ghost

Haven't posted here in ages!
I think my best debut photo ever was last year @ Seoul Fashion Week 2020ss in South Korea,  in October with my younger brother and my friends!
(Original link, click here!)
 
 
 
And my most recent photo is...
 

I can't say I'm particularly familiar with Hololive - especially that sort of content - but I've seen a few videos from AZKi, who I believe is one of their main music-focused V-tubers. She has a cute voice.
 
 
 

dayyym. Nice job! I really like the execution of your inflections in the chorus. Very clean.

The good part of being home alone is that you can produce more.
 
Here's my cover of IDOL. I'll probably mix it again sometime. Hope you'll enjoy~
 
 
 

Kisou's sounds honestly never really bothered me. It sounds thin to me and sometimes sounds like it's playing through a plastic tube, but I've always thought that was a stylistic choice. At the very least it has personality and has a diverse sound palette. 

TIW sound has the character of a deep fried piece of mozzarella dipped in stone cold marinara. Every track sounds like it's a radio rip or something. I'd take a rain soaked copy of a La:Sadie's demo tape over TIW's sound any day. 

Chrono Trigger & Cross arrangement album vinyl. Windscene is still the best!
 

 

Lucy Lotus
 

 

Lucy Lotus
 

 

Lucy Lotus
 

 

RE2 remains one of my top 3 PS1 games and my favorite in the series (although, I'm biased as this was my first RE game ever). I'm actually the opposite having not played the REmake yet. Curious to know your thoughts!
 
I feel like RE4 doesn't need a remake. At least, not yet. Mechanically, it practically defined how the next generation of survival horror games play (including REmake 2 & 3) so it'll probably play similarly to how it did in 2005. And unlike RE2 & 3, the game is readily available on any platform imaginable. If the rumors are true I hope they have more planned than just a visual overhaul.

RE2 remains one of my top 3 PS1 games and my favorite in the series (although, I'm biased as this was my first RE game ever). I'm actually the opposite having not played the REmake yet. Curious to know your thoughts!
 
I feel like RE4 doesn't need a remake. At least, not yet. Mechanically, it practically defined how the next generation of survival horror games play (including REmake 2 & 3) so it'll probably play similarly to how it did in 2005. And unlike RE2 & 3, the game is readily available on any platform imaginable. If the rumors are true I hope they have more planned than just a visual overhaul.

Tracked down a reasonably priced copy of Parasite Eve II. Very different than the first one but still pretty fun.
 

 

Finally managed to finish RE2 Remake earlier this year. It was a blast to play through. Hardcore mode was tough with a limited inventory space and ammo. Now, I really want to play the original one to see how it compares
 
RE3 Remake was enjoyable, but I think there was potential for the game to be even better than what was released. That being said, I love the graphics and the new character designs in this one!
 
Picked up Spiderman (Insomniac). This game made me fall in love with traversing across the "world" within the videogame. Being able to websling around the city was cathartic and highly exciting. The voice acting felt solid, and the graphics look great.
 
Currently playing through RE4. While it's more action-oriented, it's absolutely super crazy, but insanely fun, and I love every moment of it. I wonder if the rumors of a remake for this game are true. Not sure how I'd feel about if it was for real.

Tracked down a reasonably priced copy of Parasite Eve II. Very different than the first one but still pretty fun.
 

 

I don't update here anymore lol, but I recently drew a fanart of Lime from Kizu and thought people here might be interested. ^^
Done in watercolor on mixed media paper.
 

 
I'm also taking commissions in this kind of style if anyone's interested......Check here for more info.

i made an artstation!
here's some new stuff~ although, if you follow my instagram you've probably already seen these lol
 
 
i'm also working on modeling a ritual room for a class! this is merely a layout.
 

wooow, it's been a while since i updated my art thread! earlier this week i did a presentation on my game idea and received some recognition so i'll be working on some cool stuff soon~ the current title for the game is "Her Name Is Dalila", which will be a classic survival horror game with a psychological story. here's what i've got so far.
 
some concept art i did way back in june. this was where it all started.

 
i took the concept art and made a platform game out of it in construct 2 for a class. this was a span of 5 weeks and i only got to design one level because doing all the artwork by hand took a while. the only thing i didn't draw were the bats and collectible gems.

 

 
i'll be starting some floor and map designs so that i can start putting the game into a game engine soon. watch for updates!
 
also, if you're interested in trying out the platform game i made just message me and i'll send you the html file. ^^

Fairy's blood - drinking this will grant you the ability to control your dreams.

People have talked in great depth about the musical and listening aspect of turning from VK so I'll speak from more of a collector's perspective. For me the 2 main parts of collecting VK music that made me lose interest in the scene in recent years is boredom and exclusivity.
 
1. It just got boring collecting CDs over the years. Bands always had very predictable releases, your typical type-a or type-b for singles and regular/limited editions for albums with either bonus tracks or a PV DVD or something. The bigger bands put out more luxurious deluxe editions but those are usually just a giant box filled with stuff I never really cared for (like photo books) and I don't want to spend close to $90 for something I feel just lukewarm about. The last CD packaging I really got excited about was the GazettE's Dim limited edition but that was 10 years ago.
 
2. The live limited/fan club limited releases got old really fast. The first few times was exciting because who doesn't want to own a super limited and rare CD. But bands just kept pumping these out and that's when I folded. Regular/limited edition releases are already $40-$60 apiece and to have to shell out $60-$80 for a live single that I have to use a service for just didn't make sense. Sure, exclusivity isn't limited to just the VK scene but by this point I wasn't really invested in the music to want to go the extra lengths to collect exclusive items.
 
I understand there's a lot of decisions made related to catering to fans, using practices that are proven to work or financially makes sense, or trying to pack live performances that result in band's/label's decisions to release something a certain way, but it just isn't for me anymore.

People have talked in great depth about the musical and listening aspect of turning from VK so I'll speak from more of a collector's perspective. For me the 2 main parts of collecting VK music that made me lose interest in the scene in recent years is boredom and exclusivity.
 
1. It just got boring collecting CDs over the years. Bands always had very predictable releases, your typical type-a or type-b for singles and regular/limited editions for albums with either bonus tracks or a PV DVD or something. The bigger bands put out more luxurious deluxe editions but those are usually just a giant box filled with stuff I never really cared for (like photo books) and I don't want to spend close to $90 for something I feel just lukewarm about. The last CD packaging I really got excited about was the GazettE's Dim limited edition but that was 10 years ago.
 
2. The live limited/fan club limited releases got old really fast. The first few times was exciting because who doesn't want to own a super limited and rare CD. But bands just kept pumping these out and that's when I folded. Regular/limited edition releases are already $40-$60 apiece and to have to shell out $60-$80 for a live single that I have to use a service for just didn't make sense. Sure, exclusivity isn't limited to just the VK scene but by this point I wasn't really invested in the music to want to go the extra lengths to collect exclusive items.
 
I understand there's a lot of decisions made related to catering to fans, using practices that are proven to work or financially makes sense, or trying to pack live performances that result in band's/label's decisions to release something a certain way, but it just isn't for me anymore.

People have talked in great depth about the musical and listening aspect of turning from VK so I'll speak from more of a collector's perspective. For me the 2 main parts of collecting VK music that made me lose interest in the scene in recent years is boredom and exclusivity.
 
1. It just got boring collecting CDs over the years. Bands always had very predictable releases, your typical type-a or type-b for singles and regular/limited editions for albums with either bonus tracks or a PV DVD or something. The bigger bands put out more luxurious deluxe editions but those are usually just a giant box filled with stuff I never really cared for (like photo books) and I don't want to spend close to $90 for something I feel just lukewarm about. The last CD packaging I really got excited about was the GazettE's Dim limited edition but that was 10 years ago.
 
2. The live limited/fan club limited releases got old really fast. The first few times was exciting because who doesn't want to own a super limited and rare CD. But bands just kept pumping these out and that's when I folded. Regular/limited edition releases are already $40-$60 apiece and to have to shell out $60-$80 for a live single that I have to use a service for just didn't make sense. Sure, exclusivity isn't limited to just the VK scene but by this point I wasn't really invested in the music to want to go the extra lengths to collect exclusive items.
 
I understand there's a lot of decisions made related to catering to fans, using practices that are proven to work or financially makes sense, or trying to pack live performances that result in band's/label's decisions to release something a certain way, but it just isn't for me anymore.

People have talked in great depth about the musical and listening aspect of turning from VK so I'll speak from more of a collector's perspective. For me the 2 main parts of collecting VK music that made me lose interest in the scene in recent years is boredom and exclusivity.
 
1. It just got boring collecting CDs over the years. Bands always had very predictable releases, your typical type-a or type-b for singles and regular/limited editions for albums with either bonus tracks or a PV DVD or something. The bigger bands put out more luxurious deluxe editions but those are usually just a giant box filled with stuff I never really cared for (like photo books) and I don't want to spend close to $90 for something I feel just lukewarm about. The last CD packaging I really got excited about was the GazettE's Dim limited edition but that was 10 years ago.
 
2. The live limited/fan club limited releases got old really fast. The first few times was exciting because who doesn't want to own a super limited and rare CD. But bands just kept pumping these out and that's when I folded. Regular/limited edition releases are already $40-$60 apiece and to have to shell out $60-$80 for a live single that I have to use a service for just didn't make sense. Sure, exclusivity isn't limited to just the VK scene but by this point I wasn't really invested in the music to want to go the extra lengths to collect exclusive items.
 
I understand there's a lot of decisions made related to catering to fans, using practices that are proven to work or financially makes sense, or trying to pack live performances that result in band's/label's decisions to release something a certain way, but it just isn't for me anymore.

Kisou's sounds honestly never really bothered me. It sounds thin to me and sometimes sounds like it's playing through a plastic tube, but I've always thought that was a stylistic choice. At the very least it has personality and has a diverse sound palette. 

TIW sound has the character of a deep fried piece of mozzarella dipped in stone cold marinara. Every track sounds like it's a radio rip or something. I'd take a rain soaked copy of a La:Sadie's demo tape over TIW's sound any day. 

Kisou's sounds honestly never really bothered me. It sounds thin to me and sometimes sounds like it's playing through a plastic tube, but I've always thought that was a stylistic choice. At the very least it has personality and has a diverse sound palette. 

TIW sound has the character of a deep fried piece of mozzarella dipped in stone cold marinara. Every track sounds like it's a radio rip or something. I'd take a rain soaked copy of a La:Sadie's demo tape over TIW's sound any day. 

Kisou's sounds honestly never really bothered me. It sounds thin to me and sometimes sounds like it's playing through a plastic tube, but I've always thought that was a stylistic choice. At the very least it has personality and has a diverse sound palette. 

TIW sound has the character of a deep fried piece of mozzarella dipped in stone cold marinara. Every track sounds like it's a radio rip or something. I'd take a rain soaked copy of a La:Sadie's demo tape over TIW's sound any day.