Haha, may you have had a wonderful day regardless!

There's often a really artless mixing of retro and modern techniques but this just looks incredibly cohesive. Beautiful work as always.

I know it's not what you're highlighting but I just need to say the LCD installations and the level as a whole looks amazing.

The more I think about this the more disappointed I am — no less than The Designers Republic worked on advertisements blown past at 750km/h in Wipeout 3, Sheldon Pacotti's writing for obscure NPC conversations in Deus Ex is legendary. These are unimportant things only — only — if treated as such.

The colours captured here and in One Battle After Another (2025), both VistaVision, are so beautifully vivid. For anyone in the know, is it fair to ascribe it to the film stock? My friend and I thought the development might be responsible but it's no different from 35mm?

Finally someone articulating what clearly needed to be said.

Despite your total rejection of free will perhaps making the statement unjust (as much as any punishment or reward), you still have my great thanks for all the wonderful conversations you shepherd. 💜

If only for the benefit that doing some final alterations of SP output is going to happen eventually in Photoshop and one will never suffer having the problem of being too capable in PS.

I love pixl8r myself — I certainly don't want to imply too prescriptive a view. If using SP gives you the results you want or you simply enjoy using it, that's the workflow for you!

I would still recommend just dipping a toe into, as you say, drawing over UVs.

Several! I find its use leads to many games looking too similar at the foundation. I found I didn't become a better digital artist in SP, merely better at using SP contra PS. I feel there's something more tangible and controllable than relying on baked filters or baking in Blender for results.

Some more exotic ammo cases.

Sean Penn reminded everyone that all those Oscars weren't for nothing. I'm stunned. I'm obsessed with Steven J. Lockjaw. He's an absurd character yet all these deeply human universals are expressed so vividly, drawing seemingly every military colonel of the past half-century into a platonic monster.

So many discrete pieces of genius. Like the hydraulic dynamic of the Combine gunship's self-protecting weaponry and turning speed against a laser-guided RPG. It produces something akin to a remote controlled aerial fight with intuitive control and all seamless to the continuity of other action.

Viktor Antonov was a lineal inheritor of the speculative architect Lebbeus Woods. His work and insight are so tangibly and beautifully realised in the shifting, additive, subtractive, angular forms in which a final stasis is denied. Consuming. Overtaking. Combining.