— chuck palahniuk, haunted

The Girl Who Died // Hell Bent

STAR TREK: THE NEXT GENERATION | 5.24

how the night changes, or something

In honor of the @rw-ship-showdown I wanted to write about Artihunter as someone who jokingly slapped them together pre-downpour and still thinks they are actually very compelling. Just not in the super soft love wins kinda way (Although I get why people like that more) And the only way I know how to do that is talking too much so heres a far too long slug essay-

Obviously the slugcats don't offer a ton of characterization but theres not nothing to work with. Their stories, whether by their roles in it or the overarching themes do provide a backbone to work with. Even gameplay itself can provide a bit. (for some more than others) Hunter, to me, is ultimately a story about selflessness. The goal is to revive Moon, which is very much an act of kindness from both Hunter and NSH. But the weight of that action is much more significant for Hunter- Hunter is deeply sick. They're on the clock, and for all their skill in combat none of that will ultimately help them to survive longer than their body can hold out. Moon is a close friend of NSH but that means little Hunter- Hunter really gets next to nothing out of helping them, and ultimately pays quiet a bit spending their limited time alive fighting to deliver that neuron so that someone else can live.

To spend ones limited days on helping another, in a game that very much stresses the unwavering cruelty of the world and nature- is pretty notable. (And you could even say that Hunter being the Hardmode of Rain World adds another layer to this)

And then we have Artificer. A storyline that very much stands out to people as more… villainous (so to speak) than the other slugcats. Artificer's story covers a lot of things. Trauma, violence, revenge, etc. Revenge is a bit of a selfish desire- That need to see someone hurt as they have hurt you. A punishment that ultimately does not fix whatever harm was done- but feels good to see because you were hurt and now those responsible share that pain.

Artificer's actions are founded in that need for revenge, their pups killed for overstepping boundaries they didn't know existed. Is it not fair for them to be angry at that, to punish the scavengers for their violence with their own? Why should the scavengers ever be forgiven when they and their pups were not? And that's how you get that loop- Harm for harm over and over.

The original action has been lost in a spiral of violence for violence. And here stands Artificer- their very spirit scarred. Not just because they sought revenge, but because they never ceased trying to scratch that itch for violence as an answer. Artificer only has two paths for their story- killing the scavenger king (Someone who, really, has little to do with the original 'crime' of the scavengers, but represents an important individual to them- as did the slugpups to Artificer), locking themselves as karma one for good and spending the rest of their life chasing creatures that no longer even fight back in a warped sense of closure- or to dissolve themselves in the acids of the void sea because they're too far gone to find any real peace.

They can't meaningfully recover from that state, not alone, twisting in on themselves. Even if they halt their actions, they've been using violence as a feeble defense against their own pain- violence that no longer has any real direction or basis. Artificer gets no real closure from killing the scavenger king. All they can do is continue the cycle, or try to scrub it away. No real peace in a prison of their own making. So you have a creature, who even with a strict timer on their life- a body that will crumble to disease, spends its last bit of time on saving another. And another who was so caught up in the pain of loss that were eaten alive by their own anger, poisoned their own soul on such a deep level even self-proclaimed gods have no solution for them. What peace can they offer each other? For Hunter, its only a fleeting moment of happiness- of selfish love, before their own body fails them. A bit of indulgence in something for themself. For Artificer, its a single, comforting thread to ground them again, something tangible to protect and care about again. But thats a thread that will ultimately be snapped under the cruel indifference of the world. Hunters timer will tick down regardless of if it takes another with it. Its a tragedy- its doomed to end badly. Whatever good it offers to either of them to find each other will only provide the fleeting comfort of a band-aid that will be ripped away too early. But all that can be worth indulging in anyway, if only for the moment. It doesn't change the ending, but the ending was never going to be happy. Its can so yuri

um alex??? just WHAT is your tongue doing??

Everyone on the hate train for the new Wish movie, meanwhile I’m enjoying the Chris Pine Jack Frost to King Dude pipeline, like, all I’m saying is 2012 tumblr would’ve eaten this shit up

DON'T BE A MENACE TO SOUTH CENTRAL WHILE DRINKING YOUR JUICE IN THE HOOD (1996) dir. Paris Barclay

GREY'S ANATOMY 1.01 — A Hard Day's Night

What are you doing?

a taste

"That ain't a toy, son..."

You guys seemed to like the last one I did so I said fuck it, ANOTHER impromptu Emesis Blue costume!

KEYFRAME TUTORIAL FOR THOSE WITH A WORKING KNOWLEDGE OF PHOTOSHOP AND GIFMAKING

This is my gif with the coloring I want it to have eventually (including the manipulated color). I changed the yellows and reds in the scene to be purple. I want the majority of the gif to be purple and cyan, but do not want it to be on her skin.

First add a layer mask to the adjustments that are creating the color you want to remove. I used several layers to create the purple coloring, so I grouped them together and added the layer mask to the group instead of having to do them individually. In this case, I erased anywhere the purple was on her skin.

She is walking away in this scene, so this layer mask alone is not enough. This is where keyframes come in.

In the timeline window, scroll to the layer that your layer mask is on (or in my case, group). On the far left side, each of the layers should have an arrow which toggles a drop down menu. Click it and it will list options for Opacity, Layer Mask Position, and Layer Mask Enable. Make sure the current time indicator (small blue arrow and red vertical line in the timeline window) is positioned at 00:00:00 and then select the clock icon next to Layer Mask Position. It should place a small yellow diamond at the same place as the indicator. Each successive move of the mask will place a grey diamond at the timestamp that you move it.

CMD+click on the layer mask in the Layers window so that the area of the mask becomes outlined with a dotted line in the main workspace. Click the chain icon next to the layer mask in the Layers window to unlock the mask's movement.

The next steps are the most tedious. You have to manually move the layer mask every few frames to a new position that follows the movement of the gif. I usually zoom the timeline in so that each second is broken into six sections and pick a new layer mask position at approximately each section. If there is more rapid movement in the gif, you may have to pick new positions at more frequent intervals and vice versa.

After the initial layer mask is set at the 00:00:00 point in the timeline, select the next interval that you want the layer mask to move to. Do this by moving the time indicator to your chosen point. Now with the move tool, click within the layer mask and drag it to where it needs to be to keep coverage on your desired area. The longer/more frames in the gif, the more keyframe points you will have to select. This gif was about 2.5 seconds long and I used 14 different points.

These are just a few of the keyframes I made on this gif. You can see here that the original area that I erased in the layer mask doesn't quite cover all of her skin throughout the movement. I just erase a bit more until I'm satisfied with the coverage.

Once you have mapped all the points out, deselect the mask area and click the blank space where the chain icon was to make it reappear and return the mask to a locked position.

Scrub through the gif to make sure that the mask covers everything you want and also that the keyframes make it move smoothly. Shorter intervals and minor position changes between keyframes usually keeps choppiness (this normally presents as the mask noticeably jumping to a new position) to a minimum. You should not be able to notice the mask's movement except in the way it removes color from specific areas as intended.

Export and save the gif as normal.

This is my finished result:

@f1blrcreatorsfest SPECIAL WEEKEND EVENT: FAVORITE DRIVER — LEWIS HAMILTON

The Eighth Sense Episode 7 & 8

🎵 I know you don't like if I call you my boo 🎵