#el tigre critical

[technicallydelightfulpenguin]

What Bleedman (Fuckman) and CreathingShitmera have in common, if you ask me? It's just that both have distorted versions of fictional characters, their writing is shit, hypocritical, insensitive towards serious issues and wasted art style. CreathingShitmera surpassed Fuckman in tutorial on how to do humanshit, because both him and Fuckman are shota loli characters supporters and pedophiles, they also support disgusting and imoral things.

Sorry not sorry.

[daystarvoyage]

Sigh😆 #tohcritic

Better shows on Hispanic representation period

Hope we can discuss thanks.

[technicallydelightfulpenguin]

Proshitters being proshitters, how original.

explaining to twitter users that lili being a sex worker doesnt mean she's cheating on her wife

[chaifootsteps]

I think someone mentioned it, but Viv makes is so obvious she wants everyone to like her stuff. I remember the other day people were talking about her El Tigre phase, and it made me think of something. Could it be she was so well adored during that stuff, or maybe in a later art phase that she hardly had any people dislike her stuff? I feel like maybe she was too adored and didn't have much critics during her younger years which is why she is the way she is.

I think that's a very significant piece of the puzzle, yes.

[gabrielutau]

【UTAU Cover Release】Avenir【ft Mathieu Beaufort】

Canción programada para salir en YouTube este próximo 3 de Marzo.

Video subido ya en el Grupo de Telegram

UST→ Luk

Song/曲→ Avenir by Voxmakers

Music & Lyrics→ Voxmakers and Tai Shindehai

Cover → Mathieu Beaufort

VB Download→ https://www.mediafire.com/file/ja4da2w5jp2yjhf/Mathieu_Beaufort_-_French_France_-_VCCV_X-SAMPA_%25E3%2580%2590Aqua_Append%25E3%2580%2591.zip/file

Nombre

Mathieu Beaufort

Descripción Física

Mathieu Beaufort es un imponente furry tiburón tigre sin rayas, con una constitución física robusta y musculosa que refleja su dedicación al fisicoculturismo. Aunque no tiene pelo, su piel está adornada con intrincados tatuajes que serpentean por sus brazos y torso. Estos tatuajes se convierten en sus armas cuando utiliza sus habilidades, transformándose en elegantes látigos que demuestran su destreza y control sobre los elementos líquidos. A pesar de su peso, Mathieu irradia elegancia y gracia en cada movimiento, demostrando que la fuerza y la sofisticación pueden ir de la mano.

Personalidad

Mathieu es introvertido y reflexivo, pero su presencia es tranquilizadora y reconfortante para quienes lo rodean. Aunque puede ser reservado, su bondad y compasión son evidentes en cada interacción. En situaciones de conflicto, demuestra una confianza inquebrantable y una determinación feroz, mostrando su capacidad para ser tanto un protector como un líder. Su habilidad para combinar su fuerza física con una elegancia incomparable lo convierte en un ser único y respetado.

Habilidades Especiales

Como maestro en el arte de aquakinesis, criokinesis y hemokinesis, Mathieu tiene el poder de manipular todo tipo de líquidos, cambiar entre diferentes estados de la materia y comunicarse con criaturas marinas. Sus tatuajes se transforman en látigos poderosos cuando utiliza sus habilidades, permitiéndole controlar y dirigir los elementos líquidos con precisión y destreza. Su fuerza física combinada con su habilidad para controlar los elementos lo convierten en un adversario formidable y en un aliado invaluable en cualquier situación.

Historial y Trasfondo

Mathieu nació en una comunidad de Furrys dedicada al fisicoculturismo, donde desde joven demostró un talento excepcional para el control de los elementos líquidos. Después de años de entrenamiento y perfeccionamiento, se estableció en Japón, donde continuó desarrollando sus habilidades y encontró un nuevo propósito. Su historia está marcada por relaciones complejas y desafíos personales, pero su determinación y su capacidad para superar las adversidades lo han convertido en un verdadero líder entre los suyos.

Relaciones

Mathieu se lleva bien con la mayoría, mostrando comprensión y empatía hacia quienes lo rodean. Su relación con Valentim Ribeiro es compleja pero llena de respeto mutuo, mientras que su amistad con Tiberio Benevento representa su búsqueda de equilibrio y redención. Aunque puede ser severo cuando es necesario, su presencia reconfortante y su habilidad para inspirar confianza lo convierten en un valioso compañero de equipo y amigo.

------------------ D I S C L A I M E R S ------------------

I do NOT own this animation or any of the music inside this video. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

[fanfic-inator795]

A Non-Comprehensive List of all my Favorite Cartoons (and some anime) in no particular order

No real reason for this. I was just in an organizing mood, and was also curious to see if my fave animated shows - the ones that I truly have a personal connection to and/or admire in a really specific way - had anything in common. Sooo, without further ado:

Wander Over Yonder

Kid Cosmic

El Tigre: The Adventures of Manny Rivera

Justice League/Justice League Unlimited

Craig of the Creek

Big City Greens

Puella Magi Madoka Magica (including Rebellion)

Rise of the TMNT (excluding the movie - which I don’t *hate* persay, I just hate what it did to the fandom :/)

Ed Edd n’ Eddy

The Critic

Yu-Gi-Oh

Bob’s Burgers

We Bare Bears (despite how much a good chunk of the baby bear episodes frustrate/bore me...)

Death Parade

Lucky Star

K-On

Samurai Jack (excluding the 5th season. Just read the IDW comics instead y’all)

Penn Zero: Part Time Hero

Recess

The Weekenders

The Batman (2004)

Rascal Does Not Dream of Bunny-Senpai

Total Drama/Ridonculous Race

Moon Girl and Devil Dinosaur

Keep Your Hands Off Eizouken

I guess the main things I look for are strong characters that I can get attached to, found family, good jokes/really fun comedy, slice-of-life, wholesome moments and (on occasion) superheroes.

[kbeanz19]

I was a teen-young adult when OUAT was out and thought the original narrative was that we should not view Rumple as a coward for hobbling himself. He became a coward when he chose his power over Bae. I even had an easier time accepting his decision because a cartoon I watched as a child had a similar story:

Nickelodeon’s El Tigre has an episode where Manny the protagonist learns that his super hero father once ran away from a fight. Manny feels betrayed by this and calls his dad a coward to his face. He then goes to face the monster his father walked away from. In the process he learned every person who has tried to fight the monster was killed, and that his father abandoned the fight so he could be there for his family. The narrative shows this was the right decision.

I could go on a whole rant about how the writers dropped the ball with Rumple’s character. From the regression, the repeated plot points, making Rumbelle so toxic at a point where a hardcore shipper like me did not enjoy them together for a time. I could pop off…and I will!

Essentially, the writers realized Rumple did not act in an antagonistic roll at all in season 3 and needed to make him the bad guy again. Especially since they were redeeming Hook and Regina. They could have made his relapse more interesting if they delved more into his grief from Bae dying and the trauma of being imprisoned by Zelena for a year. But, nah, he’s just a power hungry Dark One and wants Storybrooke to crumble even if that means letting people who Bae cared about die. Belle learns the truth and casts him out. He returns, is badass but also woobie and then is placed in the magic coma in the S4 finale. Then he has all that develop with pulling the sword from the stone and learning to be a hero in season 5…all for it to come crashing down and him choosing to become the Dark One again just cause he loves power. This leads to Rumbelle’s most toxic phase to the point where I as a shipper was questioning if there reunion felt warranted. I was still happy with the “Up” episode in S7 but it felt like getting a little cookie after being fed literal garbage.

TLDR: Rumple deserved better writing and character development than what he got.

The mental gymnastics the writers must be doing to convince themselves that injuring yourself in war for your son is an act of cowardice is wild!

Like, they will do literally anything to try and convince the audience it was a bad decision, even going as far as to contradict themselves in season 5 and say Rumple did it because he was scared he was going to die, not because of his son. But, like, he's still in the right even if Meliah wasn't pregnant because we literally see no survivors at the end of the battle.

And at the end of the day, if he had died, Bae would probably have been abandoned by his mother anyway or killed by a snake bite and have no parent figure to love him.

(Oops, this kinda became a part 3 of the writers hating Rumple 😅)

[audiofictionuk]

New Fiction Podcasts - 16th September

The American New Audio Book! An American expatriate in France finds himself caught between competing criminals, U.S. intelligence services, and a Corsican who just wants to find his girl. A work of serial audio fiction. https://redcircle.com/shows/the-american https://feeds.redcircle.com/0722012f-62a8-4b12-9625-be030f32aabf

Aggie McPherson Mysteries New Audio Book! In the city of Slaterquay there's an office with the words Aggie McPherson, Spectral Analyst on the pebbled glass of its door. Behind it is a detective agency that handles the most interesting cases in the Paris of the Pacific Northwest. https://redcircle.com/shows/aggie-mcpherson-mysteries https://feeds.redcircle.com/7b1cdee1-d49a-481f-b57d-352c7898feab

Ne fais pas 100 ! New Audio RPG! Des gens bourrés, des chats à sauver, une statuette à trouver et une tour des rêves à explorer,... Ne fais pas 100 ! est une petite campagne de jeu de rôles qui se déroule dans le monde d'Aria de Fibre Tigre. Avec Shadow dans le rôle de Bass, DjCactus dans le rôle de Stanislas et Rckep dans le rôle d'Alekseï. Une aventure écrite et masteurisée par Anna-June Barker. Aria, un jeu de rôle écrit par FibreTigre et publié chez Elder-Craft : http://elder-craft.com/collections/aria https://shows.acast.com/nfp100 https://feeds.acast.com/public/shows/nfp100

Wild Hearth Gaming New Audio RPG! Welcome to Wild Hearth Gaming, home to a group of friends who love to sit down, and play Dungeons and Dragons in our homebrew world of Kraywen, a world of the macabre. There is a bit of Arthurian medieval fantasy meets elements of horror, with just a splash of steampunk. Travel along with us as we explore this dark and mysterious world. Here you can find our first season, Hunt for the Tempest Stone, and any other tidbits we decide to add along the way. So grab some dice and ale, and let the adventure begin!

https://shows.acast.com/wild-hearth-gaming https://feeds.acast.com/public/shows/wild-hearth-gaming

Everything Matters New Audio Drama! "It's all real, Everything Matters, and it Never Ends." Everything Matters is a Comedy Horror Podcast published every Tuesday. The show is focused on storytelling and features paranormal, surreal, absurd, and post-apocalyptic elements. This critically-acclaimed 7x Humanbody Award-winning collection of stories and coverage of contemporary issues affecting Tri Town and beyond is one of this planet's most popular programs. Hosted by Michael Taur and Dale Dallas, the show features intimate conversations, refreshing takes on the issues of the day, and real-life survival advice. For Legal Reasons, we're required to inform you that Everything Matters may or may not be considered (but is) entirely or not entirely satirical. Any resemblance to persons living or otherwise is probably something you need to unpack in private because, like most things, it's not actually happening. http://everythingmatterspod.com https://feeds.buzzsprout.com/2090055.rss

SIGNIS New Audio Drama! A 3 part radio drama. Signis has been alone, adrift on a spaceship for most of her life. Her lonely being is interrupted when she begins receiving broadcasts from Earth, a planet assumed by many to be long dead. Juno believes that he is the last person alive on Earth. Determined to preserve the story of his home planet, he sends his memoirs into space, in the hopes that someone will hear them. https://podcasters.spotify.com/pod/show/signis https://anchor.fm/s/e7fd34b8/podcast/rss

El legado de Odette New Audio Drama! ¿Qué pasaría si una persona recibe de forma inesperada una herencia de 150.000€ de una desconocida? Precisamente es lo que les ocurre a los protagonistas de este viaje entre dos épocas: el París de los años 60, destino de miles de españoles emigrantes, y la España de hoy.  El legado de Odette es una emocionante microficción sonora producida por Podium Podcast para el Banco Sabadell que invita a reflexionar sobre la curiosa relación que tenemos con el dinero, cómo influye en el día a día y de qué forma condiciona nuestra proyección de futuro. https://www.podiumpodcast.com/podcasts/el-legado-de-odette-podium-os/ https://www.omnycontent.com/d/playlist/2446592a-b80e-4d28-a4fd-ae4c0140ac11/0a23cdaa-c7f6-49d2-b327-b070009c01d0/8382d877-9f02-48be-8452-b070009cbd3b/podcast.rss

WaveStock audiofiction New Audio Drama! Sceneggiati e Audiofilm avvincenti e coinvolgenti più di uno spettacolo cinematografico https://www.spreaker.com/show/wavestock-audiofiction https://www.spreaker.com/show/5773433/episodes/feed

A Haunting in Stratton New Audio Book! Follow Ryan Green as he buys his dream home which happen to sit in the town of Startton. An old gothic revival Victorian house that sits up on a hill over looking the town. Empty for the last thirteen years just begging for someone to come along. What could go wrong? https://www.spreaker.com/show/a-haunting-in-stratton https://www.spreaker.com/show/5949053/episodes/feed

The Armitage Account New Audio Drama! The Armitage Account is a narrative audio drama inspired by the works of H.P. Lovecraft and is set in the fictitious city of Arkham, Massachusetts. Isaac Andrews, plagued with guilt over the events of the last year, begins to search for a connection to his supposed great-grandfather, and the long-deceased head librarian of Miskatonic University, Henry Armitage. https://shows.acast.com/64efa45107548400112682c8 https://feeds.acast.com/public/shows/64efa45107548400112682c8

[phoenixlionme]

Jorgeverse

The “Jorgverse” tag you’ll be seeing in any of my past and future posts are the works done by famous animator and writer Jorge Gutierrez. The reason for the title refers to how all the work he’s been in charge of, from his own admittance, are part of the same universe. They are so far: El Tigre, The Book of Life, Maya and the Three, and Carmen Gets Expelled (a show he pitched to Disney but didn’t get picked up because of racist executives and FUCK Disney; I hope he decides to go back to it and find a network that’ll let him do his craft).

[coolchevistianofficialsite]

Normalmente, me vale madre cuando dicen que odian Primos, sé que la mayoría que se quejan ni siquiera la verán cuando se estrene y van a chillar cuando sea renovada para una segunda temporada, pero realmente desear que se vuelva lost media solo por un Intro de 46 segundos se me hace una falta de respeto a todo el equipo que fue puesto en el mismo saco de boxeo por las declaraciones de una actriz de voz.

Bueno since nobody asked, i will contradict this statement as person with more knowledge on the industry specially since i've been covering Disney TVA for 8 years also im Mexican who has stayed more neutral on the whole controversy additionaly anything involving Harvey Beaks/Big City Greens alumni projects interest me and have done research in every BCG Alumni project at Disney.

Before starting, i recommend these videos who gave a more neutral look to the series.

I want people to understand that a show from concept to greenlight to release takes alot of time, the following arguments are from multiple interviews with Natasha Kline and the Primos team from 2021-2023.

1- Primos originated from 2017 and was pitched and rejected by Disney the same year, it wasn't till 2019 when the project went back to Disney TVA development and was greenlight on November - December 2020. This is common on the industry for example Pedro Eboli (Keep that person in mind) started on Disney TVA development on 2020 and left on 2021 due COVID-19 cuts at Disney, Eboli returned to Disney TVA Development Summer 2023.

2- From multiple interviews, animation festivals and podcasts where Kline was invited, the series is meant to represent the chicano culture on Los Angeles, fellow workers like Sage Cotugno (Owl House), Megan Nicole Dong (Centaurworld) have stated this as they grew up on those small towns on L.A where families from Mexican-American inmigrants are very frequent. The show is meant to represent the cultural clash between how a American-Mexican who mostly grew up within the American culture meeting their Mexican roots within their extended family from Mexico. (You can see the "Hollywood" sign on the intro)

TLRD: That 100% Molly McGee but as a show for chicanos

3- The crew from Primos spans from The Owl House and Amphibia and both Matt Braly and Dana Terrace have shown support to Kline for the project. The show has a heavy Mexican-American crew, unlike people say, other people who have showed and giving their blessing to Primos are crew members and lead creatives are from the same shows/films with latino characters that animation twt are using it to trash Primos. (Spiderman In To Spiderverse, Onyx Equinox,Maya and The Tree, Casagrandes, Victor And Valentino, Hamster & Gretel, The Proud Family Louder And Prouder, El Tigre: The Adventures of Manny Rivera etc..)

Pero no le digas a nadie

4.- Is wild to judge a show only on a leaked pilot from 2019 who will get changed in the final product and a Theme Song who probably will be changed based on the delays than a entire 30 episode season who hasn't even aired yet, specially since staff members from other Disney TVA shows have said that the show is good. I know Kline since the early Big City Greens days and she isn't this super evil creator like Butch Hartman or Chris Savino.

5- When the main target demographic that you’re trying to appeal to is rightfully calling out your show for being tone deaf and racist. Primos criticism from latinos are mostly jokes and memes for shitpost usar eso como "fair criticism" es una mamada y lo sabes, the majority of the videos on Youtube from latinos are either rage bait channels or people who wanted to jump in the trend of the moment, the majority moved to either trash The Little Mermaid (2023) or that McDonalds Japan AD "Este comercial hizo a los PROGRES enojar" o "La Sirenita PROGE de Disney esta fracasando"

MUCHO OJO la respuesta de Velasco y Terremoto Heights si tienen mi apoyo de ser criticados.

6- Mexicans and Latinos have told me trought social media that they never planned to watch the show anyways, they where jumping the badwagon of the moment and never cared for Disney TVA shows overall

7- Then it’s time to just scrap everything and go back to the drawing board.

Funny beacuse there's a looming Animation Strike this summer for unfair conditions, crunch and abuse from CEOs and studios so saying this....... is a choice....... also they are doing it, the infamous character "Cookita" got renamed to "Lucita", it's obvious that the Theme Song is getting changed and probably Terremoto Heights is getting changed.

Unrelated to OP but famous Mexican Actress from the Era de Oro del Cine Mexicano Angélica María aka "La Novia de Mexico" is voicing Tater's Grandma "Buela" and Xolo Maridueña from Blue Beetle and Moon Girl fame will be a guest star so Mexican and Mexican-American celebrities are ok with the show overall

8- Disney despite it's hypocrisy and being a bad company overall is the only studio accepting original animation ideas from latinos or with latino mcs, we have SuperStar which it's cast call reveals that the main character Alejandra Fuentes is latina, Neon Galaxy supposedly stars a latine trans princess, Pedro Eboli will become the first Brazilian in having a Disney show, The Proud Family spin-off focusing on LaCienega and The Boulevardez and Jose Zelaya having a preschool show with a Salvador mc.

TLRD: No estoy diciendo que de a huevo te tenga que gustar el show pero desear que se vuelva lost media por una controversia causada por una sola actriz de voz es de perdedores...

I normally hate it when a show ends up becoming lost media, but in all honesty, Disney should have just quietly shelved Primos after the controversy.

When the main target demographic that you’re trying to appeal to is rightfully calling out your show for being tone deaf and racist. Then it’s time to just scrap everything and go back to the drawing board.

Pushing the release date to 2024 and then attempting to stealth drop the show is um, certainly a choice.

[jigokuhana]

huh. i just realized similarities between eiichiro oda (one piece) & jorge r. gutierrez (el tigre, the book of life, maya & the 3) in terms of their art styles & how they deal w/ male vs female character designs.

both have more detailed/cartoony styles.

the male characters (of every age, moral alignment, and relevance) get the majority of diverse body types & unique facial features.

and the female characters more or less stick to the hourglass body figure & conventionally attractive faces, with mostly the villains, elderly, or very young getting any kind of diversity.

and in all the years they’ve worked in their respective careers, nothing ever really changes in that regard. idk if gutierrez gets as much criticism for his female designs as oda does, but i know he’s probably at least gotten some.

i know this is a problem with most media & not just these two artists specifically, but i just found the similarities between these two in particular rather interesting.

BUT im not trying to say they’re openly/willingly misogynistic or anything!! im really not. (theres issues in their writing/viewpoints regarding certain subjects, obviously, but thats another discussion) i love both of their work, and they’re within their right to draw women however they want, regardless of any criticism they get. but…the fact remains that they can draw more diverse women.

im more or less just kinda sad for them. that they seem to be mentally stuck on drawing the plot important females as these bombastic hourglass figure beauties (which is probably their own personal taste, which is fair.) when they could get so much wider an audience than just the male demographic (some of which will never be able to respect women of different body types unless their views are constantly challenged).

i just hope they eventually break past that mindset since, at the end of the day, it only holds their artistic potential & storytelling back. it’s not about telling them to stop drawing women this way, but more about asking them why they draw women this way.

[aims-at-skies]

HELLA LONG VILLANOS RANT PRO/CON

Anyone else tired of checking the villanos/villainous tag on here only to be met with unpopular opinions of it? Everyone has a right to their own opinion and on some things I agree. But HS, the criticisms boil down to a couple of things.

1. It wasn't what some people were expecting. Or rather it wasn't what they wanted it to be and are giving Alan and crew flack about it. (Its basically the WandaVision theorists upset that their predictions weren't canon)

2. Nitpicky stuff they dont like, like comparing characters' color tones from them and now, background shades, the insta story lines, parodying tik tok egirls, etc.

3. The misunderstanding of just how hard this project was hit to begin with, from it being made for CNLA (not even an American property, the fact that it got to be included in V&V and the CN Nexus special is huge for what they're working with), to not comprehending how economic situations are just flat out different in Mexico than in the U.S. and literally any job there is bound have something like that (even trying to explain they know better. They don't) not to mention the pandemic threw it all off schedule. The fact its still being worked on is a miracle at this point.

4. Ultimately it is a probs that they're just impatient at this point and just want to harshly criticize to distance themselves as publicly as they can and not set themselves up for disappointment.

This is not a hate post, in fact I'm just as impatient and agree on some points (particularly the length of time it takes and how the original crew was let go.) Theres a lot more stuff going on behind the scenes

But the two absolutely, most annoying things are the constant comparisons it gets to Vivziepop's works like they're a cut better in general or as proof that a series has to be like hers. To which can be easily argued that Helluva Boss is the equivalent of the Orientation videos. In which they're not the big BIG project, but a side thing meant to introduce the world at large for Villanos and Hazbin. I've seen people say that Villainous hasn't had any original footage which is total bs, because compiling all the shorts, pilot, crossovers, promotional material, secretive material, and the orientarion videos themselves clearly knock that point down.

And secondly that these criticisms have been used to turn speculations on the behind the scenes going ons into flat out lies, as if having parts of the story or even an idea of it and making it seem like the worst alternative is the only conclusion. There was an initial account, Nightfur I believe, that did the same thing except made themselves only making positive spins on the going ons which I admit is hella weird, but Petite is essentially doing the same thing on the opposite spectrum of it and honestly equally self righteous.

I'm not saying they don't have a right to their opinions, and to a certain extent, the fact that Petite's opinions are currently the what pops up most on the Villanos tag really speaks on the lack of Villainous content so on the time management she has point. I am just saying that she doesn't have to ruin it for everyone else with (my opinion) weak hot-take criticisms.

Honestly this rant comes from a place where I do enjoy what the series has so far. Not just in the personalities of the characters, but the comedy, the fact that its a Mexican made series (which one of this size has not existed on CN, idk what others they claim exist: El Tigre and Mucha Lucha were American Studio made), the little puzzles that can be deciphered in Spanish which I like that they were that way in the beginning but can accept its going to inevitably include English too. I like this phase of pre-series decoding and deciphering, and not having to full picture yet because I want to enjoy and learn about the lore in this story bit by bit. And many do to. Others don't like it thats fine and have every right to dislike the series and make their own conclusions on what happens behind the scenes.

The rest of us are just gonna keep vibin with clues, updates, and the existing content until the show drops. I have high hopes for it. I mean OTGW took a longer time to make and become what it ultimately ended up being and don't even get me started on the Gravity Falls and Steven Universe Hiatus'.

Other than that yea. This has been held in for a while but eh just had to vent and let it out. Feels better. Have a good one.

[shinylitwick94]

Finished reading “O Mistério da Estrada de Sintra”, by Eça de Queirós and Ramalho Ortigão.

This is one of those that has been sitting on the shelf for some ten years now, and I’m happy that I finally made room for it.

It’s fun and cheesy, and notable mostly for:

a) the fact that it was written by two of Portugal’s most well known 19th century authors working together;

b) being Portugal’s first important crime-mystery novel;

and c) the manner in which it was published.

The book consists of a series of anonymous letters by the various characters, written to the editor of a major newspaper, and describing the events of this crime that supposedly took place.

At the time it was actually published in that form, so readers would have been following along in the newspaper week by week as the story unfolded. And, since all characters are all anonymized, the idea is of course that this could very well be a real story taking place in their city right now. It’s that War of the Worlds vibe. This is probably my favorite aspect of the book.

Now the authors themselves years later thought this book rather silly, but nonetheless thought it important to have it published and wrote in the preface of a later edition the following (english google translation below)

O que pensamos hoje do romance que escrevemos há catorze anos?... Pensamos simplesmente –   louvores a Deus! –   que ele é execrável; e nenhum de nós, quer como romancista, quer como critico, deseja, nem ao seu pior inimigo, um livro igual. Porque nele há um pouco de tudo quanto um romancista lhe não deveria pôr e quase tudo quanto um crítico lhe deveria tirar

Poupemo-lo – para o não agravar fazendo-o em três volumes – à enumeração de todas as suas deformidades? Corramos um véu discreto sobre os seus mascarados de diversas alturas, sobre os seus médicos misteriosos, sobre os seus louros capitães ingleses, sobre as suas condessas fatais, sobre os seus tigres, sobre os seus elefantes, sobre os seus iates em que se arvoram, como pavilhões do ideal, lenços brancos de cambraia e renda, sobre os seus sinistros copos de ópio, sobre os seus cadáveres elegantes, sobre as suas toilettes   românticas, sobre os seus cavalos esporeados por cavaleiros de capas alvadias desaparecendo envoltos no pó das fantásticas aventuras pela Porcalhota fora!...

Todas estas coisas, aliás simpáticas, comoventes por vezes sempre sinceras, desgostam todavia velhos escritores, que há muito desviaram os seus olhos das perspectivas enevoadas da sentimentalidade, para estudarem pacientemente e humildemente as claras realidades da sua rua.

Como permitimos pois que se publique um livro que, sendo todo de imaginação, cismado e não observado, desmente toda a campanha que temos feito pela arte de análise e de certeza objectiva?

Consentimo-lo porque entendemos que nenhum trabalhador deve parecer envergonhar-se do seu trabalho.

Conta-se que Murat, sendo rei de Nápoles, mandara pendurar na sala do trono o seu antigo chicote de postilhão, e muitas vezes, apontando para o ceptro, mostrava depois o açoite, gostando de repetir:   Comecei por ali.  Esta gloriosa história confirma o nosso parecer, sem com isto querermos dizer que ela se aplique às nossas pessoas. Como trono temos ainda a mesma velha cadeira em que escrevíamos há quinze anos; não temos dossel que nos cubra; e as nossas cabeças, que embranquecem não se cingem por enquanto de coroa alguma, nem de louros, nem de Nápoles.

Para nossa modesta satisfação basta-nos não ter cessado de trabalhar um só dia desde aquele em que datámos este livro até o instante em que ele nos reaparece inesperadamente na sua terceira edição, com um petulante aninho de triunfo que, à fé de Deus, não lhe vai mal!

Então, como agora, escrevíamos honestamente, isto é, o melhor que podíamos desse amor da perfeição, que é a honradez dos artistas, veio talvez a simpatia do público ao livro da nossa mocidade.

English google translation

What do we think today of the novel we wrote fourteen years ago?... We simply think – praise to God! – that it is execrable; and none of us, either as a novelist or as a critic, wishes, not even on our worst enemy, an equal book. Because in it there's a little bit of everything a novelist shouldn't put in it and almost everything a critic should take from it.

Shall we spare it – so as not to aggravate it by making it in three volumes – the enumeration of all its deformities? Let us draw a discreet veil over its masked people in different heights, over its mysterious doctors, over its blond English captains, over its fatal countesses, over its tigers, over its elephants, over its yachts on which  fly, as pavilions of the ideal, white cambric and lace handkerchiefs, on its sinister glasses of opium, on its elegant corpses, on its romantic toilettes, on its horses spurred by knights in white capes disappearing wrapped in the dust of the fantastic adventures through the Nutty out!...

All these things, moreover pleasant, moving at times always sincere, nevertheless displease old writers, who have long since turned their eyes away from the cloudy prospects of sentimentality, to patiently and humbly study the clear realities of their street.

How do we allow it to be and publish a book that, being all of the imagination, brooded and not observed, refutes the entire campaign we have been doing for the art of analysis and objective certainty?

We allow it because we understand that no worker should appear to be ashamed of their work.

It is said that Murat, being King of Naples, had his old postilion whip hung in the throne room, and often, pointing to the scepter, would then show the whip, enjoying repeating: I started there. This glorious story confirms our opinion, without meaning that it applies to our persons. As a throne we still have the same old chair we used to write on fifteen years ago; we don't have a canopy that covers us; and our heads, which are whitening, do not, for the time being, girded with any crown, neither of laurels nor of Naples.

For our modest satisfaction, it is enough for us not to have stopped working for a single day from the time we dated this book to the moment when it unexpectedly reappears to us in its third edition, with a petulant year of triumph that, to the faith of God, does not not look bad on it!

Then, as now, we were  writing  honestly , that is, the best we could from that love of perfection, which is the honesty of artists, perhaps the public's sympathy came to the book of our youth.

I copied out the whole thing (and apologise for not taking the time to do a better translation) because this preface might actually be my favorite part of the whole book.

Yes the book is cheesy, and oversentimental and all of the other things its authors accuse it of being. Yet, people loved it, and they chose to let it be republished even though they no longer agreed with most of the things in it. I just find it nice and refreshingly healthy, especially coming from these sources.

Anyhow, it was a fun little read, that is probably more important for its context than its content, but I can certainly recommend it to someone who’s curious about portuguese literature.

[dragonrajafanfiction]

Live Prey

The dingy yellow plastic doors swung open, propelled by a rolling bed, pushed by three medical staff in protective gear and masks. Lying on the gurney, uncovered and unclothed was the Chinese Hybrid that was trucked in from the Cage.

He was heavily sedated, a plastic mask pumping oxygen into him. “The boss wants us to make sure he’s well supplied with nutrients.” The lead doctor said, pointing to the nurse.

The nurse hurries over to a chill storage chest to pull out a bag of a yellow fluid. 

“Empty two bags into him and then prepare the heavy sleepers. The boss says he doesn’t want to risk a live feeding.”

The nurse sighed. “It’s really too bad. He’s so handsome. You’d think one this powerful he’d want to keep as a fighter.”

“There’s a such thing as too strong. If they’re too strong he can’t control him. He’s already got El Tigre, he doesn’t need another. Too risky. It’s better to just feed Tigre. He hasn’t eaten in a long time.” He pulled his gloves on. “Check the sedation levels. Don’t worry too much about giving him too much, this boy’s going to die anyway.”

“Last time he fed, he fed some ugly monsters. How is this little one going to do any harm to Tigre?” The nurse asked.

“The boss knows what the boss knows. It’s not our job to question it. If anything happens to Tigre we’re all dead. Remember the last time the doctor questioned throwing in someone, saying he was too young. The Boss came himself and shot the doctor in the face. That’s how I got this job yeah?  His body fell, right there.” He pointed to the corner. “Let’s just do it and get paid. No questions.”

The nurse inserted the IV in the young man’s arm. Her eyes were sad above her greenish blue mask. As she gazed at him, she remembered her own son, bright and happy. He grew up in a risky neighborhood, stayed out of trouble, excelled in school. Graduated with a scholarship. 

One day he refused to join a gang when told. And that was it. Buried in a mass grave. 

Ever since then she’d worked here, for her second son. The younger one. Under the wings of her boss, her whole family was protected. No one dared touch her because she was one of his. So even though she knew what she was doing was wrong, she heard a voice in her mind telling her, “Don’t let your conscience bother you. Close your eyes and look away. You don’t want happened to your first son to happen to your second.”

She squeezed the bag of IV fluid to get the drip good and going. “So what are we doing after this?”

“There’s a nice resort right outside of here. I’d like to visit. Gamble away some of my pay there before I head back home. I’ve got a long drive. 14 hours. I don’t want to go this far and then not do nothing. How about you?”

“Oh... I don’t know.” She sighs. “I’m feeling a little tired.”

They chatted like this, with the body between them absorbing the thick fluid of pure vitamins and nutrients. Once the bags were done, he would die and be food for Tigre.

Her eyes shift to the young man’s face again. He had long eye lashes. They fanned out on his cheeks. She feels like if she stood there long enough, she could count them, one by one.

The anesthesiologist turned to the drawer where they kept the powerful sedatives. Once injected, the young man’s diaphragm would be paralyzed and he would die from lack of oxygen.

She removed the plastic mask from his face. He wouldn’t need it any more. She raised her hand to make the sign of the cross and then dropped.it. “Alejandro. The sedatives are in the left most drawer. Things got switched around during the resupply.”

“Oh they did?” The anesthesiologist trusted her. He was a bit nervous, new, and unused to being an executioner. If this boy was meant to live, he wouldn’t notice that she was lying. This way, she could say it was an honest mistake. If he noticed her deceit, she could say it just wasn’t God’s will for him to live.

The  anesthesiologist didn’t notice. He picked up the filled needle and took her word for it. The woman stepped back a bit as the  anesthesiologist mistakenly injected the young man with adrenaline.

Five seconds later, his eyes snapped open. They were a brilliant shining gold, with narrow slits for pupils. The young man looked at the  anesthesiologist who opened his mouth. “W-”

Then the man went from lying prone, to launching himself form the table and kicking the  anesthesiologist into the wall, bouncing his head off it. The doctor grabbed his phone and was the targeted next,  The patient grabbed his wrist and twisted it, sending the phone clattering to the tile floor and shattering. “Who are you. What is this place?” His voice was emotionless. Like a robot’s

“I can’t tell you! I can’t tell you anything!” The doctor pleaded, nearly collapsing from pain and fear.

“You need to get out of here.” The nurse’s voice was trembling and frightened.

“Do you have a phone?” 

She nodded and quickly laid it on the table. 

The young man grabbed it then went over to the unconscious anesthesiologist and started to strip him of his clothes while dialing a number. He spoke on the phone. “EVA. I’m here. I need you to trace the schematic and give me a way out of here.”

He looked at the nurse. Then back at the drawers. He picked the right drawer and not the left one, picking out the sedatives. He then injected the anesthesiologist first. “Don’t worry, I’m only giving a small amount. I won’t kill him.”

“I... how did you know?” The woman asked.

“i wasn’t completely out. It takes more than that.” He then went to the doctor and injected him next.

The nurse watched as he approached her. She then pulled a wall panel and pressed a red button. When he looked at her in confusion she said, “I’m sorry. I have to make it look like I resisted!”

“Yes. Who is Tigre... where is he?”

“I don’t know where he’s held, I’ve never seen him before...”

He nodded and then gave her the sedative, resting her against he wall as she lost consciousness.

“EVA is there a prison facility here? Some place to hold a person.”

“Welcome back, Chu Zihang. In the lowest area of the building there is a secure area. I’m working now to hack the security system, but there’s an issue. The button she pressed is also a kill switch for the whole system. I have to hack and replace the code before it’s all locked down and deleted.”

“I’ll let you work.” The security system was silent. There were no sirens or alarms or lights.

“There are two security doors ahead of you. Hurry. security protocols are locking down areas as fast as I can open them.”

Zihang opened the door and kept running. 

“Take the Elevator. It’s easier. I’ll let the other doors lock. Basement level.” Zihang pressed the down button and waited. The door opened and he stepped in. As the doors were closing a loud bang shook the building!

“EVA!” 

“Working!” The elevator was lowering down into the basement slowly but then it suddenly dropped! Zihang leaped up and hung onto the ceiling of the elevator. It slammed into the bottom of the shaft and he was flung from his grip and hit the ground hard.

“Zihang! Status!” Schneider’s voice came over the phone that was still in his hand.

Zihang felt blood pouring down his arm. “Injury minor. Moving forward.” He looked up through the hole torn in the ceiling of the elevator. The glow of fire lit up the space. The building exploded. The nurse... He shook his head but the guilt lingered. It was the second time he’d accidently killed someone on this mission.

“Zihang, you’re trapped in the building. Building condition critical!” EVA was shouting urgently but Zihang was only half listening. The basement was nothing but a tremendous space, as big as a parking garage. A shadow in the shape of a man was standing there, his eyes glowed red and gold in the dark. He moved forward, dragging heavy chains attached to his arms and ankles.

“Brother?” The voice was soft, hopeful.

Zihang quickly spoke the dark and sacred words of Royal Fire and the chains started to glow red and melt away, freeing him. “Are you Tigre? We need to-”

A loud explosion drowned out his voice. The plume of hot air and debris boiled out towards him and he was suddenly dragged to the ground by a powerful body. Zihang and the prisoner hid behind a pillar but he could already feel his skin burning! The prisoner kept down here suddenly pushed him down as the pillar they were sheltering behind cracked in half and slammed to the ground. It was the only this that saved them when the ceiling caved in. Pain screamed through Zihang’s body and he blacked out.

[monkey-network]

My Problems with Mr. Enter

This one’s gonna be a first for the channel. As much as I’m not the type to be talking about other people in detail, permit me if you will, to go on a rant about one of the most infamous youtubers in the cartoon analytical community.

To preface this, yes, I was a fan of Mr. Enter. Even after this post, I’ll say that I at least still have some respect for Enter regardless of his personal viewpoints. Honestly if it weren’t for him, probably wouldn’t have become an analyst myself. Then again, even as a fan, I can say that Enter wasn’t the greatest of youtuber both production wise and his critiques. Also, I understand that most of what I point out is that of his opinions, I’m just pointing out patterns from him that I’ve noticed from him and people’s ire towards him. Less to say, this has been a longtime coming, so let’s not beat around the bush

Negative to Nothing New

I think my biggest gripe with Enter’s philosophy of reviews is that he fell into this annoying well of believing that almost everything in a cartoon needs to be unique, having typical writing cliches and typical writing conventions down-trots the show’s quality for him. And I don’t have a problem with this in theory, I’m not a fan of conventional shows like family sitcoms and I’m only interested if they’re able to put a clever spin on the dynamic like with Bob’s Burgers. But the problem arises when he conveys what a majority can consider an average show as not great over simple tropes. His reviews nowadays feel more like Cinemasins and Lily Orchard where going to twitter and TV tropes is all you need to break down why a show or episode isn’t great.

Again, there’s nothing wrong with this on paper, but it gives off a “You’ve seen one, you’ve seen ‘em all” mentality that many are no doubt not gonna vibe with because yeah, 100% originality isn’t gonna happen with every show you watch but even then, it always feels like any overused cliches/tropes are a bane to his experience, regardless of context, and has to accentuate that these shows aren’t great because they’re cliched. Like the Mighty B! is annoyingly bad because Bessie is the zany, clumsy goof like Spongebob and many like him or that it’s flash animated. Or the Rise of the TMNT ain’t great because Splinter’s the pathetic slob of a dad like FamGuy. Or 12 Oz. Mouse is bad because of it’s “lazy” style. Of course people aren’t gonna like that you bog ideas down to basics if they’ve seen that there’s more to them. 

If there’s one thought I had since his Hey Arnold review, it’s that Enter basically wants every cartoon to be like Hey Arnold or shows he finds on par with it. And while there’s nothing wrong with that, I say he shouldn’t be so hard on his tastes to expect every show to not be any derivative of others. I’ve had my doubts on the Owl House and Victor & Valentino, thinking they’re Gravity Falls wannabes, but I’ve come to see them individually and judge them as they are, and I’ve come to like them as they are after a few episodes because reviews should be about seeing where a show finds its own footing. Not everything can live up to the best shows and that’s fine. 

Negative to Nothing Admirable

I say he needs to produce more Admirable Animations. Not because I’m sick of him shitting on shows, but I feel he needs to give people more of what he wants from the animation industry. People are slowly turning on him because his negativity outweighs the positivity. Not saying he needs to force it, but I think people have gotten tired of him being spiteful towards things they like while not giving a better perspective on what he likes. Dude only has around 60 videos sharing what he thinks are truly great in his eyes, the 58th and the 57th Admirable video he made are almost a whole year apart. It’s clear he can see the good in some things, his review on ‘The Shell’ from Gumball is one of my favorites from him, but he does it so rarely that people will often overlook it in favor of only seeing him as the pissy cartoon critic. 

And yeah, this is coming from a critical nobody that’s mostly tries to review things positively but it’s because I want to see the good of what I’m seeing while acknowledging personal or objective setbacks. When I created ‘The Best’ series, I did it because while I mostly review stuff I enjoyed, I try to share with people what I consider to be universally valuable to me. 

Enter needs to take a break from diving into the Atrocities and if it’s difficult exploring the truly good stuff, that is the point. Finding the greatest works imaginable can take plenty of time, especially if you’re not ankle-beez levels of impressionable, but if he’s genuinely serious about being a critic while making his own show as a creator, he needs to make time.

Negative to Nothing Special

I’m not a fan of the idea of a “cartoon community” because I’m alone and evil, but I can see where things have changed since the cartoon community has grown past dogpiling on Teen Titans GO! and thinking The Emoji Movie is worst than the Emu war. In this era, I’d say the community wants to celebrate the good things that are coming out while giving people some insight on obscure media. Enter does the latter, but at the same time you get the feeling unless it’s something he wants to do, he won’t be as into it as we’d believe. I’d say if there’s anything about his whole Nick-O-Ramen marathon it’s that you could see him getting burnt out with it in the latter half during the 2010s era, especially when some of his takes on certain cartoons were not up to code and people were calling him out on it.

Said this before at the time, but he shouldn’t just treat a show as bad because everything about it didn’t click with him, especially when it seems he was making these reviews up as he gone on. He’s entitled to his opinions, but when his takes don’t add up they can either rile up viewers that saw more than what he did or fool people into believing his word. I don’t think all of his reviews were terrible, I honestly found his reviews on Catdog, MvA, and Mr. Meaty to be alright even if the 7 people that like Catdog might disagree. But with his takes on El Tigre, Rise of the TMNT, Tuff Puppy, and Welcome to the Wayne, it mostly sums to trying to blame the show for not being to his liking. Either that or condescendingly trying to say the show was alright, but doesn’t hold up as well. It doesn’t help that he essentially deflected the criticisms down to pure apathy. So when all is said and done, what were we to take away from all those reviews? Basically gave us pencils with no point beyond their existence. Compare this to his critique on Extra Credits, where it honestly felt like he was passionate in those videos. Or again, his Admirable Animation videos where he actually puts effort into sharing why he liked that stuff in particular.

As many I’ve seen said, stuff like his Nick marathon was a little more than he could chew and exposed how much he himself will insincerely generalize for the viewer base, all in bad faith. As a result, it’s tiring. He’s kinda the textbook example of “your face will stick if you frown too long.” You see one angry review from Enter, you practically have seen them all soon enough. Back then, it was alright. Now it’s cliched.

Conclusion

To put this into perspective, I don’t think Mr. Enter is the worst of Youtube; I’ve seen Moviebob and The Unknown Otaku. I don’t agree with some of his views both with fiction and reality, but I’m a big boy that can tolerate other people who aren’t actively terrible. When I get down to it, I feel Mr. Enter is shrouded in negativity and bitterness. Not just from his detractors or the shows he watches, but from a perceived outlook. Maybe it’s because while I’m evil and tired, I’m more optimistic, but I feel Enter needs a change in his critique game. He should put his grounding more into what he enjoys and less of what he needs to dislike because the hate he tries to preach has gotten tired and old at this point. I looked at his vid on Thundercats Roar and I just clicked off after a few minutes. Not because it was terrible, but it honestly was just parroting what other people have said on twitter as it came out. John has put more than enough time into screaming about how bad cartoons and society can be, I just believe showcasing more positive things can not only balance things out, but show people that there’s more to him than his bitching.

I know he won’t see this, but I just wanted to get this off the chest after seeing a 2 hour video on why he sucked a few months ago. And I felt rather than just calling him an erectile atrocity, I’d share my thoughts on Enter as a whole because I feel like he can do better with his content. Again, it’s not that he’s the worst out here, but he needs to stop retreading his old ruts. Dude needs to get out of his shadows.

[thefranklinoutdoor]

Don't You Stop, We Won't Stop

EC Brown  Lise Baggesen Rodrigo  Lara Zendejas

Reopening: Sunday, September 6, 2020 

2pm to 4pm

Closing: Saturday, September 19

“Hot topic is the way that we rhyme Hot topic is the way that we rhyme One step behind the drum style One step behind the drum style Carol Rama and Eleanor Antin Yoko Ono and Carolee Schneeman You’re getting old, that’s what they’ll say, but Don’t give a damn I’m listening anyway Stop, don’t you stop I can’t live if you stop Don’t you stop Gretchen Phillips and Cibo Matto Leslie Feinberg and Faith Ringgold Mr. Lady, Laura Cottingham Mab Segrest and The Butchies, man Don’t stop Don’t you stop We won’t stop Don’t you stop So many roads and so much opinion So much shit to give in, give in to So many rules and so much opinion So much bullshit but we won’t give in Stop, we won’t stop Don’t you stop I can’t live if you stop Tammy Rae Carland and Sleater-Kinney Vivienne Dick…” - Lyrics from Hot Topic by Le Tigre, 1999

EC Brown

My wife Catie’s annual Krampusnacht event last December included a holiday market, and I presented a bin of paintings on chipboard that were folded like heavy 45 sleeves—with mulch+foliage+ploymer record shapes that became too encrusted to fit inside. The images invented an old psychedelic Krampus underground—militant and Luciferian. Dolly appeared as a surprise digression in the wee hours before the deadline. For the past seven years of Krampusnacht, I have sidestepped the European relics in favor of thoughts about American undercurrents—rowdy, sexual, heretical, and perilously savage. But I like to imagine that the deeper magma is something propulsive and generative, rather than malignantly atavistic. An inevitable rebellion against civilized living. With Edra’s prodding, I’m pursuing the Dolly tangent: imagining a history in which the liftoff of her solo career was profoundly controversial—to the point that an enclave of armed male consorts developed around her. Perhaps her audience had detected a Luciferian bent in her, that would need time to transition to a more acceptable yet radical Christianity. EC Brown: I prefer a collision of illustrative image-making that begs attention to narratives, and physical formats that shift these works into roles as implements or tactical objects addressing spaces and situations. Images have been a tempered fever-dream drawing from 1960s–70s aesthetics, pop occultism, science fiction, Modernist architecture, biomimetics, industrial photography and observational cinema. Often they are absurdist historical revisions. Since 2005, I have mostly operated in Chicago’s domestic artspaces. I co-organized Floor Length and Tux (2009–2014, with Catie Olson) and COMA (2006–2008, with Annika Seitz). I periodically organize a roving series entitled ASCII (2011–present). Since 2015, I have been conducting a discreet series out of my home entitled Tascam.

Lise Haller Baggesen

Interpersonal relationships, intergenerational and intersectional eco- and cyber- and xeno- feminism, reproductive justice, therapeutic aesthetics, color field painting, sci-fi tie-dye, hippie modernism, bio-punk, grunge, glam, and disco, are some of the vernaculars that inform my body of work. Since graduating in 2013 from SAIC’s department of Visual and Critical Studies, this organic body has manifested itself in a hybrid and polydisciplinamorous practice, including writing, audio-visual installations, textile-, and sartorial works. Mother is a noun and a verb; I regard my practice as a sourdough, a gestation of material, out of which individual works, texts, and shows are wrought, while the mother remains, active. Lise Haller Baggesen is a Danish born, Amsterdam raised, Chicago based, interdisciplinary artist. Her hybrid practice includes writing, installation, performative, sartorial and textile-based work. She is the author of Mothernism, and exhibits internationally, most recently with the multimedia show HATORADE RETROGRADE: THE MUSICAL, which premiered at SoEx in San Francisco in 2019 and will travel to G400 in Chicago in 2020

Rodrigo Lara Zendejas

I create memorials—fragmented, mischievous, and imperfect realities that reflect both a formal

break from traditional shape, while presenting an assemblage version of our collective social and political thoughts, concerns, and hopes. Although I was trained in the traditions of classical art, my pieces now are not always clean. Or finished. Or beautiful. My work holds the memory of an intimate process of becoming. In some bodies of work, I present obvious nooks and gashes, broad, quick strokes, and secretive, featherlike fingerprints, all of which aided in the modeling of the clay during the process of bringing the subject to life. It is this visceral and intimate approach to materials and form that drive my subjects of memory and memorialization through all of my works. When considering the human form and its relationship to memorialization, immediate thoughts of bronze statues at historical sites come to mind. My fascination, however, is in the way that memory—with its inherent, ever-changing fluidity—disrupts our ability to fully or truthfully freeze, or memorialize people, moments, or perspectives in history. Instead, it is our momentary glimpses of memory and hindsight that drive how we understand the present. As a Mexican immigrant to the United States, my works often rely on my own fragmented memories and stories of home, my direct experiences with fervent Catholicism, and other’s heroic (yet common) anecdotes of border crossing and acclimating to living in America. However, while my memories and relationships to patriotism, politics, my background, and my longing for the familiar certainly influence my work, it is my interest in the process, the poetics of the materials, and the action of sculpting that motivate my continued practice. Born in Mexico in 1981, Rodrigo Lara Zendejas received a MFA from School of the Art Institute of Chicago (SAIC) in 2013. And his BFA from the Universidad de Guanajuato in Mexico in 2003. He has received several awards including: Proyectos Especiales FONCA (Fondo Nacional para la Cultura y las Artes) Mexico City; Emerging Artist Grant, Joan Mitchell Foundation, New York City; Jóvenes Creadores, FONCA, Mexico City; Extraordinary Abilities Visa, U.S. Citizenship and Immigration Services; Artist’s Grant, Vermont Studio Art Center; James Nelson Raymond Fellowship, 2013 SAIC Fellowship Competition; PECDA Estudios en el extranjero,Instituto Queretano de la Cultura y las Artes; the International Graduate Scholarship, SAIC; and the John W. Kurtich Travel Scholarship, SAIC Berlin/Kassel, Germany; among others. He won the first price in sculpture at the National Award for Visual Arts in Mexico in 2010. Lara held solo exhibitions at institutions such as the Museum of Modern Art in the state of Mexico, Hyde Park Art Center in Chicago, the National Museum of Mexican Art in Chicago, Kruger Gallery in Marfa, Texas, among others. He has been in such residencies as the Vermont Studio Center, ACRE, Ragdale, Cross Currents: Cultural Exchange, Mana Miami, and Rogers Art Loft. Currently, Lara lives and works in Chicago.

THE  FRANKLIN

3522 W. Franklin Blvd, Chicago IL 60624 

Cell to text: (312)823-3632

Hours: Saturdays 2pm - 4pm  and by appointment 

COVID-19 update: The Franklin (outdoor project space) is accessible at all times while the exhibitions are on view. The side front and side gates will be open for easy access. No access to indoors (house) at this time. The Franklin Collection is on view by appointment only.

Online: http://thefranklinoutdoor.tumblr.com

Instagram: @thefranklinoutdoor