The ability to create fiction and other artistic works is considered to be a fundamental aspect of human culture, one of the defining characteristics of humanity. New Releases Tagged "Fiction". More new releases tagged "fiction" Enter Giveaway. Format: Giveaway ends in: a Availability: copies available, people requesting Giveaway dates: Sep 03 - Oct 03, Countries available: U. Navigating the complex labyrinth of high school, friends confront the question of what's more important: loyalty or self-preservation?
Rock and Lilly Navigating the complex labyrinth of high school, friends confront the question of what's more important: loyalty or self-preservation? Rock and Lilly are dating and have a substitute following the passing of their previous teacher. They and their friends react like normal high school students, joking, goofing off, etc. Suspicious incidents occur thereafter, Rock theorizing she has some strange ability. When his relationships reach a critical point, Rock must make a choice.
Will it prove beneficial? Or will it result in the end of all their friendships? Format: Print book Giveaway ends in: a Availability: 5 copies available, people requesting Giveaway dates: Sep 03 - Oct 03, Countries available: U. Undermoney by Jay Newman. Format: Print book Giveaway ends in: a Availability: copies available, people requesting Giveaway dates: Sep 03 - Oct 03, Countries available: U.
More book giveaways Most Read This Week. He found the girls "distinctive, if predictable the beauty, the boobs, the jailbait ",  but concluded in a later volume that "The story's never going to go anywhere, the characters are never going to go anywhere, and the artwork is always going to have that same polished-but-flawed look.
Carlo Santos, in reviewing the manga volumes, found the antagonist monster designs to interest him the most, and wished Ikeda would have focused the story on action-fantasy themed manga. He found the character introductions repetitive, and wished they would deviate from the harem formula and develop into lively, sympathetic ones like with Ouran High School Host Club. The anime series, directed by Takayuki Inagaki who has worked on Desert Punk and Indian Summerhas an abundance of fanservice and panty shots that have been heavily criticized from reviewers in manga and anime, who have compared the show to panty-ridden series such as Najica Blitz Tactics and Agent Aika.
In the bonus comics at the end of Season II, Volume 6Ikeda responds to a fan letter that criticizes that the Newspaper Club girls artwork in the manga is not as moe as in the anime by having them go over aspects of moe that has already incorporated such as cat earsknee sockslarge breaststwin tailslong bangsas well as what the girls would look like when drawn with large eyes, distinguishing accessories and speech inflections.
InMoka was elected by UGO Networks as the fortieth "sexiest vampire" in their list of Top 50 Sexiest Vampires in entertainment history, with the staff commenting on her relation with Tsukuneand that she "turns into a fierce predator that kicks ass with abandon". Character songs were developed to accompany the anime series and published by King Records in They include single albums by each of the Newspaper Club girls,    and the girls combined,   some of which have a lyrics credit to Yasushi Akimoto of AKB48 fame.
Vampire Encyclopedia Wiki Explore. Wiki Content. Explore Wikis Community Central. Register Don't have an account? Edit source History Talk 0. Main article: Moka Akashiya. Ikeda says "kapu" is the onomatopoeia of "bite", and "chuu" is a "kiss". He also says it has nothing to do with capuccino or the drink theme that he gives Moka's family members. Their blood is synchronized with other First Ancestor vampires so when one awakens, the others follow. October ISBN June February August December March November April July January September ISBN Vol.
May Funimation Entertainment. Retrieved March 15, Retrieved Web Agency Meta Line. Archived from the original on Retrieved November 13, Anime News Network. DVD Talk. Manga at About. Anime at About. UGO Networks. November 5, Retrieved July 28, Retrieved February 7, At stepthe control vertices except the root vertex of each clump hair are reoriented towards corresponding clump-center hair vertices from the clump hair's dry, combed position determined at steps, and In one embodiment, this process is performed at each frame.
In one embodiment, the default value for number of control vertices CVs is 3 4 minus the root vertexand the index for the current control vertex i ranges from Both clump-percent and clump-rate parameters can be locally controlled via feature maps similar to the feature maps described above with respect to clump-size. Both values can also be animated or changed over time to provide continuous control for dry-to-wet-to-dry fur looks. This is illustrated by FIGS.
In the image of FIG. Animated area clumping is desirable to simulate spouts of water or raindrops hitting the fur and making it increasingly wet. At stepFIG. In one embodiment, the animated clumping areas are defined in an animation system. One embodiment of the process is described with reference to FIG.
In one embodiment, clumping areas are defined by particles hitting surface. Other embodiments may use alternate techniques for generating animated clumping areas. At step a global static area clumping process is performed on all hairs. This step identifies clumping regions and corresponding clump center hairs and clump hairs.
As explained below this information is used in the animated clumping process. In one embodiment, the global static area clumping used is that described above for static area clumping. At stepone or more emitters that generate the particles are defined. The use of emitters to generate particles is known in the art and will not be discussed in detail herein.
In one embodiment, the emitters define the rate generated and spread of the particles across a surface. At stepat each frame for each particle generated that hits the surface, the surface patch the particle hits is identified, step In one embodiment, particles generated in prior frames are carried through subsequent frames such that the particles are cumulative. For each particle that hits a surface patch, including those particles generated in prior frames, a circular animated clumping area is created, stepon the patch at that u,v location, with clump-percent, clump-rate, and animated clumping area radius determined by a creation expression executed at the frame where the particle hits the surface so that when a particle hits the surface at that time i.
The radius of the circular clumping area defined is converted into a corresponding u-radius and v-radius similar to the clump size discussed above. Each clump center hair of a clump determined at step is then evaluated to determine if it falls within the animated clumping area, step To determine whether a clump falls within an animated clumping area, at each frame it is checked as to whether the u,v distance between the clump-center hair of the clump and the center of the animated clumping area is within the u,v radius parameters of the animated clumping area.
For clumps that are located in overlapping animated clumping areas, the values for clump-percent and clump-rate are added resulting in the generation of wetter fur. If the clump center hair is within the animated clumping area, stepthe corresponding clump is flagged with an animated clumping flag such that the clump hairs are subsequently reoriented to reflect the animated clumping effect.
Alternately, each clump hair of the clump may have an animated clumping flag which is set if the corresponding clump center hair is determined to be within an animated clumping area.
In addition, an animated clump-rate value and an animated clump-percent value are assigned to the clump hairs that are identified to be within an animated clumping area in accordance with a runtime expression. In one embodiment, the values for clump-percent and clump-rate for each clump within an animated clumping area are replaced with the corresponding values for the animated clumping area at each frame.
As animated clumping areas may be much bigger than a clump, an animated clumping area may contain several individual clumps. Each clump is evaluated, stepfor each particle, step It should be noted that animated clumping areas could straddle surface patch boundaries. For example, the center of an animated clumping area may be located on one surface patch, but the area may be located on one or more other patches. Since the animated clumping areas are typically defined and therefore associated with the surface which contains the center of the animated clumping area, i.
This could lead to discontinuities in clumping of the final fur. In one embodiment, this potential problem is addressed. Whenever a new particle hits a surface and the u,v radii exceed the boundaries of that surface; an additional u,v center and u,v radii is generated for the animated clumping areas affecting neighboring patches.
Thus, for example, if the clumping area covers portions of two neighboring patches, a corresponding u,v center and radii are generated for each neighboring patch to provide additional animated clumping areas for evaluation at steps - At stepfor each frame, the clump hairs of clumps that are within the animated clumping areas are reoriented.
Thus, clump hairs are selectively adjusted if they are within an animated clumping area. At stepif more frames are to be. Thus the animated clumping process is performed across multiple frames to provide animated effects. As described below, this process may include two kinds of hair breaking: symmetric and one-sided. In one embodiment, fur tracks are specified as curves on surfaces in an animation system. Each track has a radius, break-percent and break-rate for symmetric and one-sided breaking, and an additional break-vector for one sided breaking.
The final information generated is output into breaking files that are subsequently accessed to reorient the affected hairs. One embodiment of the hair breaking technique is illustrated by FIG. At step the fur tracks are defined. The fur tracks may be defined similar to clumps by defining a u,v break radii. At step the break line hairs hairs which lie on or are very close to the fur-track curve defined by the curve defined for the fur track are computed.
Using the break line hairs and break radii, at steps, each hair is evaluated to determine whether the hair lies within the u,v break radii on both sides of the break line hairs in case of symmetric breaking, or to one side specified by the break vector the break vector side in case of one-sided breaking.
For each hair within the space specified by the radii, referred to herein as a break hair, the corresponding break line hair hair on the fur track is then determined as the one closest to it. The hairs are labeled as break line hairs, break hairs with indices to their corresponding break line hairs, or normal hairs that do not reside within the areas specified by the break. Examples of symmetric and one-sided breaking are shown in FIG. The break hairs are reoriented with respect to their corresponding break line hairs, step For symmetric breaking, this process is analogous to the process performed for clump hairs discussed earlier.
However, for break hairs, the break-percent and break-rate values are used in place of the clump-percent and clump-rate used for clump hairs.
For one-sided breaking, break hairs are repelled, as opposed to attracted to the break-line hairs according to the break-percent and break-rate parameters.
The breaking effect is illustrated by FIGS. The coat of most furred animals is composed of a fuzzier, thinner shorter layer of hairs called undercoat, plus an overcoat of longer and thicker hairs. Step illustrates the capability to perform a two- or multiple -pass process, whereby steps, and and optionally, and are executed more than once, producing a different set of hairs at each pass.
These sets or layers are then processed and combined at render-time step The effects can be seen by reference to FIGS. As illustrated by stepthe clumped hairs represented by their control vertices are rendered into a series of two-dimensional images to create lifelike dry and wet hair looks. In one embodiment, the process functions to project a three-dimensional hair geometry onto a two-dimensional image plane from the perspective of a particular point of view.
In order to render large amounts of hair quickly and efficiently, the geometric model of each hair may be kept simple. As explained above, a hair is represented by a parametric curve having a determined number of control vertices in one embodiment, the default is four. In one embodiment, the process employs known rendering technology to produce the hairs described by the corresponding control vertices.
This may be accomplished by assigning an intensity of color at each point along or on a hair, wherein points along a hair may be defined as the pixels which compose the hair. During the rendering of the hairs, a width is added for each hair to transform it into a narrow ribbon that is always oriented towards the camera or view point. The shading process properly shades these ribbon primitives to more realistically present them as thin hairs.
One embodiment of the shading process is set forth in the flow chart of FIG. At stepeach hair is processed. At stepfor each hair, the surface normal at the base of the hair is mixed with the normal vector at the current point on the hair in order to obtain a shading normal at the current point on the hair. In one embodiment, the hairs are rendered as a series of points or pixels on a display. Thus, the current point is one of the pixels representing a hair.
The shading process may be applied at multiple points along the hair. In one embodiment, the amount with which each of these vectors contributes to the mix is based on the angle between the tangent vector at the current point on the hair, and the surface normal vector at the base of the hair. The smaller this angle, the more the surface normal contributes to the shading normal. At step the intensity of the hair at the current point on the hair is determined using the shading normal at that point.
In one embodiment, a Lambertian model is used to calculate these intensities. Using this approach provides the benefit of allowing the user to light the underlying skin surface and receive predictable results when fur is added. This approach also accounts for shading differences between individual hairs, and differences in shading along the length of each hair. In order to obtain realistic shadows on the fur coat, shadow maps are used. The use of shadow maps is known in the art and will not be discussed further herein.
However, incorporating the hair into the shadow maps may generate several unwanted side effects. One problem is that of dark streaking on brightly lit fur because of the fur self-shadowing. Dark streaks look wrong on brightly lit fur because normally light bounces off the skin and hair to prevent dark shadows on brightly lit fur.
In order to minimize the dark streaking effects, in one embodiment, the hairs for the shadow maps are shortened based on certain criteria, step For example, the length and density of the hair may dictate the percentage to shorten the hair. By selectively shortening hairs for the shadow maps, the hair self-shadowing effect is minimized while still producing a broken up shadow on the terminator lines for lights falling on the fur.
Back lighting is achieved in a similar fashion using a shadow map for each light located behind the furred object, and again shortening the hair on the basis of density and length in the shadow map render process. In one embodiment, a lighting model for hairs also allows each light to control its diffuse fall-off angles. Thus, lights directly behind the furred object can wrap around the object. Using these lighting controls together with shadow maps reasonable back lighting effects are achieved.
In one embodiment, the shading for clumped hairs is modified. In one No Longer Human - Abscido - Entertainment In Another World (CD), two aspects of the hair shading may be modified. First, the amount of specular on the fur is increased. Second, clumping is accounted for in the shading model. Geometrically, as explained earlier, fur is modeled in clumps to simulate what actually happens when fur gets wet. In the shading model, for each hair and for each light, the side of the clump the hair is on with respect to the light's position is determined, and the hair is either darkened or brightened based on the side the hair is on.
Thus, hairs on the side of a clump facing the light are brighter than hairs on a clump facing away from the light. Further embodiments of the invention relate to additional features added to the animal fur and human hair pipeline of FIG. In particular, these additional features to the pipeline are directed to producing a wide variety of stylized and photorealistic fur and hair looks for digital characters.
Turning now to FIG. As before, input, is received by surface definition module Surface definition moduleas previously described, defines surfaces and control hairs of the object to be rendered. Further, as previously described, control hair adjustment module adjusts control hairs to provide such functionality as combing No Longer Human - Abscido - Entertainment In Another World (CD) seamless hairs across surface boundaries.
In addition to the previously-described pipeline of FIG. Interpolation moduleas previously described, may be utilized to interpolate hairs across surfaces using control hairs.
Moreover, as previously described with reference to FIG. In particular, embodiments of the invention are directed to techniques implemented by the previously-described pipeline of FIG. Further techniques relate to: a method and system for editing and combining different hair animations referred to herein as a Hair Motion Compositor HMC and hair optimization strategies to improve render times.
Digital animals, humans, and imaginary creatures are increasingly being incorporated into movies, both live-action and computer-animated. In order to make them believable, many of these characters need persuasive hair or fur. In a production environment, where quality is paramount, a pipeline to generate hair must not only work, but also needs to be practical, robust, flexible, efficient, and powerful. Described herein are tools and techniques which facilitate the creation of specific hair and fur looks to satisfy the appearance and expression that a director might choose for a particular show and its characters.
Solutions are described which make it possible to generate convincing animal fur, produce believable human hair, and closely match the hair of real actors. It should be noted that when modeling hair geometrically, problems arise with respect to human hair that are slightly different from those with animal fur. Specially, longer human hair requires much more sophisticated combing and animation tools.
For animal fur, the rendering stage needs to be optimized as there are millions of individual hair strands compared to aroundtofor humans. These software packages are well known to those in the computer graphics arts. For example, in one embodiment, a basic guide-chain attached to a control hair may be used in either a forward or inverse kinematic mode to define a control hair's shape while approximately maintaining its length. It can also apply the same deformation to other selected control hairs either in world or local space.
Further, an intuitive cutting tool may be utilized in which a user can sketch a curve in an orthographic view, which is then used to calculate intersections with selected control hairs and cuts them at those points. In one particular embodiment, a combing tool is disclosed that allows for selected control hairs to be clumped together in a controlled manner.
With reference to FIGS. As shown in FIG. Control hair module may be used to fill the volume with control hairs and interpolation module may be used to interpolate final hair strands from the control hairs. These techniques will be described in No Longer Human - Abscido - Entertainment In Another World (CD) detail below. In particular, a fill-volume tool may be used to quickly fill an enclosed surface with randomly placed control hairs. Turning to FIG.
Next, the volume is filled with randomly placed control hairs block Lastly, final hair strands are interpolated from the control hair strands block Further, an example of this may be seen in FIGS. In particular, FIGS. Next, as shown in FIG. Lastly, as can be seen in FIG. Additional control hairs may be automatically interpolated from existing ones and final hair strands may also be automatically interpolated from existing ones utilizing interpolation algorithms similar to those described below.
Additionally, the shape of newly inserted control hairs may be blended between selected existing control hairs. An example of this interpolation methodology may be seen with reference to FIGS.
As can be seen in FIGS. By utilizing this interpolation methodology, the number of control hairs may be kept small across different applications.
For example, FIG. This is useful for plants or long hairstyles that should not No Longer Human - Abscido - Entertainment In Another World (CD) surface skin deformations. This is more natural for shorter hair or fur. Lastly, FIG. This scheme may be useful, for instance, for long, un-clumped human hair dropping from the top and sides of the curved scalp.
It should be noted that in the local and world space modes, interpolated final hair strands may appear longer than control hairs whereas in the convex hull mode they do not. Final hairs may belong to manual clumps directly placed by No Longer Human - Abscido - Entertainment In Another World (CD) user or to procedurally generated auto and minor clumps.
Auto-clump hairs may occur either inside or outside of manual clumps whereas minor clump hairs may only reside in manual or auto clumps. These techniques may be applied for wet hair looks and for customizing the look of tufts of dry hair. These effects may be applied directly to final hairs after the interpolation between control hairs. Examples of these wave, weave, and wind effects are shown in FIGS. In each of the cases of FIGS. In addition, independent hair parameters or effects can be used in combination with multiple final hair layers with possibly different sets of control hairs.
For animal fur, undercoats and overcoats may be generated this way and complex human hair may be broken up into several distinct layers such as base, stray, and fuzz. Another embodiment of the invention relates to arbitrary geometry instancing. In this regard, a general application program interface API may be provided in conjunction with the hair rendering functions such that an application developer can obtain per hair follicle information from the hair system, and replace the rendering of hair with other operations.
For example, in one embodiment, hair pipeline may be used to generate a user-selected geometry based upon a hair location for at least one hair with respect to a surface.
Surface definition module may be used to define the surface. Display module may be used to: process a user-selected geometry and render the user-selected geometry at the hair location on the surface in place of the at least one hair. Thus, instead of populating, for example, a human head with hair, a human head with thorns may be generated. Or, instead of a field full of hairs, a field full of flowers, grass, or trees may be populated.
Further, it should be noted that instantiating the exact same object e. Therefore, different kinds of primitives may be modeled and instantiated at render time to replace each final hair.
Instead of completely discarding the final shape of the hair, the hair follicle can be used to represent the axis of deformation around which the instanced geometry may be deformed according to the shape of the hair.
This way, all of the advantages of all the various effects e. If not, the process is ended block However, if the render stage has been entered, at blockit is determined whether or not a user has decided to override the hair rendering operation to instead utilize the geometric instancing function. If not, the process is ended at block On the other hand, if the user has decided to override the hair rendering process and to utilize the geometric instancing function instead, then at block the hair follicle information in obtained.
Next, at blockbased upon the user selected geometry, the hair follicles upon the surface are instead populated with the user-selected geometry i. Then, at blockthe hair shape previously determined for the hairs are applied to deform the user-selected geometry. An example of this can be seen in FIGS. Each of the hairs has hair follicle information e. However, with embodiments of the invention, as shown in FIG.
For example, a flower may be randomly selected from a set of three modeled flowers and may be deformed by the shape of the corresponding final hair. It should be appreciated that flowers are only given as an example and that virtually any geometric shape may be used in lieu of a hair shape. When dealing with hair animations and dynamic simulations in a production context, the need to combine different motion results arises quite often.
If part of the hair is perfect in one simulation, but the rest of the hair looks better in another, it is easier to pick and choose which parts of each simulation are desirable to be kept than it is to figure out the right settings to get all the hair to move in a desired fashion. As will be described hereinafter, in one embodiment, a hair motion compositor provides a system and method that allows a user to combine and modify various control hair animations by building a network of nodes and operations.
For example, in one embodiment, hair pipeline utilizes surface definition module to define a surface and a control hair and hair motion compositor module combines different control hair curve shapes associated with the control hair and the surface.
In particular, the hair motion compositor module generates a static node defining a static control hair curve shape; generates an animation node defining an animation control hair curve shape; and combines the static control hair curve shape of the static node with the animation control hair curve hair shape of the animation node to produce a resultant control hair curve shape for the control hair. In one embodiment, the hair motion compositor HMC is a directed acyclic graph of nodes, wherein nodes can represent either animations or operations applied to animation.
The connection between the nodes represents the data flow of animated control hair curve shapes. Creating an HMC setup for a character or object typically assumes that there is an existing static comb of control hairs that is used as a basis.
A HMC setup typically requires two nodes: a static node containing the initial, non-animated shape of the control hair curves and a control node representing the final result - which is the output of the node graph. Additional nodes representing control hair curve shapes may be inserted into the graph. These additional nodes may be termed animation nodes.
As can be seen in FIG. The user can apply tweaks and key frames through an animation set of control hair curves provided by animation control node to offset the static shape to produce the final combed hair result of control node Blend nodes may be utilized for compositing features. A blend node may be defined as an operation node that takes two inputs and combines them together to form a single output.
For example, control hair curves from each input may be blended together rotationally to maintain curve length or positionally for linear blending. Additionally, a blend factor parameter for the blend node may be used to control how much each of the inputs should be used.
For example, a value of 0 designates the total use of input node A and a value of 1 designates the total use of input node B; wherein the blend node provides smooth interpolation of the control hair curve shapes of input nodes A and B for all of the values in between.
Concurrent reference may also be made FIGS. In particular, FIG. In this example, blend node has a blend factor of 0. More particularly, as can be seen in FIG. The advantage of rotational blending is that it preserves the lengths of the resulting control hairs. The advantage of positional blending is that the resulting control hair shapes are more predictable than with rotational blending. By default, blend node may apply the same blend value to all control vertices CVs of every input control hair curve.
For per-CV control, a user may build a function curve specifying what blend factor value to use at every CV. For example, this may be used to cause the base CV motion to come from a first input, and the tip CV motion to come from a second input. Typically the same blend factor is applied to every control hair curve of the inputs, even when using per-CV function curve. To specify per-hair blend values, a user may utilize a blend ball that identifies regions in three-dimensional space.
A blend ball may be made of two concentric spheres with an inner and outer blend factor value, respectively. If the inner value is 0 and the outer value is 1, all control hair curves within the inner sphere will get their animation from the first input, and all control hair curve outside the outer sphere will get their values from the second input, with a smooth interpolation in between.
An example of this type of blend ball is illustrated in FIG. In essence, blend ball is utilized to localize the effect of the blend node. Further, FIG. It should be appreciated that other than specifying typical simulation settings stiffness, damping, etc. However, eventually most of the time is spent dealing with the results of one or more simulations. Since the dynamic solving process itself is often time consuming and outside of direct user control, it is important to minimize the number of simulations that need to be run to achieve the desired result.
For example, in one embodiment, the MAYA hair dynamic solver may be used for hair simulations. However, it should be appreciated that the HMC system previously described is dynamic solver-agnostic.
In essence, the solver appears as a single node in the node graph. With reference to FIG. The initial static comb node is connected to the solver through animation node to be used as a goal, but the final result is blended by blend node between the output of the dynamic simulation node and the goal.
Control node is the resultant output. However, to quickly make the hair stiffer a common artistic requestthe blend can be gradually increased to blend back to the static goal without running new simulations.
In order to accommodate this, a cache-out node connected to control node may be utilized to write to a storage device whenever a node is connected to it. The cache-out file can then subsequently be read back in with a cache-in node, as will be described.
It should be appreciated that a cache-out node may be applied to any node of the system. Further, it should be appreciated that the storage device may be a hard disk drive or any other sort of storage device.
Very often, especially for computer graphic feature productions, proxy surfaces representing hair are modeled and key framed at certain key-poses by the animation department in order to represent how the hair should move in a given shot. For example, a ponytail of a character may be approximated by a bulged-out tube volume. In order to accommodate this functionality, a volume node may be utilized that in effect binds control hair curves so that they follow the animation of one or more volumes.
Another use of volume nodes may be to offset the result of a dynamic simulation to produce a desired result. In this case, it may be impractical to use a hand-animated volume since it does not automatically follow the dynamic control hairs. Instead, a volume node may be used that provides its own volume which may be built-in on-the-fly as the convex hull of the control hair curves to be deformed.
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