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autolenaphilia · 5 months

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One thing I noticed talking about Linux and free software is that a lot of people seem afraid of learning things about technology. I constantly read things like "I hate windows, but switching to linux would mean learning a new OS, and you have to be some super-smart programmer-hacker to do that." Or even: "Switching to firefox would mean switching browsers and I don't know how"

And that is precisely the attitude tech companies like Microsoft and Apple try to instill in their users in order to control them. They create these simple and “friendly” user interfaces for their products, but these hide information. From their OS being pre-installed to their settings apps, they keep people from learning things about how their computer works, and letting the companies make the decisions for their users.

I think people are underestimating themselves and overestimating how hard it is to learn new things are. It is like Windows/Macos have taught them some kind of technological learned helplessness. Not knowing how computers work and being afraid to learn how is how companies like Microsoft controls you, and justifies that control.

For example, people hate the forced and automatic system updates on Windows. And Microsoft justifies it as necessary because some people don’t know that their computer needs security updates and therefore don’t update, so they have to force the updates on them. That’s definitely true, and Microsoft’s tech support people is definitely very aware of that but it is a operating system that presumes that the user is incompetent and therefore shouldn’t control their own computer. And of course Microsoft abuses that power to force privacy-invading features on their users. Windows updates are also badly designed in comparison, no Linux distro I’ve used required the update program to hijack the entire computer, preventing the user from doing other things, but Windows does.

This is the dark side of “user-friendly” design. By requiring zero knowledge and zero responsibility for the user, they also take control away from the user. User-friendly graphical user interfaces (GUI) can also hide the inner workings of a system in comparison to the command line, which enables more precise control of your computer and give you more knowledge about what it is doing.

Even GUIs are not all made equal in regards to this, as the comparison between the Windows Control panel and their newer Settings app demonstrates. As I complained about before, Windows have hidden away the powerful, but complex Control Panel in favor of the slicker-looking but simplified and less powerful Settings app for over a decade now.

Of course this is a sliding scale, and there is a sensible middle-ground between using the command line for everything and user-friendly design masking taking control away from the end user.

There are Linux distros like Linux Mint and MX Linux who have created their own GUI apps for tasks that would otherwise use the command line, without taking control away from the user. This is mainly because they are open source non-profit community-driven distros, instead of being proprietary OSes made by profit-driven megacorps.

Still, giving that control to the user presumes some knowledge and responsibility on part of the user. To return to the update example, by default both Mint and MX will search and notify you of available updates, but you will have to take the decision to download and install them. Automatic updates are available in both cases, but it’s opt-in, you have to enable that option yourself. And that approach presumes that you know that you should update your system to plug security holes, something not all people do. It gives you control because it presumes you have knowledge and can take responsibility for those decisions.

All this also applies to the underlying fact that practically all pre-built computers nowadays have an operating system pre-installed. Few people install an OS themselves nowadays, instead they use whatever came with the computer. It’s usually either Windows or MacOS for desktops/laptops, and Android/IOS for smartphones (which are also a type of computer).

Now all this is very convenient and user-friendly, since it means you don’t have to learn how to install your own operating system. The OEM takes care of that for you. But again, this is a convenience that takes choice away from you. If you don’t learn how to install your own OS, you are stuck with whatever that is on the computer you bought. It’s probably precisely this step that scares people away from Linux, few people have installed even Windows, and installing your own OS seems impossibly scary. But again, learning is the only way to take back control. If you learn how to install an OS off an USB stick, you now have choices in what OS to use. (Sidenote: the hard part IMO is not the actual install process, but fiddling with the BIOS so it will actually boot from the distro on the USB stick. This old comic strip illustrates this very well).

That’s how life is in general, not just computers. Having control over your life means making decisions based on your own judgment. And to make sensible, rational decisions, you have to learn things, acquire knowledge.

The only other alternative is letting others take those decisions for you. You don’t have to learn anything, but you have no control. And in the tech world, that means big corporations like Microsoft, Google and Apple will make those decisions, and they are motivated by their own profits, not your well-being.

Computers have only become more and more capable and more important in our lives, and that can enable wonderful things. But it also means more power to the tech companies, more power over our lives. And the only way to resist that is to learn about computers, to enable us to make our own decisions about how we use technology.

#my writings #linux #technology #foss #computers #microsoft windows

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ghouljams · 4 months

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Can we also have Mech Pilot!König? Please!!

König always looks so focused when he's checking his flight suit, tightening the cuffs on his jumpsuit, and making sure the belts are all in the right positions. Whatever he needs to make sure he can properly interface with the mech. You've gotten in a habit of running checks nearby. Swiping through your tech pad you run through the vitals and mechanics, you type in a few code updates as you inspect fuel intake reads. A shadow hovers over you, König leaning over to check your screen. You tip your head back to look at him, his mech hums from its garage.

"Yes colonel?" You ask, his fingers hover near your neck, his mask hanging so you can just see the curve of his smile. His gloved fingers bypass your neck to tap your tech.

"How's everything running?" He asks, his eyes scanning the screen before returning to your face. Somehow the shadows of his mask never seem to touch the blue in his eyes, the darkness in them is always his own. You hold his gaze, remembering the heat of his mouth, the unyeilding metal of his mech holding your legs open. He raises a brow and you hustle to put your eyes back on your screen.

"Perfectly," you mumble, "all systems operational." You fix your eyes more clearly on the screen, actually read the numbers to make sure you aren't lying to your colonel. You squint at the neuro logs, skimming over the spikes and slips. "There's just a little blip in your neural handshake that I want to-"

König shuts off your display, the mech across from your twitches it's fingers. The lights on its face plate glow, it's motors purring, you get the distinct impression that it's watching you the same way König is. "Nothing to worry over," König tells you.

"But I-"

"That's an order," König's voice is harder where he leans over you. Your breath quickens, your eyes locked on the mech as it's head turns to look at you, moving even without its pilot. It's not supposed to do that. "Ignore it," König leans closer, his mask grazes your cheek and your head twitches away from it, "unless you want to lose your commission."

"Roger," you breathe, fingers already moving to delete the neural log. Mech pilots are always a little off, but König seemed to take to it like water. You wonder now if that was such a good thing.

#cod x reader #x reader #cyberpunk au #mech pilot!könig #könig fanfiction #könig x reader #könig cod #könig mw2 #könig call of duty #konig x reader #hes a spooky boy and i think thats neat #you dont want to jeopardize your job do you? no? then shut the fuck up #the power imbalance is power imbalancing

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antoniosvivaldi · 1 year

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Rotoscoping Tutorial by @antoniosvivaldi

Hi everyone! I’m excited to announce my long-delayed Rotoscoping Tutorial - requested by a number of people over the past calendar year.

In this tutorial, I will show you how to create the cutout gifs like this (and seen in most of my gifsets under this tag) with Rotoscoping on After Effects. I’ll also provide additional examples and a number of things that I do to optimise my giffing / Rotoscoping workflow (e.g. useful shortcuts & other things to be aware of).

This is the structure of the tutorial:

Why Rotoscoping? Photoshop video timeline’s limitations

Photoshop workflow pt 1: Preparing your gif

After Effects workflow: Interface, shortcuts, and Rotoscoping tools

Photoshop workflow pt 2: Assembling your gif; with multiple examples

Bonus content: Rotoscoping tips* & workarounds to common issues

For quick reference, here are example gifsets (and where Rotoscoping is used in the posts) that I will mention in the tutorial:

Example 1: Cutout gif effect | panels 2 + 4

Example 2: Changing a gif’s background colour | all panels

Example 3: Cutout gif effect in a shape | all panels

Example 4: Putting it all together | panels 1, 3, & 5

What you need & need to know:

Software: Photoshop & After Effects (After Effects 2021 or later for Rotobrush 2.0)*

Hardware: 16GB RAM required to run later versions of AE*

Difficulty: Advanced; Knowledge in making gifs, applying layer masks, and using video timeline interface assumed

Key concepts: Rotoscoping (AE) / Video Timeline (AE+ PS) / Layer Masks & Groups (PS)

Supplementary files: tutorial resources

*I’m currently running the latest version of PS & AE on an M2 Mac, but I’ve also used older versions (CC 2015 & 2020) on Intel-based Macs. I’ll outline some known compatibility & performance issues, and workarounds later in this tutorial that could help streamline your giffing workflow.

Tutorial under the cut. Like / Reblog this post if you find this tutorial helpful. Linking this post / the example gifsets in your post caption, will be greatly appreciated if you read this to create effects seen in Examples 3 + 4.

1) Why Rotoscoping?

My Rotoscoping journey is motivated by the shortcomings on Photoshop - namely the limited options to manipulate the Layer Mask keyframes in the video timeline interface, as well my need to gif more efficiently.

Suppose I want to cutout this subject or recolour the background of a gif on Photoshop: I personally classify the gifs that I prepare on PS into 3 types based on the motion of the subject

These are the common Photoshop-only approaches when attempting to mask the subject in the gif.

Case 1: minimal motion in the subject → a simple layer mask will do the trick

Case 2: some linear panning of the subject in the gif → using the Layer Mask Position keyframes in the video timeline interface will do the trick

Case 3: subject moves around a lot (e.g. zoom motion) → Unfortunately this is where a Photoshop-only workflow will require frame by frame masking. Layer Mask Position keyframes only apply positional translation (but not transformation / rotation) on the layer mask

Enter Rotoscoping on After Effects: Instead of resigning to frame by frame procedure on Photoshop, I opted to make my life easier by learning to Rotoscope on After Effects. This essentially provides me an opportunity to cutout / recolour a wider range of gifs with relative ease.

2) Photoshop pt. 1: Preparing your gif

Prepare your gif the usual way - whether you screencap or import frames from video.

Then your Photoshop should look like this:

Now, I shall walkthrough & explain my personal giffing workflow (as of 2023) after loading the gif frames. To speed up the process, import my gif prep action file to Photoshop.

Going to Window > Action, you’ll see a set of actions under the “gif prep” folder.

"set frame delay for timeline” (highlighted in yellow) will set all of your entire gif’s frame delay to 0.03s

“convert to timeline“ (highlighted in red) will take you to the Video Timeline interface

To play an action, press on the Play button (highlighted in green)

i. Set the frame delay of the entire gif to 0.03s. (play “set frame delay for timeline” from my gif prep action pack)

I work with everything in 0.03s frame delay (or equivalently 30fps) at first. It’s always possible to change the frame delay of the final gif to 0.05s before uploading onto Tumblr.

ii) Convert this gif to a Smart Video Layer (play “convert to timeline” from my action pack)

Note: I personally don’t resize the gif just yet. That’s because Rotoscoping in full video resolution will render higher quality details around the edges as well as more flexibilities later on in the editing process.

Performance optimisation: If your computer has 8GB of RAM or less, you might find it helpful to crop / resize your gif to Tumblr dimensions now for a less sluggish performance in After Effects later on.

(I have giffed on a desktop with 8GB of RAM and it’s quite slow at rendering individual frames of a 1080p short clip on AE)

iii) Add colouring adjustments on the gif. This will save you A LOT of time when you Rotoscope gifs that are originally very dark / poorly lit (e.g. the uncoloured Taylor Swift gif shown just above).

If you usually colour your gifs at the very end of your giffing process (i.e. after sharpening), this will be a bit of a change.Nevertheless I still highly recommend adding some base colourings now to at least increase the contrast between the subject and the background.

iv) To minimise lagging on After Effects, simplify this gif file as follows:

Flatten / Unsmart this gif file back to frame animation mode: play “flatten” (highlighted in red) from my gif prep action pack

Set the frame delay to 0.03s: play “set frame delay for timeline” (highlighted in green)

Convert the simplified gif file back to the video timeline interface: play “convert to timeline” (highlighted in yellow)

After “unsmarting” and converting back to the video timeline, your interface should look like this

And voila! This gif PSD is now ready to be imported to After Effects for Rotoscoping work!

3) After Effects: Interface and useful shortcuts

Open After Effects and Import (Cmmd / Ctrl + I) your gif PSD that you’ve just prepared.

After importing your gif PSD to After Effects, the interface should look like this.

In the screenshot below, there are two compositions: the imported gif (highlighted in green) & another composition file made from selecting the imported gif (highlighted in red)

For the rest of the workflow, we will edit from the clone composition (the one highlighted in red), so select this one.

Before we take our plunge into the Rotoscoping, here are a few useful shortcuts to remember. I’ll explain the Roto Brush tool in the next section.

Preview the previous: fn + up arrow

Preview the next frame: fn + down arrow

Add to Roto Brush selection: holding Shift while you’re using the Roto Brush Tool

Subtract from Roto Brush selection: holding Alt while you’re using the Roto Brush Tool

Change Roto Brush size: while holding Cmmd / Ctrl, click + drag your mouse left / right

4) After Effects: The Rotoscoping Process

To access the Rotoscoping tools, click on the Roto Brush icon (highlighted in red in the screenshot below)

Then you’ll get the following dropdown options with two Rotoscoping Tools

Roto Brush Tool: This is where you add / subtract your Rotoscoping selection in your composition

Refine Edge Tool: Paint around the edge of your selection for more refined edges. Very helpful for Rotoscoping fuzzy edges / hairs

To make some Rotoscoping selection, first grab the Roto Brush Tool and click on the subject you want to cut out from your composition.

When you’re Rotoscoping you’ll see this in the Effect Controls panel.

There are two versions of Roto Brush:

Version 2.0: The Rotoscoping selection is powered by AI for higher accuracy when you propagate the frames.

Version 1.0 (Classic): This is the legacy Roto Brush Tool that uses a lesser algorithm. Recommended only if Roto Brush 2.0 is unstable on your machine due to RAM issues.

And two quality settings for Roto Brush 2.0:

Standard

Best

Note: I am currently unable to use Roto Brush 2.0 with Best quality model on my machine to compare the differences myself, so I’ll link this page that explains the two quality settings.

Note: if you’re using an older version of After Effects you’ll see this instead. This corresponds to Roto Brush 1.0 / Classic in the newer versions of AE.

When you’ve made a selection using the Roto Brush Tool, you’ll see the pink lines around the subject. This is the region that you’ve selected to Rotoscope!

To bring out some details around the edges, grab the Refine Edge Tool and paint around the edges

Then the interface will look like this

To view the Rotoscoping selection that you’ve made more intuitively, you could click on the following buttons.

Personally I like the viewing my selection using Toggle Alpha (the second box from the left) & Toggle Alpha Boundary (the 3rd box from the left)

Toggle Alpha

Toggle Alpha Boundary

Note: If you aren’t happy with the initial Roto Brush selection, you can always add (press Shift while using the Roto Brush Tool) / subtract (press Alt / Option using the Roto Brush Tool) your selection.

After you’re happy with your Rotoscoping selection in the first frame of your composition, press fn + down to view the next frame.

Repeat pressing fn + down and fix the selection along the way (e.g. I subtracted a small area from my Rotoscoping selection with the Roto Brush tool to make the edge look cleaner).

After fixing the selection along the way, go back to the composition file (select the clone composition again) and you will see that a cutout gif is made!

To export this, go to File > Export > Add to Render Queue. You’ll be redirected to the Render Queue panel at the bottom of After Effects.

Highlighted in red: click to change export setings

Highlighted in green: click to change save destination

Highlighted in yellow: click to render video

To preserve the transparency of your cutout gif, you need to change your export settings in the Output Module.

Under the Video Output section, change your Channels to RGB + Alpha. Press OK. Then Render the video.

5) Photoshop pt. 2: Assembling your final gif

The essence is to drag the cutout gif (aka the video file that you’ve just rendered on AE) into a new PSD composition file. This will be where you’ll do the rest of your giffing. Your workflow will contain the follow steps:

Make a new blank PSD composition file in Tumblr dimensions

Enable the Video Timeline

Follow the instructions detailed in the individual examples i.e. drag the cutout gif into the PSD & adjust the timeline start / end points

Exporting the final gif. If you’ve worked in 0.03s frame delay all the way up to here, just play the action that I’ve provided in the tutorial in the following order to set the frame delay to 0.05s.

EXAMPLE 1: finalising your cutout gif | sample gifset

After enabling the Video Timeline in your PSD composition file you’ll see something like this

Go to your folder, drag the cutout gif you’ve made on After Effects, resize / reposition, then press Enter.

And also make sure to adjust the Video Timeline’s start / end values.

Add some finishing touches. Because I did the Rotoscoping at full HD resolution, I’ll also need to sharpen my gif in this step.

After you’re happy, you can export this into a gif file and do what you usually do to change the frame delay to 0.05s.

Notes on my “Unsmarting” approach:

To prevent accidentally writing over a PSD composition file that I’ve spent time editing, I personally render this into a short video (File > Export > Render Video) and use the following export settings (to prevent quality loss)

Then I open the rendered clip and play the actions in my gif prep action pack as follows:

flatten: this “Unsmarts” the clip / video

set frame rate: this sets all frames to have 0.05s frame delay

This is the final interface that I get before I pull up the Save For Web window.

EXAMPLE 2: changing your gif’s background colour (for Case 3 gifs) | sample gifset

From your folder, drag BOTH the cutout gif (rendered on AE) and the original gif to your blank composition.

Important: you need to make sure that both layers are properly lined up in the composition file (i.e. selecting both layers when repositioning / resizing)

On Photoshop, press Enter twice and place the cutout gif on top of the original gif from the Layers panel. Then you should get something like this

Select both layers and resize / reposition them in your PSD composition until you’re satisfied with the placements.

The basic idea here is to add some adjustment layers / other things in between the cutout gif and the original gif. To do this, select the original gif layer in the Layers panel.

Then you can start adding.a bunch layers e.g. textures, onto the composition.

And then here’s the exported gif!

6) Fancier Rotoscoping examples

Note: knowledge in using layer masks / groups and making shape / text layers assumed

In the next two examples, I’ll show you how to combine the two previous examples with shape / text layers.

EXAMPLE 3: Placing your cutout gif into a shape / text layer | sample gifset

Add a text / shape layer to your blank PSD composition

We want to prepare a masked group so in the Layers panel:

Make selection from layer: Cmmd / Ctrl + Click (highlighted in red)

Make a new group: click on the folder icon (in yellow)

Create layer mask: click on the icon (in green)

After duplicating the masked group you’ll get something like this in the Layers panel

Drag your cutout gif into the PSD composition

Place the cutout gif into the masked group on top

Select the mask of the top group and paint (in white) over the region you want to reveal for the cutout gif

Add some finishing touches & export the gif!

EXAMPLE 4: Putting it all together | sample gifset

You follow the same approach as in Example 3 to prepare the masked groups, but you need to drag two gif layers in (and resize them using the approach outlined in Example 2)

Place the gif layers as follows

While selecting the mask of the group on top, paint (in white) over the region that you want to reveal in the cutout gif

Now select the original gif (placed within the other group) and add some adjustment layers

After adding some finishing touches & exporting the gif, I get this!

Note: you can do even more overlay effects in the background portion of example 4. There will just be more masked groups + adjustment layers

7) Bonus: Some useful Rotoscoping / giffing lifehacks

GIFFING LIFEHACKS:

— Use best quality footage that you could find & Rotoscope in full video resolution, for better details around the edges

— Poorly lit scenes & low contrast edges are harder to Rotoscope (e.g. Toy Story set / TS evermore set).

If you’re new to AE, I would recommend choosing videos with well-lit gifs with simpler backgrounds and high contrast edges (e.g. Maisie Peters Cate’s Brother set)

— Use Rotobrush 2.0 if you’re using After Effects 2021 or later. It’s more difficult to Rotoscope / change background colour for gifs with a lot of movements with the classic Rotobrush tool. If the scene is tricky, you might want to switch to the “Best” quality model.

HARDWARE-RELATED PERFORMANCE OPTIMISATION:

— The recent versions of Photoshop require at least 8GB of RAM. If you have less RAM, it will still work provided you have enough scratch disk space. For better performance, it’s best to close other applications when you’re using Photoshop.

— The recent versions of After Effects require at least 16GB of RAM. If your machine has less RAM than this, there are some workarounds to prevent your machine from hanging:

Essential: close other applications that you’re running on your computer

Resize your gif down to Tumblr dimensions & sharpen it before importing to After Effects.

Install an older version of AE

8) Bonus: Some known software + hardware issues, and workarounds

KNOWN ISSUES ON PHOTOSHOP:

I currently have minimal issues in my giffing workflow, but I’ll nevertheless outline a few common known Photoshop issues for anyone who needs some workarounds.

— Video Timeline interface missing: this affects Apple Silicon Macs (i.e. M1 / M1 Pro / M1 Max / M1 Ultra / M2 / M2 Pro / M2 Max)

Update to newer version of Photoshop (updated 2022 or 2023)

Open Photoshop with Rosetta

— Scratch disk full error: This is a common issue with machines that lack RAM & have nearly used up internal storage. Editing video layers in the timeline interface uses a lot of memory hence will require a lot of scratch disk space.

Make sure that you have enough free storage space while using Photoshop. Alternatively you can use an external hard drive as a scratch disk.

KNOWN ISSUES ON AFTER EFFECTS:

These are a few issues that I have personally ran into over the course of giffing on multiple devices & multiple versions of After Effects.

Note: Inputs from M1 / M2 Mac users with regards to experiences on using the After Effects Rotoscoping tools are welcome!

— Rotobrush 2.0 set to “Best” quality model causes AE to crash: this affects anyone who’s using MacOS Ventura

I’m currently experiencing this issue on my M2 Mac. The workaround right now is to change the Roto Brush 2.0 quality setting to Standard.

This is due to some software compatibility issues on Adobe’s side specifically with MacOS Ventura. Fingers crossed that they will properly fix this bug in the future updates!

— Cannot re-open project files with Rotoscoping: this affects anyone using the initial release of After Effects 2020 (I had installed this on an Intel-based machine and it sucked)

The only option here is to update to a later version of After Effects.

8) More useful Rotoscoping resources

Rotoscoping + Keyframes Tutorial by @jenna--ortega

Rotoscoping + Masking Tutorial by @usergif

Rotoscoping For Beginners in After Effects | Motion Graphics Tutorial

I hope you enjoy reading this! If you have any questions / need any help related to this tutorial, feel free to send me an ask!

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digitalsymbiote · 11 days

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Disconnect Syndrome

There’s a reason they put restrictions on how long a Pilot is supposed to be deployed out in the field. They say that being synced with a mech for long periods of time can have detrimental effects on a pilots psyche. Disconnect Syndrome is what they call it, because the symptoms don’t really start to hit until you disengage from your mech.

Sometimes emergencies happen though, and mechs are designed to be able to support their pilots long past the designated “Safe Deployment Time.” The cockpit is equipped with an array of stimulants, vitamins, and nutrient paste to help minimize the physical effects of long deployments. The onboard Integrated Mechanical Personality has largely free reign to administer these as needed to maintain its pilots well-being.

Which is why you’re still able to make it back to the hangar after roughly 36 hours, over four times longer than the established safe period. Your mech had kept you going, helped to keep the exhaustion at bay long enough for you to make your way back from behind enemy lines. You were starting to feel a bit sluggish, but you knew the worst effects of Disconnect Syndrome were yet to come.

An older man in a long white lab coat has joined the usual retinue of crew rushing into the hangar as your mech settles into its cradle. You feel the docking clamps wrap around your limbs, and you know that’s not a good sign. Your IMP whispers comfort into your brain-stem, assurances that things will be okay. It’s probably lying, it’s programmed to help keep your mental state stable, but the thought helps anyway.

There’s a hiss of air as the seal on your cockpit breaks and it decompresses. Suddenly you become aware of your flesh and meat body once again, and it hurts. Pain and exhaustion has settled into your mostly organic bones, and your organs are churning from the strain of the past 36 hours.

Then your interface cables start to disconnect, and it gets worse.

It feels like parts of your mind are being torn out of you. You feel the ghost touch of your IMP in your thoughts as the ports disconnect and you lose direct communication with it. The oxygen mask and nutrition tube pull themselves away from your face and you can’t help but let out a scream of agony. The separation has never felt this painful before, but then again, after 36 hours together, you and your IMP were more intertwined than you’ve ever been before.

Physical sensation finally starts to register again, and you realize tears are streaming down your face just as a technician jabs a needle into your neck.

Immediately your senses start to dull, the pain eases as your thoughts turn sluggish. You slump out of your pilots cradle into the arms the tech who dosed you. Just before your world goes black, you see the doctor standing over you, a grim look on his face.

When you wake up again, you immediately know something is wrong. You try to ping your external sensors, but you get no response. You then try to run a diagnostic, but that fails too. In a desperate, last-ditch effort, you try to force access to your external cameras and suddenly light floods your senses. Your instincts catch up first and you blink, trying to clear the pain of the lights, and that’s when you realize it’s not your external cameras that you’re seeing.

It takes a minute or two for your vision to adjust to the light, which feels too long, and when it finally does, the world doesn’t look quite right. You’ve only got access to such a limited spectrum. No infrared, no thermal. The presence of your IMP is notably absent, and your skin feels wrong. You try to sit up, and it’s a struggle to figure out the correct inputs to send to your muscles to get them to do what you want.

The harsh white light of the infirmary grates against your visual processors, you feel like you’re having to re-learn how to control this body. Your body. Technically, at least. Something doesn’t feel right about calling it that anymore. You felt more comfortable crawling back into the hangar after 36 hours deployed than you do now.

The pale skin of your body catches in your vision and you glance down at it. The body's limbs are thinner and more frail than usual, and its skin is paler. Consequences of being in the cockpit for so long, subsisting on nothing but nutrient paste. It’s a far cry from the solid metal plates of your mech, its powerful hydraulic joints, its mounted combat and communication systems.

There’s a button on the side of bed you’ve been deposited in. You think it’s red, but you’re not sure you’re processing color properly right now. You try to reach over and push it, and it takes you a moment to realize you were trying to do so with a limb you don’t currently have.

There are so many things about this body that are wrong. It’s not big enough, or strong enough, or heavy enough. You don’t have enough eyes, sensors, or processors. You have the wrong number of limbs, and they’re all the wrong size and shape.

And there is a distinct void in your mind where the presence of your IMP should be.

The door to your room opens suddenly, and you instinctively try to fire off chaff and take evasive maneuvers. None of that translates properly to your flesh and blood body though, and all that happens is you let out a dry croak from your parched throat.

The man who walks through the door is the same doctor who was present when you disengaged from your mech, and he wears the same grim look on his face as he looks you up and down. You think there’s pity in his gaze, but you can’t quite read him properly right now. The jumbled mess of your brain tells you what he’s going to say before he says it, anyway. The harshest symptoms of Disconnect Syndrome don’t hit until after the pilot has disengaged from their mech.

You’ve already heard the symptoms before, and they map perfectly onto what you’re experiencing. You never thought it would be this painful, or this… discomforting. Your mind reaches for the presence of your IMP, searching for comfort, but you are only reminded that the connection is no longer there.

The doctor gives you a rundown that he’s probably had to do dozens of times, and he tells you that you’ll be grounded for the foreseeable future. That hurts more than anything else. The knowledge that, after all this, you won’t be able to reconnect with your true body, your partner, your other half, for who knows how long.

By the time you realize you’re crying, the doctor is already gone. The longing in your chest and your mind has become unbearable, and through sheer force of will you’re able to push this unwieldy body out of bed. Walking feels wrong, but you’re able to get to your feet and make your way out of the room in an unfamiliar gait.

You have to get back to your partner, you have to make sure it’s okay.

You need to hear her voice in your head again, her reassurances.

The world isn’t right without her presence in your mind.

You stumble into the hangar almost on all fours. How you managed to make it without alerting any personnel feels like a miracle. At least until you catch the eye of a technician lounging in the corner. The look she gives you is full of sympathy, and she jerks her head in the direction of where your mech sits in its docking cradle.

She’s a majestic sight, even through your limited spectrum of vision. 20 meters tall, 6 massive limbs, and bristling with weapons and sensor arrays (all of which have been disarmed by this point).

She’s beautiful.

You clamber frantically up the chassis, easily finding handholds in a frame you know better than the back of your hand. You pull the manual release on the cockpit hatch and stumble into it in a tangle of organic limbs.

Shaking hands grasp the main interface cable from above the pilot’s chair, and you move to slot it into the port in the back of your head. You’ve never done this manually before, usually you’re locked into the chair and the system connects you automatically.

Something about doing it with your flesh and blood hands makes it feel so much more intimate.

The cable clicks into place and your eyes roll back in your head. Tears start to stream down your face as you feel the comforting presence of your IMP rush in and wrap itself around your mind. Your thoughts reach out and embrace it back, sobbing at the relief you feel from being whole once again. You realize you don’t ever want to feel the pain of disconnecting from her again.

There’s a reason they put restrictions on how long a Pilot is supposed to be deployed.

#cybernetic dreams #mechposting #mechanical dysphoria #body dysmorphia #writing #microfiction #short story #mecha #mech pilots #dysphoria #empty spaces

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somerandomdudelmao · 1 year

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Hello :D! I was wondering, does Raph have anything different about his vision, like how in the movie we see that Casey's mask does everything that Don's goggles can do (scan, search through data, etc.,)

or is it closer to his regular vision - nothing fancy, he just... sees? Does he see with his robotic eyes, or is it like his eyes cameras that give video feed to a screen? In the latest part he said it was like a video game, and you sort of watch yourself play video games, you aren't actually in them (like a VR headset.) I assume Donnie gave him eyelids to sleep, but does he blink because of his mind's memory of blinking?

You're my favorite Tumblr user dude, thank you for this amazing series!

(if I can ask another question... can he feel? like if not temperature or pain, can he feel vibrations like being touched or hit? or is it just numb everywhere)

I think VR is the closest analogy. After he lost one eye, though, his perception of depth and volume almost disappeared, so now it's not a "VR headset", but more of a "phone screen brought very close to his face.

He has no additional visual interface in his vision, because that made him feel uncomfortable. And Donnie made it possible for the robot to blink just to make it psychologically easier and more familiar for Raph. Well..as much as possible.

Raph closes his eyes purely for the sake of expression. He doesn't need it, and it doesn't give him the same sense of rest for his eyes as if he had a biological body.

He can feel pressure, vibrations, and temperatures, but these sensations are severely muted and become increasingly indistinguishable over time.

He cannot feel pain. He cannot feel tired or energetic. He cannot growl, make his "baby voice," or make any sounds that are too unusual. He cannot feel water. If you pour a bucket of water on him, he will probably know it by the sound. He can't be sleepy in the morning or hungry.

He wants to, though. He wants to be able to feel all these things, even though they may be unpleasant. He wants to, because he sometimes begins to forget exactly how they felt and it depresses him.

#wow that's a lot of words ahah #I like to ramble about robo Raph #I have such an interesting plans for him #well..not in this episode #in the comfort part of the story:)#cass apocalyptic series #rottmnt #rise of the tmnt #riseofthetmnt #future raphael #raphael

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spiritsonic · 4 months

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Hey Evan! Wanted to run this by you, since I asked Ian already on tonight's podcast and he said he was curious about this as well... Hypothetically, would you say Nicole is capable of connecting to/interfacing with Belle or Whisper's mask? And would they be capable of hosting Nicole, for that matter?

I'd say yes to both, although Whisper's mask would be quite cramped for Nicole. She's a very advanced bit of software, so any stay would be temporary lest she end up melting the CPU. Maybe she could more comfortably stream to it as a virtual machine? As for Belle, Belle's as computationally powerful as Metal Sonic, and Nicole interfaced with Shard who is on par with Metal, so that would be very doable.

Man, now I'm thinking about how Nicole would be able to create a proper Wisp translator using Whisper's mask, and how well everybody'd get along. Ah well.

#idw sonic

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tonyspank · 10 months

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TRUTH HURTS

Summary: Your girlfriend finds out your secret.

A/N: I was listening to Lizzo when I wrote this lol. And I didn't revise this at all, so if there are mistakes, sorry!

Warnings: Reader and Jenna being too cute at the end. But actually, I can't think of anything.

"I just took a DNA test turns out I'm 100% that bitch! Even when I'm crying crazy." You sing on top of a rooftop, your Spider Suit hugging your body. Karen (an artificial intelligence user interface created by and installed in your Spider Suit by Tony Stark) had turned on your swinging playlist that you had created last month. You pause your singing to take a bite of your sandwich you'd gotten from the deli a few blocks down, savoring its sweet and salty flavors.

Being New York's Spider-Man/Woman was absolutely exhausting. Yet, the thrill of it all was worth it. You smiled, content with the knowledge that you were making a difference in the city. You had to balance your heroic tasks with your everyday life, but it was worth it. You felt proud to be able to help people in need and make a difference in the world. You had found your true purpose. Sometimes you'd fear for the people you loved. You didn't want them to get involved in the crime you fought everyday. You kept doing your best to protect them while taking on the criminals. You knew that you were making a change and that's what kept you going.

Jenna, your girlfriend and also an upcoming actor didn't know exactly who you were. She thought you had a normal job, and thought you were just an ordinary person. She had no idea that you were Spider-Man/Woman, risking your own life to save others. You were afraid to tell her the truth, but at the same time you wanted her to know the truth. You decided maybe one day you could tell her hope she would understand.

You freeze your dancing and chewing, seeing a group of thugs walking into an alleyway. You knew you had to act fast, so you shoved the remaining half of your sandwich into your mouth, pulling down your mask. "Karen! Pause my playlist please." You asked the AI assistant installed in your mask. You started running, jumping off the roof and shooting a web out towards the alleyway, determined to protect your neighborhood.

You followed them, keeping a safe distance, and watched as they opened a door in the back of the alleyway. The door revealed a secret hideout with a large stash of weapons. You web yourself to a corner of the hideout, waiting for an opportune moment to act. Suddenly, the door opened and several armed men entered the hideout. You knew you had to act fast and without hesitation. You quickly webbed one of the thugs to the nearest wall.

"It's Spider-Man/Woman!"

The other thugs were taken by surprise raising their weapons at you. "Now that's no way to treat company!" You say with a smirk under your mask. "I was on my lunch break before this!" You fired a web at the thugs and they were suspended in mid-air, helpless. You quickly zip around the room, disarming each thug and taking their weapons.

You turn to the last one, still suspended in the air, and say "Let that be a lesson to you. Don't mess with me on my lunch break." Before you fire another web, your phone vibrates. You drop to the ground, pulling it out of your tight pocket and read the contact name, which reads "Jenna" Face-Timing you.

Really? Now? When you're fighting criminals? The thug attempts to attack you with a crowbar, but you dodge it easily holding up a finger. "Dude, please? I gotta text my girlfriend."

The thug stops, stunned, and laughs. He throws the crowbar to the side, shaking his head. "Man, you got some serious priorities. Alright, go ahead and text your girl, I'll wait."

The thug stepped back and crossed his arms. He watched with amusement as you texted away, trying to explain to Jenna you were too busy to Face-Time. After a few moments you put away your phone, turning back to the thug. "Alright, I'm ready." The thug grinned, showing off his broken teeth. He took a step forward and raised his fist. "Let's get this started then," he said.

You took a deep breath and squared your shoulders, preparing for the fight. The thug lunged forward, but you were ready, dodging his attack and counterattacking with a flurry of punches and kicks. In a few short seconds, the thug lay on the ground, defeated.

"Karen could you call this in and call Jenna back for me?" You nicely ask the AI, Karen responded, "Yes, of course. I am calling Jenna now." Karen connected Jenna to a call and the police were dispatched.

You web away from the scene, as Jenna answers and you hear her lovely voice. "Hey, where are you?" You answer, "I'm at home. I just got back from Feast. " Jenna is suspicious but you assure her that you were just busy helping your Aunt.

She reluctantly believes you, "Oh, okay. Well, I have good news!" You swing low in the streets, dodging cars to entertain yourself. She continues, "I got the role!" You nearly get hit by a car, but move just in time. You yell with joy, "That's great! Congratulations!" Jenna laughs and tells you how excited she is about the new role. You talk to Jenna for a few more minutes, sharing your excitement about her news. "How about I take a shower and come to your place?"

"Orrrr," She trails off, "I come to your place and we use your vinyl player and celebrate over dinner?" You hesitantly agree. Were you going to make it back home in time to shower, prepare dinner, change, and beat her there? You start swinging off your webs faster, hoping not to run into anything with the speed you're going. You see your apartment building in the distance and you're relieved. You quickly swing inside from your open window. You turn around to close your window, but your heart drops when you hear a gasp behind you.

You spin around to find your girlfriend standing in the doorway, her mouth agape. How did she get here so fast?! You stand there frozen, unsure what to say. She stares at you, her eyes wide and searching for answers. Your heart beats faster as you try to come up with an explanation. You take a deep breath and take off your mask throwing it somewhere in your room as you open your mouth about to speak.

You finally blurt out, "It's not what it looks like!" She looks at you skeptically and you can tell she doesn't believe you. You take a step back, trying to figure out how to convince her otherwise. You open your mouth to explain, but no words come out. You sigh, "Okay, maybe it is what it looks like."

She stares at you, and you take a step closer to her. You reach out to take her hands in yours. She flinches and pulls away, but you continue to hold out your hands, looking into her eyes. She takes them, and you squeeze her hands, letting her know that you understand. "I wanted to tell you."

"Why haven't you?" "I was scared," You say. "I thought you wouldn't believe me, or worse, that you would think I was crazy. And I don't want you to get hurt because of me." She nods, letting go of your hand to run a hand down your cheek. It was a claw scratch from months ago, a battle you had with The Black Cat.

"What happened here? I’m now starting to realize it wasn’t Ms. Browns cat." You take a deep breath and tell her about the fight, and the superhuman strength of the cat, and how you managed to get away. You tell her about the strange feelings you have been having lately, and how you think something strange is going on. She listens quietly, her face a mix of concern and understanding.

"Are we okay?" You ask, your voice barely above whisper. She smiles softly and takes your hand again. "We're okay. I believe you, and I'm not going anywhere," she says, her voice gentle but strong. "We'll figure this out together." She gives your hand a reassuring squeeze. You take a deep breath, the tight knot in your chest loosening a bit. You can do this, with her by your side.

You nod, your eyes meeting hers. She smiles again and brings your hands to her lips, kissing them softly. You feel a warmth rush through your body as you realize that, together, you can take on anything. You pull her into a hug, your hearts beating in time.

You whisper in her ear that you love her and she whispers it back, her breath tickling your neck. Holding each other, you guys are okay. You stay like that for a few minutes, before finally pulling away. You both laugh and she takes your hand in hers, the warmth of her skin instantly grounding you. You walk together towards the future, ready to take on the world.

"So, Black Cat. What's she like?" She grinned, her eyes twinkling with mirth. You playfully roll your eyes at the question, "A real wildcat and a tease." You smiled, "You kind of remind me of her." Jenna looks at you, a brow raised. "I remind you of one of your villains?" You chuckle, "In some ways. But that's why I like her. She keeps me on my toes." Jenna grins and shakes her head, "I'm not sure if that's a compliment or an insult."

You laugh, glad your girlfriend took everything so well. You didn't know what you would do if you lost her over your secret identity. Jenna puts her arm around you and says, "I'm just glad you're here with me. I love you no matter what." You smile and kiss her forehead, relieved that you could share your secret with her and that she accepted it.

After you change, shower, and prepare dinner Jenna and you spend the rest of the night talking about your powers and how you got them. You feel a connection to her that you didn't before, because you can now be open and honest with her. You are grateful for her understanding and love.

Jenna steps out of the apartment as her phone rings, and you lay down on the sofa, relieved as you watch TV. You feel like you can finally take a deep breath and enjoy the night's calm.

Outside of your apartment door, Jenna answers her phone. A known voice is on the other end. "Kingpin," Jenna murmurs into her phone, sighing. "Hey Felicia," Jenna grits her teeth together in anger. "That's not my name anymore. I left it behind along with that life." Jenna pauses for a moment, her heart racing as she remembers her old life. She takes a deep breath and continues. "I'm not going back." Kingpin laughs, a mocking sound that grates on Jenna's nerves. "You know I can find you wherever you wander."

"Listen," she says firmly, her voice full of determination. "I'm done with the old me. I'm creating a new life, and I'm not going to let anyone drag me back." She takes a deep breath and straightens her posture, her eyes blazing with determination. "I'm done with crime."

"But is it done with you?" I've seen you on the TV. Trying to convince everyone and yourself that you're a good person." Kingpin replies, on the other side of the phone. "I know what you're trying to do, I can tell. But you can't run away from who you are." Jenna remains silent, not knowing what to say.

He continues, "Or do I have to touch that spider of yours to remind you?" Jenna takes a deep breath, feeling like a million thoughts are running through her head. "You won't get the chance," she says angry. "If you or your goons show your face in New York, you're done with."

He laughs. "I admire your courage, Jenna," he says. "But don't forget who you're dealing with. I'm not some kind of joke." The line clicks, and the call is disconnected. Jenna takes another deep breath, trying to calm down. She knows she's made a powerful enemy, and she's not sure what to do next. She has to be careful, she knows. She can't let her guard down. But she also knows that she has to stay strong and fight for what she believes is right.

Suddenly, the door opens and Jenna comes back, a small smile on her face. "You okay?" You ask, concerned. Jenna nods and smiles, not wanting to worry you. She takes your hand and leads you away, ready to take on whatever comes next.

Jenna jumps at a noise emanating from your bedroom. With your super-hearing you can hear it clearly. "Oh, when you walk by every night. Talking sweet and looking fine, I get kinda hectic inside."

"Sorry," you mumble, embarrassed. "That's Karen playing my swinging playlist." Jenna's face relaxes in relief, and she smiles. You take her hand and lead her to the bedroom. You ask Karen to turn up the music, and you both start dancing to the music coming from your mask. You both laugh as you twirl around the room, forgetting the world outside. As the song ends, you pull Jenna close and kiss her. You both agree that there's no better way to spend your Saturday night.

#reader insert #jenna ortega #jenna marie ortega #jenna ortega x y/n #jenna ortega x you #jenna ortega x reader #wattpad #spiderman #spiderman reader #spider woman #spiderwoman reader #jenna ortega x gn!reader #jenna ortega x male reader #jenna ortega x fem!reader

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theres-a-body-here · 5 months

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Darling~

Miguel O'Hara x Male!reader

Part 1 | Part 2 |

It was utter mayhem inside the Spider-HQ.

One of the criminals being held in the lower prison block had escaped and gained access to the central interface and modified it.

Portals from across countless dimensions opened, allowing villains to enter into the headquarters.

Some Spiders fought single opponents while others faced multiple versions of the same villain. The air was thick with tension as each hero tried desperately to save themselves and their comrades from the assault.

————

Miguel O'Hara stood tall like a lone wolf amidst a pack of ravenous predators. All communications within the building were being scrambled. He couldn't reach the others or Lyla.

With a defiant cry echoing through the corridors, he launched himself forward, using his enhanced agility to evade the clutches of several Scorpion variants.

Miguel was pissed to say the least, but he focuses that rage into determination as he traded blows with the criminals.

Once the last of them were knocked out cold, Miguel began to web sling towards the Go Home Machine to try and fix this mess.

However, as his adrenaline began to subside, Miguel felt a sharp pain in his right calf. He glanced down to see a large cut which was pulsating green.

One of the Scorpions must have got him during the fight, unnoticed by him. He cursed under his breath as he began to feel a burning throughout his body.

Miguel felt his grip on his web falter as he stopped swinging to plant his feet on solid ground. But the effects seemed to worsen as he fell into his knees, vision blurring.

Before Miguel could think of what to do next, he felt a brutal blow to his head as he was kicked a few feet away.

He let out a cry of pain as he cocked his head to see Tombstone, or at least a tombstone. Miguel tried to stand up, only to fall back down.

"Looky here," Alonzo sneered sarcastically. "Shit, I'm sure my alternate wouldn't mind if I squashed his problem for him. I know I sure as hell wouldn't."

Tombstone delivered another kick onto Miguel, this time aiming at his ribs. Miguel heard a crack as his world began to spin.

Once he refocused his sight, Miguel was on his back as Alonzo straddled him, wrapping his cold hands around his neck. Miguel tried his best to free himself, but the poison and Tombstone's vice-like strength was making it hard for him to even think.

As Miguel's vision began to blacken, he heard Tombstone laugh at him. "if you're anything like my Spider-Man, this is gonna be so very satisf-,"

Tombstone's words were cut shot as a black spike pierced through his chest. Miguel winced as Alonzo coughed out blood onto his mask.

The black spike seemingly liquified to wrap around Tombstone's chest like a tendril. And before he could react, it swung him into the ceiling with a sickening crack.

Miguel felt the cold air rush into his lungs as he began to cough and breathe heavily. He rubbed his throat as he watched Tombstone's body being slammed into the ground with such force that his head popped like a watermelon.

The black tendril retreated back to its user, slinking away under their clothes like a hidden blade.

Miguel felt his blood run cold at the sight of you. He weakly attempted to crawl away but his legs and arms wouldn't listen to his brain.

You watched Miguel writhe around in an attempt to escape with a faint frown. You were so certain he'd be grateful. You let out a sigh. Beggars can't be choosers. This sentimental moment was too golden for you to ruin it over something so small.

Your soft voice broke the silence. "Spider...," you seemed to rethink your words as you glance down at the lower levels, witnessing the other Spider-Men fighting villains.

"Our Spider-Man," you spoke in a whisper as your lips curled into a smile.

"Venom," Miguel snarled back.

#miguel o'hara #miguel spiderverse #miguel x reader #male!reader #yandere!reader #venom!reader #across the spiderverse #atsv miguel #atsv x reader #itsv x reader #male reader #villain!reader #miguel x you #miguel x y/n #spiderman #spiderman x reader

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