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That reminds me of another puzzle.
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Maybe she could have a mini-plane that can attach to her back, like a super advanced hang-glider? Or like the Guardian from the Guardian Legend (shut up, I don't care if that was supposed to be a transition sequence, it totally looked like the plane was on her back and that was way cooler). ... of course, that would be assuming anyone played that old NES game but me.
I guess I'll wait to see the alternate designs before giving any opinion on what works best.
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Sorry it's so simple! I was in the mood to do a quick concept sketch.
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...So does Manfred have a team of Eagle Riders for his lieutenants? :|
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They aren't all butterfly eagle-riders...or maybe they are D:? I dunno XP He is in another dimension and probably involved in some GALACTIC WAR to enslave all planets to his whim maybe D8~
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And on that note, it would fit April May's style quite well.
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I think he would have different classes of fighters.....
Or maybe knowing him he would want perfection and conformity in his ranks.
Like a bunch of clone looking troops.
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Good luck with that!
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I'm not sure if this will help but we do have nameless characters in the games since during the zoom out scenes in the coutroom, we do see an almost faceless audience on both sides of room. Perhaps that could be worked in somehow... Just an idea I felt like I could toss out there.
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Damn, I forgot about that little fact...
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Alright, jokes aside. Let me ask this, is there really a need for waves of faceless goons? I , mean, we have quite a few villians if I remember correctly. Shouldn't that be more then enough for SuMako and the other heros to handle? I mean, it's not like your gonna kill off each villian (or set of villians) after the first battle. If you still go the generic goon path, perhaps different kinds of goons can be assigned under different villians to control by Manfred. It would give them a little more personality rather then just sticking then all under Manfred's direct control.
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Sorry for the delays guys. >_> My computer is being an ass. I'll post the picture up as soon as possible. (May I'll just paint chat it......)
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I put a makeshift logo on the Celeste design for now, so no worries.
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My opinion is that we ought to strategically and sparingly place our Mooks. The Faceless hordes are one cliche I'd like to not deal with.
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Opening theme from the film "Paprika."
Imagine if Makoto could jump in and out of pictures like that! What say you? It'd be a great way for her to avoid detection and danger.
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Instant "teleportation".
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Opening theme from the film "Paprika."
Imagine if Makoto could jump in and out of pictures like that! What say you? It'd be a great way for her to avoid detection and danger.
I like that idea, it could be a fun new tool for her. But as awesome as that would be , it does open a whole dimension of questions that needs to asked:
How exactly does the power work for her? (or better yet) How exactly would she use the power?
All powers need some kind of drawback, what's the drawback for this power?
Can she use at free will or does she need a condition (a trigger) to be able to use it?
When she uses that power, is she the only one able to go in/out of pictures or can she pulls other in with her?
Could a villian enter the picture while she's using the power (like if one gets knock in by another person attack)?
Can she still use her other powers at the same time while this power is active?
What would happen to her if something happens to the picture while she's in it? (the picture gets torn up, shot etc)?
I had a few others in mind but they seems to have escaped me to let these raise to the surface. If I think of more, I'll post them again later.
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A recently pitched concept for Sadistress' origins involves Kristoph following Makoto into one of her drawings, thus thrusting him into a realm where Makoto's art is "real" and far more powerful, resulting in his transformation.
There's all number of things that Makoto's imagejumping could be applied to, not just paintings and drawings. In modern society, imagery is everywhere, especially with advertising being so prevalent.
Imagine what would happen if Wocky opens up a dirty magazine only to get a faceful of magical girl.
Another possibility is Makoto trying to jump out from, say, your forum avatar. Except as she makes a run for it, the user scrolls it offscreen, and Makoto hits her head on the browser toolbar.
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Also, what about animated images? If you think about it, those might cause some complications, given that an animation is just a rapid series of stills. I can see her jumping into one and then finding her door closing shut a split-second after. Unless it was looped, like an animated .gif, in which case it'd be like an incredibly fast revolving door.
Hmm. Can't help but also wonder about if there's any connection between this and Konrad's musical powers. Or if it's just a magical art theme. (Which means, of course, that Kristoph and his two new boulders have a magical connection to 3D arts like sculpture, like statues and glasswork, and architecture, since Sadi's a brick house - *snackoo'd*)
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Tl;Dr: She makes people smashed- and not in the good way.
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The idea with the new Sadistress origin is that Sadistress is more of Kristoph's design than Makoto's, since Makoto simply provides the means for her manifestation.
That said, I think we could easily gloss over the possibility of someone getting trapped in artspace. There's plenty of options when it comes to exits, and we can always conveniently dump characters somewhere that isn't too far removed. There's probably a semi-correlation in distances between artspace and realspace.
EDIT:
The problem with an illusory world is that we have to account for where their real bodies are, and concerning the major reality hax Makoto is already pulling, that would be too much of a physical paralysis or stun effect for her to be wielding. That could be worse than physically pulling people into an alternate dimension of space.
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For those who don't speak equation...
Start with the distance in realspace. Estimate how similar, in percent, the two images are, and convert to decimal - 100% is 1.00, 50% is .50. Divide the distance by that number; this will actually multiply it by the inverse, causing it to grow, so the less similar the images are, the longer the distance gets. Then, we work in other factors: Imagination is subtracted from the distance, bringing them closer together, and artistic differences are added, pushing them further apart. And then it's all divided by something because a lot of equations end with the value being divided for scale.
There won't be a quiz on this later because I'm sure artspace loves to bend and break rules of math and physics at whim. Optical illusions, anyone?
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