#GOD I'M SORRY THIS GOT AWAY FROM ME

[genericpuff]

i find it funny that one of rachel’s drawings of herself in the afterword that just went up is just fully persephone. is that something she does a lot?

Alright so I've been making it a general rule for myself to like, not harp on Rachel in any way outside of LO as much because frankly the horse is dead now and there's not much left to say outside of what can be analyzed in hindsight. I think despite everything I have to say about her and her work, she still deserves to get away from this nonsense and I don't wanna spend eternity hovering over her shoulder.

But the afterword was posted within the LO series and is clearly meant for readers of LO in the functioning of being an afterword so let's just call it fair game LOL

I will say, on the whole, it does feel very honest and sentimental and I can respect Rachel for taking the time to write out and illustrate her afterword in a way that was personal to both her and her fans. I can understand why she went at it from the angle that she did and I'm not gonna fault her for that.

But there's also something that feels deeply... disingenuous about her approach right from the starting gun. I will say, before I continue, that I'm well aware I am biased towards Rachel as a creator, and I fully acknowledge that I could very well be reading too much into things. This is just my opinion, take it with mountains of salt.

I can get looking back on your own childhood, your past self, whatever, and going "see! it all got better!" because sure! For a lot of creators like Rachel, it must be wild to look back on where they came from and there's a lot of sentimentality on expressing that through an afterword like this where she reflects on where she came from. Though she STILL didn't acknowledge her other comics outside of LO, I can understand if she wants to leave those skeletons in the closet.

But I feel like her drawing herself as a child who's being given an Eisner by her adult self and all that just feels like some gross attempt to disarm any criticism of her because "don't make fun of me, I'm just a sad lonely baby girl!"

She's not a child. Child Rachel didn't grossly misappropriate Greek myth into their own self-indulged vanity project. Child Rachel didn't claim herself a folklorist of a culture's works only to bastardize them completely. Child Rachel didn't create a hostile environment within her fanbase by bullying anyone who she perceived as a threat, sneaking into critical spaces to try and cause trouble, and writing her own clapbacks into her comic. Child Rachel didn't claim to be challenging misogyny and purity culture only to reinforce misogyny and purity culture through her own self-insert baby-virgin-gets-rescued-by-rich-tycoon power fantasy that regularly glorified abuse towards women and the lower class.

30-almost-40-year-old Rachel did though.

At best it comes across as really cringe sentimentality from a Greek-weeb (heh, greeboo) and goes to show how much Rachel inserted herself into Greek myth without ever absorbing its messages or cultural contexts, it was all about her and her feelings as a sad New Zealand girl with dyslexia who thought Persephone's story was about another sad girl being rescued from her "horrible childhood".

At worst it's an active attempt to play on people's heartstrings by drawing herself as a child who people will naturally not want to criticize. I don't want to assume she's doing it intentionally, I really don't want to leave her afterword on a bad foot, as I can definitely understand as both a creator and a person who struggled with learning disabilities in their own childhood how and why she wants to pay homage to her past and where she came from... but let's just say, as someone who's also gotten way too "lost in the sauce" concerning personal self-reflective projects, I think there's a lot to say about how this confirms that Rachel made LO entirely for herself, about herself, without any actual intention to respect the original myths, because she never truly separated them from herself when she was a child. And, in my humble opinion as someone who has Been There with the self-insert OC's and self-reflective angsty plotlines, I can fully attest to the fact that that's not fucking healthy. Even with personal projects, you NEED to learn to get your head out of the sauce, you NEED to learn to objectively separate yourself from the narrative so the story doesn't fall apart under your own hubris and ego, you NEED to learn to draw a line if you want to have any sort of identity as a human being outside of what you make for people. And that's with just normal original stories, this was a story based on Greek myth which doesn't belong to her.

And this goes for a lot of the things she's said and done in the past, so much of her own "sources" even are tethered to things that she read / watched in her childhood and only vaguely remembers, as if she never mentally left her childhood at all, which just... if the point was to highlight her past and the traumas she went through and how they contributed to her present, an Eisner isn't going to validate those experiences. And drawing attention to her past through the lens of her childhood self absolutely 100% does not absolve her of the negative effect her work has had on the modern Greek myth zeitgeist nor the things she's said and done as a 38 year old woman who should absolutely know better.

The community she entered and took from will forever remain changed by her influence and taking, in many ways not for the better. She has the privilege of walking away and never having to think about it again, with all the awards and accolades that were bought for her, the bravado that she built around being a "folklorist" with zero credentials, and the platform she was given over many other creators struggling to even be heard.

That "place" she claims to have now was built entirely on inserting herself into another culture's works and doing nothing but taking, taking, taking, while offering nothing in return but vanity and lip service. That "place" was paid for and brought to you by Webtoons.

[memoriamp4]

I hate that we never heard Astrid tell Hiccup 'I love you'. I was fully expecting her to tell him she loved him back in rtte 6x06 after he told her he loved her... but she didn't. Like they really made an entire episode about Astrid wanting a more lovely dovey relationship but then she never even said 'I love you' in the episode?? And Astrid has so many inspiring and loving speeches to Hiccup but I wish there was an 'I love you' included in at least one of them

[floydmtalbert]

Tab + “nostalgia” from this prompts list, for @shoshiwrites

It is a hot, still evening in late August. The war has been over for a year.

Floyd steers the pickup onto a dusty side road skirting the edge of a cornfield, driving slowly, heading nowhere in particular. He holds the wheel loosely with one hand; the other hangs out of the open window. The lowering sun is warm on his forearm and on the side of his face, and glaring bright, so that he has to narrow his eyes as he stares through the dirty windshield down the road ahead, stretching away into a heat haze along the horizon.

There are no other cars on the road, no houses or farms in sight. No people. Just the cornfield, flashing yellow-green past the window, and the road ahead, long and straight, rippling in the heat. Everything quiet and lifeless, save for the pickup, the hum of the tyres on the asphalt and the rumble of the engine.

The mail that morning had brought a letter from Bill Guarnere, chatty, containing a photo of Frannie and their baby boy, and full of updates on other Easy men and plans for a reunion. Floyd can��t see the point. A bunch of fellas sitting around talking about the good old days, when they weren’t all that good, and aren’t exactly old, either.

He huffs a long sigh, makes a slight adjustment to the steering wheel. Maybe it’s only him that thinks that way.

Floyd came home nearly a year ago and picked up where he left off. He sleeps in his childhood bedroom, under the old patchwork quilt his great-aunt made, with his high school basketball trophies still on the shelf, dutifully dusted by Nellie Talbert every week, and all the old photographs pinned to the corkboard: himself as a ten-year-old with the family dog, him and his father fishing on Lake Michigan during the one vacation his parents had been able to afford, photobooth snapshots with girlfriends, all married, now, or gone to Indianapolis for work. A few months back he’d even found a bunch of dirty magazines hidden in a box under the bed, a relic of his teenage years. He’d burned them in the backyard, and filled the box instead with his medal ribbons, and his jump wings, all the patches and chevrons, and other bits and pieces, and the bundle of photographs he never looks at but still can’t bear to throw out, and kicked it back under the bed.

He turns onto another road, the pickup bumping over a pothole. The sun is behind him now. He drives past a couple of ramshackle houses, and, further on down the road, a farmhouse, with a barn and a cluster of grain silos. The road is long and straight and level, but he takes it easy. No hurry, nowhere to go.

Major Winters writes now and then—and that’s another thing, Floyd can’t stop thinking of him as Major Winters, even though the man keeps telling him to call him Dick. He’s working in New Jersey, with Captain Nixon, has already been promoted once. Chuck is doing better, working, seeing a nice girl. Joe Liebgott is getting married—or is maybe already married by now. His latest letter sits in Floyd’s bedside drawer, unopened. Smokey calls every couple of weeks, talking about using the GI Bill to go to college.

Floyd got his old job back with Mr Nelson, doing odd jobs on the farm, and in the evenings he takes his dad’s Chevy and heads out for a drive, alone, going nowhere in particular. Sometimes he circles the reservoir, watching the changing colours of the sky reflected in the water. Sometimes he drives through the suburbs on the other side of town, where the houses are tidy and painted fresh white, and have big wraparound porches and garages, and trees on the lawn out front. Other times he heads east, taking one road after another through the acres of farmland, left turn, right turn, zigzagging out and around and back on himself. Just driving, and smoking, sometimes drinking, half a bottle of whisky in a paper bag that he tosses out before he gets home.

In the rearview mirror the sun is a deep orange, flaring along the horizon.

He tries to think of what a reunion would be like. He imagines a big room in some hotel, with a dance floor, and tables set up around it. Maybe there’d be coloured paper garlands strung along the walls and across the ceiling, like they did for his high school prom, or the USO dances in England. He imagines all the fellas there, with their wives in cocktail dresses, and pictures of their kids in their wallets, catching each other up on their jobs, and their houses, and the new car. Or else their college classes, the cute girls on campus, the fraternity parties. And then the talk would turn to the war, d’you remember when and I’ll never forget that time, the jokes and the hijinks and everything else tucked away and the whole thing a big adventure, and done with, in the past.

Floyd slows the pickup and guides it carefully over a culvert. The engine chugs.

He doesn’t want to remember the war, but he can’t seem to move on from it, either. He sleeps in his old room, and works the same job he was doing at eighteen, and after work he drives around aimlessly, with nothing to do and nowhere to go. He’s tired, bored. Mostly he’s angry: at everything, and everyone, and himself most of all.

Maybe it would be good to see the guys again, he thinks as he turns onto another road. Just once. Maybe then he could get it out of his system. Snap out of it, stop holding himself back.

Twilight is falling now, and the air is soft and warm. Floyd switches on the headlights and keeps his eyes on the road ahead, dusty, uneven, patched asphalt revealed in the wobbling beam of light, and glances up now and then to watch the colours fade from the western sky.

He wouldn’t go, he decides. There was nothing to say, nothing worth remembering. He props his elbow up on the sill, and then hangs his hand out of the window again, feeling the air stream through his open fingers.

[donttouchtheneednoggle]

don't mind me just dethorning the bramble in my stick insects' cage because a CERTAIN beautiful old lady

managed to snag her wing on one and got stuck there until I saw and detangled her and I am not eager to repeat the experience!!

ALSO I finally managed to get a picture of the whole family as it is now :DDD

1 adult Indian stick insect, 1 adult Pink Winged stick insect and three Pink Winged stick insect nymphs at various stages of development

(I also have an Indian stick insect nymph but she lives in a separate enclosure at the moment and is so tiny getting her out would be way to stressful for both her and me)

[wandering-free-and-queer]

Went on a huge witch/craft supplies run yesterday, spent a fuck ton of money more than I wanted, but I thing it's worth it. I got refills on a bunch of the stuff I've been sharing with kiddo and coworker, I got a book on mermaid magic that looked hella cool, four more oracle decks including three of the Seasons of the Witch decks (Beltane, Litha, and Mabon!), hubby managed to surprise me by sneaking these gorgeous tree of life notebooks into our cart when I wasn't looking, I got a few more notebooks myself in a different store (those were for a good cause and I can't resist notebooks lol), and there were two copies of Cunninghams Encyclopedia of Magical Herbs so I grabbed them both, one for Kiddo and one for Coworker.

Next step in kiddos present is gonna be Grovedaughter Witchery by @breelandwalker and herbs out the ass lol. They already have the crystals I could share, and I've gotten them a pendulum and a tarot deck.

(Sorry if I get overly emotional about Kiddo this week y'all, they turn 18 on Wednesday and I'm having some very strong emotions about it...)

[menlove]

i just remembered that theory going around on tiktok for a while about how the ✨christian myth✨ of adam and eve CAME FROM nordic myths and everyone was like "OMG NO WAY THATS CRAZY I CANT BELIEVE THEY DONT TEACH US THIS IN SCHOOL"

and now i'm annoyed all over again. i don't think common sense is very common.

[gregoftom]

oh my fucking god

[brainfilehasstoppedworking]

I just wanna talk to the people that make Takaaki a bad father. I just wanna talk.

[sshoryuken]

The list of characters that Scott can and probably will make worse is growing so fucking fast and I fear for my life

(just me rambling about silly stuff in the tags because I'm happy and having fun)

[gender-euphowrya]

old people really were raised on the idea that their descendants were just future caretakers for them and never fucking learned to think otherwise

[shinidamachu]

I also noticed in my reread of the manga that the anime made Kikyo seem more powerful. In the manga Inuyasha easily parried Kikyo’s attack when she was first resurrected and chose to throw aside the sword to reason with her, and even got ready to strike her down and cracked his knuckles in order to bring Kagome back. In the anime he was easily overwhelmed by Kikyo and was only saved by Kagome waking up. I’m seeing Sunrise’s bias 🙄

And there's nothing wrong with making Kikyo seem more powerful. Inuyasha was constantly getting upgrades for Tessaiga without us as much as batting an eye over it.

The difference is that we were there when he found and got Tessaiga. We were there to see him struggle to master it. We were there for each and every single breakthrough. We know the how and we know the why.

Kikyo's power-ups, on the other hand, seem to come out of thin air most of the time. I'm sure she must have worked for it, but it wasn't shown, so there's a bit of a disconect between her journey getting there and the audience, which makes her achievements turn out to be not as satisfying as they could have been.

It's like, we know what the stabilished powers of a pristess are and so we think we know what Kikyo's powers are limited to, but then she does something new that doesn't fit that criteria and our only explanation is that she was the most powerful priestess of her time. Which makes sense, but also tells us that it's not important how she came to be so powerful, only that she is.

So why should we care when she uses a new trick? It's probably something she has known how to do for a while, anyway. We weren't rooting for her to get it right. We weren't anticipating it. We just roll with it.

The problem is that, in order to make Kikyo seem more powerful, Sunrise often gave her scenes where Kagome was originally the one kicking ass and taking names. And that's what I have issues with. Take this scene for instance:

Kikyo is the kind of character who doesn't do anything without a reason, so why would she interfere? She doesn't really knows Koga. She has probably no idea of his connection to Inuyasha — and even if she had, I don't peg her for comeone who'd care, considering how she treated Kagome most of the time. Koga is a demon with two jewel shards. Why help him out instead of taking them from him herself or waiting Naraku's incarnation finish the job to sweep in and do it? Because in the manga, Kagome is the one who saves Koga:

Which makes infinitely more sense and proves that there was no actual reason behind this "creative" change other than making Kikyo look cooler. The entirety of Sunrise's adaptation is full of these little shenanigans. Do you want to see a practical example of how this affects the general perception of the audience regarding the characters?

Here's Kagome diligently destroying a Naraku puppet to save an unconscious Kikyo. She actively uses the bow and arrow she didn't know how to shoot in the beginning of her journey to save someone she judges to be her love rival. And she suceeds without overthinking it or breaking a sweat.

But Sunrise thought it would be better to just do this instead:

The result? People naturally praise Kikyo for being the biggest girl boss in Inuyasha for stuff that was originally done by Kagome:

Don't get me wrong, it's great that people will appreciate Kikyo — this was exactly what Sunrise was going for, anyway — but it rubs me the wrong way that it came with the price of Kagome getting constantly criticized for being a "damsel in distress" who never does anything.

When your adaptation changes the story so much that people wrongfully perceives your female lead as useless despite the many, many scenes you still animated of her saving the day — and specifically saving the life of her supposed rival, who they judge to be much stronger and independent than her — that's when you know you fucked up.

And the worst part is that people are either blissfully unaware of this irony — because they haven't read the manga — or straight up dishonest about it.

The funny thing is: Kikyo didn't need any of that. What Sunrise did was the equivalent of taking original scenes of her being kind or compassionate and giving it to Kagome instead. It wasn't necessary. Kikyo was stabilished as a powerful woman from her very first appearance:

Kagome was the one who needed to prove herself in battle because she was the 15 year modern girl who was tossed untrained in the middle of a feudal era "life or death" situation. She was the one I wanted to see exploring and using her spiritual powers, because that's what her character needed to grow.

What Kikyo needed was humanization, glimpses of the ordinary woman she has always wanted to be. Empowerment is important, but it's also multifaceted and it falls flat when it focuses on power for the sake of power.

I'd gladly exchange any of those changes for scenes of Kikyo coping with taking a human life or using women's souls to stay on the world of the living. Scenes of Kikyo realizing she has become the very thing she used to fight against and how seeking for revenge affected the people she loves.

Scenes of Kikyo regretting decisions she can't take back, scenes of Kikyo bonding with Kaede both before and after her death, scenes of Kikyo acknowledging the part she played on the way her relationship with Inuyasha ended and apologizing for the hell she put him through over it.

That's how you make her character relatable and empathetic. That's how you highlight her complexities and makes her interesting. Kikyo being pretty while shooting arrows is absolutely stunning on screen, but it does little to create a truly emotional attachment to her character, at least for me.

As for the particular scene you brought up, Inuyasha was, in fact, easily overwhelmed by Kikyo in the anime. When she first attacks him, he just... lets her.

While in the manga, Inuyasha is quick to dodge it.

He does try to defend himself in the anime. However, Kikyo's arrow manages to stop Tessaiga's transormation and almost hits his heart.

None of which happens in the anime, where Inuyasha not only defends himself but also actively pushes back.

Sure, Kikyo still succeeds in zapping the hell out of him, but only because Inuyasha threw Tessaiga aside to reason with her, like you pointed out. When that didn't work, he cracked his knuckles in order to strike her down, before realizing he couldn't do it and then Kagome comes in with the save. In the anime, he didn't even try.

And the hug I mentioned, when he's attempting to appease Kikyo and she cries on his arms for a moment? Completely erased in favor of making her push her elderly sister aside twice and hurting Inuyasha more than originally intended while also referring to him as "beast", "monster" and "half breed."

I understand why Sunrise wanted to give Kikyo more screen time – she's a key character and people seem to have a good time drawing and animating her – but they focused mostly on making her look "cool" by kicking up a notch on the whole "vengeful spirit" thing and ended up shooting themselves on the foot by going too far.

They really thought the nonsense added scenes, like Inuyasha watching her bath or telling the audience they were always by each other's side – while actually showing them sitting far apart, Inuyasha being left to chase after the carriage she was in instead of being there with her, etc – would make up for the hug they cut out in order to give Kikyo more "badass" moments.

That's because they realized the couple had no substancy whatsoever and to remedy that, prioritized telling us that they were together for at least a couple of seasons instead of making the effort to show us this so called deep love. The hug was meaningful and made sense. Inuyasha dramatically laying on the ground while mentally screaming her name after telling her she needed to return the last piece of Kagome's soul – which is how Sunrise decided to end the episode – did not.

Especially because in the manga, he checked on Kagome before...

And after he left to try and get the remaining piece of her soul back – knowing what it would mean to Kikyo.

Plus, while obviously sad about Kikyo's "death", he also seems to accept this was for the best and acts like he is pretty much ready to move on.

Not to mention how he panicked when Shippo brought up the possibility of Kagome not being Kagome anymore and how absolutely relieved he was when he realized it wasn't the case.

And if this wasn't enough, he spent a good three panels blushing over Kagome right after the whole ordeal.

Those scenes had two purposes. One was to solidify, once more, Kagome as her own person to the audience and to Inuyasha, as well as a love interest. He had the opportunity to get Kikyo back and still wanted her to return the soul – even if it meant Kikyo would cease to exist – because he didn't want to risk Kagome not waking up or not being herself anymore, since he was already falling in love with her. Kikyo herself guilt trips him about it when he tries to convince her.

The other was to contrast Inuyasha's first reaction to Kikyo's ressurection and the information that they were both set up with his reaction after he was told that Kikyo died for him and therefore he owes her his life. The former consists on him standing up for himself and rightfully seeing himself as a victim, the latter consists on him blaming himself out of proportion based on a blalant lie. That's why in the manga he takes her "second" death so well, while the others really take a toll on him. In the anime, however, it's like he is already blaming himself when she falls off that cliff.

I attribute this change of attitude to another scene Sunrise thought fit to delete:

Of course the anime also has Inuyasha denying Kikyo's accusations, but he is way less effusive about it in there. Originally, when he realizes they were fooled into thinking they betrayed each other, he acts like they were both at fault for distrusting each other and are, therefore, even. So when she "dies" there's nothing he can do but wish for her to rest in peace and move on despite how sad it makes him.

All of this really sucks, because as you can see, the changes they did in favor of Kikyo either didn't work on her favor at all or heavily impacted the characterization of others – Inuyasha and Kagome especially – in a negative way, in addition to creating huge inconsistencies plot and narrative wise.

TLDR: yes, Sunrise's bias is obvious. And ironically, I think if they had liked Kikyo less, she would have been a much better written character because they wouldn't be afraid to give her the development she needed.

[mrfoox]

except that im mentally dead, i’m good

[spinoff-antithesis]

[@distinguished-turtle-enjoyer ]

i actually have not stopped thinkin bout your bb!edit like,,,, its so good and scratches my brain right

how long have you been doin edits for? do have any tips for someone, who hypothetically, wants to start doin edits too? what programs do you use? how did you do the cool animated bits?

im so sorry for all the qustions 😭😭 i just think youre very talented and inspirational and i hope you have a good day ^_^

hi firstly oh my gosh you're literally so sweet i am gently shaking you i love you so much /p. secondly, i apologize for the long answer! (it's all under the cut. this got away from me. i'm so sorry apparently i have a lot to say.) (also you're so good about the questions i would constantly be asking one of my professors questions during class to the point where she said i didn't have to go "i have a question" every time i approached her)

i've been editing since 2016! around march/april, i think? loved it so much i went into film & video production in college as a major so i could do editing for a living. (i have done more motion graphics for my classmates than i have done edits outside of class assignments, BUT!)

the program i use is after effects - i started learning it when covid first hit the united states because i had nothing better to do with my time (other than music theory but i failed that bc my professor focused more on the history aspects than the actual theory soooo) and my ipad kept giving me the "no more storage" whenever i tried to use videostar lmao. (vs has, apparently, gotten a LOT of good updates, so if you're looking to start editing and have an ios system, i'd look into it! only downside is you have to pay for some of the cool stuff).

also the program i use for masking (i think i explain this later dwdw) is superimpose. i've been using it since 2014 and it's SO nice bc i can use my fingers to erase backgrounds & stuff instead of hoping i can get it to work correctly in ae or photoshop (photoshop my DETESTED i'll use it but i'll complain the entire time).

for people who want to start editing: tutorials on how your program works and how to do specific transitions are gonna be your best friend when you're first figuring things out! i forced a friend to literally walk me through how after effects worked when i was first figuring it out, and when i had swapped to videostar back in 2017/2018(?) i had watched a Lot of tutorials. that and played around a lot and figured things out on my own - which is also always a good way to start!! it's also totally valid to look at other people's edits for inspiration - most editors don't really care, as long as you don't flat-out remake their edit (some people don't like that!). i have a style insp folder on instagram where i save edits that i like so if i need transition ideas or i'm doing a different style, i can look there for inspiration. at the end of the day, as long as you're having fun with it that's all that matters!

also, starting simple is always okay!! my edits for a year were just me slapping gifs & video segments together on a timeline in cute cut pro bc imovie didn't load them lol & it'd crash every time i breathed. ++ it never hurts to ask people for feedback/constructive(!!!) criticism/etc! (also not to sound like everyone else but practice? good. it's so good. if i showed my 14/15y/o self some of the edits i can make now they would've passed out on the spot bc i was still trying to figure out transitions back then. programs can also sometimes make a difference in edits, but usually it's not super noticeable until you start getting to the Complicated Shit.)

a lot of popular programs i've seen are ones like video star (ios only), alight motion (android only), after effects (i recommend 🏴‍☠️ing it tbh, i only use it legally bc i had to use adobe programs for school), capcut, and i think some people still use sony vegas pro & maybe cute cut pro (i've heard it may have actually gotten better since i last used it in 2018)? i have no idea. programs also depend on whatever device you're using to edit on! since i've been using my laptop, i'm able to use after effects (it's computer-only), but when i used my phone/ipad to edit i used ccp & vs.

for the animation - it's a lot of cutting up the image and masking! more complex animations, like the one i had of leo walking down that red 'hallway' have several different layers that have been masked. (i removed the background & filled in the spot where leo originally was in two different apps - superimpose (taking leo out) & photoshop (filling in the bg)) in after effects, the way i've done this was mask out the specific thing i wanted to move (like an eye) and then put that mask on what i've called a "base" (not animated), and then stick a solid behind the base to match the color of the object. (some of my layers are not named appropriately; base 2 is the left arm & the four "SIX_[...]" layers are the mask/bandana tails)

an example of this would be for any of the eye blink animations i did! this (above) is the same shot, with and without the eye - since it's masked out and i have the background solid behind it, it doesn't look too unnatural/have a black outline/mass where his eye should be.

what it looks like without the solid layer behind it ^ (the red lines are from the null layers - ignore that)

this is what my timeline looks like if it's a more simplistic animation - the only five things being animated here are leo & raph's eyes. (there's only this many layers bc it's two characters in one shot & i was also animating their pupils - typically, an eye-blink animation is about 4-6 layers for me (solid, base, mask, & null to animate with, 6 if i'm animating both eyes & 4 if just one))

in after effects, there's this really cool tool called the puppet pin that one of my friends (lovingly) yelled at me for not knowing about - which. yeah fair she wasn't wrong it's SUPER useful in animating, provided you chop up your image first. if you don't it's a mess.

(separated by layer vs i should've really put the mask tails & leo's head on separate layers and didn't bc that was the 2nd to last animation i had to do and i was losing my mind bc i wanted to be done with the edit lmao)

the way people animate depends all on their style (there's two common ways to do blinking animation - having the anchor point at the bottom of the eye, or the middle of it) and the program they use. it's been a while, but i could probably tell you how to do some basic animations on videostar still even though i've been doing them in after effects for about 2-3years now. ALSO the best way to have an animation be noticeable is to over-exaggerate it/make them Big - which, yes, can mean 'breaking bones' and having the limbs be a little wonky at the start. (if you want it to be realistic though go Just to the point where it looks uncomfortable lmao)

uhm. again i am so sorry that this is so long i THINK this is everything? if not: my inbox/dms are always open if you ever want to ask more questions, wanna follow up on something, etc etc!! (also if you ever start editing please send me your edits!!! i'd love to see them <3)

[lozey]

hi I saw your tags on the musicals poll and im kind of curious about the homophobia comment at the end. is there homophobia in cats? or the cats movie? sorry i only know a little about cats in general

Hey! I'm terrible at explaining things, I really am, but I mean a lot of people who don't like Cats (not *everyone* but a lot), well it comes from a lot.... Homophobic roots. They think its weird, there's "no plot", they think the costumes are strange and they just want to not like it, but a part of them not liking it is inherent homophobia because a lot (and I mean A LOT) of queer people LOVE Cats. Not only that but majority of the actors/actresses who perform in Cats are not straight/ are gender nonconforming. And when you watch Cats, it is unashamedly gay as fuck, either in subtext or context, you can't watch that musical and think everyone performing in it is straight (unless you closed your eyes the entire time). Its in your face about it, even with Rum Tum Tugger, who is portrayed as a womanizer, is hinted at having a romantic relationship with another male character, Mr. Mistoffelees (and sometimes the actors even choose to kiss during Tugger's number, thats how in the face it can be sometimes). And that is just ONE example, I could pull out 50 more.

So you're looking at a lot of LGBTQIA+ people loving this weird and fun musical and some who are performing in this show and you (ambiguous you, not YOU specifically) think its gross and weird. You think the people who like it are strange. The people who are, again, mostly queer.

Its like how a lot of people think furries are gross and weird, and its really telling when majority of furries are people in the queer community, you know what I mean? And you immediately look at furries as a weird sex kink (when its not, it really isn't. Most furries I've met are actually asexual, and I used to go to furry cons all the time, some of the nicest people I've ever met who actually don't appreciate being sexualized).

AND HEY let me clarify that you can hate Cats and NOT be homophobic. Cats isn't everyone's cup of tea, I get it, it IS weird, I'm not saying you have to like Cats or you're being homophobic. I'm a huge Cats fan but I can see a lot (a loooot) of reasons why someone wouldn't like Cats. But there is a certain subset of people (in theatre and out of it) who do not like it for unfortunate reasons, who look at it and see all these queer people in it and immediately don't like it because of that.

Also yes the 2019 Cats movie is super homophobic (imo) and I hate it. It goes out of its way to be SUPER straight, like its overcompensating for its source material being very gay.

Its just a shame that musical theatre fans will be like "We are such a unique group and everyone is valid we love all art here!" and then the second someone says they loves Cats they're like "That show is so weird! Why do you like it? You must like it IRONICALLY, thats the only explanation! IT SUCKS, WHY DO YOU LIKE IT"

And a lot of musical theatre fans will claim its a shame that certain stage actors were in Cats! Why is it a shame? Why do you not like this actor being in Cats?

A huge amount of people don't like Cats because when they think of Cats, they immediately relate it to queer people.

Anyway, thats about all I have to say about that.

[babisawyer]

Dean angrily asking "haven't you ever read the bible?" like make me want your ass more I dare you.

[qveenpoppy]

why do i feel awkward mentioning matt lanter in that last post lol, as if i'm worried my followers don't remember my timeless days