#centaurworld season 1

[pyro-kiinesis]

(august 13 and 21 2021) some old centaurworld season one doodles :3c

[ignocubo]

i'm rewatching centaurworld and this thought came to me like a brick.

johnny teatime and the nowhere king have a closer connection than what may initially be assumed.

all of the shaman know about the nowhere king, of course. but johnny is the first one to explicitly mention him to horse (unless it was waterbaby, correct me if i'm wrong).

look at johnny's power– how it has the exact same coloring as the nwk's energy, and completely encompases him as well.

sure, the nwk brought 'cat-tastrophe' upon cataur valley. but who's to say that was the end all of cataur valley's involvement in the first war? how do we know that johnny t didn't make a deal with nwk after the wreckage, so that his community would be safe(r)?

in most movies, weird things happen in valleys. evil things. and the cataurs' are the closest thing to a gated community we've seen in the show next to the horsetaurs (aka centaurs™).

what if the cataurs are so closed off from the rest of the world bc of their closer ties to the nwk– specifically through johnny?

[fragilethingz]

some Wammawink faces from What You Need

[joeeatsdvds]

i love it when character use another character's theme within a song it's just absolute perfection to me

[lizard-dumbass]

They had no right to make the Nowhere King that fucking scary

[threewaysdivided]

Ask box is open

Having a brain-day and could use a distraction so feel free to ask me things (about fic, characters, writing, whatever) or share some thoughts of your own.

A request If you want to ask about YJ stuff I would ask that you follow one rule in return:

Don't make me tap the sign.

[nautilus-null]

Haha is it weird that I envy that purple haired girl

I wish to be cradled in giant golden stag horns

*Looks around*

Just me? Okay then-

[theogclownboy]

age regression request list

these are the things I take requests for if you wanna know my head cannons or art (i may add more later) Also if anyone is up for art trades im completely open for it. Also rp stuff with my OCS is okay with me but keep things sfw.

my OCs

OCs with other characters

Dan vs

Hazbin hotel

Helluva boss

MLP

Tadc

Welcome home

Scott Pilgrim (show, game, comic, and movie)

Good omens

Sander sides

Dhmis

Sally face

Bluey

Wander over yonder

Camp camp

Cuphead (game and show)

Brandon Rogers characters

Markiplier characters

Jacksepticeye characters

Centaurworld

Paswg

Adventure time

Beetlejuice (cartoon or musical, not movie)

Y/n stuff

Nimona (book and movie)

Animaniacs

Animal crossing

Heathers (musical or movie)

Stuffed animals

Green eggs and ham

Care bears

Sam and Max

Night in the woods

SpongeBob (I will do human designs)

Wild kratts

An extremely goofy movie

Inside out 2

Pokemon

Emojis/ reaction stuff (idk what it's called)

Fairly oddparents

Winnie the Pooh

Total drama Island (only season 1 cast)

Deadpool and wolverine

Chikn nuggit

[comicaurora]

YOU WATCHED CENTAURWORLD?!

YOU USED IT AS AN EXAMPLE IN THE TROPE TALK!!!!

It is my favorite and I require to know your thoughts on it.

It's. Hm

So I think it absolutely accomplished what it set out to do, which means it is a successful work of art. But I think what it was aiming for didn't work for me?

In its efforts to play with centaurworld's ridiculousness versus the gritty nightmare of the "real world", it tonally undercuts almost all of its profound moments and then tries to get profound character moments out of squeeky-toy inflatable cartoon characters. Of the main cast, Horse and Wammawink are basically the only ones who get sufficient development to feel like real characters capable of carrying impactful moments, and the rest of the crew are basically walking punchlines - even speedrunning their respective Tragic Backstories doesn't do much to strengthen them, because in the present of the show they're fundamentally joke characters incapable of emotional subtlety. It kinda feels like if a Looney Tunes episode randomly dropped a flashback to baby Daffy Duck being moses'd into the bullrushes as if that mattered to how he functioned now. Plus, once we start jumping back to the Real World again, it turns out all those characters are also wacky in their own way - lots of very quippy dialogue and self-referential humor. Instead of Horse feeling broadly representative of her world's tone, she feels like the most serious character in the entire show - at least until season 2 where her dialogue starts being 50% fart jokes by volume.

Overall I think I loved what they set up in season 1, but not how they paid it off in season 2. There's the themes they establish in season 1 of how centaurworld has a cartoonifying effect on everyone who comes there, and the way this plays to Horse early on is full on cartoon body horror - a realistic horse slowly and inexorably transforming into a parody of itself. I thought that was a fascinating way to frame it, and it was nightmarish to contemplate! It comes to a really strong head in the Whaletaur Shaman episode when her friends seem to finally realize how much she's been struggling and suffering and how, despite it looking like a big joke to everyone, it's profoundly unfunny to her. But while she gets a nice emotional resolution at the end of that episode, the underlying horror is never addressed again. She still seems unhappy with her new cartoon body, but the transformations are from this point forward framed as uncomplicated positives that everybody thinks are funny.

It's purposefully blending comedy and horror together, but the execution feels like the disparate ingredients are hindering each other's effectiveness. The horror stuff rarely gets sufficient gravity and is just left as Hey Look Horrifying Implications, and the jokes are often undermined by all the seriousness left lying around. It's a flavor combination that doesn't work for me.

And then the stuff with the Deertaur and the Princess is incredibly interesting and profound and tragic, and I don't understand why it's happening in the same show as everything else?

Also, this is a minor nitpick, but the musical numbers were astounding in the first season but seemed to experience some sort of weird categorical downgrade in season 2. All the solid numbers were reprises from season 1.

Centaurworld was doing something very much on purpose, and I just don't think I got what that something was.

[who-do-i-know-this-man]

trick or treat!! 🎃

Your blorbo is one of my favorites, and if my memory is serving me might be one of the few I submitted myself to season 1, Elktaur (Centaurworld)

[kore-cryptid]

okay i need to know cause its been Years now and i havent gotten over this stupid fucking show i need to know what you think of Centaurworld i Beg

please reblog for a bigger sample size AND elaborate in the tags if you want i Need to know what ppl think

[spacetimeaccordionfolder]

So I was thinking last night about the shamans in Centaurworld and the Last shaman and the whole "fade in blissful peace" thing and my brain went "even the fear is gentle" which is a line from the magnus archives 160 called "The Last" and then my brain was automatically composing an animatic for "Fragile Things (Reprise)" with tma and ahhhh

"all the broken/ can find hope in/ the most unexpected places./ Love still finds/ family finds us/ even if we can't make out their faces"

now I'm thinking about the og archive crew and Sasha and Tim and Jon and Martin. and OW.

OH NO "Who is she? (Reprise)" Martin "And now the one i've held so dear my mind's erasing" with all the things of the lonely oh boy (and also "what if I forget your face" Martin in season 4)

look do all the lines fit? no. But 1 am me was thinking about it and it keeps popping in my head today so now you get to hear about it.

[franki-lew-yo]

An 'A-ha!' fandom moment, ft. The Owl House

These comments I screencapped from a user I watch elsewhere really hit like a brick in the face to me. I'm blotting out OP's name, mostly cuz this was just a shower thought they had rather than any meaningful open discussion with people, but it ended up making me realize something (also NO they're not some contrarian AntiSJW type or even hate TOH; they're a very gay+trans writer themselves. Sorry if youknowwhoyouare sees this and recognizes ur posts but you don't allow reblogs or comments and I wanted to present it on my own):

The Owl House was always hampered by being killed halfway through, writing wise and that will always be it's greatest 'sin'. However, OP's comment made me realize how much the show kind of tells you it's characters are flawed rather than actually give them arcs to suggest it, especially in season 1. When I say flawed I don't mean lacking quirks that are relatable but human: Eda is a recluse criminal; King thought he could kill people and acted like it; Luz is a genki girl; Amity starts off as a bully; Hunter...is unfortunately Hunter, ect. Those ARE flaws, character wise, but in the presence of the complete story (as complete as the show will ever be) they really aren't actually flawed, bad people in anyway.

Before I go further, two things: 1, IN ALL FAIRNESS, this is why myself and others particularly LOVE the characters and why TOH was a comfort show for me rather than a 'high-tension narrative'. The characters are a lot of what you want and hope to be like and I think that's really sweet and enjoyable, especially for horror and especially for kids.

2, NO! I DON'T think any particular bad faith cartoon reviewer opinions about coddling certain characters and punishing others IS WHAT DANA and co did at all here! Steven Universe and certain crap-reviewer's takes ON Steven Universe and how it's characters were flawed but overly forgiven by the fandom the show itself are NOT the b-all end-all of this discussion, nor are they the reason The Owl House is the way it is!

The context op was talking about was how in the upcoming hate crime The Last Airbender live-action show the showrunners are going to tone down Sokka's sexism because they think it's 'unlikable'. Even though, we all knew as children that this was an arc for him and it was WRONG, so axing it because we the audience lack nuance to recognize characters we love doing problamtic-sisms is BEYOND annoying.

Op's point is how The Owl House in particular doesn't actually expect much or want much out of it's characters. Or audience. For any infighting early on about how much Amity should 'die' because of reasons, that's really just fandom infighting when you get right down to it. There's nothing on par with the disagreement people have over, say, the Diamonds from Steven Universe and how Steven 'totally forgave them or 'should have murdered them in cold blood' about The Owl House. And like...from a fandom point of view that's good, but otherwise the show is pretty concrete the way you're supposed to see certain characters vs other shows which allow you to make up your own mind.

Avatar, Star vs the Forces of Evil (pre finale), Centaurworld and Amphibia all showcase your protagonists being genuinely, intensely flawed. Sure, maybe some neckbreather crap-pseudocritic complains that they 'made the unlikable' or whatever (i.e. me with Friendship is Magic) but overall the actual point is HOW the characters actually have grown and have ended up with the ending and morality they need. The villains, no not Zukos or 'redeemed' villains who joined the protagonist squad, VILLAIN-villains, will always be at least one serious step behind the protagonists and that's what give the protagonists the cautionary wherewithal to end them like they should and not 'be like them'. It's such a fufilling narrative, there's a reason people like it so much because it's really good when it's delivered well.

Removed from my fandom gaze; the Owl House feels like it's saying it has that ultimate messaging and character arc when it actually doesn't. Your protagonists have the endearing aspirational-part totally covered, but as far as the actual 'edge' and nuance? Well...

Eda is, at most, naughty. She really isn't any kind of morally sidetracked character. She's an outlaw because literally her society is awful to her and she's in the right to be against it. She's cursed but she's not addicted to her potions or hiding it or not really taking care of herself or her loved ones because of it. Her actual biggest flaw is that she's been 'running away' from problems rather than dealing with them, but I'd be lying if that wasn't suggested more than it's actually portrayed; or at least, dealt with fast enough in "Eda's Requiem". A bigger issue I see, even if it's what's also endearing about her, is that she REALLY isn't a flawed caregiver at all. It's portrayed as her most redeeming feature that she's otherwise a good mom and mentor, but Eda having virtually no problems in raising Luz and King just, again, makes her feel ONLY aspirational. All of the angst about 'failing' to parent and making up for it is moved all onto Camilla and sadly all of that angst for her is mostly within an already bloated episode. Eda, while an absolute mood, lacks any real kind of edge. Does she need it or not? I don't know. Discuss, kids.

Luz, like OP says, is treated like this high-energy super-optimist. She's like Star Butterfly in that her fangirlism and impulsivness are supposed to get her in trouble. But, she absolutely just isn't one when you break it down. Besides episode 2, Luz really is never that inconsiderate or lost in her fantasies ever again throughout the show. She never has anything like what Steven goes through where he hops into Larz' body and makes things worse for people by trying to fix things- which is not only good filler but it calls forward to the ultimate ending of Steven's arc for the series - Luz is just sort of adorable. Luz has blindsided by hype moments of weakness, like when she accidentally hurts Owlbert or messes with Amity's secret room, but still always level headed and down-to-earth. Her impulses are always kind of treated like...excusable? Because, again, they usually are. This is a large part about what makes her self-hatred at the end of the show about accidentally helping Belos' feel 'forced'. Even MOREso than what Hunter and Daddy Titan explain about Belos using her, we the audience never see Luz's choice to go back in time and try and get answers from Philip as being anything other than just, you know, logical. Because it is. The show acts like what Luz did was reckless and bad and that she was SOOO overtaken by her fangirlism about Philip and now just how much she has to live with the guilt and regret of helping being duped by him...it just doesn't come off that way at all. She was only so much excited about meeting him and her interest was getting home to her mother. In terms of comparing her to Philip, that's all fine and good, but again it's not 'flawed'. Not really, anyway.

Lilith absolutely has it the worst...but I kinda think people know that. She arguably does have the most morally-gray turning point in the show given what she did to her own sister. But neither the characters nor her nor the show really hold her accountable in any lasting way for cursing Eda. Lilith is the closest we get to that 'Diamond'-dilemma. She does 'make things right way too quickly and it's obvious to even her biggest fans that her character is really rushed in this area. They lampshade what Lilith did and that she was their villain in season 2 and 2B, but lampshading isn't the same thing as progress. As a result, as a Lilith fan you kind of never really forgive her for what she did. None of that's her fault, cause' you know...she doesn't exist, but it makes it frustrating that you the fan watching the show is doing the heavy-lifting in your mind in this area.What you come away from is this feeling of loving the characters for being able to work everything out. They're engaging and nuanced in theory, but you also feel robbed, w or w/o the Disney interference, of them being fully rounded or WHOLE. It kinda feels like 'and suddenly, he wasn't racist, anymore' all the time with every character ever with except Amity's mom, the Titan Trappers and Belos.

The reason everyone dunks on Star vs the Forces of Evil's finale, (besides being salty over ship wars and declaring THAT'S the reason for the drop in quality) is that 'Cleaved' could have not only worked but REALLY worked. It just needed to be better written and processed as an ending. Instead people reviled Star, the protagonist we're supposed to be rooting for, for what feels like impulsive apathy and cruelty towards everyone else by destroying magic, as opposed to it being an actually selfless sacrifice that makes her different than Toffee. Ultimatley, I do prefer The Owl House, unfinished as it is, to any of that. But yeah... I can now never unsee the characters as being what they are: fun but indulgent when they're supposedly complex. Indulgent is never bad u guys, but the problem is when you only have that to go on while insisting you have fully developed characters, there's a lot of the show telling you how to feel and how to come away from it rather than letting you, the audience, make of that yourself. As annoying as fan-wars can be over this stuff and when people are either WAAAY to forgiving of their villain blorbo or form hate-campaigns over Glub Shitto for ruining their life, it is ultimately a good thing that shows give you that chance to really see the characters that way at all.

The Owl House is, as OP calls it, "tumblr feels" not for being gay and magical and fun and wholesome and indulgent like that stuff is GREAT. It feels 'tumblr oriented' in that it all kind of feels too easy even when it's not for your protagonists. It's never actually "challenging". I guess, in as far as 'good' indulgence is concerned, it's as warm and fuzzy and a happy AU fanfic you found but not so much the Pacifist Ending of Undertale where you really do feel bad if you rectify the good ending in anyway. It's fun and it's comfort food, but not entirely lasting as you want it to be???

Amphibia, I think, was also way better than Owl House in this respect. It wasn't perfect cause nothing is but you really got a feeling for HOW flawed Marcy, Sasha, the townsfolk and even Hop Pop throughout their arcs-- which made it so SO rewarding to see them get their happy endings and come together to defeat the core and be the better people they needed to become.

The Owl House is my favorite where I think Amphibia is the better of the two.

[fragilethingz]

[weaselbeaselpants]

Arbitrary 50 'villainy-villain antagonists who have a point'

Lily, if you know what's good for you you don't reply to this at all just like you shouldn't have the first time.

Lady Eboshi. (Princess Mononoke, aka Lorch's favorite kid's movie)

Nearly all of the Rogue's gallery at some point. (Batman TAS)

Sweeney Todd.

Mrs. Lovett. (Sweeney Todd)

Erik. (Phantom of the Opera)

The Wretch, aka Frankenstein's monster.

The Witch. (Into the Woods)

Judge Holden. (The Blood Meridian)

Hama. (The Last Airbender)

Mewtwo.

Yzma. (The Emperor's New Groove)

Judas and the priests. (Jesus Christ Superstar)

Onceler. (Lorax 1972)

Patrick Bateman. (American Psycho)

Hannibal Lector.

AM. (I Have no Mouth and I must Scream)

Professor Nemur and Strauss. (Flowers for Algernon)

The Grinch (2000 How the Grinch stole Christmas)

Tywin Lannister.

Tyrion Lannister.

Sher Khan. (Jungle Book 2016)

Jaimie Lannister.

Cersei Lannister.

The Narrator/Tyler Durden. (Fight Club)

Flowey. (Undertale, Pacifist Route)

Sans. (Undertale, No Mercy Route)

The Wizard (Oz books and the Wicked musical)

Abigail Prenderghast. (ParaNorman)

Mickey and Mallory. (Natural Born Killers)

Olivia Foxworth. (Dollangager series)

Joseph Sugarman. (Bojack Horseman)

Beatrice Horseman. (Bojack Horseman)

Bojack Horseman.

Alex DeLarge. (A Clockwork Orange)

Chiaroscuro. (The Tale of Despereaux)

Col Kurtz. (Apocalypse Now)

Verosika Mayday. (Helluva Boss)

Rattlesnake Jake. (Rango)

The Grand Council Woman. (Lilo and Stitch)

Gantu. (Lilo and Stitch)

Amos Slade. (The Fox and the Hound).

Toffee. (Star vs the Forces of Evil)

Mina Loveberry. (Star vs the Forces of Evil)

Colonel Shikishima. (Akira)

Beetlejuice. (og movie, tv show AND musical)

The Mysterious Woman. (Centaurworld season 1)

Oh Dae-su. (Oldboy)

Ramses. (The Prince of Egypt)

Esmerelda. (Edward Scissorhands)

JD. (Heathers, movie and musical)

For your sake, Lily, I made some rules; the characters I chose can't simply be sympathetic with an excuse for what they do ala Nowhere King/General/Elktaur and they also can't be only a manipulative bastard who literally doesn't care about anything but their own glory like Emperor Belos/Philip. No Jack Skellingtons or Syndromes either. I tried my very hardest to follow your "has to be good"-rule, which in my hands is "can't be written in a way to which the writer is either forgiving the character's shortcomings OR villainizing a specific mindset."

A villain with a genuine point to make can be a really compelling, tragic, WONDERFUL character as that's almost always some kind of person with a level of self-awareness, pain and even good in their heart still who has fallen HARD. A villain with a point can also be an absolutely horrifying obstacle for your heroes, because just like in real life, awful people will use your own faults and the preexisting misery of the world to justify their own actions.

Thanks for the fun writing prompt, Lillian.

[roskii]

I finished season 1 of dungeon meshi

And I finished all of centaurworld.

And I need to get back into disco elysium..totk..AND start on my zelda comic- omg..