4 ELEMENTS: THE WATER | Episode 1

Discoholic 🪩
official daine visual archive
tumblr dot com
Stranger Things
I'd rather be in outer space 🛸
Sade Olutola
One Nice Bug Per Day
sheepfilms
KIROKAZE
he wasn't even looking at me and he found me
art blog(derogatory)

No title available
Not today Justin
No title available

No title available

if i look back, i am lost
Claire Keane

Janaina Medeiros

oozey mess
Misplaced Lens Cap

seen from Italy

seen from Switzerland
seen from United States
seen from Germany

seen from Jamaica
seen from Ecuador
seen from Italy

seen from United States

seen from Singapore
seen from United States
seen from Canada

seen from Malaysia
seen from Czechia
seen from United States

seen from United States
seen from United States

seen from Malaysia
seen from T1
seen from United States

seen from United States
@raine55
4 ELEMENTS: THE WATER | Episode 1
My tiny mind blown
The ability to make something beautiful look so easy and yet obviously requires mass amount of practice and skill is so underrated.
draw the squad like this (drawfee collection)
Haters be like
“It’s totally possible to make a path that goes through every door exactly once”
Idk if I did it right
sorry!
it’s true you can’t draw one continuous line that would do the trick. but if the kitty and bunny set out by going through the doors they’re marked beside and each walked the certain way their colored arrows show at the same time their “collective path” as a team would go through each door only once. The moral of the story is actually about friendship , and cooperation, because in this world there are tasks you can’t do on your own.
im just fucking with you i’m pretty sure this has no right answer
i concocted a solution with a 100% mortality rate
Stop being so incredibly funny on my impossible puzzle post
You can switch the tracks so the trolley will kill one person, or you can allow it to attempt the fruitless crusade of running over each person in the maze only once.
all in a days work! *passes out*
My indecisive butt, walking in and being faced with having to make a decision, immediately leaving
oOoOoooo I’m a ghost!
Fire
dude my house
What I love about tumblr is when we see a logic problem meant to be frustrating and/or unsolvable, we almost reflexively try to destroy it.
This website’s userbase is a chimp chewing through a Chinese finger trap
>First, we’ve discovered that about a quarter of all the internet connection in or out of the house were ad related. In a few hours, that’s about 10,000 out of 40,000 processed.
>We also discovered that every link on Twitter was blocked. This was solved by whitelisting the https://t.co domain.
>Once out browsing the Web, everything is loading pretty much instantly. It turns out most of that Page Loading malarkey we’ve been accustomed to is related to sites running auctions to sell Ad space to show you before the page loads. All gone now.
>We then found that the Samsung TV (which I really like) is very fond of yapping all about itself to Samsung HQ. All stopped now. No sign of any breakages in its function, so I’m happy enough with that.
>The primary source of distress came from the habitual Lemmings player in the house, who found they could no longer watch ads to build up their in-app gold. A workaround is being considered for this.
>The next ambition is to advance the Ad blocking so that it seamlessly removed YouTube Ads. This is the subject of ongoing research, and tinkering continues. All in all, a very successful experiment.
>Certainly this exceeds my equivalent childhood project of disassembling and assembling our rotary dial telephone. A project whose only utility was finding out how to make the phone ring when nobody was calling.
>Update: All4 on the telly appears not to have any ads any more. Goodbye Arnold Clarke!
>Lemmings problem now solved.
>Can confirm, after small tests, that RTÉ Player ads are now gone and the player on the phone is now just delivering swift, ad free streams at first click.
>Some queries along the lines of “Are you not stealing the internet?” Firstly, this is my network, so I may set it up as I please (or, you know, my son can do it and I can give him a stupid thumbs up in response). But there is a wider question, based on the ads=internet model.
>I’m afraid I passed the You Wouldn’t Download A Car point back when I first installed ad-blocking plug-ins on a browser. But consider my chatty TV. Individual consumer choice is not the method of addressing pervasive commercial surveillance.
>Should I feel morally obliged not to mute the TV when the ads come on? No, this is a standing tension- a clash of interests. But I think my interest in my family not being under intrusive or covert surveillance at home is superior to the ad company’s wish to profile them.
>Aside: 24 hours of Pi Hole stats suggests that Samsung TVs are very chatty. 14,170 chats a day.
>YouTube blocking seems difficult, as the ads usually come from the same domain as the videos. Haven’t tried it, but all of the content can also be delivered from a no-cookies version of the YouTube domain, which doesn’t have the ads. I have asked my son to poke at that idea.
fastest reblog in the west
Yeppers. :)
reblogging for study later AND to spread the info.
finished binge watching the train show yesterday
art twitter: @bezzydraws
One of the things that sucks about being an animation nerd is having to live with the fact that, from a technical standpoint, the Hotel Transylvania movies are absolutely ground-breakingly staggeringly incredible.
As completely ignorant on animation, why is that? How is Hotel Transylvania any good??
The short version is that they’ve been figuring out how to plug the strengths of traditional animation into cg animation.
Longer version: cg animation is essentially puppet animation. You build a model, paint it and dress it up, and then move it around. That’s why Pixar’s first animated film was about toys, and their second one was about bugs: it’s much harder to make something look convincingly soft and fleshy than it is to work with something that’s supposed to be rigid.
Working inside this paradigm, the progression that makes sense is to work on developing more and more articulated puppets. Figure out how to add fur (Monsters, Inc.), move fish (Finding Nemo), get to the point where you can actually make human puppets who look appealing (The Incredibles.) In 2012 the big animated feature films showed off huge strides in particle physics (The Guardians), and hair (Tangled, Brave). Character effects and lighting were really hitting their stride, and the general movement was towards more detailed models, increased realism, richer and more intricate environments. The models only had so much range before they started to break, so squash & stretch was never going to be as pronounced as something from drawn animation could be. Hotel Transylvania challenged that.
As a show creator and director, Genndy Tartakovsky’s always shown a preference for stylization. He’s also got a reputation for incredible and deliberate timing, spectacular silhouettes, dramatic movement and clear staging, and just overall really good at directing animation. He wanted Tex Avery-type animation in CG and by golly, he did it.
Look at how exaggerated those shapes are, and how snappy, smooth, and fast the transitions between each one: that’s not something that was really being done. The motion-blurring alone was so defining that apparently Sony calls it a “Genndy blur.”
Animation is essentially the art of movement: the better the movement, the better the animation, and the Hotel Transylvania franchise has spectacular movement.
The model is actually being resculpted for maximum exaggeration, and the smears and blurs make the transitions between each pose fast, energetic, and snappy.
Like. Look at that movement. Look at how tightly he’s rooted while the follow through of his clothing sells the hard stop of each hip bump. Look at how sharp and deep his knees are bending, the way his weight shifts onto his heels and that tiny little side step at the very end, where he keeps his weight on his right foot for a split second before popping over to his new position. And he’s dancing the Macarena because he had to find the most brain-dominating, toe-tappingist song in the universe to win a DJ battle where a Kraken was being driven into a murderous rage by a mystical melody and it had to be counteracted by another song.
Yeah.
Somebody once described the Hotel Transylvania franchise as “like seeing Lamborghini making a clown car,” and honestly, that’s kind of what it’s like.
Animation has been one of my core passions since I more or less fell headfirst into it in 1980, and all this is true. 😄
refseek.com
www.worldcat.org/
link.springer.com
http://bioline.org.br/
repec.org
science.gov
pdfdrive.com
Necromancer that doesn’t know they’re a necromancer and thinks they’re just a really good emt
That is the funniest thing i have ever read
the thing was, she wasn’t going to be able to pass the recertification exam, and she couldn’t figure out why. annabelle studied. she practiced. she pulled out every trick and shortcut she’d learned during her two years as an EMT and none of it worked. she just – she didn’t get it. it made no sense.
“wake up,” she urged the dummy, pressing her hands to the pulse points on its wrists. “come on. what the fuck.”
“yeah, i don’t think that asking nicely is going to do the trick,” hank said, his eyebrows raised. his helmet, the special one they’d decorated for him with craft supplies from michael’s when he’d gotten promoted to firestation chief, sat askew on his head. “i can see now why they didn’t pass you.”
annabelle rolled her eyes. “it’s a psychological thing,” she said. “it’s like, you give the brain an instruction and it follows naturally. and the pulse-point thing always works. i don’t know why it’s not, like, in any of the books, but i swear to god it’s worked for me every time.”
it was true that annabelle had the best record on low body counts, which was good because she was the smallest person on the team not counting Georgie, who was a corgi. jake and lillian were always making fun of her for having been the shortest of their whole rookie class. but it hadn’t ever been a problem before; annabelle rarely had to carry anybody out, because she was good enough at getting them on their feet.
but none of that would matter if she couldn’t pass her stupid recertification exam, because they’d take her badge and she’d have to go be, like, a doctor or something.
hank blew out a long breath and sunk down to where she was kneeling on the station floor in full fire gear, giving CPR to the practice dummy, whom they called dierdre. there was a little light that went on when you’d saved its life. it had been a dull gray for an hour now.
“look, AB. i know you’re a good firefighter, and i know you know how to deliver CPR. just do it like you do it during an emergency. you’re overthinking it.”
“but this is what i do during an emergency!” annabelle cried, throwing her hands up. “i put my hands on their pulse points and i use psychological mumbo-jumbo and they just get up and walk!”
hank blinked. “…really,” he said, voice flat. “people who’ve been inhaling smoke for half an hour just … get up and walk.”
“the brain is an incredibly powerful organ,” said annabelle, shrugging. “look man, i don’t know, okay? but it works. i haven’t had to actually do CPR in like a year and a half.”
he gave her a long, quiet look and said, “well….huh,” before pushing himself back up onto his feet and frowning off into the distance. “keep practicing,” he said after a minute, and left her there.
-
hank switched her team.
“what the fuck, man,” she said, sliding into the truck next to him as the sirens went on. “i can’t get CPR on one fucking dummy and suddenly you don’t trust me to do my job without supervision?”
carl and bethany very carefully did not meet her eyes in the rearview from the backseat. bethany pulled a magazine from beneath the seat and said loudly, “look, carl, jennifer aniston and brad pitt are getting back together.”
“thank christ,” said carl. “i’ve been really worried about jen.”
hank gave annabelle the flat look that had gotten him promoted to firestation chief in the first place, the one that said i’m your dad and you don’t want to disappoint me. as always, annabelle wilted underneath it, sliding down in her seat and crossing her arms over her chest. it was a difficult feat in full gear but she wanted him to know she was feeling sullen.
“i trust you completely,” hank told her, his voice a light scold. “i want to see you in action so i can help you figure out what’s going wrong with the dummies. sometimes it’s hard for the brain to accurately remember everything that happens during a crisis.”
annabelle rolled her eyes. “i told you,” she said. “it’s just – it’s the same thing every time, I’m not like, blacking out.”
“great, then i’m about to learn a cool new trick,” hank said serenely, and pulled the truck out of the lot. annabelle kept her gaze focused out of the window, watching the city pass as carl and bethany talked loudly about which celebrities were dating which other celebrities and who wore what better. she tried to swallow down the nerves that tightened her throat. maybe the dummy was right. maybe she was doing something else and didn’t remember it. maybe the last two years had been a fluke and she had no business being a firefighter. maybe she was about to get fired.
there wasn’t a fire, though the alarm was going off. instead they found a bag of smoking popcorn and the collapsed heap of a forty-five year old bachelor type, down to just his boxers and a pair of slippers with llamas on them. he had no pulse.
hank held carl and bethany back, directing them to deal with the smoke from the popcorn; annabelle he pointed toward the resident with a jerk of his chin.
she sighed, kneeling by his side. she pressed her hands flat to his heart and then dragged them across his chest and down each arm, to his wrists. with her thumbs on his pulse point, she hissed, “let’s go, man. up and at ’em. you’re not meant to die in your underwear while cooking popcorn, come on.”
she held her breath for a few moments, conscious of hank’s eyes on her, and let out a long sigh of relief when she felt his pulse jump beneath her, watched his eyes flicker. “what the fuck?” he asked, voice a croak. “what happened?”
“you gotta eat more vegetables, bud,” annabelle told him, and looped his arm over her shoulders to help him get to his feet. she was so relieved she could have wept, but instead met hank’s eyes with a challenging glare. see? she thought. i told you. “let’s get you to the ambulance.”
-
“the bad news is that you have a lot of practicing to do if you want to pass your recert,” hank said without preamble, showing up at her apartment. she didn’t think she’d ever seen him in jeans before. it was weird. “the good news is i understand your problem now.”
annabelle stepped aside, beckoning him in. “what problem?” she demanded. “it worked! you saw it work. that’s the opposite of a problem.”
hank shrugged. he handed her a trifold that he’d clearly printed off at home. it said so you think you’re a necromancer. annabelle blinked down at it, and then up at hank, and then down at the trifold again. “i … don’t understand what’s happening here,” she told him honestly.
“i’m not in the community and they’re kind of cagey, so i can’t really tell you a lot,” hank told her, stilted and visibly uncomfortable. “but i have a cousin who is, and um, i just want you to know that this doesn’t change anything. you’re still who you’ve always been and you have my complete support. we’ll figure out how to get around the recert. maybe i’ll – i can put you on admin duty to give you time to study. we’ll say it’s because of an injury.”
“hank,” annabelle said, with some urgency. “hank, this flier says the word necromancer.”
“yes,” agreed hank, looking relieved. “oh, good, you’ve heard of it already. i thought i was going to have to have the whole your body is changing talk.”
annabelle shook her head. “no, i – hank. you know that … um, you know that necromancy isn’t real, right? people can’t bring other people back from the dead. that’s crazy.”
“annabelle, not four hours ago you instructed a dead man to stand up and he did.”
“okay, he wasn’t dead, obviously. he was almost dead, at best.”
“no. he was dead.”
“i felt his pulse! it was very faint!”
“you called his pulse. no one else would have felt it, because it wasn’t there except in response to you.”
“hank, what the fuck.”
he shrugged. “read the flier,” he instructed. “and bring dierdre home with you. you’re going to have to practice a lot if you want to get recertified, considering you haven’t one time had to use any of the skills you learned the first go around.”
he bussed her temple as he went by, letting himself out of her apartment with a friendly wave. annabelle looked down at the flier in her hand with a frown. when she unfolded it, the first page said, everyone’s necromancy journey is different, but most people discover their gift by accident. have you ever brought a pet back to life? touched an elderly relatives hand and seen some of the color flood back into their face? or perhaps, more subtly, been able to keep cut flowers alive long past their purchase date?
annabelle looked at her kitchen table. she’d had the same vase of tulips on it since she moved in, three years ago. it was true they periodically started to wilt, but she usually just changed their water and they were fine, popping back up one after the other as she slid them into the fresh vase.
“well shit,” annabelle said, letting the flier fall from her hands.
@hellsite-folklore
@monstrousagonies (couldn’t recall if I’d seen this one in your milieu or just something similar but in any case thought of you!)
i had NOT seen this before thank you so much!! absolutely phenomenonal, everyone come and look at this!!
I saw a post a couple of days ago that said one of the most important things about Steven Universe, thematically, is that everybody in the core cast has done at least one completely morally unjustifiable thing, regardless of how likeable or sympathetic they are otherwise, and that this is important to understanding the show thematically. This is true.
But it also reminded me of one other thing I really like about Steven Universe, which is that it’s the emotional-toxicity equivalent of all those posts about how cartoons have to come up with unimaginably worse forms of death and violence in the course of avoiding getting censored for depicting plausible forms of death and violence. All of the ways in which SU characters cross those emotional and interpersonal lines are wrapped up either in their fantastic abilities or their bizarre life circumstances in a way that makes it all esoterically awful and often much more existentially horrifying than any of the real-life dynamics it’s alluding to. You’ve said nasty things to people in the heat of the moment but you’ve never shapeshifted into the guy’s dead wife to twist the knife a little more. No violation of bodily autonomy is ever gonna involve contriving a situation in which the other party will believe that it’s necessary to fuse with you, body and soul in order to do demolition work. The most toxic relationship in the world isn’t gonna involve imprisoning someone at the bottom of the ocean for several months and only emerging to participate in humanoid-sacrifice rituals. Your codependency will never last 8,000 years, be frontloaded with a faked death you’re biomechanically incapable of confessing to, and end with your partner’s suicide-by-childbirth. Your worst roommate situation will never end with one party stealing the apartment and taking it to the moon. Et al. Et al.
I don’t remember where I was going with this, precisely, (and I may have drifted sideways from the original discussion topic of crossed lines per se, but whatever.) I mean part of it’s funny because it exists in a series with tons of mundane, non-metaphorical examinations of interpersonal issues, like everything to do with Lars and Sadie, or Sour Cream and Marty. And there’s an extent to which I’m just describing how cartoons are written. But there’s something special about how Steven Universe does it. Something delightfully fucked up about it all. I think maybe part of it is that it’s a considered and embraced fucked-upedness, none of this is just an ill-considered fridge-logic by-product of something else they were trying to do. Like for every one of these, someone in the writers room probably went, “Man, this has some fucked up implications,” and then everyone would go, “Yeah!” and hi five and put it in specifically because of that. Great Show. Great show
I know they're named after him but for reasons I can't fully articulate it's hilarious that the guy who invented zeppelins was named Ferdinand von Zeppelin
Count Ferdinand von Zeppelin literally sounds like the joke name someone would make up if they didn't know the actual answer
oh you KNOW he’s got that big bushy mustache
He looks exactly like the guy that would invent zeppelins
Utena as Onion (and Reductress) headlines, part 11/?
so-called "free thinkers" when they hear you open a can of wet food
dumping all my sad-funny ageswap doodle in one place
mom and dad
ageswapple in ONE style
Redesigned him a bit (I just wanted to redraw his reference sheet)
old one
I had a very interesting discussion about theater and film the other day. My parents and I were talking about Little Shop of Horrors and, specifically, about the ending of the musical versus the ending of the (1986) movie. In the musical, the story ends with the main characters getting eaten by the plant and everybody dying. The movie was originally going to end the same way, but audience reactions were so negative that they were forced to shoot a happy ending where the plant is destroyed and the main characters survive. Frank Oz, who directed the movie, later said something I think is very interesting:
I learned a lesson: in a stage play, you kill the leads and they come out for a bow — in a movie, they don’t come out for a bow, they’re dead. They’re gone and so the audience lost the people they loved, as opposed to the theater audience where they knew the two people who played Audrey and Seymour were still alive. They loved those people, and they hated us for it.
That’s a real gem of a thought in and of itself, a really interesting consequence of the fact that theater is alive in a way that film isn’t. A stage play always ends with a tangible reminder that it’s all just fiction, just a performance, and this serves to gently return the audience to the real world. Movies don’t have that, which really changes the way you’re affected by the story’s conclusion. Neat!
But here’s what’s really cool: I asked my dad (who is a dramaturge) what he had to say about it, and he pointed out that there is actually an equivalent technique in film: the blooper reel. When a movie plays bloopers while the credits are rolling, it’s accomplishing the exact same thing: it reminds you that the characters are actually just played by actors, who are alive and well and probably having a lot of fun, even if the fictional characters suffered. How cool is that!?
Now I’m really fascinated by the possibility of using bloopers to lessen the impact of a tragic ending in a tragicomedy…
@copperbadge
I think that makes a lot of sense. I once had a colleague who suggested that the best way to end Hamlet would be for the play to end, the lights to come up, and everyone remain on stage, dead, except for Fortinbras, who takes his curtain call alone.
Everyone she ever brings up this ending to has been shocked and dismayed and really uncomfortable with it, and I bet this is partly why (I’m sure some of it too is that they were mostly actors, and actors like taking curtain calls).