#how to paint characters the marvel studios way

[fandom]

Fandometrics In Depth: Black Panther

This post is entirely spoiler-free for those who have yet to see Marvel Studios’ Black Panther: Wakanda Forever.

It’s been an eventful five years since the original Black Panther film was released and the titular character introduced into the Marvel Cinematic Universe. As a fandom, we’ve experienced wins and losses. We got to witness history in the making and incredible representation. We watched as our heroes triumphed against Thanos and saved the universe time and time again. But we also lost a hero along the way. Midway through 2020, the world said a tragic goodbye to Chadwick Boseman, who brought T’Challa to life for the first time on the big screen, and whose memory and legacy will live on forever. In the series’ latest iteration, Black Panther: Wakanda Forever, art mimics life as the nation of Wakanda struggles to find its place in the world following the passing of its king. This new chapter brings with it a myriad of old friends and new faces, a foe unlike any we’ve seen before, and a whole new civilization that lies deep beneath the ocean.

For this impromptu trip under the sea (see what we did there?), we analyzed engagement data—that’s searches, original posts, reblogs, and likes—around tags used in the last year, starting on November 2nd, 2021, right up until when this post was written to paint you the most detailed picture possible. Let’s break down the Black Panther fandom in depth:

A nation united.

The cast and crew for the Black Panther films are hands-down some of the most incredible in the business, so naturally, this next ranking is filled with talent that goes above and beyond. Sure, the list is based purely off of conversation on Tumblr, but we personally believe they all deserve to be number one. Check out the full breakdown below:

Lupita Nyong'o | 36.17%

Angela Bassett | 16.61%

Chadwick Boseman | 15.02%

Danai Gurira | 7.92%

Tenoch Huerta | 7.39%

Letitia Wright | 5.98%

Winston Duke | 4.29%

Michaela Coel | 3.83%

Ryan Coogler | 1.96%

Dominique Thorne | 0.83%

A world divided.

With every new entry into the MCU, Marvel strengthens fans’ relationships with their favorite heroes and brings to life new faces we’ve only seen on comic book pages. This time around, we’re introduced to Namor, who rules the underwater city of Talocan. Fans are so excited to see Mesoamerican culture featured so prominently in one of the most anticipated films of the year. Below are the most popular characters in Marvel Studios’ Black Panther: Wakanda Forever, ranked:

Namor | 20.93%

T'Challa | 19.81%

Shuri | 19.00%

Okoye | 10.25%

Riri Williams | 9.27%

Nakia | 9.26%

Everett Ross | 4.15%

M'Baku | 3.67%

Queen Ramonda | 2.07%

Aneka | 1.60%

Wakanda Forever.

Marvel Studios’ Black Panther: Wakanda Forever is out in theaters now—if you’ve already seen it, we’re betting you want even more, and if you haven’t, we’ve got just the content to get you hyped up. 

Marvel Studios (@marvelstudios​) to keep up with incredible fanart created by the community, Answer Times, and exclusive cast interviews.

Follow the #black panther tag for GIFs, fanart, memes, and more! Don’t forget you can filter any tag from your dashboard for a spoiler-free experience. If you need a reminder for how to do that, check out this handy Tips page.

[sodiumlamp]

Lower Decks

I'm not gonna liveblog Lower Decks because I only liveblogged Picard to maintain my sanity as I endured it. It was more of a defense mechanism than a plan. The only reason I bring up LD is because I wanted to end the Picard thing on a more positive note. Lower Decks is a much better show, and I dare say watching Picard first made me enjoy the experience even more.

It's a comedic take on Star Trek, and the show could be forgiven for playing fast and loose with the premise, but it doesn't. Lower Decks feels like a very authentic Star Trek expereince, but it just has a comedic flavor to it.

It also does a whole lot of callbacks to old Star Trek lore. The difference is that LD isn't depending on the viewer to get all the callbacks. If you don't notice or recognize Spock Two's skeleton hanging in that display room on the collector's ship, it doesn't matter, because the plot doesn't hinge on it. LD also doesn't pull the Picard trick of making callbacks as an end unto itself, like Adam Soong holding a folder entitled "PROJECT KHAN" and nothing happens. Lower Decks has some running subplots, but it's very clear to its audience about which moments are clues and which moments are fun easter eggs.

Most critically, Lower Decks maintains the optimism of the classic 20th Century Star Trek shows. You watch an episode, and things usually work out by the end of it. More importantly, when people lose faith in the world they live in, there's some moment where that faith is restored. Starfleet stands for something and it's not just empty slogans or cynical public relations. It's not all sunshine and rainbows, but there's a light at the end of the tunnel and the characters generally find it. Except for Peanut Hamper. Fuck you, Peanut Hamper.

The fundamental conflict in the show is that these are all good people who strive to be better, to do better, and they tend to get in each other's way as they try to improve. Mariner defies her superiors because they doesn't always know best, but sometimes her superiors do know best. Boimler (and other characters) crave promotion and recognition, but he sometimes has to take a step back and consider why he wants those things. There's an episode where he joins a group of ambitious ensigns and they practice making inspiring leadership speeches, but he eventually realizes that it's a skill he can't use in the here and now. "We have to inspire the crew!" "We are the crew!"

The show demonstrates just how badly Picard fumbled the ball with its "everything sucks now" philosophy. In theory, you can do a utopia-gone-wrong story with Star Trek, but there needs to be a clear understanding of what went wrong and how it gets fixed. You can't just make a Star Trek story that flat out repudiates the optimistic future. You can just have the characters say "Whoops, that never worked!" That'd be like Batman deciding that crime is actually pretty cool. Shows like Picard try to convince the audience that the only way to tell a story is to break everything and make it miserable. Lower Decks proves that's a lie told by lazy showrunners who only know how to pull one lever.

Part of the problem, I think, is that these studios keep trying to do big events, relying on spectacle over storytelling. That's why Picard Season 2 had to climax with Picard's mother hanging herself. It has to be this big provocative moment, regardless of whether it makes sense or fits the characters. Picard has prophetic dreams of Data, the exploding girl looks just like the one from the old painting, it was the Borg the whole time, and by golly there sure are a lot of decapitations in this show.

By contrast, one of the most powerful moments on Lower Decks is when Captain Freeman finally gets fed up with Mariner and has her transferred to Starbase 80. It's not a big, apocalyptic moment that will Change The Marvel Universe Forever™, but it's effective, because the show took the time to establish that Starbase 80 is the worst assignment in Starfleet, and it's the one punishment Mariner takes seriously, and Freeman must be really upset if she's decided to take it that far. And then later, she regrets her decision, and when things work out in the end, their reconciliation is that much more satisfying. It just works. Not everything has to be a swordfight in a Borg Cube, for crying out loud.

I haven't watched Season 4 yet, but I'm really looking forward to seeing the new Vulcan character, T'Lyn on the show. Now we have two blueshirts in the cast. And they're not doctors or nurses! Nothing against doctors or nurses, but there's a severe lack of science division characters in Star Trek, and that screenshot of two of them doing something involving hydrogen samples is more exciting than a hundred Jack Crushers. I hope they do a whole episode about hydrogen samples. That would kick ass.

[whoiwanttoday]

Last night I beat my ex-girlfriend in Marvel Snap. Well, I am 90% sure it was her as it was a familiar username that was one of a handful of default names she used to user (it was her AIM screenname when we started dating). She snapped on me during turn 2 which is frustrating but very her, just a bullying move but I snapped back because I knew it was her and guys, I just crushed her. I won all three lanes and put up 40+ points in two of them. Now, you'd think this would be a deeply satisfying situation but the problem is I do not reuse screennames across the internet because I don't want to be easily recognizable. This way if someone I know runs into me they only know it's me if I let them in on it. That way if they beat me in some stupid phone game they never know. The secret to winning guys is to tilt the board in your direction when no one is looking. You know, be a petty dickhead. So the problem is my ex has no clue she just got an epic beatdown for the ages at my hands. She might not even remember that match anymore! And there's the rub. They say revenge is a dish best served cold and it's been more than a decade since we've last interacted so this one is ice cold but it turns out revenge that someone doesn't know they have been served is deeply unsatisfying. Which leaves me with an irony that really is Shakespearian in proportions. I am certain this is what the bard would be writing about if he were alive today. I am stuck. I have this epic victory and yet it will go unrecognized because the only way for her to find out would be for me to tell her, at which point I lose the much larger game because then I am the total psycho who contacted my ex to brag about a victory in a phone game. That, it turns out, is a much greater loss than using Sinister London, the White Hot Room, and then two Thors (with two Mjolnirs), two Hulks, and Two Odins to absolutely crush someone's sad little Devil Dino deck. Which is a long way of leading up to posting Margot Robbie.

You might not see how this is related but that's a clever rhetorical trick I plan to use where I tie everything together at the end. I'm not just good at Marvel Snap, I am also the best at posting to this blog, it's why I am the only one who has ever done it. So, Margot Robbie is undeniably talented and beautiful and I sort of don't care. That's not right exactly because I really look forward to her in roles because she is fantastic in them. I am paraphrasing someone else here but it's accurate to say that she doesn't act like a movie star. Most movie stars tend to play some version of the same character over and over again. This isn't a knock against anyone, it's kind of what the audience wants and is definitely what the studio wants and you know what? We probably wouldn't like Indiana Jones so much if he wasn't distinctly Harrison Ford in ways that Han Solo is also distinctly Harrison Ford. Movie Stars are important but often they phone it in as time goes on and they certainly aren't known for taking risks. Margot Robbie seems to approach every single role as if she is a nobody looking for her big break. She takes big swings, she takes big risks and it doesn't matter if it's a serious biopic or a trashy comic book movie, she gives it 110% in a way that is mind boggling for someone who is one of the biggest stars in the world. I cannot think of anyone else of her stature who regularly tries so fucking hard. It's so commendable and she is just an amazing actress. But I don't typically find myself attracted to her. She is undeniably beautiful. Her fashion choices are almost always flawless. Yawn? Look, I am not here to bury Margot Robbie but to praise her, I just am letting you know why she has been posted only two times before on this blog. She is almost too beautiful, too flawless. I think I find that kind of boring? Or maybe just hard to sexualize? Like, I don't tend to sexualize paintings either. Which is objectifying but maybe that's the issue. She is perfect for Barbie because like Barbie she seems too perfect to be real and I have always found more interest in the gaps and flaws in life than anything else. Which is a long way of saying that there is a movie coming out that I am quite excited about that has endless pink carpets and stars one of the biggest, most beautiful stars in the world and I didn't think I would post her. Yet here I am. Margot Robbie has looked so amazing on these pink carpets it's unreal. Just the endless stream of absolutely perfect looks is enough to wear me down. London finally did me in, I loved the old fashioned glamorous gown. That mixed with just a week plus of amazing dress after amazing dress did me in. I am posting Margot Robbie. Which is how this comes around. My dear @thunderstormofoblivion quite likes Margot Robbie and one time angrily called me a liar when I said I just wasn't into Margot Robbie. She does that sometimes, doesn't believe me when I say I am not into something or someone. I can distinctly remember conversations years ago where she just told me I was lying about not being into certain sex acts. Anyway, that's what brings this all around. I could not tag @thunderstormofoblivion and she'd never, ever know. She actually still won't unless I link her but I will link her. Because I am going to let her have this win. Which means secretly I win by being such a decent and big person, I'm not petty at all and would never, ever seek this kind of validation myself. So @thunderstormofoblivion was right. Today I want to fuck Margot Robbie.

[lol-jackles]

Apparently Renee Reiff left CMP back in Nov 2022 From her linkedin:

Head of Development Chaos Machine Productions · Full-time Sep 2020 - Nov 2022 · 2 yrs 3 mos

And she has a new current position listed. Ofc goob is already trying to spin this like its a good thing [X] talking about how it'll be cheaper for s2 (and somehow talking about 20 ep seasons...) even though they spent months and months and months using Renee's position at CMP as proof that dest*el was going to be canon and claiming a queer woman was proof that Jensen was "queering up" CMP. But according to Jensen himself said that they were mandated to be diverse so it feels more like Renee was brought in to make sure they adhered to the madates:

To touch on that latter part, yes, we have a very diverse writing staff. Also, something that we have done with our directors, we would be attempting this anyway, but the network has not only heavily encouraged us but also they basically mandated us to be very diverse with women or POC so that is happening. [X]

Any thoughts on Renee leaving and if that means anything for CMP going forward?

Does CMP have a new head of development?   Renee leaving isn’t necessarily a red flag but you kind of need them to, you know, make sure production from planning to execution happen, you know?  What I’ve said about producer’s duties here is pretty much the same of what head of development does: manages day to day operations and make sure the teams stay on schedule, coordinate on marketing and accounting and review budgets, and how to best promote the projects.

What paint fume is Goob huffing now?  Head of development just don’t leave a company with expectation that it will run on it’s own.  That’s like a director leaving half-way through filming and expecting the crew and actors to finish the project on their own.

Yeah that check-the-diversity-box mandate was applied by nearly all the major studios but it doesn't guarantee well-written characters or believable storylines.  Some executives went too far with going “woke” because they think they’ve cornered the straight, white, male, and Christian audience market and now it’s time to bring in the “other” audience with “woke” projects and as long as they slap a Marvel brand label on the woke projects, the former audience group will watch regardless.  It’s just like WB slapping the “Supernatural” label over The Winchesters and assumed that the SPN fans will watch it. The result is most studios saw 40% decreased in viewerships or box office numbers in 2022.  Not because general audiences hate diversity, but because they won’t waste their time and money on boring tv shows/movies that happened to have diverse characters.

Edited to add a few additional wordings.

[fenicenera83]

Author's note: This short story is very important to me. It is not often that I devote myself to writing about Venice, because I feel inadequate about it. That time in the life of Marius and Armand are one of the most beautiful and profound things I have ever read. Even today, after so many years those pages shine in my soul.

DAY 5

Carnival in the Golden Era.

There was a great bustle of people, in the palace, Vincenzo with his good old patience as he tried to be there for everyone. The pupils were eager and cheerful, there was an atmosphere of anticipation and celebration. That evening would take place, the ball, which concluded the Carnival period. The palace was trepidatious and everyone was busy arranging embellishments, and preparing costumes and masks, everything was red and gold, even the Doge's masquerade ball, feared comparison with the palace, of Master Marius de Romanus, during the Venetian Carnival. The pupils were all intent on trying on costumes, and enjoyed chasing each other, wearing colorful masks, some recalling wild animals, others elegant and sinuous reminded of mysterious characters, others represented monsters and demons or mythological creatures, others seraphic creatures.The Master had never stopped the creativity and flair of his pupils, never denied them anything on that unique day of the year, when all of them, even the most mature ones, felt like a little child again. Vincenzo was trying hard to maintain a modicum of calm in all that hubbub, but in the end he too gave in, to the enthusiasm of the boys, who paraded before him, each showing a different color and a different character. Each of them had created with what Vincenzo had brought them, at the Master's order, masks and costume, helping each other and laughing at their failures, as they marveled when older pupils showed their beautiful costumes, and then it was a chorus of pleading voices, of the younger ones asking for help in arranging and embellishing their, costumes. Vincenzo loved those good and polite boys, and it was a pleasure for him to be able to help them in the absence of the Master, even though he also had to follow the palace preparations, Vincenzo never left the large room next to the painting studio, where the boys were creating those wonderful masks.He was not the Maestro, but the boys valued both his compliments and his advice with attention and joy. After all that time beside Maestro de Romanus, Vincenzo felt he had grasped a little, of the immensity that possessed that man, so special and with a heart of gold. He would never have thought that he could spend the last years of his life immersed in that happiness, in the warmth of a family, in the cheerful laughter of the boys, and in the serene nights spent next to the Maestro talking, as if that had always been his place.Maestro de Romanus was a blessing to those abandoned boys with no future, but he had also been a blessing to that tired old man, who was Vincenzo, and who now had again the heart of a twenty-year-old. Among all that joy Vincenzo, he put some time to notice that distant from the others, in a corner, silent and thoughtful, was Amadeo.Vincenzo was immediately disturbed, it was strange to see Amadeo away from Riccardo or Albino, if for that matter it was strange to see him on the sidelines, unless the Master was present, Amadeo never left the company of his brothers, in fact he was the vital center of it. Had he quarreled with Riccardo? Had there been some misunderstanding between him Riccardo and Albino? And how had it happened that Vincenzo had not realized it? It was his duty and responsibility to care for the harmony of the boys and among them. The Master, he had always advised Vincenzo to leave the palace affairs alone if necessary, but never in any way, never the boys. Vincenzo felt as if he had failed the Master's expectations, and he hated himself for that, now however, the only thing he could do to make up for it was to care for Amadeo.

Vincenzo approached Amadeo who looked sullen and had a determined frown, his hands were dirty, as if he had been working on something, and around him were pieces of wood and other junk that Vincenzo in the moment could not identify, " Amadeo, is everything okay? Do you need help?" Amadeo brought his brown eyes to Vincenzo and seemed very angry, but held himself back, " No one can help me with what I want to prepare as a costume, but I want to succeed for the Master, I know he would be proud and appreciate it so much… I want to do it for him…" and at that point Amadeo's eyes became proud and determined, a living fire. Vincenzo sat down next to him, " What do you want to build that is so ambitious that not even the greatest can help you?" asked Vincenzo almost amused, his heart clenched at Amadeo's words, but the boy's grit, made him smile, brought back to his mind how much he had struggled, Amadeo, and that he had done it more for the love that bound him to the Master than for his own life." I want angel wings! Big ones, and with feathers! I want a cape, and I want a midnight blue dress, and something red too, and-and something gold, a halo!" Vincenzo widened his eyes in disbelief. Angel wings? Big and made of feathers? Amadeo stared at him with hopeful eyes, Vincenzo sighed, and immediately an idea, which he was almost sure he would regret, prompted him to get up "Wait here, I'll be right back, I'll leave the command of the preparations to Jacopo and come back to you." Amadeo smiled contentedly and threw himself at Vincenzo's waist, who laughed in turn before walking away. He returned shortly thereafter, took Amadeo with him, and they set off outside the palace. Amadeo followed Vincenzo curiously, shortly after, they entered a store, Vincenzo greeted the big man friendly as he came towards them. Amadeo and Vincenzo spent the day in the mask maker's workshop, the big man turned out to be a great friend of Vincenzo, friendly and easygoing, he drew a sketch of Amadeo's idea, which left the boy ecstatic and happy. After the sketch the day was long and full of work, the master craftsman left the other work in the hands of his apprentices and devoted himself to Amadeo's costume, he had a great friendship for Vincenzo, and great respect and a debt to the Master de Romanus.

Still, the craftsman wanted Amadeo to participate in the making of the costume, and Vincenzo was not exempt from helping out either. Together they managed to finish the costume as the first rosy shadows touched the waters of the canals. Now the real problem was to bring to the palace a real angel by Botticelli, with golden wings shaded in blue and red, large, fluffy and made of real feathers, the halo shining with stars crowned the head of auburn hair, soft velvets in bright colors made up the robes, shaded in gold, even the belt was woven in gold, and bore on the bottom golden tassels intertwined with stars that recalled the halo. The whole was adorned with a crimson cloak held over the shoulders by a golden chain. Vincenzo resigned himself to having to fight with stares and comments, but in the end Amadeo's full and happy smile was the most important thing. Or almost. Actually the most important thing, and also the most poignant, was to see the Master, moving deeply, so much so that Vincenzo would never forget the expression in those blue eyes, or the joy that shone on both the Master's and Amadeo's faces, when a little awkward because of the heaviness of the costume, he ran up to him, throwing his arms around his neck, clutching, Amadeo rested his forehead against the Master's, who kissed it softly, and then rubbed it against his own. And Vincenzo felt that he finally understood what happiness was.

[valkyrieandstrangeridingaragorn]

https://www.salon.com/2021/07/09/loki-sylvie-marvel-multiverse/ What do you think?

OMG what an awful load of crap 🤦‍♀️😂😂 I mean... where do I start?!!

So according to the critic, the traits that define Loki are: a talent for deceit, self-preservation, escape and betrayal. He's "a simple, narcissistic troublemaker", he "backstabs", his instinct is "to betray allies in the hope of gaining the upper hand."

What does the author say of Sylvie? She has a self-taught power to enchant people which is "beyond Loki's imagining". Her fighting skills are "superior to his", she has "supreme logic", "she relies on skill, intelligence and wit", and they speak of her "bravery and ingenuity."

Isn't it funny that most of those are only measured by whether she is better than Loki or not? It's like they can only judge her as a superior being otherwise she's nothing. Oh, it's also telling that they say her murders of the TVA agents make her "formidable". If it was Loki the one to have done that they would call him a villain.

But this line is crazy:

[The series was] an opportunity to add another woman to the pantheon who isn't fragile, or mad, or Thor in female form, i.e. Tessa Thompson's Valkyrie or Lady Sif. [...] Valkyrie and Sif are, essentially, female Thor equivalents.

It's crazy to me mostly because while I love them both I can definitely agree their characters should have been written better, but is the author seriously telling me that Sylvie is in any way, shape or form better written than Valkyrie? Are you kidding me? 😂😂

And by the way, I'm not an expert on this but is it just me or this paragraph is insulting to genderfluid folks?

Tricksters like Loki are gender-fluid beings. He's transformed into Lady Loki in the comic books but, and this is key, he always returns to his male form.

And so? Loki is still genderfluid. The way he chooses to present (not "transform", that's a bad word to describe it, right?) or how long he does so is irrelevant. Again, I'm not an expert on this so apologies if I got it wrong.

Lastly, it's kind of telling that the author thinks the fact that Sylvie is a woman "grants her a place of power in a cinematic universe." It doesn't. We can't tell the studios that we're okay with women on screen no matter how well or how badly they're written. What's the point then? We should demand more, yes, but we should demand better too. Sylvie has no arc in the series, she can only be defined as "better than", her actions are not heroic in the slightest and if anything it's a little sexist to paint her as this angel who has never done anything wrong when she should be allowed to be what she is: a self-absorbed villain who only seeks her own personal wants.

But this last paragraph.... if the rest of the article is bad, this part is unbelievable. I copied and pasted this, it's literal:

Loki comes to realize that the characteristics that have long defined what it means to be him – a talent for deceit, self-preservation, escape and betrayal – are not virtues. This understanding comes from being with Sylvie, a woman who was neither defined nor coddled like Loki or the rest of his kind. Nobody told Sylvie she shouldn't be anything other than what she is, so she created herself. Eventually she wound up stealing a show with a man's name in the title, making it as much about her as it is about him. That, friends, is a goddess-level trickster move.

No, it's not. Feminism is not about brushing off the crimes committed by a woman just because she is a woman, while at the same time throwing the man under the bus, invalidating his experiences and cheering at the concept of a woman beating him. That is nothing like feminism and IDGAF how many times we're called misogynists for this. We should have more female tricksters? Hell yeah, I'd love that. But Sylvie is not a trickster in the show, not even close. She's a villain. And you can't take Loki's crimes and judge him as a "betrayer" then look at what Sylvie has done and call her "formidable".

[silveragelovechild]

Disney has had a rough year…

February 2023 - Ant-Man and the Wasp: Quantumania falling short of its break-even point of $600 million and has a 46% score at Rotten Tomatoes

June 2023 - Indiana Jones and the Dial of Destiny is considered one of Disney's largest financial film failures

November 2023 - The Marvels is the lowest-grossing film in the MCU, and is considered to be a box office bomb

Which leads us to “Wish” - a film intended to celebrate 100 years of Disney Studios. Its opening weekend box office was well below projections and ticket sales dropped 62% on the second weekend. The reviews were even worse with a poor 48% score at Rotten Tomatoes. (I’ll bet Bob Iger wished for better reviews and more dollars at the box office.)

I decided to check “Wish” out at my local movie theater’s discount ticket night. I have to say that the movie isn’t terrible but perhaps even worst, it’s forgettable.

The best things I can say about it is that I liked Ariana DeBose performance as the main character Asha. I also like the animation style. While is was done via CGI, it hinted at an old school 2D with backgrounds that suggested water color paintings.

But the movie was cluttered with a supporting cast of 11 characters - way too large to keep track on or care about. There was:

Asha’s mother & Grandfather

Seven coworker friends (apparently based on the Seven Dwarves which I would never have guessed).

Two anthropomorphic sidekicks (a talking goat and a magical star)

The plot was muddled and confusing. We are told that King Magnifico (voiced by Chris Pine) establish the island kingdom of Rosas and invited dispossessed people to live there with the promise he would provide them a happy and safe home. (So far so good.) But he requires them to give him their “wishes” when they reach the age of 18. (But they are getting a safe and happy place in exchange, that’s better than a “wish” that you knew how to play the guitar, right?)

The movie opens with Asha arriving at the castle to apply for a job as Magnifico apprentice and within minutes asks the king for a favor. (A little pushy isn’t she.) He tells her most people wait days or weeks or even a year to ask for a favor.

Asha wants the king to grant her grandfather’s wish. The kings explain that he thinks the wish could be dangerous and declines. So what does Asha do? She decides to start a revolution and overthrow the government. (Whaaa!!!) This is starting to sound like the Bolshevik uprising in Russia which introduced communism.

Asha’s argument is that the wishes don’t belong to the king. BUT the opening narration told us the people gave their wishes to the king (he didn’t coerce them, instead he offered them a safe and happy home in exchange). If you want to know how to play a guitar - practice at it - you won’t appreciate a skill given to you by magic!

Perhaps the biggest failure of the movie is that the songs are utterly forgettable. It’s been over a week since I saw it and I can’t remember any of the songs… not a lyric and not a tune. Disney made a big mistake hiring songwriter Julia Michaels who is known for writing for the likes Justin Bieber, Britney Spears and Demi Lovato. Were fans of teen pop music the target audience for “Wish”?!?

[fratboykate]

I have a dumb industry question. When you write for tv show/movies do you write a storyline and then someone else takes it and turns it into an actual script? Or do you present the script to people write of the gate? Or does it just vary with the level of involvement?

no? and yes? it's a complicated answer and it varies by which medium you're talking about. this is all going to be a gross oversimplification because no one wants to read all that. somewhere on my blog i did a bigger explanation of writers room. i don't think it was that long ago. it should be in the same tag??? anyway...

when we're in a tv writer's room everyone breaks the character arcs, season, episodes, etc together. once the studio/network/steamer approves of the work we did then the showrunner assigns people to go write each individual episode. but at that point we basically have what could resemble a paint by numbers of each episode and the individual writer is just going in and coloring stuff with predetermined colors we've already discussed. even what scenes are in the episode would have been broken down in the room. the writer is simply going in and pretty much filling in and expanding what we all agreed would happen into action lines and dialogue. so in tv there's more of a "we write the storyline as a group under the guidance/following the vision of the showrunner and then we as individual writers take it and turn it into an actual script".

in films, it's different. unless it's writing partners, in the vast majority of cases there's a singular vision from the writer. obviously we're ignoring shit like marvel here where they micromanage everything and basically tell you what bullshit to write. there's different ways a feature can come to be:

-a writer writes a "spec"...an original script no one asked them write. just something they wanted to write in the hopes of selling it later. you know the myth of "there's no original ideas in hollywood anymore!" only exists because studios have stopped buying specs since they're now only focused on IP and reboots. so now specs are simply starting to stockpile in writer's metaphorical drawers because we're never going to stop writing them. no writer wants to only adapt or reboot some old property. we all got into this because we want to tell original stories.

-another way you can sell an original idea is by writing a "pitch". it's basically one step short of a spec. you're selling your "spec" idea to someone so they can pay you to write the actual script. you have all the details, characters, and world fleshed out but you just didn't do the weeks/months/years of work to put together the actual 90-120 page screenplay yet.

-then you have OWAs (open writing assignments). those are more of the "they bring the idea to you" types. like once a month all the different departments at studios/streamers will send out long docs to agents/managers that look like this:

it's a long list of the shit they want to develop but have no writers for. mostly these tend to be all the books they own rights for that they're wanting to get into development, all the reboots they want to launch, etc. so either agents/managers go "i know the perfect client to tackle this" or they just distro it their clients (like one of my reps does) and say "look this over. let me know if any catches your eye." so, for example, if i saw universal bought the rights to a queer book i could go "get me a meeting on that!" and my agent gets on it. i read the book before the meeting with the execs and come in with my "take" on the adaptation. basically what i would do to it, what changes would i make, how i would take it from page to screen, etc. sometimes they have multiple writers giving "takes" at once. sometimes you might be the only one who responded to a book. then they either decide to work with you or not. if they do then they drag you along for years of free development where you turn their ip into a script or a pitch to take out to buyers...and then they kill the project because "mandates" changed and you just wasted two years of your life for zero money. IM NOT TALKING ABOUT MULTIPLE PERSONAL EXPERIENCES OR ANYTHING NOT AT ALL lol. if you go on twitter, one of the things writers have been talking about changing post strike is that no one wants to take OWAs anymore. at least not unpaid ones (which 99% of them are). they'll dangle the "you'll get paid if we sell it" carrot and then the vast majority of them never happen so you're just giving them free labor for your entire life. and you're working on multiple of these at the same time hoping one of them goes so you can finally make SOME money.

[paladin849]

2d character art

There’s nothing like the simplicity and charm of 2D character art. Just think back to all of your favorite animated features, cartoons, comic books, and video games. It all comes flooding back, doesn’t it? Something about the immediacy and evocative quality of two-dimensional drawings goes straight to the heart and turns us into children again. If you want to know a bit more about this art form, this is the article for you. As a bonus, you’ll learn where the best 2D artists live and how to hire ’em for your projects!

I mean, sure, you may be one of those 3D purists who always sing the praises of 3D modeling. I get, I really do. But trust me, 2D isn’t going anywhere just because technology is moving full-steam ahead. In fact, 2D character art remains popular, engaging, and fun as ever. Therefore, even as we get swarmed with Pixar clones and newfangled graphical marvels, we discount 2D at our own peril.

what is 2d character art

As you might expect, it's been around for a while. We may say that the seeds were planted when we began painting on cave walls. Of course, we can't truly argue that style and the ones that followed in art history classify as 2D character art, which is a modern technique.

So, what has changed? What is the distinction between simple illustration, sketching, and two-dimensional character design? In a nutshell, it's intentionality. Purpose is everything in life, as it is in most things. As a result, even superficial similarities can be misleading. The same thing occurs in the field of design, which is rife with subgroups and classifications. We humans are an odd bunch.

The first 2D character art dates from the early 1900s. Winsor McCay, an American cartoonist and animator, was the first to develop a 2D character, Gertie the Dinosaur, who featured in an eponymous picture. McCay's pioneering spirit, however, had previously produced two short animated pictures, Little Nemo and How a Mosquito Operates.

What distinguishes these two from Gertie? As I already stated, intentionality. Gertie the Dinosaur is largely considered as the inspiration for the subsequent animation boom. In some ways, it's the first time someone set out to build a character with a personality and an identity in a genre that's still in its infancy.

Of course, as time passed, 2D character art grew increasingly popular in cartoons. As we all know, the dam burst when Walt Disney released Steamboat Willie. Then all bets were off, and it was time to shine the spotlight.

2d character art in polydin

2D character art is essential in many creative undertakings, such as video games, animation, comic books, and advertising. 2D characters that are well-designed may attract the audience's attention, convey a variety of emotions and expressions, and give depth and personality to the project. Polydin Studio is a professional game art studio specializing in 2D character art for a variety of projects. Polydin studio has the expertise to develop characters that are adapted to the project's objectives and aims thanks to a team of skilled artists. Our artists create every character in your projects a memorable experience for your audience by focusing on quality, attention to detail, and meeting deadlines.

6 common tools that 2D character artists use

There are a variety of tools, both digital and analogue, that character designers can use in their work, depending on the nature of their project. Skilled, successful artists take the time to study, train and become proficient across a wide range of technologies and programs. Some common tools these professionals use include:

Adobe Creative Cloud

Character designers use a number of popular Adobe products. Adobe Photoshop, for instance, is a widely used image editing software for touching up and refining digital images. Adobe Animate, a successor to Adobe Flash, is a simple tool for creating interactive animations and animated website elements. Adobe Character Animator allows you to animate still images and can create real-time animations that mimic your real-life movements and voice using your webcam and audio.

Toon Boom

Toon Boom has a number of software packages that are popular with professional 2D animators. Harmony 21 is a comprehensive solution that many animators of well-known TV shows use to create high-quality characters throughout a project's production cycle. It allows you to create artwork and add animation elements, audio and special effects all within the same software without requiring you to export your work to different tools. You can even scan and manipulate hand-drawn animations. The software functions on all major computer operating systems and has robust support options, including community forums.

TVPaint

TVPaint is a hand-drawn animation software tool that several animated feature film productions have used, allowing artists to create animations that look like paper-drawn characters more quickly and efficiently than traditional animation techniques. This software launched in 1991 and has become an industry-standard tool, receiving support and updates with new, improved features for users. This software is also available for all major operating systems and requires a one-off licence purchase.

Pencil 2D

Pencil 2D is a free, open-source 2D animation software that's available on all large operating systems. It's ideal for traditional pen and ink type animations and has a more minimalistic, easy-to-use interface. Artists who use Pencil 2D benefit from its pre-set animations and effects and can sketch ink and paint simultaneously and export their work in a number of formats. Because the software is open source, the user community can access the source code to continually support and update it.

CelAction2D

CelAction2D is a relatively simple-to-use software that has many features and tools that are popular with TV, film and commercial animators. You can import designs from other software applications and even scan hand-drawn characters to animate. The software splits design and animation functionality, and animators can create skeletons and manipulate them to simulate a number of moves. You can rig character designs to these skeletons and create high-quality animations quickly and effectively.

[wwwdenise]

‘How Do You Live’

The 96th Academy Awards saw Hayao Miyazaki's new film "What Kind of Life Do You Want to Live?" win the award for Best Animated Feature Film. This is the second time Miyazaki has won the Oscar for Best Animated Feature Film, after winning in 2003 for A Thousand and One. I'm honestly looking forward to it, so I thought I'd share the news. Although everyone probably already knows about it. hh

Launched in 2017, the film is based on the 1937 novel of the same name by Genzaburo Yoshino. The book tells the story of a 15-year-old boy, "Copernicus Jr.", inspired and guided by his uncle, a university graduate, explores topics such as friendship, wealth, poverty, discrimination, bullying, people and society, and courage, to clarify "the value of what makes us human".

Still hand-painted, this production of What Kind of Life Do You Want to Live is Ghibli's largest production to date, with 60 painters working simultaneously.

I would like to share an artist who has held the position of background artist in many of Ghibli's works, Kazuo Oka, who is known to be the royal scene painter of Hayao Miyazaki's old grandpa. Since the film hasn't been released yet, I can't find any proof that he was involved in the production of the film What Kind of Life Do You Want to Live? It's said that you can only come up with one minute of film a month so this film is really precious.

Especially in the stage of rapid development of AI drawing now, the existence of old grandpa Hayao Miyazaki and his works seems to be a constant wake-up call for me not to forget the most basic and primitive way of expression. About male deer, Kazuo is a painter I have always liked very much and participated in "Totoro", "magical girl otaku rush", "the fairy tale of the Years", "a thousand and a Thousand Searches" and so on background paintings. Hayao Miyazaki once commented, "His work looks careful and serious, but when you look close, it's rough. He uses only one light stroke, and I think that's what makes his work so marvellous."

There is a Chinese saying that means that when you see a person's writing, you can learn about that person's character or can imagine their temperament. I think this saying is also very suitable to apply to paintings. hh

I guess the male deer and male must be a very quiet person, carefully observing the subtle changes around here. Perhaps he had very few words, perhaps he loved to laugh. It is as if there is a soul in each of his paintings they are either clear or silent. The paintings are all landscapes, just landscapes without a single distraction. So a pure idea is so clean. I can't find beautiful and touching words to describe his works. It's like taking a sip of sweet tea.

He has a unique way of filtering light, even the white snowy landscape seems like a warm afternoon, and the use of warm colours is also something that fascinates me. What is his understanding of colour?

There has been a constant topic of discussion about whether AI painting can replace the original artist. Every time I think about it, after seeing his work, my answer is no way. Maybe they have similar styles and colour relationships, but the feeling of handwork and painting is not there. A sensible design, a sense of realism in the conception, the colours about your mood. These are things that a machine doesn't have, and a machine is like a baby that needs to be fed and nourished by you. So don't worry too much. Use AI as a tool to increase our productivity, in more intensive hand drawing practice. Produce great work.

References：

(Longport App). [Online] Available at: https://longportapp.com/en/news/109912123 (Accessed: 23 March 2024).

Quality Culture. (2022年8月27日). [Video]. [Online] Available at: https://www.youtube.com/watch?v=UG6XzB_J3IA (Accessed: 23 March 2024).

Variety. (2022). Studio Ghibli’s Hayao Miyazaki Teases His Final Film, ‘How Do You Live?’. [Online] Available at: https://variety.com/2022/film/news/studio-ghibli-hayao-miyazaki-how-do-you-live-new-film-1235459163/ (Accessed: 23 March 2024).

"The Boy and the Heron". In Wikipedia. [Online] Available at: https://en.wikipedia.org/wiki/The_Boy_and_the_Heron (Accessed: 23 March 2024).

Oscars. (2024.3.11). Best Animated Feature Film | 'The Boy and the Heron' | Oscars 2024 Press Room Speech. [Video]. [Online] Available at: https://www.youtube.com/watch?v=hvAe9rWaSpY (Accessed: 23 March 2024).

Wikipedia contributors. Kazuo Oga. In Wikipedia. [Online] Available at: https://en.wikipedia.org/wiki/Kazuo_Oga (Accessed: 23 March 2024).

[theblackphoenixwritings]

Author's note: This short story is very important to me. It is not often that I devote myself to writing about Venice, because I feel inadequate about it. That time in the life of Marius and Armand are one of the most beautiful and profound things I have ever read. Even today, after so many years those pages shine in my soul.

DAY 5

Carnival in the Golden Era.

There was a great bustle of people, in the palace, Vincenzo with his good old patience as he tried to be there for everyone. The pupils were eager and cheerful, there was an atmosphere of anticipation and celebration. That evening would take place, the ball, which concluded the Carnival period. The palace was trepidatious and everyone was busy arranging embellishments, and preparing costumes and masks, everything was red and gold, even the Doge's masquerade ball, feared comparison with the palace, of Master Marius de Romanus, during the Venetian Carnival. The pupils were all intent on trying on costumes, and enjoyed chasing each other, wearing colorful masks, some recalling wild animals, others elegant and sinuous reminded of mysterious characters, others represented monsters and demons or mythological creatures, others seraphic creatures.The Master had never stopped the creativity and flair of his pupils, never denied them anything on that unique day of the year, when all of them, even the most mature ones, felt like a little child again. Vincenzo was trying hard to maintain a modicum of calm in all that hubbub, but in the end he too gave in, to the enthusiasm of the boys, who paraded before him, each showing a different color and a different character. Each of them had created with what Vincenzo had brought them, at the Master's order, masks and costume, helping each other and laughing at their failures, as they marveled when older pupils showed their beautiful costumes, and then it was a chorus of pleading voices, of the younger ones asking for help in arranging and embellishing their, costumes. Vincenzo loved those good and polite boys, and it was a pleasure for him to be able to help them in the absence of the Master, even though he also had to follow the palace preparations, Vincenzo never left the large room next to the painting studio, where the boys were creating those wonderful masks.He was not the Maestro, but the boys valued both his compliments and his advice with attention and joy. After all that time beside Maestro de Romanus, Vincenzo felt he had grasped a little, of the immensity that possessed that man, so special and with a heart of gold. He would never have thought that he could spend the last years of his life immersed in that happiness, in the warmth of a family, in the cheerful laughter of the boys, and in the serene nights spent next to the Maestro talking, as if that had always been his place.Maestro de Romanus was a blessing to those abandoned boys with no future, but he had also been a blessing to that tired old man, who was Vincenzo, and who now had again the heart of a twenty-year-old. Among all that joy Vincenzo, he put some time to notice that distant from the others, in a corner, silent and thoughtful, was Amadeo.Vincenzo was immediately disturbed, it was strange to see Amadeo away from Riccardo or Albino, if for that matter it was strange to see him on the sidelines, unless the Master was present, Amadeo never left the company of his brothers, in fact he was the vital center of it. Had he quarreled with Riccardo? Had there been some misunderstanding between him Riccardo and Albino? And how had it happened that Vincenzo had not realized it? It was his duty and responsibility to care for the harmony of the boys and among them. The Master, he had always advised Vincenzo to leave the palace affairs alone if necessary, but never in any way, never the boys. Vincenzo felt as if he had failed the Master's expectations, and he hated himself for that, now however, the only thing he could do to make up for it was to care for Amadeo.

Vincenzo approached Amadeo who looked sullen and had a determined frown, his hands were dirty, as if he had been working on something, and around him were pieces of wood and other junk that Vincenzo in the moment could not identify, " Amadeo, is everything okay? Do you need help?" Amadeo brought his brown eyes to Vincenzo and seemed very angry, but held himself back, " No one can help me with what I want to prepare as a costume, but I want to succeed for the Master, I know he would be proud and appreciate it so much… I want to do it for him…" and at that point Amadeo's eyes became proud and determined, a living fire. Vincenzo sat down next to him, " What do you want to build that is so ambitious that not even the greatest can help you?" asked Vincenzo almost amused, his heart clenched at Amadeo's words, but the boy's grit, made him smile, brought back to his mind how much he had struggled, Amadeo, and that he had done it more for the love that bound him to the Master than for his own life." I want angel wings! Big ones, and with feathers! I want a cape, and I want a midnight blue dress, and something red too, and-and something gold, a halo!" Vincenzo widened his eyes in disbelief. Angel wings? Big and made of feathers? Amadeo stared at him with hopeful eyes, Vincenzo sighed, and immediately an idea, which he was almost sure he would regret, prompted him to get up "Wait here, I'll be right back, I'll leave the command of the preparations to Jacopo and come back to you." Amadeo smiled contentedly and threw himself at Vincenzo's waist, who laughed in turn before walking away. He returned shortly thereafter, took Amadeo with him, and they set off outside the palace. Amadeo followed Vincenzo curiously, shortly after, they entered a store, Vincenzo greeted the big man friendly as he came towards them. Amadeo and Vincenzo spent the day in the mask maker's workshop, the big man turned out to be a great friend of Vincenzo, friendly and easygoing, he drew a sketch of Amadeo's idea, which left the boy ecstatic and happy. After the sketch the day was long and full of work, the master craftsman left the other work in the hands of his apprentices and devoted himself to Amadeo's costume, he had a great friendship for Vincenzo, and great respect and a debt to the Master de Romanus.

Still, the craftsman wanted Amadeo to participate in the making of the costume, and Vincenzo was not exempt from helping out either. Together they managed to finish the costume as the first rosy shadows touched the waters of the canals. Now the real problem was to bring to the palace a real angel by Botticelli, with golden wings shaded in blue and red, large, fluffy and made of real feathers, the halo shining with stars crowned the head of auburn hair, soft velvets in bright colors made up the robes, shaded in gold, even the belt was woven in gold, and bore on the bottom golden tassels intertwined with stars that recalled the halo. The whole was adorned with a crimson cloak held over the shoulders by a golden chain. Vincenzo resigned himself to having to fight with stares and comments, but in the end Amadeo's full and happy smile was the most important thing. Or almost. Actually the most important thing, and also the most poignant, was to see the Master, moving deeply, so much so that Vincenzo would never forget the expression in those blue eyes, or the joy that shone on both the Master's and Amadeo's faces, when a little awkward because of the heaviness of the costume, he ran up to him, throwing his arms around his neck, clutching, Amadeo rested his forehead against the Master's, who kissed it softly, and then rubbed it against his own. And Vincenzo felt that he finally understood what happiness was.

[tganalostarosciak]

Other artists with unusual style. Part 1

Malika Favre:

Malika Favre is a French illustrator and graphic artist based in Barcelona. Her style of works could be characterized by pure minimalism within Pop art and Op art, where it sometimes described as 'Pop Art meets Op Art'.

How does Malika Favre create her art?

She does this through experimenting with metaphors, positive and negative space, shadows, layers and many other key tools. Photography is a significant tool in this initial stage, helping Favre to extract colours, patterns and graphic elements.

What software does Malika Favre use?

This is what Malika Favre's answer for this question: ''I've stopped sketching by hand. I now sketch with Illustrator, sometimes in black and white, other times in color, to draft the composition and idea. The most important part of the process is to generate ideas. Everyone has their own way and there aren't any rules.''

What are some interesting facts about Malika Favre?

Favre was born with a severe case of strabismus, or crossed eyes. It was surgically corrected when she was very young, but she still sees perspective differently from the rest of us. “I can't see 3-D, for example, so if you give me 3-D glasses, I see blurry.

My opinions for this artist as her style is showing off, negative spaces mixed with positive spaces as she uses such bright and bold colours as well to show the complex to show the colours compared very well like white mixed with red and different shades of blues which is very well done for Malika.

╰── ⋅ ⋅ ── ✩ ── ⋅ ⋅──╯

Jack Teagle:

Jack is a freelance illustrator based in South West England. He has worked in a large variety of fields, including editorial, character design, storyboarding, poster/ product/ textile design, and worked as a cartoonist for Front magazine from 2010-2014. He wrote tutorials and worked as a columnist for Digital Artist Magazine Jack paints in his free time, and has exhibited his work worldwide. He is also a prolific self publisher, with his comics being translated into Polish, and Russian.

Jack Teagle comes from a town where more than 250 people applied for a single job at 'Pound Land'. Jack decided to become an illustrator instead. Jack graduated with an illustration degree from the university of Plymouth in 2009 and now works as an illustrator, comic artist and painter.

Selected Clients include:

Time to Change, VW, Adobe, Netflix, Apple, Universal Music, The Vlog Brothers, Iam8bit, Cartoon Network, Minecraft, Landyachtz, Converse, McSweeney's, Ohh Deer, Nick Jr, Bloomberg Business Week, FHM, Front Magazine, Evisu, The Economist, YCN, Research World Magazine, Anorak Magazine, Nobrow Press, Intercity Design, Havana Club Rum, ASP Industries, Daddy Donkey Mexican Grill, Illustrated Mind, Nexus Productions, Texas Observer, The Portland Mercury, Digital Artist Magazine, Future Publishing

Solo Exhibitions:

That's Life!- The R.A.G.E, Dublin, 2011

Zona De Combate- Dama Aflita Gallery, Porto, 2010 Dungeons and Desktops- Nobrow Shop and Gallery, London, 2010

My opinions for this artist, that his style is very cartoony as his own art works has lot of colours which is mixed with dullness, brightness and pastel-ish colours in his art works. I think he making lot of positive shapes on his art works with cartoony style.

╰── ⋅ ⋅ ── ✩ ── ⋅ ⋅──╯

Dan Hipp

Dan Hipp was born on 11 September 1978 in Fresno, California, USA. Dan is an art director and writer, known for Teen Titans GO! To the Movies (2018), Marvel Snap (2022) and Manga Motion Comics (2009).

Dan Hipp is a cartoon and comic book artist well known for his work with Warner Media, specifically DC Comics.

Prior to working as an artist, Daniel Hipp attended Edison High School in Fresno, California. He went into further studying at the University of California in Irving. Sometime after his schooling was done, Dan got jobs with big name animation studios, including Warner Bros. Animation, Random House, DC Comics, and, most recently, Cartoon Network.

As of right now, Hipp once specialized as an art director in Teen Titans Go!. His own personal art can be seen numerous times throughout the show, as many of the pictures and signs throughout the Titans Tower are Dan's creations. In addition, many Teen Titans Go! comic book cover is the work of Hipp's hands.

My opinions for this artist, that he also creates lot of positive spaces on his art works which I think that he does this to show the more details on the works so that people can see the whole page and not specific parts and he uses lot of bright colours that he used on his arts.

[maacwanowrie]

The Evolution of VFX: From Classic Films to Modern Blockbusters

Visual Effects (VFX) have been an integral part of filmmaking for decades, contributing to the magic and spectacle that captivate audiences on the big screen. From the early days of classic films to the modern era of blockbuster productions, the evolution of VFX has been a remarkable journey that has reshaped the cinematic landscape.

If you are an artist who wants to see your work on the big screen, a VFX courses in Pune is a great career option. You can work on high-profile projects, collaborate with top studios, and eventually climb the corporate ladder to lead teams of talented VFX artists.

The birth of VFX can be traced back to the late 19th century when pioneers like Georges Méliès experimented with practical effects and stop-motion animation in films like "A Trip to the Moon" (1902). These early endeavors laid the foundation for the creativity and innovation that would define the future of VFX. The subsequent decades saw the development of techniques like matte paintings, rear projection, and miniatures, which allowed filmmakers to create stunning visuals that transported audiences to fantastical worlds.

However, it wasn't until the late 20th century that VFX underwent a revolutionary transformation with the advent of computer-generated imagery (CGI). Films like "Tron" (1982) and "The Abyss" (1989) demonstrated the potential of using computers to generate visual effects. But it was Steven Spielberg's "Jurassic Park" (1993) that truly changed the game. The lifelike dinosaurs, created through a combination of animatronics and CGI, marked a turning point in the industry. Audiences were captivated by the realism CGI brought to the screen, and filmmakers began to realize the boundless possibilities of digital effects.

As the technology behind VFX continued to advance, the 21st century ushered in an era of blockbuster filmmaking defined by its breathtaking visuals. The "Lord of the Rings" trilogy (2001-2003) showcased the seamless integration of CGI with live-action footage, creating expansive and immersive fantasy worlds. The Marvel Cinematic Universe (MCU) further elevated VFX with its roster of larger-than-life superheroes and epic battles, culminating in unprecedented crossover events like "Avengers: Endgame" (2019).

The development of motion capture technology, used prominently in films like "Avatar" (2009) and "Planet of the Apes" (2011), enabled actors to portray digital characters with remarkable realism. This marked another milestone in VFX evolution, blurring the lines between live-action and digital performances. Additionally, advancements in simulation technology led to more convincing explosions, destruction, and fluid dynamics in action sequences.

However, the evolution of VFX wasn't without its challenges. As filmmakers increasingly relied on digital effects, concerns arose about the overreliance on CGI and its potential to diminish practical filmmaking techniques. Filmmakers like Christopher Nolan emphasized the importance of preserving the tactile and tangible aspects of filmmaking, leading to a resurgence of interest in practical effects alongside CGI.

The evolution of VFX is a testament to the synergy between creativity and technology. Filmmakers and VFX artists continuously push the boundaries of what is possible, crafting visuals that are increasingly indistinguishable from reality. The integration of VFX into storytelling has evolved beyond simply showcasing spectacle; it has become a means of enhancing emotional impact and immersing audiences in the narrative.

Looking ahead, the future of VFX holds even more exciting prospects. As AI and machine learning continue to develop, they could revolutionize how VFX are created and integrated. Additionally, the rise of virtual production techniques, as seen in "The Mandalorian" series, has the potential to change the way films are made, allowing filmmakers to visualize and capture scenes in real-time digital environments.

In conclusion, the evolution of VFX from classic films to modern blockbusters is a testament to human ingenuity, technological progress, and the power of imagination. From the early days of practical effects to the digital wonders of today's cinema, VFX have reshaped the way stories are told and experienced on the silver screen. As technology continues to advance, the future promises even more breathtaking visual spectacles that will continue to astonish and inspire audiences around the world.

[denimbex1986]

'Cillian Murphy becomes Doctor Doom in striking Avengers: Secret Wars fan art. Murphy is having a great year with the success of his partnership with director Christopher Nolan in Oppenheimer. The duo previously worked together in other projects, including Murphy playing Batman villain Scarecrow in Nolan's The Dark Knight trilogy. Now, a fan has imagined Murphy returning to the superhero world but making the jump from DC to Marvel.

On Instagram, digital artist @marvels.wolverine shared their depiction of what Murphy could look like as Doctor Doom in Marvel Studios' Avengers: Secret Wars.

The fan art sees Murphy dressed up in a version of Doom's classic suit, with the hood on, as he is about to put on Doctor Doom's iconic mask. The touch of giving a glow to Murphy's eye makes the whole thing more sinister, painting an exciting picture of the Oppenheimer actor as Doctor Doom in Avengers: Secret Wars.

Could Doctor Doom Be Avengers: Secret Wars’ Main Villain?

After a series of Marvel movie delays due to the Writers Guild of America and SAG-AFTRA strikes, Avengers: Secret Wars is now scheduled to debut in 2027. Two years before the Multiverse Saga's finale arrives, the Marvel Cinematic Universe will see the debut of the Fantastic Four. Marvel's First Family is rumored to fight Galactus in Fantastic Four; however, the movie could very well see the debut of Doctor Doom, setting up the character to have a bigger role in another project.

That other project could turn out to be Avengers: Secret Wars. So far, the Multiverse Saga has been focused on another villain, Jonathan Majors' Kang The Conqueror. After Kang seemingly died at the end of Ant-Man and the Wasp: Quantumania, the movie's post-credits scenes teased that the multiversal team of Kang variants, the Council of Kangs, will be the main foes that Earth's Mightiest Heroes face in 2026's Avengers: The Kang Dynasty.

A few ways explain how Doctor Doom could take Kang's place as Avengers: Secret Wars' main villain. The main Kang can't really be dead, so the character could possibly return in Avengers: The Kang Dynasty, which carries his name, and conclude his arc, setting up a new foe, Doom, to face the Avengers next. Alternately, Doom, who was the main villain of Marvel Comics' 2015 Secret Wars event, could kill Kang like he killed Thanos in the comics, becoming the Multiverse Saga's final threat. If Doom were to become Avengers: Secret Wars' villain, then Murphy would be an inspired choice for the role.'

[7andaswitch-blade]

Guardians 3 was good, a little sappy, but I'm pretty sure that was the last Guardians movie so it's to be expected. Chukwudi Iwuji was great as The High Evolutionary, showed Jonathan Majors how it should be done. Still, would it have killed them to paint him red? I don't think Marvel Studios likes painting black people other colors for some reason. Asians either, I don't think I've seen any tinted Asians yet. In any case, I hope they bring The High Evolutionary back because he was done well and is way too powerful to be defeated in a single movie arc.

I found it odd that they chose to use The High Evolutionary as Rocket's backstory, but that does make sense. It could have just as easily been Drax, I've always hoped they'd show that Drax was a human but I guess not (I just want to see Dave Bautista play sax).

Adam Warlock was okay, a little bit silly. His inclusion opens some nice opportunities for Marvel to completely ignore in favor of complete throwaway stories. They're waiting too long to bring in characters like Nova and Blastaar (who could have easily been introduced in this movie). They could do the Annihilation Wave if they were smart.

[newshirtonlines-blog]

1989 TS Taylor Swft Cute Girl Vector Painting shirt

In Marvel’s 1989 TS Taylor Swft Cute Girl Vector Painting shirt . latest film Thor: Love and Thunder, the titular Asgardian and his friends travel to Omnipotient City to rally the universe’s gods and deities against the fearsome Gorr the God Butcher. The MCU’s Omnipotent City is a grand palace, presided over by Russell Crowe’s Zeus, where gods from all cultures convene. Unfortunately for Thor, these gods were decidedly uninterested in helping his cause and eventually a fight breaks out and the heroes are forced to make a quick exit. But it’s during this key sequence in the film that several different worlds’ gods and goddesses are seen, including those of the Kronans and the Ancient Greeks. The Wakandan goddess Bastet was initially set to be in this scene as well, and was even glimpsed in a publicity photo. However, the appearance ultimately ended up getting cut.1989 TS Taylor Swft Cute Girl Vector Painting shirt, hoodie, sweater, longsleeve and ladies t-shirt

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Classic Men's A new piece of concept art for Thor: Love and Thunder, posted to Instagram by Jonay Bacallado shows a new look at how Bastet was going to appear during the movie’s Omnipotent City scenes, before the character’s appearance got removed 1989 TS Taylor Swft Cute Girl Vector Painting shirt . Bastet shines in all her regal-looking glory, with a long black dress that drapes to the floor. It is indeed a shame that the inclusion of the character was left on the cutting room floor. So much talent, creativity, effort and time go into bringing these characters to life, and seeing their hard work up there on the big screen must be a rewarding experience for all of those who worked on the movie. So, something being eliminated from the finished film like that must prove a little frustrating. With the way the MCU operates, it’s quite likely that Bastet could still appear somewhere else in another project. Black Panther: Wakanda Forever, perhaps? Maybe the character could appear in a flashback or dream seqence. Or maybe she could even have a precense on the Wakandan Ancestral plane, should one of the characters pay it a visit. Neverhteless, even though it seems like Marvel Studios’ Thor: Love and Thunder just released in theaters, the film is already gearing up for its Disney+ debut, which will occur on September 8, otherwise known as Disney+ day, where the streamer is set to unveil a myriad of new details on upcoming projects. You Can See More Product: https://newshirtonline.com/product-category/trending/ Read the full article