality images for Instagram is crucial for making your feed stand out. These tips will help you capture photogenic images and create picture-perfect shots that are Instagrammable and visually compelling. Understand Lighting Techniques Lighting is the key to capturing great photos for Instagram. Whether you're shooting indoors or outdoors, you need to understand how lighting affects your photos. Natural light, for example, can create a soft and warm look, while artificial light can be harsh and unflattering. When shooting indoors, try to use natural light as much as possible by positioning yourself near a window or in a well-lit room. When shooting outdoors, consider the time of day and the direction of the sun to create the right mood and atmosphere for your photo. Frame Your Shots Composition is another important factor in capturing high-quality images for Instagram. To create an engaging and visually appealing photo, you need to think about composition and framing. Consider the rule of thirds, which involves dividing your frame into thirds and placing your subject at the intersection points. This helps create a more balanced and interesting composition. You can also use leading lines, patterns, and symmetry to create a visually stunning photo. In this photo, the flowers are placed at the intersection points of the rule of thirds, creating a balanced and visually appealing composition. Use Editing Tools Effectively Edit your photos to enhance their visual impact and appeal. Instagram offers a variety of editing tools, such as brightness, contrast, saturation, and warmth, that you can use to adjust your photos. You can also use third-party editing apps, such as VSCO or Lightroom, to take your editing skills to the next level. However, be careful not to over-edit your photos, as this can result in an artificial and unappealing look. Try Different Angles and Perspectives Experiment with different angles and perspectives to create unique and captivating photos. Try shooting from above, below, or at eye-level to add depth and interest to your photos. You can also use different lenses, such as a wide-angle or macro lens, to capture details and textures that you wouldn't be able to see with the naked eye. Showcase Your Authenticity Finally, remember to showcase your authenticity in your photos. Instagram users love to see real and relatable content, so don't be afraid to show your personality and style. Use your photos to tell a story and share your passions and interests. This will help you create a strong and engaged following on Instagram. Conclusion Good pictures for Instagram are essential to stand out in today's social media world. By implementing the tips discussed above, you can take your Instagram game to the next level and create visually appealing content for your followers. Remember, Instagram is all about capturing stunning images and sharing your unique perspective, so don't be afraid to experiment with your photography. To ensure good pictures for Instagram, you need to develop your own style, find inspiration, master composition and editing techniques, and capture high-quality images. It takes time and practice, but it's worth the effort to create a feed that speaks to your personality and engages your audience. So, go out there, grab your camera, and let your creativity fly. With these tips for impressive instagram pictures in mind, you're sure to create Instagram-worthy photos that will amaze your followers and make your account stand out from the crowd. FAQ How can I take good pictures for Instagram? To take good pictures for Instagram, follow these 10 essential tips: 1) Use natural lighting, 2) Find interesting perspectives, 3) Experiment with composition, 4) Choose a focal point, 5) Edit your photos for a cohesive look, 6) Use Instagram filters sparingly, 7) Pay attention to details, 8) Tell a story with your captions, 9) Engage with your audience, and 10) Practice and experiment. How can I find Instagram-worthy photo ideas? To find worthy photo Instagram picture ideas, develop your Instagram aesthetic by considering your personal style and interests. Discover creative compositions by exploring different angles and perspectives. Find inspiration from other Instagram accounts, travel, nature, or everyday life. Experiment with color, patterns, and textures to create captivating visuals for your feed. How can I master composition and editing for Instagram? To master composition and editing for Instagram, arrange elements within your frame to create a visually pleasing composition. Pay attention to balance, leading lines, and the rule of thirds. Use editing tools effectively to enhance your images. Experiment with filters, adjustments, and creative effects. Develop a consistent editing style that complements your Instagram aesthetic. How can I capture high-quality images for Instagram? To capture high-quality images for Instagram, understand lighting techniques and make use of natural light whenever possible. Pay attention to the framing and composition of your shots. Use a tripod or stabilize your camera to avoid blur. Experiment with different camera settings and shooting modes. Take time to plan and set up your shots to ensure optimal image quality. Why are good pictures important for Instagram? Good Instagrammable pictures are important because they help your account stand out, engage your audience, and leave a lasting impression. High-quality images that are visually appealing and well-composed can attract more followers, increase likes and comments, and enhance your overall Instagram presence. Read the full article

[maggie-parks]

Research Journal 3: Identity & Place

Artist 1: Paul Noble

Form: Graphite drawing on paper

Content: "Nobson", an imagined place: detailed symbolic city illustration influenced by architecture

Process: Similar to a Bosch painting, this type of drawing takes meticulous planning to include as many details as possible with as many separate parts in the composition for a viewing experience that takes much longer than a quick glance to see the whole picture. This requires skill in 2-point perspective drawing.

I chose this work because I am interested in the idea of adding fine details to a map that represents my identity, and I like Noble's style of drawing.

Artist 2: Ned Vizzini & Abigail Smith

Form: Book cover/jacket artwork

Content: Abigail Smith illustrates Ned Vizzini's concept of a "brain map" in his book It's Kind of a Funny Story. The main character in the book, Craig, drew maps of imaginary cities when he was a child. While being admitted into a mental hospital for 5 days, he takes an art class and revisits his childhood idea, and decides to draw these maps in silhouettes to describe them as "brain maps".

Process: The process on this one looks pretty straightforward design-wise as far as placing simple shapes into the composition, but it could be approached through different mediums like drawing, painting, collage, or digital.

I was thinking about this map for the original idea I had to illustrate my own "brain map", but wanted to take it a step further by adding in some serious detail and adding meaning with metaphor, which is where I would pull inspiration from Paul Noble.

Artist 3: Ed Fairburn

Form: portrait drawn in ink on a map (Marquette, MI)

Content & Process: Artist statement- “I manipulate paper maps to construct other forms, usually portraiture. I call this process topopointillism; a direct combination of topography and pointillism. Using traditional materials such as ink, paint, and pencil, I make gradual changes to the contours, roads, and other patterns found in cartography. These changes allow me to tease out the human form, resulting in a comfortable coexistence of figure and landscape. I aim to preserve the functionality of each map by feeding the composition instead of fighting it – I often spend hours studying the terrain before I begin any physical processes. I’m interested in the degree of subtlety behind each synchronization, and [how] a completed map behaves more like a portrait when viewed from further away – it’s almost paradoxical that a portrait should lose detail when examined closely."

Moving away from imaginary maps to real ones, Fairburn's portraits are stunning, I love his use of cross-hatching, and I love how drawing on a map from a specific place adds a level of meaning and context to the identity of the person in the piece. If I did something like this I would focus on someone else's identity instead of mine, as I don't feel like there's a strong connection to a particular place that shapes my identity.

Artist 4: Joseph Cornell

Form: shadowbox construction 

Content: Assembling multimedia shadowboxes, Cornell combined found objects, painted surfaces, and collages. He was a major collector of everyday ephemera, and his materials ranged from marbles and toys to maps and seashells.

Process: These shadow boxes consist of found objects but also carefully crafted paper figures as well. This art form emphasizes a layered look.

I love shadowboxes, and I like how Cornell showcased his collected items. There's a potential here to use found objects/personal items that represent my identity.

Artist 5: Gillian Lambert

Form: graphite drawing on paper 

Content & Process: Artist statement- “I try to find the beauty in what is traditionally unattractive, grotesque, awkward, or bizarre, I work primarily with self-portraits, but try to make them less personal by removing body parts and disguising others. I think there is a lot that can be learned from fragmenting and objectifying the human figure and face, and a lot that can be learned from witnessing the final product.”

Figure drawing is a very obvious/literal way to represent a sense of self & identity, I'm hoping to maybe draw a full-body self-portrait that leans into Lambert's style. I like how she emphasizes characteristics that can be described as unattractive or grotesque, which is what I would want to focus on if I were to make a figure drawing of myself.

#identity #place

[coltonlepper]

1. Unity & Variety – Unity is the idea that similar shapes and colors create a togetherness. Variety is the opposite of this and involves many contrasting attributes that add a bit of chaos to some artworks.

Balance – Balance means to create something that sits in between two sides of a spectrum. Something with balance could be balanced by being symmetrical, or by contrasting sides that even each other out.

Emphasis & Subordination – Just like writers, artists use emphasis to bring attention to a point. Contrast of size or color can create an emphasis on a certain part of an artwork. Just as there can be a focal point, subordination refers to the areas that you are not supposed to focus on. These could be darker areas or areas with muted details in a work.

Directional Forces – Directional forces are lines or implied lines that create connections across an art piece. We subconsciously follow these lines, paying attention to focal points and ignoring empty areas.

Repetition & Rhythm – Repetition is the repeated use of an object or color to create a structure in a composition. Rhythm is similar to repetition, but there is a flow and pattern behind the repetition.

Scale & Proportion – Scale is the size of an object in relation to the objects around it. Proportion is how much of a whole that a part takes up.

2. War Rug by Max Allen - Figure 4.13 Lesson 4.5 (No page number because book is online)

Allen’s work, War Rug, has patterns, unity, variety, emphasis, and subordination. The repetition of objects that look similar create a rhythm in this work. There is repetition of color, of shape, and even a repetition in the amount of objects. Allen uses a variety of objects and vehicles while creating a unified theme of war. The neutral background helps emphasize the vibrant colored vehicles and weapons. The break in pattern at the top adds a uniqueness to this work of art. This uniqueness is exactly what artists want when trying to create a lasting impression.

3. Red is a color that has always been important in my life and has definitely affected me. I used to live in Indiana before moving to Florida, and the thing that I dreaded the most was mowing the lawn. My dad had a red lawn mower that I will never forget. When I was little, I had a fake lawn mower that was dark green, and I loved playing with it. But when I moved up from my green one and used my dad’s red one, my whole perspective on mowing the lawn changed. The intensity of the color increased with the difficulty. Pushing that heavy mower and sweating outside made me realize that I actually did not like to mow, rather I liked the idea of mowing. I will never forget the hue of that red lawn mower.

4.

5.

Group 4: Interactive design is a sort of media that allows users to interact with it. Interactive designs can either be in person or online. Interactive designs are more in-depth online because of the customizability of the internet. A search engine or an artist’s website would be examples of interactive design.

Top Five Interactive Designs, According to Colton Lepper:

TikTok – https://www.tiktok.com

YouTube - https://www.youtube.com

Safari

Instagram - https://www.instagram.com

Steam - https://store.steampowered.com

My favorite interactive design from the list above is YouTube. A good interactive design should be easy to use and have a lot of tools for consumers to use. Interactive designs should answer questions for a user, not create more. The intent of YouTube is to entertain and inform viewers through a video format. Videos allow creators to communicate more than a picture or blog might. Seeing things in real time allow for information to be easily explained and understood. YouTube is among the top platforms for posting videos, so I think it fulfills its purpose as an entertainment and information outlet.

[windvexer]

Crystal Knot Magic

Knotting a crystal net is very easy if you are able to use your fingers for this kind of crafting.

They are often called crystal "wraps" and many tutorials can be found on Youtube.

There are many, many ways to make a crystal net. The style you use determines the final appearance. More importantly for us, the style you use determines how many knots there will be, and their size.

We can draw on four common elements of magic: Crystal/mineral correspondences, color correspondences, numerology, and knot magic.

The stone (or other object) is like the battery which holds and radiates power. The object you net should correspond to your core intent.

The color of cord or thread you use can modify or hone your intent. For example, if using clear quartz, the color correspondence might be doing most of the work.

Then again, this spell will work with cotton twine and a river stone, so just do whatever suits you.

The total number of cords you use dictates how many knots total will exist in your spell. Crystal nets are made by tying two strands of cord together. If you use four cords, you will have eight working ends, and therefore you will tie four knots per row. If you have five cords, you will have ten working ends, and you will need to tie five knots per row. I align my numerology to the number of knots, not strands, because the knots themselves are holding the magic.

The knots are used to tie intent and bind power. I create most of my charms in a style that has one big starter knot at the top and one big finishing knot at the bottom. There are tons of ways to utilize knots in this project. The first knot can hold the only intent, while the rest bind powers to support it. Or the intent can be split into its composite parts and each part gets its own knot. Or every single knot can have something unique, or they can all be identical... lots of options.

Conceptually, the inner object is the focal point or battery of the spell. The knots can be understood as tools that the object uses to carry out your will, instructions to guide the object in its work, vessels that carry additional power (like tidepools on a beach), or tangles that capture and bind up unwanted forces.

To perform this sort of magic:

1. Learn how to make the nets first from an arts and crafts perspective :) you can cut the cording off to re-use the same stone later. It is really frustrating to try and do a craft in a ritual headspace if you have to learn the craft simultaneously!

2. Gather up your cording and object to be netted. Do any ritual techniques you prefer to prepare them.

3. Decide how you want your intent to be tied in. Do you want to use the same phrase for each knot? Do you want to chant your intent continuously while you do many knots? Etc.

4. Make the crystal net in your ritual headspace/magic zone. Pour your intent into each knot in whatever methods you choose.

5. I recommend making the final knot of your project into the seal which completes and finishes the amulet ("so mote it be," "as my will it has been done," etc).

6. If you did not raise and direct energy during the spell, ensure the amulet is charged afterwords. Like all amulets and talismans, it requires feeding and repowering as time goes on.

#macrame magic #crystal magic #amulet #talisman #grimoire #book of shadows #spellcrafting #all purpose spell #talisman making #witchblr #witchcraft #witchcraft 101 #witch tips #witches of tumblr

[inotanzen]

hiii! i really admire your art skills. and the fact that you improved so much in just 6 months is inspiring! do you have any tips on how to improve? i'm 26 and i want to improve but i feel like ive neglected my art for so long and now it's too late. :(

THANK YOU SO SO MUCH OMG ?? oh man i’m so bad with feeling and gratitude but this seriously means more than i can express so i worked really, really hard on narrowing down my best tips! so here’s

Eli’s Top 5 Rules To Be a Totally Cool Awesome Badass Artist In As Long As It’s Going To Take (In Order) :

Most important rule of all is it should be FUN. be disgustingly self indulgent, draw what you want and LOVE, not what you think you should or what everyone else is, or how everyone else is! don’t vibe with doing sketches first? hate lining? despise complicated painting styles? find shortcuts, don’t do them!!! if you’re doing digital maybe draw your sketches traditionally first and scan them/take a photo to draw over, try a lineless style, cel shading, or mixing mediums, the options are endless! this is where your “style” will come from. all “style” is, is an artists shorthand.

You are your only competition. never compare your progress to anyone but your past self, it’s not a race in terms of how good you are at X age after X amount of time spent practicing. i saw it illustrated in this comic a few years ago (that made me cry at the time, because i hadn’t started drawing yet) as seeing your skills as a beautiful potted plant- just because some people are walking around with theirs fully grown and thriving, doesn’t mean your little sprout will stay small forever. just be patient, keep watering it, and eventually, it’ll be a beautiful flower all your own. ❀

Use references Obsessively. this includes tracing! (ethically) there’s a ton of resources out there, redraws of frames from movie or shows are great too! play around with it, try using the perspective but change the style or turn it into a character au for a fandom you love. (this is part of that first tip!) mashing together images past the point of original intelligibility is acceptable as well. the goal isn’t to obsess over accuracy or stop using references altogether though, just to use them differently over time.

Inspiration/motivation won’t be gone forever. don’t force yourself to practice drawing, or you’ll end up resenting it altogether. i’ve had my tablet and pencil since january but i say 6 months bc there were two (almost three) entire months where i had no inspiration and just did Nothing. take time to consume new media for ideas or look at what inspires you instead! keep folders of the things you find most appealing to pull up when you need them. art can be a freeing escape if you allow it to be!

Look at art you admire and think about Why you admire it. why does it look good, what catches your eye most? is it the colors? the lighting? the shapes and perspective? the varied line thicknesses or the overall layout composition? everything can be broken down into components, hone in on the ones you like most and try to emulate them. we’re all just flowing down the stream of shared inspiration together. :)

bonus digital art tip: you will always need more layers than you think you do. give each element its own layer like it’s the most introverted mf you’ve ever met, i swear on everything good in this cursed world you will thank me later. layer/item selection and transform are your best goddamn friends for life.

there’s also a lot of art related posts in this tag and on my art twitter ♡ thank you endlessly again and good luck on your journey!!

#art tips #art advice #anonymous #love me #i just know i'm forgetting sth #and i'll kick myself when i remember later #but i Think that's everything #that's helped me most at least! #i hope it can help you at all #it's never too late ♡

[catharsis-in-a-bottle]

My thoughts on Chernobyl (2019 HBO series)

I watched the entirety of Chernobyl, and I want to make a disorderly list about it. Okay, here goes:

First of all, holy shit. Holy fucking shit. This is easily the best thing I have ever watched, ever. I will give my reasoning below, I just want to get that out of the way: holy. fucking. shit. I have so many feelings.

Okay, okay. *Deep breath* Let's start off with the actual real-life event itself. Of course I'd heard of the Chernobyl disaster beforehand, but I had never learned about it beyond vague internet articles that I read years ago. This show knocked me away with the horror that holy shit, that actually happened, and it also re-strengthened my already skyrocketing fear of radiation / nuclear disaster / the works. Now I am obsessed with learning more, even with all that I've learned from the show itself.

Next: the acting. The goddamned ACTING!!!!!! There was ZERO cheesiness, and I felt every SECOND of terror and grief and the split-second, occasional relief that characters like Legasov got to feel. To put it simply, the acting felt real and authentic.

And as a side note, I liked that they didn't try to fake Russian accents. They didn't need to, and I am glad they did not, as that definitely would have made it feel cheesy with the use of non-Russian actors for the leads.

Valery Legasov. I want to learn more about Valery Legasov. I feel so sad for Valery Legasov, because he died without witnessing the reform of the RBMK reactors; he died thinking he was alone, discredited, and essentially wiped from existence. I am so profoundly glad that his story got recognized via his audio recordings, and eventually more so by this show. Jared Harris as an actor just blew this out of the fucking ballpark. I especially loved his nonverbal gestures - the constant head-in-the-hands, all the signals of deep stress, and the occasional smiles that signified a small amount of relief.

Because fuck, who would not be terrified out of their goddamned minds at the splitting open of a nuclear reactor? What scared me along with that was the initial denial - "Oh, the reactor isn't open. That's impossible." The signs were there, but so many surrounding people simply denied that it had occurred, until they actually saw what was happening. Even then, the explosion was inexplicable until the knowledge of the graphite-tipped control rods came to light.

Valery and Boris as a duo were fantastic, because truly, they could not have accomplished what they did without the other - Valery worked out the science behind possible solutions to the problem, and Boris used his political authority to actually work through those solutions and get the resources required to work through them.

Ulana and Boris watching Valery on that podium in episode 5, giving that testimony, essentially consigning himself to death - that hit me right in the gut. And even though Valery did not get shot by the KGB, they still ended his life, didn't they? From his perspective, he was no longer an influential scientist; by speaking up, he reduced himself to a nobody.

The fucking.... blue beam in the sky above the reactor??? The radiation ionizing the air????? This entire series is literally more nerve-wracking than any horror movie

Alright, now for the paragraph I've been waiting for: the MUSIC. Oh my fucking god, the music. How can I even describe it? All those wobbly bass notes that sound like a ship rending apart in the ocean... just... they did it right. They did it correctly. What I really loved was that at some points, I couldn't tell what was the music and what was the noise of the action occurring in the show. For instance, in the last episode, there was a sort of humming-buzzing noise in the flashbacks to the control room before the explosion, and I couldn't tell if that was the machinery or the music, or perhaps a blend of both. I looked on Spotify, and my favorite track is definitely the one titled 'Evacuation' - I think it plays in a couple of episodes, perhaps the end of the first / second? And the chord progression at the end there with those bass notes just fucking slamming in. Holy shit. Oh AND the choral composition at the very end of the last episode!!!!!! My brain's reaction to that was literally just exclamation points. !!!!!!!!!! Creepy singing chord progressions!!!!!!

The dogs in episode four - do I really have to explain the feelings of disgust and horror that just slithered within me the entire time

Really, the two scariest things were this: the disaster + radiation itself, and the inability to contradict the state or show any sign of weakness within Soviet Russia. Those were the two main antagonists presented, and though the first one more directly scared the shit out of me, the latter definitely contributed to an overall chill.

I could definitely talk more, but I choose to end here. I just. Holy shit. (I have said that a lot now). I'll say it again. Holy shit. I'm just going to stop talking and write the goddamn tags

#chernobyl #chernobyl hbo #hbo chernobyl #hbo #thoughts #brain dump #review #i suppose #valery legasov #boris shcherbina #ulana khomyuk

[thepriceofbeingaroseisloneliness]

GIGS No519 Interview Toshiya [Bass]

Despite the hidden gimmick elements in the new single “Oboro”, which brings to the fore “simplicity” and “clearness”, Toshiya’s bass sound has a strong presence. With his words, we are going to start the second half of the solo interviews.

“[Oboro] is a song that holds both DIR EN GREY’s essence and novelty. For me, rather than that uniqueness and novelty, I felt this is going to be the core song of the album.”

Notes before reading: This is Toshiya’s solo interview from GIGS No519 June issue released on April 27th. 

You can buy the magazine at Amazon Japan.  Feel free to correct me if you spot any mistakes or any confusing parts. Links or credits to this post when the content is reposted or captured in other SNS is appreciated :) ----------------- *Toshiya’s interview comes after Kaoru’s, Die’s and an analysis of the latest gear, that’s why in the introduction of his interview the “second half” of the solo interviews is mentioned.* Text by Yukinobu Hasegawa Photos by Reishi Eguma. -You were already composing and arranging songs for the new album and from that, “Oboro” was first announced as a single. What kind of mindset did you have when you tried to move on to the next album from the previous one “The Insulated World”,released in 2018? T: At the beginning, I didn’t have any specific image of the album as a whole. -I think you want that (image) to appear naturally while you are doing the creation work. T: That’s right but as I feel like I’m always making songs, whenever I start, I only have the mindset of “let’s make something good”. -The songs you composed (from early stage) have not been released to the world yet but, what kind of songs did you make? T: Surprisingly, simple songs. Not very detailed. But I think it depends on the song. I started writing songs thinking I wanted to make something different from the previous DIR EN GREY, but there were some parts that seemed too different for me. So, I feel like I'm still searching for the direction of them. -Looking back at the various songs that you’ve made in the past, I feel like you tend to prefer an avant-garde* approach. So, I was a little surprised when you told me you were working on a simple song.

* Avant-garde is a tend for music that  sounds nothing like the music we're accustomed to, experimental, considered to be at the forefront of innovation. T: Ah, I see. But basically, I think I'm a simple person. I've made songs that feel avant-garde but it’s just that such songs were easy to be accepted/used (by the band). I don't know the specific reason, but I think it's probably because the range of the band will be expanded. However, many of the songs I make myself are very simple. -Even if you say "simple", I think people feel differently about it. For example, Shinya also says his drum playing is “simple" but it's actually very difficult.  How does that simplicity that you mentioned feel for you? T: That's right…..I'm wondering how to describe it, but to put it simply, it may not be something very DIR EN GREY-ish. I think many of the simple songs I make are like that. -What do you think that is “DIR EN GREY-ish”? T: Our band is probably "heavy" or "intense"…. Another things that is often said (about the band) is “complexity”, I think that’s the image of the band. With that in mind, the songs I make aren't very DIR EN GREY-ish. Of course, when I write a song, I'm aware of that. -Do you dare to make something that it’s far apart from those ideas? T: It’s the other way round. I’m not trying to do something close to that, but I’m like “I have to take it in the direction of DIR EN GREY a little more". But from that point on, I started thinking, "How about getting too close?”, "It's more interesting to be in a slightly different place." Well, I might just think those things on my own (laughs). -Are the avant-garde songs born from those thoughts? I think musical input and stimulation are also important when you are composing.  In 2020, we were in a situation in which you couldn’t do many public activities but, how did you get that input during that time? T: Basically, even with this corona situation, there are some things that haven’t changed much. If I had to say something, I can spend more time on composition and production as there are no tours or live performances. Regarding the input part, it seems to have changed, but I feel like it hasn't changed. Besides, I don’t think it’s something I’m conscious about so, I haven’t changed anything in my music because of Corona. -Last year in August, “Ochita koto no aru Sora” was released in a digital format but, I think this song has a complex pattern in the development of the next step. What was in your mind when you were arranging and recording this song? T: Riffs are also the main melody of the song so I basically listened to the guitar riffs and arranged it so I could put my own play in some parts. In terms of sound making, there isn’t much change. Making in a basic way the feeling of my favourite distortion, it feels like mixing various things there. -For the past few years, you've been actively experimenting with various bass effectors every time you record, but have you tried several of these in the "Ochita koto no aru Sora" recording? T: Basically, I don’t remember which one I used anymore (laughs), but the basic system hasn’t changed, the head is an ampeg cabinet from the 70s, I think it was SWR. In the recording of the previous album "The Insulated World" the bass I used was also a dingwall one. That bass can be used for almighty (pedal). *1.A bass cabinet is the box with the speaker.   2.Ampeg is a manufacturer best known for its bass amplifiers.   3.SWR Sound Corporation is a specialist manufacturer of bass guitar       amplifiers, preamps, speaker cabinets, and acoustic guitar amplifiers.  4.  Dingwall Designer Guitars is a  canadian manufacturer of bass guitars.  5.  Almightty is driver pedal for bass.

- “Ochita koto no aru Sora” was a song with a positive message. Did you find a new direction as a band giving shape to this song?

T: There might some different aspects now but at that time, it may not have changed. I don't think we can completely overlook that, so I can't say anything about it. However, “Ochita koto no aru Sora” itself was made completely to be a single. That's why there may be new things, but surprisingly, I have a strong sense of putting out what was inside us in that way. In what way is it the opposite? Does it feel “new”?

-There are various elements, but I feel that each one is like DIR EN GREY-ish. However, it resonates very much that the lyrics leads from a negative perspective to a positive one.

T: I see. Regarding the lyrics, I think it’s a continuation of the taste of other songs we’ve done so far, but I don’t know because I haven’t asked. However, although the flow of the lyrics are not the same in content, I felt like it was written from a close place.

-The song that follow this one is the new single “Oboro”. Kaoru wrote the original melody but, what was your impression when you first listened to it?

T: I don't think it's much different from the finished form in terms of feelings. The intro had this kind of atmosphere from the beginning. I think it's a song that holds both DIR EN GREY’s essence and newness. However, I personally felt that "this is the core song in the album" rather than being unique or new. As a result, “Oboro” became a single, but at first it wasn’t written with that purpose. We suddenly talked abour releasing a single and after that, as we all agreed that it was a good song for that, we decided to choose it as a single.

-From what part of the song did you feel that it was going to be the core of the album?

T: I felt that this ballad-type atmosphere and feeling really stands out in the album. Because of that, we decided to release it as a single, but we haven't released many singles like this, so I think it made a good change.

-The fact that you feel that  a ballad with a melody  it's going to be the core of the album….does that mean that the other songs are the opposite of it? It seems to be quite an atmosphere where this amazing song was born! (laughs)

T: Well, I can't say anything about that because not all of them have come out yet (laughs). However, it's easier to make a slightly up-tempo songs, so I wonder if there are many songs like that for now. Even if I actually make a song, I don't know if it will be included in the album, so I can't really say anything about the direction of the album or the feeling of the songs. However, "Ochita koto no aru Sora" was made to become a single, so there are a lot of parts of it that hit the target. And as for "Oboro", I felt that it was meant to be release as a single, but also that it was meant to be kept for the album.

-For example, do you change the arrangements and the bass approach if it's an album song or a single song?

T: Yes, it changes. It's completely different for me if is going to be a single or if it is going to be a song for the album. Even if I make  the original melody, it’s different on how much time it takes. Singles are harder to do. You can work more relaxed if it is a  the song for the album. For singles, I feel that the part I am aiming for as a bassist is very strong at the time of elaborating the arrangement.

“If you think that everyone has slowed down in many ways, I think you can start running again. I think it's better to act than to think. So, I'm looking forward to the future.”

-Did you do a lot of trial and error in your part when you made the bass arrangement for "Oboro"?

T: It’s really a minor part. It feels like the details are boiled down when it seems to be a bass phrase like that in a rough flow. The bass in the demo of the original song had many root-playing (basic) phrases so, how to elaborate them from there? what do to with the cadence?  However, “Oboro” has a bass line that snuggles up to the song, I think this phrase has the strongest awareness of song melody.

-While focusing on that sustain-based roots playing components, some bass phrase will come up when you are doing the arrangements but won’t turn out very showy. And when it comes to the ending of the song, it will show fierceness while increasing the distortion of the sound. I felt it was a carefully selected phrasing.

T: I think it’s easier to hear it at the ending of the song, but that distortion is actually there during the whole song. Not only the ending part is distorted but also the beginning. However, when all the instruments came together, I don’t think that distorted feeling could be properly heard. Even if it's distorted that much, surprisingly, it goes well easily. I usually have two patterns at the time of recording. For example, even if you use the same distortion effect, the distortion is applied with a little shallow sound like a hunting sound. So, this time, it was a way of finding what I felt comfortable with when it got mixed with the sound of the band.

-So the reason why you can’t hear that distortion in the first half or the middle of the song is because it got completely blended once the sound of the band got together?

T: That's right. I think there is a perception that if it is distorted, the sound will inevitably be drawn into it. However, if it's distorted that much, it gives a plump low feeling and you can see the phrase. It's simply because we don't stack as many guitars as we used to. Sometimes the sound of each instrument can be heard firmly, so the approach can be focused on what you want to hear. To put it simply, I think it's a big thing that the direction of the band has become simpler. So, in recent years, I think the balance of the band is very good at the time of put together each member’s part. I think that vocals are especially attractive in "Oboro".

-Kyo is very fast adding the lyrics, I’ve heard that he finished recording his part before the instruments  (recording) were done.

T: That's right. "Oboro" already had the vocals done at the stage of recording the bass. However, although he recorded it first, in the end this part will be the last one. After all, it seems that there are parts  he wants to record again once the other parts (instruments) are added. However, even if it is not the final form of the lyrics, if they are already included, the nuance of the phrase will change. Maybe it’s the same with the other members. I think everyone ends up arranging their parts for the lyrics.

-So, the idea was to keep the bass of "Oboro" as simple as possible?

T: Whether you're playing or listening, it was a simple form that seemed comfortable. I think a phrase that requires a lot of work is also good. If there is a song that suits that idea, I wonder if I should take a laborious approach. In that aspect, I thought the dynamic of “Oboro” feels as pleasant as possible. However, I was allowed to play a bit with it. I think the proportion and the sense of balance are also good.

-Did you choose to record some takes while changing your approach?

T: "Oboro" was decided by the current phrase from the time I did pre-production work at home.So, when I recorded in the the band's pre-production room, I just made a few minor corrections when I made the actual recording. As for the mix,  regarding my part, it was a good feeling from the beginning

-Neal Avron has been appointed as a mix engineer this time. Did his mixing work significantly change the nuances of the bass sound?

 T: It has changed. But the biggest change depending on the engineer is the sound of the drums. More like, I feel that the personality of the engineer can be understood in this aspect. Personally, I think the vivid and deep sound of the "Oboro" drums is good.

-A remake of your song "T.D.F.F" is recorded as one of the couplings. What kind of mindset did you have approaching this song including the arrangement?

T: As always, I thought about the phrase from the perspective of what it would sound like if it were done by my current self. When we do a remake, I listen to the original version of the song to confirm what I was playing at that time. Sometimes it's interesting to discover that I was playing it live with the wrong idea(laughs).

-The person that you were at that time is brought back as well?

T: There are times that happens when we rethink our approach. It was like this at that time, but I think it's different to do this phrase now, or to do it with a different feeling. Some of the old songs are due to youth, I have a variety of knowledge and experience now. So, there are times when I change to an approach with a completely different interpretation, and there are parts where I want to play faithfully to the original. For example, keep faithful to the main phrase that  would change everything if you changed that. At the time of "THE UNRAVELING" (released in April 2013), I had a strong desire to change everything if I wanted to remake it, so I changed it completely, but in recent years I have been thinking about the original carefully and the idea is to put my current sense into that. Because when you're making a song, it's your song, but it's not only yours. In that case, it’s better to capture our thoughts and the memories and the thoughts of the fans together in order to shape that song in a good way. If you want to make a bold change, I think you should use that idea to create a new song with it.

-The other coupling song is a live track from the concert without audience at Meguro Rockmaykan. What do you remember about this?

T: It's one of the first stages I've stood on since I became a member of DIR EN GREY, but the Rockmaykan with no audience felt strange. When the live starts, there is only one thing to do, so it's not much different from usual. But I’m not sure if there is something extra in it. It’s not about the call and response (from the audience), I think that the tension inside me is different depending if there are fans or not. After all it is more interesting to have audience. It can also inspire you. I think that such a form of live is also a possibility in times of Corona, but it doesn’t have to be like this every time. However, I learned a lot from this new experience with this new way of expression. Besides, it was a confirmation that there are various things that can be done in a situation like this.

-After this, there is a concert with audience on May 6th. How are you feeling now?

T: I'm looking forward to it and I'm happy. Above all, I am very grateful to be able to perform in front of the audience. Something that used to be normal is not normal anymore, so I wish I could do it with a new feeling.I think the world has simply changed due to Corona. Until now, everyone was running, and I think there was a huge difference between each person’s position. However, because it's all gone, to put it the other way around, everyone restarted from the same position. How does each person perceive that? Of course, the negative effects of corona are huge, but just thinking negatively does not change anything. So, if you think that everyone has slowed down in many ways, I think you can start running again. I think it's better to act than to think. So, I'm looking forward to the future.

#dir en grey #toshiya #translation #gigs #oboro #toshiyatranslations

[maggyoutthere]

This "Everywhere At The End Of Time" thing has been showing up on my recommendations list on youtube. What even is this thing-

I mean it sounds neat. I'm like half an hour in and I like it :/ it's so nostalgic with the static and record scratches. I'm a sucker for ambient music and these sound neat

Edit:

Reached Stage 2

What is happening why is this triggering something in me. Like I can clearly tell something's wrong. You can still hear the music but the static and record scratches are louder.

I'm kinda scared though. As much as I love listening to music I can tell when something is just more than your typical summer hit or even mental health PSA. What is this-

Edit 2

K so apparently this is an album representing various stages of dementia. That's a tricky thing to do but I have faith in music. It's a great way to express stuff so I'm very curious to what this is gonna turn out like.

Edit 3

Idk if I like where this is going.

"I still feel as though I am me" broke me a little for some reason. Idk why but it just stood out differently to me. I am very very hesitant to jump some tracks to get to hear the other stages still today. Most of these tracks transmit the same idea but I didn't want to leave out anything.

Also no I hate rb stuff to make those threads. Have the consecutive edits of this thing.

Edit 4

STAGE 3 YOU CAN'T JUST CUT OFF LIKE THAT WHAT THE HELL-

Little heart attack I just had aside, I'm liking it so far. It's starting to get very uneasy but I think that's the point of it. Goodness gracious Stage 3 scared the absolute crap out of me. It cut just like that. So abruptly and caught me off guard. Not even a fade out, damn.

Edit 5

I had to skip some tracks from the second half of Stage 3 and

oh no

Edit 6

Reached Stage 4

I am having some very visceral reactions to this. It is incredibly unnerving but I want to keep listening to it so much. I love how it’s not even music anymore, it’s just... noise. Lots of different noises all crumbled up together, unified by some vely loud static.

Might have to skip some bits here because all Stage 4 songs are 30 min long each.

Edit 7

MOMS COME PICK ME UP OH FUCK OH GOD NO NO NO NO

I HATE IT HERE BUT I LOVE IT BUT AHHHHHHHHHHHHH

It’s so hard to put down what this is doing. I’m not even sorry for rambling just take this post for what it is idfk if people are even reading this but holy fuck.

The 30 minute ones are killing me from the inside out. I’m very sensitive to audio and sounds (probably because of autism) and this is just pulling all the levers in my brain. It’s so- i have no idea what to call it. Sensory triggering?? I guess???

Edit 8

Stage 5.

Oh... god. 

Edit 9

Reached Stage 6

This has no description, both in the video and in my head. The sheer nothingness something so loud can transmit; the void where something should be but you can't remember what. Blessed were the minutes when I was still listening to the first track; there was music at least. Now there's just this emptiness, this absolutely deafening silence.

The worst is that you know exactly what's going on.

Edit 10

Listening to the last track: Stage 6 - Place in the World fades away

Everywhere At The End Of Time is a series exploring dementia, its advancement and its totality.

I cannot put to words what an absolute masterpiece this is. To tackle such a serious mental illness like this one is already an incredibly hard thing to do; to make art out of it is risky, to make it work is nothing short of a miracle.

The Caretaker (pseudonym of the composer) is an absolute master of his craft. To use something so carefully constructed as music and sound to make sense of something that makes someone not make sense is a challenge to say the least. How do you even go about it? In music there are bound to be rhythms and leitmotifs and patterns: there is bound to be organization.

This is where EATEOT absolutely excels in. I don't know if this could be called of music but I'll surely call it of art; the genius of these tracks are in their editing rather than in their composition. The first 2 stages are pretty much just songs with static noises and record scratches layered on top. It gets the message across: there is still memory, it's just blurry, washed out. It's there but it's hard to see.

From then on out, everything changes. Stage 3 keeps the background noise going, now repeating certain parts of the songs or even reverberating them. The memories themselves are starting to change, not just getting difficult to access. Stage 4 sees the absolute fear and horror of realizing such thing is happening. The grasping at anything in pure terror of forgetting everything. There is no such thing as music now. It's unnerving, it's uneasing, and rightfully so. This does not sugarcoat things and I personally like that.

Stage 5 hits us with a certain calmness after the storm. Things aren't better of course, they're just quieter. Memories are starting to dissapear completely and now there is mostly only the background noises.

Then comes Stage 6. It's desolated, it's deserted, it's nothing. It's gut wrenching. I'd like to touch on the last song because I particularly liked this one. "Place in the World fades away" is, in my opinion, divided into 2 parts. In the 1st half you have static and noise. There is nothing in there. The occasional crescendo almost scares you because of how hollow the mind seems to be at this point, but it leads nowhere. Then there's the 2nd half. You start to hear music. Actual music this time. A choir of voices, still echoing from somewhere else remind you of how it first started: with the music. It puts things into perspective and signals you towards the first of this 6-part series, how far we've come. Then, as if telling what must be told, the music fades away, leaving you with a whole minute of absolute silence. No static, no record scratches, literally a whole minute of dead silence.

I found myself continuously going back to this tumblr post and to the comment section of the video; I didn't want to feel like I was experiencing this alone, and I was glad to see people in the comment section helping eachother out, talking and venting, so that was heartwarming.

I know I'm not usually very serious about things but I wanted to try and do it for this absolute magnum opus. I like to critique stuff as much as the next guy, but to be able to analyze something like this is unique. If you want something to challenge you emotionally, something to make you think and reflect on things, this is an absolute must.

Tl;dr: Everywhere At The End Of Time is a haunting representation of dementia, both in its advancement and in its totality. It's really profound and definitely worth a try if you have some free hours.

#everywhere at the end of time #the caretaker #eateot #music #soundart #art #analysis #reaction #maggy moment #tw mental instability #tw mental health #tw mental disorders #tw dementia #tw memory loss #tw sensory overload

[synnthamonsugar]

Savathun's Trip to the Last City

Now that we have a clearer picture of what’s going on with Savathun I decided to compile the last year’s worth of her POV lore pieces together.

This is super long, and has spoilers for Path of the Splicer VI / Beneath the Endless Night VII, so I’m putting it under a cut.

Credit to @xivuuarath for reading through this and adding some of their ideas! We talked about more beyond what’s posted here, but this is getting long, so maybe that would be better saved for a part two.

1. Traveler's Chosen (Season of Arrivals)

This piece is told from the POV of a narrator viewing the events through an "ossific den". Based on later lore pieces, I'm certain the narrator is Savathun. Given that ahamkara bones have been compromised by her, and that Shaxx has an ahamkara skull slung up in his station, it’s safe to assume this is Sav’s vantage point.

That said, I don't believe Savathun is observing Shaxx, but rather Zavala, struggling in the wake of the Darkness' encroachment on the system and his colleagues' refusals to evacuate to safety. She seems pleased to find Zavala in a desperate state, and watches as he has a silent conversation with the Traveler. Of note is that she's waiting for it to respond.

He waits for a response and I do as well, tense, curious. [ . . . ] It is no time at all for me, but for him, the hours creep by in silence.

I am ready to choke the voice of his Traveler if it answers him, but there is nothing.

2. Harbinger Mission (Season of the Hunt)

Thank you to @xivuuarath​ for pointing this out since I didn’t include it the first time around. During the Harbinger mission Savathun’s forces are attempting to secure a Shard of the Traveler in the EDZ. Of note is that they aren’t trying to destroy it, but rather siphon the Light from it.

Given that the Shard of the Traveler is what allowed our Guardian to jumpstart their Light when they lost it during the Red War, and is what allowed Uldren Sov to break into the Dreaming City during the events of Forsaken, we can assume it’s useful to lightbearers and mortals alike. Make note of this, because it becomes potentially relevant later on.

2.5. Hawkmoon (Season of the Hunt)

From an unknown vantage point, Savathun watches The Guardian and Crow celebrate their defeat of her Taken at the Shard of the Traveler. Unlike Zavala, she can find no weak points in Crow or the Guardian, only happiness. This awakens something in her.

What is this feeling? I did not ask for it. I do not understand it. I do not want it.

Which gets repeated throughout the lore piece. This is our first glimpse of Savathun having feelings that don't fall into the range of "malevolence" or "plotting". She yearns for her youth with her siblings and the warmth of her old life, and feels burgeoning regret for the people she betrayed.

There is a growing kinship here. Against better judgment.

This is ambiguous enough to be a comment on Crow’s and The Guardian’s relationship, or herself and The Guardian and/or Crow. She's called us her friend before but this might be the first time she's actually had friendly feelings for us.

3. Books of Sorrow: New Verse (Season of the Hunt)

This hasn't actually been posted on Ishtar Collective and I'm too lazy to track down a transcript online, so pardon the source. There's a lot to unpack here.

I walk in a city made of delicate hopes.

Savathun has moved beyond occupying ahamkara bones and is actually physically present.

I hear my name everywhere. [. . .] The sound is nourishment.

Imbaru machine on-line?

I am more than I ever was, and less than I will ever be.

Make note of this line.

I am many and none. I'm a man who sits alone in a cavernous office counting my failures. I'm a woman looking at a silent god. I'm a lost soul on a cold moon. I'm a broken mirror of a man who tries to steer the ship.

Comparing (?) herself to Zavala, Ikora, Eris, and back to Zavala again?

I'm a familiar stranger, flitting between them all, hiding my face.

Again, I think she's speaking literally here.

The people here are small krill dwarfed by the enormity of oblivion.

A neat little comparison of humanity with the krill, who we established in her last appearance she's beginning to feel regret for.

4. Retrofuturist (Season of the Chosen)

Savathun watches a Crucible match, and judges Guardians for being reckless with the gift of immortality. The tone of this piece reinforces the idea she is actually out and about in a corporeal form.

I'm mostly interested in her perspective on Ghosts here. She calls them "A perfect being", and describes their ability to revive the dead as miraculous. She isn't happy that the spectators don't appreciate the gravity of this. Weird sentiment for a hive but ok.

I look up into the blank white face. I feel its Light on my cheeks. It no longer burns me.

The Hive are repelled by the Light. Savathun has grown to tolerate it. Something has changed in her metaphysical composition.

@xivuuarath​ made the excellent observation that she might have been at least partially successful in the Harbinger mission - that she may have secured enough Light to build up an immunity, allowing her to be physically present in the City without being hurt by the Traveler.

Each revival is a choice. I know what to do.

Tuck this away for a moment.

5. Beneath the Endless Night: VII - Ripe (Season of the Splicer)

Okay this whole page is insane so excuse the massive infodump here.

I walk through the City on broken legs. I am conspicuous, but the people here grant me many affordances. I chose this form well.

Confirmation that our girl is actually bumping about in a human-form.

I open my eyes and search the faces of the people around me for familiarity. I did not mean to. I twist inwardly with disgust.

She's sympathizing with the humans of the City. She does not like this, but she is!

When they first reached for me, I reached back in acid mockery, and they opened themselves to me in stupid, naked innocence. I was giddy. My fingers raked their minds. I forced my will through them using only words and met no resistance.

Now I reach as often as they do, and when they reach back, I am thankful. I speak with them. I seek their company. Their companionship.

In case it wasn’t obvious already, Savathun has been running a psy-op on the residents of the Last City, which may explain some of the particularly erratic and troubling behavior from individuals / groups this season.

However the interesting thing is, while Sav used her powers of suggestion to manipulate, the humans unknowingly manipulated her in return. Not through any magic - simply through their kindness.

Savathun is doing more than observing the people of the Last City, she is living with them, getting to know them. Savathun is making friends and it’s literally changing her.

This is not pity, for I know pity. What is this—

A call back to the Hawkmoon lore with her trying to make sense of budding positive feelings.

I clench the gangling black mass that threatens to unspool recklessly from within this shell of flesh. My new arms are too thin, too weak. My new shell still bound with thick mucus. Not yet, I say.

I suspect that the “new shell” she talks about here is not her human-form, but rather something else growing inside it.

A man places his hands on me, on my shoulders, on my back. He asks if I am ill, and he sees my flat eyes, my teeth black with ripeness, and he prepares to scream. I let him keep his mind. I push breath up and through my ruined mouth and speak a simple lie. He stops, smiles, laughs. Shakes his head. He points a finger at me in mocking admonishment before walking away.

A few things to unpack here.

Savathun is physically deteriorating... badly. @xivuuarath pointed out that the body horror of this particular scene mirrors the Emissary’s description of a world with no darkness and creatures that are incapable of death even as they physically fall apart, and if you follow that line of thinking you may infer that she’s forcing herself to live through light alone.

She's approachable enough that some rando would see her in trouble and want to help her, reinforcing the point that she's been wandering about the City and vibing with its residents.

She could have done worse to the good samaritan but chooses not to. She does her mind trick and lets him go about his business. She’s showing mercy... which is something we know the hive absolutely must not do at the risk of being consumed by their worm.

Even here, basted in deception both ample and rich, the Worm cries ravenously. It has grown grotesque, skin taut, overfed, and still it howls for more. It commands me to keep it alive.

I look up, beyond the flickering net of darkness, and see what rests just beyond. Waiting for me. The Worm roars.

NOT DISCONCERTINGLY AMBIGUOUS AT ALL that we don't know if the worm is roaring in terror, pleading or triumph.

TL;DR of what I think is going on.

Savathun came to the City to destabilize it through manipulation, but could not be physically present until she hardened herself to the Light. Camouflaging herself in a human form, she spent time with the residents of the City, and found herself manipulated in return by their kindness. She's resisting the positive emotions, but they're there, which is something we've never seen between hive and humans before. You can't have a crisis of conscience if you don't have a conscience, and Savathun does.

I think Savathun is trying to shed her current form and be reborn in some capacity. I think she's going to try to use the Light to rid herself of the Worm and bootstrap herself into something new. If you'd asked me before reading this lore, I would have insisted that she wanted to become a thought-entity, but the cocoon-like imagery makes me second-guess this assumption.

There are outstanding questions at this point.

Why did she want to prevent Eris and/or The Guardian from communicating with the Darkness in Season of Arrivals? Is there a purpose to the Endless Night beyond eroding willpower and sowing division? Is she trying to save only herself, or attempt to undo the millennia-old injustice she inflicted on her people?

#destiny #destiny spoilers #savathun #hive #beneath the endless nightblogging #im glad ttp now has a challenger for lore pieces for me to obsess over.

[insomniacowl]

Neon Genesis Evangelion analysis chapter 21: Kaji Ryoji Lies and Silence

Hi, it's been a while. I'm sorry I disappeared for 5 months while working on the graduate thesis. From now on I will try to upload once every two weeks at 7pm on Saturday.

From here on out, the analysis will focus on the important characters of Evangelion with 15 chapters left to go. Thank you for your patience so far and I hope you all stick with me for the remainder of the ride.

Also, I realized that Tumblr now allows maximum of 10 photos a post, so I am thinking of moving or co-posting on a different site. I'll update all of you when that happens

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Sakiel: The third angel, the first real opponent of Nerv. A portion of voice recordings of the battle attained

Shamel: The fourth angel, visual data gathered and backed up. Will send recordings of Unit – 01's battle against it.

Ramiel: The fifth angel, portion of remains attained and analyzed. Will send information about AT field.

Gagiel: The sixth angel, visual confirmation. Information attained from the UN. Will send information along with Unit – 02's battle data.

Israphel: The seventh angel, visual confirmation, will send data through channel 11-B. Attained sample of material composition

Sandalphon: The eight angels, confirmation through a still image. No further information

Matarael: The ninth angel, visual confirmation. Used the blackout to obtain a sample.

Sahaquel: The tenth angel, photographed attained. Will enter into the database through channel 57-F

Ireul: The eleventh angel, visual confirmation, data erased by Nerv. Will retrieve physically and send them over.

Reriel: The twelfth angel. Unit – 01 went berserk again

Bardiel: The thirteenth angel. Data attained from Mitsushiro facility

Zeruel: The fourteenth angel, visual confirmation. Unit – 01 went berserk. Will send video data.

---Excerpt from "The memos of Kaji Ryoji."

"2015: the Last Year of Ryoji Kaji" was written by the head scriptwriter Yamaguchi Hiroshi and was published in 1997. It contains Kaji's observations of various Incidents and set pieces in the series. It is not anything too particular; however, the fresh perspective Kaji's writings provide makes this an essential material in our understanding of the world of Evangelion. The excerpts mentioned above are essential proof of Kaji's identity as a spy and prove that the blackout during Matarael's attack was deliberately caused by Kaji and Seele.

Furthermore, it explains how Seele had attained information regarding Iruel's existence and its attack on the Nerv facility, even when Nerv/Gendou tried to hide this fact.

The memo above seems to be the observation of Nerv and the angels made by Kaji. While Kaji officially belongs under the Japanese government's command, as we have covered in Chapter 17, the Japanese government is unaware of Lilith's existence. It, therefore, has a different numbering system from Nerv and Seele.

Adding on to this point, the public in the world of Evangelion is unaware of the existence of Lilith. High-ranking Nerv officials such as Misato are aware of Lilith only as of the cause of the First impact and no more. Thus we can deduce that Kaji made the memo while he was on Seele's side, considering that he knew about Lilith in detail. But Kaji never once wholly and permanently sided with any organization. Like how his main character trait is a "flirt," he is never loyal to any organization, just like how he is perceived to be with women; two, perhaps three-timing.

Kaji: You've lost weight

Ritsuko: Are you flirting with me? Stop. A scary-looking friend is watching.

However, it is wrong to say that Kaji was a cheater by any means. His heart belonged only to Misato, and she was the one he trusted the most. His flirting with Ritsuko and Maya made others view him as a superficial person and did not take him too seriously. This got some eyes off his back. This would have given him more freedom to act in achieving his goals (but also, it might have been fun to get Misato jealous in a playful way).

Kaji: Not like you are going to repay that. I added some dummy information in case.

Now, let's take a closer look at Kaji's actions throughout the series. He makes his first appearance in episode 7, having a phone call with Gendou discussing the Jet Alone (JA) program. Because JA was developed as a competition to the Evangelion projects, its implementation would have caused Nerv's authority to weaken and jeopardize the HIP. Making it a top priority to prevent its further development. Minus the actions taken by Misato, the proceedings of JA going berserk and being miraculously fixed were likely a scenario manufactured by Gendou.

Kaji: it has been restored up to this point. It is frozen in a thick layer of bayclade, but it is alive.

The key to the HIP

We first see his face in episode 8 on a new mission: Transporting Adam and Unit – 02 to Nerv headquarters. He likely attained Adam's body in Germany, stealing it under the nose of our dear old friend Keel. The question is, how did he do it? We will never know the details, but we know that Seele's projects that required Adam were complete at this point (Creation of Evas and Tabris). They may not have had much use or concern for the leftovers. Since Adam's fetal form is small, it would have been easy to swap the original for a copy before he left. Of course, this would not have gone unnoticed for long, and it did not.

In episode 10, we see Kaji talking to an unknown woman about the initiation of protocol A-17. It appears to be a measure that limits and shrinks Nerv's authority and freeze their funds. Just like the JA plan, it shows the hostility of the Japanese government towards Nerv. Because Nerv and Seele are still on agreeable terms, Kaji is seen as a double spy between Nerv and the Japanese government. But in episode 11, the Nerv blackout happens. With clues spread over the episode pointing to Kaji as the culprit with Seele's support, we begin to see him in action as a triple spy.

The reason why Kaji undertook such a dangerous role is to get closer to the "Truth." Upon realizing the Japanese government's imbecility, he begins to walk the rope between Nerv and Seele to seek the truth.

Kaji: Is that an angel? This is not the time to be doing my job

We first see him in action in episode 13 while the HQ was distracted defending against Ireul. Here we see him collecting information around the central dogma. While doing so, Kaji notices the angel while passing through the passage in level 28 and hears the announcement that the "Sigma unit (the Eva simulation chamber) will be shut off in 60 seconds. Bearing in mind that Magi is located in level 40 and that a lower number refers to a deeper level, we can see that Kaji has already infiltrated deep into the complex. As central dogma and Lilith were information that Nerv and Seele wanted to keep secret, this infiltration was likely Kaji's initiative. With the same logic, we can also say that the information he gathered regarding the Marduk institution in episode 15 was his individual action as well.

Later in the episode, he is found by Misato as he was trying to infiltrate the central dogma. But Kaji does not seem surprised by this fact and opens the door without hesitation. What they see on the other side was the white giant Lilith. However, we hear Kaji refer to it as Adam. Why? There are two possible explanations for this. First is that Kaji knew that it was Lilith but deliberately lied to Misato.

This explanation is weak at best. It contradicts the characterization of Misato being the only woman Kaji trusts. Further, it contradicts the portrayal of their relationship in the following episodes. It is also difficult to explain why Kaji would distinguish between Adam and Lilith in his explanation to Misato.

The other possible explanation is that Kaji believed this to be Adam, and I am personally more convinced of this explanation. As we have seen in an earlier episode, Kaji passed on the Adam sample to Gendou. Both were fully aware of what he has gotten into his hands (puns perhaps intended). Then why did Kaji believe that it was Adam in central dogma? He likely at this moment believed that the white giant was the manifestation of the Adam sample that he stole. Although it looked different, Kaji, who saw Sandalphon transforming at an unbelievable speed, would have drawn parallels.

Kaji's misunderstanding is also supported by the secretiveness of the existence of Lilith. The information being top-secret accessible only to the Gendou and Seele. Even when Gendou referred to Adam as "The first man," it could be him trying to misdirect Kaji on the identity of the white giants. Although the reason for this secretiveness is not apparent, we know that Seele was ashamed of their status as the descendent of Lilith, this being the reason for conducting the ritual of atonement.

The HIP Seele type is, in essence, based on the feeling of perceived inferiority against the Adam-based angels. Thus it can explain away why Seele would want to keep the project a secret from the public. Even without such reasons, Lilith's identity as a being in the same caliber of existence as Adam might have created a need to keep her locked away and kept secret. This to minimize unnecessary friction and interference in their plans by other organizations.

To add on, let's touch on the strange phrase written on the container of Adam's sample that Kaji brought over. "Who is you? He is living. Why?". There are no explanations given regarding this phrase. It is likely written by one of the researchers in the german facility that was studying this sample. Being the only remaining Adam sample that seemed alive with the absence of a soul, it would have been baffling to look at it.

This lie about the identity of Adam and Lilith is a recurring motif. In the earlier chapters discussing the angels' identity, I have mentioned that due to the enemies being the "Angels," Evangelion fundamentally rejects the narrative of Good triumphing over Evil. During one of the sequences in the opening song, there is a frame reading "ADAM," and it is unique as it is the only one that is black words with a white background. This likely foreshadows the fact that information regarding Adam that we receive is different, thus, at some level, inaccurate or lies.

Either way, the truth of the White giant's identity is revealed near the end of the series. The audiences are made aware of it through the exposition of Tabris. For Miasto, she receives this truth from Kaji along with all the information and data he collected by himself. Through this 'Truth,' we can infer what Kaji wanted to protect and what his 'will' was. This 'will' to live is passed on from Kaji to Misato, from Misato to Shinji, and influences his decision during the end of Evangelion.

Kaji: Shinji, the only thing that I can do right now is to water these plants. And as much, there are things that only you are capable of accomplishing right now. No one is going to force you to do anything. Think for yourself. Decide for yourself. Determined what it is that you need to do right now.

So that you will not end up in regrets.

The alliance between Gendou and Seele began to show signs of schisms in episode 19 after Unit – 01 consumed Zeruel's S2 engine and became a being as though god. This was more in line with the plan of Gendou, who sought for the creation of a new god, the material conditions misaligning from Seele's plans of atoning for the sin of Lilith. Kaji was very much likely to have been aware of all this. When the schisms showed, Kaji had to choose the side he had to stand with. He seemed to have concluded that Nerv is closer to the truth that he wanted. Therefore he ended up helping Gendou achieve his version of the HIP.

I say this as Kaji played a crucial role in convincing Shinji to return and pilot Unit – 01 during the battle against Zeruel. Afterward, Kaji released Fuyutsuki, who was kidnapped by Seele, and began his pro-Nerv strategies. This leads up to his assassination by Seele's orders. To borrow Seele's words, "The bell around Gendou's neck lost its will to ring."

Fuyutsuki: Is that you Kaji?

Kaji: It's been a while.

Fuyutsuki: You will lose your life if you do this.

Kaji: I am just heading towards the truth that I believe in.

Let me talk a little more about his death. In episode 21 of the renewal version, an additional line was spoken: "They found out that I handed over Adam's sample to Gendou." This draws a line connecting the importance of Adam's Sample in Kaji's death and its role in the HIP.

Regarding the Assassin identity, due to the scene of Misato's grief being placed right after Kaji's death in "Death and Rebirth," some believed that it was Misato killed Kaji. One of the rare things that Anno came forward and cleared up was that Kaji's assassin was an unnamed individual that we do not see ever on screen. An additional argument made by those suspecting Misato as the culprit claims the evidence of interlaying of Misato's apartment door label right after the gunshot. This was later removed in the renewal version.

Kaji: No one can understand another person to a full extend. They can't even understand themselves.

But that is why people try their best to understand the other.

And that is what makes life such a fun experience.

Many of what Kaji says touches on the critical messages of Evangelion. It is also why I am starting off this section, the analysis of characters with Kaji; understanding Kaji is integral to understanding the series as a whole. He loved Misato but could not tell her his true feelings during the happiness of reunion after eight years. This was likely the greatest form of love that he could have given her, knowing that he is close to his death. The reason for Kaji's obsession with the truth and the sufferings he experienced in the past is fleshed out in detail in the comics version. He was orphaned as a consequence of the Second impact. After a failed attempt at stealing food from the military base, all of his friends were killed, leaving him alive and questioning the reason for their suffering and death. Kaji sought to avenge his friends by understanding why the Second impact happened.

But even without going into the details, we can try and understand the pain and suffering he went through as the generation living after the Second impact. Yet, his general attitude towards life and his ability to call living to be fun is his unique charm. He even managed to have a smile on his face while looking at the face of his death. His smile was not a forced fake that he made to mask his fear of death; he has probably smiled from the bottom of his heart.

Yo. You're late

Because he would have already reached the truth that he worked so part to attain.

TBC Chapter 22: Katsuragi Misato Part 1 With a cross in hand

#Neon genesis evangelion #Evangelion #Eva #End of Evangelion #Nge #Nagisa Kaworu #Lilith #Sci-fi #Ikari Shinji #Soryu Asuka Langley #Asuka #Ayanami Rei #rei #Anno Hideaki #Katsuragi Misato #Kaji Ryoji #Anime #Analysis #Review