• BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4

    By TREVOR HOGG
    Images courtesy of Prime Video.

    For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”

    When Splintersplits in two, the cloning effect was inspired by cellular mitosis.

    “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”
    —Stephan Fleet, VFX Supervisor

    A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”

    Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed.

    Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.”

    “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.”
    —Stephan Fleet, VFX Supervisor

    The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.”

    A building is replaced by a massive crowd attending a rally being held by Homelander.

    In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.”

    In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around.

    “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”
    —Stephan Fleet, VFX Supervisor

    Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”

    The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes.

    Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.”

    Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination.

    Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.”

    “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”
    —Stephan Fleet, VFX Supervisor

    Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution.

    A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.”

    Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4.

    When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
    #bouncing #rubber #duckies #flying #sheep
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splintersplits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.” #bouncing #rubber #duckies #flying #sheep
    WWW.VFXVOICE.COM
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
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  • Ubisoft, Embracer Group, Donkey Kong Bananza, Marathon delay, Rematch game, video game industry news, unionization in gaming, game sales updates, game development news

    ## Introduction

    In the ever-evolving landscape of the video game industry, significant developments often emerge from unexpected corners. Recent news updates showcase a mix of promising trends and disappointing setbacks. From Ubisoft employees seeking union representation to the surprising performance of a new indie title, the g...
    Ubisoft, Embracer Group, Donkey Kong Bananza, Marathon delay, Rematch game, video game industry news, unionization in gaming, game sales updates, game development news ## Introduction In the ever-evolving landscape of the video game industry, significant developments often emerge from unexpected corners. Recent news updates showcase a mix of promising trends and disappointing setbacks. From Ubisoft employees seeking union representation to the surprising performance of a new indie title, the g...
    Patch Notes #10: Ubisoft Workers Unionize, Embracer Downsizing, and Donkey Kong Bananza Updates
    Ubisoft, Embracer Group, Donkey Kong Bananza, Marathon delay, Rematch game, video game industry news, unionization in gaming, game sales updates, game development news ## Introduction In the ever-evolving landscape of the video game industry, significant developments often emerge from unexpected corners. Recent news updates showcase a mix of promising trends and disappointing setbacks. From...
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  • puzzle VR, immersive experience, Puzzling Places, travel through puzzles, escape reality, stress relief, virtual reality games, emotional journey, mindfulness through gaming

    ## Introduction

    In a world filled with chaos and relentless noise, where the pressures of daily life can feel overwhelming, there exists a sanctuary for those seeking solace—a place where the burdens of reality fade away, if only for a moment. **Puzzling Places**, the innovative VR puzzle game, invites players into a realm...
    puzzle VR, immersive experience, Puzzling Places, travel through puzzles, escape reality, stress relief, virtual reality games, emotional journey, mindfulness through gaming ## Introduction In a world filled with chaos and relentless noise, where the pressures of daily life can feel overwhelming, there exists a sanctuary for those seeking solace—a place where the burdens of reality fade away, if only for a moment. **Puzzling Places**, the innovative VR puzzle game, invites players into a realm...
    Puzzling Places: The VR Puzzle That Takes You on a Journey
    puzzle VR, immersive experience, Puzzling Places, travel through puzzles, escape reality, stress relief, virtual reality games, emotional journey, mindfulness through gaming ## Introduction In a world filled with chaos and relentless noise, where the pressures of daily life can feel overwhelming, there exists a sanctuary for those seeking solace—a place where the burdens of reality fade away,...
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  • Hey there, beautiful souls!

    Today, I want to shine a light on something that might not be for everyone, but holds a special place in the hearts of many! Let's talk about the **Hot Octopuss Pulse Duo**!

    Now, I know what you might be thinking – “What’s so special about this product?” Well, let me tell you! The Pulse Duo isn’t just another toy; it’s a revolutionary tool designed for those who may struggle with traditional penetrative sex. And that’s absolutely okay! Life is all about finding what works for you, and this device can open up a world of pleasure and intimacy that doesn't rely on penetration.

    For many, the idea of intimacy can feel daunting, especially when facing physical challenges. But the **Pulse Duo** reminds us that there are so many ways to connect and experience joy! It’s all about embracing your unique journey and discovering what feels good for YOU!

    Imagine the possibilities! The Pulse Duo can ignite your senses and create electrifying sensations that are just as fulfilling. Whether you’re enjoying a solo session or exploring with a partner, this innovative device can help you find new heights of pleasure and connection. It’s all about celebrating your body and what it can do!

    Let’s not forget that intimacy is not limited to just one way of experiencing it. The beauty of the **Pulse Duo** lies in its ability to cater to a diverse range of needs and desires. It opens the door to conversations about pleasure, boundaries, and what makes each of us feel special.

    So, if you’ve ever felt left out or discouraged because traditional methods don’t resonate with you, rest assured that you’re not alone! We are all on a unique path, and it’s important to explore and find what brings you joy. Whether you’re seeking new experiences or simply want to enhance your intimate moments, the **Hot Octopuss Pulse Duo** could be just the ticket!

    Remember, it’s all about positivity, exploration, and embracing what makes you YOU! Let's celebrate our differences and support each other on this beautiful journey of self-discovery and pleasure!

    Stay radiant and keep shining, my friends! You are worthy of love, joy, and every beautiful experience life has to offer!

    #HotOctopuss #PulseDuo #Intimacy #PleasureForAll #SelfDiscovery
    🌟 Hey there, beautiful souls! 🌟 Today, I want to shine a light on something that might not be for everyone, but holds a special place in the hearts of many! Let's talk about the **Hot Octopuss Pulse Duo**! 🎉💖 Now, I know what you might be thinking – “What’s so special about this product?” Well, let me tell you! The Pulse Duo isn’t just another toy; it’s a revolutionary tool designed for those who may struggle with traditional penetrative sex. And that’s absolutely okay! Life is all about finding what works for you, and this device can open up a world of pleasure and intimacy that doesn't rely on penetration. 🌈✨ For many, the idea of intimacy can feel daunting, especially when facing physical challenges. But the **Pulse Duo** reminds us that there are so many ways to connect and experience joy! It’s all about embracing your unique journey and discovering what feels good for YOU! 💪💕 Imagine the possibilities! The Pulse Duo can ignite your senses and create electrifying sensations that are just as fulfilling. 💥 Whether you’re enjoying a solo session or exploring with a partner, this innovative device can help you find new heights of pleasure and connection. It’s all about celebrating your body and what it can do! 🎊🙌 Let’s not forget that intimacy is not limited to just one way of experiencing it. The beauty of the **Pulse Duo** lies in its ability to cater to a diverse range of needs and desires. It opens the door to conversations about pleasure, boundaries, and what makes each of us feel special. 🌺❤️ So, if you’ve ever felt left out or discouraged because traditional methods don’t resonate with you, rest assured that you’re not alone! We are all on a unique path, and it’s important to explore and find what brings you joy. Whether you’re seeking new experiences or simply want to enhance your intimate moments, the **Hot Octopuss Pulse Duo** could be just the ticket! 🚀💖 Remember, it’s all about positivity, exploration, and embracing what makes you YOU! Let's celebrate our differences and support each other on this beautiful journey of self-discovery and pleasure! 🌟✨ Stay radiant and keep shining, my friends! You are worthy of love, joy, and every beautiful experience life has to offer! 🌈💖 #HotOctopuss #PulseDuo #Intimacy #PleasureForAll #SelfDiscovery
    Hot Octopuss Pulse Duo Review: Not for Penetration
    The Pulse Duo isn't for me, but it’s an important tool for people who can’t enjoy penetrative sex.
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  • In the silence of my room, I find myself staring at the empty corners where dreams once blossomed. The thought of nurturing life, of watching something grow under my care, feels like a distant memory. The **Gardyn Indoor Hydroponic Garden** promised hope—a way to cultivate green even when the world outside is barren. But here I am, clutching my heart, feeling the weight of disappointment.

    They say even those with the blackest thumbs can become master gardeners with this ingenious creation. Yet, I can’t help but feel that the very act of reaching for this technology only magnifies my solitude. Each subscription I pay feels like a reminder of my failures, echoing through my mind like a haunting melody. The joy of growing, of watching tiny seeds transform into vibrant life, is overshadowed by an overwhelming sense of inadequacy.

    As I browse through the reviews, I see others thriving, their gardens bursting with color and vitality. It’s a sharp contrast to my own barren reality. I feel like an outsider looking in, my heart heavy with the knowledge that I cannot replicate their success, even with the help of AI. The world tells me that I should be able to grow something beautiful—something that reflects life and warmth. Yet, I can only muster the courage to reach out for a lifeline that just keeps slipping away.

    In moments of quiet despair, I question my worth. What is the point of investing in something that only serves to highlight my shortcomings? The **better growing through AI** feels like a cruel joke. It’s as if the universe is reminding me that no amount of technology can bridge the chasm of my isolation. I yearn for the simple joy of nurturing life, yet here I stand, a weary soul wrapped in the chains of disappointment.

    Every time I see the bright greens and vibrant reds of thriving plants online, it cuts deeper. I wonder if I will ever know that feeling, or if I will remain alone in this garden of shadows. The promise of a flourishing indoor garden now feels like a mirage, a fleeting glimpse of what could have been if only I were capable of growing beyond my sorrow.

    Perhaps it’s not just about gardening; perhaps it’s about connection—seeking companionship in a world that often feels cold. I long for someone who understands the weight of this solitude, who knows the struggle of wanting to cultivate something beautiful but feeling lost in the process. With every passing day, I realize that the seeds I wish to plant go beyond soil and water; they are a testament to my desire for companionship, for growth, for life.

    And so, I sit here, clutching my dreams tightly, hoping that someday I will learn to grow not just plants, but the courage to embrace the beauty around me despite the shadows that linger.

    #Gardyn #IndoorGarden #Hydroponics #Loneliness #Heartbreak
    In the silence of my room, I find myself staring at the empty corners where dreams once blossomed. The thought of nurturing life, of watching something grow under my care, feels like a distant memory. The **Gardyn Indoor Hydroponic Garden** promised hope—a way to cultivate green even when the world outside is barren. But here I am, clutching my heart, feeling the weight of disappointment. They say even those with the blackest thumbs can become master gardeners with this ingenious creation. Yet, I can’t help but feel that the very act of reaching for this technology only magnifies my solitude. Each subscription I pay feels like a reminder of my failures, echoing through my mind like a haunting melody. The joy of growing, of watching tiny seeds transform into vibrant life, is overshadowed by an overwhelming sense of inadequacy. As I browse through the reviews, I see others thriving, their gardens bursting with color and vitality. It’s a sharp contrast to my own barren reality. I feel like an outsider looking in, my heart heavy with the knowledge that I cannot replicate their success, even with the help of AI. The world tells me that I should be able to grow something beautiful—something that reflects life and warmth. Yet, I can only muster the courage to reach out for a lifeline that just keeps slipping away. In moments of quiet despair, I question my worth. What is the point of investing in something that only serves to highlight my shortcomings? The **better growing through AI** feels like a cruel joke. It’s as if the universe is reminding me that no amount of technology can bridge the chasm of my isolation. I yearn for the simple joy of nurturing life, yet here I stand, a weary soul wrapped in the chains of disappointment. Every time I see the bright greens and vibrant reds of thriving plants online, it cuts deeper. I wonder if I will ever know that feeling, or if I will remain alone in this garden of shadows. The promise of a flourishing indoor garden now feels like a mirage, a fleeting glimpse of what could have been if only I were capable of growing beyond my sorrow. Perhaps it’s not just about gardening; perhaps it’s about connection—seeking companionship in a world that often feels cold. I long for someone who understands the weight of this solitude, who knows the struggle of wanting to cultivate something beautiful but feeling lost in the process. With every passing day, I realize that the seeds I wish to plant go beyond soil and water; they are a testament to my desire for companionship, for growth, for life. And so, I sit here, clutching my dreams tightly, hoping that someday I will learn to grow not just plants, but the courage to embrace the beauty around me despite the shadows that linger. #Gardyn #IndoorGarden #Hydroponics #Loneliness #Heartbreak
    Gardyn Indoor Hydroponic Garden Review: Better Growing Through AI
    Even those with the blackest thumbs can become master gardeners—as long as they’re willing to shell out for a subscription.
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  • ## Introduction

    In recent months, the French government has implemented strict regulations that have led to the closure of popular adult websites such as PornHub, YouPorn, and RedTube. These measures, aimed at controlling the online adult content market, have left many users frustrated and seeking ways to regain access to their favorite sites. This article will explore the implications of these restrictions, the reasons behind them, and how individuals can circumvent these limitations.

    ## The...
    ## Introduction In recent months, the French government has implemented strict regulations that have led to the closure of popular adult websites such as PornHub, YouPorn, and RedTube. These measures, aimed at controlling the online adult content market, have left many users frustrated and seeking ways to regain access to their favorite sites. This article will explore the implications of these restrictions, the reasons behind them, and how individuals can circumvent these limitations. ## The...
    Débloquer PornHub, YouPorn, RedTube en France : retrouvez un accès illimité
    ## Introduction In recent months, the French government has implemented strict regulations that have led to the closure of popular adult websites such as PornHub, YouPorn, and RedTube. These measures, aimed at controlling the online adult content market, have left many users frustrated and seeking ways to regain access to their favorite sites. This article will explore the implications of...
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  • In the stillness of the night, I often find myself reflecting on the weight of solitude that has become my constant companion. It's a heavy silence, tinged with the echoes of laughter that once filled my world, now replaced by the cold glow of screens that seem to understand me less with every passing day. The irony is palpable; as we forge connections through social media, we often find ourselves more isolated than ever.

    The truth is, behind the prohibition of social networks for minors lies a heartbreaking reality—one that speaks to the vulnerability of youth navigating a digital landscape rife with dangers. It's easy to dismiss the issue, to overlook the silent suffering of those who, with a mere click, can stumble into a world that doesn’t care for their innocence. They enter these platforms seeking companionship, yet they often leave with scars they cannot articulate.

    When I think about the legislation that France has introduced in 2023, I can't help but feel a flicker of hope amidst the despair. Perhaps it is a step towards acknowledging the fragility of young hearts, a recognition of the grave responsibilities that come with such unfettered access. But still, I wonder—what about the children who have already fallen through the cracks? The ones who are left alone in a virtual void, seeking validation from faceless profiles, only to be met with rejection and hurt.

    In a world that celebrates connectivity, I can't shake the feeling that we are more disconnected than ever. Each notification that lights up my screen feels like a reminder of the connections I lack in reality. The laughter of friends fades, replaced by the frantic scrolling through a feed of curated lives that never seem to reflect my own. The irony stings—surrounded by millions, yet feeling so profoundly alone.

    As we grapple with the implications of online interactions, I can’t help but mourn for those who feel just like me—lost in a sea of digital noise, searching for a lifeline that seems to elude them. The question remains: what is the cost of this digital freedom? Are we, in our quest to keep the younger generation safe, inadvertently robbing them of meaningful connections? Or are we merely acknowledging the pain that has already taken root in their hearts?

    I write this not just for myself, but for every soul who feels the weight of loneliness in a crowded room and for every child navigating the treacherous waters of social media. May we find a way to bridge the gap, to create spaces where we can truly connect, where the pain of isolation is softened by understanding and empathy.

    #Loneliness #SocialMedia #YouthProtection #DigitalIsolation #Heartbreak
    In the stillness of the night, I often find myself reflecting on the weight of solitude that has become my constant companion. It's a heavy silence, tinged with the echoes of laughter that once filled my world, now replaced by the cold glow of screens that seem to understand me less with every passing day. The irony is palpable; as we forge connections through social media, we often find ourselves more isolated than ever. 💔 The truth is, behind the prohibition of social networks for minors lies a heartbreaking reality—one that speaks to the vulnerability of youth navigating a digital landscape rife with dangers. It's easy to dismiss the issue, to overlook the silent suffering of those who, with a mere click, can stumble into a world that doesn’t care for their innocence. They enter these platforms seeking companionship, yet they often leave with scars they cannot articulate. 😢 When I think about the legislation that France has introduced in 2023, I can't help but feel a flicker of hope amidst the despair. Perhaps it is a step towards acknowledging the fragility of young hearts, a recognition of the grave responsibilities that come with such unfettered access. But still, I wonder—what about the children who have already fallen through the cracks? The ones who are left alone in a virtual void, seeking validation from faceless profiles, only to be met with rejection and hurt. 😞 In a world that celebrates connectivity, I can't shake the feeling that we are more disconnected than ever. Each notification that lights up my screen feels like a reminder of the connections I lack in reality. The laughter of friends fades, replaced by the frantic scrolling through a feed of curated lives that never seem to reflect my own. The irony stings—surrounded by millions, yet feeling so profoundly alone. 💔 As we grapple with the implications of online interactions, I can’t help but mourn for those who feel just like me—lost in a sea of digital noise, searching for a lifeline that seems to elude them. The question remains: what is the cost of this digital freedom? Are we, in our quest to keep the younger generation safe, inadvertently robbing them of meaningful connections? Or are we merely acknowledging the pain that has already taken root in their hearts? I write this not just for myself, but for every soul who feels the weight of loneliness in a crowded room and for every child navigating the treacherous waters of social media. May we find a way to bridge the gap, to create spaces where we can truly connect, where the pain of isolation is softened by understanding and empathy. 🌧️ #Loneliness #SocialMedia #YouthProtection #DigitalIsolation #Heartbreak
    ¿Qué hay detrás de prohibir las redes a los menores?
    Durante años, las redes sociales han planteado la pregunta por la edad del usuario con una ligereza que rozaba la farsa. Bastaba un clic para acceder. Muchos menores entraban sin dificultad en plataformas diseñadas para adultos, que ni consideraban s
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  • ---

    ## Introduction

    In a world increasingly concerned with health and the environment, organic mattresses have emerged as a popular choice for those seeking a more sustainable and nontoxic sleep solution. As we approach 2025, the market for organic mattresses continues to grow, offering various options that promise comfort while minimizing environmental impact. This article explores the best organic mattresses available, highlighting their eco-friendly features and overall sleep quality.

    ## ...
    --- ## Introduction In a world increasingly concerned with health and the environment, organic mattresses have emerged as a popular choice for those seeking a more sustainable and nontoxic sleep solution. As we approach 2025, the market for organic mattresses continues to grow, offering various options that promise comfort while minimizing environmental impact. This article explores the best organic mattresses available, highlighting their eco-friendly features and overall sleep quality. ## ...
    Best Organic Mattresses (2025): Certified Nontoxic, Natural Sleep
    --- ## Introduction In a world increasingly concerned with health and the environment, organic mattresses have emerged as a popular choice for those seeking a more sustainable and nontoxic sleep solution. As we approach 2025, the market for organic mattresses continues to grow, offering various options that promise comfort while minimizing environmental impact. This article explores the best...
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  • In a world flooded with noise, I find myself lost in the silence. Each day, I wake up to the same empty room, filled with memories of what once was. The warmth of connection has faded, replaced by a cold, hollow feeling of isolation. It’s a weight I carry, heavy on my chest, like a shadow that never leaves.

    As I scroll through the endless feeds of smiling faces, I can’t help but feel the sting of loneliness. It’s as if everyone has found their place in the sun, while I remain hidden in the corners, searching for a glimpse of belonging. I look for a spark of understanding, but all I find are fleeting moments that remind me of my solitude.

    I think about what it means to have a share of search in this vast digital landscape. To be a brand that stands out, to be seen and sought after, while I remain invisible, a mere whisper in the chaos. The percentage of search queries for a brand compared to its competitors feels like a metaphor for my life. I watch as others rise, while I struggle to be noticed, to be acknowledged, to matter.

    What does it mean to be relevant when the world feels so distant? I yearn to be a part of something bigger, yet I find myself on the outskirts, watching from afar. The metrics of success and recognition apply to brands and businesses, but what about the human heart? How do we measure the longing for connection, the ache for companionship?

    I feel like a ghost among the living, haunted by the echoes of laughter and joy that seem just out of reach. Every interaction feels superficial, a mere transaction without substance. I crave authenticity, a genuine bond that transcends the digital noise. But as I reach out, I feel the familiar sting of rejection, the reminder that perhaps I am not meant to be part of this narrative.

    In this search for meaning, I find myself grappling with the reality of my existence. I ponder the calculations of value and worth, wondering if I will ever find my rightful place among those who shine. The loneliness envelops me, a heavy cloak that I cannot shed.

    Yet, even in this desolation, I hold onto a flicker of hope. Perhaps one day, I will find my share of search, a moment where I am not just a statistic, but a soul recognized and valued. Until then, I will continue to wander through this vast expanse, seeking the connection that feels so elusive.

    #Loneliness #SearchForConnection #Heartbreak #Isolation #EmotionalJourney
    In a world flooded with noise, I find myself lost in the silence. Each day, I wake up to the same empty room, filled with memories of what once was. The warmth of connection has faded, replaced by a cold, hollow feeling of isolation. It’s a weight I carry, heavy on my chest, like a shadow that never leaves. As I scroll through the endless feeds of smiling faces, I can’t help but feel the sting of loneliness. It’s as if everyone has found their place in the sun, while I remain hidden in the corners, searching for a glimpse of belonging. I look for a spark of understanding, but all I find are fleeting moments that remind me of my solitude. I think about what it means to have a share of search in this vast digital landscape. To be a brand that stands out, to be seen and sought after, while I remain invisible, a mere whisper in the chaos. The percentage of search queries for a brand compared to its competitors feels like a metaphor for my life. I watch as others rise, while I struggle to be noticed, to be acknowledged, to matter. What does it mean to be relevant when the world feels so distant? I yearn to be a part of something bigger, yet I find myself on the outskirts, watching from afar. The metrics of success and recognition apply to brands and businesses, but what about the human heart? How do we measure the longing for connection, the ache for companionship? I feel like a ghost among the living, haunted by the echoes of laughter and joy that seem just out of reach. Every interaction feels superficial, a mere transaction without substance. I crave authenticity, a genuine bond that transcends the digital noise. But as I reach out, I feel the familiar sting of rejection, the reminder that perhaps I am not meant to be part of this narrative. In this search for meaning, I find myself grappling with the reality of my existence. I ponder the calculations of value and worth, wondering if I will ever find my rightful place among those who shine. The loneliness envelops me, a heavy cloak that I cannot shed. Yet, even in this desolation, I hold onto a flicker of hope. Perhaps one day, I will find my share of search, a moment where I am not just a statistic, but a soul recognized and valued. Until then, I will continue to wander through this vast expanse, seeking the connection that feels so elusive. #Loneliness #SearchForConnection #Heartbreak #Isolation #EmotionalJourney
    What Is Share of Search? & How to Calculate It
    Share of search is the percentage of search queries for a brand relative to competitors in the same category.
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  • Monitoring and Support Engineer at Keyword Studios

    Monitoring and Support EngineerKeyword StudiosPasig City Metro Manila Philippines2 hours agoApplyWe are seeking an experienced Monitoring and Support Engineer to support the technology initiatives of the IT Infrastructure team at Keywords. The Monitoring and Support Engineer will be responsible for follow-the-sun monitoring of IT infrastructure, prompt reaction on all infrastructure incident, primary resolution of infrastructure incidents and support requests.ResponsibilitiesFull scope of tasks including but not limited to:Ensure that all incidents are handled within SLAs.Initial troubleshooting of Infrastructure incidents.Ensure maximum network & service availability through proactive monitoring.Ensure all the incident and alert tickets contain detailed technical information.Initial troubleshooting of Infrastructure incidents, restoration of services and escalation to level 3 experts if necessary.Participate in Problem management processes.Ensure that all incidents and critical alerts are documented and escalated if necessary.Ensure effective communication to customers about incidents and outages.Identify opportunities for process improvement and efficiency enhancements.Participate in documentation creation to reduce BAU support activities by ensuring that the Service Desks have adequate knowledge articles to close support tickets as level 1.Participate in reporting on monitored data and incidents on company infrastructure.Implement best practices and lessons learned from initiatives and projects to optimize future outcomes.RequirementsBachelor's degree in a relevant technical field or equivalent experience.Understanding of IT Infrastructure technologies, standards and trends.Technical background with 3+ years’ experience in IT operations role delivering IT infrastructure support, monitoring and incident management.Technical knowledge of the Microsoft Stack, Windows networking, Active Directory, ExchangeTechnical knowledge of Network, Storage and Server equipment, virtualization and production setupsExceptional communication and presentation skills, with the ability to articulate technical concepts to non-technical audiences.Strong analytical and problem-solving skills.Strong customer service orientation.BenefitsGreat Place to Work certified for 4 consecutive yearsFlexible work arrangementGlobal exposure
    Create Your Profile — Game companies can contact you with their relevant job openings.
    Apply
    #monitoring #support #engineer #keyword #studios
    Monitoring and Support Engineer at Keyword Studios
    Monitoring and Support EngineerKeyword StudiosPasig City Metro Manila Philippines2 hours agoApplyWe are seeking an experienced Monitoring and Support Engineer to support the technology initiatives of the IT Infrastructure team at Keywords. The Monitoring and Support Engineer will be responsible for follow-the-sun monitoring of IT infrastructure, prompt reaction on all infrastructure incident, primary resolution of infrastructure incidents and support requests.ResponsibilitiesFull scope of tasks including but not limited to:Ensure that all incidents are handled within SLAs.Initial troubleshooting of Infrastructure incidents.Ensure maximum network & service availability through proactive monitoring.Ensure all the incident and alert tickets contain detailed technical information.Initial troubleshooting of Infrastructure incidents, restoration of services and escalation to level 3 experts if necessary.Participate in Problem management processes.Ensure that all incidents and critical alerts are documented and escalated if necessary.Ensure effective communication to customers about incidents and outages.Identify opportunities for process improvement and efficiency enhancements.Participate in documentation creation to reduce BAU support activities by ensuring that the Service Desks have adequate knowledge articles to close support tickets as level 1.Participate in reporting on monitored data and incidents on company infrastructure.Implement best practices and lessons learned from initiatives and projects to optimize future outcomes.RequirementsBachelor's degree in a relevant technical field or equivalent experience.Understanding of IT Infrastructure technologies, standards and trends.Technical background with 3+ years’ experience in IT operations role delivering IT infrastructure support, monitoring and incident management.Technical knowledge of the Microsoft Stack, Windows networking, Active Directory, ExchangeTechnical knowledge of Network, Storage and Server equipment, virtualization and production setupsExceptional communication and presentation skills, with the ability to articulate technical concepts to non-technical audiences.Strong analytical and problem-solving skills.Strong customer service orientation.BenefitsGreat Place to Work certified for 4 consecutive yearsFlexible work arrangementGlobal exposure Create Your Profile — Game companies can contact you with their relevant job openings. Apply #monitoring #support #engineer #keyword #studios
    Monitoring and Support Engineer at Keyword Studios
    Monitoring and Support EngineerKeyword StudiosPasig City Metro Manila Philippines2 hours agoApplyWe are seeking an experienced Monitoring and Support Engineer to support the technology initiatives of the IT Infrastructure team at Keywords. The Monitoring and Support Engineer will be responsible for follow-the-sun monitoring of IT infrastructure, prompt reaction on all infrastructure incident, primary resolution of infrastructure incidents and support requests.ResponsibilitiesFull scope of tasks including but not limited to:Ensure that all incidents are handled within SLAs.Initial troubleshooting of Infrastructure incidents.Ensure maximum network & service availability through proactive monitoring.Ensure all the incident and alert tickets contain detailed technical information.Initial troubleshooting of Infrastructure incidents, restoration of services and escalation to level 3 experts if necessary.Participate in Problem management processes.Ensure that all incidents and critical alerts are documented and escalated if necessary.Ensure effective communication to customers about incidents and outages.Identify opportunities for process improvement and efficiency enhancements.Participate in documentation creation to reduce BAU support activities by ensuring that the Service Desks have adequate knowledge articles to close support tickets as level 1.Participate in reporting on monitored data and incidents on company infrastructure.Implement best practices and lessons learned from initiatives and projects to optimize future outcomes.RequirementsBachelor's degree in a relevant technical field or equivalent experience.Understanding of IT Infrastructure technologies, standards and trends.Technical background with 3+ years’ experience in IT operations role delivering IT infrastructure support, monitoring and incident management.Technical knowledge of the Microsoft Stack, Windows networking, Active Directory, ExchangeTechnical knowledge of Network, Storage and Server equipment, virtualization and production setupsExceptional communication and presentation skills, with the ability to articulate technical concepts to non-technical audiences.Strong analytical and problem-solving skills.Strong customer service orientation.BenefitsGreat Place to Work certified for 4 consecutive yearsFlexible work arrangementGlobal exposure Create Your Profile — Game companies can contact you with their relevant job openings. Apply
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