#I’m just experimenting.

[reginalusus]

Big Shot Spamton but he’s in a 90s anime.

Still version below:

Image description: Spamton sits in the driving seat of his car and is staring at you. His right arm leans on the steering wheel in a relaxed manner and a cigarette is in his hand. He wears his Big Shot Era suit of red. He is grinning suggestively. Behind him, through the windows of the car, is a view of Cyber City's skyline. At the bottom of the image is a caption for Spamton's dialogue, which reads: "You comin'?" End of image description.

[badolmen]

People against piracy fail to realize that no, I can’t just ‘buy it.’ They stopped making DVDs and Blu-Rays. They’re barely offering digital copies for download. I am not spending money I could use for food or bills to pay for a subscription service just so I can always have access to a beloved piece of media. Especially not when the service will remove media on a whim without concern for how the loss of access to that piece will make its artistic conservation nigh impossible.

For example, I recently learned that Disney+ had an original film called Crater. It’s scifi, family friendly, and seems cool - I would love to buy it as a holiday gift for my little brother! But: it’s exclusive to D+ and THEY REMOVED IT LITERALLY MONTHS AFTER ITS RELEASE.

The ONLY way I can directly access this film is through piracy. The ONLY available ‘copies’ of this film are hosted on piracy websites. Disney will NEVER release it in theaters, or as something to buy, and it may NEVER return to the streaming service. It will be LOST because we aren’t allowed to purchase it for personal viewing. If I can’t pay to own it, I won’t pay for the privilege of losing it when corporate decides to put it in a vault.

So yes, I’m going to pirate and support piracy.

Edit: if you are able, use $5 you would otherwise use for a streaming subscription to donate to a GazaFunds campaign.

[ciderjacks]

contracts written in blood

+

[mamalovedme]

[wintvies]

how i sleep (my posture is cooked)

[littlemizzlinguistics]

Studying linguistics is actually so wonderful because when you explain youth slang to older professors, instead of complaining about how "your generation can't speak right/ you're butchering the language" they light up and go “really? That’s so wonderful! What an innovative construction! Isn't language wonderful?"

[zytes]

look alive, sunshine

[sacriou]

Those ghosts got mad tricks

[ikiprian]

Clone’s Best Friend

“Cute dog!” the girl says. “What breed is he?”

“Uh,” blinks Kon. "Are you asking what breed Superdog is?"

“Uh, duh?”

Well. She’ll have to forgive him his stunned expression, ‘cause he doesn’t usually run into other dog walkers on this path. This is, of course, because “path” is used in the loosest sense, the one that connotates direction and not tread ground, and the “walk” bit is entirely inapplicable, with all of them currently flying one thousand feet above sea level.

“Cujo’s a rescue,” she continues, swinging her feet in the sky, “so we don’t know for sure, but my sister thinks part husky, part shar pei. Half-and-half, like me!”

Cujo is also, apparently, half green and half glowing. He wiggles happily in a play-bow. It’s very cute, except for the way he’s the size of a small house.

Krypto’s tough, though. He barks and chases his new friend through cloud cover. Gamely, Cujo flees. They frolic in the chilly condensation, occasionally poking a head out before diving back in, like a fox in a snowdrift.

Neither of them see anything surprising about this. It’s all good fun. And, well. Krypto’s always been a good judge of character.

Kon turns back to the girl and gives her a megawatt smile.

“He’s Kryptonian. Like me. But he looks like a white lab!”

[scramratz]

How did y’all choose your names? Was it just trial and error?

[thethoriumreactor]

Pretend I’m not here after a sudden burst of motivation when I’m supposed to be studying

Any TMA fans around here while we wait for tmagp s2 hi I did a thing

Little extra sketches (don’t pay attention to the gap between the time stamps or the way I gave up halfway through luci’s page):

Charlie looks radioactive wtf

[sabertoothwalrus]

so I’ve been gaining a lot of insight into the animation industry recently, especially in regards to pitching & the creation of new shows. There’s a few ways to go about it.

First, there’s pitching to a studio. When you pitch, it has to be SHORT and CONCISE. You may write a lovingly detailed pitch bible that perfectly breaks down episodes and characterizations, and it might barely even get read. First impressions, first impressions, first impressions!

Most peoples’ first projects don’t get picked up. I’ve heard a few stories from directors that said they tried pitching a story they’d had for years, which got rejected, to then spend a week or even several hours in their car coming up with a new idea, only for that to get greenlit.

But that’s not the end of it. Just because a show gets greenlit, doesn’t mean it will ever get finished. There’s lots of things that can happen. Sometimes, unexpected major world events (like… a global pandemic) can cause projects to get chopped. Sometimes, a CEO change or studio merge means a single person can decide a project “no longer fits with the company’s brand.” Sometimes, the one producer that was rooting for your project gets laid off, and no one else cares enough, so it gets shelved. Sometimes, a streaming service decides to create an animation department, and then they decide they don’t want it anymore. Sometimes, the studio will be simultaneously be developing another project that was too similar to yours and they just didn’t think to tell you until they decide yours is the one with less potential.

On top of that, almost everyone in the industry is saying that “studios just don’t pick up original content anymore.” Studios want something they can franchise, something that will bring in money. New content is risky. Established fanbases are safer.

However! Studios can still be a very good thing. They can be unionized. They can provide better benefits and resources. They can have connections and infrastructure and a larger volume of workers. At a studio, you can divide the labor and produce more in less time. Longer episodes, longer seasons, more consistency in quality.

But this comes with all of the disadvantages of having more in the kitchen.

The alternative is indie animation.

With indie animation, you have total freedom. Full artistic control. It doesn’t even matter if your idea sucks ass, because there’s no one to tell you you can’t make it. You could make it anyway, and you can make it whatever you wanted.

The thing is, making animation is hard. In my production class last semester, the average maximum animation one person could make in that timeframe was 30-60 seconds, and that’s not even counting background design, sound design, or cleanup/color. To make a 5 minute animated short, you should probably have at least 5 people.

And it is CRUCIAL you have a production manager. Ideally someone who’s not already doing art for the project. Most projects without a production manager will fall apart pretty quickly. Once the adrenaline and impulse-fueled motivation wears off, you need someone to hold you accountable and enforce deadlines and proper time management.

Speaking of time, that’s also hard to get. The more people you have, the more likely schedules won’t line up. Most people will have school, or other jobs.

And it costs MONEY!!!!!! You either have everyone work for free and volunteer their time & energy, or you establish a business as a proper indie studio, with people who may or may not have experience on how to handle paying someone else’s salary. And the money has to come from somewhere, so you have to rely on crowdfunding like patreon or kickstarter. (This, by the way, is why I could never fault an indie animation for releasing merch with their pilot.)

And like, maybe you wanna do a series, and all your friends agree to volunteer their labor and time to make the first episode, but it was unanimously not sustainable. Deciding not to produce a second episode until you can raise enough money is not being suddenly greedy, it’s attempting to compensate people rather than expecting them to be continuously taken advantage of.

You have to consider your output as well. There are some outliers like Worthikids, who afaik does all his animation himself, and afaik can work on it full-time thanks to his patreon subscribers. And he still has only produced a total of 30 minutes of animation (for Big Top Burger specifically) in the past 4 years. This is an IMPRESSIVE feat and this is with using a lot of 3D as part of his pipeline!!

Indie animation also has the complication of being more accessible for fandoms. When you’re posting your Official Canon Content on youtube, it doesn’t look a lot different than the fandom-created video essay in the sidebar next to it. What’s canon vs what’s fanon becomes less distinguishable. The boundaries are blurrier. When the creator is just some guy you follow on twitter, it’s easier to prod them for info regarding ships and theories and word-of-god confirmation. They don’t have a PR team or entire international tv networks to appeal to. And this is when creators get frustrated that their fans snowball and turn their creation into something they don’t recognize (and no longer enjoy) anymore.

So it’s tricky.

Thankfully, the threshold to learn animation is fairly low nowadays!! There are TONS of resources online to learn it on your own without forking over a couple hundred thousand to a private art college. There are conventions and discord servers and events where you can network, if you know where to look.

I know it can seem discouraging in the face of capitalism, but I think that’s all the more reason why it’s so important to BE DETERMINED about animation!! We’re already starting to see the beginning of an indie animation boom, and I think it’s a testament to humanity’s desire to tell stories and create art. Even if there’s no financial gain, we do whatever it takes to tell our stories anyway.

[scorpiomoondoll]

[pearleisuma]

In light of Iskall and Stress’s decisions to leave Hermitcraft, I ask all the fan-content creators to PLEASE NOT DELETE STUFF ASSOCIATED WITH THEM RIGHT AWAY. ESPECIALLY FICS. We don’t know the full context, and plus, it’s a part of Hermitblr History. At the very least, if you don’t want to be associated with their content, orphan the works or repost them anonymously. Heck, send them to me, just so we have an archive! Hermitblr has been so good about separating the ccs from the characters, so let’s not let interpersonal conflicts between the ccs majorly affect our enjoyment of the characters, especially with what little we know.

Edit 1: Everyone please take care.

Edit 2: Due to the way asks with Media work, if you send me fanart of Stress or Iskall, I will make it a separate post so as to not include or reveal your user. Alternatively, I can make a Google Form? Lmk.

Edit 3: WE OFFICIALLY HAVE A GOOGLE SHEETS MASTERDOC!! I’m working on formatting it so things are easier to find. Add images, links to both the original and your Wayback Machine Archives, credits, and more! I’ll get working on an anonymous google form.

[wintvies]

tumblr is for the girls that always got labelled as quiet or weird

[chrissy-kaos]

If she wears crystals and smells like sage.. she’s probably a witch and you should marry her.

Any takers?