#ITS NOT A CONFIDENCE THING

[ihaveanaxe]

Trying to figure out what casting type you are but you have BPD and it’s all about recognizing the patterns and habits within your own identity and how others perceive you and you realize you can only answer the questions about your physical appearance and objective facts about yourself because anything that has anything to slightly do with your self image or identity gets completely muddled

[jesus fucking Christ I maxed out the tags]

[tobyfoxmademeascaly]

I adore y’shtola now because every single plan she comes up with is nigh-guaranteed to be the most unhinged idea ever thought up by cat or man. Being pursued by cops? COLLAPSE THE TUNNEL AND TELEPORT DIRECTLY INTO HEAVEN. Need to distract the Children of Everlasting Dark? THROW BEEHIVES INTO THEIR HOUSES. Need to perform a diving save into a bottomless pit? TELEPORT DIRECTLY INTO HEAVEN. AGAIN. Need to get on Mt. Gulg but air travel isn’t feasible? GIANT ROBOT. Need a portal to hell? MAKE A DEMON. That doesn’t work? SHOOT A LASER. AT THE MOON. Banger after banger.

[xxplastic-cubexx]

filler

[sandflakedraws]

dumping some of my various floyd & hickory (and flickory) concepts here since no one can stop me

[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.

[spoopup]

was thinking about the possibility of trucy either recognising her mother when she first meets lamirior, or at least being very unnerved at how much lamirior resembles thalassa (obviously unaware its actually her). it makes the part where apollo and trucy find thalassa unconscious in the guitar case just a bit more painful, considering her reaction (clinging onto apollo’s arm and crying)

[eleu22]

Task Force 141’s go to Tesco Meal Deals

the tescos outside my uni is never fucking stocked i want the sandwich on ghosts so bad but that shit is always gone

John Price

- gets water as his drink (criminal)

- gets the mixed nuts as his snack (criminal)

- he’s smart tho he always gets the boujie water because the meal deal price is set

- the wrap is valid

- usually will also grab another snack bc this isn’t enough maybe like a bag of dried mango or some shit (old)

Kyle “Gaz” Garrick

- my headcanon continues to live

- the healthy energy shit tastes like ass but he pretends its good

- does not usually shop at tesco, he’s a waitrose boy

- sometimes indulges in the odd crunchie bar but rarely

John “Soap” Mactavish

- horrifying (i love pepperami sm everyone disses me for it bc i pull that shit out in lesson and it stanks)

- protein to the max ig

- the whole meal fucking stinks

- uses gaz’s club card because he’s too lazy to get his own

Simon “Ghost” Riley

- absolutely classic

- everytime he gets it mentions how cost of living prices have made them more expensive

- grenade bars are disgusting but he loves them for some reason (masochism imo)

- the sandwich is the best one they have bc the bread is always so moist its so fucking good

- the monster bc yall saw the ghost monster can we all know

[mikuyuuss]

Ok, not only did Moon Dong Eun avenge the villains of this story. She found love afterwards and was able to pursue architecture like she always wanted to. She now dresses freely with her tattoo, proudly showing her scars. She's no longer confined to her trauma. Dong Eun got her revenge AND her happy ending!

Even though she was so convinced that she's a terrible person for wanting revenge, she actually managed to touch the lives of the people around her through simple acts of kindness (empathizing with them for being victims) and those same people came back to support her as well.

It's usually "revenge is bad" this "you got revenge but at what cost" that, but no, she got her revenge AND her and other people's happy ending. Even though it's a dark story about how victims suffer, there's always the underlying message of hope, where they also understand and help eachother. Even if they had to bend the rules to get it, The. Victims. Won. Oh. My. Goodness.

In the end, it wasn't exactly just "revenge," it was also about bringing justice to the victims.

[spookberry]

Their dynamic swaps everytime they transform,,, the dynamic being "overprotective mean girl and her girlfailure sidekick"

(The sword pointing one is dramatic but its actually a very silly scene)

[beescake]

Sorry for the spam (^o^;) I just really like your blog

no need to apologize ayy!

in this corner we welcome all forms of enjoyment, regardless of whether you're a

happy to have yall here w me,

headin into homestuck 2024 :^)

[charlesemersonwinchesteriii]

happy hodgvingdays <3

[umblrspectrum]

still thinking about it so heres a bunch of stuff

[deoidesign]

drawing my favorite sculpture but it's my guy

(Barberini Faun)

[xxplastic-cubexx]

chat if i may speak

[magnolia-sunrise]

two years after their violent meeting, Wolfgang decides to seek out the man who saved their life - hopefully to make a better second impression 🚬 (shoutout to mintt and julien for proofreading and feedback!)

[evelynpr]

Might be a hot take as a bkdk and tgck truther here, but I find izuocha endlessly fascinating, beautiful, but also tearfully tragic.

I see their love for each other as something representative of their innocence and naivety when they only knew so little about who they were, and what was to come.

I think the main barrier of their relationship is that its rooted in how they see each other very idealistically, specifically that they're attached to the image of their Best Heroic Selves, and not the deeply selfish, destructive, freaky, and egotistical parts of them. To each other, they need to keep fulfilling that image or else that same person they looked up to would almost die in front of them, and that would be too cruel. Although that hero is still there, that same person they looked up to is not the same now because of...well...everything.

Izuku had barely even talked to girls when he first met her. She was Izuku's first ever real friend (Sorry Kats, everyone and him knows he was terrible), so he saved her in that entrance exam even if it was so dangerous. She gave a new meaning to his derogatory nickname just by being a friend that believed in him. After that, she saved him several more times (Blackwhip and Megaphone are the biggest samples iirc). It makes perfect sense that she is Deku's hero.

Ochako hardly knew what it meant to be a hero when she first got into UA. Just by reaching out to some kid tripping, she made a new friend who would then save her in that exam, then save him again in return. This boy then became someone who was always working so hard to save everyone in trouble, and she realized she wanted to be just like him too. "I want to save people"

But...Deku changes. The weight of One for All is on his shoulders and he needs someone to carry this burden with him. He continues to want to save other people at the expense of himself, still not letting his true selfishness and ego ever show- and it only grows more and more unbearable.

Then...Ochako fell in love with Himiko. Truly, relentlessly, selfishly and devotedly in love with a girl who then dies giving her blood to her- the greatest expression of love Himiko could ever give.

Not that they can't love each other because of this happening (and...so many other things oh god), I'm honestly not sure how to explain it- But them ending up together after losing that innocence and naivety? After Ochako will forever grieve the girl who showed her love in its most beautiful and ugly form? After Izuku changed so fundamentally as a person that the butterflies of a nice girl talking to you doesn't exist anymore? After that simple image of being a hero and being in love has completely changed for them both?

Even so, I believe they still love each other. There is no label I know of that can properly describe them though. They are each other's image of being a hero when it comes to saving people. Aside from Shoto, no one else can grasp the grief of the person you tried to save dying in your hands. They would no doubt try to cope with these losses together, and just try to get better together...but so much has changed. They've changed. The world changed. What are they now? Who are they now?

"What happened...to us?"