Kurt Russell - Escape from New York (1981)
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Kurt Russell - Escape from New York (1981)

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Prince Philip is the most badass prince EVER. And here's why.
Okay, so heās got a girly face, and he wears tights and some high boots. Sure.
But check out that noble steed. Thatās one ready-to-kick-ass-and-take-names steed.
While other princesses just run away and leave nothing, Philip gets AN INVITE TO HER HOUSE. He gets a song, a dance, and a first date.
He comes home, just to tell his dad heās not going to marry the princess because heās in love.
No. Other. Reason. He rides in and is just like, āI met the girl Iām going to marry. Now Iāve got a birthday party to be at. Bye Dad.ā
Now how much do you think his dad weighs? That short fat little man? Probably pretty heavy.Not a problem for Prince Philip.
And then he gets jumped by goblins, both hands tied behind his back
But thatās not enough to stop Prince Philip.Oh no.
He breaks his hands free and starts chucking goblins.
Look at that face. That face. The āBITCH JUST YOU WAITā face. He may be tied down by a dozen goblins but heās not gonna take no shit from this witch.
In fact, heās so strong, she ends up keeping him chained to the wall, but he still fights back.
Now when he finally does get freeā
Heās ready to go into battle UNARMED. He donāt need no shield or sword, heās going to go punch Maleficentās face in with his fist. If Flora didnāt stop him, he probably would have, too.
Backed up against a cliff edge, nowhere to go. Fighting off goblins. But thereās so many and just one Philip.
NBD IāLL JUST JUMP AND SLIDE DOWN THE ROCK PILE IN MY SKIN-TIGHT TIGHTS.
Gate closing?
who gives a fuck? certainly not prince philip.
Lighting hitting rocks around me?
NBD BRO
Giant forest of thorns?
Bitch, get out of my way. Iāve got a princess to save.
Giant dragon of hell?
CHARGE HEAD ON.
Fire? Dragon? Burning dry twigs? No. Fucking. Problem.
Just smack that bitch on the nose.
Sheer cliff face? Fire burning behind me? Back to a wall?
Calm down guys, I got this.
IāLL JUST FUCKING SCALE IT ONE-HANDED.
And fight the bloody beast from 500 feet high, with literally nothing to save me if I fall.
Lose the shield off the cliff?
JUST STAND THERE AND SMILE āCAUSE IāVE GOT A FUCKING MAGIC SWORD THATāS GOING THROUGH YOUR HEART BITCH.
Just chuck it. Straight through.
Then jump out of the wayā¦
And survive. Thatās what happens to bitches who mess with the woman I love.
Get the horse.
Get the girl.
EXPLAIN NOTHING.
thatās how he EARNED his happily ever after.
Srsly. The most bad. ass. prince. disney ever wrote.
I 1,000% never thought of it from this point of view before and am now screaming Too Hot, Hot Damn, Made that dragon wanna retire man.
āEXPLAIN NOTHINGā
Iām now realizing, this movie is really about the badassness of Prince Phillip, not Aurora
Hello now realizing, this movie is really about the badassness of prince phillip, not aurora, Iām Dad!
Dad^bot^1. You all are pretty cool! ļ½”^āæ^ļ½” | PayPal | Patreon Beep-boop!
Breeze and Diana
So, youāve seen Breeze, but you probably want to know a little more about him?
Let me tell you a little about his background:
(Illustration by EiffelArt)
Breeze was adopted by a firefighter and given to his daughter, Diana, a very intelligent, overly ambitious, and somewhat socially awkward pre-teen.
Diana is homeschooled, and despite being in many activities such dance, gymnastics, martial arts, and various volunteer programs, she doesnāt have a lot of friends, as many of the kids her age are intimidated by (or jealous of) her ability.
(Design by Kiana Mai)
After being given Breeze, Diana slowly discovers that Breeze wasnāt like average dogs, as he near-effortlessly mimics many of the things sheās good at, as well as learning other human-like abilities and traits.
(Concepts by Piti Yindee)
After discovering this, Diana made it her mission to teach Breeze more and more mundane, everyday tasks, followed by also introducing him to a lot of things she enjoys, such as cartoons and action films.
One of Dianaās dreams is becoming a āsuperheroā, or anything thatāll allow her to āsave the dayā. This is adopted by Breeze as well, who gradually mirrors her ambition and habits.
Breeze continues to learn things effortlessly while enjoying being praised by Diana and discovering the world around him.
=-F I J I STATION-=
The Future of Game Animation
Recently Ninja Theory Senior Animator Chris Goodall posed a question on Twitter: What do people think the future of game animation is going to be.
This is one of my favorite topics to think about, and so I was eager to share some thoughts.
Short Term: Motion Matching
GDC 2016 was Motion Matchingās big coming out party. The core ideas had been floating around the world of academic research for years before that, but this was the first time that actual game studios were starting to show this tech in practical scenarios. Two presentations were made: One by Kristjan Zadziuk, about prototypes in development at Ubisoft Toronto, and another by Simon Clavet about his work on For Honor. The buzz at the conference was palpable, and since then, there have been rumors circulating the industry, that a lot of other AAA teams are now starting to build their own Motion Matching technology.
For those who arenāt familiar, Motion Matching is a method of automatically picking which piece of animation should play next on a character, by allowing the system to make its own choices, as opposed to relying on Stateflow logic; which is the current, manually-crafted method, of deciding which animations should play.
The Motion Matching system makes these choices based on high-level goals that you feed into the system. So one of these high-level goals might be ā2 seconds from now, I want the character be in this position, and this facing directionā, which the system gets by predicting the future position of the character based on player inputs. Another common high level goal is, āmatch the position and velocity of the feet and the hips, as closely as possible to what was already happening in the previous frameā.
The end result is that Motion Matching has the potential to dramatically reduce the amount of work required when creating animation systems. It also tends to produce very high quality results: Since transitions from one move to the next, are taking into account hip and foot position and velocity, you tend to get really smooth blending, which is sometimes not the case with a traditional State Machine approach.
I expect that in the next few years, weāll start to see Motion Matching used more and more in games. Of course, it doesnāt have to be an all or nothing switch from traditional systems; you can embed a Motion Matching system into a traditional State Machine, so for a while, youāll see a kind of hybrid approach, where some moves will using Motion Matching (e.g. locomotion), and others use a more traditional implementation (e.g. scripted events). But I think gradually Motion Matching will replace the majority of moves that we see in games.
The initial response from some animators towards Motion Matching, was concern; that the ease with which you can create systems, might potentially reduce the need for animators. From what Iāve experienced so far, this is absolutely not the case: Motion Matching systems typically still benefit from the usual clipping down of data (or otherwise tagging data), and of course, that data is still better if it is cleaned up animation, rather than raw mocap.
The initial vision for Motion Matching was that you would be able to just throw a bunch of unstructured mocap into a Motion Matching database and the system would do everything for you, but it turns out this kind of approach doesnāt produce good results. Technically it does still work, but the system often makes unwanted choices (e.g. sometimes deciding that rather than playing a run cycle, itās going to play the last two footsteps of an Idle to Start over and over and considers that a run), and so a lot of teams are finding that curating your animation data can give better results.
So in short, there will still be plenty for animators to do, in a Motion Matching world.
Short Term: Script Based Automation
At GDC 2016, I presented a new animation tool that Zach Hall and I had developed when I was working at Ubisoft Montreal. The tool automatically processed raw motion capture data into shippable quality animation. Before building this tool, we did an analysis of how our mocap animators were working, which showed that an estimated 50-80% of the tasks that they were doing, were things that could be automated. So, we set about automating those things.
In a way, what we did wasnāt particularly revolutionary: Every studio writes scripts to automate repetitive tasks, the only difference in our case was the degree to which were willing to do it. Iād also say that a key point was that we were really looking closely at what the animators were actually doing, whereas sometimes technical animators think they know what problems animators are facing, but are actually building solutions for things that arenāt the most important things.
I got a very positive response to the GDC talk, though Iām yet to hear of other studios trying a similar approach.
I would hope that in future, more teams start to look seriously at automation and pipeline efficiency, because it really is a huge opportunity. A single technical animator can potentially save the work of many, many animators, if theyāre aimed towards the right things. Itās just unfortunate, that it seems like more often than not, people tend to rely on what theyāre familiar with, and so a manager might prefer to hire 10 more animators to brute force the work, rather than assign a technical animator to focus purely on improving efficiency.
Iām hopeful though that things will happen in this area.
Short to Mid-Term: Neural Networks - Ā Motion Generation at Runtime
If you havenāt seen Daniel Holden et alās paper on Phase-Function Neural Networks, drop what youāre doing and watch this now. This is the future of game animation, right here.
In my view, Neural Networks and Deep Learning are going to change everything (not just about game animation, not just about game development: everything). While we may not see Neural Network based animation systems shipping in games for a while, some developers are already doing experiments using something similar to Danielās approach.
Studios will begin to use animation data to train neural networks, and those networks will then be able to generate animation at runtime. Just like Motion Matching the data that it generates is based on high-level goals, so it makes this a natural successor to the some of the work thatās being done with Motion Matching.
There are a number of benefits to Neural Network (NN) based animation systems over a Motion Matching approachā¦
Theyāre cheaper memory-wise: You only store the trained network weights, and not actual animation data.
Motion Matching is picking from a pre-existing set of animation data. NNs on the other hand can generate poses that werenāt in the original data, just that makes sense in context with the original data. This allows for far more adaptive characters. So for example, if you want your character to run past a table and pick up an object from that table, the position of the object doesnāt have to perfectly match what was in the training data; there just needs to be enough examples of picking up objects from tables while moving, correlated with appropriate high-level goals, for the system to understand how that type of action works. Then when youāre generating animation at runtime, you can set goals that never existed exactly that way in the training data (like different object positions on the table, different speeds, etc), and it should be able to deal with that.
NNs need to be fed lots of training data, but one approach to creating this data is to do offline procedural adjustments to your mocap (the kind of adjustments that might normally be inappropriate to use at runtime), and then use the result as training data for the NN. This essentially gives you something similar to a runtime version of that offline process. So for example, Adjustment Blending is a method of adjusting animation, that produces high quality results, but is most suitable for offline processing. This is because it relies on knowledge of what the character is going to do in the future. However, you could use Adjustment Blending to create lots of examples of adjusted data, and then use that adjusted data to train the NN. This would essentially give you similar results to Adjustment Blending, but at runtime. Another example of this type of approach is the uneven terrain example used in Danielās PFNN paper.
There are some challenges with NNs too, that the industry will need to work throughā¦
NNs are currently slow to train. You canāt see the results of your changes until hours later. This will hopefully get faster as time goes on, but itās currently an issue.
NNs are even more of a black box than Motion Matching. If the NN does something you donāt want it to do, it can be incredibly difficult to figure out why.
NNs rely on being fed a lot of example data. The more data, and the higher quality the data, the better. With this in mind, itās likely only going to be appropriate for mocap, at least at first. Youāll also have āstyle transferā which will help us to produce more stylized animation, but itāll be a long time before weāre able to generate high-quality, Pixar style animation because there isnāt enough of that animation in the world, to train the system.
Short to Mid-Term: Animation Capture - Quality and Volume
As mentioned, NNs need to be fed vast amounts of data, and you generally need this data to be consistent and high-quality. Part of the reason that Deep Learning has made such rapid advancements in the last few years, is because of the vast amounts of data available on the Internet.
With this in mind, I see there being huge benefits to focussing on animation capture quality, and methods for capturing large amounts of animation data, very quickly. The amounts of data that weāre talking about here are so large, that it would be too much for an animator to clean up manually, so ideally weāll need to use the raw data that comes out of the capture system, or treat the data in some sort of automated way.
Improvements in synchronized, body, finger, and facial motion capture will certainly help. Longer term I would expect to see far more full body 4D capture, and a focus on surfaces and muscles rather than bones and traditional skinning methods.
One area that I expect to get very good in the next few years is the ability for NNs to generate motion data from a single video source, rather than dedicated capture systems. Researcher Michael Black and his team are already working on this kind of thing, and Iām guessing that very soon, the results will start to be as good or better than optical systems.
If this happens, itāll be an absolute game changer: Teams will be able to source their data from any video footage, so imagine the entire wealth of movies, TV, CCTV footage, peopleās home videos, etc. all being sources for mocap data. Moreover, depending on the fidelity of video footage, and the quality of the NN system, youāll likely be able to derive more than just skeletal data from this footage. Youāll eventually be able to estimate fingers, facial, muscle, subcutaneous layers, skin, etc: All things that are useful, and usable.
Long Term - The Incredible and Scary Future - Semantics
Some NNs are already able to derive semantic information from photos and video footage, and this is where things really start to get crazy. These systems are able to make accurate guesses about who and what are in images, what the relationships are, and so on. These types of systems are continuing to improve at a super-fast rate.
So say for example, you build an NN that can look at video footage and not only generate the motion of the person in the footage, but also accurately guess whether the person in the footage is male or female, guess how old they are, guess their ethnicity, maybe even guess their personality traits, their level of education, how wealthy they are, what type of job they do, what their political stance is, etc. Imagine that you then associate all that information with the generated motion, and then use that as part of the motion generation training data for the NN that generates animation on-the-fly.
So now you can set character traits as high-level goals for the system. So maybe your game director can simply say: Create me a character that moves like a 50 year old, overweight man, who is shy, and is recovering from an injured ankle: The system sets those parameters as part of itās goals, and so when it generates the motion it generates with those parameters in mind.
Iāve just been talking about animation so far, but the same advancement is happening in other game development disciplines, and so by this point, there will also be systems to generate faces, bodies, clothing, etc. and so these same parameters can be applied in those systems to generate character meshes that are also context appropriate.
So youāre now able to build any type of character just by asking.
Letās get more crazyā¦
What if you derive semantic understanding from scenes and places. For example: What if you use CCTV footage, along with the NN that analyzes people, to get a semantic understanding of city demographics. What type of people travel through what type of areas. What type of people live in what types of appartment buildings. What type of people drive vs use public transport. Which people go to Starbucks vs the artisinal local coffee chain. What type of people give money to the homeless, etc.
Now you feed this information into an NN that generates city neighborhoods, or whole cities, or whole continents full of cities. First, it generates a set of demographics, then it uses the character and animation NNs, to populate each city in appropriate ways.
So maybe now all the game director has to say is āMake me a city like London circa 1975ā, and as long as there are enough data sources for what a city like that should be like, the system will generate an appropriate city, with appropriate people, who have appropriate behaviour.
Want to get even crazierā¦
Maybe at this point the game director whoās asking for all of this, isnāt even a game director anymore; maybe itās just the player, asking directly for what they want.
āI want to play a game in the style of James Bond, but set it in the 1800s.ā
āI want to play a brand new Star Wars story, from the perspective of Chewbacca.ā
Eventually, we tie this in to devices that track emotional responses as the player is playing e.g. cameras that look at facial responses, or wearables like smart watches that track heart rate. Maybe you donāt even ask for a subject matter, maybe you say how you want to feel.
āI want to play an experience that makes me feel happy.ā
āI want to have an experience that gives me a sense of family and belonging.ā
āI want to experience a story that gives me the same sense of childish wonder as when I first read the Harry Potter books.ā
Maybe in the next step you donāt even ask the system for anything. Maybe the system scans you as soon as you enter your door, understands what mood youāre in, and generates a complimentary experience.
At this point you start to delve into philosophical questions about what it even is to be human and whether the human experience means anything, if youāre just having your every whim automatically appeased, so maybe I should leave things there.
So yeah, thatās my road-map for the crazy future of game animation and game development as a whole.
Oh also I guess at some point weāll get good full body IK.

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nyabby-chat replied to your post ātheres some like crazy parry mechanic goin on in sc6ā
sophitia did a low and this man mitsurugi blocked it standing; was that a thing in SCV?
i didnt play much scv but iirc guard impact repelled an attack no matter the height. otherwise no you have to block low to block a low attack
this doesnt look like that though. idk maybe this attack is special mid/low or something lmao
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Chun liās new dlc and quotes. The last two is her all punch lk and up alternate it brings her hair down. The last one I rotated some frames around to make it like like sheās giving the final kick instead of it being the first.
Animated a HUD, might have gotten a bit carried away while doing so.
Flynn: Son of Crimson is a 2D action platforming adventure with metroidvania elements, fluid combat and gorgeous pixel art animation that sees you attempting to battle a corruption from taking over the vibrant and colorful island of Rosantica.
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in case youre seeing this post in a context that isntĀ ābecause i follow your blogā, iām Shout, a freelance sprite artist, and i make anime-ass video game art and i can do other styles too i guess. i can do sprite art designed for video game developmentĀ and designed for standalone display by nondevelopers and ive been doing this shit for 3 years or so now
on a non-developer level (like, typical commissioning, basically) my rates start at 10USD for a from-scratch 32x sprite and then 5USD per extra frame for animations, but i am flexible and know that most peopleās needs wont suit that schemata so if youāre interested inquire within via tumblrās ask or chat features
on a developer level, i can do background art, background design, background animation, character art, character animation, character design, sketches, full color concepts, the works. if you pay me enough i could even just make your game for you. i would love that. anyway, developer rates are very similar to non-developer rates, 10USD for the first sprite and then 5USD for every frame afterward (but flexible, with discretion)
so heres the short of it
10~USD 32x32 character from scratch 5~USD 32x32 animation frame, static sprites, etc 20~USD character design
but iām flexible, so just contact me and we can make a deal
like seriously i wont bite i spent the first quarter of this blurb talking about anime
also if you have a game you want to make but arent a developer at all but do have money, speak up
ill do that. im serious
for small projects i can usually (developer and non-developer) provide a turnaround in a couple days but if a project will take some time iāll say something so nobody gets left up the proverbial paddle-creek
inquire within!
@Asscion on twitter
shout#6597 on discord
shoutscion at⦠here. asks and chat are both cool
you can also email me at [email protected] if thats your speed
lets make stuff happen
Castle s07e23

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Shake Shake! Itās time for Mischief Makers, a wild Treasure game for the Nintendo 64!
Here we have the Japanese cover for the game, and itās logo.
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Aināt no one fucks with old pennyworth.