#and/or a top quality animated film

[uniiiquehecrt]

Voice actors are NOT the same as actors.

It takes a specific kind of skill-set and training to be able to warp and meld the voice. It takes a certain kind of talent and dedication to hone that talent into the ability to meld the voice and invoke emotion with one's voice alone. Actors are used to using their voice secondarily to their body language and their facial expressions. It's all mirrored back on camera. They do have nuance. But it's a different kind of nuance and a different kind of training to produce that nuance.

Voice actors might get their likeness transposed on their character's design, and maybe their mannerisms might seep into the character's animation. But when it's all said and done: their presence is in their voice. They are bringing a character to life, showing that emotion in their voice, trying to keep a specific accent, drawl, pitch, tone in that voice and keep it consistent for their recording sessions.

The voice actor is like a classically trained musician who can play first chair in a competitive, world-renown orchestra. The actor (who fills the voice actor's role) is like a moot who played violin in beginner and intermediate high school orchestra and thinks they can get into Juilliard with that 2-4 years of experience.

This doesn't mean that the HS orchestra moot can't play. They can even be really good at it. Maybe they won competitions and sat first chair. But they are not in the same league as the person who's been training their whole lives and lives and breathes to hone their craft using the instrument and all of the training they've ever acquired to perfect it. They are not meant for the same roles. They are not in the same caliber. You do not hire the HS equivalent when you want to play complex music in a competitive orchestra.

Actors are not the same as voice actors.

And furthermore, actors - especially big name actors - taking the roles of animated characters for big budget films or TV pilots makes no sense anyways when - at least in the case of TV pilots - there's not a point to hiring a big budget actors anyways. That money could be used elsewhere (like paying your animators), and the talent that is brought onto the screen for X character could then be hired on to voice said character no recasting required.

I wouldn't say voice acting as a profession is in danger exactly, but it's certainly being disrespected and overlooked for celebrity clout, and this has ALWAYS been an issue. Shoot, even Robin Williams knew that much - which is why he tried so hard not to be used as a marketing chess piece for Aladdin and got royally pissed off when it happened anyways. People shouldn't go to any movie (but especially not animated films) because "oh famous actor is in it". People should go because it's a good movie and the voice acting is good.

People who honest to god think that voice actors are replaceable because "oh well anyone can voice act" or "I like xyz celebrity so naturally it'll be good" ... Honestly I just wish you'd reassess your priorities because you're missing the point and are part of the problem.

Voice Actors ≠ Actors.

[saltyfilmmajor]

I know in my heart of hearts that they were not going to give tom that best acting nom but by god it makes me sad

[bixels]

LWA was the first anime I watched and became really attached to back in high school. There's a lot I could say as an intro to it (I highly recommend the OVA film and The Enchanted Parade Film, both are some of the most perfect short anime films [spot the MLP reference in the OVA!]. The main anime series is pretty good but is mostly no-plot shenanigans), but I wanna highlight the designs of background characters as an appeal for you to check it out. Because by god, the crew really cared about developing a fun, diverse cast of students that actually captures teenage girlhood pretty well.

Here's a cool fact: every student in the background of the anime has a name, nationality, and personality (and possibly backstory and relationships). A lot of love went into designing each individual student, and 90% of them have no speaking roles or major screen-time.

This is only half of the student body too. More under the cut.

Some students of note:

Aisha, a Middle Eastern student who wears a hijab (and a niqab in some concept material).

There's actually also a female teacher who wears a niqab, but she's unnamed and only a background character.

(In fact, all the teachers in this line-up only appear in backgrounds, yet look how crazy and inventive their designs are!)

It'd take too long to list/show BIPOC students; there are African students (Wangari, a side character and school reporter, from Kenya), BIPOC students from the UK, Latina students from South America. There are these twins from India (Rajani and Rashmi) who're both very protective of their smaller, shier roommate and will often argue over how to better care for her.

There's a great amount of diversity in facial structures, nose sizes, heights, and body types that you just don't see in anime. Stocky builds, large foreheads, double chins. And traditionally "unattractive" character designs are not designed to reflect bad qualities. Alma (1) from Austria is insecure about her flaws and enjoys talking, sometimes a bit too much. Verochka (2) from Russia is constantly paranoid about everything going wrong, yet manages to be friendly to everyone. None of this is relevant to/used in the actual anime, but it's there and it's fun.

In regards to the main cast, there's a girl from Russia named Jasminka who's unapologetically fat and loves to eat and it's never questioned and everyone is friends with her. There's also Amanda, an American tomboy who's canonically butch and crossdresses as a man to sneak into a boy's school (the LWA game also reveals that one of Akko's bullies, Hannah, has a crush on crossdressing Amanda. The game also reveals Amanda's crossdressed on multiple occasions before). There's Constanze, a nonverbal girl from Germany who loves mechanical engineering and hacking game consoles.

Not to mention our main protagonist, Akko, who's very clearly neurodivergent and commentary on how schools treat ND students. Akko is a non-magical girl who desperately wants to become a witch. She enrolls in the elitist magic academy Luna Nova despite having no magical lineage and is afforded zero accommodations or sympathy. She is constantly belittled and bullied by faculty and peers for being lazy, stupid, incapable, and untalented when in reality, she is working twice as hard as everyone else to get a barely-passing grade. We see her fall into the oh-so-relatable loop of staying up late and sacrificing free time to study, only to fall asleep in class and wind up with even worse grades. Luckily, she finds a teacher who truly advocates for her, and it's so satisfying seeing her earn magical powers on her own terms. Even more satisfying seeing her snooty aristocrat rival, Diana, realize that she was wrong about Akko this whole time and being a bully. (No exaggeration when I say they were the original Lumity.)

Akko is also a Marxist who becomes her school custodial staff's labor union chief secretary in striking and negotiating for fair pay.

At the risk of sounding preachy or assuming too much about the crew, this is what happens when you truly care about a world and its presentation. You make good characters –– even unimportant ones –– who become good reflections of real people and identities. You can tell the designers hoped that each background character would be someone's favorite. And it's genuinely nice to see an anime create a cast of teenage girls who are actual teenage girls, with interests in sports or films or gardening and both positive and negative personality quirks. And again, 90% of them exist as only set dressing. Yet they took the time to make each one a real character.

If you're craving good modern-fantasy magic school media with original concepts, a great art direction, and fun characters, check out LWA.

Reminiscing about Little Witch Academia.

[doubleddenden]

Jason DeMarco (main guy for Toonami and the producer for the Toonami original animes, including Uzumaki)'s piece on the sudden drop of quality

From this language, it seems like 3 and 4 will probably not fair much better. It also sounds as if someone or some people screwed them over- naturally there's probably some NDAs at play that prevent any direct finger pointing, but it could be anywhere from a studio, a fuck up from an intern or employee, a greedy exec, DeMarco himself- it's likely we'll never know the full picture of what went wrong, at least not until the nda runs it's course, and even then we may never know.

It certainly does suck that something as important as this that people have been looking forward to for years was treated this way, god knows covid didn't help matters. Poor Junji Ito is just cursed to have bad adaptations I guess.

There's a lot of outrage that can be had about this, but a friend of mine made me realize that it was either they show us what they had or risk it becoming lost media and it NEVER see the light of day. Remember the Coyote Vs Acme movie that got finished and completely trashed because one worthless asshole up top decided the hard work and passion of many workers making the film was worth less than a legally questionable tax deduction? Several over movies like that too. Lots of media just GONE that we won't ever have access to because 1 person made a decision for the rest of us. That doesn't sit right with me, high or low quality of the product aside.

It's not ideal, but these are the cards dealt. In that regard, I can kind of appreciate the effort to release it anyway. I'll always be bitter at whoever fucked it over, and if its a case of executive meddling or embezzling then i hope they get locked up, but I think I'd rather see the end result than have it all tossed in a vault to never be seen again.

I for SURE would rather stupid executives leave art alone until it's fully fucking baked, but they won't. As an adult, you learn to try and make the best of bad situations, and that's all I'm gonna do here.

In any case this is certainly an interesting real-world incident to follow further development on.

[tigressaofkanjis]

My biggest pet peeve in Transformers media and fanfiction sometimes is that Transformers aren't treated as aliens. They are referred to as aliens, they obviously are aliens, but they never feel like they are aliens because they are always written or seen as having all human mannerisms or features usually. Human posture, human noses, human mannerisms, humanoids...

What about TFA's cat noses or TFP's helm noses? One of the reasons I think those two shows have peak designs is because they have this lack of uncanniness to humans design wise. I'm not looking at a human being as a robot, I'm looking at an alien robot, ones that have claws, ones that have different body types that blend with their vehicle modes, ones with horrific mutilations and designs impossible by human standards. I love seeing that type of stuff in Transformers because to me, it makes them feel alien without completely changing the premises of similarities to where we can't compare their culture or likeness to humans. The films (mostly 1 and 2) showed off this as well.

Another thing I really would like to see in Transformers media is non-human interactive qualities. What do I mean by that? One thing I've noticed is aside from techno-organic species, regular Cybertronians do have a few qualities found in animals. Engine humming I believe was once used as a form of purring in the films and in some of the cartoons. Humans can't purr; cats can, and that small detail is always interesting to come across because it's like "wow, they have this feature that shows off a trait found in Cybertronians. That is so cool." You have them with multiple voice boxes for mechanical, natural, and human-like tones which is also an animal trait. Bumblebee is self-explanatory in most universes being able to still make sounds yet not talk. They have sensors across their body that don't act like the basic human receptors. Most animals can do more than just feel through certain points of their bodies. They can taste, smell, or even hear a hundred times better than a human being throughout various body parts, and Transformers have been hinted to have this ability too, especially through their servos. It's stuff like this that expands upon their existence as aliens.

They have extreme durability, their body morphs to extremes and can also double as a moving weapon (most obvious of course), some of them can make ungodly roars and creature-like noises to warn or show their threatening demeanor (Megatron's dinosaur-like growling), some can have two rows of teeth (a flat base in front and fangs hidden behind), and some of them have mimicking animal-like features (Starscream's bird-shaped feet with visible expansion the same as organic foot padding with similar distributive weight physics in a few universes) despite having no beast mode. There's probably more I can't think of on the top of my head in canon, but all those things are not heavily used as they should be to make them feel alien. They can still hold some relation to the humans they interact with, but I think a lot of Transformers are more than just metal "humans", you know?

Depending on the universe in fanfiction and who you encounter who writes it or not, you have several things that are always cool to see. They have to sparkbond (merging of hearts) above everything else to create a sparkling's life force with interface as just the extra for physical coding features. I've seen people use the non-canon heat cycles which are, of course, our fandom way of making a type of breeding euphemism akin to an animal's cycle. You have the common phrasing of nuzzling, heightened senses, armor and certain parts of the helm acting like fur or ears where it raises and flattens per their mood, and some Transformers have limb dissonance where if necessary, they can convert between bipedal and quadrupedal stances (best example is Bulkhead and Lugnut from TFA who have long arms but short legs and they have the bulky structure where they could possibly run like an animal briefly and the physics of it would work).

So, you have all these different things a common Cybertron most likely would be able to do or have but a human couldn't, and it's never utilized to their full potential. I would like to see people address the nature of Cybertronians as alien and not be afraid to make them alien. I think that's the biggest flaw in our franchise is that everyone is scared of making the Transformers not the humanoid "norm" and getting ridiculed for it. Like, they're aliens, you can make them act however animal-like or completely batshit insane as you want them. You can give them powers, animal-based senses, and behaviors hidden among a human thought process. And technically, you wouldn't be wrong to what they could be as a living creature in the universe by doing so. They aren't humans; they look humanoid, but they aren't us. Why should they have to be in every regard?

Thank you for reading my TED Talk.

[nicksbestie]

Hi! Could I ask for a request of Chris with a girlfriend who’s a little? And she finally starts slipping around him? Thanks 💜

Comfortable - C. Sturniolo

Summary : Your boyfriend may know your most personal coping mechanism, but you haven't used it around him, until today.

Pairing : Chris Sturniolo/Reader (romantic)

Warnings : none!!!

Word Count : 1094

A/N : This is an age regression fic, which is purely safe for work and innocent. Any hate/disrespect towards me, my work, or readers, will not be tolerated.

Your boyfriend knew so much about you. He arguably knew more about you than your parents did. He knew you on a much deeper, more personal, level, as he was the person that you could go to when you needed to talk about anything and everything. With that being said, he knew one of your most personal secrets, that you used regression as a coping mechanism to relax and heal from the amount of things that you had been through as a young child and teenager, and when you had told him, he had been incredibly supportive, albeit not knowing very much about it. 

He had been open minded, asking questions while being careful to not be rude, even unintentionally, and you could tell that he genuinely just wanted to understand. He never made you feel bad, weird, gross, or anything negative about how you chose to cope, and because of the fact that he knew just how much you had been through, he understood your choice of this mechanism because after learning about it, he could see that it was incredibly beneficial for you. There was a lot of talking about it, making sure that Chris truly understood what you were telling him, making sure that there was absolutely no room for confusion in what he was expecting. 

It was so cute when you would go onto Chris’ phone for random reasons, taking photos, or googling something, and seeing lots of age regression related things in his search history and in his saved Pinterest boards. You could nearly feel your heart warm at the fact that you had found such a supportive partner, who accepted you for exactly who you were, and was clearly very open about it and wasn’t just supporting you because he felt like he had to. He often sent you pictures of cute stuffed animals and blankets, and he even got a package delivered to the house that, when opened, contained small toys with your name printed on them, along with some bottles and pacifiers with some pet names in deco beading on them. 

You had cried when you had opened it, and he had immediately rushed into the room, a soft smile appearing on his face when he saw why you were crying. He had wrapped his arms around you, gently comforting you, whispering gentle nothings, pressing kisses to the top of your head and reminding you that he loved you, and that included everything about you. He had helped you put those things into your box of little things, and he had held you until you stopped crying. What he had noticed recently, was that you hadn’t slipped at all around him. However, he brushed it off, knowing that your regression was an incredibly vulnerable thing for you, and he never wanted to damage that in any way. When you decided to regress around him was completely up to you, but he would be here to care for you if and when you did. 

A couple more weeks went by, and Chris never pushed it. You both were curled up together after a long night and day, Chris had been filming a lot, and you had gone through a tough shift at work, so you were both just happy to be in each other’s company, enjoying the quality time with each other despite how exhausted you were. Being excessively tired was normally a trigger for your headspace, but you couldn’t deny the fact that you were fighting it right now. You were definitely still holding a little bit of anxiety about it, because despite the fact that Chris had seemed to be so open minded when you had told him, you couldn’t know for sure that he would be okay with it after you actually regressed around him. 

You’d talked about your triggers with Chris before, and he knew that exhaustion was one of them, so unbeknownst to you, he was watching you like a hawk to see if you did begin to slip around him, and he was being so excessively gentle just in case. He had a feeling that you had a habit of not giving in to slipping sometimes, just because of the lack of you regressing around him. He wasn’t judging, but he had done an excessive amount of research, and he had found that littles who have anxiety when they’re big can often unintentionally carry that feeling over to their headspace, and when they’re smaller, it feels a lot worse. So he knew that he would need to be soft and encouraging, and when he noticed you cuddle closer into his side, he just had a feeling.

He’d never been a caregiver before, but he couldn’t deny that there was some type of feeling when he thought about the fact that you trusted him so much that he could see the most vulnerable part of you and still love you immensely. You felt so incredibly lucky to have him, and he knew that he was so lucky to have you as well. When he wrapped his arms around you, he began rubbing your back, being as gentle as possible, running his other hand through your hair and gently kissing your forehead. He whispered sweet nothings to you, sentences filled with love confessions and pet names, making sure that you felt safe in his arms.  

“It’s okay, sweetheart, I know. You can slip, baby, I’ve got you.” 

You had always been quite an emotional little, and when he whispered those specific words to you, you couldn’t stop the tears that immediately filled in your eyes. He gently wiped them away, keeping you close to him, knowing that you found a lot of comfort in being within close contact of people. You were so exhausted that when you eventually did give in to your headspace, you didn’t have the energy to speak much. However, Chris could tell through your mannerisms that you had allowed yourself to slip, and he immediately placed your favorite stuffie in your arms, a Build-A-Bear kitty that had a recording of his voice inside the heart. When you grabbed his shirt in your hand, tightening it in your fist just like a baby would, he couldn’t ignore the way that his heart swelled. 

After spending the rest of the night comforting and loving on you, making sure you were comfortable, safe, happy, and had everything you needed, he looked down on you while you were peacefully sleeping, and knew this was exactly where he was supposed to be in life.

~ taglist : @blahbel668 @mattsgirlfrieeend @69isabella69 @mayhem-72 @iculdstealurgf @iluvm4ttsturni0l0 @sturnioloslife @heartsforkarina @nervousrebelglitter @sturniclo @elliegrace-7 @mattsturnioloisbae @strnilo

~ if you'd like to be added to my taglist, click here!

~ my inbox is open, come chat!!

[vintage1981]

The Life and Deaths of Christopher Lee Kickstarts Deluxe Blu-ray Edition

The Life and Deaths of Christopher Lee mixes traditional documentary with a dash of fantasy. It is narrated by Christopher Lee himself... in the form of an elaborate marionette, voiced by Peter Serafinowicz. The marionette was custom designed and built by Arch Model Studios, who made all of the puppets for Wes Anderson's Fantastic Mr. Fox, Isle of Dogs and Asteroid City and Tim Burton's Frankenweenie. 

The film combines new, exclusive interviews with filmmakers, including Peter Jackson, John Landis and Joe Dante, friends and family members with animated flights of fantasy from a wide variety of artists including 2000AD's Simon Coleby, award winning stop-motion animator Astrid Goldsmith and the legendary illustrator Dave McKean who directed, scored and animated a whole chapter of the film himself. 

Spanning eight decades and almost three hundred films, Christopher Lee became famous for his iconic performance as Dracula. But he was so much more than just the Hammer Horror roles he is so fondly remembered for. His career took him from uncredited parts in 1950s swashbucklers with Errol Flynn, through famous performances in 007 and Star Wars films, cult hits like The Wicker Man and The Return of Captain Invincible, right up to a lead role in cinema's biggest event - The Lord of the Rings trilogy. Along the way, he worked with everyone from Orson Welles to Mario Bava, Jess Franco, Tim Burton, Martin Scorsese and Steven Spielberg. 

Yet his story is so much richer than just his career. Lee was born into Italian aristocracy, with a military career shrouded in secrecy and kept his private life closely guarded. Some of his ventures and adventures seem highly improbable yet, as the film reveals, he often found himself in unexpected situations - he witnessed the last ever death by guillotine, was cousins with 007 creator Ian Fleming, he met Tolkien, performed with the classic Saturday Night Live line-up, was a friend and neighbour of Boris Karloff, he was the oldest person to ever get on the Billboard music charts (with his own Heavy Metal album), was an expert knife thrower, professional opera singer and a Nazi hunter. And somehow, he also managed to appear in almost 300 films of both the highest and lowest quality imaginable. 

The film is finished and producers Jon Spira and Hank Starrs want to share it with you by producing a top quality Blu-Ray with great extra features and a really amazing LIMITED/NUMBERED EDITION COFFIN-SHAPED BOX SET, full of goodies, which will look killer on the shelf of any discerning cineaste. The jewel in the crown of this box-set will be a 3D 'death mask' of Christopher Lee designed and produced by Arch Model Studio exclusively for this set. They also want to host some screenings - both online and in real cinemas - so we can all experience it together and you can get to meet some of the people behind it.

Making this film has been a fascinating journey - producers excavated the British Film Institute archives where they hold Lee's personal collection of scrapbooks detailing his career in his own hand, been given access to personal photos from the family archive, they met and interviewed his closest friends and family from all over the world and we've worked with some incredible artists, puppeteers, animators, musicians and filmmakers to bring his story to the screen in the most cinematic way. Whether you're a fan of Horror, Star Wars, Lord of the Rings or just cinema history in general, we think you'll be delighted by this revealing and eclectic documentary.

Risks and challenges

The film is fully edited and ready to go. This Kickstarter is to fund the final bits of post-production and the production of a fantastic Blu-ray and deluxe collectors edition box set as we're all still committed to physical media. Please note that all illustrations of rewards are designs/prototype images. The final items might differ - we hope they'll actually be better.

[krispycreamcake]

Kanato Sakamaki bf headcanons𖤐𖤐

🧸- This is so random and probably not the best way to start things off, but he frequently dresses your hair

🧸- It literally doesn't matter if you're male or female or even a woolly mamoth, you're never seeing the inside of a salon/barber again

🧸- While it's generally fun for him to do his s/o hair, he also uses it to his advantage to essentially groom you to his likings and preferences (no not that kind of groom get out)

🧸- If you have a stuffed animal or a collection of the sort, they will be invited to his tea parties and he'll even teach you how to sew little outfits for them

🧸- Honestly as childish as Kanato is, I think the reason he acts like this is because he feels emotions very intensely

🧸- I have a similar issue and people will often undermine it as just having a "dramatic" or "childish" personality, when in reality the poor guy just feels things 10x more than your average Joe

🧸- And because of this, I think one of the main issues that'll present themselves in your relationship is that you might unknowingly hurt his feelings

🧸- Let me elaborate. Basically calling him "cute" for making a mistake, or let's say even just brushing off his tantrums by saying "that's just how he acts and I'll need to get used to it" is essentially babying him

🧸- The uh easiest way to fix this would be by letting him know you're there for him and ready to work at whatever the issue is, together

🧸- Ok I lied, it's not going to be easy when it comes to Kanato or any diaboy honestly, but I promise you it'll be worth it

🧸- Treat him like his own person while still retaining your compassion and sympathy for him and you'll be rewarded immensely in your relationship

🧸- In my opinion, Kanato seems like his love language is gift giving and quality time

🧸- Now I'm not saying you have to spend a pound and a crown to get him the fanciest Dubai chocolate or crumbl cookie box, I'm talking on a sentimental value level

🧸- So for example, he mentioned how he needed a new hat for teddy but couldn't find one that was right for him, what you would do in that scenario is go on YouTube, look up a tutorial on how to make shit with felt, fail like once or twice and THEN give him the gift of his lifetime

🧸- Now let's say you aren't the artsy type, pay attention to his wants and likes and even if it's a tiny cute little keychain from the dollar store, once he likes it, he'll cherish it forever

🧸- Ok I realized that I'm talking a loooot about the whole gift giving thing, so I'll just write a bit on quality time to even things out

🧸- Graveyard picnic dates, watching the stars on top the roof, 90s horror film night, you reading to him something from the Grimm Brothers, tea parties in the dungeon

🧸- When thinking Kanato, think "wow this is kinda fucked up but it strangely doesn't feel that way when I'm with this person"

🧸- I'm so dumb, I talked about his love language and didn't mention what he'd do for YOU💀

🧸- Well for starters, he's the type of guy to not say I love you a lot but instead write you songs and serenade you

🧸- Clothes galore with this guy. He's always making or buying some kind of outfit for you

🧸- If he knows you like a certain collection of an item (ie. Books, tea sets, stuffed animals, dolls) he'll get them for you, trust

🧸- He LOVES going bone hunting with you, literally loves it so much

🧸- Date night is a regular Friday night occurrence so do NOT miss it

🧸- Oh right, his favourite time of the year is Halloween and he LOOOOVES making you do creepy couple costumes, baking fall/halloween themed cookies with you, carving pumpkins. It's especially his favourite time of the year to take long strolls through the cemetery

🧸- He loves tracing the veins on your wrist with his nails

🧸- Speaking of nails, I imagine he has medium length nails and keeps them rounded but just a tad bit sharp and he likes to pierce your flesh with them if he's in the mood

🧸- Do you know that whole "would you still love me if I was a worm?" Thing? Yeah, that's him but replace worm with decomposing corpse that has lost all its beauty

🧸- His favourite spots to bite you are your lips and your hips

[starsopinions]

The Minecraft movie........

I've been playing Minecraft for as long as I can remember. My brother and I would spend hours on Hypixel, our survival world, and building escape rooms for each other (the exit would no doubt be behind a painting). As a movie fanatic, a film about Minecraft sounds like such a fun concept with great potential yet from the look from the teaser trailer it seems like all that potential will remain unused.

Link to the trailer if you haven't seen it yet!

Plenty of people have already commented on how it looks, which let’s be frank, is terrible. This post, however, is not about the look but the story so here is a summary: The set design is quite nice except it does not look like any Minecraft biome. The people look extremely out of place, especially Steve who is supposed to be part of this world. Last but not least, there are moving, working windmills. Anyone who has played Minecraft will probably feel the same way about this, which is not happy. This is the main problem, the makers have maybe watched 1 Let’s Play. They don’t know the Minecraft experience. They haven’t played hardcore survival and felt the pain when you die because your elytra breaks, they have never gone mining at 2 am on a rainy night or have built a beautiful base they a proud of.

Which brings us to the soulless plot. For anyone unfamiliar, this is what Warner Bros. describes it as: “Four misfits—Garrett “The Garbage Man” Garrison, Henry, Natalie and Dawn—find themselves struggling with ordinary problems when they are suddenly pulled through a mysterious portal into the Overworld: a bizarre, cubic wonderland that thrives on imagination. To get back home, they’ll have to master this world (and protect it from evil things like Piglins and Zombies, too) while embarking on a magical quest with an unexpected, expert crafter, Steve. Together, their adventure will challenge all five to be bold and to reconnect with the qualities that make each of them uniquely creative…the very skills they need to thrive back in the real world.”

That made me throw up in my mouth a little. Minecraft is such a fun and unique game and this is what they come up with? Minecraft is a game about being creative and there are literally endless possibilities. This plot has nothing to do with the actual game and could be applied to any video game. Speaking of other games, it hasn’t escaped anyone’s notice that this is the exact plot of the movie Jumanji.

I’m secretly hoping they pull a Sonic and fix the movie at the last minute but I don’t think that is realistic. I don’t think all is lost though, Emma Myers (who plays Natalie) is, in my opinion, a great addition to the cast and is funny and talented. The rest of the cast isn’t much to write home about, unfortunately. As stated before, I do think the set has a cool look to it, it is just a shame that it doesn’t look like Minecraft.

Here is what I would do if I were in charge:

Firstly the whole cast is going. I would make it an animated film, Minecraft isn’t a realistic game and it doesn’t come across well in live-action. Steve and Alex would be the main characters.

The movie would have an entirely different plot and would either focus on Steve and Alex trying to defeat the Enderdragon for the first time, etc. (I think this is a bit basic but sometimes less is more)

Or it could be about the lore of the Enderdragon, Endermen, Ghasts, etc. and what happened to them and how they ended up where they are. There are so many theories about this online and it’s a side of that Minecraft hasn't been explored yet.

Another option could be about the villagers and pillagers. It would be cool to see more of their history and maybe Steve meddling to make peace or something in that direction. Think about how cool raids could be in movie form.

(see how I just thought of 3 way more original and fun plots off the top of my head when the writers couldn’t think of a singular one in months)-

A MUST for me is the classic Minecraft music. It should be in the trailer, in the movie, it should be everywhere. It is so nostalgic and everyone who has ever played Minecraft knows how iconic it is. (not saying it is not in the movie right now, I obviously haven’t seen it yet but wanted to include this point)

I think it could be cool if, for example, Steve would find a new biome or a new item and then we would get it in the game in an update. It would show a real connection between the movie and the game which is missing right now. (again not saying they won’t do this but I’m not getting my hopes up)

Besides all this, it would be amazing to see jokes and references to the actual game. Think forgetting to set your spawnpoint, inventory being full, etc.

And lastly, I NEED to see Minecraft YouTuber's references. I think they might do this, I’ve seen multiple YouTubers talk about the movie and I know Mumbo visited the set, so there is a possibility. Minecraft has one of the biggest YouTube communities, not referencing it would be a missed opportunity for sure.

I don’t think this movie will be especially bad, from the looks of it, it’s going to be a whole lot of meh. I do want to say that I have not seen the movie yet as it isn’t out yet, this means that a lot could still change (please please please). I will be in the cinema on April 4th with low expectations but high hopes, I have never wanted to be wrong more. Let me know what you think and thank you for reading all the way to the end <3

As always, this is MY opinion. Feel free to disagree but remember: It is a game about blocks, it's not that important (she says after ranting about it for like 2 hours lmao).

[starredforlife]

ok top five scenes from the kung fu panda universe (any of the movies, shorts, shows, etc). could be fight scenes, character moments, etc etc so on and so forth

FERN THIS IS SO HARD. FOR ME. UHM !!!!

ESCAPE FROM GONGMEN TOWER please watch it right now please please it's such an underrated scene musically and visually. this is the scene where tigress catches a flaming arrow and that's the exact moment i became a homosexual. vic history. it's also the scene where we see her chops as a leader of the five and the way she's fit into this role to balance out Po so well. and also all her potential as who she could've been, if she'd been chosen to be the dragon warrior herself. but she's not.

MUSICIAN'S VILLAGE I LOVE this scene the way it introduces, to the audience, that the score is going to play a part in the fight scenes of this movie is absolutely magnificent. and the way we get reintroduced to the furious five's + po's fighting style, and it reminds us immediately that they are formidable--and then sets up the inciting incident of the plot with so much mystery (and we see the 2d animation style again too, which has always represented po's inner subconscious. WHY DIDN'T THEY DO THAT FOR THE FOURTH MOVIE. whatever)

i would say the bridge fight (kfp1) and i adore that scene but i have to say, i really love the performances, the ambience, the color boards, the sound effects, and the emotional impact of shifu and tai lung's fight in the 3rd act more. i love when kfp actually invested time in its non-main protag characters. tai lung was an absolutely fascinating villain and this scene just rounds out his character so well

The entirety of the secrets of the scroll short film oh my god i love that one so much. teenage tigress. my baby girl.

FUCK okay and then the fireworks factory (2nd movie) where Po confronts Shen about his past. And he gets shot with a cannon and Tigress doesn't get to him in time. breaks my heart every time. i'm going to include the scene where Tigress and Po fight right before that in the jail too bc the musical score called "Fireworks Factory" starts with THEIR HUG. AND IT ENDS WITH HER RUNNING TO CATCH HIM. AND FAILING. MY BAKA LIFE !!!!! i don't even ship them anymore like i did when i was 14 i mostly just love tigress but their platonic relationship is v important to me. i have to include their hug bc that did irreparable damage to me as a tween. sorry the quality of the first vid is so ass. their relationship in the entire 2nd movie is so good i could write a whole analysis on it probably. it's paining me physically to not include their earlier boat scene talk.

this is also the scene where tigress snarls at the gorilla and that changed my brain chemistry forever.

i love the entire second movie this is so hard for me AUGHHHGHGH okay quick honorary mention: i also love the scene where we see shen fight the three masters (rhino, croc, ox). that quick fight scene is SO well executed. the dialogue and the performances are incredible. i used to have every line of dialogue of this movie memorized and especially loved reciting this scene (skip to 1:10)

and then if i had to pick a moment from the third one it's the one where oogway's statue gets wrecked at the jade palace. it lands emotionally very well for a scene that could have easily been mishandled too comedically or too quickly. like it still gives me chills. and i'm not even gonna touch on the character animation/acting of tigress and shifu here bc GOD. kai's theme does rock also!!! AND i LOVE the colors in this movie SO MUCH holy fuck

and then a minor detail from the first one is i love how the characters act with each other, namely the five and shifu. they clearly have a history and/or comradery with each other. shifu undoing the nerve damage tai lung did in a way specific to each of his students stands out to me in particular.

1 and 2 are masterpieces to me and i have my Things about the 3rd one but overall, a beautiful trilogy. i wish the 4th one didn't exist im killing it with my bare hands. vic hate movie? vic murder it. 5th rule of the streets.

[isaacswhy]

dating bigt and nick hc? pretty please with s cherry on top

dating tanner & nick hcs :)

the silly and the (pretending to be) serious

as the pic may suggest, gym dates are something you are constantly invited to

although tanner does frequently just spend most of it fucking around and nick is just trying to get you guys to take it serious

they love taking you to new restaurants. if you came with them to japan you were going EVERYWHERE and eating everything

nick likes to ask you if his outfits are good while you sometimes have to make sure tanner doesn't go out dressed like a toddler

tanner does the dumbest shit and is like "omg babe babe take a picture of this" to you and nick is just shaking his head. like what is he doing

nick likes more serious photoshoots but tanner gets so excited and gush-y if you take a really good photo of him

you have so many of their clothes. sometimes they go to your room to take some back and end up wearing each other's hoodies

the vlogs go crazy. since you got together there's just been so many vlogs where it's nick, tanner, and you

if you're not really comfortable being on camera you become nick's cameraman, and it's just you filming nick and tanner's shenanigans

tanner made you his phone wallpaper day 1 and got SO upset when he noticed nick hadn't changed his yet

nick made his just a photo of you that he loved but now it's a photo of the three of you and your heart just melts

because the thing is. nick and tanner really do get along. they don't really get jealous of each other and the communication is great

like of course they squabble. you've seen nick throw a fit because tanner took the one gsupps shaker cup he wanted to use that day. but they get along really well

tanner is the most physically affectionate and clingy member of the group, while nick is one of the least. so expect many cuddles from tanner and many gifts from nick

both love quality time. although nick will just chill silently in your room while tanner just yaps the whole time

you better try to stay up to date on their anime because all conversations devolve into discussions and debates on it

both of them love to send you gym progress pics. random mirror photos and only sometimes with shirts on. enjoy

they both also love tattoos and would 100% get matching ones with you if you wanted to. also tanner shows you ones he wants and you have to keep him from putting crazy shit on himself

when they're out doing things/on a trip they always send you random videos doing the weirdest shit. there is no guessing what you will see

it's mostly tanner being either paid to do smth or going "should i do it??" while nick enables this/pays him

they're always trying to get you on the podcast as a guest

you are chat's only hope to get either of them to stream at a consistent rate. good luck soldier

so many late night cuddles with tanner in his bed. his room is so cozy with his lighting and everything

nick is much more into quiet time spent in bed together on your phones and then cuddling up when you decide it's time to sleep

tanner is much more verbally expressive of his love, he loves very loudly and everybody will know he loves you

but nick is much quieter and sweeter about it. cuddles up behind you at night and wraps his arms around your waist, mumbling 'i love you' into the back of your neck

tanner sometimes comes up with the goofiest pet names. very much a babe/baby/pookie bear guy.

nick likes babe. he will call you by your name most times. occasionally says baby. will cringe at tanner's pet names

the group chat between you 3 is interesting. many strange videos and pictures of them. occasional loving memes

they're too nervous to post the workout/progress pics in the gc so they send them to you privately

nick likes to send pics of the food he eats at cool restaurants and then tanner sends back his doordash fast food order

it's a lovely little dynamic

[bobbinfire]

Transformers One - Animation Student Analysis

(Aka why TFHypeGuy is right and you need to make this a #TFWeekend)

Disclaimer: This is a Review by an animation student based on the first viewing alone. I will not be giving the same quality of analysis of a film like a seasoned animation professional. However, I still have tons of knowledge by the years I have spent personally studying animated films and the new information learned through my academics. If you are still here, with that out of the way let’s begin.

(As requested by @serotoninisheldinkiwis)

((Spoilers below- quick non spoiler version here))

Transformers one is the peak example of what a brand such as the transformers franchise could accomplish when fans and talented artists work together to make a piece of art. The phrase of “could accomplish” is even over written as they “have accomplished” this. Both seasoned and newly furnished transformers fans seem to concur this as a fact.

All animation fans (you could even get the same from any of my fellow animation classmates) agree the Spider-Man Into/Across the Spider-verse movies are the best amongst the vast pool of the animated film medium. Rise of the Teenage Mutant Ninja Turtles: The Movie (2022) was my favorite animated film, for both story and animation. But when compared to the artistry that is the Spider-verse, I knew that it still couldn’t compare in terms of mastery. No matter how much a film has your love, you are more likely than not to agree with the concept that Spider-verse saga is the best. And I used to agree. That was until the night of Friday September 20, when Transformers One single handily took the scepter of victory and waved it high for the awaiting crowds to see. The controversy I may get from this will probably be immense, but the statement I am willing to scream from the rooftops is that Transformers One has officially surpassed Spider-Verse movies as the top animated film. 

But what actually makes an animated film the “best” when compared to the variety of competitors flooding the market on a bi-monthly basis? What makes this film so better when it could be just the current hyper fixation coded bias of a long time transformers kid who just got handed a shiny new toy to play with and will eventually forget about once the next film releases. Well my friends…and random people of the internet, here is an analysis made by an animation student (me *cough *cough) that breaks down the answer to that question. 

Animation

As with any quality animated film, the animation itself will make or break a film as it is the core part of the film. Transformers One’s animation was handled by the company Industrial Lights and Magic. While not a large competitor in terms of feature film animation, they have produced films that have pushed past known boundaries of both animation and story as seen in their few animated feature films: Rango (2011), Strange Magic (2015), and Ultraman Rising (2024). Their work in the industry is primarily known in reference to their special effects work with Jurassic Park (1993) and Star Wars (1977). ILM’s animation in Transformers One manages to bring to life a world many have tried to do before, but not as elegantly or dare I say brilliant as this. The animation itself seems to stay on a constant frame rate, the beauty of special movements or actions being more defined by hard cuts or continuously moving shots. Each movement has purpose even ones that seem more throw away because it adds to the personality of the characters/environment. Specialty/new techniques are not as important for this film, which is perfectly okay considering they managed to hit each one of the 12 principles of animation when it counted most. An animation coming from a special effects studio in general is very good because they tend to pay major attention to any animation related to special effects, even if it’s just for a cartoon. Details can range from giant Quintesson ship slowly descending to the tiny sparks cause from a hit to a metal face. The animation in general is smooth as well as robotic only when it needs to be.

Environments

There have been a variety of environments in both animated and live action films that have help suck the audience into the story. When an animated pulls it off successfully it is even more noteworthy worthy. However, one must note the limited use of environments when it comes to how much we see past the establishing shots. Most times the best of environmental shots are primarily used to help set up a location or scene, then the rest of that is limited to a small corner (more often than not for budgetary reasons). Transformers One leans into the almost constant use of environments, not only for location, but for story as well. There is a variety of scenes that are carried through meticulously crafted sets and allow for you to not only finally get to know the world of Cybertron, but we travel through the environments almost fully as we progress the story alongside the characters. Minor details play a large role in the environment. Between the polished textures, the detailed individual blades of alien vegetation, the different background characters, and the hidden easter eggs within the framework of the designs themselves allow for a new thing for you eyes to feast upon with each viewing.

Textures

The use of textures in both environment and character design is on another level when compared to other 3D animated films. Speaking from experience the process of applying basic textures to a 3D model already requires hours of hard work, dedication, and patience that you will be very low on by the end of the whole ordeal. So when you analyze the detail and complexity of the work the team at ILM brought to the table it is truly extraordinary, even more so when you realize the time it would take to fight the UV layout and unwrap the mesh of a complicated figure like a cybertronian, especially one that has to transform. If you are confused on my alien language look up basic uv layout and texturing tutorial for maya on YouTube and generate a heart attack for yourself. Good luck sleeping tonight. Transformers one works itself down to the individual grains in the sand, the cracks in the ground, the glitter speckled plating on Elita-One’s head; even the length and deepness of scratches in armor can be measured. The effort put forth creates an effect of feeling you can touch the textures just by looking at them. Of course textures can only go so far without the correct use of the next subject. 

Lighting

When used to its fullest extent lighting not only lights the cast and their environment but it helps extend storytelling capabilities. Things such as mood, emotions, atmosphere, movement and location are brought out through simple artificial particles. The darkness of the mines contrast with the bright fantasy lighting of Iacon, which in its own way contrast the calm natural lighting of the surface. The carefully crafted textures of a surface could not be fully realized without the full use of directed light bouncing off it. During the final sequence of fights the change of D-16 to Megatron is not only conveyed through the change in the lighted color of his eyes but the waves of light flowing from them as he battles his way through opponents. The trail of light allows our eyes to not only follow Megaton’s movements but his descent into his dark path, with his blood red rage clouding his vision and being all that he can see.

And finally the most important point to cover with any animated film besides animation:

Story

Recently Dreamworks employee Rick  Rickdel gave a lecture on my campus. Out of all he talked about one of my major takeaways was when he said: “a story only connects with the felt needs of your audience”. Transformers fans have been wanting a movie like Transformers One for a long time. Even the smallest fans wanted to know what happens between Optimus and Megatron. And that’s the true beauty of this movie. We already know basically what happened between them, we know the overall story. Going into the theater we already knew how it was going to officially end and based on the lore we knew how it was going to start even. So the most important thing for Transformers One was how they connected the two and carried out the main part of the story. And what they did not only managed to meet expectations, but surprised us multiple points along the way. Voice actors poured their souls into these characters, leaving behind their celebrity personalities and bringing the characters to life. Each character themselves that had a relatively good chunk of screen time had a role in the story and were not just throw away side characters. With each one it’s set up for an almost domino like effect for the plot. Bee is not just a goofy side character, he assists in the journey, helps them get to new locations, and even provides relief from the typical dark undertones. Darkwing is a side character that ends through one quick mean spirited action kicks off the rising action at break neck speed. The quintessions show briefly, but provide enough of a threat without overstepping the plot’s boundaries that it is okay they are not there for long, but there may be a chance they can come again. Sentinel is at first glance a stereotypical egocentric villain, but take away his power and status and he will crumble in your hands (quite literally). He is not designed to be redeemable, but he is also not evil just for the sake of being evil. He has goals, he has factors that push him to evil things, but he very clearly has gone far enough that he no longer cares. His overall actions that are not super specifically targeted end up affecting what were originally minor threats to the point it results in his demise. And because of how his character was designed we rejoice even if actual justice wasn’t delivered. For a film have good storytelling it needs to have two factors: the story (the lore and information the audience receives in order to understand the film’s world) and plot (the events that play out in the films timeframe). The movie uses both of these to their proper extent allowing people like my friend was never watched any Transformers media before to watch it with understanding and enjoy it. It plays out what we expect of transformers media while taking on its own persona. What I find most enjoyable about the movies plot is the fact it is similar to a slow burn romance, but in reverse. We take this strongly built brotherly bond that can be shaken, yet once the match gets struck we can do nothing but watch as all these ties melt to heartache before our very eyes. And the audience’s vision eats it up without blinking once. We watch as D-16 goes to catch Orion, only to slowly realize he can’t undo what he’s done to the point of of diluting his mind to making it Orion’s’ on fault. We watch orions spark break through the emotions in his eyes as he begs D-16 not to…but it’s not about not dropping him, it’s about not becoming what he has watched him slowly come into to the point a flip is switch and D-16 is gone. @sephirose explained the summary of this movie best:

“D-16 reached out and caught Orion.

Megatron dropped him.

Orion Pax held onto D-16.

Optimus Prime let him go.”

Even the soundtrack tells a story. “The Fall” it only plays an emotional heartstrings of former Transformers Prime fans, but encapsulates “the actual physical fall of Orion and the metaphorical one of D-16 as he kills Sentinel” (@firebunnylover). Even if the end of the film is just a quick hit of Megatron being banished and forming the Deceptioncons while Orion ascends and becomes robot Jesus, it is what we were expecting. 

And that is the culmination of these factors. It manages to astound and amaze, but in the end it was a Transformers movie meant to be satisfactory. It is satisfying to the transformers soul, and in turn we should do our part like TFOneGuy says and give it the appreciation it deserves.

Anyways, sorry this took so long (I say to the single person who asked for this) to get out but in order to be able to give an in-depth animation student analysis I have to do well in my animation classes.

[nicetomeetmew]

LU Poster (again)

(Click for better quality)

I drew a poster just over 3 years ago based on my dreams of an LU-esque animated film. I was looking at it and wanted to try again and here we are. I am very happy with it :) Textless version and symbol close ups under the cut!

From left to right, top to bottom: Sky, Twilight, Wind, Legend, Time, Hyrule, Four, Wild, and Warriors.

[tossawary]

Live action svsss? Lmao

Oh, that is genuinely funny to me as an idea. Full-on blue-screened me for a second.

See, I'm not AGAINST the concept of live-action feature film adaptations or live-action television adaptations of other forms of media, especially not books. I personally adore the translation work and studying the translation work involved when transforming a story from one medium to another. Basically as soon as we had film, people started filming plays and adapting novels! There have been many, many TERRIBLE screen adaptations of other media, but there have also been many wonderful screen adaptations, which have sometimes been closely faithful and sometimes only used the original story as an inspirational springboard. (I personally see both Ghibli's "Howl's Moving Castle" and DreamWorks' "How to Train Your Dragon" as more of examples of the latter.)

MXTX's works have gotten live-action adaptations before. "The Untamed" is generally held to be a pretty good and relatively faithful adaptation of MDZS. And TGCF is also getting a live-action drama under the name "Eternal Faith". If it was announced that SVSSS was getting a similar drama, I would be a little baffled but fine with it, and also genuinely interested to see how they intended on expanding SVSSS into 50 episodes or something (definitely possible), and also how they intended to cover certain parts of the story without making it explicitly gay. I wouldn't even care if it was bad; I still have the original books to enjoy. Show me your live-action drama Moshang. I'm ready for some awful wigs.

(The main nightmare scenario is getting a bad or good but unfaithful adaptation that you hate but gets super popular, overrunning your book fandom with alternate characterization and pairings and worldbuilding that you can't stand. I'm sure there are book MDZS fans who absolutely loathe "The Untamed".)

The main issue with a USAmerican studio making a "Naruto" movie in my eyes (I don't even care about "Naruto" that much, I never finished it) is that 1) Hollywood is always extremely weird about anime and also Japan in general, so there's a high chance that the people at the top try to make story-breaking changes, and also try to cast white people. They do not have a good record. If this was a Japanese studio making this film, I would not blink at it. 2) "Naruto" is a very long story that doesn't lend itself easily to a stand-alone film. Either they only tackle a fraction of the story or squish way too much together. And either way, on the off-chance that the film is successful, we will be cursed to have sequels until they become unprofitable. I personally liked the live-action "One Piece" show fine, but it was a 7-hour show, not a 2-3-hour film.

I'm not even against the concept of modern remakes, personally, or even completely against the concept of live-action versions of animated films. I would give the Disney remakes something of a pass if they did interesting new stuff that took advantage of their medium or actually indicated they cared about creative quality, instead of rehashing the cartoons almost exactly but worse. The saddest part about things like "The Lion King" (2019) is that even if you kept the story exactly the same, beat for beat, shot for shot, it could have potentially been a vibrant celebration of the advancements in realistic VFX and the skill of the animators and artists involved (and there are some INCREDIBLY talented people being unfairly crunched and underpaid in these industries), but they instead chose to make everything about it visually as dull as dishwater. And I personally expect that the "How to Train Your Dragon" remake, instead of incorporating anything new or interesting, or really showing off some spectacular, well-crafted visuals, will be the same.

Anyway, this ask gave me the idea of a USAmerican studio making a live-action SVSSS film, which is what blue-screened my brain. I cannot fathom how any USAmerican studio would agree to that (it's foreign, it's gay, it's historical fantasy, it's fucking weird, it's everything that scares boring execs who crave maximum profits) and I'm sure they would fuck it up magnificently, such that I almost kind of want them to do it.

[genericpuff]

Lore Olympus Art Analysis - Getting to the Bottom of It

For ages now it's been a common point of discussion - what's the process involved in Rachel's creation of Lore Olympus?

As a community, we've all discussed and speculated Rachel's process among herself and her assistants and how it seems to result in cheaper art each week. Same face syndrome, the overuse of the multiply tool, the dull backgrounds that often enter nightmare fuel territory, the lack of color vibrancy compared to Season 1, the repetitive poses and shots, the theories that different assistants are handling different aspects of individual panels, the clear lack of buffer, the list goes on and on.

But I think we've finally gotten to the bottom of what's going on. Or at least, deeper than we've gotten before and it feels like now we're closer to fully understanding Rachel's process than ever before.

Normally, I wouldn't care this much about dissecting the steps of creating a comic. Everyone's process is different, and when you're working with a team, that can introduce a whole new layer of understanding. I've worked with my own assistants in the past, trained to work in the animation industry which relies on coordination between people, and fully understand what's required to go into making a finalized piece of work put together by multiple people. All that's to say, having assistants doesn't necessarily mean you do less work.

When it comes to LO, though, I do feel this compulsion to tear into it more because Rachel seems to completely lack this understanding, and it shows in her work.

Before I continue, I want to throw in a quick disclaimer - when we criticize Rachel's art, it's not to throw any of her assistants under the bus. All of her assistants are incredibly skilled in their own right. When I criticize Rachel's art as a whole - regardless of who helped shape it into its final form - I'm criticizing not just the art itself, but her direction. Rachel is, essentially, a director of a team, and how she manages that team reflects how her work looks in the end after it's all been put together. I will be showing pieces of art from her assistants in this essay, none of this is to promote any shame or hate towards these people. This is purely an essay speculating on Rachel's directing capability and how she manages her team and is not meant to be taken as objective fact beyond what I am capable of proving as an outsider looking in. I consider her assistants people who are just being hired to do a job, I do not condone holding them responsible for the nosedive Lore Olympus has taken in quality over the past few years. These are simply points and speculations that myself and the ULO community came to after discussing it at length.

Alright, so, where to begin?

This essay started with me having a simple conversation with @loreolympusminoredits over on Instagram. They had pointed out a couple panels from a recent free episode where you could see the texturing wasn't being applied properly. You have to look really closely, but once you spot it, you can clearly see the outline of a square where the texturing block wasn't repeated.

It's VERY obvious in this last panel of Hades, look along the back of his shirt, you can clearly see the color warping from the texture block overlaid on top of him.

Now, I have a few theories for this on its own, it really depends on what drawing program these assistants are using. Some of them use Clip Studio. Others use Procreate. There is no consistent requirement in workstations or software among the team, which is Rachel's first mistake. There's a reason why the animation and film industry requires everyone to be using Adobe products whether they like it or not - because it keeps things consistent across the board. It doesn't matter how good you are at Clip Studio or how much you like Procreate, you need to be on the same software and hardware as everyone else to ensure that you can access the same tools, brushes, and workflow as the rest of the team. No one wants to have someone working primarily in Clip Studio who can't access the same brushes or files as the people working in Adobe. As much as I personally hate working in Photoshop, if I were to get an industry job, I would be expected to work in Photoshop, no questions asked. It's part of the job.

Moving on from that, this led me to wonder which assistant was doing these panels, because it's clear that this texturing problem is mostly at the end of Episode 242 during the Persephone / Hades conversation. There's also one stand-out feature that tells us it's the same person making these panels - the bobblehead necks.

Bobblehead necks have been a very noticeable feature in the comic's art decline over the past while. They typically happen when a character - especially a female one - is being drawn from the front. They're usually also defined with noticeable jugular and collarbone lines.

So, which assistant is it drawing the bobblehead necks?

Rachel's art team switches up a lot. Sometimes she has 3, sometimes she has as many as 8. Some assistants tag in, others are consistent.

So far the most noticeably consistent assistants in terms of participation since S2.2 (i.e. post-time skip S2) are Dnaeri, HardHeadedWoman, AmyKing89, and HeyItsJaki (as credited on their episodes). They're the usual team credited at the end of episodes, with the exception of maybe one artist not being present or an extra artist tagging in.

Upon checking their Instagrams, I am becoming way more certain of who does what and how Rachel does her process.

Let's start with HeyItsJaki:

Very thick lineart, distinguished collarbones, defined fingernails/fingers. Thick shading underneath the neck. Sometimes pouty lips if the expression calls for it.

Now let's look at HardHeadedWoman:

Very Disney/Warner Bros reminiscent art, with most notably, thick necks and distinguished jawline features on guys and hourglass figures/thin wrists/thin fingers on women.

And then we have Dnaeri:

It's harder to pin down her style because she seems to just draw whatever she's feeling like, but most notably are how she draws hands and collarbones, very similarly to Jaki, but with one noticeable difference - softer and rounder lines and shapes.

The irony is that Dnaeri and HeyItsJaki both have the same name - Jaki - so them having similar tells in their styles is just something I wanted to point out. Just a funny thought.

That said, Dnaeri DID post a drawing of Persephone once in her own style/interpretation, and there are definitely things to note here.

The collarbone distinction. The anatomy of the fingers and toes. The lighter lineart. The little 'dip' along the edge of the smile.

Moving on. Let's talk about the last assistant who I feel deserves a specific mention - AmyKim89.

You see, Amy is what I'm going to call the smoking gun. All thanks to this post:

Recognize that panel? That's the flat of Dream Persephone from Episode 204.

And this is what the final panel looked like.

Now, Webtoons cropping aside (don't mind the seam running through Persephone's chest) this confirms multiple things for us.

1. AmyKim89 was not the one to shade this panel.

2. The assistants are working purely off Rachel's sketches.

3. The assistants can be in charge of their own lining, which would explain the inconsistent lineart throughout each episode.

4. There are no backgrounds present meaning someone else is in charge of the backgrounds.

5. Flats can be changed and added to after the assistant has already done their job.

To talk about #5 first, notice the pantyhose that were added that make her legs disappear into her cloak. The baby's face changing. The added flower and necklace. Her eyes changing direction.

Regarding #1, look at how the shading makes the art so much more dull. The previous version of this panel with just the flats genuinely looks so much better than the finished piece.

This was, as I'm sure you can imagine, a pretty big find. While I'm sure Amy would probably not be happy to see me using her innocent post as proof for my hyperfocused ramblings tearing apart Rachel's process, I'm glad she posted it nonetheless because it finally shows us a smidge of what the process might be like during production.

Going back to the shading really quick - Amy was not the one who shaded that panel. But I did notice that out of every little inconsistent thing in LO, the shading is some of the most consistent, and it's consistently awful. Dull muddy tones, lack of consideration of space or lighting, clearly the multiply tool being used even when it really shouldn't be, placement of shading primarily under the eyes even when it makes the face look too dim to look good.

It's always being done with the same watercolor-like brush, with the same multiplied tones, and the same 'edges' along where the shading hits the light.

We also know that Rachel eyedrops her colors.

I don't think it's farfetched to believe that her assistants likely do too to a degree. Or they're working off color palettes from previous episodes they've done before which is resulting in this color dissonance where characters change colors, sometimes in between panels.

Considering the constant muddy shading, and the fact that the assistants may not be doing it, I believe it's Rachel doing the shading in the post-production. If you need more proof, here's a reel of her shading in Hades with the exact same techniques seen in finalized panels.

View this post on Instagram

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Otherwise, if it's not Rachel doing the shading, it could very likely be Dnaeri, as they're one of the longest-running assistants on the team (they came on during S1).

Moving on from that, let's circle back to AmyKim89's drawing of Persephone. She specifies she did the flats and lines for that panel, working off Rachel's sketches. But one noticeable thing is that there's no background.

This lead a bunch of us in ULO to speculate that Rachel is also the one throwing in the background and throwing PNG's of the characters on top.

Proof? How about the fact that there are panels out there with crunchy characters and pristine backgrounds?

I already suspected that the character was zoomed in and the background wasn't, but Amy's post confirms more than that - that the assistants are essentially drawing PNG's which don't get backgrounds until Rachel - or another one of her assistants - adds them.

Here's another panel that I strongly suspect was done by Amy judging by the colors (but the lineart feels like it could be Jaki):

Look at how she's floating in empty space. This wasn't drawn background first and Hestia second, this was drawn with Hestia first and they slapped a background behind her.

It would also explain why we get panels of characters missing their bottom halves or their limbs - because the backgrounds ended up being larger than they were anticipating in the final shot.

There are a whole bunch of things we can speculate on here knowing what we know from past essays and what I've laid out here.

Rachel may only be involved in the beginning and end of these episodes. She does the roughs, hands the sketches out to her assistants, which they flat and line, and she puts in the shading, dialogue/speech bubbles, texturing, and last details after they're all handed in. This would also explain why there are so many typos - lack of time to edit/proofread - and why sometimes there will be characters speaking but their mouths won't be open.

Rachel hands out the sketches to her assistants individually who flat and line it and hand them back. Sometimes they're handed individual panels, other times they're handed entire pages with a few panels on them. This would explain why we can go an entire scene with a character looking one way and then looking completely different by the next.

Think back to all those previous essays. Everything we've learned so far - that Rachel's buffer is miniscule, that she's shading with the multiply tool, that she's clearly only contributing the roughs and few panels that she makes from random drawings she did on a whim and waits until she can find a chance to shoehorn it into the comic.

Rachel started off drawing this comic just on her own. When she took on assistants, there were only two - AmbitiousIcarus and Madd_Joey.

But eventually, she took on more and more. Two became three, three became five, and nowadays, she maintains a consistent art team of 4-6 people per episode, not including herself or the rotating artists who come and go every now and then.

This has been happening steadily since the Episode 50's range of S1.

The summer when Lore Olympus' licensing rights for animation were sold to the Jim Henson Company.

I'm not gonna sit here and tell you that the assistants were the downfall of LO. I think they're all amazing artists, each in their own right - but their art is clearly failing to shine through in the wake of Rachel's poor management and organization. Rather than delegating single people to single roles - lines, flats, shading, texturing, etc. - she's handing things out panel by panel as she sketches them out... and considering how poor her time management is as we've all seen, it's not hard to come to the conclusion that these assistants are all being put in positions where they have to rush out lower quality work. Rachel is haphazardly dividing up the work between more people all the while contributing less and less on her own end in pre-production, post-production, and quality checking as time goes on. The final episodes weren't immediately noticeably bad as soon as she started taking on more assistants, but it's clear Rachel's involvement in the comic and its quality control has been declining rapidly since the Jim Henson purchase.

Again, this isn't to point fingers or assume the worst of anyone, but it really is food for thought. I hope that this was, at the very least, informative for those of us who've wondered over the years what Rachel's process is like. It definitely seems messy from what we can tell on the surface and frankly, if I could be in the same room as Rachel, I'd be using all this as an example of why she needs to manage her team and her time better. But that's not my place to do so. All I can do is speculate on it and spend way too much time writing an essay about it LMAO None of what I've written here is 'proof' of anything, as I'm not in the position to be able to do such a thing - that's reserved solely for Rachel and her assistants - but it's becoming plainly obvious what the workflow looks like and why the comic looks shittier and shittier every week.

All that said, I don't feel like her assistants get nearly enough credit for the work they do for Rachel. She can't even be bothered to remember the name of the guy who edited the books for her (it's Edwin, by the way) and you never see her bring up her assistants when she talks on interviews about how hard she works or how difficult it is to make a webcomic. At this point, Rachel may as well be the Queen of England - all the pomp and reward and credit, with nothing to show for leadership or actual work ethic.

It's not your work we're seeing each week - it's the work of people who are rushing to meet your deadlines, win your awards, and do your homework.

You are the sum of the parts you utilize in your workflow. You are not here purely of your own efforts. It can barely be called 'your work' at this point. Lore Olympus has become the Ship of Theseus - barely recognizable for what it once was after being haphazardly pieced together by the efforts of others.

And that's all I'm gonna say on that.