Longest comment gets pinned

[stud_S]

Similar to his Toon Counterpart, Twisted Cosmo is a brown pastry resembling a roll cake. He has white icing drizzled in a squiggly pattern on top of his head, paired with his cyan, pink, and lime star-shaped sprinkles on his face, appearing like freckles. The right half of his face is covered in Ichor, and he has red sclera, black irises, and red pupils. Twisted Cosmo seems to be crying ichor while having a frown, with sharp teeth showing. He wears a white, sleeveless hoodie with black drawstrings and a white hemming on the bottom. His right arm and hand are covered in ichor, with claws forming on his hand, and he has striped socks the same color as his sprinkles that completely cover his legs.
Strategies

Since Twisted Cosmo behaves similarly to Twisted Poppy and Twisted Boxten, he has no special mechanic, so the strategy for Twisted Cosmo is similar to the latter. Generally, avoid his line of sight, preserve Stamina in case he sneak attacks from around corners, and avoid dead ends to not get hit or killed. It is also worth noting that he is more difficult to see in Blackouts, so you should be more cautious if he spawns in a Blackout floor.
Trivia

His Trinket is a reference to the candy of the same name.
He and Twisted Sprout have matching Ichor patterns, as confirmed on the Discord by Qwelver.[1]
Twisted Cosmo has Ichor on his right eye and arm, and Twisted Sprout has Ichor everywhere but his right eye and arm.
Twisted Cosmo's eyes currently have the most rings of any Twisted, that being 5.
Twisted Cosmo was thought to have a slightly faster Speed than Twisted Poppy and Twisted Boxten. This, however, is not the case, having both his Roaming Speed and Chase Speed matching both Twisted Poppy and Twisted Boxten.
Twisted Cosmo

[kirsteneunicesapalo]

We did not find results for: Grass is a plant with narrow leaves growing from the base. A common kind of grass is used to cover the ground in a lawn and other places. Grass gets water from the roots in the ground. Grass is usually pigmented with the colour ‘green’. Grasses are monocotyledon, herbaceous plants.The grasses include the "grass", of the family Poaceae (also called Gramineae). Also sometimes it is used to include the sedges (Cyperaceae) and the rushes (Juncaceae). These three families are not closely related but belong to different clades in the order Poales. They are similar adaptations to a common life-style.The true grasses include cereals, bamboo and the grasses of lawns (turf) and grassland. Uses for graminoids include food (as grain, sprouted grain, shoots or rhizomes), drink (beer, whisky), pasture for livestock, thatching thatch, paper, fuel, clothing, insulation, construction, sports turf, basket weaving and many others.Many grasses are short, but some grasses, like bamboo can grow very tall. Plants from the grass family can grow in many places, even if they are very cold or very dry. Several other plants that look similar but are not members of the grass family are also sometimes called grass; these include rushes, reeds, papyrus, and water chestnut.Grasses are an important food for many animals, like deer, buffalo, cattle, mice, grasshoppers, caterpillars, and many other grazers. Unlike other plants, grasses grow from the bottom, so when animals eat grass they usually do not destroy the part that grows. Without grass, dirt can wash away into rivers (erosion). Graminoids include some of the most versatile plant life-forms. They became widespread toward the end of the Cretaceous. Fossilized dinosaur dung (coprolites) have been found containing grass phytoliths (silica stones inside grass leaves). Grasses have adapted to conditions in lush rain forests, dry deserts, cold mountains and even intertidal habitats, and are now the most widespread plant type. Grass is a valuable source of food and energy for many animals.Lawn grass is often planted on sports fields and in the area around a building. Sometimes chemicals and water is used to help lawns to grow.People have used grasses for a long time. People eat parts of grasses. Corn, wheat, barley, oats, rice and millet are cereals, common grains whose seeds are used for food and to make alcohol such as beer.Sugar comes from sugar cane, which is also a plant in the grass family. People have grown grasses as food for farm animals for about 4, 000 years. People use bamboo to build houses, fences, furniture and other things. Grass plants can also be used as fuel, to cover roofs, and to weave baskets. n English, the word "grass" appears in several phrases. For example: "The grass is always greener on the other side" means "people are never happy with what they have and want something else." "Don't let the grass grow under your feet" means "Do something". "A snake in the grass" is about a person that will not be honest and will trick others.Grass is sometimes used as a slang term for cannabis (also called pot, weed, or marijuana) The Grass type (Japanese: くさタイプ Grass type) is one of the eighteen types. Prior to changes in Generation IV, all damaging Grass-type moves were special, but they may now also be physical depending on the attack. Grass-type Pokémon are immune to Leech Seed. Grass-type Pokémon are immune to Leech Seed Starting in Generation VI, Grass-type Pokémon are immune to powder and spore moves and Effect Spore.Grass types are tied with Rock in having the most weaknesses out of all types with five. Since Generation I, a particular asset of Grass types is being the only type that is immune to Leech Seed. As of Generation VI, Grass-type Pokémon are also immune to powder and spore moves, such as Sleep Powder and Stun Spore. Additionally, Grass Pokémon are the only ones affected by Rototiller and Flower Shield. Those moves raise both attack stats or the physical Defense stat, respectively, when used. Forest's Curse adds the Grass type to the target's types. Grass-type attacks are resisted by seven types, so they're tied with Bug as the most resisted type. Those resistant types are best covered by Rock and Ground. As of Generation VI, Dark and Ghost have neutral matchups against every type that resists Grass. When Grassy Terrain is in the effect, the power of Grass-type moves is increased by 30% (50% prior to Generation VIII) if the user is on the ground.Contest properties In contests, Grass-type moves are typically Clever moves, but can also be any of the other four contest conditions. As of Generation VIII, there are 112 Grass-type Pokémon or 12.27% of all Pokémon (counting those that are Grass-type in at least one of their forms), making it the third most common type after Normal and before Flying.A Pokémon with Protean or Libero will become a Grass-type Pokémon if it uses a Grass-type move. A Pokémon with Color Change, Imposter, Mimicry, RKS System, or Multitype will become a Grass-type Pokémon if (respectively) it is hit with a Grass-type move, is sent out against a Grass-type opponent, if the terrain is grassy, if it is holding a Grass Memory, or if it is holding a Meadow Plate or Grassium Z. Since Generation VI, Grass-type Pokémon are also immune to Effect Spore; Only Grass-type Pokémon can have these Abilities. This does not include signature Abilities.Due to the decreased amount of types in the TCG, Grass generally adopts all Bug-type Pokémon under its typing. It also adopted Poison-type Pokémon prior to the Diamond & Pearl set, after which they were moved to Psychic. Similar to the games, Grass-type Pokémon in the TCG are generally weak to Fire and resist Water.Grass-type Pokémon are strong against Fighting and Water Pokémon, whilst Metal Pokémon resisted it until the EX Power Keepers expansion set. Generation V introduced the most Grass-type Pokémon of any generation, with 21 (including Rotom's Mow form), and Generation VI introduced the fewest Grass-type Pokémon, with nine. Generation I introduced the most Grass-type moves of any generation, with 10, and Generation II introduced the fewest Grass-type moves, with three.The Grass type and/or Pokémon of the type have been referred to using the term "plant" instead on some occasions: In the English Generation I games, the Gym guide in Cerulean Gym refers to Pokémon of the Grass type as "plant Pokémon". In the English versions of Pokémon FireRed and LeafGreen, he instead mentions "Grass-type Pokémon". In the Japanese versions of the Generation I games and FireRed and LeafGreen, he mentions the Grass type itself, calling it the "Plant type" (Japanese: しょくぶつタイプ). Another reference to "plant Pokémon" (Japanese: しょくぶつポケモン) is made by Professor Oak in the Japanese Pokémon Red, Green, and Blue, and international Pokémon Red and Blue, classifying Bulbasaur as such when the player is about to choose it as their starter. This is also the case in the Japanese versions of Pokémon FireRed and LeafGreen; in contrast, he calls it the "grass Pokémon" in the English versions. This same reference is also used in the first episode of Pokémon Origins.In multiple languages, such as French and German, the Grass type is translated as the Plant type. The Turkish dub of the anime occasionally refers to "Grass type" as "Plant type". The Grass type has the most Pokémon that evolve by Evolution stones, with a total of 11. It is also the type that can utilize the most stones, having at least one Pokémon that can evolve via the Leaf Stone, Sun Stone, Water Stone, and Shiny Stone.The Grass type is the only type to have more than one HP-draining move, having five of them. Grass-type attacks deal doubly super-effective damage to the most Pokémon of all types. Grass-type attacks are super effective against the three types that Fire types are weak to. Fire is the only type that hasn't been paired with Grass. In Tree's a Crowd, Brock states that Grass-type Pokémon resist Electric-type moves due to being able to diffuse the electricity into trees and the ground. He also explains that if Grass types are in the air, they cannot diffuse the electricity from Electric attacks, thereby dealing normally effective damage.Now that you have read this much about grass, maybe you should go and touch some...1Reply. OOF

[RogueFishSticks]

Grass, often overlooked in its simplicity, is one of the most extraordinary and widespread forms of plant life on Earth, playing a crucial role in shaping ecosystems, supporting biodiversity, and influencing human culture and survival in countless ways. Encompassing over 10, 000 species in the family Poaceae, grasses are found in nearly every corner of the globe, from the frostbitten tundras at the edges of the Arctic Circle to the sweltering savannas of Africa, the temperate prairies of North America, the lush rice paddies of Southeast Asia, and even atop wind-swept dunes and volcanic slopes. This adaptability stems from grasses’ unique evolutionary traits, particularly their basal meristems, which allow them to grow back quickly after being grazed, burned, or mowed, making them essential for ecosystems that experience frequent disturbances. Grasslands, which span approximately one-third of the planet’s land area, are among the most productive ecosystems on Earth, serving as home to vast numbers of species and supporting intricate food webs. Large herbivores such as elephants, antelope, bison, and wildebeest depend on grass as their primary food source, as do smaller grazers like rabbits, insects, and birds, creating a dynamic balance that sustains predators and scavengers further up the food chain. Grasses also act as critical carbon sinks, sequestering large amounts of carbon dioxide in their deep and sprawling root systems, which not only mitigate the effects of climate change but also help stabilize the soil, reducing erosion and maintaining the fertility of agricultural lands. This is particularly significant in regions prone to desertification, where grass restoration projects are employed to reclaim degraded lands and prevent further environmental decline.

Grass’s relationship with humanity dates back thousands of years, as our ancestors domesticated grass species to create the grains that form the foundation of agriculture and civilization itself. Crops such as wheat, rice, corn, barley, and oats—all members of the grass family—have fed billions of people over millennia and continue to be staple foods across the world. These grains fuel economies, shape cultural cuisines, and have even been central to the rise and fall of empires, highlighting the profound influence of grass on human history. Beyond agriculture, grass has played a symbolic role in art, literature, and spirituality, often representing themes of resilience, growth, and renewal. Walt Whitman famously celebrated grass in his poetry as a metaphor for life’s cycles and a connection to the universal experience of humanity. On a more practical level, grasses have become an integral part of modern landscapes, from manicured lawns in suburban neighborhoods to sprawling sports fields and golf courses, where their resilience and ability to regenerate after wear make them indispensable. Yet, these uses are not without controversy, as maintaining lush, green grass in non-native areas often requires excessive water, fertilizer, and chemical inputs, raising concerns about environmental sustainability and the strain on freshwater resources.

In wild settings, native grasses perform a range of ecosystem services, including filtering water through their root systems, supporting pollinators by serving as habitats for insects, and maintaining local biodiversity by providing food and shelter for countless species. Some grasses, like bamboo, a giant member of the Poaceae family, are versatile materials for construction, furniture, and crafts, while others like sugarcane contribute to industries ranging from food production to biofuels. As climate change intensifies, grasses are increasingly being studied for their potential to adapt to extreme conditions, with scientists working to develop drought-resistant and salt-tolerant varieties that can withstand the challenges of a warming planet. Grasslands also play a critical role in fire ecology, with certain grass species adapted to not only survive periodic wildfires but also thrive because of them, helping to rejuvenate the soil and promote biodiversity in fire-prone regions.

Despite their ubiquity, grasses often go unnoticed in everyday life, yet they are ever-present in our memories and experiences, forming the backdrop to childhood play, summer picnics, and contemplative moments of solitude. Grass embodies a sense of familiarity and continuity, growing in urban parks, rural pastures, and untamed wilderness alike, connecting humans to the broader natural world. Even in death, grasses contribute to the cycle of life, decomposing to enrich the soil and fuel new growth. Their blades, slender and unassuming, collectively sway in the wind with an almost meditative rhythm, a testament to the quiet persistence of life on Earth. And while a single blade of grass may seem insignificant, the collective impact of grass species across the globe is immense, shaping climates, landscapes, and the very foundation of life as we know it. From the Serengeti’s sweeping plains to the backyard gardens of millions, grass serves as a bridge between the wild and the cultivated, the ancient and the modern, standing as both a symbol and a substance essential to life on this planet. Whether viewed as a crop, a habitat, a cultural icon, or an environmental ally, grass reminds us of the resilience and interconnectedness of nature, quietly thriving underfoot while sustaining the intricate web of life that stretches across the Earth’s surface.

[Psycho-]

Cats are small, domesticated mammals known scientifically as Felis catus. They are one of the most popular pets worldwide due to their independent nature, playful behavior, and companionship. Cats are members of the Felidae family, which also includes larger wild cats like lions, tigers, and leopards.

Here are some key facts about cats:

Physical Characteristics: Cats typically have sharp retractable claws, keen eyesight (especially in low light), and strong, muscular bodies. Their fur can vary in color, pattern, and length, with breeds ranging from long-haired to short-haired varieties.

Behavior: Cats are often seen as independent animals, though many form strong bonds with their owners. They are known for being good hunters, particularly of small prey like mice and birds. Cats communicate through vocalizations (meowing, purring, hissing) and body language (tail position, ear movements, etc.).

Domestication: Domestic cats are believed to have been domesticated around 9, 000 years ago in the Near East. They were likely attracted to human settlements by the abundance of food in the form of rodents, and over time, they became companions to people.

Diet: Cats are obligate carnivores, meaning they rely on a diet of animal-based proteins. Unlike dogs, they cannot synthesize certain nutrients, such as taurine and arachidonic acid, and must get them from animal tissues.

Lifespan: The average lifespan of a domestic cat is around 12-15 years, though many cats can live into their 20s, especially when kept indoors.


Cats are known for their playful nature, especially when they are kittens, and can be very affectionate with their owners. However, they also tend to be more independent than dogs, often seeking attention and companionship on their own terms.

can I please do episode 8The Baby C-17 is an informal nickname for the C-295 aircraft, which is a smaller and more compact version of the C-17 Globemaster III, a heavy-lift transport aircraft used by the U.S. Air Force. The nickname "Baby C-17" is typically used due to the C-295's similar role in tactical and logistical transport, but it is much smaller and has a lower payload capacity.

Manufactured by Airbus Defence and Space, the C-295 is a twin-turboprop aircraft designed for medium-range tactical airlift missions, including transporting personnel, supplies, and equipment. It's often used by smaller air forces or countries needing a more cost-effective, versatile transport plane that can operate from shorter or less-developed airstrips.

While the C-17 Globemaster III has a payload capacity of around 170, 000 pounds and is used for large-scale operations, the C-295 is lighter, with a payload capacity of about 20, 000 pounds, making it suitable for a wider variety of smaller missions.

Hi hi hi i like stufff hi😊

[Bellaw]

تايگر يا حبيبي، في القلب لك مكان
رفقتك يا تايگر، تملأني بالحنان
كل خطوة معك، تزرع الأمل في دروبي
ضحكتك الطاهرة، تضيء لي دروبي
[Verse 1]
You're my love, my Tiger, in my heart you reside
Your kindness fills me, by my side
Every step with you, plants hope in all I pursue
Your pure laughter, brightens my view
[Chorus]
Tiger, oh my beloved, joy of my life
With you I'm whole, no strife
In your eyes, happiness; in your embrace, security
Tiger, oh Tiger, you're my eternity
[Verse 2]
In your presence, I find solace and peace
Your essence, my worries cease
Together we navigate life's sea
In your love, I'm forever free
With you, I'm complete, in every way
Forever by your side, I'll stay
[Chorus]
Tiger, oh my beloved, joy of my life
With you I'm whole, no strife
In your eyes, happiness; in your embrace, security
Tiger, oh Tiger, you're my eternity.[Verse 1]
In a jungle where the wild beats groove,
My stupid tiger makes his own smooth move.
With a swagger in the step and stripes that shine,
He’s dancing to the rhythm, yeah he’s one of a kind.
Roaring laughter fills the air,
That funky vibe we gladly share.
[Chorus]
Oh, my stupid tiger, dancing through the night,
With those silly moves, he’s a wild delight.
Funky grooves and a heart so free,
In this jungle party, just my tiger and me.
[Verse 2]
Through the trees, he struts around,
Shaking tails and turning heads in our town.
With every swing, he brings the fun,
It’s a funky party when he’s on the run.
Feel that beat, it’s coming alive,
With my silly tiger, we always thrive.
[Chorus]
Oh, my stupid tiger, dancing through the night,
With those silly moves, he’s a wild delight.
Funky grooves and a heart so free,
In this jungle party, just my tiger and me.
[Outro]
So let’s keep dancing, let the rhythm play,
With my stupid tiger, we’ll groove all day[Verse 1]
In a jungle where the wild beats groove,
My stupid tiger makes his own smooth move.
With a swagger in the step and stripes that shine,
He’s dancing to the rhythm, yeah he’s one of a kind.
Roaring laughter fills the air,
That funky vibe we gladly share.
[Chorus]
Oh, my stupid tiger, dancing through the night,
With those silly moves, he’s a wild delight.
Funky grooves and a heart so free,
In this jungle party, just my tiger and me.
[Verse 2]
Through the trees, he struts around,
Shaking tails and turning heads in our town.
With every swing, he brings the fun,
It’s a funky party when he’s on the run.
Feel that beat, it’s coming alive,
With my silly tiger, we always thrive.
[Chorus]
Oh, my stupid tiger, dancing through the night,
With those silly moves, he’s a wild delight.
Funky grooves and a heart so free,
In this jungle party, just my tiger and me.
[Outro]
So let’s keep dancing, let the rhythm play,
With my stupid tiger, we’ll groove all day..[Verse 1]
In the midst of the night, there's a roar that I hear,
My tiger's on the loose, feeding on my fear,
With a heart full of fire, and the strength of a storm,
He's breaking all the chains, he's ready to transform.
Eyes like embers, fierce and wild,
He's dancing in the shadows, untamed and reviled.
[Chorus]
When the stars align, let the wild ones run,
Feel the passion ignite, come join in the fun,
With the fire in our souls, we'll rise from the dark,
Together we'll dance, like a flame to the spark.
[Verse 2]
The jungle's calling out, he's lost in the thrill,
With each beat of his heart, he’s climbing the hill,
He’s a creature of freedom, breaking the mold,
In the depths of the night, his story unfolds.
Chasing the moonlight, unfurling his might,
My tiger's on the loose, ready for the fight.
[Chorus]
When the stars align, let the wild ones run,
Feel the passion ignite, come join in the fun,
With the fire in our souls, we'll rise from the dark,
Together we'll dance, like a flame to the spark.
[Outro]
So let the night whisper, let the engines roar,
My tiger’s on the loose, forever want more.Dashing through the snow,
On a pair of broken skis!
Running into rocks,
And crashing through the trees!
Gee the snow looks red,
I think I’m almost dead!
All I need for Christmas
is an artificial head!
HEY!!
Jingle Bells!
Batman Smells!
Robin laid an egg!
The bat mobile
Lost a wheel
And Joker took ballet!
HEY!![Verse 1]
In the shadows where the echoes play,
Whispers of a night that drift away,
Flickers of a light that leads me back,
To magic memories lost in the black.

Haunting visions in the neon hue,
Holding on to moments that feel so true.

[Chorus]
Magic memories in the dark of the night,
Lost in the echoes, holding you tight,
With every heartbeat, we're dancing in fate,
In this endless moment, I won’t hesitate.

[Verse 2]
Dancing alone, under the moon's glow,
Electric beats, where nobody goes,
Chasing dreams with a heart full of scars,
In a world that feels so far from ours.

Fading slowly, but I won't forget,
These magic memories, my best regret.

[Chorus]
Magic memories in the dark of the night,
Lost in the echoes, holding you tight,
With every heartbeat, we're dancing in fate,
In this endless moment, I won’t hesitate.

[Outro]
Magic fades, but I still ignite,
With every memory, I'll take flight.

[FUJI_OFFICAL]

Afghanistan, Albania, Algeria, American Samoa, Andorra, Angola, Anguilla, Antarctica, Antigua and Barbuda, Argentina, Armenia, Aruba, Australia, Austria, Azerbaijan, Bahamas, Bahrain, Bangladesh, Barbados, Belarus, Belgium, Belize, Benin, Bermuda, Bhutan, Bolivia, Bosnia and Herzegovina, Botswana, Brazil, British Indian Ocean Territory, British Virgin Islands, Brunei, Bulgaria, Burkina Faso, Burundi, Cabo Verde, Cambodia, Cameroon, Canada, Cayman Islands, Central African Republic, Chad, Chile, China, Colombia, Comoros, Congo, Costa Rica, Cote d Ivoire, Croatia, Cuba, Curaçao, Cyprus, Czechia, DR Congo, Denmark, Djibouti, Dominica, Dominican Republic, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Eswatini, Ethiopia, Faeroe Islands, Falkland Islands, Fiji, Finland, France, French Guiana, French Polynesia, French Southern and Antarctic Lands, Gabon, Gambia, Georgia, Germany, Ghana, Gibraltar, Greece, Greenland, Grenada, Guadeloupe, Guam, Guatemala, Guernsey, Guinea, Guinea Bissau, Guyana, Haiti, Honduras, Hong Kong, Hungary, Iceland, India, Indian Ocean Territory, Indonesia, Iran, Iraq, Ireland, Isle of Man, Israel, Italy, Jamaica, Japan, Jersey, Jordan, Kazakhstan, Kenya, Kiribati, Kosovo, Kuwait, Kyrgyzstan, Laos, Latvia, Lebanon, Lesotho, Liberia, Libya, Liechtenstein, Lithuania, Luxembourg, Madagascar, Malawi, Malaysia, Maldives, Mali, Malta, Marshall Islands, Martinique, Mauritania, Mauritius, Mayotte, Mexico, Micronesia, Moldova, Monaco, Mongolia, Montenegro, Montserrat, Morocco, Mozambique, Myanmar, Namibia, Nauru, Nepal, Netherlands, New Caledonia, New Zealand, Nicaragua, Niger, Nigeria, Niue, Norfolk Island, North Korea, North Macedonia, Northern Mariana Islands, Norway, Oman, Pakistan, Palau, Palestinian Territories, Panama, Papua New Guinea, Paraguay, Peru, Philippines, Pitcairn Is, Poland, Portugal, Puerto Rico, Qatar, Romania, Russia, Rwanda, Réunion, Saint Helena, Saint Lucia, Saint Vincent and the Grenadines, Samoa, San Marino, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Sint Maarten, Slovakia, Slovenia, Solomon Islands, Somalia, South Africa, South Georgia and the South Sandwich Islands, South Korea, South Sudan, Spain, Sri Lanka, St Kitts and Nevis, St Pierre and Miquelon, St Barthélemy, St Martin, Sudan, Suriname, Sweden, Switzerland, Syria, São Tomé and Principe, Taiwan, Tajikistan, Tanzania, Thailand, Timor Leste, Togo, Tonga, Trinidad and Tobago, Tunisia, Turkmenistan, Turks and Caicos Is, Tuvalu, Türkiye, US Virgin Islands, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Uzbekistan, Vanuatu, Vatican, Venezuela, Vietnam, Wallis and Futuna Islands, Western Sahara, Yemen, Zambia, Zimbabwe

[Jolteonhasalotofsigma]

The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is 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progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues The FitnessGram Pacer Test is a multistage aerobic capacity test that progressively gets more difficult as it continues

[RyderStann]

A book series is a sequence of books having certain characteristics in common that are formally identified together as a group. Book series can be organized in different ways, such as written by the same author, or marketed as a group by their publisher.
Publishers' reprint series
Fiction books
edit
A novel sequence is a set or series of novels which share common themes, characters, or settings, but where each novel has its own title and free-standing storyline, and can thus be read independently or out of sequence. A novel sequence contains story arcs or themes that cross over several books, rather than simply sharing one or more characters.
Fictional series typically share a common setting, story arc, set of characters or timeline. They are common in genre fiction, particularly crime fiction, adventure fiction, and speculative fiction, as well as in children's literature.
Some works in a series can stand alone—they can be read in any order, as each book makes few, if any, reference to past events, and the characters seldom, if ever, change. Many of these series books may be published in a numbered series. Examples of such series are works like The Hardy Boys, Nancy Drew, and Nick Carter.

Collection of the seven books in the Harry Potter series
Some series do have their characters go through changes, and make references to past events. Typically such series are published in the order of their internal chronology, so that the next book published follows the previous book. How much these changes matter will vary from series to series (and reader to reader). For some, it may be minor—characters might get engaged, change jobs, etc., but it does not affect the main storyline. Examples of this type include Tony Hillerman's Jim Chee and Joe Leaphorn books. In other series, the changes are major and the books must be read in order to be fully enjoyed. Examples of this type include the Harry Potter series.
There are some book series that are not really proper series, but more of a single work so large that it must be published over two or more books. Examples of this type include The Lord of the Rings volumes or the Dark Tower series by Stephen King.
Some authors make it difficult to list their books in a numerical order when they do not release each work in its 'proper' order by the story's internal chronology. They might 'jump' back in time to early adventures of the characters, writing works that must be placed before or between previously published works. Thus, the books in a series are sometimes enumerated according to the internal chronology rather than in publication order, depending on the intended purpose for the list. Examples of this series include works from the Chronicles of Narnia, where the fifth book published, The Horse and His Boy, is actually set during the time of the first book, and the sixth book published, The Magician's Nephew is actually set long before the first book. This was done intentionally by C. S. Lewis, a scholar of medieval literature. Medieval literature did not always tell a story chronologically.
Definitions
edit
There is no useful, formal demarcation between novel sequences and multi-part novels. Novels that are related may or may not fall into a clear sequence. It is also debatable whether a trilogy is long enough and whether its parts are discrete enough to qualify as a novel sequence.[citation needed]
For example, the Barchester novels of Anthony Trollope are only loosely related, although they contain a recurring cast of characters; his political novels about the Pallisers have a tighter connection and dynamic.[4] A strict definition might exclude both.
History
edit
With precedents such as Madeleine de Scudéry's magnum opus, Artamène, the novel sequence was a product of the nineteenth century, with James Fenimore Cooper's works appearing in the 1820s, and Anthony Trollope's Barchester books in the 1850s. In French literature, Honoré de Balzac's ambitious La Comédie humaine, a set of nearly 100 novels, novellas and short stories with some recurring characters, started to come together during the 1830s. Émile Zola's Rougon-Macquart cycle is a family saga, a format that later became a popular fictional form, going beyond the conventional three-volume novel.
A roman-fleuve (French, literally "river-novel") is an extended sequence of novels of which the whole acts as a commentary for a society or an epoch, and which continually deals with a central character, community or a saga within a family. The river metaphor implies a steady, broad dynamic lending itself to a perspective. Each volume makes up a complete novel by itself, but the entire cycle exhibits unifying characteristics.[5]
The metaphor of the roman-fleuve was coined by Romain Rolland to describe his 10-volume cycle Jean-Christophe. In the preface to the seventh volume, Dans la maison (1908/1909) he wrote: "When you see a man, do you ask yourself whether he is a novel or a poem? ... Jean-Christophe has always seemed to me to flow like a river; I have said as much from the first pages."
The term has subsequently been applied to other French novel sequences, particularly of the years between the world wars, notably:
Marcel Proust, À la recherche du temps perdu (1908–22)
Georges Duhamel, Vie et aventures de Salavin (1920–32) and Chronique des Pasquier (1933–45)
Roger Martin du Gard, The Thibaults (1922–40)
Jules Romains, Les Hommes de bonne volonté (1932–47)
Louis Aragon, Cycle du monde réel (1933–51)
Jacques Chardonne, Les Destinées sentimentales (1934–36)
The 19th-century predecessors may be distinguished as being rather "family sagas", as their stories are from the perspective of a single family, rather than society as a whole.
Marcel Proust's À la recherche du temps perdu has come to be regarded as a definitive roman fleuve. Today, however, its seven volumes are generally considered to be a single novel.[6]
Proust's work was immensely influential, particularly on British novelists of the middle of the twentieth century who did not favour modernism. Some of those follow the example of Anthony Powell, [7] a Proust disciple, but consciously adapting the technique to depict social change, rather than change in high society. This was a step beyond the realist novels of Arnold Bennett (the Clayhanger books) or John Galsworthy.
Twentieth century
edit
The twenty-novel Aubrey-Maturin series by the English author Patrick O'Brian has been called perhaps the best-loved roman fleuve of the twentieth century: "[an] epic of two heroic yet believably realistic men that would in some ways define a generation".[8]
Development of the novel sequence
edit
Although sequences of genre fiction are sometimes not considered to be romans-fleuves, novel sequences are particularly common in science fiction and epic fantasy genres.[citation needed]
The introduction of the preconstructed novel sequence is often attributed to E. E. Doc Smith, with his Lensman books.[citation needed] Such sequences, from contemporary authors, tend to be more clearly defined than earlier examples. Authors are now more likely to announce an overall series title, or write in round numbers such as 12 volumes. These characteristics are not those of the classical model forms, and become more like the franchises of the film industry.[citation needed]
Other examples
edit
Jacques Abeille's Le Cycle des contrées
Louis Aragon's Cycle du Monde Réel
Hirohiko Araki's JoJo's Bizarre Adventure
A. S. Byatt's "Frederica Potter" quartet
Jacques Chardonne's Les Destinées sentimentales
James Fenimore Cooper's Leatherstocking Tales
John Crowley's Ægypt Cycle
Lawrence Durrell's Alexandria Quartet and other sequences
Ford Madox Ford's Parade's End
C. S. Forester's "Horatio Hornblower" series
John Galsworthy's The Forsyte Saga[9]
Carolyn Keene's "Nancy Drew Mystery Stories"
Doris Lessing's Children of Violence[10]
Naguib Mahfouz's The Cairo Trilogy
Thomas Mann's Joseph and His Brothers
Roger Martin du Gard's Les Thibault
Yukio Mishima's The Sea of Fertility
Anaïs Nin's Cities of the Interior
Benito Pérez Galdós's Episodios nacionales
Anthony Powell's A Dance to the Music of Time[10]
Dorothy Richardson's Pilgrimage
Romain Rolland's Jean-Christophe
John Roman Baker's "The Nick & Greg Books"
Philip Roth's "Zuckerman" novels
Paul Scott's Raj Quartet
C. P. Snow's Strangers and Brothers[10]
Anthony Trollope's Chronicles of Barsetshire and Palliser novels
John Updike's "Rabbit Angstrom" books
Henry Williamson's Chronicles of Ancient Sunlight
A. N. Wilson's Lampitt Papers
Publishers' nonfiction series
Academic and scholarly publications
Compared with editorial collection
See also
References
Further reading
External links
Last edited 4 months ago by Perseus25

[Airplane-jw]

I won








































🎉


















😂

[thisaruharshani]

Rajeef and I went up to the classroom, feeling sad and disappointed. We sat frowning in our
seats. I asked the teacher if I could speak to the class. She said I could. I said to the class, `I
want to ask you to think about what happened in the playground. Look at Rajeef. He is part of
this class, working with us and taking part in all classroom activities. We cannot exclude him
from our activities outside the classroom.’ I stopped talking and returned to my place.
Bassem suddenly broke the silence, saying, `I feel that I have been unfair towards Rajeef’.
Amer added, `I feel that too. We are all the same in some ways and different in other ways.
And we must respect that.’ Let’s go back and finish the game, letting everyone participate.’ I
said enthusiastically, we went back to the playground. Rajeef went quickly and took his place
in midfield. All through the game, he played brilliantly - skillfully stopping the attacks of the
opposing team and passing the ball brilliantly to his forwards. He played fairly, and with a
skill and ingenuity that impressed everyone. Rajeef’s team won the match. As soon as the
match was over, we all ran to Rajeef. We carried him on our shoulders and ran with him
across the playground. We shouted, ‘Go Rajeef, Go! Go Rajeef, Go! Go Rajeef, Go!. Rajeef and I went up to the classroom, feeling sad and disappointed. We sat frowning in our
seats. I asked the teacher if I could speak to the class. She said I could. I said to the class, `I
want to ask you to think about what happened in the playground. Look at Rajeef. He is part of
this class, working with us and taking part in all classroom activities. We cannot exclude him
from our activities outside the classroom.’ I stopped talking and returned to my place.
Bassem suddenly broke the silence, saying, `I feel that I have been unfair towards Rajeef’.
Amer added, `I feel that too. We are all the same in some ways and different in other ways.
And we must respect that.’ Let’s go back and finish the game, letting everyone participate.’ I
said enthusiastically, we went back to the playground. Rajeef went quickly and took his place
in midfield. All through the game, he played brilliantly - skillfully stopping the attacks of the
opposing team and passing the ball brilliantly to his forwards. He played fairly, and with a
skill and ingenuity that impressed everyone. Rajeef’s team won the match. As soon as the
match was over, we all ran to Rajeef. We carried him on our shoulders and ran with him
across the playground. We shouted, ‘Go Rajeef, Go! Go Rajeef, Go! Go Rajeef, Go!. Rajeef and I went up to the classroom, feeling sad and disappointed. We sat frowning in our
seats. I asked the teacher if I could speak to the class. She said I could. I said to the class, `I
want to ask you to think about what happened in the playground. Look at Rajeef. He is part of
this class, working with us and taking part in all classroom activities. We cannot exclude him
from our activities outside the classroom.’ I stopped talking and returned to my place.
Bassem suddenly broke the silence, saying, `I feel that I have been unfair towards Rajeef’.
Amer added, `I feel that too. We are all the same in some ways and different in other ways.
And we must respect that.’ Let’s go back and finish the game, letting everyone participate.’ I
said enthusiastically, we went back to the playground. Rajeef went quickly and took his place
in midfield. All through the game, he played brilliantly - skillfully stopping the attacks of the
opposing team and passing the ball brilliantly to his forwards. He played fairly, and with a
skill and ingenuity that impressed everyone. Rajeef’s team won the match. As soon as the
match was over, we all ran to Rajeef. We carried him on our shoulders and ran with him
across the playground. We shouted, ‘Go Rajeef, Go! Go Rajeef, Go! Go Rajeef, Go!. The bison, or buffalo, is the largest land animal in
North America. A grown male bison stands about
6 feet high. It is about 121/2 feet long. It weighs
between 1, 600 and 2, 000 pounds. A bison is easy
to recognize. It has a hump on its shoulders and
curved horns on its head.
Long ago, bison wandered freely on the
American plains. In 1850, there were
about 20 million bison in North America. A large herd of bison looked like a black cloud moving
across the plains. The earth shook when the bison started to run.
For many years, Native Americans hunted bison. They used the bison for many things. They
used the meat for food. They used the bones for making tools. Hides were made into clothing
and tepees.
During that time, there were many bison. Later, new settlers began to hunt bison. They
hunted mostly for sport and for the hides. Because of too much hunting, the number of bison
dropped. Soon, the bison were almost all gone.
Today, there are few bison left in North America. They live in protected places where
people take care of them. We can only imagine what the American plains looked like when
Pls like me😢

[Airplane-jw]

I won




















































N😢










O





















































































































🎉

[safaali]

Ready for the longest comment I can write? Here it is The Unending Tale
In a realm where shadows danced and dreams took flight, there lived a young maiden named Elara. Her eyes, as deep as the midnight sky, held secrets untold, and her laughter, like a tinkling bell, echoed through the enchanted forest. She was a child of the moon, her spirit intertwined with the celestial bodies that illuminated the night.
One fateful evening, under the watchful gaze of the moon, Elara stumbled upon a hidden portal, its entrance veiled in an ethereal mist. Curiosity ignited within her, a flame that burned brighter than the stars. With a hesitant step, she crossed the threshold, plunging into a world beyond imagination.
A labyrinthine garden, where time stood still and flowers bloomed eternally, unfolded before her. Each petal whispered ancient tales, and the gentle breeze carried the melodies of forgotten symphonies. A wise old oak, its roots delving deep into the heart of the earth, stood as a guardian, its branches reaching towards the heavens.
As Elara ventured deeper, she encountered creatures of myth and legend. A unicorn, its coat shimmering like moonlight, grazed in a secluded glade. A phoenix, reborn from the ashes of its past, soared through the skies, its wings a blaze of crimson and gold. A dragon, its scales as ancient as time itself, slumbered in a cavern, its breath misting the air with dreams.
Through trials and tribulations, Elara's journey unfolded. She faced the wrath of a tempestuous storm, navigated the treacherous depths of an underground river, and confronted the enigmatic riddle of the Sphinx. With each challenge, she grew stronger, her spirit tempered by adversity.
In the heart of the labyrinth, she discovered a hidden chamber, a sanctuary of tranquility. There, she found a celestial map, its stars pulsating with a cosmic energy. The map revealed a path to the heart of the universe, a destination beyond the reach of mortal dreams.
With newfound purpose, Elara embarked on her final quest. She traversed celestial plains, danced with comets, and rode on the backs of shooting stars. The universe, in all its grandeur, unfolded before her, a tapestry of infinite possibilities.
And so, the tale of Elara, the moonlit maiden, continues, an endless saga woven through the fabric of time and space. Her journey, a testament to the boundless power of the human spirit, inspires generations to come, reminding us that even in the darkest of nights, hope and wonder can illuminate the way.

[AlexPritchard-pb]

I didn’t feel like writing all that again, so just combine these

[BigBlockaStuffing]

Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: Bro's writing
Writing: no I'm writing
Bro's: get back to work 💀 Me: let's finger paint
Paint: HUH
let's: I'm scared
Scared: no I'm scared
No: hi scared Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM
I HAD A GOOD DREAM: pray tell, what is the matter?
what is the matter: nothing
nothing: .
.: hey! Me: Let's hang out after school!
Lets: okay
Out: 😭😭
School: Why
Why: what
What: yes?
yes?: im here
here: no I'm here
no: hi here, im no
Know: no, im know!
no, : hi know
you: what is happening?
what: is happening is there
is happening: ?
?: bro is happening what do you want
bro is happening: what do you mean?
what do you mean: BRO I HAD A GOOD DREAM

[Gamerzilla]

Five Nights at Freddy’s Overview

1. Introduction to FNAF: Created by Scott Cawthon, “Five Nights at Freddy’s” is a survival horror game series that began in 2014. It features a unique blend of strategy and jump scares, capturing a large audience.
2. Setting: The games are primarily set in various locations related to Freddy Fazbear’s Pizza, a family-friendly restaurant akin to Chuck E. Cheese’s, featuring animatronic characters that entertain children.
3. Gameplay Mechanics: Players typically take on the role of a night security guard who must monitor security cameras and manage resources to survive against animatronic threats during the night shifts.
4. The First Game: In the original FNAF, players control Mike Schmidt, who must survive five nights while being stalked by animatronics like Freddy, Bonnie, Chica, and Foxy. The tension builds through limited power and the looming threat of attack.
5. Animatronics: The animatronics are central to the horror of the series. They were designed to entertain but have a dark backstory involving malfunction and malevolent spirits, making them terrifying adversaries.
6. Lore Unfolding: As the series progressed, a rich and complex lore emerged, involving themes of tragedy, revenge, and hauntings. The backstory reveals dark events, including child murders connected to the animatronics.
7. Characters: Key characters include Freddy Fazbear, the main mascot; Bonnie, a guitar-playing rabbit; Chica, a chicken with a cupcake; and Foxy, a pirate-themed fox. Each has unique behaviors and patterns.
8. Subsequent Games: Each new installment introduces new mechanics, locations, and characters, expanding the narrative. “Five Nights at Freddy’s 2” serves as a prequel, featuring new animatronics and the introduction of a toy line.
9. Sister Location: This installment shifts the gameplay with more exploration and voice acting. Players navigate an underground facility and encounter new characters like Circus Baby, who has a more complex personality.
10. FNAF 3: Set in a horror attraction based on the events of the first two games, this sequel focuses on a new animatronic, Springtrap, and incorporates a survival horror element with limited resources.
11. FNAF 4: This game takes a departure from previous formats, presenting a nightmarish scenario where players experience a child’s fears. The mechanics are centered around listening for sounds to avoid threats.
12. Pizzeria Simulator: Blending management simulation with horror, players must build their pizzeria while fending off animatronic threats. It delves deeper into the lore, revealing secrets about the franchise’s history.
13. Help Wanted: A VR experience that combines remakes of previous games with new content, it further immerses players into the FNAF universe and introduces a new antagonist, Glitchtrap.
14. Security Breach: The latest mainline game features a large open world set in the Mega Pizzaplex, allowing players to explore and interact with various elements while facing off against animatronics like Vanny and Montgomery Gator.
15. Game Mechanics: Throughout the series, core mechanics include resource management, strategic use of cameras, and responding to animatronic behaviors. Each game adds unique twists to keep players engaged.
16. Themes: The series explores themes of childhood trauma, the loss of innocence, and the consequences of neglect. The animatronics symbolize the fear of betrayal by trusted figures.
17. Fan Community: The FNAF community is vibrant, with numerous fan theories, art, and fan games expanding the universe. Players often dissect lore and speculate on character motivations.
18. Merchandise and Media: Beyond games, FNAF has expanded into books, merchandise, and an upcoming film adaptation. The books explore backstories and provide deeper lore not fully covered in the games.
19. Influence on Horror Gaming: FNAF has had a significant impact on the indie horror genre, inspiring other developers to create similar games that combine tension with unique mechanics.
20. Animatronic Design: The design of the animatronics plays a crucial role in their horror impact. Their childlike features contrast with their terrifying behaviors, heightening the unsettling atmosphere.
21. Sound Design: Sound is a key element of FNAF’s horror. Distinctive audio cues signal animatronic movements, creating a tense atmosphere that keeps players on edge.
22. Jump Scares: The series is known for its effective jump scares, which are often unexpected and contribute to the game’s horror experience. Each animatronic has its own distinctive jump scare animation.
23. Easter Eggs: Hidden throughout the games are numerous Easter eggs that reveal lore and provide challenges. Fans often hunt for these secrets to gain a deeper understanding of the story.
24. Endings: Each game typically has multiple endings based on player choices and performance, encouraging replayability and exploration of different narrative paths.
25. Fan Games: The FNAF community has produced many fan games that pay homage to the original series while introducing new mechanics and stories, showcasing the franchise’s influence.
26. Character Backstories: Many animatronics have intricate backstories tied to the game’s lore, often linked to tragic events involving children and the establishment’s dark history.
27. Screamers and Puzzles: The games often incorporate puzzles that players must solve to unlock secrets or progress, blending traditional horror elements with problem-solving gameplay.
28. Role of the Player: The player often finds themselves in morally ambiguous situations, adding depth to the experience. Choices made can reflect on the lore and influence the outcome.
29. Cultural Impact: FNAF has permeated popular culture, inspiring memes, merchandise, and discussions in gaming communities, reflecting its broad appeal beyond just gamers.
30. Film Adaptation: An anticipated film adaptation has been in development for years, aiming to bring the unsettling atmosphere and lore of the games to a wider audience.
31. Criticism and Praise: While the series has received acclaim for its innovation and storytelling, some criticism arises regarding repetitive mechanics and pacing in later installments.
32. Psychological Horror: FNAF excels in psychological horror, creating an atmosphere of dread and anxiety that keeps players engaged and fearful, even during gameplay breaks.
33. Diverse Gameplay Styles: Each game’s mechanics cater to different play styles, from those who prefer strategic planning to those who thrive on reaction-based gameplay.
34. Fandom Events: FNAF has inspired fan conventions and events where enthusiasts gather to discuss theories, showcase art, and celebrate their love for the series.
35. Scott Cawthon’s Influence: Scott Cawthon’s background in game design and animation allowed him to craft a unique horror experience, making him a notable figure in indie gaming.
36. Symbolism in Characters: The animatronics often symbolize deeper themes of loss, guilt, and the consequences of human actions, reflecting the series’ dark narrative.
37. The Role of Technology: The series explores the intersection of technology and horror, where animatronics represent the potential dangers of artificial intelligence gone awry.
38. Philosophical Undertones: FNAF often delves into philosophical questions about morality, revenge, and the afterlife, prompting players to ponder the implications of their actions.
39. Legacy: FNAF’s success has paved the way for other indie horror games, establishing a blueprint for integrating storytelling with gameplay mechanics effectively.
40. Fan Theories: Numerous fan theories have emerged, attempting to piece together the fragmented lore, showcasing the community’s engagement with the story.
41. Art Style: The unique art style, blending cartoonish elements with horror aesthetics, contributes to the unsettling experience, making it distinct from other horror titles.
42. Character Relationships: The relationships between characters, both human and animatronic, are complex and often driven by tragic events, adding depth to the narrative.
43. Visual Storytelling: Many plot points are conveyed through visual cues and environmental storytelling, encouraging players to explore and piece together the narrative.
44. Player Agency: The series challenges players’ agency, often placing them in situations where their choices affect the outcome, leading to varying endings.
45. Crossover Potential: FNAF’s popularity has led to discussions of potential crossovers with other franchises, exploring the limitless possibilities within its horror universe.
46. Conclusions and Theories: The narrative’s ambiguity invites players to form their interpretations, leading to diverse conclusions about characters’ motivations and storylines.
47. Merchandising Success: The franchise has successfully expanded into a wide range of merchandise, from toys to apparel, appealing to both gamers and collectors.
48. Future of FNAF: With ongoing developments in games and media, the future of FNAF remains bright, promising new content and deeper explorations of its lore.
49. Final Thoughts: FNAF’s unique blend of horror, storytelling, and gameplay innovation has cemented its place in gaming history, continuing to captivate audiences.
50. Cultural Phenomenon: Ultimately, “Five Nights at Freddy’s” has become a cultural phenomenon, impacting the horror genre and inspiring a dedicated fanbase that keeps its legacy alive.

This overview captures the essence of the FNAF series, touching on its gameplay, lore, characters, and impact on gaming culture. If you want more details on any specific aspect, let me know!

[supermonstercrazy]

William Afton and Henry Emily opened a restaurant around the early 70s, named Fredbear's Family Diner, which quickly evolved into a chain of restaurants known as "Freddy Fazbear's Pizza, " started in 1983, under the company of Fazbear Entertainment, Inc. At some point, both of them left the company, with an unknown individual taking over as CEO.

William was secretly a serial killer, using mascot costumes to lure, abduct, and murder kids. His motives aren't known, though widely speculated to be him trying to achieve immortality through researching the paranormal, haunted metal (known as remnant), which he created through the murders.

His first target was Charlotte Emily, the daughter of Henry. She became the Marionette, a ghost who took care of and helped awaken the other lost souls.

In 1983, William's younger son also died in an incident, at the fault of his eldest — Michael. The younger son (name unknown, BV for short) 's fate is still unknown, though often speculated to be connected to either Golden Freddy (an enigmatic spirit taking the form of a yellow bear) or helping Charlie with saving other souls. "I will put you back together" was the last thing said to BV by a debatable party, most commonly believed to be either William, Charlie, or Golden Freddy.

In 1985, William killed 2 kids, and 3 others were later connected to that incident (The Missing Children Incident, or MCI). He was arrested but released due to a lack of evidence. 4 of these kids were Gabriel, Susie, Little Jeremy, and Fritz, going on to haunt Freddy, Bonnie, Chica, and Foxy, respectively, with Susie implied to have been the first to die. The 5th is commonly believed to be named Cassidy, becoming Golden Freddy, though some think it's someone else.

In 1987, William pretended to be a security guard at a new Pizzeria and killed 5 more kids (DCI for short), who went on to be the Toy animatronics. This caused the unimportant Bite of '87.

In 1993, Mike worked a shift at the haunted original Freddy's. Later that year, the location was closed, and the company went bankrupt. He later had some sort of nightmares about it and his brother's death, likely paranormal in nature.

At some point, William went to that original Freddy's to destroy the 4 haunted robots, but ghosts manifested, and fearing for his life, he put on the costume he used to kill them. It was actually a part costume part robot hybrid, though, and due to the leaking roof, the machine snapped on him, killing him. He went on to haunt it and/or his corpse inside.

While Freddy's existed, a Sister Location called "Circus Baby's Pizza World" opened. It was a front for William to kill more kids, with the robots there made to kidnap them. It backfired when his daughter sneaked in to see Baby, and it killed her. She then haunted it. William, distraught, locked her and the other robots from there in an underground warehouse where they were rented out for parties. The other robots also got haunted somehow, likely with melted down remnant from some other kids, most likely MCI. Years later, William sent Mike there to find Elizabeth. Thinking he was William, she tricked him, and the Funtime Robots combined into one amalgam of wires, killed Mike, and used his corpse as a skin suit to escape. He quickly rotted, and they had to escape to the sewers. He repossessed his corpse thanks to remnant, though.

Around 30 years after his death (presumably 2023, though that may be debunked now), William was found by Phone Dude, who stole him and put him into his cheap horror attraction based on the Freddy's urban legends, not knowing William was inside the robot. After a few nights, the building burned down, and William escaped. There's also a good ending in that game where Charlie released the other spirits, but its canonicity is "complicated" according to Scott (FNaF creator).

Mike also had a security logbook at some point, where two ghosts, BV and presumably Cassidy (given it's not him), talked about something.

Finally, after like 50 years, Henry re-emerged and made a fake pizzeria, where he called the Funtime robots, now separated from Elizabeth, herself, and William. He also made a robot that captured Charlie. After a bunch of managers failed to collect all 4 robots, Mike came and succeeded. Henry burned them all and himself, with high temperatures now revealed to work on ghosts, apparently. Fazbear Entertainment, Inc. was supposedly closed for good.

But one ghost, very highly implied to be Golden Freddy, though argued as a random never-before-seen 6th MCI kid by some, wasn't ready to let William go, so he kept him from being released and tortured him in super nightmares.

There's a book series called Fazbear Frights which has debatable canonicity too that'd take place after this, but if canon it's basically just filler that nullifies the Vengeful Spirit nightmares thing.

After all this, Fazbear Entertainment was revived as Fazbear Entertainment, LLC. They kidnapped a guy and gaslighted him into living in a secluded fake house they made for him, where he made FNAF games, in the FNaF universe, as to make it seem like it was all just fake stories.

A VR game was later made, that was a remake of these, but some suspecious circuit boards were sent to be scanned into it, creating a paranormal, digital entity known as Glitchtrap. It appears as a man in Spring Bonnie (William's suit), acts exactly like William, knows stuff only William knows and even claims to be back, with William's catchphrase of sorts being "I always come back". After a bit of shenanigans, it manages to possess a beta tester and makes her his minion. We call her Vanny.

Vanessa, most likely Vanny, then got a desk job at Fazbear Entertainment. Fazbear Funtime Service, a program where animatronics were mass produced and sent for parties, etc. got hijacked by Glitchtrap who made them hostile. He made Vanessa infiltrate the service as a fake FazEnt representative, supposedly fix his infection, but actually just cut off anyone's access to the system other than him, and send a data packet with him to the current Pizzeria — Freddy Fazbear's Mega Pizzaplex.

In the current book series, most likely canon, there's this AI called Mimic1, which copies stuff. Many think that's actually what Glitchtrap is, just AI copying William. It's an ongoing debate. An Endoskeleton with it installed was sent to the last simulated Freddy's Henry built to burn, where it got out of control, started killing people and in the ongoing story is hunting down a group of teens. As the Pizzaplex was built on top of the simulated Freddy's, the Mimic got control over it too, but was quickly taken down. There's also this boy Gregory who ended up possessed by Glitchtrap and hacking the Pizzaplex for reasons unknown.

Now in Security Breach (possibly 2035), Gregory, out of Glitchtrap's control, had to escape being trapped in the Pizzaplex, as all the robots controlled by Glitchtrap and Vanny wanted to kill him. With the help of Glamrock Freddy, most likely haunted by someone, though it's unknown who, Greg ended up finding a newly built Springtrap in the simulated Freddy's and somehow defeating it. There's also a giant abomination of wires that resambles the Funtime amalgam down there, it took this William away.

This is pretty much where we are now, in gross oversimplification. So yeah theres the entire fnaf lore anyway egge egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg egg

[youravaragetroll]

Roses are red
Violets are blue
That shoe on you
Might not fit you
Don’t worry
You can buy more
If you have a lot of
Bobux😊

STORY TIME




I___🦊

I

[marieclairevasquezvlogxkei]

Heres the full version so you can read it better Welcome to Gboard clipboard, any text you copy will be saved here.Tap on a clip to paste it in the text box.Use the edit icon to pin, add or delete clips.Touch and hold a clip to pin it. Unpinned clips will be deleted after 1 hour.

[mr.numbers]

I am rewarded by your enthusiasm and I can relate to most of the content that you produced for this blog post.
However, this project may not the best case for the perspective you are presenting, as it stands with today's technology trends and capabilities (perhaps limitations as well).
I hope some day, doing this style of work proves to be more cost effective, as I would love to see more of this style in hopefully even more ambitious productions.
Let me elaborate some other perspective that may explain my point better and hopefully have more people appreciate lesser understood details about what is presented in that teaser.
If you think about a team of people creating this whole thing from scratch and let's say during the process they might be using some techniques uniquely advantageous and otherwise impossible when not animating using computer aided techniques, you can appreciate making those techniques work as they work in traditional animation medium will pose its own challenges.
It is only fair if I gave two examples as well...
For example computer simulation of any kind is hard if not impossible with non-continuous representations of motion when they don't interpolate in a relatively plausible way.
Another example would be re-creating a traditional "looking" style, let alone being attempted at a scale like this, will just be a huge technical undertaking.
Now, I have a consistent problem where I open my mouth intending to add just a sentence to a conversation and a nine-volume encyclopedia pops out instead. Accordingly, my attempt to answer the poster succinctly turned into a post-long response that I decided might as well just be a post, so here it is!

Thanks for your comment! You may be right that Spider-verse isn’t the best example, and certainly I wouldn’t hold it up as an example of the kind of production I intend to create--just as a very good example of stylized CG. I suspect that rendering in a stylized way, and making this style work with their existing methods, was quite expensive for SPI! I recall an artist who worked on Paper Man describing it as twice the work of ordinary CG. That's certainly a danger with stylized approaches--but I think it's an avoidable one.

The problem, it seems to me, is that you really can't approach this sort of production as if it were conventional CG, with a conventional methodology and pipeline, and expect to reap the cost benefits I think are potentially realizable with it. You'd have to treat this kind of production very differently.

For instance, you mention simulation as something that would be difficult with non-continuous motion, and you're quite correct. So simulation itself would be the first thing on the chopping block for the production, outside of the occasional FX shot. It's one of the many steps that gums up the works of CG production and prevents us from getting to that state. Plus I generally don't like its results on an artistic basis (at least in this stylized context). When traditional animators animate clothed characters, the clothing takes part in the character's silhouette and becomes a part of the performance. They never had any difficulty animating cloth by hand.

Yes, I am actually claiming that hand-animating cloth would be faster then simulating it, and I know how insane that sounds from a conventional CG perspective. But stylization completely changes the game. Consider the monkey test I posted a few months back.

The monkey is unclothed, of course, but there definitely parts of his body that require secondary animation, notably his hair tufts and ears. The hair tufts at least would most likely be simulated if this shot were approached in a conventional manner. The way I approached the shot was not only to animate them by hand, but to animate them from the very beginning--the very first key poses I put down already included the ears and hair tufts as an inherent aspect of those poses, already contributing to silhouettes and arcs. It’s pretty difficult to get an accurate idea of exactly what percentage of my time animating the shot was devoted to them, but I’m going to guess it was only a few percent.

This is only possible because the stylized look allowed me to ignore the “higher frequency” details that would be required for a fully rendered character, and I expect these same details would also be unnecessary for character clothing. I’m much more interested in character silhouettes then I am in wrinkles and clothing detail, so some simple secondary that’s really just part of the character’s pose would actually be more effective.

The idea here is that this isn’t just any form of stylization--it’s a specifically chosen set of stylizations that support each other in the goal of massively reducing the amount of work involved. And that means choosing subjects that work with the grain of those stylistic choices. For instance, you may be wondering how I’d approach a long flowing cape or a long coat. The answer is...I wouldn’t. I wouldn’t generally put characters in long coats or capes. There are about a million stories you could tell that don’t require anyone to wear a cape. Creating low-cost CG in this manner would be about making the design choices that let you get the most bang for your buck production-value wise while maintaining the essentials of character animation, a very different goal then that which I suspect drives companies like SPI and Disney to create stylized CG.

This also applies to the NPR rendering. There are a lot of ways to approach this problem, and some may be very time consuming! The two-tone methods I’m using here aren’t, though. I was able, as an individual with some understanding of the problem but no custom tools, to sit down and do the shading for the Monkey test without much trouble. Partly this is again choosing the most direct path to something that both looks good and is efficient to create. The simple two-tone present in the monkey test carries far less detail then the more painterly frames from Spider-verse, but I think it wouldn’t have any difficulty supporting emotionally engaging characters or exciting action scenes.

That said, the efficiency of this process could be improved a lot, and there’s a lot of room for R&D here--there’s still a required level of manual tweaking that I’d like to get rid of, and the two tone shapes could be improved. I’m hoping to tackle some of those problems this year.

There’s still the question of how that process, however reasonable on a small scale, would scale up to a large production like a feature film. In many ways, it may help to think of the look development for such a production as being less like a conventional film production pipeline, and more like a game. Ideally, except for certain FX shots, such a production would not even have a rendering/compositing stage--what you would see working on the shot would simply be the shot. It might be quite literally “in-engine” if using a game engine as the hub of production turns out to be the right way to approach it (this is something I’m getting more and more interested in). While this doesn’t remove all potential issues with scaling the approach to feature film size, I think it does drastically simplify the problem. Of course, we haven’t actually produced a long-form project using these techniques, and I’m sure there are going to be unforeseen roadblocks, so we shall see!

In any case, thanks again for your comment! I hope this illuminates how I envision this production process being different from the way I imagine that Spider-verse is being done, and why I think that the immense cost gains I’m claiming here are achievable.

[USA-jxt]

'A path from a point approximately 330 metres east of the most south westerly corner of 17 Batherton Close, Widnes and approximately 208 metres east-south-east of the most southerly corner of Unit 3 Foundry Industrial Estate, Victoria Street, Widnes, proceeding in a generally east-north-easterly direction for approximately 28 metres to a point approximately 202 metres east-south-east of the most south-easterly corner of Unit 4 Foundry Industrial Estate, Victoria Street, and approximately 347 metres east of the most south-easterly corner of 17 Batherton Close, then proceeding in a generally northerly direction for approximately 21 metres to a point approximately 210 metres east of the most south-easterly corner of Unit 5 Foundry Industrial Estate, Victoria Street, and approximately 202 metres east-south-east of the most north-easterly corner of Unit 4 Foundry Industrial Estate, Victoria Street, then proceeding in a generally east-north-east direction for approximately 64 metres to a point approximately 282 metres east-south-east of the most easterly corner of Unit 2 Foundry Industrial Estate, Victoria Street, Widnes and approximately 259 metres east of the most southerly corner of Unit 4 Foundry Industrial Estate, Victoria Street, then proceeding in a generally east-north-east direction for approximately 350 metres to a point approximately 3 metres west-north-west of the most north westerly corner of the boundary fence of the scrap metal yard on the south side of Cornubia Road, Widnes, and approximately 47 metres west-south-west of the stub end of Cornubia Road be diverted to a 3 metre wide path from a point approximately 183 metres east-south-east of the most easterly corner of Unit 5 Foundry Industrial Estate, Victoria Street and approximately 272 metres east of the most north-easterly corner of 26 Ann Street West, Widnes, then proceeding in a generally north easterly direction for approximately 58 metres to a point approximately 216 metres east-south-east of the most easterly corner of Unit 4 Foundry Industrial Estate, Victoria Street and approximately 221 metres east of the most southerly corner of Unit 5 Foundry Industrial Estate, Victoria Street, then proceeding in a generally easterly direction for approximately 45 metres to a point approximately 265 metres east-south-east of the most north-easterly corner of Unit 3 Foundry Industrial Estate, Victoria Street and approximately 265 metres east of the most southerly corner of Unit 5 Foundry Industrial Estate, Victoria Street, then proceeding in a generally east-south-east direction for approximately 102 metres to a point approximately 366 metres east-south-east of the most easterly corner of Unit 3 Foundry Industrial Estate, Victoria Street and approximately 463 metres east of the most north easterly corner of 22 Ann Street West, Widnes, then proceeding in a generally north-north-easterly direction for approximately 19 metres to a point approximately 368 metres east-south-east of the most easterly corner of Unit 3 Foundry Industrial Estate, Victoria Street and approximately 512 metres east of the most south easterly corner of 17 Batherton Close, Widnes then proceeding in a generally east-south, easterly direction for approximately 16 metres to a point approximately 420 metres east-south-east of the most southerly corner of Unit 2 Foundry Industrial Estate, Victoria Street and approximately 533 metres east of the most south-easterly corner of 17 Batherton Close, then proceeding in a generally east-north-easterly direction for approximately 240 metres to a point approximately 606 metres east of the most northerly corner of Unit 4 Foundry Industrial Estate, Victoria Street and approximately 23 metres south of the most south westerly corner of the boundary fencing of the scrap metal yard on the south side of Cornubia Road, Widnes, then proceeding in a generally northern direction for approximately 44 metres to a point approximately 3 metres west-north-west of the most north westerly corner of the boundary fence of the scrap metal yard on the south side of Cornubia Road and approximately 47 metres west-south-west of the stub end of Cornubia Road.’
The sentence below was found in a legal contract, and was until recently the longest sentence we had seen in an official document.
516 words
'In the event that the Purchaser defaults in the payment of any instalment of purchase price, taxes, insurance, interest, or the annual charge described elsewhere herein, or shall default in the performance of any other obligations set forth in this Contract, the Seller may: at his option: (a) Declare immediately due and payable the entire unpaid balance of purchase price, with accrued interest, taxes, and annual charge, and demand full payment thereof, and enforce conveyance of the land by termination of the contract or according to the terms hereof, in which case the Purchaser shall also be liable to the Seller for reasonable attorney's fees for services rendered by any attorney on behalf of the Seller, or (b) sell said land and premises or any part thereof at public auction, in such manner, at such time and place, upon such terms and conditions, and upon such public notice as the Seller may deem best for the interest of all concerned, consisting of advertisement in a newspaper of general circulation in the county or city in which the security property is located at least once a week for Three (3) successive weeks or for such period as applicable law may require and, in case of default of any purchaser, to re-sell with such postponement of sale or resale and upon such public notice thereof as the Seller may determine, and upon compliance by the Purchaser with the terms of sale, and upon judicial approval as may be required by law, convey said land and premises in fee simple to and at the cost of the Purchaser, who shall not be liable to see to the application of the purchase money; and from the proceeds of the sale: First to pay all proper costs and charges, including but not limited to court costs, advertising expenses, auctioneer's allowance, the expenses, if any required to correct any irregularity in the title, premium for Seller's bond, auditor's fee, attorney's fee, and all other expenses of sale occurred in and about the protection and execution of this contract, and all moneys advanced for taxes, assessments, insurance, and with interest thereon as provided herein, and all taxes due upon said land and premises at time of sale, and to retain as compensation a commission of five percent (5%) on the amount of said sale or sales; SECOND, to pay the whole amount then remaining unpaid of the principal of said contract, and interest thereon to date of payment, whether the same shall be due or not, it being understood and agreed that upon such sale before maturity of the contract the balance thereof shall be immediately due and payable; THIRD, to pay liens of record against the security property according to their priority of lien and to the extent that funds remaining in the hands of the Seller are available; and LAST, to pay the remainder of said proceeds, if any, to the vendor, his heirs, personals representatives, successors or assigns upon the delivery and surrender to the vendee of possession of the land and premises, less costs and excess of obtaining possession.'