#spatial storytelling

[bettreworld]

Moving from a 2D space to 3D with Emma Ridderstad

#youtube #Emma Ridderstad #2D to 3D transition #Spatial awareness #Artistic evolution #Creative journey #Visual exploration #Dimensional shift #Art techniques #Mixed media artwork #Perspective transformation #Depth perception #Artistic process #Sculpting techniques #Painting in 3D #Spatial storytelling #Creative growth

[augmented-reality-journal]

Unleashing Creativity: Exploring the Power of Generative AI for Spatial Storytelling

Dive into a realm of limitless creativity with generative AI, where spatial storytelling takes center stage. Discover how this groundbreaking technology transforms ideas into immersive narratives, shaping the future of visual storytelling. Explore the possibilities and redefine storytelling boundaries with the captivating world of generative AI.

#generative ai #spatial storytelling #3d

[chandnieeeee]

From books to buildings, stories come alive! Explore the magic of "Spatial Narratives" as we unravel how architecture and design create captivating experiences. Read my latest blog published in Rethinking The Future magazine: https://lnkd.in/dgh_PVP6

101 Trending Books

#architecture #spatial narratives #storytelling #design #architect #marketing

[moxie-girl]

an AU of @orange-artist's ASL god AU where Deuce is also a god b/c I'm rotating him in my mind at all times

some notes about him under the cut: (this idea has consumed my brain)

His hair changes color based on the sky near him when in god form, it's usually just "sky blue" in human form

When he gets especially emotional it sometimes affects the sky around him

He's the god of loyalty/devotion due to his role "supporting" the other celestial gods

However, he's closest to Astrus as he was essentially "born" from the spaces between the stars

He's basically the patron god of first mates - when the Roger Pirates landed on Raftel, he was drawn the most to Raleigh

He's also the god of storytelling (because of canon Deuce's dream to write a book)

Some of his powers include telekinesis-like spatial manipulation and controlling clouds (ex. the different types on Sky Islands)

His and Ace's first meeting went like: "Oh man, sailing around like a human is way harder than it looks, I can't believe I'm already shipwrecked" -> "There's another person trapped here? I'd better help I guess" -> *gets closer and makes eye contact* "IT'S YOU!?" for both of them

#i love deuce and need to put him everywhere or ill go insane #one piece #op #asl god au #deuce #masked deuce #one piece deuce #op deuce #adeuce #deuace #<- not really but i love them dearly and they could be fun in this au #au #au of an au #moxie draws

[writingwithfolklore]

Movement Kills Pacing

                Something my screenwriting prof told us that really stuck with me was “avoid just moving bodies through space”, as in—movement on its own isn’t storytelling. I sometimes get into this habit where I get so caught up in where my characters are spatially that I forget to tell the story in favour of clearing up who is where and what each movement is, ala:

                Anna walked over to the kitchen, picked up the pitcher and paused, deciding whether or not she wanted water, before crossing back through the living room and looking out the window, then walked back towards the kitchen yadda yadda yadda, you’re bored, I’m bored, this isn’t a story, this is someone walking around.

                As with everything in writing, I’m not saying movement should be cut out entirely, but I am saying that it works best when it’s used intentionally. In any normal scene, other than a quick set up of who is generally where at the start of the scene: (Anna sat in the driver’s seat, staring down at her phone as John fell into the passenger seat beside her), we don’t need to know every little movement they make—readers will assume and fill in the spaces where movement may seem obvious.

                Then, the best time to bring up movement again is either for a dramatic motion (Anna leapt from the car window, tumbling across the concrete), or a dramatic shift in emotion/psychology. (John’s brows furrowed tightly. Turning on his heel, he stormed from the room.)

                Essentially, if you can take it out, you should. We have to trust our readers that they will fill in all the spaces we leave—we don’t necessarily have to write it out for them.

                Good luck!

#writing #writers #writing tips #writing advice #writing inspiration #creative writing #writing community #books #film #filmmaking #screenwriting #novel writing #movement #pacing #movement kills pacing

[gorbalsvampire]

What are your top 3 favorite clans? Either to make a character for or to use as a Storyteller? :3

Oooooooh, thanks for asking! I'll do these in reverse order, build up to the best.

Number three: Malkavian

My original faves, and a clan about whom I have some sTRoNg oPiNIoNs. See, the thing with Malkavians is that for years and years and years it felt like nobody thought for two minutes about how the rules for Derangements work. Too many Malks were played as hapless victims of their insanity, driven to ooky-kooky comic relief bullshit behaviour or dark tormented scary deep mental anguish all the time - and that's not how it works. The Malkavian Derangement was incurable, as in it would never be removed - it was not insurmountable!

Derangements could be overcome through the expenditure of Willpower, scene by scene. Willpower could be recycled through a careful choice of Nature and Demeanour to indulge. Malkavians were about powering through, being a dangerous and cogent master of the mind whammy, surfing your own mind's wild tides with gritted teeth and every now and then, when it didn't matter so much, when you had the luxury of rest, unclenching your jaw and letting the madness take you.

Therese Voerman is my poster girl for what a Malkavian should be: she's competent, ruthless, and clearly has problems that she's keeping under control through sheer cognitive heft/letting Jeanette out to play when it's all too much.

Anyway. Malks. Love the Disciplines, love the Network, love the visions, love the savagery of a well done, targeted prank. V5 moving them away from "a specific instance of mental illness with oversimplified game rules" and toward "chronic mental overstimulation which manifests as a consistent game rules penalty" is a subtle change but a good one. None of my games feel complete without at least one Malkavian.

Number two: Lasombra

Elegant, classical, lordly, and aggressive. None of the subtlety and resilience of their Ventrue arch rivals: the Lasombra will break you in body (Potence) mind (Dominate), or both (Oblivion), and if you're mortal and you impress them, they will make you rise again.

I love the existential, spatial, cosmic horror of Obtenebration; I love their connection with the ocean and their warring against themselves over and over (and yet with an oversight body that transcends the lines of conflict); I love the hubris that swears they destroyed their Antediluvian and how that's come back to haunt them in V5.

They make great antagonists - I've always felt that in OG Masquerade especially, the Sabbat pillar clans' Disciplines were designed to enable cool boss fights, and being thrown around by a shadow monster or enveloped and consumed by a roiling tide of darkness... mmmm... sorry, I was supposed to be talking about tactical challenge, but then I got to thinking about how sexy Lasombra are and... look, check my intro post, Ib from LABN nailed the archetype and frankly she could nail me too.

Number one: Hecata

Always and forever. The OGs. Every incarnation of them has delighted me. Necromancy and vampirism walk hand in hand for me (I was a Warhammer Undead guy before I was a Vampire: the Masquerade enby). The Cappadocians are patient, thoughtful, genteel court wizards who get done dirty (by their mediocre "here to go!" Clanbook as well as by the Giovanni) and come back SCARY/become something new in hiding. The Giovanni are delightfully loathsome literary-Gothic villains - seriously, they're rich decadent incestuous black-magic loving Italians? did Anne Radcliffe write for V:tM? - AND sassy East Coast gangsters with a sorcerous twist.

They aren't perfect - the Family Reunion creaks with artifice, the Nagaraja shouldn't exist be there, there is no WAY a skyscraper in the middle of Venice is acceptable world building, the Nayson San An are one of those early WW concepts that's always going to be stained by racism, and what's been done to Necromancy over the years, from a rules bloat/design standpoint, is a bloody shambles.

I think a lot of what I love about them comes from me rather than from the developers. I've put a nonzero amount of thought into who ended up where vis. Reunion, Chamber, Council, into the history of Venice and its involvement with the Fourth Crusade and the collapse of Constantinople's Dream, into reinvigorating the gangster stereotype and into the history of Scottish banking and slave trading... but! but! no other clan has ever inspired me to do so many deep dives, to commit to such bits as "how do you make a Giovanni who can just hang out with any old coterie and you'd barely even know he was a Giovanni?"

The bottom line is that I like concepts with flaws, because flaws inspire creative fanwork. I yearn to work a problem, and the Hecata are raddled with problems. Marbled with them, like a tasty steak - they just need proper preparation to be served.

#vtm #hecata #clan hecata #lasombra #clan lasombra #malkavian #clan malkavian #vampire the masquerade #von answers #meta #sTRoNg oPiNIoNs #therese voerman #labn #vamily #ib

[alexhwriting]

A peek at my Master's Thesis

So as I prepare my master's thesis, I needed to write up a quick summary of what was actually going to be written during that process. The following is the rough draft and bibliography I'm starting with, though more research and details are almost a guarantee for later. This is also only about 500-ish words for the summary, so by no means the most thorough.

Environmental Storytelling, Ludonarrative Harmony, and Immersion: A Summary

            For my master’s thesis, I plan on exploring environmental storytelling in videogame narratives and the role that the background plays in immersion as well as ludonarrative harmony. During the Fall 2023 semester, I worked through some of the research for this paper as a directed study with Dr. Kee, which informs some of my bibliography along with some of the work I had done in previous classes with both Dr. Kee and Dr. Fox. I hope to argue, by the end of the paper, that the innocuous and mundane details that we see in the background of video games while playing are actually at the core of the immersive experience. To prove this, I will be referring to past work by many digital media scholars who have been working on game environments for the past 30 years, as well as games that both utilize and fail to utilize their environments for proper immersion.

            I will begin my essay talking about the core concepts that I want to show throughout the paper, those being Ludonarrative Harmony (as derived from Clint Hocking’s Ludonarrative Dissonance), theories of immersion and presence within the game world as discussed by J. P. Wolf and Marie-Laure Ryan, among others, and discussions of spatial practice and engagement within a video game’s world. Because of the layered meanings of the terminology, I will be using throughout the paper, I will be laying out some of my own definitions as well to make my essay more clear in its purpose. Specifically, I want to be precise with the term “virtual world,” which I will be using to refer to the environments of the games that will be discussed throughout the paper. An extension of this is “virtual world lore,” which will refer to those details given to the world through mediated sources, such as character dialogue, tooltips, and item descriptions.

            For the games I wish to consider throughout this paper, I have selected several from the catalog of FromSoftware, since these titles are famous for their ambiguity and lack of clear narrative as opposed to more traditional role-playing games (RPGs), such as the Fable series. For the FromSoftware examples I have picked Sekiro: Shadows Die Twice (2019), Elden Ring (2022), and Bloodborne (2015), as each of these takes a different approach to their worlds and the way their narrative unravels. Bloodborne specifically shows off a high level of ludonarrative harmony in level design and player traversal, reinforcing its main message, through loss of character health, that progression is always painful. Sekiro takes a much more traditional narrative approach, with considerably more dialogue and cutscenes compared to the rest of the FromSoftware titles. Finally, Elden Ring, as an open world game, gives the player a lot more freedom and proves an interesting lens to approach the notion of game world, since it emulates a very large environment, The Lands Between.

            In addition to these traditional action RPG experiences, I have also selected some independent games that work well in this discussion. Unpacking (2021), Inside (2016), and Alien: Isolation (2014), all exemplify similar ideas to the FromSoftware titles, though in different forms, especially puzzles. Unpacking and Inside are both of note here for their lack of dialogue entirely, leaving the environment as the primary mode of storytelling for drastically different stories between the two. On the other hand, Alien: Isolation is more of note as an exploration of a place with few additional characters and survival elements recontextualizing the space around the player in times of intensity.

            Finally, I will be looking at some games that do not use the full potential of their environments and the detriment to the storytelling that is the result of such an experience. For this, I will be looking at Goodbye Volcano High (2023), and Cyberpunk 2077 (2020), both games that experienced several delays. Both offer empty virtual worlds, where there frequently feels like there should be more for the player to engage with given their Visual Novel and RPG genres.

Prospective Bibliography

Aarseth, Espen. “A Hollow World: World of Warcraft as Spatial Practice,” in Corneliussen, Hilde    G. and Jull Walker Rettberg, eds. Digital Culture, Play and Identity: A World of Warcraft Reader (MIT Press, 2008): 111-122.

Alexander, Lily. “Fictional World-Building as Ritual, Drama, and Medium” in Wolf, Mark J.P.,        ed. Revising imaginary worlds: A subcreation studies anthology (Taylor & Francis,      2016): 14-45.

Álvarez, R., & Duarte, F. “Spatial Design and Placemaking: Learning from Video Games.”          Space and Culture 21.3 (2018): 208–232

Caracciolo, Marco. “Radical Environmental Storytelling in Video Games,” in Slow Narrative        and Nonhuman Materialities (University of Nebraska Press, 2022): 161-188.

CD Projekt Red. Cyberpunk 2077. CD Projekt. Xbox/PC/PlayStation. (2020).

Christopher, David, and Aidan Leuszler. “Horror Video Games and the ‘Active-Passive’           Debate.” Games and Culture, 2022.

Creative Assembly. Alien Isolation. SEGA. Xbox/PC/PlayStation. (2014)

FromSoftware. Bloodborne. Bandai Namco. Xbox One/PC/PlayStation (2015).

FromSoftware. Elden Ring. Bandai Namco. Xbox One/PC/PlayStation (2022).

FromSoftware. Sekiro: Shadows Die Twice. Activision. Xbox One/PC/PlayStation (2019).

Grodel, Torben. “Video Games and the Pleasures of Control.” Media Entertainment, 2000, 209–      26.

Hocking, Clint. “Ludonarrative Dissonance in Bioshock.” Click Nothing: Design from a Long Time Ago, (2007). https://clicknothing.typepad.com/click_nothing/2007/10/ludonarrative-d.html.

Jenkins, Henry. “Game Design as Narrative Architecture” in First Person: New Media as Story,          Performance, and Game. Ed. Pat Harrington and Noah Frup (MIT Press, 2004): 118– 30.

Kocurek, Carly A. “Who Hearkens to the Monster’s Scream? Death, Violence, and the Veil of the Monstrous in Video Games.” Visual Studies 30, no. 1 (2015): 79–89.

KO_OP. Goodbye Volcano High. KO_OP. Windows/PlayStation. (2023).

Krzywinska, T. “Blood scythes, festivals, quests, and backstories: World creation and rhetorics          of myth in World of Warcraft.” Games and Culture 1.4 (2006): 383-396.

Mark J.P. Wolf, “Beyond Immersion: Absorption, Saturation, and Overflow in the Building of      Imaginary Worlds,” in Marta Boni, ed. World Building, Transmedia, Fans, Industries          (Amsterdam UP, 2017). 204-214.

NetherRealm Studios. Mortal Kombat 1. Warner Bros. Games. Xbox/PC/PlayStation. (2023).

Perron, Bernard, Clive Barker, and Ewen Kirkland. “Storytelling in Survival Horror Video Games.” Essay. In Horror Video Games: Essays on the Fusion of Fear and Play.

Ryan, Marie-Laure, and Thon, Jan-Noël, eds. Storyworlds across Media: Toward a Media-Conscious Narratology. Lincoln: University of Nebraska Press, 2014.

Soriani, A, & Caselli, S. “Visual Narratives in Videogames: How Videogames Tell Stories             Through Graphical Elements.” img journal, 3, (2020) 474-499.

Thon, Jan-Noël, “Transmedial Narratology Revisited: On the Intersubjective Construction of           Storyworlds and the Problem of Representational Correspondence in Films, Comics, and          Video Games” Narrative 25 (2017): 286-320.

Playdead. Inside. Playdead. Xbox/PC/PlayStation. (2016).

Witch Beam. Unpacking. Humble Bundle. Xbox/PC/PlayStation. (2021). Creative Assembly. Alien Isolation. SEGA. Xbox/PC/PlayStation. (2014)

#video games #fromsoftware #fromsoft games #sekiro #soulsborne #elden ring #dark souls #bloodborne #unpacking #cyberpunk 2077 #alien isolation #Inside #goodbye volcano high #summary #2023 Work #Ludonarrative harmony #environmental storytelling

[denimbex1986]

'*****

No sonic screwdriver. No TARDIS. No city-razing destruction, nor stupefyingly cute alien critters. As Doctor Who episodes go, ‘Wild Blue Yonder’ couldn’t be more different from the show’s blockbuster comeback, ‘The Star Beast’, if it tried. Last week’s adventure was Who at the peak of its silly, sugar-rush sci-fi powers: a spectacular kick-off to the show’s 60th anniversary celebrations, precision-tooled to dazzle newbies (Whobies?) and dyed-in-the-wool Whovians alike. This week’s, however — essentially a two-hander — is an insular Gothic chamber piece that goes toe-to-toe with Alien in the spaceship-as-haunted-house stakes. Invoking everything from NuWho favourites ‘Midnight’ and ‘Listen’ to sci-fi horror classics Event Horizon and The Thing, Russell T Davies strips everything back here to remind viewers at home that there ain’t no bottle episode like a Doctor Who bottle episode.

Arriving under a shroud of sworn secrecy (even press didn’t see this one until it aired), speculation had been rife about exactly what ‘Wild Blue Yonder’ would be. Rumours of a multi-Doctor story — Peter Capaldi, Matt Smith, Jodie Whittaker: you name ’em and someone had an in-depth Twitter/X thread red-stringing together a theory — abounded. But while technically this is a multi-Doctor story (and a multi-Donna one at that), it’s not one in the way anybody would have expected. And honestly, amid a landscape of disposable cameos and inconsequential fan-service, that the secrecy is in aid of storytelling rather than stunt casting is a blessed relief.

A comical cold open sees the Doctor (David Tennant) and a newly memory-restored Donna (Catherine Tate) flung back to England, circa 1666. There, the duo catalyse Sir Isaac Newton’s (It’s A Sin’s Nathaniel Curtis) discovery of ‘mavity’ (a communicational mishap) and the Doctor’s discovery of bisexuality (“He was hot, wasn’t he?”). But a classic ‘Doctor-meets-historical-figure-and-hijinks-ensue’ caper this is not. And before long, the Doctor and Donna find themselves stranded aboard a seemingly abandoned spaceship harbouring a threat so terrifying that even the TARDIS has done a runner.

The eerie, empty (save for glacially slow Hitchhiker’s Guide To The Galaxy-homaging Chekhov’s robot Jimbo), seemingly endless spacecraft corridors and wheezing hydraulic pistons of ‘Wild Blue Yonder’ represent a stark counterpoint to the crashy, bangy, flashy Meepiness of ‘The Star Beast’. A sublime combination of pneumatic practical effects, soundstages, and nifty CGI made possible by that sweet new Disney dollar, the distinctly Nostromo-esque sense of isolation about the ship aptly evokes the abyss of the episode’s edge-of-the-universe setting. It’s a spatial oddity that serves the plot and augments the tone of the piece perfectly, centralising our focus on the Doctor, Donna, and their unique bond as the uncanny threat they face is slowly revealed. That threat? Why themselves, of course. Sort of.

Revealed in a properly creepy sequence that starts with the slow-dawning realisation that something isn’t quite right and climaxes with an injection of out-and-out Cronenbergian body horror, the ‘Not-Things’ are Weeping Angel-level nightmare fuel. Cosmic shapeshifters bent on universal destruction, the demonic doppelgängers — brought to life with palpable, dead-eyed menace by a multi-roling Tennant and Tate — are able to mimic the Doctor and Donna’s form, manner, and even memories.

This set-up leads to a succession of intricately written “I know I’m me but how do I know you’re you?”-type exchanges — including one particularly fiendish bait-and-switch — that really allow Tate and Tennant to flex their acting chops, underlining their inimitable chemistry in the process. It’s also an opportunity for Davies to really hammer home that this is the Fourteenth Doctor, not the Tenth — and Donna Temple-Noble with a family waiting for her at home, not Donna from Chiswick gadding about with a two-hearted spaceman.

One particular exchange, in which canon-reshaping events of the Chris Chibnall era of the show come to the fore, allows Tennant to really click through the gears as he embodies elements of the Doctors who’ve been and gone since last time around: Smith’s wistful longing, Capaldi’s bone-deep grief, Whittaker’s emotional vulnerability. In about 30 seconds, several years of head-spinning exposition is simply, beautifully reframed. The Doctor doesn't really know who they are anymore, running from reckoning with the weight of all that they’ve seen and done, hoping against hope for somebody else out there to understand — if even just for a little while. No matter whether you’re a hardcore Whovian or don’t so much as carry a provisional TARDIS licence, if you’re looking for a distillation of the show’s essential nature, you’d struggle to find one better than this.

‘Wild Blue Yonder’ is a brutally simple, slickly executed high concept that we’ve seen iterative versions of before in OG Tennant/Tate-era fan favourites ‘Midnight’ and ‘Waters Of Mars’. But, especially when considered in the context of Who’s recent turbulent history, its use here — in a conversation-heavy hour of TV that digs deep into the past 15 years of the show both on and off screen — feels utterly singular. Giving folks the Doctor, with their plucky companion and techno-babble and eccentric wardrobe is easy, Davies seems to be saying: anyone can do it. But without genuine emotion — without heart — all you’ve really got is a pale imitation of something truly great, iconography and nothing more. Lucky for us, then, that by the time the credits roll there can be no doubt. This bold new Whoniverse is the real deal, and nothing is wrong… nothing in the whole wide world. *Sniffle*.

Taut, tense, and frequently terrifying, this spaceship-in-a-bottle episode isn’t just an instant Who classic — it’s one of 2023’s finest hours of TV to boot.'

#Doctor Who #60th Anniversary #Wild Blue Yonder #David Tennant #Catherine Tate #Donna Noble #The Star Beast #Midnight #Sir Issac Newton #It's A Sin #Nathaniel Curtis #Chris Chibnall #Matt Smith #Peter Capaldi #Jodie Whittaker #Russell T. Davies #The Waters of Mars

[wildissylupus]

Cassidy's fighting style being mostly relying on the environment around him is so important to me and I wish people talked about it more.

Cause from what I've seen the only other character who uses the environment like Cassidy does is Sombra and even then she doesn't use the environment as much as Cassidy does. In all honesty he's also probably one of the characters with the most spatial awareness too, especially when he's fighting.

Every time we see fight sequences with Cassidy he's always utilizing what is around him to his advantage. Shooting polls and other objects in or to hit or disorientate enemies, using changing factors to his advantage, using crowds and uneven ground in order to gain distance between enemies.

The reason I like this is because it shows the difference in training and upbringing that Cassidy had compared to other characters. He grew up on the streets and during a time or high conflict and low resources. So of course he'd be more reliant on creative strategies and whatever environment he's in at that moment.

Intentional or not, the fighting style that Cassidy has is very good visual storytelling on how his character thinks and is a really good indicator of what his past is like.

#overwatch #overwatch 2 #overwatch lore #overwatch headcanons #analysis #cole cassidy #cassidy overwatch #overwatch cassidy

[honeyjars-sims]

TRUTH: What do you find is the most difficult part of sim storytelling?

Hmm, soooo many things 😅 but since you specified Sim storytelling, I would say getting the screenshots right is pretty challenging. I struggle with posing in particular. I spend so much time on finding the right poses and then getting everything aligned how I want it (I have a hard time with spatial reasoning bc of my adhd). Big shout-out to everyone who creates poses because I'd be lost without them!

Thanks for the ask! 😊

#lrsimmer #answered

[bingobongobonko]

Hi Bingo! I just wanted to say that I've been lurking and looking at your art for your lancer campaign for a while now and I think it's so cool! You've kinda inspired me to check out the system for myself too! I hope it's not too much trouble/making you retread anything you've talked about before, but I'd be really interested to hear your thoughts on the system and how it's worked out for your campaign! I really love mecha stuff, but I think the genre can be pretty rife with militarism that I'm not super into. I get the sense though that you've been able to find a good way to slot these really cool characters into the setting and focus on their interactions while also getting the fun of that sweet sweet mech combat. My inquiry is very low stakes haha, so nw if you don't have time to gather all your thoughts (I know that if I was tasked to talk about my own campaigns my head would burst into flames just trying to sift through what I'd want to say :P) Anyway, just a little friendly wave to you to say your art is very inspirational, and keep up the great work!

OH WOW this is . whuhh. WOW! sorry im like. wtff. i mean i ramble about my characters a lot but i didn't think anyone else actually gave a fuck which is completely ok, i just WHUHH..!!! holy shit. excitement aside, i get where you're coming from. honestly i was never into the mecha genre, but lancer rpg really made me realize how cool it is! like im not a really technical guy, and i feel like lancer is VERY strategy-heavy in combat; unless you know what you're doing and what everything does, you can easily get overwhelmed with all the features and all the things to consider in the math. for me its a lot because i struggle with spatial understanding and any sort of mathematics. that's my only real gripe on the system, but that might also just be every other system as well. it's more of a personal issue than that of the system, my friends all picked it up super quick. as for the genre, yeah, i find militaristic shit a drag and mecha has the same feel to me. its got a layer of professionalism and seriousness i don't enjoy, nor wish to play along with, so i get what you mean yeah. thankfully my friend who dms the campaign is just. Holy fuck; she just has a huuuge extra care for character stories and weaving them into the narrative she explores. so really, its her i've to thank for making mecha stuff FUN for me. lancer can certainly run hand-in-hand with militaristic-focused rp, i was in a oneshot with that sole focus and while it was interesting, without that interesting narrative stuff you kind of lose steam, but ive grown so fond of dog days cuz of how my friend lets our characters develop AND helps them do that. that and the way she sets up the story, just. FUUUUCK. the military is an afterthought in what is a fight against time and para-causality sinking its teeth into what little sanity we have. we fight against something that is a victim and a perpetrator. we're the worst people to be tasked to be saving an entire planet too, but here we are. as cheesy as it is, it's all about who you play with. thats the feel i get about most systems. honestly why im so ehhh about playing with strangers, when i'd rather play with people i like. all systems strike me as more of a tool; its the way you use em yk? the experience you get from them are more reflective of who you're telling a story with (or fighting alongside, there's no right way to play. i just really like narrative storytelling). so really, ive to thank my friends, especially @spaginithethird who introduced me to lancer in the first place as a dm!!!!!!!!!! TO A LOT OF SYSTEMS ACTUALLY shes rlly knowledgeable abt this stuff and very very very sweet too o7 so yeah really, its a really fun system BUT to me, i wouldnt be playing lancer if i didn't have a narrative to go by and follow with people i like. i am always sayin this but its my favorite thing when it comes to ttrpgs

#THANK YOU FOR THE ASK BTW #im really happy ppl like lancer.. its a surprise 2 me #i usually just talk bullshit because i like talking about ocs #so its really aieee... #i havent been drawing a lot due to unending slumps so that really means a lot.. ty dude #sorry im bad at explainin shit i REALLY hope i make sense and hopefully youll like lancer too!!!!! #lancer rpg

[bibberbang]

horror genre rambling ahead:

its strange how people generally understand that "soulslike" and "roguelike" are honorary names given to a subgenre of games that take after a really good, really popular game. but "scp clone" is used almost solely as an insult to internet horror that focuses on categories of horrors and/or collaborative worldbuilding

scp is like the dark souls of horror, a lot of people kinda hate it and thats fair i guess, but it was good and impressionable enough that it created a new subgenre of horror that fits neatly into analog & internet horror spaces

and ive talked about this before. yes i know the backrooms monster chases you for 5 minutes videos are stupid as fuck. i like to watch and laugh at them sometimes, because even in the really stupid ones youll sometimes find quiet moments where the creator utilizes spatial horror in a unique way. but ultimately those monster videos are made for children and are not a threat to the plenty of good backrooms content you can find online. my point is that its fine if something is similar to scp because art will always be derivative, and its common for genres to spawn from impressionable pieces of media. and yeah some of it is going to be stupid and that's fine

there are plenty of bad soulslikes, so many that i still think about all the cringy genre-self-aware games jerma has played bc the controls and art style were pretty good lol. i also think the main appeal of scplikes tends to be the worldbuilding surrounding the categorization of different types of horrors. contrary to popular belief, you can still effectively utilize fear of the unknown in a world where you're aware of the appearance and details about some of the types of horrors in your world. see: the magnus archives

quiet liminal horror, worldbuildy-categorical horror, & maximal gory loud horror all have their time and place, and all have the capacity to be meaningful modes of storytelling

#i watched vita carnis today and i am not entirely sure about the writing direction yet for a couple reasons. but i found it vry interesting #they fell for the Tall Skinny Long Humanoid Monster trap. which is hard to make scary anymore due to how overdone it is. HOWEVER #the irl images of them hiding in places are actually fucking terrifying so im not mad #amygdalae

[augmented-reality-journal]

Unleashing Creativity: Generative AI for Spatial Storytelling Mastery

Dive into the future of storytelling with Generative AI! Discover how Avataar's cutting-edge technology is reshaping narratives, adding depth to spatial experiences, and unlocking new dimensions of creativity. Elevate your content with the power of Generative AI for spatial storytelling – where innovation meets imagination.

#Generative AI for Spatial Storytelling #generative ai #Spatial Storytelling #Spatial Depth #3d

[mysticstarlightduck]

Incorrect Quotes Tag!

I was kindly tagged by @rickie-the-storyteller for this one! You can find their post here.

And here is the link to the actual Incorrect Quotes Generator.

(The rules of the tag game involve using the generator to create incorrect quotes of your OCs)

For this one, I will be using characters from The Last Wrath (I might tweak, add to or adapt some of the quotes slightly but most of them will be untouched)

Brace yourselves, cause this one is about to get very long - because I have a big character cast and love chaos. (:

THE LAST WRATH -

VALLERIUS:  Like they say, "If you can't beat them, curl up in a ball and protect your organs."

**

EMRYC:  Well you see, the explanation is perfectly simple and scientific. It was because shut up. Shut up is why.

**

PEREGRINE:  Pros and cons of dating me: Pros, you’ll be the cute one. Cons, holy shit where do I begin -

**

SYBIL: I know what a prism is! It’s where you put bad people. 

**

LUKAN (drunk): I hope no one lowkey hates me. Highkey hate me, hate me with every fiber of your being.

ISOLDE: (staring at him with a “I’m dead inside expression”): Go big or go home.

**

TANWIN: I'm hot, I’m tall, I'm gay, and I'm on my theatre kid arc.

**

KADEN (after falling from a tree) : I’m a fool, not an idiot.

NYX: You’re both.

**

SEIRA (after Peregrine accepts the Bloodbind Ritual on himself and fails to realize why she is so upset at him):  What, I can’t be in a bad mood? It’s like people think, “Oh, Seira: is such a nice person, Seira is so happy-go-lucky! Seira can’t be in a bad mood!” Well, you know what? Seira CAN be in a bad mood. And right now, Seira IS in a bad mood.

**

THE HIDDEN ROOM IN THE SORCERER’S TOWER: I give you a cursed amulet!

HELIOS : Cool! It’ll make me look cute, and the shadow that follows me will make me more active, I’ll get out more!

**

DARIAN (while being hunted down across the continent by an Empire and a horde of assassins) :  Well, well, well, if it isn’t the consequences of my actions.

**

MORWAN (already five cups of wine in, still not drunk):  You treat an outside wound with rubbing alcohol. You treat an inside wound with drinking alcohol.

YUNA (chugging a bottle of rum across the table): Honestly, same.

NADINNE (daintily sipping a cup of tea): Should I... be concerned?

MORWAN: Maybe, babe

**

CASSANDER: I was born for politics. I have great hair and I love lying.

**

EMRYC:  I just learned a way to get stuff on the cheap. Steal it!

ANSELL (nearly in tears, chasing down Emryc): It’s the third time this week - put that thing back where it came from!

**

NETHEN (at some point after his father allowed the Emperor to execute Elain): Helpful grammar tip: “farther” is for physical distance, “further” is for methaphorical distance, and “father” is for emotional distance, and emotional damage!

**

JULYAN:  I only have two emotions: exhaustion and stress. And I’m somehow always feeling both simultaneously.

**

BRYN at the slightest provocation: I came into this earth screaming and covered in someone else's blood and and I'm not afraid to leave the same way.

ANSELL and The Squad (deeply concerned, turning to Ellinor and Nethen): Are you still sure this is the right guy for the job?

ELLINOR with a proud smile: Yep, that’s the one!

NETHEN: *looking straight at Bryn* I’m pretty sure that guy is clinically insane... Imma be his best friend!

**

AZRA (at 3AM):  I’m gonna mix a can of Red Bull with seventeen shots of espresso in a fishbowl and then chug it while Kids by MGMT plays in the background so I can perceive twenty-three spatial dimensions and fight my own soul.

RAELEN (with a feral grin and sleep deprived eyes): DO IT

NYX (awakened and confused): Please don’t. 

KADEN AND SYBIL: *already chugging down a fishbowl with that precise mix in the background*

JULYAN (torn between pride and deep concern as he stares straight at Raelen and Azra): *quietly* I raised these kids

**

JAMIE: Sometimes, I don’t realize an event was traumatic until I tell it as a funny story and notice everyone is staring at me weird.

**

BRYN:  I scare people a lot because I walk very softly and they don't hear me enter rooms. So when they turn around, I'm just kind of there and their fear fuels me.

(In the background, as Bryn has just popped out of thin air and spoke without prompting, Ansell’s soul has yet to return to his body.)

**

ISOLDE (being physically held back by Arammis):  I have yet to encounter a problem where a sword didn't factor into the solution at least in some way.

PEREGRINE: *nods in agreement to her statement*

**

DARIAN: I've got a weapon, and I'm... admittedly VERY afraid to use it!

**

TRYSTAN (Peregrine’s mentor and brother-figure, has been rambling on about this for more than an hour) -  I’m sick and tired of being called 'mortal' like, you don’t know that. Neither do I. I have never died even ONCE. Nothing has been proven yet. Stop making assumptions. It’s rude.

Imperial Guards that have him Imprisoned: PLEASE SHUT UP

**

ZEPHYR (Age 14, fresh out of the destruction of Eldon and deeply cursed): I am very small and I have no money, so you can imagine the kind of stress that I'm under.

**

BRYN, TANWIN AND ORYON (collectively):  Dear Diary, my teen angst bullshit has a body count

**

JULYAN, an antisocial fire mage:  Do not come over to my house. If the house is on fire you may knock once, if I don’t answer assume I set the fire and I want to burn to death.

**

Also Julyan, an antisocial fire mage:  *sets himself on fire and screams in agony, only to start laughing uncontrollably* Nah, I’m just kidding. Fire does nothing to me.

(In response to that) Oryon, running on 2 hours of sleep, having to deal with being this dumbass’ healer 24/7 in an enemy dungeon: If you do that again, I will personally yeet myself out of the tallest window I can find. No, as a matter of fact, I will yeet both of us out of a window. TRY ME.

**

ZEPHYR (in his time searching for an anti-magic spell in the Liranthian Academies):  Sometimes I wonder if I’m hearing voices. Then I remember that’s the last bit of sanity I have trying to get me to fall asleep at a reasonable time.

**

LUCIYA (yelling at Willen/Raven):   Of course I have a lot of pent-up rage, you fool! I've been the same height since I was twelve! We grew up together, how could you not know this - 

**

AZRA, about the feral dragon that has decided to adopt him:  I can't believe there's a dragon somewhere in my house. Amazing feeling. Love dragons. And she's here, in my house! Somewhere! And I may encounter her! What a treat.

**

ORYON (after befriending Julyan and Nesryn) -  I have met some of the most insufferable people! *stops to think, suddenly concerned* But they also met me -

**

MYRAH, at the slightest of inconveniences -  I'm a nice person, but I'm about to start throwing rocks at people.

**

ARAMMIS, done with the bullshit she witnesses on a daily basis at the royal court of Faravvia:  I think I mostly want to see what happens when this whole place breaks apart.

**

ZEPHYR, in the middle of the night, unprompted:  I have one foot in the grave but in a kind of fun flirty way, the way one might slip on a fishnet stocking.

INNARA, writing in her diary with a glitter pen: I'm losing my sense of humanity. Nothing matters. God is dead. There's blood on my hands.

(In the background) JAMIE: *sobs* STOP TALKING AT 2 AM AND LET ME SLEEP, FOR FUCKS SAKE -

**

TRYSTAN (right after Peregrine screws up majorly and almost gets himself killed): My expectations were low, but I guess they can always go lower.

**

NYX:  My ultimate goal is to punch the Emperor in the eye, just to spite him one last time.

SYBIL: Isn’t our mere existence enough to do that?

KADEN: Nah. It isn’t petty enough. 

NYX, proud: That’s what I’m talking about!

AZRA: We’re all gonna die, aren’t we?

RAELEN: Yep, but it will be glorious.

**

CIRIEN: The next time I open up to someone, I’ll die and it'll be my autopsy.

BRYN, panicking: Please don’t.

**

(And last but not least)

Tagging (gently): @lassiesandiego @writernopal @lyutenw @clairelsonao3 @elshells @gummybugg @liv-is @repressed-and-depressed @jasperygrace @jay-avian

SEIRA: *takes a free sample twice* Robbery and Fraud. I am a Rebel.

#writing #funny quotes #writers on tumblr #my characters #my wip

[longlistshort]

Barthélémy Toguo, “Road to Exile”, 2018. Wooden boat, cloth bundles, glass bottles, and plastic containers

Currently on view at Tampa Museum of Art is Time for Change: Art and Social Unrest in the Jorge M. Pérez Collection. The exhibition highlights art from around the world that focuses on social issues.

From the museum-

“It is enough for the poet to be the bad conscience of his age”, stated Saint-John Perse in his 1960 Nobel Prize acceptance speech. Something similar could be said when artists address the transformations of society. We should not ask for measurable political action when their role is to point out, to render evident, to shake us from indifference. Art may not provide answers, but most of the time it interrogates and proposes uncomfortable issues, almost like rubbing salt in a wound. Artists are seldom celebratory, nor do they usually provide solutions-art’s potency lays in the symbolic efficacy of the actions it proposes more than in the practical effects they entail. Paraphrasing Brazilian poet Ferreira Gullar, “art exists because life is not enough.”

Time for Change is structured around six themes or nuclei: Entangled Histories, Extraction and Flows, Artivism, State Terror, Spatial Politics, and Emancipatory Calls. The sections are organically linked and establish dialogue and correlations among artworks that do not necessarily illustrate an argument nor are they contained by one. Entangled Histories proposes essential questions: how do we remember as a society? Who is forgotten by History, and for what reasons? Extraction and Flows examines displacement of peoples (usually forced), as well as the unequal logic on the territory. Artivism: Art in the Social Sphere focuses on political unrest and public protest on the streets. State Terror signals how protest is countered with repression and violence. The fifth section, Spatial Politics, reflects on modern architecture and its role in creating segregated communities. Lastly, Emancipatory Calls summons to reclaim difference, in the understanding that a more just society can only be built on respect for one’s right to be different.

A comprehensive look at the Jorge M. Pérez Collection reveals a tendency towards art with an interest in social change- art that examines the conflicts and contradictions of contemporary society, art that critically analyzes historical events and reframes them in the present. Many of the 60 works on view, due to their size or complexity have rarely been exhibited and are shown together for the first time in Time for Change.

About the main work pictured above, Barthélémy Toguo’s Road to Exile, from the museum–

In 2018, the Parrish Art Museum in Water Mill, New York hosted Barthélémy Toguo’s first solo exhibition in the United States. While on site at the Parrish he made Road to Exile, a large-scale installation highlighting the plight of refugees, in particular African migrants in search of a better and safer quality of life. The installation features a life-sized wooden boat that rests on glass bottles. A metaphor of the dangerous voyage across the sea, the bottles represent the fragile line between life and death. The boat nearly overflows with bundles wrapped in brightly colored African textiles and serve as stand-ins for the body. In Road to Exile Toguo employs imagery of the boat as a means of escape rather than a vessel for exploration or adventure.

Below are images from the exhibition as well as some information on a few of the works.

Rashid Johnson, “A Place for Black Moses, (2010), bottom right sculpture; and Christopher Myers “How to Name a Famine, a Fire, a Flood”, 2019, left wall piece

From the museum about the above work-

Storytelling anchors Christopher Myers’ artistic practice. Working in a range of media, he mines history and creates art that links the past to the present. Myers’ tapestries, such as How to Name a Famine, a Fire, a Flood draws on the rich tradition of quilt making as a quiet yet radical form of resistance and protest. The stories depicted center on the effects of globalization on individuals and more specifically, communities of color. In How to Name a Famine, a Fire, a Flood, Myers portrays three different natural disasters linked to climate change. With vivid color and patterned fabric, he illustrates the impact and devastation of these catastrophic events in neighborhoods with minority populations.

Carlos Garaicoa “La habitacion de mi negatividad (The Room of My Negativity)”, 2003, 39 ink and pencil drawings on rice paper and toy train installation

About the above work from the museum-

Carlos Garaicoa works in a variety of media, ranging from installation, photography, and video to performance and public interventions. His early work in the 1990s focused on the urban decay of Havana as result of its political climate and economic strife. La habitacion de mi negatividad (The Room of My Negativity), turns Garaicoa’s lens inward. In this installation, comprised of toy trains and drawings of medical instruments, the artist explores his psyche and subconscious. The train’s engine pulls words that represent Garaicoa’s negative thoughts. Each train is connected to thin red thread that acts as a vein or conduit for the negative thoughts to travel. Arrange in a curved form, the train shapes mimic brain waves or the slink of a snake. Garacoia’s drawings of medical tools serve as mechanisms in which the negatively could be excavated from one’s mind.

Esterio Segura, “La historia se muerde la cola (History Bites its Tail)”, 2015, (statue bottom left); Anamaría Devis, “Infinito (Infinite)”, 2018 (upper right)

Anamaría Devis, “Infinito (Infinite)”, 2018, Ink on paper

About this work from the museum-

Anamaría Devis’ large-scale installation Infinito (Infinite) represents the artist’s study of African history in San Basilio de Palenque, Colombia. Escaped slaves founded Palenque and it was the first free town in the Americas during colonial times. While researching this history, Devis discovered that in this region of Colombia, braided hairstyles worn by Africans served as escape maps. Braid patterns reflected safe points in the area’s topography. This silent form of resistance inspired her to look at other bodily topographies like the characteristics of fingerprints, which also had names associated with cartography such as crossing, island, and fork. Devis then began to create drawings that incorporated footprints, braid patterns, and elements of nature. From the drawings she made stamps and each panel of paper that comprises Infinito (Infinite) is rendered from Devis’ various imprints. The result is an abstract representation of the body and landscape visualized through mapping and codes.

Jonathas de Andrade, “A batalha de todo dia de Dona Luzia, de Tejucupapo (The daily battle of Dona Luzia, from Tejucupapo)”, 2022 Images printed on raw falconboard

About this work from the museum-

Jonathas de Andrade collaborated with the Brazilian theater company Teatro Heroínas de Tejucupapo to create a visual reenactment of the historic 1646 Battle of Tejucupapo. For nearly 25 years, between 1630 and 1654, the Dutch occupied the northeast of Brazil including Tejucupapo, a small community in the city of Goiana. During the Battle of Tejucupapo, a brigade of black and indigenous women forced Dutch soldiers to retreat by arming themselves with household and farm objects. The Teatro Heroínas de Teiucupapo commemorates this female-led rebellion each April by restaging the battle with local actors.

Artist Jonathas de Andrade celebrates the power and courage of Tejucupapo’s women with his large-scale photographic installation A batalha do todo dia de Tejucupapo (The Battle of Tejucupapo). The work on this wall, A batalha de todo dia de Dona Luzia, de Tejucupapo (The daily battle of Dona Luzia, from Tejucupapo), presents everyday objects from the home of one of the women participating in Teatro Heroínas de Tejucupapo. This inventory explores the daily struggles, as well as strength, of Brazil’s black and indigenous women that have spanned centuries.

This exhibition will close on Sunday, 8/27/23.

#Anamaría Devis #Art #Art Installation #Art Shows #Barthélémy Toguo #Carlos Garaicoa #Christopher Myers #Drawing #Esterio Segura #Florida Art Shows #Installation Art #Jonathas de Adrade #Mixed Media #MIxed Media Art #Painting #Parrish Art Museum #Photography #Political Art #Rashid Johnson #Sculpture #Social Change #Tampa Art #Tampa Art Shows #Tampa Museum of Art

[learningresourcestoysblog]

The Best Learning Resources Toys for Children's Cognitive Development

In a world where early childhood education plays a crucial role in shaping a child's future, selecting the right learning resources toys can make a significant impact on their cognitive development. These toys not only entertain but also engage young minds, fostering essential skills that form the foundation for a lifetime of learning.

Building Blocks for Creativity: Building blocks are timeless classics that promote spatial awareness, hand-eye coordination, and problem-solving skills. As children stack and connect blocks, they enhance their fine motor skills while exploring the principles of balance and stability.

Educational Puzzles: Puzzles come in various forms and themes, offering an enjoyable way for children to develop critical thinking and logical reasoning. From shape and color recognition to more complex jigsaw puzzles, these activities stimulate the brain and enhance cognitive abilities.

STEM-Focused Kits: Introducing Science, Technology, Engineering, and Mathematics (STEM) concepts at an early age can be fun with hands-on kits. Whether it's a simple robotics kit or a science experiment set, these toys encourage curiosity and a love for learning.

Interactive Learning Tablets: Designed specifically for young learners, interactive tablets provide a tech-savvy approach to education. With age-appropriate apps and games, children can reinforce basic skills such as counting, letter recognition, and early language development.

Artistic Expression Tools: Creative play is crucial for cognitive development. Toys that encourage artistic expression, such as coloring books, drawing pads, and craft supplies, help children develop fine motor skills, boost imagination, and express themselves visually.

Language Development Games: Games that focus on language development, such as word puzzles, storytelling cards, and language-building board games, contribute to the enhancement of vocabulary, language comprehension, and communication skills.

Musical Instruments: Musical toys, including simple instruments like drums, xylophones, and keyboards, not only introduce children to the world of music but also enhance auditory discrimination and rhythm recognition.

Remember, the key is to provide a balance between fun and learning. By incorporating these top learning resources toys into a child's playtime, parents and caregivers can actively contribute to their cognitive development, setting the stage for a lifelong love of learning.

#learningresourcestoys #Babylistwelcomebox #besteducationaltoysfor3yearolds #bestlearningtoysfor2yearolds #bestlearningtoysfor3yearolds #educationaltoys #learningtoys #preschooltoys