Who Is The Author Of Head-On/Repossessed?

Toy history has some surprisingly wild origin stories, and Mr. Potato Head is up there with the best of them. I’ve dug through old catalogs and museum blurbs on this one: the toy started with George Lerner, who came up with the concept in the late 1940s in the United States. He sketched out little plastic facial features and accessories that kids could stick into a real vegetable. Lerner sold the idea to a small company — Hassenfeld Brothers, who later became Hasbro — and they launched the product commercially in 1952. The first Mr. Potato Head sets were literally boxes of plastic eyes, noses, ears and hats sold in grocery stores, not the hollow plastic potato body we expect today. It was also one of the earliest toys to be advertised on television, which helped it explode in popularity. I love that mix of humble DIY creativity and sharp marketing — it feels both silly and brilliant, and it still makes me smile whenever I see vintage parts.

Vintage toy shelves still make me smile, and Mr. Potato Head is one of those classics I keep coming back to. In most modern, standard retail versions you'll find about 14 pieces total — that counts the plastic potato body plus roughly a dozen accessories. Typical accessories include two shoes, two arms, two eyes, two ears, a nose, a mouth, a mustache or smile piece, a hat and maybe a pair of glasses. That lineup gets you around 13 accessory parts plus the body, which is where the '14-piece' label comes from. Collectors and parents should note that not every version is identical. There are toddler-safe 'My First' variants with fewer, chunkier bits, and deluxe or themed editions that tack on extra hats, hands, or novelty items. For casual play, though, the standard boxed Mr. Potato Head most folks buy from a toy aisle will list about 14 pieces — and it's a great little set for goofy face-mixing. I still enjoy swapping out silly facial hair on mine.

I get a little giddy thinking about the weirdly charming world of vintage Mr. Potato Head pieces — the value comes from a mix of history, rarity, and nostalgia that’s almost visceral. Older collectors prize early production items because they tell a story: the original kit-style toys from the 1950s, when parts were sold separately before a plastic potato body was introduced, are rarer. Original boxes, instruction sheets, and advertising inserts can triple or quadruple a set’s worth, especially when typography and artwork match known period examples. Small details matter: maker marks, patent numbers on parts, the presence or absence of certain peg styles and colors, and correct hats or glasses can distinguish an authentic high-value piece from a common replacement. Pop-culture moments like 'Toy Story' pumped fresh demand into the market, but the core drivers stay the same — scarcity, condition, and provenance. I chase particular oddities — mispainted faces, promotional variants, or complete boxed sets — and those finds are the ones that make me grin every time I open a listing.

Totally doable — you can absolutely get a customized 'Hello Kitty' head cake topper made locally, and it’s often easier than people expect. I’d start by sketching the look you want: smiling eyes, bow color, maybe a tiny prop like a balloon or glasses. Local cake decorators usually work in fondant, gum paste, modeling chocolate, or even food-safe resin for keepsake toppers. Bring clear reference photos and say what size you want (3–6 inches usually works). Ask about color-matching — many bakers mix gel colors to hit pastel pinks or bolder reds — and whether the bow will be separate so it won’t crack during transport. For edible toppers, check drying times and storage suggestions so it stays firm for the party. Also, be mindful if this is for sale or wide distribution: 'Hello Kitty' is a trademark, and commercial use can require permission from the rights holder. For a personal birthday cake it’s generally fine, but if a bakery plans to reproduce and sell licensed designs they’ll handle licensing. I love watching a simple sketch turn into a tiny, perfect face on top of a cake — it always makes the celebration feel extra special.

Okay, so here’s the short-but-thorough scoop from someone who’s spent a few late nights hopping between PSP ports: you can use save states for 'Dead Head Fred' if you’re running it on a PSP emulator like PPSSPP. Save states are not part of the original game — they’re an emulator feature that snapshots the whole system at a moment in time, so you can jump back instantly. I’ve used them for brutally unfair boss fights and weird platforming segments, and they’re a real lifesaver when the in-game saves are sparse. That said, a couple of practical tips from my own experience: always keep at least one regular in-game save in addition to save states. Emulator saves can become incompatible if you update the emulator version or move between devices. If you ever get a black screen or corrupted state loading 'Dead Head Fred', try switching slots or using a different build of PPSSPP; toggling options like "Fast memory (unstable)" or "I/O on thread" has fixed odd crashes for me. Also back up your savestate files and the PSP memory card file (.ppsspp/memstick/PSP/SAVEDATA) — that way nothing gets lost if something goes sideways. Oh, and a little etiquette: only play with ISOs/dumps you legally own. I like to keep a hierarchy of saves—quick save states for risky experiments and clean in-game saves for progress I care about. Works great for this quirky, slightly creepy title.

Watching a character tilt their head in an anime is one of those tiny moments that always gets me—I’ll often pause and grin because it’s doing so much with so little. Sometimes it’s literal curiosity: a soft tilt when the character’s trying to parse something ridiculous a side character just said. Other times it’s a cuteness move, the classic moe tilt that makes you go ‘aw’ and maybe reach for your snack without realizing it. Beyond being cute, a tilt can signal confusion, skepticism, or active listening. Directors love it because it’s an economical way to add vulnerability or quirk to a face without needing extra dialogue. Voice actors will usually soften their delivery with the tilt, making the line feel smaller or more intimate. I’ll point to little moments in shows like 'K-On!' where a tilt is pure charm, and in darker series it can be unsettling—like a slow tilt before a character reveals something sinister. It’s a tiny gesture, but in animation it’s loaded with tone, pacing, and personality, and I honestly get a little buzz every time it lands just right.

There’s something quietly theatrical about a slow head tilt, and I always catch myself pausing the show to study it. To me, the most immediate emotion it conveys is curiosity — the protagonist is listening intently, weighing a puzzle or a confession. But context flips that sensation: a slow tilt with soft lighting and a small smile reads as warmth or affection, like a person leaning in to show they’re truly present. Conversely, the same tilt from across a dim room with a shadowed face and a low score can feel predatory or amused in a sinister way. I notice details that tip me off: how long the tilt lasts, whether the eyes narrow or soften, whether fingers twitch, and even the soundtrack. A comic panel with a tilted head and a tiny speech bubble usually signals bemused disbelief, while in a moody novel a tilt might be described to reveal betrayal. In games, the camera angle makes the tilt shout louder — third-person often feels playful, first-person can be invasive. So yeah, one small motion carries a dozen possible moods. I love when creators use that ambiguity; it invites me to read between the lines and guess what the character’s really thinking, and that guessing is half the fun.

There’s something oddly satisfying about figuring out the tiny choreography between an actor’s tilt and the frame. On late nights editing a bunch of coverage I learned to think in three layers: the actor’s eyes, the tilt of their head, and the negative space the frame creates. If someone tilts their head slightly, I’ll usually give them more headroom and a bit of nose room toward the direction they’re looking—eyes should still sit on or near the upper third so the gaze feels anchored. If the tilt is dramatic, I’ll either tilt the camera subtly to match it (keeping the horizon line pleasing) or keep the camera level and let the actor break the plane for a sense of vulnerability or intimacy. Composition-wise, matching the tilt with a slight camera pan or dolly can preserve eyeline relationships in a two-shot. I also shoot a neutral wide and medium coverage so the editor can choose whether to emphasize the tilt in cutaways. Lighting matters too: a tilted head changes catchlights and shadows, so soft fill or a reflector becomes handy to keep the face readable. When in doubt, shoot with a little extra frame safety for broadcast, and don’t cut off the chin or crown—those tiny chops feel wrong on close-ups. Over the course of a scene, small tilts can become storytelling beats if you plan them, and that’s the fun bit—micro-acting made cinematic.