#disney NEEDS to invest in original ips

[kipkiphoorayy]

how it feels getting crumbs for the sequel of your all time favorite movie that child you used to pray for and came out when you were in elementary school (i’m a college animation major now)

[riotouseaterofflesh]

dunno who needs this but an important thing to remember whenever you're at risk of being emotionally invested in a story that's owned by (or has lots of rights licenced to) a corporation is that, given enough time, they will put out something that enshittifies the thing in a way that totally negates whatever it was you loved about the original and there will be no turning back

so you should always be prepared to set yourself a clear boundary for when you no longer give a shit about what the copyright holder puts out and no longer incorporate "official" works into your headcanon

the star wars movies are the most obvious example - especially, given exactly which star wars movie is your cutoff point will vary from person to person, for the point that you have to be the one to decide on this for yourself

(personally i just reject the "somehow palpatine returned" movie, but acknowledge that it's far more natural to reject the entire disney trilogy as the cutoff point where lucas was no longer involved or keep only the original trilogy as a properly self-contained unit)

(and let's not even start to talk about how Tolkien's IP has been licenced to our closest modern analogue to Sauron...)

with life is strange i'm far more on the "original trilogy only" end of the scale, and pretty much just consider LiS1 to be its own, fully self-contained story that has all sorts of fanfic growing out of it free to pick and choose from - and all other games under the "Life Is Strange™" brand, which consist of LiS2 which was connected to LiS1 only with a small self-contained easter egg section and then a bunch of games that had minimal if any input from any of the people (let alone the studio with creative control!) involved in LiS1, i treat on the same level as other fanfic

[alpaca-clouds]

The Stories We Are Missing

I hate Disney. I really do. I hate them, because they are shitty to a lot of workers. I hate them, because they consolidate so many IPs only to then make the most generic stuff with them. I hate them, because they don't invest in new ideas anymore. And I hate them for being such cowards.

However... I will give them credit for producing Iwájú and Kizazi Moto. Two afrofuturist series. Iwájú being one series that actually just tells one story - while Kizazi Moto is an anthology series like Love Death + Robots on Netflix. Well, that is all that it has in common with LD+R is that it is a scifi anthology series. It has less issues with the sexism and racism of LD+R.

And thinking about this has brought me to the one aspect of our lack on Solarpunk media, that I think gets ignored too much. Again, because white people. And this is... Well, the lack of well published afrofuturist and amazofuturist stories - or movies. And I would assume also the equivalent for other indigenous cultures. (I think the name right now is "Pacificafuturism" for the polynesians, I have no idea whether the indigenous people still living in Asia have something along the lines.)

The irony is that I actually think, well... Let's face it: There is a reason why Disney of all people is investing in some Afrofuturist projects. And that reason is that there is a big audience for this stuff. Disney probably just saw how Black Panther was printing money and was like: "I guess we'll make more of that!"

Now what does this have to do with Solarpunk?

Well, I will remind you: Solarpunk originated with Amazofuturism. And futuristic indigenous stories tend to have a lot of Solarpunk vibes at the very least. Not all of those stories will be Solarpunk, no, but even those that are not will offer us things to learn. Because I will say it once again: We really, really do have a big issue in a lot of SciFi/Fantasy that way too white and way too stuck in the storytelling conventions of western society.

And here is the thing: I doubt most people will be able to name a lot of afrofuturist media other than Black Panther, and maybe the series above. Or maybe you actually can think of some novels like the ones from N. K. Jemisin, Octavia E. Butler, or Nnedi Okorafor. But not much more.

Now, in terms of Afrofuturism there is a bit more - but the other things? Most Amazofuturism is only ever published in Portugese or maybe Spanish in some cases. And I am honestly not certain if there is even anything that is not self-published out there in terms of Pacificafuturism. (I mean, I know a few Maori movies that I guess you could consider, but...)

What I am trying to get at: I think we need more indigenous futurism/indigenous scifi. Not only so that we read more that breaks out of western storytelling conventions, I think we also just need other perspectives on the future. Because our western, white perspective is limited - and we got to imagine the future for way too long.

[galactic-pirates]

Animation > Live Action

So I finally finished watching Star Trek: Prodigy last weekend. Don't worry I binged it on Netflix the day it dropped (I just didn't watch it as it streamed). I wanted to savour it because it might be all we get and that is damn sad.

Anyway! As good as Star Trek: Prodigy was (seriously watch it, you won't regret it) this ramble is only tangentially related to it.

Right or wrong nostalgia is riding high in media right now. Some hits, some awful misses. We also need new stuff and shouldn't just recycle existing IPs but that's a whole other post. To keep it zoomed out, I think there is an element of human nature that likes more stories in worlds we already love. I've seen posts explaining why people love fanfic vs. reading new original novels for this reason. They already love the characters, they are invested. There is a warmth and certainty to it. When this is done in media it can go horribly wrong. If something is revisited and done badly there is like a taint... I'm getting off topic.

TLDR - we like more stories set in worlds we already love.

BUT (and it's a big but) live action has a lot of constraints.

People get older when their characters shouldn't e.g. Data is an android and doesn't age but of course Brent Spiner does and no amount of make-up can disguise it.

Hard to portray alien proportions. Like the Grand Inquisitor on Star Wars looked awful on the Obi-Wan show and I don't know how much this was Disney being cheap, but I don't like actors to suffer either. I mean just look at this here. To me there is no contest.

There are limits for safety/physics/reality reasons as to sets or action sequences. Animation obviously has it's own limitations like characters have default 'outfits' quite often, as rigging new clothing takes a long time (also budget plays a factor just as it does for live action). But still I would argue imagination is the primary limit of animation in terms of what can be done. Art is wonderful that way.

I'm sure there are many other points to but this post is long enough as it is.

Anyway it just struck me watching Star Trek: Prodigy that we had Janeway, and Chakotay, and the Doctor and there was zero issue with when in the timeline this was set post-Voyager because actor aging didn't matter. They could record their lines in a soundbooth wearing their comfiest clothes if they wanted. There's a longevity to that which live action can't realistically offer.

I don't know I just think there's a reason that looking at more recent franchise entries for both Star Wars and Trek, the best shows have both been animation (Prodigy and Rebels).

So yeah I would love to see more animation if we're riding the nostalgia train, and having more adventures with long-time faves.

[istotalavvpnanygood]

can you vpn disney plus japan

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VPN for Disney Plus in Japan

Title: Unlocking Disney Plus Magic in Japan: The Role of VPNs

In recent years, Disney Plus has emerged as a powerhouse in the streaming industry, offering a vast library of beloved movies and exclusive original content. However, for viewers in Japan, accessing the full range of Disney Plus offerings can be challenging due to regional restrictions. Fortunately, the solution lies in VPNs (Virtual Private Networks), which provide a gateway to unlock the magic of Disney Plus from anywhere in the world, including Japan.

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By connecting to a VPN server located in a country where Disney Plus is fully available, such as the United States, users in Japan can bypass the geographic restrictions and enjoy unrestricted access to their favorite Disney content. Whether it's classic animated films, Marvel superhero adventures, or Star Wars epics, the possibilities are endless with a VPN.

However, not all VPNs are created equal, and it's essential to choose a reliable and trustworthy service provider. Factors to consider include server coverage, connection speed, security features, and compatibility with streaming platforms like Disney Plus. Additionally, users should prioritize VPNs with dedicated servers optimized for streaming to ensure a seamless viewing experience without buffering or lag.

In conclusion, for Disney fans in Japan craving access to the full spectrum of Disney Plus content, investing in a high-quality VPN is the key to unlocking a world of entertainment. With the right VPN provider, the magic of Disney is just a click away, bringing joy and excitement to viewers of all ages, no matter where they are in the world.

Streaming Disney Plus with VPN in Japan

Streaming Disney Plus with a VPN in Japan opens up a world of possibilities for subscribers looking to access a wider range of content. Due to geo-restrictions, certain shows and movies available on Disney Plus may not be accessible in Japan. Using a VPN allows users to bypass these restrictions by masking their IP address and connecting to a server in a different location where the desired content is available.

To stream Disney Plus with a VPN in Japan, users first need to choose a reputable VPN service provider that offers servers in locations where Disney Plus is available. Once the VPN is installed and activated, users can select a server in a country where Disney Plus operates, such as the United States or the United Kingdom. This will give them access to the full library of content available on the platform in that region.

It's important to note that while using a VPN to access geo-blocked content is not illegal, it may go against Disney Plus's terms of service. Users should proceed with caution and be aware of the risks involved. Additionally, not all VPNs are created equal, so it's essential to choose a VPN provider that prioritizes user privacy and security.

In conclusion, streaming Disney Plus with a VPN in Japan can be a convenient way to enjoy a wider selection of content available on the platform. By following the necessary steps and precautions, users can enhance their streaming experience and access their favorite shows and movies from anywhere in the world.

Accessing Disney Plus Japan with VPN

Accessing Disney Plus Japan with VPN

Disney Plus has become a global entertainment powerhouse, offering a vast library of movies, TV shows, and original content. However, the content available on Disney Plus varies depending on your location, due to licensing agreements and regional restrictions. For those outside of Japan who want to access the unique offerings on Disney Plus Japan, using a VPN (Virtual Private Network) can be a solution.

A VPN works by routing your internet connection through a server in a different location, thus masking your actual location and allowing you to access content that may be restricted in your area. To access Disney Plus Japan with a VPN, follow these simple steps:

Choose a reliable VPN provider: Select a VPN service that offers servers in Japan and has a strong reputation for security and reliability.

Install the VPN software: Download and install the VPN application on your device(s). Most VPN providers offer apps for various platforms, including desktop computers, smartphones, and tablets.

Connect to a server in Japan: Open the VPN app and connect to a server located in Japan. This will assign you a Japanese IP address, making it appear as though you are accessing the internet from within Japan.

Log in to Disney Plus: Once connected to the Japanese server, navigate to the Disney Plus website or app and log in with your account credentials. You should now have access to the full catalog of content available on Disney Plus Japan.

It's important to note that while using a VPN to access geo-restricted content is technically possible, it may violate Disney Plus's terms of service. Additionally, the availability of specific titles may still be subject to licensing agreements, so not all content may be accessible even with a VPN.

In conclusion, using a VPN to access Disney Plus Japan can open up a world of entertainment options for viewers outside of Japan. However, users should proceed with caution and be aware of any potential legal or contractual implications.

VPN services for Disney Plus Japan

Title: Navigating Disney Plus Japan: The Need for VPN Services

In the digital age, streaming platforms like Disney Plus have become the go-to source for entertainment worldwide. However, accessing specific content can sometimes be a challenge due to regional restrictions. For Disney Plus Japan, this is no exception. With a plethora of exclusive shows, movies, and anime available only to Japanese viewers, international audiences often find themselves locked out.

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Bypassing geo-restrictions on Disney Plus in Japan

If you're a fan of Disney Plus and currently residing in Japan, you might encounter the frustration of not having access to the same content available in other regions due to geo-restrictions. However, there are ways to bypass these restrictions and unlock the full potential of Disney Plus in Japan.

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It's important to note that bypassing geo-restrictions on Disney Plus in Japan may violate the platform's terms of service, so proceed with caution. Additionally, the effectiveness of VPNs and Smart DNS services may vary, so it's recommended to choose a reliable and trusted service provider for seamless streaming experience.

In conclusion, with the right tools and knowledge, you can bypass geo-restrictions on Disney Plus in Japan and unlock a world of magical content at your fingertips.

[apocryphist]

So there's that post going around that asks, very simply, that producers and writers stop adapting shit they don't like.

And that's fair, and I would've wholeheartedly agreed with it at one point in my life, but it also makes absolutely no sense.

Film and TV is an industry where 80% of business decisions are made by people not invested in what they're selling (listen to Bob Chapek talk about disney animation, for example).

Now, knowing and caring makes those people a hell of a lot better at their jobs, but knowing and caring don't fit on a resume, and the people conducting the interviews just want to know if they can make them cash.

But also, "don't adapt work you don't like" doesn't allow for nuance in our opinions of the media we're adapting. Stories can -- hell, stories should be treated as more than a binary good or bad value.

For example: Harry Potter was the most important book series to me as a kid, by far, but plenty of things in it provoke genuine disgust from me now -- and plenty just never made much sense.

Like, even if JK Rowling didn't make TERFdom her new world, I'd still take issue with the antisemitic goblin bankers, mediocre characterization that lead the fandom to prefer side characters to the main trio, and...god, okay, I'm stopping there because I don't even want to list them all.

But you get the point. If we somehow wrested control of that IP away from JK, we'd all be making jokes about her in the writers room. Same goes for George Lucas and Star Wars.

Doesn't mean that the people in that room don't love the original (though often they don't, and just need a paycheck because writers gotta pay rent too!) but these things are not on/off hate-or-love-pick-one sorts of affairs.

And by all means, push for better shows, with writers who care about the characters and producers who will devote the necessary resources to getting the story told right.

But please, approach these concepts with a little nuance, so that decision makers won't just write fans off as a bunch of rubes with no idea how media actually gets made.

[disneytva]

The Walt Disney Company Doubles Down “Disney Anime” Division With Expanding KODANSHA Partnership And Unveils Early 2023 Anime Season Lineup.

The Walt Disney Company has announced an expansion of its 70-year collaboration with the Japanese publishing house, Kodansha, to license exclusive anime titles starting with “Tokyo Revengers: Christmas Showdown Arc”, which will launch exclusively on Disney+,Hulu & Star+ in January 2023.

Yoshinobu Noma, Kodansha representative director and president, said in a statement: “

The special relationship between Kodansha and Disney stretches back over 70 years, and has seen us bring to life many Disney licensed publications. With today’s announcement, we are thrilled to be able to further diversify and elevate the relationship between our two companies and share even more of our beloved anime titles with the world on Disney+ and its streaming platforms.”

Carol Choi, executive VP of original content strategy, The Walt Disney Company APAC, added:

“We are thrilled to deepen our strategic collaboration with our long standing partner Kodansha on such an exciting genre. Japanese anime fills the white space in our content development plans and we believe this expanded collaboration will be a game changer in Disney’s future animation strategy in Japan. We look forward to bringing the anime titles and prized IP by Kodansha to the world stage.”

The announcement was part of a larger APAC Content Showcase, being held at Singapore’s Marina Bay Sands convention center, where a number of new exclusive Disney+ Originals were revealed.

Luke Kang, president, The Walt Disney Company Asia Pacific said:

“Last October, at our first APAC Content Showcase, we made our first step into local content production with an ambitious, long-term plan to uncover the world’s best stories from this region, and to showcase creative excellence that can shine on the world stage.  This year, it was important for us to showcase the breadth of our global branded content from our award-winning studios and iconic franchises, as well as our APAC content slate for 2023.”

“We are focusing our content development on what we refer to as our content white space. Investing in areas that require more local specificity – either due to high popularity in select markets, like Japanese Anime, K-Dramas or Indonesia rom-coms and horror, or the need for local storytelling with talent that are familiar to our local audiences. We want to serve our viewers in every market with globally branded content like Disney, Marvel, Star Wars and Pixar, as well as locally produced stories that resonate with them – while also taking the best of those stories global.”

Additionally Disney Anime Unveiled It’s Early 2023- Anime Season Lineup.

SYNDUALITY

村井の恋 

東京リベンジャーズ　聖夜決戦編

PHOENIX: EDEN17 

[nancydrewwouldnever]

For me it's more an issue of choice paralysis. With all the different streaming sites now with original content, I simply have too much to choose from. I can't keep up! And therefore I end up making no choice, and keep up with nothing. I am occasionally still seeing things in theater, for the experience of it, for the social aspect of it. But I don't really feel the imperative to keep up, because this huge feeling of ennui has set in.//

One of the Hollywood trades had a rumor about Disney possibly buying Netflix. I don't know if Disney has the capital to do that, but unfortunately, what will happen will be a consolidation.

It wouldn't surprise me if Amazon or Apple bought Universal Studios or Sony. That way, you would have Paramount + now folded into Amazon or Apple.

It is sad to see this, and the government would pitch a fit, but with the way the industry is, if they don't consolidate, the studios won't survive.

RE: Universal & Sony - Amazon is aggressive, but they just purchased MGM not long ago, so don't know how they're levering their cash flow after that. It think Apple may be looking more at developing their own original IP at the current moment. As long as another shitshow doesn't go down like with the current issues with Discovery acquiring Time/Warner, then I suppose everything will be okay.

I just don't see how Disney has capitalization for things right now. The stock has TANKED. (I say this as an owner who cries when she opens her investment accounts.) They're in a big retrench right now with having to bring Iger back.

Netflix... they're going to have to dig their own way out of their hole. They need to buckle down on management and streamline.

[battlestar-royco]

I think the fanfic to published book phenomenon is the natural successor to the entertainment industry only investing in properties that will guarantee money vs. taking a chance on original content

Luckily it seems like fanfic -> published books aren't dominating publishing yet the way Hollywood is dominated by Disney IP. But it's definitely a sensational thing that publishers are wising up to and making major $$ off of, which means we're going to see more of it.

And I reiterate that it's cool to write fic, and it's possible for something that started off as fic to evolve into its own thing. And at this point plenty of published authors started off as fanfic writers and now write their own stories. But there definitely needs to be a line drawn somewhere because the ethics of rpf, not to mention the explicit use of real people's likenesses and fandom to sell an unaffiliated book, was already questionable before this. And fans of the 2000s already went through an entire saga battling authors' lawyers to establish firm boundaries between fanfic and published work so that fic writers could continue. So it would be a shame if we let those lines blur

[taki118]

Thoughts on the Chip n Dale movie

So i finally watched and I think i can best summarize my feelings up with “If this wasn’t by Disney I’d like it more.” cause like there is a lot of good commentary here on animation and hollywood but because it’s Disney those things feel kinda wrong. 

- The animation: Sooooo there is 2D animation in this for background characters but its not traditional, its likely flash but anytime these characters have to do anything of substance they are made into a cell shaded CGI. Why? cost saving most likely and because Disney doesnt really have a 2D department anymore. Yeah so like the CGI surgery joke is kinda funny until you remember that Disney basically forced their 2D movies in the 2010s to fail because they wanted to invest more heavily in CGI animation due to Dreamworks success in the medium. After the Princess and the Frog sold poorly in theaters compared to Tangled (mostly due to poor marketing and timing mind you) that gave Disney all they needed to drop the department, with all the projects and employees in it, which also kinda killed the medium in the country at least on a big projects. All the references to Roger Rabbit feel a little gross as that was a marvel of 2D animation and Disney themselves see no actual value in it so blatantly that their “2D” characters arent actually 2D. 

- Ugly Sonic: First off there is the implications the studio didn’t actually get permission since they have to thank their lawyers for him and don’t want to talk much about the acquisition. Which makes you question the other non-Disney cameos. But also you have to wonder if this were another studio would Disney so willingly allow a character like this be used in such a way? Like yes he’s a hero in a sense but does that out weigh how much they make fun of his design?

- The Rescue Rangers: Outside of the base premise the other characters are really just window dressing. While you can see the difference in Chip and Dales stage persona and actual personality the same can’t really be said of the other characters. The only one who feels different is Zipper mostly for a joke. I also just need to throw this out here Chip and Dale were staples of Disney before and after the series. In fact the original premise of Rescue Rangers was an entirely new cast Chip and Dale did not exist in the original pitch. Higher ups suggested using them for marketability. I dunno what my point is here but the Rescue Rangers are such an after thought of the film that they make a joke about Gadget as a person and character are basically the same thing.

- Bootlegging and Reboots: The movie constantly makes jokes about Reboots but never out right condones them cause lets be real out of all the companies utilizing nostalgia and re-using old IPs Disney is the worst. Instead they shift the focus to bootlegs as being worse. It’s depicted as disgusting, criminal practice that destroys the integrity of a work for a cheap buck. Yet you can say the same of reboots. Also its not surprising a company like Disney that clings to their IPs would approve of a script that makes bootlegging this horrible fate for characters. (even though Disney’s actual reuse of characters has done more damage to their IPs than any bootleg) Again were it another studio making fun of bootlegs it’d be funny but with Disney mmmmm yeah not so much.

- Sweet Pete: So this is the big one, I feel like everyone has heard of the Bobby Driscoll parallels to their take on Peter Pan but if not. The child actor for Peter Pan Bobby Driscoll was promised a long career with the company and signed a contract only for then to retract it when he hit puberty,  he then fell into a downward spiral and eventually died of a drug overdoes. So um yeahhhhhhhh. Either it was an accident and someone checking the script wasnt doing their job or they overlooked it. Or they knew but didn’t care. Either way not a good look, a really disgusting look honestly. According to an interview the intent for the villain was commentary on child stars and had considered using Charlie Brown. But um yeahhhhh thats not much better. Cause see there is NO sympathy for the character, no real introspection on the lives of child actors or the practice. And I can only assume thats cause Disney has a LONG and on going history of child actors. So much like the reboot statements you can’t really condone a practice you actively engage in. I mean with all we know about child actors this kind of character would be repulsive no matter what but when you know about the company it came from, and this bit of history its just so much worse. 

Overall any messages the film makes are undermined by the Disney company and their history. I think a lot of people have over looked these things because the film is a competent nostalgia grab, and its sad how low the bar is.

[andy-deer]

Copyright protect both big and small ip's from their job getting stolen, but it OBVIOUSLY benefits the biggest companies the most, and is usually behind a paywall.

In the eyes of the law art is just a product. Therefore names, logos or even certain siloutes are branded. As an ip you may want to stop your product to get bastardize by someone or get your image distorded by fans.

Any fanart, fanfict or fangame is suable to a extent usually related to its publicity and its monetization.

There are laws that also protect you as a consumers and fans, for example you can make a parody, review and monetize a issued newspaper on content, using characters and iconography (star wars specials in lot of shows) and do cameos or references. This is not punishable as the thing you a re monetizing isnt the "stolen" original content.

Patreon, OF, Etc work aorund this making the monetization being a donation or patronize to the artist and not the art itself, you are supporting the person, not the content. But they are still suable.

One important factor is the media it is in. Making a drawing of a drawing, an animation of an animation, and a game of a game is extremely problematic. Also being used in a bussiness if very illegal.

All this comes to the point that every fan-thing is suable to make it "protected" against unfair uses, but are the companies themself who decide if the sue or not artist, being Nintendo and Disney two of the most anoying party poopers, destroying modded roms or fangames.

Most the time they dont sue small artist becouse of the time cost they would have to invest in that would be huge so they just sue the bigger ones wich translates in trouble to the platforms themself. We almost lost memes on twitter and yt due to Article 13 not so long ago.

There are chill corps like Riot that even gives away free uncopirighted content for people to use on streams.

It is strictly regulated and judges will often fail against the companies protecting the citizen, happened a lot. F.ex: Capcon tried to copiright the fighting genre completely, court said "do you want to copiright breathing too?"

Anyting market related, like branding and copyright can be extremely unfair, but ultimately unnecesary.

Disney wont be happy if you sell a movie to Netflix called the avengers (R) done by some random dude and drawed by its little cousin, they will be rightfull to sue netflix, the publisher and the director.

There are also fine tunin on those laws, Disney cannot own Thor as a concept but can own the Thor that uses a specific style that shares a relation with a certain character in a certain way. And yes there are originality laws that can set the diference between stolen, inspired by, parody and plagiarism (last one is doing the same plot but channging the names and aspec a little).

Nintendo could Sue the BOTW demake wich was basically a Zelda game, but not Genshin Impact

Yet there is no way Disney can sue Sr.Pelo for mockey

Sorry for the long text, but i think its a complicated matter.

Laws can be unfair even in the fine tuning ones and therefore judges are needed to evaluate each case and bend this laws forth or back case by case based on theyr own education and morals.

Final thoughts

People have right not to get their job used to profit

People have right to use content for themself as fans

People should be able to monetize reinterpretations and fan crafted content

Two of those statements contradicts each other

OH NO

This planet is a fucking nightmare

[madboogiecreations]

Limetown Studios is now Mad Boogie Creations!

Limetown Studios was born in 2011, out of a need to create our own opportunities to make a living out of art. Both of us had tried working as illustrators at ad agencies, tattoo studios, game companies, design bureaus and production houses in Brazil, but it was a very narrow industry at the time, with very few chances to grow. So we quit our jobs, assembled our little home offices at our parent’s houses, and began searching for clients. We were very much jack-of-all-trades, generalists, offering a range of services from UI and graphic design to 3D environments, 2D animation, photo retouching and a lot of things that had little to do with what we really liked, but allowed us to pay the bills and save some money. By 2014 we were exhausted, mentally and physically spent, because we charged so little we had to take on too much work at the same time with no breaks, no weekends. For 4 years we took no vacations, worked an average of 12 hours a day. Anxiety, health issues and burnout were galloping.

So it was 2015 when we first decided to reinvent ourselves. We redesigned our brand and website, started using social media, focused on what we really liked to do: 2D whimsical characters and illustrations. We invested our time and savings in art, freelancing and business classes. We backed up a bit on client work so we could develop the habit of studying every single day. In one year we renewed our entire portfolio, and new, bigger clients started emailing us!! During this phase, that lasted until recently, we’ve had the opportunity to work for great brands such as Disney, Imaginism, Blizzard, FFG, Ghost Story, Dark Horse Comics, Marvel, Atomic Cartoons, etc. It’s been definitely the best years of our careers so far - also years that were very demanding and full of challenges and responsibilities we were happy to take on, but took their tolls as well.

After 8 years, we were taking on clients and projects we loved, becoming well known in the industry, giving lectures at universities, talks on conferences and podcasts and magazines. But both of us were missing something, and it took us a long while to understand what. We were losing the joy of drawing and painting for ourselves, that spark we felt that kept us motivated to learn, to try new things. Finally, last year we started to grasp that, as artists, we wanted to CREATE. To put ideas to paper and see them take off of it. We used to think that a solid style was the goal, the ultimate uniqueness that is the voice of each artist.. but then we figured - what’s the point of having a voice if you have nothing to say? So we began, just for fun, creating characters and stories. Trying new styles, experimenting new things. We created Jules and Lana and Caito and Melony. We wrote short stories and scripts and pitch bibles. We no longer fit within the limits of an “art outsourcing company”.

So, as of 2020, we’re leaving behind Limetown Studios, with a little sadness and a lot of pride, in order to become Mad Boogie Creations: an art house that provides visual content for companies all around the world, AND is also a creative lab for experimental and original ideas. ‪We won’t stop creating illustrations and characters and visdev for games, animations, books and all sorts of industries - rather, we’ll be splitting our commercial time between client work and original content, whatever that may be.. and we’re excited!!‬ We are already negotiating some IPs with some big players out there, which is insane and very inspiring for us. We hope that you guys enjoy this new phase as much as we do, and we can’t wait to show you what we’ve been cooking up so far and all the ideas yet to come! We thank you for standing by us through this whole journey and more, your support and kindness helped us get through the toughest times and we hope to be able to do the same for you all someday! Love, Amanda & Gus

[gummybuddha]

Shithammer

There is an article up on PC gamer by Fraser Brown that I felt the need to pick on. I'll just let you read the headline so you can guess where this opinion piece was heading.

Granted, when first I saw the headline, I thought someone was gonna bring Disney to task for pulling an Age of Sigmar. Yes, I am one of "those" people. You just don't flush 45 years of the expanded universe down the fucking drain. It's fucking mental. And if Games Workshop has one up on you in that department, it's time to fucking rethink your stance.

...right...moving on... No Mr. Brown and something more ludicrous in mind. 

Oh no, Mr. Brown is a fucking idiot.  I know that seems harsh. It’s not lost on me how hateful that sentence is, but I feel compelled to remind people that Games Workshop’s reverse decision to not safeguard it’s IP from mediocrity has resulted in the industry being flooded with especially shitty Warhammer 40k games.  I should know. I fucking bought and invested in this piece of trash. 

Eternal Crusade to this day fucking baffles me. It was a game that was supposed to build upon the 2011′s Space Marine; a game developed by Relic Entertainment. A game I consider to be the last truly acceptable Warhammer 40k game to this day. I fucking Preordered. I had my characters reserved, I was part of the forums, and I even managed to have a personal conversation with Miguel Caron, one of the original lead devs; who by the way, is such a positive person that I could not even be mad at him for having such a big heart for the project. To this day I want to believe he wanted to do good by the community.

But the tragedy of games like Eternal Crusade is they fall flat. Every Warhammer 40k game I have ever played fails to grab the epicness of Warhammer 40k’s universe. Even OG’s like Dawn of War and Space Marine feels like it just captures the memes of 40k but none of its depth; which I realize is a concept that flys right out the fucking window the second someone mentions how anything in the 40k universe is supposed to work to scale.  My point is, don’t fucking do this to Star Wars. Star Wars already has had a better run at it than Warhammer 40k, and I say that as someone who loves both series deeply. We already received Shadows of the Empire, Rogue Squadron, Jedi Acadamy, Star Wars Battlefront (EA reboots can suck me off), and the fucking Old Republic games.  We don’t need an open flood gate of quick to cash Star Wars games. I think Electronic Arts is doing a fine fucking job on that front.  I honestly can’t get into the headspace of Mr. Brown right now, but then again, we are talking about someone who in the exact same article lamented about the fact there are no Warhammer 40k dating sims.... 

[starberry-cupcake]

Let’s talk about Disney’s live action remakes.

The reason why I get so mad at people citing “copyright issues” as why these movies are made isn’t just that it’s absolutely nonsensical and untrue but, mainly, that this stance of “it’s just for copyright” erases the responsibility of people who go watch these things, one after the other, during opening week if possible.

Iger’s entire CEO run so far has been focused on acquiring IPs and extending them, whether it’s on movie franchises, series or in the parks. This can be seen in everything, from overlays in the parks to the merchandise like the whole line of exact same Minnie ears with different instagram-sounding colors (Rose Gold, Potion Purple, Briar Rose, Cherry Blossom...).  

In Disney Animation, the change was gradual. 

The first instance was making Lasseter head director of BOTH Pixar and Disney Animation, something that happened after Iger purchased Pixar as a response to the conflict Disney and Pixar had during the late Eisner era. This placement of Lasseter started a “pixarization” of DA, especially considering that Pixar was doing well with their movies while Disney Animation was going through a tough period. 

Pixar was born with the overall idea of being “anti-Disney”, a boys club group  that wanted to make movies like the ones they saw growing up, so no musicals, almost no female leads, and trying to subvert (and sometimes mock) the most famous Disney tropes. An obvious exception was Brave, because it was created, written and initially directed by Brenda Chapman, until they took her out of her own project and gave it to men. 

Not all Pixar movies are the same, I’m not coming for the entirety of Pixar, but the vast majority of the projects, especially the earliest ones, were drenched in this idea of not only being different from what Disney Animation was known for, but also having a lack of representation that has been criticized by people working there, including those who abandoned projects because of said issues, even before the Lasseter mess. 

So, Disney Animation movies, although with some good solid releases, started including mockery to its own legacy, in a way that sometimes seemed a bit excessive. You needed princesses saying “I’m not a princess” or “I’m not going to sing” or “you can’t fall in love with the first guy you meet” even though then they do exactly that but with a different guy...you get my point.

This was also the beginning of considering theatrically released sequels, something Pixar was never shy to do (Toy Story 2 came out in the 90s even) but Disney Animation had never really done that, aside from isolated cases like The Rescuers Down Under (sequels tended to be for tv or home video release). It had been a preferred method, since Walt’s time, to keep moving forward and keep pushing the envelope instead of settling with their theatrically released feature length films, in comparison to shorts, cartoons or series meant for tv.

The idea for theatrically released sequels, though, was something other studios did indiscriminately, and whether the movies resulting on that were good, bad or terrible, the truth was that they made money.

As the measure for success in US cinema started to be circumscribed to how many millions a movie could make in the domestic box office during its first week, the profit started to be more focused on things that were immediately recognizable rather than new and original.

Going to see a movie you have no idea about isn’t as comfortable an investment as going to see something you recognize and know for sure you’re at least interested in. So, basically, movies like Ice Age 3 and Minions were making more money in the first week than movies like Big Hero 6 or Moana.

And, with that, let me bring back the subject of audiences’ responsibility.

A good portion of the internet at large, even more so tumblr, demands constantly for animation and specifically Disney to hold more representation in their movies. Then, when push comes to shove, they don’t support those films as much as they claim they would.

There is a double edge discourse with them, because when a movie with some form of representation happens, they’re held to a higher standard and when something doesn’t feel good enough, internet culture “cancels” it without giving them a chance. But when the movies don’t even try, there’s nothing much to dissect, so they get a pass (something that happens with all of media and not just movies).

So, when you look at US box office numbers, movies like Toy Story 3, Frozen and Incredibles (1 or 2) against Moana, Big Hero 6 and Coco (it’s important to note that these last 3 did better internationally than in the US but who cares about us, right?), the numbers aren’t supporting the demand, and most of those movies with representation had controversies regarding that BEFORE they were released, which affected the initial box office performance (sometimes warranted controversies, like the whole Día de los Muertos copyright issue, and sometimes completely unwarranted, like that “it was a rip off of The Book Of Life” which Disney had “previously rejected”, false accusations that were perpetually denied by the directors of both films, who were always in contact with each other and supported each other’s movies, but which caused massive online campaigns to boycott Coco before it was released). 

So, with all this in mind, what better way to gain easy and safe box office numbers with not much conceptual work and get people in theaters in the first week? Bringing back already established successes.  

Enter the live action remakes.

We could also dissect how Marvel and Star Wars play the same exact role but taking different approaches and having had different methods of establishing themselves with audiences, but that’s another couple of cans of worms I’m not willing to open here.

The live action remakes are, in essence, the easiest of the bunch to create. Differently from the animated sequels, the Marvel films and the Star Wars films, they don’t require new ideas for the core plot of the story. They change a few things here and there, some take more liberties, some less, but overall they can’t really change the story all that much without turning them unrecognizable.

Still, all of these remakes have specific pointers that assure good marketing for the first week of release: the use of a highly popular Disney film, the casting of very well-known actors whose ability to fulfill the actual needs of the role isn’t as important as how big their names are, initial teaser trailers that make it seem exactly like the original or, at least, use the same songs or similar shots, the use of increasingly newer movies as a base, employing very iconic and famous directors or songwriters...you get the point.

And, you know what? they pay off.

Live action Beauty & the Beast, despite receiving mixed reviews from fans, became in just one week and a half “the biggest live-action musical ever in domestic and worldwide grosses, not accounting for inflation”. People complained about it, yes, but that was after paying money to see it as soon as possible. 

So basically, what I’m saying is, don’t act surprised about this. Don’t blame copyright and Disney and CEOs being cheap greedy bastards if you’re gonna go pay for these films opening day, however the cost. Because we’re all responsible for that as well, we all choose what to put our money on and which things to support. 

The next time you talk about copyright, make sure you don’t already have your ticket for opening week, that’s all I’m saying. If you want them to stop happening, stop going to see them. 

[thekrawra]

the marvel vs sony deal

so tradegy struck when it was announced it looks like spiderman will be leaving the mcu as sony and marvel have not succeeded in remaking a deal.

big disclaimer here: i’m in school studying film production and generally studying to be a producer myself and have some rudimentary knowledge or business, corporations, film financing and stock markets and IP and all the stuff that’s going into this. i’m no genius and this is just where my minds at as a loyal mcu and spiderman fan and how i see this issue shaping out after readying like every article i can find. another note is that there is tons of conflicting information about what deals were proposed and who said no to who. so it’s hard to get a read on it and put someone at fault without that. but yeah, this is just my thoughts on the situation based on what i think makes the most sense but like honestly who knows when company executives are involved.

—

there’s been a lot of talk over who should be blamed for it and really: neither side can be defended right now.

on the one hand there’s marvel/disney: who came in asking for a huge increase on their portions of the profits from these movies. we don’t know the full details of the deal they proposed but most of what i read seems to suggest marvel wanted to up their current percent of profits (it’s 5 or 10%? i’ve seen conflicting reports) to 50%. i’ve also ready though that with this in mind, marvel’s deal included marvel sharing production costs with song rather than sony paying the full bill, and also opening doorways to tie sony’s spinoff works — their spiderverse — into the mcu. is 50% a lot? yes. but in marvel’s défense they do bring a lot to the table. so we’ll get back to that.

on sony’s end: yes disney asked for a lot. but reports also say sony didn’t offer a counter offer, and that a 70/30 deal in sony’s favour had been offered was also turned down. at this point, we don’t have any confirmation on what’s true and what isn’t — but we do know that sony wanted to keep the deal the same, and really wasn’t convinced that they needed marvel to continue making billion dollar spiderman movies (which we will also get to). and ultimately, i do think disney should be getting at least a bit more of the profits: as long as they are willing to take on production costs as well that is.

so who’s wrong? who’s to blame? and who stands to lose the most if they can’t work out a deal?

first thing to clarify: disney/marvel is 100% being greedy. they don’t need a larger financial stake in these films and the deal would’ve work fine. they just believe sony stands to lose way more if disney backs out of a deal. disney never would’ve pushed for more money otherwise. they see the position sony is in and are trying to take advantage.

disney is no saint in this deal. and it’s no surprise that like all big corporations, disney is basically trying to intidmidate sony into giving them more money.

so is disney right? does sony stand to lose if they don’t make a deal.

i mean, kind of.

disney will be fine, there’s no doubt about that. yes they will most likely be throwing more work at kevin feige to retcon every spiderman story thread he had planned out, but the mcu is big enough it probably won’t take a huge hit, especially now that they’ve acquired xmen and f4.

so sony will definitely lose out on more, but is it enough to make a deal with disney worth it?

maybe.

the issue sony’s facing is they are facing a massive risk. they either sacrifice profit to keep spiderman in the mcu, something that has been going very well for them or they go at it alone, which their track record suggests isn’t a great plan.

yes, they’ve gotten a taste of how feige works and have had modern success with their spideyverse films. and there’s no doubt into the spiderverse was a success critically - but didn’t do as well financially, more of an underrated beauty than a huge hit. sure it once the oscar, but it made less money in the box office than ralph breaks the internet or incredibles 2 its biggest competitors. and venom was a success, but not on the same scale marvel movies tend to be - black panther and infinity war both made more money that year, and all three of marvel’s releases this year have made more.

and there’s no doubt spiderman made as much as it did because of endgame. ffh is a good movie but it’s box office dollar benefited from when it was released. i’m almost certain that had it not been the release right after endgame it wouldn’t have made a billion. marvel placed it right after their biggest movie ever, and ffh got to ride out the endgame hype. people wanted to know what happened next, so they went to see ffh.

taking that into account: sony can’t reach the success of the mcu without it. the numbers and track record don’t match. but can sony settle for a bit less money if they get to keep more of the profit. perhaps.

but here’s where we get into the thing that will be sony’s downfall: longevity.

it’s something the mcu offers to sony that i just don’t think sony can achieve on their own. the mcu has ten years under their belt and is clearly showing no signs of slowing down. by pairing with the mcu, that’s another 10 years of spiderman movies and spinoff that get that mcu treatment: the hype, the connections and from that, more money. even if they don’t connect their spinoffs to the mcu, people will still watch sony more closely. be more interested. because of ties to the mcu. not only are spiderman fans going to see spiderman movies, but mcu fans are too. and while often one in the same there’s a huge boost in profits by being tied to the mcu.

sony could maybe make a couple blockbusters and make some money over the next couple years but i just don’t see a way for them to successfully compete against the mcu, and the mcu is a much better friend for them than it is an enemy.

so now sony’s choice is make less movies with more profit, or make more movies with less profit of the overall profit. and originally they seemed to feel the former was true. they’ll work with disney if the deal stays the same but they felt like they could walk away and be fine.

so disney makes a play: leave negotiations. tell sony to have it their way and let the fans do the work for them. let sony sit on it and get a taste of what the backlash of pulling spidey from the biggest film franchise pretty much ever would do.

and it’s started. people are angry at sony, not disney. people want spidey in the mcu. sony’s stocks drop. all the response has been negative. no one likes this news and it’s only going to hurt sony.

i’m sure disney is trying to wear sony down. make it so sony is desperate to salvage the situation and then disney can get some more money.

so sony can stand down and accept a deal disney has proposed, or at least make a strong counteroffer. or they can ride it out and take a major risk at likely ruining their most profitable franchise.

neither company has played all their cards and right now, i feel like calling of negotiations is really just a strategy to make the other sweat for a while.

and also there’s a huge factor of publicity. this falling out has been the talk all over the place, it’s huge news. it seems like a bad time and negative publicity but people are panicking and reading and watching and trying to stay updated. people are tuned in.

and in result they are tuned into the mcu. and they are tuned into sony, for better or for worse.

people who are mad at sony know all the sony movies being released in the next while and have shared it. mcu fans are desperately looking for announcements of what comes next after this fallout.

now think of what happens if they announce a deal for spiderman again. it’s the hype from 2015 all over. and people care, people are invested, people are happy again. presumably stocks go back up (it’s hard for a read because i’m basing this all of my rudimentary knowledge of these subjects, but they could even jump higher—you really don’t know with stocks though) and both companies are talked about and got a bunch a free advertising basically.

so i think talks definitely aren’t over: because both companies are overall better if a deal is worked out. my best guess is what this is right now, is them just seeing what sides fans take and how much they can make the other guy sweat. this is a case of who cracks first.

all mcu fans can do is hope someone does.

[81scorp]

My top 12 movies of 2021

Hey folks! It`s that time again! That day you`ve all been waiting for. That day of the year when I talk about movies I`ve seen and rank them according to my own personal taste and bias!

In more safer times this would have been a list of the movies I`ve seen in the cinema. But since there are still (more than) a few uncertainties left in the world and I prefer to play it safe there was no going to the cinema for me this year either. So this is more of a "movies made in 2021* that I saw on DVD this year" list. *OK, two of the movies on this list were technically not made in 2021, but they didn`t come to my country until 2021, so they still count.

I have talked about two the movies on this list before, so I decided to just recycle what I already wrote back then and only change a few words as my feelings and thoughts on those two movies are still pretty much the same now as they were back then.

And now... here are the movies.

12: Venom: Let there be Carnage I have to admit that it was entertaining but I hesitate to call it good. Woody Harrelson makes a good Cletus Casady and the buddy comedy between Eddie and the symbiote is fun and most likely what people will remeber most from this movie. Script could have used some work though.

11: Cruella I have to admit that I enjoyed this movie more than I thought I would, mostly because of Emma Stone who really carries it. It falls a little short when it comes to the script though. It feels like the Disney executives were standing over the writers to make sure that the plot went in a certain direction, whether that direction made sense or not. A few adjustments to the script and this could have been a really good rehash of a classic IP.

10: The Matrix Resurrections What can I say about this movie that isn`t already saying about itself? The plot of this movie mirrors the the things that happened in real life that lead to it being created. Just as Neo is dragged back into the world of the Matrix, Lana Wachowski was dragged back into making it. It`s an unnecessary sequel but I`d be lying if I said I didn`t enjoy watching it.

9: My little Pony: A new generation The comedy is fun but at some parts it feels like the humor is at the expense of moments that could have been more sincere and allow us to get more emotionally invested. The musical numbers are fine but feel a little limited to the bubblegum pop genre. But then again, I guess that is to be expected from a movie based on a toy and made mostly to advertise said toy. And at least it has a good message about unity, prejudice and fighting misinformation.

8: First Cow (2019) Oregon 1820, Otis "Cookie" Figowitz (John Magaro), a meek cook traveling with a bunch of trappers one day comes across King-Lu (Orion Lee), a Chinese immigrant on the run for killing a Russian man. He helps him and later runs into him again and learns that he is thinking about starting a farm. Cookie himself have plans of starting a restaurant. They try to earn money by selling bread but to make the bread taste well Cookie needs milk and the only cow in the area is owned by the Chief Factor (played by Toby Jones) and he doesn`t like sharing. This movie is very minimalistic and low-key, it only has music when it absolutely has to and has many static shots and long takes. In some places it almost lost my interest because not much was happening onscreen, but the keyword here is "almost". I was still interested because I wanted to see what would happen next and the acting was good. Not the kind of movie I usually watch but I`m glad I saw it. It`s the kind of movie that you would expect to see at a filmfestival.

7: Raya and the last dragon A common criticism against this movie is that it isn`t very original. Neither is Star Wars: A new hope (Which was based on Akira Kurosawa`s the hidden castle.) or Toy Story. (Which borrows a lot from Jim Henson`s The Christmas Toy.) So, saying that this movie is not original is really the weakest form of criticism you can come up with. Another criticism against this movie is that it sends the message that you should constantly forgive the person who repeatedly stabs you in the back. I don`t think that was intentional but yeah, It`s there. This movie is trying to frame the narrative as if Namaari and Raya have wronged each other equally when really Namaari is the bigger bad guy here. That aside, I like that they tried to give Namaari  a little depth. Raya is fine, Sisu is OK, Tong, Boun and Noi are also fun but are not as well developed as the previously mentioned characters. It would have been nice if it had been a little longer,  just a few minutes for more character development, and if Namaari had a little moment of selfreflection.  

6: Black Widow Takes place after Captain America: Civil war. We learn more about Natasha Romanoff and her past as it comes back to haunt her in this movie where Black Widow finally gets to play the lead role. It`s as good as Marvel movies usually are. Would have preferred if this had come out before Avengers Endgame though.

5: No time to die First time I`ve seen a Daniel Craig Bond movie and the first time I`ve seen a Bond movie in the cinema. In a way this reminds me of On her Majesty`s secret service because like that movie, this one adds something to the Bond formula, a few things that I didn`t expect that shakes things up a bit. A little different from the typical Bond movie but as good as a Bond movie should be.

4: Dune In the future there is a natural resource called Melange (also known as "Spice"), it extends life, expands consciousness and allows the "folding of space", something that makes interstellar travel much easier. The spice only exists on the planet Arrakis, also known as Dune. This of course makes Arrakis a planet of interest to people of great wealth who seek control and power. It`s like a shakespearian plot with power struggles and backstabbing, in space. Visually captivating and impressive and with so many things going on, it was probably a good idea to divide it into two movies.

3: Luca Luca, a young fish-like human boy who turns into a human when he`s been out of the water for a while, meets an overly confident fish-like human who encourages him to go out of his comfort zone. Soon Luca wants to see more of the surface world. It`s kinda like The little mermaid, but without the romance. A charming, low-stakes story that`s not the next Ratatuille, Inside out, or Soul but doesn`t need to be and isn`t trying to be. It has charm and heart and feels like something the director really wanted to do. And Pixar movies don`t get more italian than this.

2: Encanto In a family where every child born into it has superpowers Mirabel is the only child without one. And if things weren`t hard enough, the magic that made these powers possible and it`s up to Mirabel to save it. It is about the importance of communication and understanding others. Besides that it`s fun, has catchy songs, great animation, gave me some feels and John Leguizamo`s Bruno is a precious cinnamon bun.

And now... Drumroll please. My number one pick for 2021 iiis...

1: The Father (2020) As usual, feels are my kryptonite and once again the number one spot goes to the movie that hit me in them the hardest. A nice change of tradition though is that this year the movie is not animated. Anthony Hopkins plays a man with dementia who refuses help from his daughter. Movies about dementia has been done before, but this is (at least to my knowledge) the first time that it is from the P.O.V of the person suffering from it. Just as Anthony is confused and disoriented, we are are confused with him. It`s a story about a subject we`ve seen before but told from a new angle and Anthony Hopkins`s performance really carries this movie. Not just the big emotional moments, but the small, quirky ones as well. It`s a story about what it`s like to lose all your leaves.

Movies I wanted to see but sadly never got the chance to: House of Gucci and the suicide squad. I`d like to hope that 2023 will be a better year but it feels like everytime I try to express that kind of optimism it just comes back to bite me. So this year I think I`ll settle for hoping that 2023 won`t be worse. That comment will probably come back to bite me as well. Maybe I`ll try living on the edge in 2023 and see at least 3 movies on the big screen. ------------------------ Written stuff: 46

Started writing this Nov 24, 2022

And as usual: English is not my first language, so if my writing doesn`t seem to flow naturally, you know why.