#and can't respect my character's design
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dimiclaudeblaigan · 8 months ago
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"yuri lowell is a manly heterosexual"
yuri lowell:
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#DCB Comments#keeping this off my tales blog/out of tags bc i know the heteronormatives will come for me LOL#with their heteronormative v3speria dub (yes the dub actually altered/watered down#his relationship with a man probably bc it was too undertoney for them and western media is allergic to that)#not pictured in this post: the way yuri is used in official artwork with other tales characters#and is often surrounded by men. or the comic of him admitting he's popular with guys#also not pictured: the way yuri's alts for gacha games often feature flynn's color coding#and/or both of their color coding mixed into his outfit or accessories#also not pictured: the way yuri's wedding outfit alt is flynn color coded#also not pictured: the way yuri's bouquet in the other picture of his first outfit on this post#is almost identical to flynn's ''joke weapon'' bouquet of roses in the game#also not pictured: the entire gacha game of rays (that's based off respective game canon). i can't explain that to you in just tags#also yes yuri has a metal corset in that fourth picture. i don't... know many men who wear a corset#and the only other one i know in this franchise is in fact also the other main m/m pairing in the franchise#i also don't know many manly straight men who the character designers dress and style like this#i just want you all to know. if you're looking for a non heteronormative man. yuri has you covered#just maybe not so much in the dub just ignore that LOL. also worth mentioning that#japan gets a L O T of extra yuri material thanks to gachas merch and other official side material#everything in this post is official artwork and the last one is from this year#it's merch up for pre-order for t@lfes so yes they're still playing with his hair LOL#and yes if you ever pick up his game i am here to advertise to you not to play the dub (even tho the text will still sometimes be wrong...)#i am in fact writing giant lengthy posts abt it on my tales blog so i will not explain to you here in these tags#but the dub sapped yuri of so much emotion to make him seem cool and edgy and more of a troll#instead of playful fun and silly and just a dork but who is emotional when it matters#woe is them to let yuri's voice shake with heartbreak when he's worried abt a man!#i bet the localizers didn't even realize the entire opening theme song was abt yuri and another man and their relationship#maybe one day i'll make a fun post with all of flynn's color coding slapped all over yuri#also i BET there's someone out there who will see this and be like ''she's reaching''#yeah i guess the official gacha game is reaching then too with how it treats yuri and flynn the same as the franchise's canon het pairs
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normalayadraw · 2 years ago
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I'm having waaay too much fun drawing this alkrjqwopriwqr
My OM! OC again? more than likely :D
Just the drawing version below:
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Funfact: The actual drawing was longer than the one on the ID Card (the 1st pict). Cuz I forgot to check whether it was close/big enough or not :')
The ID card template was made by @TARBLOODY from twitter btw. Here's the link to the post.
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digisurvive · 1 year ago
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Nothing is gonna top Plutomon as a fucked up maternal figure for me, I'm afraid lol
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sparkofthetelling · 1 year ago
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Tagged by @mirastudiesphysics I'm physically exhausted and idk why, so I'm answering this to make myself feel better, and I'll try to get back around to it to maintain the spirit of community. Relationship status: Single (I label as aroace, but it's eternally complicated) Favorite color (right now): Carmine/#960018
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(The physical dye color I believe is made from cochineal beetle husks!) Song stuck in my head: Free - Live from MSG by Florence + TM Last song I listened to: Nueva York Train Chase (from the Across the Spiderverse Score) Last thing I googled: significance of cloth color for headpieces in Sikhi/Sikh culture Dream trip: Either like, a cross-country train trip or drive with my mother (Canada, US, Ireland, Norway/Sweden/Finland, doesn't really matter) or to go spend like a month at Gran Sasso doing research without being worked to the brink because of cost Anything I want right now: another no contrast cardiac fMRI and my omnibuses I ordered to arrive. Other people: Later
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giantkillerjack · 1 year ago
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Good afternoon! What kind of characters or tropes do you wish you could see more of?? [Ex. More Trans characters; More witches; More himbos]
AND/OR: What kind of characters or tropes would you like to see LESS of? [Ex. Less Trans characters who have to live lives of misery; Less "evil" witches; Less characters played by Mark Wahlberg]
AKA what i need in my life are anti-capitalist trans witches who live lives of joy and community and also some himbos are there! HELL YEAH!!! ....... *ahem*. You don't have to be that specific, but hopefully you get the idea!
#original#writing#character design#the blacksmith#this is not the first time i have asked this and it won't be the last#but i wanna know what would make people feel seen and joyful in a way they rarely get to be#or just tropes that people enjoy#gives me a direction to walk in while i brainstorm characters i will love and others will love#for me i want to see sexy fat characters and characters who find healing and safe homes after trauma and trans characters#but also i wanna see himbos and farces and queer-coded queer villains!#i want transgender witches and autistic knights. and i want to know what people DON'T WANT too#and when i make a character who is in a group i am not in then it matters ENORMOUSLY that i am respectful and educated in doing so#which is my responsibility and i will hold myself to it.#what is the point of making characters like me to make myself feel seen if other characters feel like punches down???#it is a book about kindness and that sounds like something i must take every measure to avoid#i can't please everyone but that isn't the point.#the point is the difference between a fist punching down and a hand reached out to help lift a comrade up.#the point is the kind of person I want to be at the end of the day.#sometimes i may look an ignorant fool but so help me gods i will not stay that way and I will work to do no harm as I learn!#i will work to do better until the day i die or else i am not Jack Goodfellow. and as i AM him... well. my work is cut out for me!#I JUST. CARE. A LOT. ABOUT. KINDNESS AND STORYTELLING. IN THAT ORDER.#AHHHHHHHHHH
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anotherhumanperson · 5 months ago
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Hush now, hide, all you little ones
Rush now, into the middle of nowhere
Singing and laughter will die
Dreamless sleep, follows the Nowhere King
When his kingdom comes, darkness is nigh
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Quiet, crawl to the in-between
Silent, secretive feeling
Of fearsome hatred that reaches the skies
You will bring joy to the Nowhere King
When he sees the light leaving your eyes
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calocreek · 3 months ago
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OK here it is, a ton of 'production' stuff for the Hot Guy Comic Zine! I've never been part of a project like this. Even though I was working on my comic mostly solo (shout-out to my editor Violet!), the world-building and story arc planning was completely collaborative. For example:
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We started out on the world-building by voting on character's superpowers! Plenty of powers were almost unanimously agreed on, but Cuteguy was a HUGE campaign. We were pretty much 50/50 split between can fly/can't fly. Propaganda was exchanged LOL, like this piece where I campaigned for limited flying capabilities 😂 And thats what we ended up settling on!
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From there we worked on a ton of brainstorming/world-building that I mostly spectated with an occasional doodle like these haha. I'm new to such elaborate AUs!
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Pitch time!! I had pitches for each era and they were all pretty light and banter-y, so my year 1 pitch ended up fitting the vibe the best. My original pitch was 'HG + CG learn some key things about each other and plan to set up a base they can use together.' But when I started my script, I got really caught up in how they were navigating a partnership without knowing each others identities. The more I wrote through that, the more I wanted my story to be ABOUT that! So thats where my script started coming together.
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Designs! I'm definitely not a confident costume designer. I was trying to go for low-tech + practical since it was early in their careers, and of course, easy to draw 😂
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Process went more or less like this! Full color comics take a LONG TIME but it was a total labor of love. I had the graffiti bgs in mind from the very start since I knew it was dialogue heavy, I wanted to make sure the art was interesting and worth spending time looking at. Oh lord did I get carried away. I'm OBSESSED with the symbolism the fandom has put to the life series and so I tried to sneak in as much meaningful symbolism as possible. AND THE RESULT:
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Guess I did pretty well! 😂😂😂
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Anyway, I can't overstate how proud I feel to have gotten to work on this project. My whole goal as a hobbyist is to get to work with other artists I look up to and respect so this was a dream come true! Thank you everyone for reading, for 15k downloads (!!!), and for just being an awesomely creative fandom space to make art in! I hope to do more stuff like this again some day 💕
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maxwellatoms · 6 months ago
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In one of your last answers, you said “series reboots are usually pretty gross and sad”, and I was wondering if you could expand on that? Assuming “reboot” covers any kind of continuation of a currently cancelled or finished show (and maybe that’s the wrong assumption!), from the outside looking in it feels like a pretty mixed bag. On one hand, if I love XYZ Show, it’s cool that I get more stories with these characters and another chance to support XYZ Show and its creators. On the other, it definitely feels like a lot of ideas can only get funding if they’re tied to something already, meaning creatives are having to now tie whatever cool idea they have to some reboot/relaunch/retread, which can feel pretty disheartening if you don’t want to do a reboot/relaunch/retread. Is that a similar feeling from your side of the industry?
Thank you so much for all your answers and insight!
Usually reboots and spin-offs are just cash grabs. It happens a lot in animation. In fact, I would argue that the entire industry is just one big cash grab now. In the 80s, everyone complained that cartoons were just half-hour commercials for toys. And they were right. And we're right back there, but now that you can't legally push toys all day, it's just general "IP". Mugs, posters, more spinoffs, whatever.
I was offered three show running gigs over the pandemic. All reboots that I would consider unwise to pursue because they were "of a different time" and didn't (in my opinion) have anything more to say. Two of them were properties created by notorious sex pests, so there's also that. The animation industry loves to prop up its sex pests.
I turned all of them down, partially because I didn't respect the original creators but also because none of them had anything going for them except just being "more of the same".
I don't think any of those projects survived the intervening years, so in retrospect I maybe should've taken the job. I'd probably feel a bit gross, but at least I'd have floors in my house.
The entertainment industry is in a bad spot. The whole thing. I've had I don't know how many pitch meetings in the last few years, and they all start the same way:
"Hey! Before we start, we just want to let you know that we're not actively producing anything right now. We think maybe soon, but we won't be picking anything up today..."
And then later:
"The little we are doing is IP, so if you have a new take on our IP or a new IP you're connected to that you can bring in, that'd be great."
I always wanted to make original stuff. There came a time when I'd had my fill of Billy & Mandy and wanted to do something else new and original. That never manifested, and I was constantly being offered IP to produce. I turned too many of those down, maybe, before deciding that it was probably better that I run the IPs that mean something to me rather than having some hack do it.
But now those jobs have all gone to celebrities and fallen live-action writers, who are also slowly being eaten by the system. WB was hot for Scooby stuff a few years back, so I pitched some ideas. A few of them were turned down for being "off-brand" in a variety of ways. WB has now made (I think) all of those off-brand shows (or something close) with celebrity show runners.
I was going through a whole Midlife Impostor Syndrome thing recently where I was wondering if maybe I don't just suck. Like, it's weird that for a couple of decades I'd have people calling me trying to get me to run shows, and now nobody will call me back about the possibility of a design job.
Talking to some friends and realizing that they were in a similar situation helped me feel like I wasn't alone. That was nice. Talking to some of the most talented colleagues in my industry made me made me realize that those people weren't getting jobs either. That was unnerving. Talking to complete strangers in other parts of the entertainment industry now has me thinking that the whole house of cards is coming down. That's real concerning, yo.
It's hard not to think it's purposeful, when deranged billionaires own the entirety of our media and want to shape a society where they can't be criticized. We're letting wealthy tech bros firebomb the very heart of our culture, and it's weird that no one is talking about it. Because (for now) we still have that capability.
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cantstayawaycani · 2 years ago
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I don't normally wade into this type of thing, (in fact Tumblr recommended this post to me like a dozen times before I finally read it) but I have to say, I love a well written argument, that cites sources to support said argument, especially outside of the original media in question. And doubly so when the cited supporting sources are direct quotes from the creators and architects of said media in question. It speaks to intention vs execution.
Shipping is not important. At all.
Well intentioned, well executed character and story is very important. Imperfect media is usually the result, despite intention, because there is no such thing as perfection. But here I find the intention closely matches the execution and the resultant film is, IMO, near-perfect. And that's a testament to Coogler and the skilled creators/artisans he had help him build this world and shape these characters with very specific intention. When people argue about things like "shipping" it seems to me that they often forgo a good faith argument based on something you can reasonably prove, and just go with feelings and perceptions. Which is fine. But let's call a thing a thing.
From this argument, made with supporting evidence cited from such credible sources of information, one thing makes a little more sense than several others. And I feel it's important to acknowledge that.
Sorry, had to nerd out all over this post. This is just a good argument.
Re: Namor x Shuri working from a storytelling standpoint
I stumbled on a post trying to give an analysis of how Namor and Shuri "don't work" from a storytelling standpoint. After reading several of the objectionable points made and realizing I've seen them all before, I felt like trying my own hand to exemplify why these kinds of criticisms against "Nashuri" don't actually work. I didn't directly reblog to avoid being convoluted or dogpiling, but I'll be responding to specific points throughout.
Direct quotes are in orange
Linked sources and further information are in green
Warning: This article has many layers, musings, and points. After all, it's essentially a master collection of material. If you just want to jump to a certain point, you can. There are subtitles for every point.
The Oxymoron of Improbable and "Non-Sensical" Story Writing
In the context of specifically Wakanda Forever's story and nothing else, yes: as of now, Namor and Shuri being a romantic couple does not make "sense."
However, there is no such thing as a ship that doesn't make sense from a story-writing perspective.
With your pen, reality can be shaped according to your whim, or elements can be bent to fit the mold of a given reality. Story-writing-wise, anything can happen, and anything can work with the proper execution. A good writer knows how to suspend the reader's disbelief and make the seemingly improbable, seem probable.
Namor and Shuri already have the ingredients for chemistry and compatibility as characters, which are the two essential requirements in relationships. The media they're in gives you the room to potentially address their circumstance, like reviving Ramonda (coming back to life is no foreign concept to Marvel) or building off of the concepts already there (e.g., the Ancestral Plane or "dead not meaning gone"). There are also AUs.
Saying otherwise is simply putting a cap on your creativity and demonstrates a sheer lack of imagination.
Why Do People Ship Namor And Shuri?
To answer this question, Namor and Shuri:
Have undeniably strong chemistry. That was the first thing that had people question what their relationship would be. You don't have to register this as inherently romantic, but they have chemistry nevertheless.
Deeply connected with and paralleled-equaled one another. Shuri opened up to only Namor about her true grief. With Ramonda, Shuri closed herself off. When her mask cracked, she lamented that if she sat and merely thought of T'Challa, she'd burn the world and everyone in it. The ancestral plane, tethered to her subconscious and emotional state, lit up on fire the moment N'Jadaka mentioned T'Challa. Yet... Shuri felt that she could be emotionally vulnerable to Namor, seeking solace and answers within him. She could not only think of but also talk about T'Challa with Namor. This is after Namor was, in exchange, completely vulnerable and honest to her, showing her his scars and his cherished nation. Both characters did things they wouldn't do with anyone else. They felt seen and heard by the other. That is a beautiful testament to the bond they were forging before uh, yeah.
Shuri was healing in Talokan. It is directly said in the script Shuri was better than she was before she left, but the movie let it be a "show, don't tell." We already established she was finally unveiling her grief to Namor, but Talokan was also an escape for her. Her behavior and attitude were a sheer contrast to how she was earlier in the movie. Shuri was shown beaming, marveling at, and practically glowing as Namor showed her his world. Approximately, she genuinely smiled 11 times in under 3 minutes. She forgot her worries. The tension rolled off of her and let herself go "with the breeze". Her admiration and sense of wonder made him smile too. She was taken care of, a shame that her reason of stay wasn't preferable.
Shared several purposefully intimate moments.
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Look hot and are hot together. Argue with a wall.
Can be the strongest, most unstoppable MCU power couple to date.
Create a rich, ethnic, and main poc ship and representation between a black African woman and a brown-skinned indigenous man. That's not common at all, and the thought of their cultures being connected, becoming one through their union is hair-twirling inducing. The idea of them creating a new era filled to the brim with their respective cultures and identities together, with them learning from one another, is very interesting.
They have many, many classic romantic-fantastical tropes poured into the batter that is their dynamic. You may have heard the comparisons to Beauty and The Beast (say thank you, Riri!), Aladdin ("I Can Show You The World"), Peter Pan and Wendy (Namor is deemed of a "Peter Pan" archetype. "Peter Pan" lost his Wendy, who is Shuri in this case. See Inframundo.) and Hades-Persephone.
The only reason why they're on opposite ends is due to outer forces and unfavorable circumstances at work. There's something interesting about their nuanced tragedy. There's a fun intrigue to find a way to "fix" what seems broken beyond repair, through understanding, love, character development, and healing.
Have a romantic anthem: Con La Brisa is a tender love song specifically created based on the underwater scene between Namor and Shuri. Foudequesh revealed that the meaning of the song was showing someone the sun for the first time.
Additionally, Namor and Shuri having romantic chemistry is not baseless. It was initially toyed with. Though they decided to characterize their relationship a bit differently and focus on grief-shared trauma, elements were still left in to give their relationship complexity. The way they relate and the things they did gave romantic undertones you can't just pluck out. Micheal P. Shawver, a colleague of Ryan Coogler and an editor of Wakanda Forever, said this much when asked about the possibility of Namor and Shuri having romance in their cards.
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Note how Ryan Coogler, a writer and director of both Black Panther, even apparently thinks that Namor and Shuri are not unsuited for one another even then.
You can also view the original script where Namor is described as "charmed" and "smitten" with Shuri. It's only natural people pick up the pieces purposefully left behind.
Clarification Notes
Before we jump into this, there are things you need to know.
Note 1: None of this is bashing or permission to bash Ramonda, Riri, Shuri, or Nakia. They were justified and operating under grief and dramatic irony if you look at it from every perspective. Currently, this is just clearing up Namor and Talokan's perspectives because that is what's being targetted and unceremoniously characterized, but everyone has a case for them.
Note 2: This doesn't mean you need to ship Shuri and Namor. It's explaining why some do and clearing up misconceptions about their dynamic as well as individual characters. Your takeaway should be this and valueable information on Black Panther, not a decree of what you should or shouldn't ship.
Positive and Negative Chemistry
"Positive" and "negative" chemistry is confusing terminology at best and doesn't exist at worse. It's either you have or lack chemistry. There are also two different kinds of chemistry: platonic and romantic.
When describing how characters wouldn't be compatible in a given relationship, you may be looking for the term, "compatibility".
Chemistry: magnetism, attraction, and natural connection. Compatibility: a more "logical" component: your degree of harmony and cohesiveness.
You can have chemistry without compatibility, and compatibility without chemistry. Healthy and long-lasting relationships have both.
Namor's view of Shuri
Namor does not view Shuri as an equal, despite their similarities.
Pause. Namor does view Shuri as an equal. Shuri is arguably the person he respects the most.
The idea That Namor-Talokan does not relate, respect, connect with, or even view Shuri-Wakanda as human directly goes against the meta-pillar theme of Wakanda Forever.
You said it yourself:
"these are fictional characters (who represent real-world dynamics)"
“We talked to so many experts and really made relationships with them, because there was a lot to go through,” says Beachler. “There are a lot of parallels between Africans and Latin Americans as far as the colonization of their communities and cities, the enslavement of their people, the lies that were told about their culture, the misinterpretation of their words, and the ways they were made out to look demonized in order to elevate a European country.”
Besides honoring Chadwick Boseman, motherhood, and the dead not being gone, grief, trauma, the effects of colonialism, and the connectivity between African-Mesoamerican indigenous culture are central points of the film. Namor and Shuri and by extension Talokan and Wakanda are explicitly supposed to relate and be equal to one another for this reason. You are supposed to struggle with choosing a side, and Namor is a complex antagonist or even anti-hero rather than an actual villain (An antagonist just opposes or challenges the protagonist in the context of the story, they're not inherently good or evil. Villians are inherently evil and with malice.) Their fight is supposed to feel wrong, intimate, and emotionally charged, unlike most generic action hero fights. They are natural allies, and therefore unnatural enemies.
Namor bent in ways he wouldn't have with anyone else.
This is why it's an in-fandom joke that he was whipped or smitten. What he says on his throne when waging "war", was "Máansa'ab u nej miis tin wich." Josué Maychi confirms that this means, "They passed the cat's tail in front of my face with the hope of an alliance."
"If you see cats, jaguars or panthers when they go hunting they wag their tails because it is a way of hypnotizing the prey, then that image is what happened to Namor, that someone did like that with the tail."
Namor virtually said he was hypnotized, but the Spanish and English translations didn't quite convey that cat-involved metaphor (although keeping the crux of his lament.).
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Namor could have killed Riri the moment she touched Talokan grounds, but he showed temporary "mercy" because of Shuri and Shuri alone. He didn't need Shuri's permission nor did he have to communicate with Shuri. Riri was in his domain, Shuri did not really have much power there, yet he treated her as if she did.
"It goes back to the point of him never seeing Shuri as human or recognizing her feelings as valid."
Two of Namor's quotes in the movie alone prove this wrong:
"I know you wanted me to spare the life of the scientist (recognizing and acknowledging what she wants), but now you see what I have to protect."
"So you can understand why I need to kill the scientist."
He didn't need to seek her approval or give her the ability to negotiate with him, yet he did and on top of that dressed her in the finest silks fit for royalty, consistently trying to convince Shuri like her opinion mattered, and that he wanted her on his side. It wasn't that he didn't "recognize her feelings as valid," he just felt that, based on how many of their lives are at stake, he couldn't risk it (Movie quote: "I cannot risk that, princess...").
He was absolutely gobsmacked when she said, "Take me instead." He wouldn't speak then, uncharacteristically breaking eye contact. When he could finally speak, he couldn't answer her directly, his voice awkwardly raised an interval and suddenly, unnecessarily, speaking with his hands.
Shuri wanted to see Talokan, and Namor, the pessimistic isolationist who never let a surfacer step foot in Talokan, immediately caved into her desire. There was no reason for him to do that and it demonstrates an immense level of trust. He also, quite literally, showed her the keys to his kingdom. He waited until she was beside him, looked to see if she was watching him, and then did his hand sign in the rock to open the "doors" to Talokan.
As writer Joe Cole said in The Movie Report panel interview, Shuri demands him to make the right choice that was yielding, and he does yield to her, which wasn't something he'd ever consider in his hundreds of years of being alive.
Namor gives his beloved mother's bracelet to Shuri
Fen was Namor's beloved mother. Her memory is something he held dear to him. The bracelet he gave not only was the last piece of her left with him, but it directly signified his birthright as king, was a priceless national object, and was made with their sacred plant's fibers.
He gives it to Shuri twice. One immediately to hold when he sees she's attracted to it, two he ties on her (after receiving her non-verbal permission, another sign of respect) for her keeping as a "gift of gratitude."
Namor saw his mother in Shuri
Namor saw his mother in her highest state, induced by Shuri. She was unchanged, young, and in their homes, outstretching a hand to him as Shuri metaphorically did.
Namor paints the mural of their fight
in his personal hut no less, where he preserves their history and culture. He paints them entangled in a battle with neither side besting the other. She is the Jaguar-Black Panther, a revered, highly respected animal in Maya culture with connections to godhood, and he is a mere human, humbling himself in a sense. That speaks volumes, and it's furthered when he tells Namora that Shuri had every single reason to kill him. He also speaks very highly of her, stating she's the strongest person on the surface, of the strongest nation.
None of this makes sense AT ALL if he supposedly did not view Shuri as a respected equal, let alone "human." If he somehow doesn't see her as a "human", then he sees her as higher than.
Talokan's "Violence" to Wakanda's "Pacifism"
"Namor and the Talokanil, immediately resort to violence and war when they feel a threat from the surface world. But since no one knows they exist, this threat is hypothetical for now."
This is not true. Talokan has constantly been evasive with relocating being their immediate resort. In the film, Namor says, "Talokan will not move, again" for a reason. They didn't "feel" a threat, there was a threat. People found the Vibranium within their domain and were drilling to seize it. War was a later development after Shuri took killing Riri off the table, which is what Namor initially wanted to do (in the script, this is furthered, with him saying he'd prefer picking off one person to outright war.).
"A direct contrast to Ramonda and Shuri, who in the face of real eminent threats, resorted to peace and showed their aggressors mercy."
Ignoring the insinuation that Namor was not faced with real eminent threats when he was, there is a reason for that contrast. Remember that while Wakanda was being threatened, they have never been conquered or forced to move. They're confirmed less vulnerable than Talokan, who does not have shields and lives in the ocean. They can afford to reveal themselves. Talokan cannot, and they're collateral damage to Wakanda's choice of revealing themselves and the power of Vibranium to the world.
The beginning village of Talokan has been conquered and mass murdered before the rebirth into the blue people we see now, with their ancestral lands plundered and made into slave houses. Namor almost died and was sick in the womb because the conquistadors brought smallpox. His father who he never met died due to their disease. He witnessed countless treacheries, betrayals, and wars from the surface lands. Namor spent his entire childhood watching his mother grieve due to them. As a result, Talokan has a more pessimistic perspective compared to Wakanda's privileged optimistic one.
So yeah, Talokan isn't going to play patty cake with their active aggressors who are trying to plunder them. Nor should they, because Namor is proven right with America actively seeking to destabilize Wakanda under the guise of retrieving Riri (see the meeting Ross has with government officials), and the ending with Val.
Wakanda wants to delay inevitable war and minimize the loss across the board but will go to war if pushed, which is fair. Talokan is tired and ready to give the smoke, striking fast and hard to merely end what threatens them once and for all after centuries of patience and displacement. That is also fair.
"Namor, despite wanting Wakanda’s help with his mission, ultimately doesn’t view Wakanda with anymore sympathy than he does the rest of the world. He has made it clear that he hates the surface world and everyone in it, which includes the Wakandans."
You're right, he doesn't sympathize with Wakanda. There's nothing to sympathize with. He empathizes with them, a stronger feeling and sense of connection than sympathy. He admires Wakanda and feels a sense of kinship, maybe a bit of jealousy (Joe Cole). To him, Wakanda was a threat if they weren't on his side. Why?
A) Wakanda (unintentionally) compromised them by revealing themselves to the world and the power of Vibranium. Now everyone else, armed with that dangerous knowledge, is looking for it to wield it. Wakanda can more or less protect their Vibranium, claiming ownership of it when it's on their lands, they have the power to, and they're the ones who revealed it. But what can Talokan do? They'd be forcefully revealed in some way and be subjected to attacks just because they dared to also have Vibranium.
B) Wakanda is compromising them again by harboring Riri, who is the one source capable of the machine the FBI is currently chasing down. There is no guarantee Riri would stay with them (Riri is not their citizen, and America can easily use her as a means to undercut Wakanda and force them to either give vibranium or fork Riri over, so she can build the machine, and they'll get vibranium anyway through Talokan) or wouldn't rebuild her machine. The solutions Namor could fathom were either taking Riri out of the equation for sure (a case of killing one person and saving everyone else) or taking out the threat of those who seek to exploit her.
C) Wakanda was already shaking hands with nations that wanted to destabilize and plunder them, and will want to do the same with Talokan.
D) Wakanda is the only nation that can rival them that now also knows of their existence. If they're not allies with that information, that's dangerous and makes Talokan vulnerable.
With all things considered and understandably from Namor's perspective, there's no "in-between" here. You can't be "neutral." You either are with them or facilitate your own and their destruction.
This doesn't mean he hates Wakanda or Shuri. It is nothing he wants, but something he perceives he has to do for his people, as their protector, father, god, and king. In the script, this is only further exemplified, by his, "I don’t want it to come to this. But I will not hesitate."
Namor Killing Ramonda
His line of "You are queen now" showed that he was never willing to conduct business with Ramonda likely because she was the only person on the surface world who bested him when she lured him out of Talokan(...). He was simply looking for an excuse to get her out of the picture."
At that point, Ramonda threatened to reveal Talokan. Ramonda purposefully played decoy with him and sent in a war dog to infiltrate their nation and retrieve not only their national threat but the princess who has all of their secrets without a sense of closure. The result of this act was the death of two of his "children". Did you just gloss over that fact, because Ramonda didn't just "lure" him away? He wasn't throwing a fit because he was bested. People literally died? He was cradling a dying child in his arms?
Namor was "willing" to conduct business with Ramonda, proven by the simple fact that he approached Ramonda and gave her the shell to contact him. Namor went out to answer Ramonda's call in the first place when he could've just ignored it when he had what he wanted and more in Talokan.
Namor saying "You're queen now" doesn't at all connect to him not seeing Shuri as an equal. That doesn't make any sense. If anything that undermines your point, because before Shuri is officially crowned, he immediately sees her as the sovereign leader, much like himself.
He says "you're queen now" because Shuri is likely the queen now. It's simple math: Shuri is the heir apparent. There's no royal before her now that is leading.
"It's also another reason why he killed Ramonda with no hesitation despite knowing what he knew about Shuri"
Again, Namor did what he did with no hesitation or care if Ramonda is collateral damage because in his eyes, Ramonda betrayed him, he was acting as a vehicle of vengeance for two souls, and he was defending Talokan. When she stepped in front of Riri glaring him down, that was his final nail in the coffin (no pun intended, please, no pun intended.). It was never personal to him nor did he look at it as him killing Shuri's mom. He was playing the role of a protector and king in conflict with another royal, but of course, it's inherently personal to Shuri because that royal happens to be her mother.
Ryan Coogler confirmed it was not personal for him in the Disney+ movie commentary, Tenoch Huerta says killing the queen was never in his initial plans, and Namor says this himself in the script, explaining he did what he did because the queen "betrayed" him with not only a guard, but a child dying as a result when Shuri was never in danger ("you were safe in my care").
Recklessness With Grief
No, Shuri did not have a better handle on how she externalizes her grief until the final of the movie.
"She recognizes that even though she is angry at T’Challa’s death, the rest of the world doesn’t deserve to feel the extent of her wrath."
That's not at all what she recognized at any point. "It will not be these clothes, I'll burn. It will be the world. And everyone in it."
"Even when Namor does kill her mother, she rightfully directs her anger at him."
At the expense of her people's safety and risk of eternal war. She tells M'Baku straight up that nothing else matters except what she wants, and she wants Namor dead. She threateningly pointed a finger, giving M'Baku no choice and leaving him with the command to help her in her endeavors, even if it meant sending them all to their watery graves.
Nakia: "If you go to war for vengeance, it will not fill the hole left from your loss. It will only grow larger, and it will consume you!"
Shuri: "It already has."
With every blow she landed and exchanged with Namor, we cut back to Wakanda receiving blows and being backed up into a corner.
Namor and Shuri were on collision courses where they were destroying themselves, each other, and their people by not handling their grief properly, being consumed by their vengeance, and committing destructive actions ignited by their pain.
Shuri just later had the strength to break that cycle by recognizing what he said to her back in Talokan ("broken leaders"), their connectivity, and shared traumas. She saved them both and quietened Namor's own flames in the process.
"Sure, she has some outbursts at Nakia and M’baku, but she never really alienates them."
Do not downplay the fact that Shuri is dangerous and was not healthily dealing with her grief, but instead was on a path of destruction. Ryan explicitly states that Namor shares this with Shuri: they're both trying to process and similarly struggle grappling with their grief.
Why else do you think Ramonda took Shuri outside to touch grass and do a ritual? Shuri was not ok. From the moment her beloved brother died, she was not ok. She was not magnanimous to the world. She was angry at it. She thought that there was no point in the Black Panther mantle or herb when T'Challa isn't there. As M'Baku even pointed out, she buried herself in her technology as a coping mechanism, which she ought to stop.
Shuri does alienate Nakia. Not only does she snap several times and harshly shove Nakia off of her after she took the herb, but it's also shown at the beginning of the movie she's ignoring all of her calls. In the script, she explicitly considers Nakia dead, immensely angry she missed T'Challa's funeral.
She doesn't listen to M'baku, but consistently tries to push him and his wisdom away during Ramonda's funeral. She even pushed away and tried closing herself off with Ramonda in the lab and river scene.
Namor's Desire
"All he wanted to do was push her to the extremes of grief so she would become reckless as she was."
Namor's true desire was safety for his people. He didn't want to move again or have to change who they are to survive. Namor later had a genuine desire for an alliance with Wakanda, a nation he canonically admires. Namor didn't want to "push her to the extremes of grief to become like him" because she already was like him. He just wanted to channel their shared feelings of reaping "destruction" to the common enemy.
“I think that a lot of the emotion that I was trying to put into it [Talokan] was this idea that Namor is not wanting to move his people again,” says Beachler. “So there is also, this sense of grieving, even there, of this idea of being encroached upon by humans, who are somewhat inconsiderate of them.”
"Instead you see a mutant emerging not out of genetics, but out of the crucible of oppression. Whereas mutants in the comics are born, in Wakanda Forever, they are made. And that history isn't the side story, it's the entire story. It explains Namor's rage, his desperation, and the path he takes which eventually leads to a collision with Wakanda."
It was never a case of Namor only loving and can love his people while hating everyone else, seeing them as inhuman. Namor was prioritizing what he loved the most above what he may also like, admire, or empathize with. He was fulfilling the role given to him he was forced to take from the moment he was born.
"I mean, “no love” is literally his name."
Let's slow down a bit and mayhaps rethink a little on using the meaning of his alias "Namor" as a point about him being loveless, no? That was a "name" given to him by a racist, slave-owning Conquistador priest who also called him, "son of satan" all the while he was burying his mother, the only and last immediate family he had. Namor took that alias to empower himself and take away the sting. He clearly does have love when all of his life he has been a selfless agent for his people. He thought a single or two lives were worth war over. Yes, he explicitly said it was to convey he had "no love" for the surface, but there is context to that.
"Wanting to destroy the whole world, funny enough, including other Mayan descendants who were enslaved or colonized"
When Namor burned down the Hacienda, slaves ran free. Only the Consquisdators were killed. The village elder relayed that they know of Namor's existence and were able to live with that knowledge. The only ones who died were the ones who sought him out with ill intent. The script also featured the factoid of Namor saving the elder and her husband from drowning on their wedding night, if that's worth anything. In the movie, he doesn't want to include Wakanda in the mix of the nations they're at war with either.
Clearly, he is discriminatory with who he'd kill. Who said he'd include Mayan descendants that were enslaved and colonized? The last time I checked, the only person who said anything about burning everyone was Shuri.
Namor: "It is no longer about the scientist. For centuries, the surface nations have conquered and enslaved people like us. Over resources. Since the day I buried my mother, I have prepared my people for the time they would come for us. And that machine? Is the sign that the time is now. I need to know if Wakanda is an ally, or an enemy. There is no in-between."
Shuri: "So you plan to wage war on the entire world, and want Wakanda to help you?"
Namor: [leans in and nods slightly]
Shuri: "That's madness!"
Namor: "There isn't a nation that wouldn't plunder Wakanda if given a chance. If we make an alliance, we can protect each other by striking them first. Then, when the threat of these nations have been eliminated, the scientist will be returned to Wakanda."
Namor wanting to remove the teeth from the lion's mouth and hitting first isn't the same thing as destroying everything and anything. Mind you, he is being chaotic, but he clearly has a concentrated target. Don't get it twisted.
Namor's Regret
It is suggested that Namor in particular felt regret and dislike for the situation in interviews, script, and in-film.
A) Namor is seen pensively on his throne, touching and cradling the shell phone as he awaits contact.
B) Namor's, "It could've been different."
C) Interestingly, Ryan and Joe Cole corroborated in The Movie Report panel interview, more regret was in every blow exchanged. Namor in particular did not want to exchange a fatal blow until he was pushed to impale Shuri on the rock in a desperate attempt to his life.
Equaling and Relating
Relating to someone is different from equalling someone. Out of all who were listed, whether it was Peter Parker, Riri Williams, or Namor, Namor is the only one out of those that is explicitly and purposefully depicted as equalling and relating to Shuri.
Namor And Shuri
The reasoning given for how Shuri works paired with Peter Parker or Riri Williams strongly applies to Shuri with Namor, so operating under the same logic, they largely work too.
"What makes both of these pairings work to a degree is the idea of them being equal in some regard(...) They clearly see each other as equal. They more or less agree on a common enemy and how to deal with said enemy, with morals and values that more or less align."
They do agree on a common enemy. That's literally half of the premise for Namor proposing an alliance where they protect one another. The problem just was how they go about handling things. Tragedy, trauma, and dramatic irony unfavorably played factors.
Otherwise, they're practically the same, and are now on the "same page". Their morals and values aren't far off either. Wakanda and Talokan are eerily similar, whether it be in having spying channels, an isolationistic approach, finding jurisdiction wherever they feel it (aka, if it regards and threatens them), only wanting to protect what they love, embracing-involving their culture-traditions, being environmentalists, and using defensive-offensive means if provoked by a perceived threat.
In visuals alone, they took great care to portray Shuri and Namor as Parallel Characters.
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The "boy without love" and the "child who scoffs at tradition." They do have a few healthy differences (I'll save that for another article), but they are equal and deeply relate.
As said on The Movie Report panel interview, Shuri became the Panther god (the Black Panther is canonically Bast's avatar), while he is the god of his civilization. They're both royals and leaders of their own nations. Said nations are sister nations, both having the power of vibranium and the highest levels of advancement. They are both broken and with a shared trauma etched deep in their hearts. They both have a righteous, divine fire and an acute sense of avenging. They both were haunted by similar grief and pain that pushed them to seek solace in one another.
Namor is described as lonely and with loneliness by Ryan Coogler, and that's exactly how Shuri felt in the beginning as well (see her Interlude), and unfortunately, later in the movie after Ramonda "dies" (but in the end, it's revealed that Ramonda, like T'Challa, is not gone.). They brought innovative technology and a new era of living to their people. They share the same love languages: acts of service and gifts.
There was an entire montage near the end of the film showcasing this.
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Riri Williams
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Riri Williams relates to Shuri in a sense of being young black women whose intelligence and talents aren't always respected by their elders. They can also relate to their fathers being murdered (if they take a page out of comics for Riri, see Ironheart #9) or the loved ones that taught them what they know being ripped away from them. Maybe they also know about diffusion too as geeks, but it stops there.
Riri, like Peter, is a teenager (19 years old) new to college (the same college Okoye states is the equivalent of a Wakandan elementary school), trying to grapple with her emerging life and school. Shuri is a princess of the most powerful nation and head of Wakandan Technology. She completed the journey of school and became a college assistant at the age of 13. Wakanda Forever was Riri's debut and entry into the game. Wakanda Forever was Shuri, who is already a non-teenaged adult at this point, journeying through her womanhood and immense grief. Shuri is not new to the game, having been in countless wars and accumulated countless experiences Riri has yet to touch.
Throughout the film, Shuri acted as the voice Riri didn't have that Namor would hear, largely due to T'Challa's influence. At the end of the film, Riri invites Shuri to a basketball game. Shuri says no, prioritizing her duties and having a full plate compared to Riri's less uncomplicated, lighthearted one. This alone highlights their differences in placement and mental space.
Big sisters do not "equal" their younger siblings. They guide and protect, having some level of authority and experience over them.
And That's Perfectly By Design
Riri and Shuri are not equals and have noticeable divergences where one cannot ever relate to or feel what the other does. Shuri won't know how Riri feels the need to prove herself as a black woman in a society where black people, black women, are given the shorter end of the stick. Shuri doesn't know anything about how it is for African Americans and law enforcement. Riri won't know the privileges or how it feels like to carry the burdens Shuri does to the extent she does. Riri does not entirely relate to Shuri's grief either. Riri was a fish out of water who constantly wanted to go home despite the beauty and safety in Wakanda. They belong to two different worlds.
It is great that they have these differences because, in the words of Dominque Thorne, they can learn from each other. Their relationship in the film is contextualized as Shuri perceiving Riri as her reflection and then taking on a mentor role. Riri is, in Letitia's words, a reflection of T'Challa's choice. There are several parallels between Riri-Shuri and T'Challa-Shuri. It gives Shuri more of a personal incentive and investment in the outreach program her brother enacted. T'Challa had the connection, learning experience, and realization of the Lost Tribe and their struggles through N'Jadaka. Shuri now has that with Riri, but positively! Riri also can offer a breath of fresh air every now and again, fulfilling the chemistry she had (bubbly, plucky younger one) with T'Challa (the more composed, older, responsible one).
Whether you want to mold and configure this into a romantic dynamic, is up to you. The point is that yes they relate, yes they do have chemistry, but no, Riri and Shuri aren't equals.
Peter Parker
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Hypothetically, Peter relates to Shuri in their intelligence (although I'd argue Shuri is smarter, Shuri's probably smarter than everyone), but that doesn't at all suggest they'd have the same interests. It doesn't work like that.
Peter (2001 baby) is younger than Shuri (1997-1998). He is just starting college. Shuri is around 22, 23 years old due to the snap. She was 19, 20 in Infinity War. Peter was 16. It's not a big age gap, but I wouldn't say they're peers. Age proximity doesn't indicate relatability either, especially if the maturity levels and experiences differ.
However, I will say, I think Peter and Shuri can relate to being orphans that do feel lonely (although Shuri lost and later gained family, Peter is left off completely alone), going through personal dark arcs, and suffering immense pain that changes the trajectory of their lives. They used to be more lighthearted, but now were forced to grow up and their perspectives darkened.
That's about it though. They aren't on the same wavelength or of the same caliber when it comes to their types of threats, challenges, and predicaments. Namor could entirely relate with her being another nation of vibranium of a culture the other nations seek to destabilize, destroy, or conquer, as well as someone with a similar depth and sense of grief. Riri could relate as a black woman living in America (lost tribe) who'd know a thing or two about persecution and was thrown into the mix between the Talokan-Wakanda conflict. Peter?
This isn't factoring in their standings either, with Shuri being an heir apparent and leader of the strongest nation on the surface with Peter being "your friendly (and now depressed) neighborhood Spiderman" that occasionally gets thrown outside his payroll.
Peter and Shuri can probably relate and it's easy to assume they'd have chemistry and may do a little chemistry together. But they do not equal either.
In Conclusion
Yes, ship and let ship. These are all great fictional characters with compelling dynamics. Shipping is largely for fun and often depends on the person's taste.
Looking at this from a perspective of a writer and storyteller, there's no such thing as it "not" working or "making sense" unless you have, excuse my language, shit and uninspiring writing.
#q'ing likes#nashuri#shuri x namor#a good argument#i did read that other post#raised an eyebrow#then moved on#as op said ship who you want#my nerdy little heart just actually really appreciates this breakdown#because you essentially have here a re-statement of the intentions for character and story from the minds and mouths of the creators#trust ryan coogler#trust hannah beachler#trust the experts they hired to mold and shape the thing with their expertise#for one because the BP stories are arguably the best told and best made in the mcu entirely#the bp films are the only ones with enough critical clout to be recognized outside of nerd circles as an excellent piece of art#ryan knows what he's doing#ignoring who you choose to ship from a story and character pov there was very specific intention here#it's OK if you want to perceive things differently to suit your own preferences#but let's call a thing a thing#and let's respect the creator's intentions#hell my favorite ship is attoye and we can't feasibly argue that that was intentional from the creator's pov#but that doesn't matter in fandom ultimately#that's the point of shipping#so turning it into an argument about what makes sense kind of doesn't make sense#because it's fandom#none of it makes sense over here buddy#and NO i am not saying ryan intended for us to ship nashuri that's rediculous#i'm saying ryan intended for these two characters to make sense as characters who compliment and support each other's arcs#they make sense in any way you choose to categorize as two sides of the same coin by design#that's all
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kathaynesart · 1 year ago
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The Uncle-tello circle is complete!  For the record though, I checked in with Cass if it was ok to use the same nickname and they gave me their blessing!  Thank you, Cass! 
BEGINNING || PREVIOUS || NEXT MASTER POST
Also, sorry for the awkward cut off to this update. We're near the end of the chapter where it's just going to keep ramping up without a reprieve, so we'll just have to make do with a few weird pauses in this chapter finale. Thank you everyone for your patience as I've been getting my ducks in a row and getting back into the swing of updating.
Alright, Cassandra TED Talk Time! It's interesting.  A lot of people seem to paint Casey Senior as this law-breaking "stick-it to the man" type of character, but personally I see a young woman who mostly strives to do as she's told and honors those she deems worthy or above her station.  She holds a great deal of respect for her superiors and I could see that bleeding over into her adulthood.  Albeit, she does overcome this near fanatic obedience by the end of the series, but habits like those don't go away so easily.  She would hold the hierarchy of the colony in high regard and strive to place her family on the pedestal she believes they rightfully deserve after all they've done (regardless of whatever stigma they may have still received from some of the humans).  I think that part of her really rubbed off onto Casey Jr because the amount of respect he shows his closest family members in both naming convention, titles, and attitude is surprisingly uptight and never breaks in the movie save for when he's telling off Leo. Honestly, I can't think of anyone else he could have picked up this habit from because (unlike in other TMNT iterations) the terms "Sensei" and "Master" do not hold quite the same paternal meaning for the crew.  That's just my 2 cents though!
Hopefully now that all my responsibilities for Zines and other projects are complete I'll be able to get back onto a regular schedule. I'm really excited for the next chapter. We'll finally get to see Leo having to deal with some drama in the resistance and a few more familiar faces that I have yet to see make an appearance in any of the apocalyptic AUs. It's back to the character design board for me...
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reallyromealone · 5 months ago
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Hi, Rome (May call you Rome?)
I finally worked up the courage to send in my first request..... Can I request a fic of Gojo and Geto being absolutely inlove with this one omega male? (Sorcerers au) Pls?
Title: lover
Fandom: Jujutsu Kaisen
Characters: Gojo, Geto, Shoko (mentioned)
Fic type: fluff
Pairings: Gojo x Geto
Warnings: male reader, reader insert, omegaverse, fluff
Notes: you absolutely can, it's my name after all
🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸
Everyone knew that Gojo and Geto were a couple, the two alphas very open about their relationship and flirted openly.
(Name) Hummed quietly as he refilled medical equipment as Shoko went to grab some lunch for the two, the two often rotated who got lunch "(naaaame)!" Gojo said happily as he and Geto walked into the medical office, (name) glancing up with a confused expression "oh! What can I do for you two?" (Name) Asked as he put the basket of gauze on a shelf "can't we just come to see you?" Geto asked the cute Omega who tilted his head "well I suppose"
The two smiled at the Omega, subconsciously getting closer to him "how have your missions been? I heard you two went to Osaka" (name) paid no mind as Gojo draped himself over him "it was fine, you should come next..." Gojo held him close as Geto traced his cheek "maybe next time!"
The two always seemed to have a seventh sense for seeking (name) out, the two were hopelessly in love with the omega who didn't seem to catch to their flirting, hopelessly oblivious but it was clear that (name) had feelings for the alphas.
"We actually got you something" Gojo said happily, pulling out a bag he set to the side and handing it to (name) "you didn't have to...!" (Name) Said softly as he carefully opened the bag to reveal..." A collar?" He asked while feeling the hand crafted leather and ornate designs "but this is a courting gift..."
"Yuuuup" Gojo said and Geto smiled at the omegas who clearly was trying to figure this out "wait... Does that mean?"
"There he is, took you a year" the two chuckled as (name) looked startled "a year! I had all year to be with you two and I didn't notice!" (Name) Gawked "well we better make up for lost time~" Geto missed his cheek lovingly and Gojo put the collar on his neck "lots and lots of lost time~"
"please keep from being disgusting in my office" Shoko said bluntly as she held food bags, glaring at the trio as (name) stepped away from his alphas, respecting his bosses wishes.
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foodfightnovelization · 7 months ago
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ROTTEN: Behind The Foodfight
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Holy chips! It's an exciting time to be a Foodfight! fan, because ROTTEN: Behind The Foodfight is finally out! This really is THE definitive documentary on the insanity behind the movie, and it finally answers the question of just what was going on behind the scenes during production. Since I helped out with research (and I even get a short line of dialogue at 45:19) I've already seen everything that was shown off, but had to keep quiet until all the interviews were conducted and the documentary was finished. But now it's out and everything has been made public, the cat's out of the bag (the Fat Cat Burglar?) and I can talk about all the production material that's been shared.
Before I get into any of that though, I'd highly recommend you watch the documentary for yourself. It's insanely well researched and put together, and having worked together with Ziggy Cashmere (the documentary's creator) I know how hard he dedicated himself towards making this all possible. If it weren't for him, the most interesting Foodfight! discovery would've been finding the novelization, and we would have never gotten any real insight into how this movie came to be. It's also a documentary that really speaks for itself- I don't want to say too much about what it reveals since it's all expressed far better through its narrative and the interviews with people who actually worked on the project. My favorite is the interview with texture artist Mona Weiss- she tells such horrifying stories about how she was treated by Larry and other crewmembers, yet does it all with a sense of humor that makes it clear she's enjoying getting to talk about her crazy experiences. It's clear Foodfight! was an unmitigated disaster from start to finish, and there's nobody to blame for that but Larry Kasanoff himself. The movie was rotten from the top down and despite the countless talented animators and artists working on it, nothing could fix the fact that it was fundamentally mismanaged in the worst way possible. I think the quote from producer George Johnsen summarizes it best: "Foodfight! was a good idea that unfortunately lost its way during production. The technology, the art, and the direction were not in sync. Many very talented people gave their all to make the picture, but more understanding of process from the top was needed for it to succeed."
But if you saw the documentary, you already know all that, right? So instead, let's talk about the behind-the-scenes material that's finally been shared! You can find everything I'll talking about HERE on archive.org-
It's worth following the link and checking it out for yourself- there's so much it'd impossible to discuss everything. Artwork, storyboards, bloopers, models, a nude render of Lady X, an interview with Larry Kasanoff, the list goes on and it's still being updated! Despite the documentary already being out, people who worked on the movie are continuing to share new material! It's pretty incredible- for the past year I've ran this blog all I've really had to discuss are two tie-in books, and now there's so much Foodfight! material I can't even keep up with it.
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I mean LOOK at all this, isn't it fantastic? The character art by Jim George showing off just how much better these designs originally were, the countless environments showing off just how stunning Marketropolis could've looked as well as the strength of the core idea "what if a supermarket came to life at night", and insanely detailed storyboards for a 7-minute pitch reel that was used to sell the movie to investors. Normally, I'd be ALL OVER this because it's all just incredible, but there's something far, FAR more fascinating than any of it.
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There are even multiple drafts of the script (one from 2005 and one from 2007 respectively) and normally I'd be insanely fascinated by those too, making extremely detailed posts explaining the differences between the drafts and how they compare to the novelization, but there's something else that was found that blows ALL of this out of the water and is easily one of the most monumental lost media discoveries of ALL TIME.
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That's right, a rough cut of the ENTIRE movie from 2005 has been found, containing nearly ALL the completed animation from earlier on in production. I mean, that's mindblowing right? We first got sent this around a month ago, a little while before the documentary came out, and I literally stopped everything I was doing at work to just sit and watch this. This is the closest we're ever going to get to the "original" version of Foodfight! after all- only 7 minutes of footage was ever actually made before they switched to mocap, made solely for the aforementioned pitch reel, and this workprint contains practically all of it! On top of that there are some great storyboards in here, as well as some truly hilarious ones cobbled together from 3D renders, and the plot is far better than what we ended up with, a lot of the more inappropriate jokes being absent. This rough cut is actually pretty similar to the novelization in that regard, and it also contains scenes that we'd previously only read about in there.
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For example, in the novelization there's a snowmobile chase through the mountains, with Brand X soldiers on snowmobiles and a heavy avalanche close behind. This scene was completely left out of the movie itself, but in this workprint it's here! ALL the previously novelization-exclusive scenes are included, and this rough cut is seemingly based on an even earlier draft of the script than that- here Brand X are still defeated by a flood, whereas by the time of the novelization it'd been changed to a lightning storm. There are SO many exciting differences in this workprint, the snippets of original animation we get to see are SO good, and it's SO much better than the movie itself that I think it by far deserves the crown as the DEFINITIVE version of Foodfight! There's so much in it I want to discuss, that there's no way I can fit it all into this one post...so stay tuned, because in the next few days I'll be doing a FULL analysis of the 2005 workprint, pointing out all the extra brand mascots not in the finished film, and generally just gushing about how amazing it is.
I mean, this is it. Just take it all in for a second- the original footage was considered lost media for over a decade, and now it's practically been found in its entirety, embedded in an early cut of the whole movie...isn't that just phenomenal? All the mysteries have been unraveled, all the questions have been answered, and now we can relax, take a deep breath, and watch Foodfight!...the REAL Foodfight! Make sure to enjoy it, and join me next time for my analysis!
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bruhstation · 1 year ago
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family photo <3 season's greetings from casa vin diesel
I love the inter connections of family bonds between the au's but at the same time my first thought with the "Emily is Italian" was just "Zorran, pal you have gotten your family tree EVERYWHERE what have you been DOING?"
don't worry, he wasn't doing anything stupid. being a divorcee's right hand man for a long time and told to take care of a doe-eyed teenager taught him things.
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emily is zorran's great granddaughter and diesel's niece. one of diesel's sisters left italy and married a canadian man, and emily was born. she doesn't know much about her family from her mother's side, nor does diesel know that emily exists. will they ever meet? one can only dream
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agarthanguide · 5 months ago
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would love to know the other ideas that went into Sam’s new PC’s design! I’m surprised he has a very humanoid face for being a minotaur, but the hoof-fingers are something truly else I love it
Okay so like ten people have asked me about the face, and this is one of the nicer ones, so this will serve as the answer to all of them-
Sam specifically asked for the face. It was in the initial brief, and he was very clear about what he wanted. So like- I get that the monsterfuckers out there wanted a proper Beast, and I respect the hell out of you. Draw the most bestial Braius you can! I can't wait to see him! But it's possible that there's more to it than we all think. I just don't know.
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As for other ideas, hmmm. Well! Sam wanted a character who looked like he was in black and white in a full color world. He wanted it to feel a bit avant garde, a bit artistic.
Sam went with the horrible hoof hands, which I pitched. I also pitched the inky black streaks on the clothing. He had a full description of a double flail, dripping black (I knew there would be jokes about balls) and he wanted white armor. And I just knew we had to extend that dripping black visual to the main event. I tried black fur lining, I tried a sort of vicious black iron on the edges that gave a corrosive vibe. Ultimately, Sam preferred something significantly more ambiguous, I guess.
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Incidentally, the entire time we were messing with Braius, there was an insistent voice in the back of my head that I had seen something like this before. I didn't realize it until after we were done (more's the pity, it's an excellent reference), but it was the music video for Iron by Woodkid.
youtube
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herteitr-runar · 7 months ago
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🇮🇸 🇳🇴 🇸🇪 🇫🇮 🇩🇰
tiny little stress relief doodles of metal nordics. sweden and norway designed by my friend (: i love norway so much ...
rambling under the cut.
well of course my favourite characters ever had to share my musical taste. sweden, norway and iceland especially! i have an amon amarth shirt just like sweden's... and i've been listening to radix malorum by gorgoroth for the entirety of this drawing process ! (a banger btw.)
the respective bands are: Svartidauði (black metal), Gorgoroth (black metal), Amon Amarth (death metal), Korpiklaani (folk metal) and Týr (folk metal).
i thought norway, sweden and iceland would prefer the harsher vocals and stuff, whereas finland and denmark would prefer clearer vocals and more melodic songs - which wouldn't surprise me too much...
anyway i can't just type here forever . let's end this
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ohnoitstbskyen · 9 months ago
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What are your thoughts and the same-face-syndrome Oda has going on with Nami, Vivi, Rebecca, and Shirahoshi?
Oda is kind of a frustrating artist in this regard, as he is in many regards.
Because on the one hand he demonstrates, to a greater extent than almost any of his peers, the ability to design interesting, varied, creative, compelling and fun characters, with a huge variety in presentation and body type, and without the dehumanizing distancing that a lot of artists employ when depicting non-normative bodies.
Charlotte Lola for example, one of my favourites, is a character who is extremely caricatured, and depicted as stocky, broad, and rough around the edges, with a missing tooth and odd proportions. But the story consistently treats her interiority with respect and depicts her as complex and interesting beyond her sillier surface traits.
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... and then up AGAINST that you have the Infinite Leggy Busty Beauty Brigade, which includes Nami, Robin, Carrot, Pudding, Doll, Domino, Boa Hancock, Vivi, Kalifa, Shakuyaku, Alivda, and on and on and on and on.
And it's this frustrating binary where Oda seems to know exactly ONE way to visually present feminine beauty: thin, curvy, busty, with long legs and a round face, and he repeats it over and over and over again like his only two modes of design are either Copy Paste Pin-Up or Crazy Caricature.
The same face syndrome comes out of that, I think. Because the gamut of what A Beautiful Woman™ can look like in One Piece is so narrow and has so few traits available to it, repetition becomes inevitable.
And idk if this is just Oda's personal indulgence, maybe he just draws the kinds of women he's attracted to, and fair enough I guess, people have the right to be self-indulgent in their art, but it is consistently one of his biggest weaknesses as an artist and designer that he just can't seem to stop reproducing the same hot babe design over and over again.
I will say that Oda is not noticeably any worse in this regard than most anime and manga - copy pasted normative bodies with same-face syndrome is the norm, not the exception, especially for female characters. And that doesn't make it not a flaw in Oda's work, just a flaw that should be understood and assessed within its context, where Oda's repetitive babes are (at least in my opinion) still more distinct and interesting than how most of the industry treats its Hot Babe characters visually.
Still wish he would incorporate, like, ONE new idea for what a beautiful woman can look like, though.
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