#Please watch the anime

[archivalmiscellany]

Watched the latest episode of Dandadan and damn.

Mind you, I've read the manga 4 times and Acro Silky's backstory has always made me tear up.

But the anime was on a totally different level with its cinematography and music. It elevated the manga with attributes of animation, and that's so beautiful.

The manga devastated me, the anime destroyed me.

This is why I love Dandadan. Yeah, it's wacky, it's weird, at times it might even be crudely chaotic. But at its core it's a story about connection. The connections we make with the people around us, and the pain and insanity that comes with it.

Or I'm just insane and reading in between the lines. I don't really care.

Now I know that Dandadan will be one of my favorite manga AND anime of all time.

Thank you Science Saru.

And please, let them live in a kinder world.

[drdeathly]

Why do people still think Rock Lee has no chakra? He has chakra - infact he probably has a shiton of it since he’s able to open the gates. It’s just that he’s awful at controlling/molding it externally.

[woozicutie]

What do y’all know about dandadan? 🤨

[savagegood]

“Did you see the way that little girl looked at me? Kids. Little kids. They grow up believing that they can be a hero if they drive a sword into the heart of anything different. And I’m the monster? I don’t know what’s scarier. The fact that everyone in this kingdom wants to run a sword through my heart or that sometimes I just wanna let ‘em.” “We have to get you out of here. Over the wall. We won’t stop until we find some place safe, okay? We’ll go. Together. No matter what we do, we can’t change the way people see us.” “You changed the way you see me... Didn’t you?

NIMONA (2023), based on the comic by ND Stevenson, who came out as transgender in 2022

[anbaisai]

Blep. (Sequel to the boop)

Or alternatively titled: Snake Jamil, but even larger noodle

The species that Jamil is based on here is called the Blood Python (special thanks to @kirexa for the information!), which can reach an average of 4-6 ft in length and up to 30 lbs in weight.

Bonus panel:

[egophiliac]

we were fucking ROBBED

[glossc1]

little dionysus, son of glorious semele

[valdotpng]

happy anniversary scavengers reign!!

[s0up1ta]

something about loving you like an alcohol addict

pspsps come get your billford

this was supposed to be longer but dear god that's a lot of work... so here's the storyboard for it:

maybe i'll finish it later,, for the tragic fiddauthor enjoyer in me

ok bye

[beif0ngs]

BLUE EYE SAMURAI

I never said I was a samurai, you did. I’m on the path of revenge. There’s no place on it for love or friendship or weakness.

[applecoreart]

+Riddler animation: 'Puzzed' (gif version) [link: video version] A silly idea I had a year or so ago while watching How the Grinch Stole Christmas (1966). The "he puzzled and puzzed til his puzzler was sore" quote just seemed like such a funny Riddler line. Decided to finally animate it as a way to test some character design style ideas I was playing with (went with a BTAS-inspired design here), to troubleshoot any potential animation issues.

Ended up using this also as a testground for my lining, coloring, and shading workflow. I went with a kind of simple noir palette to keep things simpler and, overall, I think it turned out nice :) [Animated in OpenToonz, backgrounds made in Clip Studio Paint]

[nokkiart]

As a long time httyd fan who has been heavily involved in the fandom since the first movie and who has spent years working in the animation industry, I’d like to share my thoughts on the new httyd movie. Keep in mind, this is just my personal opinion and it's completely fine if you disagree with me. I just want to say a little something about all this that really bothers me.

The core reason that Dreamworks and Universal made this film is that it’s a quick and easy cash grab for them. Thats it. They don’t care about telling a good story or making a “better” version of the original movie for fans or even having an accurate portrayal of the characters/story. It’s purely about money. They know that fans of the original film will go see this movie, whether it’s good or bad. And those guaranteed ticket sales are all that matter to the studios. And with Universal, it has the added bonus of being a cheap promotional and merchandising opportunity for the new HTTYD land in Orlando that opens around the same time that the film is premiering in theaters.

And to help the studios make even more money out of this, they are using non-unionized VFX companies around the world to make this film, so that they can get cheaper labor and push the artists to do more that would be against American union standards. The same thing has probably happened with the costuming and fabrication for the filming, hence why the costumes look un-weathered and the sets look cheap. They don’t want to pay for the extra time and effort that it would take to make the practical bits of the production look good.

On top of all this, Dreamworks has already announced that they’re shutting down all their in-house animation projects in favor of using AI and outsourcing projects to cheaper international non-union studios.

With all this in mind, I just can’t support this film and I will not be seeing it in theaters. And I hope that others will do the same.

The only way to stop all these horrible “live action” remakes (which are actually just realistically animated remakes) is to not buy tickets to see them. Money is all that matters to these studios, and if they don’t make any money off of it, then they will stop and try something different. Maybe they'll even go back to focusing on original stories!

That’s the power that we hold as audiences. Our wallets help drive the decisions that the executives make. So support unique storytelling and gorgeous cinematography in movies. Support indie films. Support animators as they're fighting for fair pay and better contracts. But don't support a mediocre shot-for-shot remake riding on the coattails of an already successful film.

And I just want to wrap all this up by saying I have absolutely no hate towards anyone that has worked on the new film. Toothless looks incredible and I know the artists and creatives involved in this project did the best they could with what they were given.

But I also know that those same artists have so many more brilliant ideas that they would’ve loved to be given the creative freedom to do. I just wish hollywood would be willing to take a chance and let them do it.

[yamchala]

the guy from that skeleton gang... or something

also... please watch monkey wrench PLEASE watch monkey wrench PLEASE PLEASE PLEEAASSSEE WATCH MONKEY WRENCH!!!! episode 4 coming soon but theres 3 out on yt ALREADY and you!! yes you!! should watch it!!!

[swampjawn]

God I love animation. I love it for the way it can bring anything to life beyond the constraints of boring ol' reality, but also the ways that it's inextricably linked to, and draws on the conventions of live-action film-making.

So fuck it, let's look at how Hayao Miyazaki straight up copies some camera framing techniques from his predecessor and the other most influential Japanese filmmaker of all time, Akira Kurosawa! (Kurosawa really was the master of framing scenes around his characters, so he's a great source of inspiration)

(btw, this is a screenshot from this TV special where the two met for the first time just after the release of Kurosawa's final film. It's pretty interesting, and also very cute how nervous Miyazaki seems to be to meet one of his idols.)

Specifically, how the two each choose to break the 180 degree rule (well, not technically 'break' in the case of Kurosawa) to show their protagonists' changing destiny in "Throne of Blood" and "Princess Mononoke".

For anyone who doesn't know, the 180 degree rule is a basic film-making rule of thumb which states that in any scene where two characters interact, you should draw an imaginary line between them and the camera should always stay on one side of that line.

("In the Mood for Love" - Wong Kar-wai)

This way, one character is always looking to the right of the camera, the other is always looking to the left, and the audience doesn't get confused by the geography of the scene. Crossing this line can be disorienting, but when done intentionally, it can convey a paradigm shift of some kind in the scene.

In this scene from "Throne of Blood," (a feudal Japanese retelling of Macbeth) Washizu's wife Asaji discusses tactics with him and tries to convince him to aspire to the throne and to assassinate his lord Tsuzuki while he sleeps.

As two servants appear to notify them that Washizu's sleeping quarters are prepared, the camera dollies left and around the characters' backs. This camera movement is motivated by the motion of the servants' torches outside the room, but it also signifies a change in Washizu's outlook.

Washizu is completely silent for most of this scene, contemplating his wife's advice. But as the camera slides behind his back and across the line of action, the scene is now re-framed, illustrating his change in perspective.

He's been convinced and the trajectory of his life is about to change - and now, facing away from the camera, is the time for action.

Because the camera slides smoothly across the line, Kurosawa isn't technically breaking the 180 degree rule. Miyazaki on the other hand, takes it a little further.

The complimentary scene in Princess Mononoke comes near the start when the wise woman of the village reads Prince Ashitaka's fortune after he's cursed by the wild boar spirit. She tells him that it is his fate to leave the village and travel to the west, where he may be able to lift the curse on his arm. The trajectory of Ashitaka's life changes in this moment too. As he accepts his fate, the change is symbolized by him cutting off his hair, but also by the camera jumping the line.

Throughout this dialogue scene and even as he cuts his hair, the simulated camera sits just slightly to the side of Ashitaka's left shoulder.

But once it's done, for the final shot, the scene is reframed and we jump to the other side, where Ashitaka is now looking to the right of the camera instead of the left.

Making the camera dolly across a scene like Kurosawa's version in 2D animation is no simple task, so this transition with a simple cut is in a way subtler, in another way a bit more jarring, but it conveys the same meaning.

This is the moment when our protagonists make the choice to embark on a new destiny and re-frame their lives.

This has been an excerpt from a short video essay I made a while back, which not many people watched. I think this is at least in part due to my failure to package it well, and it seems you tumblheads like this animation/cinematography analysis stuff, so this is an experiment to see if, with the help of y'all, and a new title and thumbnail, it's at all possible to give this video a second wind in the eyes of the Youtube Gods!

So if you found this interesting, I'd appreciate if you checked it out! Thanks for reading!

[forecast0ctopus]

danbert sketches

[mimimar]

i've been completely charmed by witch hat atelier♡

(art prints)