#i would be animating rigs. which means very little drawing

[fisheito]

Do you... do you... draw professionally. Because you're just so good and you are inspiring me to keep trying! Manifest those mental images!! Learn to draw yakumo getting railed, and other Normal reasons to revitalize one's previous interest in drawing

u think i could draw professionally??! 😲🥺🥺 i am so flatter..... i think ur draws are so scrorchy (very enjoyable] so if i can help u have inspire 😭😭😭😭😭

omfg if u learn to draw yakumo getting railed i'll probably explode/implode/evaporate/change states of matter in a sudden, violent way

bc. i cannot do it. fun fact: when i read y'all's collab fic of dante's sex ed i felt the urge to draw 3 specific panels for it. but as i put the stylus to the screen, i realised that SEVERAL ppl would have to be naked for the drawings to be storycally accurate. so even tho they were comedy panels, my hand... it betrayed me. it was like trying to draw porn but i blink and suddenly everyone's in 14 levels of victorian extra-garment. F...H?OISTED BY MY OWN UNHORNY

so yes. pls. i would love to see more of your contributions. the very special contributions that only u can make 😂

[rexscanonwife]

Check it out, I found some ref sheets for one of my favorite Star Wars: The Clone Wars characters!! 😊🫶

It was so much fun to work on this! I've been meaning to update Brea's ref officially for a while now, and for some reason I thought it'd be fun to imitate the style of the clone wars character sheets. I think it turned out pretty good, and I'll probably draw some more show-accurate style stuff soon! (taglist + some detail ramblings under the cut)

So, one of the neat things I did in this ref sheet was sort of break up the segments for Brea's hair! Both to help future artists I may commission get a better understanding of it, and to have an idea of how it might be 'rigged' for animation, inspired by a note I saw on Anakin's season 7 ref sheets.

The progression of her outfits is something I've thought about a lot too, and I think it reflects the animation style over the years and in some cases her personality!

Seasons 1-2 had very limited animation, so her outfit isn't very complicated and doesn't have a ton of moving parts. Her iconic waist drapery is missing so they wouldn't have to animate it, and her outfit is...visibly kinda slutty as you can see 😂 given what outfit they put Aayla Secura in, and that Ahsoka's stupid little season 1 tube top was George Lucas's input, I wouldn't put it past them to give Brea the same treatment.

Seasons 3-6 see her iconic outfit I've drawn her in the most! Her waist fabric is more for show than anything else, though it comes in handy as a blanket or a towel in a pinch. Her affinity for gold accents is most apparent in this outfit, as well.

In season 7, I think they would wanna show off just how far the animation has improved by giving her an even more complex outfit! I thought the two-tone top looked nice, as well as the cutouts on the sides of her abdomen. She also has her midriff covered for the first time, which reflects her emotional growth and maturity over the years in my mind. Her gold accents are slightly more subdued, but they're still present, she keeps a boob window and lack of sleeves to show that it's still the same Brea at heart!

Taglist♡: @me-myself-and-my-fos @tiny-cloud-of-flowers @sunstar-of-the-north @dearly-beeloved @adoredbyalatus @changeling-selfship @crushes-georg @cherry-bomb-ships

@rosieaurora @rejaytionships @in-true-blue-love @tropicalgothships @little-miss-selfships @hotrodharts @cupiidzbow @frozenhi-chews

@limey-self-inserts @candyheartedchy @space-sweetheart @halsinkisser @clancyismylover

[tossawary]

I think SVSSS as a 2D cartoon would be the best moving medium for it imo.

I mean, personally, yeah, that's how I'd enjoy seeing it as well! My ideal slightly pretentiously artsy SVSSS screen adaptation would probably look only a little more detailed than linograph prints (2D or shaded 3D?) (someone hit me up in like two weeks to draw an example of what I mean, if I don't remember on my own, I don't have access to art stuff right now), very stylized and vibrantly colorful, because that's one of the art styles that I particularly enjoy.

I'm not a personally a fan of the 3D SVSSS show because I find the characters a little too doll-like and same-facey for my tastes? It's fine! It works! It's serviceable! It's just all, backgrounds included, a little... safe? I tend to like over-the-top bright colors and intricate details and impractically weird shapes and yet also coherent world production design in my fantasy, which is a lot to demand of any production, perhaps especially with animation productions, which are always squeezed for time and money.

(EDIT: I know the SVSSS show was under heavy constraints and the results are impressive considering their resources; it doesn't change the fact that I just don't like the art style and nevertheless find the results underwhelming. I don't like a lot of "realistic" modeling / rendering styles, not just "anime" ones, even if they are extremely technically impressive. Believe me when I say that I know the vast majority of the entertainment industry is overworked and underpaid and creatively restrained.)

Slightly tangential general note: I don't think 2D is inherently superior to 3D (EDIT: NOT trying to imply asker is saying this, just having some general thoughts), especially because, with the realities of production, each have their advantages. 2D has a lot of stylistic advantages still, but 3D shaders are catching up and doing some incredible things these days! More advanced puppet controls and particle effects and such are doing some beautiful things for 2D shows as well these days. A lot of stuff has been subtly mixed media as soon as 3D became possible. It is potentially possible (note: not saying any studio would actually greenlight this) to do an equally slightly weird and artistically stunning 3D SVSSS show, given the freedom to work. (Good boarding and writing is also sooooo important in both mediums, obviously, it's not just about the art design. You can get away with incredibly limited animation with good boarding, writing, and art design.)

Another slightly tangential ramble: both 2D and 3D have the potential for stiff animation and poor character acting, which also comes down to production limits and animator skills? (I often think of character animators as a type of actor!) There are a lot of 2D shows that I don't really like because I find the animation incredibly stiff, both puppet and handdrawn (there's great 2D puppet stuff out there these days), which pretty much always comes down to production limits (deadlines and budget and software, saving up their animation for the coolest scenes). One of my favorite things about Studio Ghibli films (which as features get a lot more space to focus on art compared to the demands and restraint of television) has always been the squash and stretch in otherwise relatively realistic action, making things like hugs look SO nice for example. But 3D stuff is getting better at that these days! The ways characters slumped into each other in "Nimona" for example was great. And it's just fascinating to look at the elasticity / stylized sculpt of expressions in "Puss in Boots: The Last Wish" compared to the technical limits of the models / rigs in "Shrek" or "Shrek 2".

Adding these side notes because I want to be clear about my respect for both 2D and 3D artistically! A lot of video games are doing cool stuff in 3D that looks very close to 2D with stylized shaders, which you can sometimes spot by the large or small rotations in character action / acting, which is difficult (and therefore often expensive) to do in 2D with all of those extra drawings / angle poses. Also, I think the current push towards funky shaders in 3D is so cool and it's hard not to gush about them!!!

[bvannn]

Weekly Update April 12, 2024

This week was awful. I’ve been bogged down with homework, surgery sickness briefly returned, my congenial illness was flaring up the worst I’ve seen in since my 2022 surgery, and to top it all off I still have 3 lab reports and a paper and presentation to do this weekend. It’s fine but it does mean I am a bit limited with my art stuff. I’m still doing what I can though.

Comic progress: page 1 is completely done, page 2 needs some backgrounds and lettering and it’s good to go. I probably could do those tonight and maybe if my mood improves I will but for now I’m taking it slowly. The third page will probably also be pretty quick, as from what I remember it didn’t have a lot of panels. Progress is going as fast as I can handle with my situation. I’d like to think it’ll pick up once I graduate but I’m anticipating I’ll need a break. When I graduated high school I slept for 25 hours straight (unless my clocks were wrong or I misinterpreted, which is possible), I anticipate doing the same again for Uni. After that I’m hoping I’ll pick up the pace.

Animation: my limited time has put the animation in a weird spot because I don’t have enough time to draw storyboards, but I have had time in waiting rooms and waiting for things to cook in lab, and I’ve been writing out a plan for what shots I want where and when, so I’m still making progress. I just need there to be a span of time where I have the free time and my body is in a state where I can draw well enough for the storyboards. Admittedly I’m really bad at storyboards and everything gets cleaned up with animation after, but I haven’t decided yet if there’s enough shots with the type of movement to justify making a puppet rig. I anticipate one for a profile view but am unsure if it needs to be a complete rig or if I’ll need the other angles. Again I’m not as worried about it right now, since that’ll be dictated by the storyboards.

Other songs: In addition to the cover I’m sitting on right now I’m also close to done with another, plus almost done with that instrumental medley. Also got more lyric work done for the two originals I’ve been sitting on. Last night I tried some piano to try to relax, and to practice melody writing. On a good night I can write a single melody line in 20 minutes, which I think is pretty good, and now I have a couple more I’m sitting on, which I’ll likely turn into OC themes, but only after everything else is finished. I’ll try to time myself on the rest of the music making process so I can be more consistent, but again I’m waiting on free time.

The other thing I did this week was writing. A bit of OC story writing, and a bit of TTRPG writing. I’m still a little stuck with the third chapter but I got through the worst of it, just need to come up with some thematic encounters and on to chapters 4 and 5. I’ve been back on a low level of epithet erased Brainrot since I’m finally trying to read Prison of Plastic, so I’m hoping I can channel that into writing, but it’s mostly been theorycrafting about the future of the OG series. The more I think about it the more sure I am that Sylvie is going to join Bliss Ocean and be a villain. Anyway I’m writing that campaign, good chance it’s a ways off yet but it’ll presumably be done during a time where I have more free time anyway, so I’ll just write it up proper then. Other writing thing I’d want to put more effort into would be a pitch comic for my secondary OC story since people really seem to be interested in those characters, but outlining the overall story will come naturally and from there I’ll find the most natural starting point. I’m not thinking too hard, I’m very bad at thinking.

Next week my objective is going to be to survive. My body is having a lot of problems and schoolwork is piling up (two events that are probably related but it’s fine that means they’ll go away around the same time) and anything else I can do will be comic, finish second cover song, and storyboards, in that order of priority, while lower effort projects will be storyboard planning, lyric writing, and story/TTRPG writing, in that order of priority. I’ll still try to have enough small drawings to post but looks like you guys are getting tired of those so I’ll try to space them out a bit better. Thank you for being so patient, I promise it’ll be three more weeks most of this slump before I pick up and really get working again!

[sneepity-snoop-snorpity-sneep]

yeah, it does make me sad that the liveliness from the Flying Bark's style didn't carry over to this season, but it wasn't a surprise. Unless I'm mistaken, Flying Bark does hand-drawn 2D for the most part, while Wildbrain uses rigged 2D animation - it really did make sense (especially as the new studio is still getting accustomed to LMK's visual style) that there would be a jarring change in character motion this season

However, the transition was a lot smoother than I was expecting - they did a fairly good job of keeping to the very expressive facial expressions and little acting animations that's been characteristic of this show, and in most scenes the character's movements weren't as stiff as what I would have expected from a shift to rigged 2D animation, since rigged animation is generally more limited in how characters can be moved than just drawing them moving however your little heart desires

Even in the action sequences, although I think this miiiiight be down to the original storyboarding/direction for those scenes still being on about the same level as before, on a first viewing at least the animation for the most part felt loose enough that it wasn't jarring to watch (even if it was still lacking in feeling more fluid, but again, that's due to the change in anim method). I noticed though that some of the earlier action scenes were a bit janky-er than the later ones once the story was really getting towards the climax - I guess Wildbrain saved their mostest-action-animating abilities for the big scenes.

I think OP is definitely right about the lighting - I noticed that in particular was one area where they weren't matching at all - there were a few scenes where it seemed like the colors of the characters didn't match the lighting of the shot/background, which make me a little squinty until I figured out what was making it look weird.

I might feel differently about the animation on a 2nd viewing, but for the moment I'm not disappointed with this season overall, certainly not enough to get huffy at Wildbrain for. Like yeah, it was disappointing to hear the Flying Bark wasn't continuing with the series, and that the new studio was going to be one that has different pipeline which would mean different animation, BUT they did what their studio does very well for this season.

It wasn't like the truly tragic difference in quality between certain disney films and their later straight-to-video-release sequels, which I think was the sort of jump that folks were worried about (which, fair. that was so bad it was funny)

LMK Season 5 Animation Analysis

basically just me rambling about how i feel about the animation. i'm not going to talk about plot but i tagged spoilers just in case :3

First, to put it bluntly:

No, I do not like the look of season 5. The movement of the characters is regularly stiff and slow, the character proportions are odd, lines are oddly angled instead of smooth (like the monkey tails), you can tell they're still adjusting to how LMK does character lighting, and it's not as flashy and fun in my opinion. I think some of the sound design was a little weird this season, too (in EP3, Wukong busting a giant hole in the wall makes like no noise? Just seems weird to me). The space cracks are oddly... solid, if that makes sense? In season 4 they appeared much more delicate, while in this season they're, in a way, heavy? Also, this is certainly a personal irk, but the blended style for the tears? Not a fan. I could be misremembering, but Flying Bark made them crisp.

Having said that, it's not nearly as bad as I (and others, I imagine) thought it would have looked, judging from the trailer. Part of this is probably because they reused a lot of animation from previous seasons; which, by the way, isn't bad, it saves time and I'm sure it's a lifesaver while they're learning. It's just... obvious. Very obvious, especially because you can tell they did it more this season than Flying Bark did.

I've watched some clips from Carmen Sandiego because I think it's one of Wild Brain's most recent shows, and I think you can see the similarities. I didn't watch a lot, but it seems to me that characters are less expressive with their body language and more stagnant. They also don't seem to be super facially expressive to me, but like I said, I didn't watch a lot. Now, Carmen is a beautifully animated show! But it's different. And different's not bad, it's just... hard. Unsatisfying and disappointing, currently. Flying Bark's style, in my opinion, had the characters constantly moving. Whether it was a tail twitching, a position shift, a little expression in the background, they were moving. And they moved fluently and quickly. It really made the characters feel alive. I THINK it's also a different between puppet animation and frame-by-frame animation but don't quote me on that.

ANYWAY all of that is to say that yes, there are visible differences and they're upsetting. I hold LMK very near and dear to my heart as I'm sure many of us do, so as thrilled as I am to have season 5, it does hurt a bit.

HOWEVER.

Wild Brain isn't responsible for that. Flying Bark had a learning curve just in season 1 vs season 2. We have to give the new studio TIME to grow and adapt to the style. It's really unfortunate because now we have what feels like a very crudely animated season that I just know would have been better with the style we all know and love, but hopefully there will be more seasons, they'll get better, and we'll realize that this is just a blip in our hopefully long lives.

And to the neurodivergents: you are valid, we are valid. God knows I loathe change. I was really hoping the studio change was just a misunderstanding, but unfortunately it's not. LMK's visual aspect is important. If you decide to leave the show behind, that's okay! If you don't, welcome to the ship I'm trying to keep afloat!

Back to everybody now. Your decision is yours; don't let others make you feel bad about leaving or sticking with the show and most DEFINITELY do not lash out at the studio, because istg if the show gets cancelled from backlash I'll jump off a bridge (/dramatic).

Anyway idk if this is really an analysis. But it's something! Less than 4 days for the english dub, whoop whoop!

[astaroth1357]

Demigod MC Series: Athena

So. I have to deal with the virgin goddesses… By mythos, there really shouldn't ever be children of Artemis, Hestia, or Athena (yes, Athena was a virgin goddess). PJ got past that by making it canon that Annabeth and her siblings were born from cracking open Athena's skull (yes, that's also more or less the canon explanation). They gloss over it real quick but I remember, Rick. I've always remembered and that mental image has haunted me for years...

I can't, in good conscience, ignore the history around Athena's worship (call it an academic restraint) but I REFUSE to do the skull thing. So, since I make the rules here, I'm going with magic adoption. They still get magic powers, they're just more human than demigod. Cool? Cool.

Demigod MC Series: Intro, Aphrodite, Hermes, Hades, Dionysus, Demeter, Athena

Lucifer

The human that popped out of the portal seemed to have enough sense not to attack everyone in the room for a change, but even Lucifer could tell that was more of a strategic choice than for lack of ability...

Their very existence was highly unusual… and quite worrisome. He wasn't even aware Athena could have "children" of her own, but apparently she had been taking in some particularly bright humans to raise and train like her own...

Unbeknownst to him, a surprising amount of human scholars, diplomats, and generals have her to thank for their trade… and that alone should speak to the level of intrigue at play here. 

Was this an accident or Athena's attempt to plant an Olympian spy in the Devildom too…? Either way, he didn't trust them from the get go…

Look, Lucifer isn’t stupid. Athena is a goddess of Wisdom and War and war happens on more than just the battlefield… 

Since they've shown up records have been going missing, official documents keep getting misplaced, and he swears that there's some kind of bug in the student council room...!

It's infuriating watching the MC suck up to Diavolo when he's almost certain that they're running their own agenda behind the scenes! And he can't prove any of it!! They cover their tracks too well!

Lucifer has one of those corkboards covered in newspapers and string in a secret wing of the Castle - 100% dedicated to just tracking the MC's activities…. The longer they're there, the more obsessed he becomes...

He swears between Simeon, Solomon, and MC he feels like a shepherd wondering why the sheep are growling… The Devildom has never been in more danger than it is right now... Send help.

Mammon

To be honest, he kind of thought that they were just going to be Satan 2.0 but that's not really true.

They're more than just a book sponge! Though they do read, like a lot. Let’s just say from one schemer to another… Game recognizes Game.

They come up with plans and ideas soooo fast, it’s insane! Honestly, there are times where he has a new money-making plot and he just brings it to the MC first to run it over. 

Nine times out of ten, not only do they sniff out any problems but they have a solution for him in a matter of minutes! His scheme game has been on point since they’ve shown up!!

They’re also even better tutoring than Satan is, so he’s even managed to get a couple A’s for the first time in his life! Lucifer actually told him he was proud (which he secretly recorded and now uses as a ringtone much to his brother’s regret...)

So yeah, he likes them... buuut that doesn’t keep him from thinking they act a little weird sometimes... 

Mammon: *points to a unused tower close to the RAD building* Over there is the Tower of Sorrow. We use it for storage.

MC: Ah. Interesting… *starts writing in a notebook, muttering* It may need a few minor tweaks but the location is defensible...

Mammon: *stops* Ya say somethin’?

MC: *looks back up* Nope! Say, you’ve been to the Castle a lot haven’t you? Do you know any good ways in?

Mammon: Uhm… Why do ya want to know that…? *starts looking around for Lucifer*

MC: In case of emergencies. I like being prepared. 🙂

Mammon: Look, I don’t know what Lucifer might’a told ya…

MC: I’ll pay you a thousand Grimm for it.

Mammon: Well shit, ya want those maps with or without color?

... Yeeeah, that’s pretty weird… But it’s probably fine. I mean, as long as they keep giving him money, who’s he to complain? 🤷‍♀️

Leviathan

Also thought that they’d be a lot more like Satan but was pleasantly surprised that they were into more than books.

What else did they like exactly? Military strategy!!

It’s been a looong time since he’s been able to talk to someone who’s actually interested in all the battles he’s fought, both in the Celestial Realm and the Devildom, and their curiosity is kind of flattering...! Not a lot of people take his strategic prowess all that seriously anymore...

Plus, they are the BEST partner to have any turn-based strategy game. Hands down. He once got stuck on a level of D-COM for weeks until the MC walked in and mopped the floor with the AI!! They have a serious head for probability and tactics.

The House once made the mistake of letting these two be on the same team during a Hell Game and they absolutely demolished the competition. Mammon didn’t even get a single shot off before half his team was lost to a rigged paint grenade… It took a whole day to clean up… 

However, Levi’s also noticed some odd things about the human… He likes that they’re interested in his past but maybe they’re a little… too interested?

Levi: -and that’s how we defeated the Four Horsemen before they escaped from Purgatory. 

MC: Wow, Levi that’s seriously impressive!! *furiously scribbling on a notebook*

Levi: Well t-thanks… 😅 But, uhm... are you writing that down…?

MC: Hm? Oh no, just doodling. *they lift up the notebook to show a bunch of cute little sketches on the page… and not the magic-based invisible ink all over them…*

Levi: Oh you draw too? Can you do fanart???

MC: Eh, sometimes. But say Levi, can you tell me about your naval ranks again? I’m still really curious… *gets the pen ready again with a smile*

Satan

Oh, it's been a long game of cat-and-mouse between these two… and unfortunately, it’s been pretty addicting too.

He honestly had every intention of tricking the human into making a huge mess do he could bother Lucifer, but at every turn they proved just a hair too clever for him...

He once gave them a cursed book to “lend” to Lucifer, but they saw through it the moment they touched it and lifted the spell before handing it over.

He rigged a podium to spray glitter during one of Lucifer's speeches but the MC disconnected the trigger mic before he even got on stage. It was pretty dang frustrating...

At one point he got so desperate that, just as a test, he tried to trap them in the House's Music Room. Fortunately for them, it only took a few minutes to work out an escape. They even passed by him in the hallway with a wink!

It's confounding! It's infuriating!! 

...and it's so damn sexy... He should be furious but he’s just in awe!!

Add on that they know their art, literature, and multiple different crafts thanks to the tutelage of their adopted mother and that’s it. He’s finished. This boy is in love.

Truthfully though, a part of him is 90% sure that they’re also gathering state secrets… Like, they’re watching Barbs and Diavolo far too close for comfort - but he just can't bring himself to care. 🤷‍♀️

The MC could walk into his room one day and say, "Hey, do you want to help overthrow the monarchy with me?" and he dreads it because deep down he knows that he wouldn’t say no…

Take some notes, kids. Some bad influences get you to drink or do drugs. Others pull you into a centuries long conspiracy to destabilize and topple rival realms from within… But he has fallen for their brain hard. Devil help them all…

Asmodeus 

They’re pretty clever, he’ll give them that, but uh… Are they a little off to anybody else?

Asmo is a charmer by birthright so he has a bit of nose for when someone’s just a liiittttle too nice… Not much of a nose mind you, because he can be thrown off by compliments himself, but enough to think that the MC might be a little too… “kind” for their own good...

First off, who wants to spend that much time with Levi?? They don’t even seem that interested in anime! They just keeping asking him for old war stories…

Then all the sucking up they do to Diavolo and Barbatos? Look, he gets it. Diavolo is a delicious piece of man-hunk and his butler could give him a lesson or two in sweet-talk (and he has), but they seem to be just a little too… nosy.

Of course, Asmo’s suspicions disappear pretty quickly after they start to spoil him with spa nights and beauty secrets they picked up from “casual research” into the subject.

And you know, get a little Demonus in Asmo and start massaging his back? Oh, sweetie he’ll sing like a bird!! … with gossip. Singing with gossip.

Asmo: So I’ve heard that Lucifer has been spending more time at RAD than usual… His whole club is talking about it, they think he’s meeting with some witch!

MC: Hm, is that so? *works on a knot near his shoulder blades* What do you think?

Asmo: Ooh~! Right there, MC! *purrs and lays his head on his arms* Well come on, this is Lucifer we’re talking about! I’m sure he’s just working.

Asmo: Hmm... though come to think of it, I think I heard him asking Barbatos for the spare keys to the Tower of Sorrow…

MC: Oh really? Huh. *works out the knot and gets up* I just remembered that I left some papers with Satan... I’ll be right back.

Asmo: You’re going already??

MC: *waves him off quickly* I’ll be right back, Asmo. *hurries out the door to do totally on-the-up-and-up things… surely*

Beelzebub 

Honestly he doesn't like this one… But not for the reasons you'd expect.

He agrees with everyone else that they seem a little shady, but Solomon and Simeon are too so it's not like that's anything new... 🤷‍♀️

No, no. He dislikes them because they're the person who FINALLY figured out how to keep him from eating all the food in the kitchen!!

Turns out that the trick was to put a teleportation charm on the fridge door that would send all the food away if it’s opened after a certain time of night… 

And where does it go? The Purgatory Hall fridge. And where does the Purgatory Hall food go…? The HoL fridge…

It doesn’t sound so bad until you remember that it means half of their fridge is now Solomon’s leftovers…. 🤢

After they put the same kind of spell on the pantry, it was all over… He couldn't get midnight snacks from the House anymore… Everything was contaminated by Solomon…

The MC is a nice enough person, he doesn’t have a lot of complaints about them, but he wants them to leave. Now. This is inexcusable… He’s so hungry… and he doesn’t want to die by “goulash” or whatever Solomon calls his latest culinary catastrophe… He’s still too young for death… 😓

Belphegor 

In a way, he absolutely could not have asked for a better person to help him get out of that attic.

… In another way, he got one of the worst possible people to try and kill... Like. They saw through his scheme sooo fast…

How was he supposed to know that the human had training in body language and sniffing out lies???

Getting the door open was a piece of cake for them. They knew enough magic to undo the seals and just rummaged around Lucifer's stuff long enough to find the key to the door. He could not have found a more competent individual for a break out, really.

It’s just… well he didn’t expect to go from locked in a room like a prisoner to tied up in enchanted rope, still like a prisoner but now mobile. 😑 

They even used his own hug ruse against him! They caught his wrists when they got close and tied him up before he could shake them off...

Admittedly, it wasn't exactly the best look for them either - what with walking Belphegor downstairs to the others like a one-man-prison-caravan but they're as silver-tongued as they are sly so they talked their way out of it beautifully… 

And like hell was he going to trust them after that!! And not even Beel liked them so something had to be up...

Well, you want a detective? Look no farther than Belphie (no seriously, it’s in the canon). He can put things together pretty fast when he puts his mind to it and watching the MC for a while gave him enough proof to work off of...

He always knew that, humans were bad news and the MC just proved it to him all over again. They are bad news, bad bad news and they’re going to-!

Overthrow… Diavolo…? Is that what he is getting from them…? Huh…

Wait a second, MC. You might just have him interested… 😏

[couchpotatoaniki]

One Year ❣︎ One: Holidays Aren’t For Drama

Chapter Summary: San has finally found you after five years of searching, and he wants you for himself--though not knowing how to do it just yet. In the meantime, you’re having fun hanging out with a friend on the plane to Jeju.

Pairing: Mafia!San x Fem!Reader Genre: Mafia AU, fluff, angst, eventual smut, lotta crack and stupid shit ngl Chapter warnings: swearing, stalking Word count: 1.2k+ A 365 Days parody

Previous: Prologue For the rest of the series, click here

Speech in bold means they’re talking in Korean

Speech in italics is whatever the reader wants their native langue to be that’s not Korean or English

Speech without either means they’re talking in English

You were glad that you were sat next to Yunho on the plane since you needed good vibes that your boyfriend couldn’t really give you. Too sucked up in his own life, which make him the worst person to sit next to Yeosang.

Thankfully, Dominic was terrified of the boy so he was silently scrolling through his phone. That left Mingi to annoy poor Seonghwa the whole trip.

“Oh, you bitch,” Yunho mumbled, picking up four cards from the deck beside him. To pass the time, you and the tall boy decided to play a game of Uno. 

Chuckling, you threw down a yellow 2. effectively ending the round. “You know, for someone of your profession, you’re really shit at cards.”

“Maybe because I’m playing against your devious ass.”

“You love my devious ass, don’t lie.” Scoffing, he gathered the cards and began to shuffle them before you ripped them from his hands. “Oh hell no. I know for a fact you’re gonna rig it.”

“I tried last time, and you still won,” he huffed, running a hand through his sandy blonde hair before using the other to take the deck again.

Yunho wasn’t really your friend to begin with. More so Mingi’s, but that had not stopped the two of you becoming just as close. Seonghwa and Yeosang too; you had meet them through the sweet-hearted boy, and all three had quickly become an addition to your short list of loved ones.

In fact, out of the six of you, Dominic was the odd one out.

He didn’t know the secrets you shared, the things you did without his knowledge. Nothing that would directly harm your relationship, no.

To add to that, the five of you were like a family, looking out for each other, and the boys weren’t very font of the guy you had chosen to date.

Then again, compared to the last one, Dominic was much better.

Every year, the boys and you had decided to treat this time as a holiday away  from the all the work you do, to treat yourselves for living another year. So you all splurged out and did something big.

How you chose the destination was fairly simple; one of you would throw a dart at a map of the world--blindfolded, obviously--and wherever it landed, you all went there.

It’s what led to the fun cruise in the Pacific the previous trip, and this part of Korea for this current one.

Though, Jeju was one of the places on your bucket list. You were more than excited to go and sight-see. Already, you do plenty of that for your job but never really get the chance to stop and pay attention.

To relax with friends and have fun.

You were going to Jeju for leisure purposes.

San was going to Jeju for you.

Yes, he was originally going there for work, to deal with a bit of business that had gone awry. But then he saw you, quickly crossing the road, from his vehicle.

Decided to follow you, see where you were going and with whom.

At first, he was a little pissed to know that you were travelling with five men, you being the only woman. Most likely scenario, one of them was your boyfriend.

But that information had no longer mattered, because you were going to Jeju. On the same flight as him.

San didn’t like to admit in believing in fate, but if that wasn’t it, he didn’t know what would be.

Hongjoong--who was stood beside him in the middle of the airport by now--was concerned over his strange behaviour. Even the slightest shift that seemed out of the ordinary, he immediately became suspicious.

That’s why San knew it was stupid to try and lie to him.

When he pointed out to you, telling him to look, it only took the older boy a few seconds for him clock on. “You’re shitting me...”

“I’m not, Joong. She’s here. She’s really here.”

“San,” the now-blue-haired boy began, trying not to draw any unnecessary attention, “look at me. You can’t. It was five years ago, and not to mention, you’re already with--”

Shoving his hands off his shoulders, the mafia boss glared at his second-in-command. “You don’t even like Dae anyway!”

No, Hongjoong hated that crazy woman to his very core. She was bad for his friend, but the boy was too caught up in filling the hole you somehow managed to carve to even care.

Had it been any other, the short man would have let San do his thing, but his current girlfriend was one of the heirs to a rather big mafia herself. Being with her involved politics, and being with her for nearly five years brought more trouble than you were worth.

But Hongjoong knew that San wouldn’t listen to him. Not when he’s like this.

The only thing he could do now was damage control.

The two males--San mainly--had stalked the six of you, deducing who meant what to you. Didn’t like how cosy you were with either of them, but specifically disliked the guy who had his hand wrapped around your waist.

Then there was the other guy, one of the really tall ones, with black hair--streaks of green and grey running through it--and a loud voice. Party animal, the two thought. He was particularly close to you too, sending playful hits that were definitely reciprocated. Hopefully, he was just a friend...

The other tall guy--the blonde one, with puppy-like eyes--seemed more reserved yet somehow still as energetic.

Next tallest was s black-haired fella. Clean and lean--smart-looking, with soft (but somehow sharp) eyes.

Finally, the last guy. The one who rarely spoke, with a silvery grey mullet that surprisingly complimented his pale skin. There was something about him that Hongjoong couldn’t pin down. Something familiar...

The most obvious odd thing was how you and your supposed ‘boyfriend’ were of a different ethnicity to the other four. Confirmed when the two men overheard you speaking in a completely different language neither of them were used to.

“Fuckin’ language barrier,” San grunted as he realised there was yet another obstacle in his way.

“Fuckin’ good-lookin’ people,” Hongjoong laughed, scanning the six of you.

Being in business class was usually a comfortable experience, but right now was the most excruciating thing possible for both of them. San constantly bombarded the elder with questions and worries about you.

Couldn’t even send Hongjoong back there since his newly-dyed electric blue hair would have captured too much attention. “What’s the point of you if I can’t even get you to spy on people,” the younger huffed. “Dye your hair back to black when we get to the villa.”

“Oh, shut up,” Hongjoong spat with gritted teeth, already beyond annoyed with the man’s behaviour. “That’s not even my job. And you come at me with having unusual hair, but you look like Frankenstein’s Bride with that lock of white with the rest being black.”

Groaning, San looked at the entrance of the business area, hoping for some other miracle to occur and you would peer out. Desperation filled him, wanting to see you again. Etch your newer features into his mind once more.

“Who do you think those other guys were? Her boyfriend’s friends? Her friends? Colleagues?”

“Probably her friends, since they all seemed pretty close to her.”

“Ugh.” San buried his face in his hands, still not liking the sound of that.

“It’s the 21st century, dude. Girls can be friends with guys--and that girl is friends with those guys. Get used to it.”

“Don’t wanna,” San mumbled, puffing out his cheeks as Hongjoong narrowed his eyes at his tantrum.

“Listen, dude, you can’t confine and control her. Doing that’s only gonna push her away--if you’re actually serious in pursuing her.”

“Of course I’m serious!”

“Then you need to plan this out carefully. And you need to think of it fast, since I doubt they’ll be in Jeju for long."

The younger male scoffed, running his tongue against the inside of his cheek as his confidence grew and cogs in his brain began moving. “Don’t worry, I’ll definitely come up with something.”

Sighing, Hongjoong looked out of the window, into the peaceful, empty ocean they flew above. What exactly had he done?

☕︎ Tag list: @little-precious-baby​ , @sparklychangbin​ ,

[canmom]

Mardi des Films Internationaux 23: Jean-Pierre Jeunet

Bonsoir mes amis! It’s time for another night of “movies which really don’t qualify as tokusatsu by any stretch”...

...but do ooze visual style. Thanks to @mogsk​ for coming up with tonight’s theme.

Tonight we’re going once again to France! A place we’ve visited often in terms of animation (e.g. Animation Night 11, Animation Night 36, Animation Night 69 [sexuality], Animation Night 71 [Moebius]) but of course, this little stack of colonial spoils has had an outsized place in the history of film!

Our theme is animator turned live action film director Jean-Pierre Jeunet, best known for The City of Lost Children and Amélie. Jeunet’s the kind of guy who’s very literate in the history of film, and probably knows what ‘mise-en-scène’ actually means. His films are situated in a tradition that encompasses cinéma du look, German expressionism, and the French New Wave, all noted for their heavy emphasis on visual style and composition. A lot of his films seem to take on a retrofuturistic mode of scratchy radios and circus-flier-like text, though there seems to be a little more there than your average steampunk.

Jeunet got into film at 17, studying animation at Cinémation Studios. He cites the first film he remembers as Once Upon A Time in the West, and he started making his own amateur films soon after.

Most of his early career seems to generally be described in light of his long collaboration with artist and designer Marc Caro. The two met at Annecy in the 70s, and spent a couple decades making animated and live action short films and music videos (e.g. Zoolook featuring stop-motion robots.)

They stepped into feature films in 1991 with the quirky and melancholy post-apocalyptic cannibal film Delicatessen, to a broadly warm reception. Soon came The City of Lost Children (1995), Jeunet’s second film, and last with Caro. Also one of the the only films of his I’ve seen, though it was years ago at uni. It draws heavily on carnival/circus imagery (with Ron Perlman as a strongman) to tell a melancholy story about a mad scientist who tries to extend his life using the dreams of children on an offshore oil rig. This one certainly made a splash, with its strong visual sense and an ambiguous and troubling story taken to be about capitalism; on the back of it, Jeunet was invited to direct an Alien film. He found this tremendously exciting; Caro did not and their collaboration ended.

It has been many many years since I saw Alien Resurrection. At the time, I despised it! I was deeply obsessed with the bleak and tense tone of the first two movies, and I guess the fourth one, with a quip-dense script by Joss Whedon (him again...) that was a prototype perhaps for something like Firefly seemed like a betrayal. Whether I would share that opinion on a rewatch, I can’t say.

In any case, Jeunet followed it up a few years later with Amélie, returning to that whimsical faux-historical feeling. I’ve not seen this movie but I’ve definitely heard of it. From the plot summary it sounds like it’s sort of playing with the whole ‘manic pixie dream girl’ motif; Amélie, a waitress, attempts to whimsically liven up the lives of the people around her but she’s actually terribly sad and lonely, and needs some livening up herself? I could be totally misreading that though lmao. Anyway this seems to have been the biggest splash he made but we’re not watching it!

Instead we’re going to jump forward a couple films to MicMacs à tire-larigot, or just MicMacs in English, roughly translating (per wiki) to “Non-stop shenanigans”. Which is in fact 'a satire on the arms trade’.

MicMacs, once more in a retrofuturistic mode, tells the story of a homeless boy who, after losing his dad to a landmine and later being accidentally shot in the head, years later resolves to try to take down the arms trade with the help of his gang of quirky friends by infiltrating the company. That could honestly go any number of ways, but it should be interesting to take a chance on it.

So that’s the plan tonight: The City of Lost Children and MicMacs!

we’re really gonna catch up on Kamen Rider Revice, the currently airing season of Kamen Rider. Apparently it’s really starting to get going. Also at one point they do a lion pose and the devil guy wants our main boy to just go all catboy and nyaa, so I’m sure that will entertain you catboy fans in the audience.

To briefly try and summarise the story so far: Kamen Rider Revice celebrates the 50th anniversary of Kamen Rider, so it’s an especially high effort entry that draws on the series’s incredibly varied history in ways that only @lyravelocity​ can explain :p This time, our protagonist is Ikki Igarashi, a boy whose selfless devotion to his family (who own a bathhouse) is almost a joke, but clearly there’s something up with this guy because he has a devil in his head.

Meanwhile, an organisation called the Deadmans with a kind of mariachi theme are on a long time project to resurrect their leader, a powerful devil, using toyetic devices called Vistamps. To this end (somehow), they exploit various social tensions to activate inner demons and create origami-themed monsters with the Vistamps. Opposing them is a highly fashcore looking organisation called Fenix who are definitely not the secret villains, deploying from a flying aircraft carrier; these guys have a scientist obsessed with the Kamen Riders who invents this season’s specific rider belt, which uses the Rider belt to, naturally enough activate a rider transformation and manifest the user’s inner demon, and then potentially have them combine into a stronger form.

Ikki’s brother Daiji, a member of Fenix, was the initially chosen recipient of the belt, but he totally failed on the first deployment and Ikki ended up being the first to use the device, creating a contract to manifest his comedian-y inner demon Vice. Daiji deeply resents being overshadowed by his brother, especially when a second rider belt is made and he is passed over.

Meanwhile the town council wants to redevelop the bathhouse!

We’ve so far watched up to episode 4 of Revice, leaving us with four more to catch up on!

So, that should give us plenty to be going with. We will be starting very soon at twitch.tv/canmom - hope to see you there!

[kiranatrix]

Light Yagami in Death Parade

Earlier this week I got an ask about Light Yagami’s appearance in the anime Death Parade. I’m happy to say I binged the whole dang thing and have some thoughts, both about Light’s appearance in Episode 11 and the series in general and how it compares with the themes of the ‘afterlife’ in Death Note (there will be some spoilers if you haven’t seen either one).

I really loved Death Parade overall. The plot is relatively simple-- after people die, they get off an elevator and find themselves in a ‘bar’ called Quindecim, staffed by a stoic bartender named Decim. He asks them if they remember anything before coming here, and they all say no (except one person). His job is to convince the unlucky pair of memoryless people to play a high-stakes game against each other, telling them their lives are at stake. They cannot leave the bar until the game is over, and shows them what appear to be dead bodies if they try to refuse.

However, Decim is a liar. His real purpose is to use the competitive games to draw out the darkness in human hearts which, along with memories that he can download and view, he uses to judges the fate of their souls. Their behavior during this one competition seals their fate, so Decim will also cheat and try to create extreme conditions to see people at their worst. They gradually get their memories back during the game, which can create unpredictable scenarios since the pairs are linked in some way in life. There is no Heaven or Hell (although he lies about this too). People can either be reincarnated on Earth or thrust into the eternal Void. There are elevators going to each place.

And there is the major difference between Death Parade and Death Note’s afterlife. In Death Note, all humans go to the same place-- Mu-- regardless of their actions on Earth, and there is no intermediate judgement or arbiter like Decim. The Void of Death Parade is described not as a place of nothingness like Mu (non-existence), but as a place where your consciousness is still there, dwelling on negative thoughts, while perpetually falling. So, these two ideas of the afterlife are incompatible. 

This feels a little jarring when Light Yagami is clearly shown in a cameo in Episode 11, because it implies several things that Ryuk and the Death Note itself said were impossible: 1) all humans don’t go to the same place; 2) Mu isn’t eternal nothingness; and 3) humans can come back to life. It’s also interesting to imagine how Light might have fared in these games and how the arbiters like Decim might have judged him. Because these are twisted games of skill and intelligence-- darts, bowling, air hockey, cards, Twister, etc.-- Light would have excelled at these. I would pity the person who would be up against him because he would be merciless in trying to win, and the games could be very cruel. Past that, Light is adept at keeping a cool head in tense situations.

That’s perhaps another major difference-- cruelty as a theme. The shinigami in Death Note are neutral bystanders meant to reap lives in very direct ways (heart attack and rapid death) to sustain their lives. But the arbiters in Death Parade are deliberately cruel-- rigging the dart board to incur damage to an organ, creating terror by having the floor fall out of the Twister game with spikes below, or giving one player the opportunity to cause deliberate pain in a restrained opponent. All this is part of the ‘test’ but nothing is simple. The arbiters make mistake after mistake and send people to the ‘wrong’ place, misjudging what they see because they do not understand the human heart. That’s only natural as they are not human themselves, but shinigami made no such vain attempts at judgement. 

But back to Light in Death Parade, considering the two forms of information that an arbiter would have about him (performance in the game and his memories) and how the arbiters have very little insight into human morality or motivations, it is not clear to me at all how he would be ‘sentenced.’ Decim was made aware when a murderer came to the bar, but he also displayed sympathy for vengeance or ‘righteous’ murders. He didn’t have a good frame of reference to know when a killing was justified or not, and in Light’s memories and mind they would ALL have been justified. Light’s memories would have focused on ending all wars, decreasing crime, etc., and these arbiters would have viewed things from his perspective only. If he won and behaved well in the high-pressure game, it would be even more difficult to decide. Whichever way it went, it wouldn’t have been true to Death Note lore, but I could see Light figuring things out very quickly and turning the game around to his advantage.

During the very brief scene that Light was shown (another ‘contestant’ turns down the option to hurl Light into the Void and save someone she loved), his arbiter says, “Humans all behave the same way, like idiots. They all forget they’re someday going to die, so the moment they come face to face with death, they cling to life.” The episode name is “Memento Mori” which is apt-- the term means a symbolic reminder you will die one day. Later in the episode there is a drink Decim serves also called Momento Mori:

And this part does seem similar to Tsugumi Ohba’s message of Death Note, that all humans die (and don’t come back), so we should make the most of our lives on Earth. Death Parade differs on the “don’t come back” part, so I prefer to view it as a parallel universe versus a compatible one. [Edit: more thoughts here]

[colorseeingchick]

Hey Can I ask for a self ship date pls ? I’m a 18yo girl who is 173 cm of chaos and my heart has been stolen by Kise Ryouta from KNB 😩.

We may be very different, he’s more of a warm and a social person while i’m cold in the clouds and ambiverted but his smile, his laugh and how he’s dedicated in basketball made me lose it. I find his whole personality interesting even the more cold and ugly parts of him and he has the pretty face for him too but i’m not the kind of person who can just fall for apparence. He have such a voice too 😳 He has that charming aura, playful but yet still lighthearted and funny. He being two-faced surprisingly don’t bother me that much somehow i understand from where hes coming from. I relate a lot to his overachiever and need to handle all things himself to the point of hurting. As a basketb fan i am also enamored w his way of playing, i gen think he is the best of gom he always do his best to the point of barely breathing and honestly i relate to this too when im into something i love. His quick learning abilities are hyper and i like how Kise try to be honest w himself. I like also the balance he have w masculine and feminine energy and don’t mind him being a dork. His relationship w others characters are gold too like w Aomine and i can see him showing me affection to my touch starved self and just general affection i lack in general even if i don’t say it. Also i can imagine a certain dynamic between us where no one is the lead of the couple but we’re on equal terms.

Now more about me i am an ENTP 8w7, I am independent, creative, honest, prideful and « generous��» i don’t think that last one much but my close one describe me like this. I’m very curious, likes experimenting and new things. I am funny/sarcastic, playful and as it iam very memeable but surprisingly top student here who doesn’t behave like it at all both in class and just in general. My aesthetic is a weird mix of everything i love so i am both a tomboy, alt and a baddie somehow. I am into law and economics studies and can talk french, korean and spanish as i learn languages in my free time by myself. I do read, write, draw and listen to music, play all sort of games including sports, get on a walk from time to time, eat cuz food is delicious and just learn in general. I have kind of ✨trust issues ✨so i don’t have many friends. But you sure will have fun w me ! I don’t about chill i have some temper but sure im pretty cool and open minded ! In love i really am a mess, i’m easily flustered but act cool to hide it and because of that i look like someone confident and mysterious except i am not the first one and ugh im lowkey a tsundere so it’s difficult to assume my feelings. But i swear i try !

Thank you for reading me ! I hope i didn’t bother you much.

You didn't bother me at all hun! This was a lot of fun to write so I hope you enjoy :) I think I have a pretty fun date planned for you two if I do say so myself hehe.

Premise: Kise got to know you throughout high school, and saw you as different from his other fangirls. Even though it wasn’t basketball, you also stood out at the top of your class, making you noticeable to Kise. You were actually a good friend (a cute friend at that) and he decided that he wanted to take you on a date during your 3rd year (once the basketball season was over and he had time to make for you). Knowing how fun you are, he had the perfect plan.

As you look into the mirror to examine your outfit, your phone buzzes with the “I’m hereeee ;)” text. You’d decided to lean into your tomboy vibes, given that Kise told you to ‘get ready to do stuff,’ which was not very informative, but exciting nonetheless.

As you walk out, you’re greeted by the blonde man dressed handsome as ever, a dark long sleeve shirt with fitting jeans, his silver hoop shining as the sun starts to set.

“Ready Y/N-chi?” He asks you, smiling as he overdramatically offers his hand for you to grab.

“Ready as ever~” you say as you grab his hand. He pulls you close and winks, flustering you right from the start.

“If I remember correctly, you said something about this being the best date I ever go on?” You take your chance to poke fun at him as well.

“Oh honey, it will be.” You can see the way his eyes shine and his mischievous grin as he walks with a nice hop in his step, guiding you towards the train station.

The train ride was pleasant, his hands protectively on your shoulder and a mean glare on his pretty features when other men looked at you or got too close, but his face was calm as he comfortably bantered with you (you on the other hand were quite unbothered by it all). Once you finally arrived at your destination, you found yourself in the lively district of the city, flooded with restaurants and shops all open late night.

“I forgot how beautiful this area is at night!” You can’t help but say as you look at all the beautiful lights and architecture.

“I had to take a pretty girl to a pretty place, you know?” He squeezes your hand as he drags you along once again, until you end up at your destination.

“I think this’ll be a lot of fun,” he says to you as he pushes open the doors to the arcade, letting all the dark lights and glowing games illuminate your sight.

He buys the coins for you both to play (He’d asked prior if it’d be okay for him to pay for you this date, and you’d agreed), and you set off to play all sorts of games.

It was a lot of fun for the both of you. While the games were enjoyable, playing them with him made it all the better. He also never missed an opportunity to flirt with you, and playing games made it easy. Both of you being overachievers, with Kise being a quick learner and you being open to trying new things made the experience amazing.

“Here, stand like this and loosen your wrists up for a better shot.” you both were playing the basketball game, and to no surprise Kise had absolutely killed it. Now here he is, helping adjust your shot. Standing behind you, he lightly adjusts your waist, turning you a little bit to help your footing. His hands then move up to your shoulders, then down to your wrists, helping guide your form and placement on the ball. While you were learning from him, it was hard to focus with him this close to you. “Y/N-chi, you can focus on me later. You should focus on your shot for now.” He says lowly, teasingly, watching carefully as your face erupts into red. He really did love teasing you, the usually calm, collected, confident top student.

Admittedly, you feel like you got back at him when you watch him try the crane game (the ones filled with stuffed animals) and he couldn’t get it after 7 tries. The frustration was clear in his face, his impatience rising.

“This game is rigged, I know it!”

You ask to try and of course he complies. However, he’s not ready for you to get a cute little stuffed panda on your first try. Suddenly, he’s a lot more embarrassed than you were earlier.

“You definitely used magic or something.” His pout is both adorable and hilarious to you.

You laugh as you hand him the panda. “Here!”

Looking down at the panda and then looking back up at you, he asks, “for me? But you won it!”

“But I want you to have it. It’s cute like you, Kise-kun.”

A huge smile crosses his face as he pulls you into a hug, spinning you around. “Y/n-chi!!!! You’re so generous!! Giving me your stuffed panda~ I’ll take good care of it.”

You have a nice laugh as you watch Kise end the night out by playing Dance Dance Revolution, not afraid to be a bit flamboyant as he goes all out with the footwork and does really well at the game.

After collecting all your tickets, Kise takes you up to the rewards table, telling you that he knows exactly what he wants to get.

“And we have enough tickets for it! Great.”

You can’t help but smile when Kise points to the GIANT stuffed panda hanging on the wall.

“I thought you weren’t the type to return favors,” you recall what he said during a game with Seirin from a long while back.

He blushes, thinking about what he said. “I’m not, just one upping you,” he jokes, sticking his tongue out at you, letting you nudge him in return.

“Do you wanna get food, Y/N-chi?” He asks, his arm wrapped around your shoulder.

“Sure, from where?”

“You decide. I decided on the arcade, you can decide dinner.” He looks at you with a smile, thinking back on how fun the whole night had been. “But I get to decide dinner next time.”

“Next time?” You shoot back, eyebrows raised, a smile forming on your face. “Who said I’d go out with you a next time?”

At your comment, his smile falters as he stares at you for a good second. He gets all serious suddenly, pulling you close (with a giant panda pressed into your side) and making you look into his eyes. “Y/N-chi, would you please go out with me again? Tell me you will!”

Giggling, you smile up at him. “Of course, Kise-kun.”

He sighs out and hums in approval, before pressing a small kiss onto your cheek. “Call me Ryouta.”

~~

Ahhh I hope you enjoyed it! I tried to incorporate as many elements as I could! Please do let me know what you think <3 this was so fun!!!!

[freebooter4ever]

i’ve seen the discussion going back and forth on boundaries and sexual objectification, and i don’t have much to add to the conversation other than to say everyone is allowed to determine their OWN ‘lines’ and just because we don’t vocalize them doesn’t make them any less valid. but here’s the limits i set for my blog if anyone feels it is important for them to know (<3):

personally I consider ‘characters’ fair game for anything goes, with ‘public personas’ a little more iffy. ‘RPF’ isn’t new - it just takes on a new more accessible/visible form nowadays. i remember reading my first fic about a ‘real person’ back in my LOTR fandom days - it was a story in first person perspective about the main character meeting orlando bloom on a plane before he was ‘famous’. like a lot of these types of stories, it wasnt so much about the person as it was about the meet cute. the actor was just a convenient placeholder with a handsome face and some personality quirks thrown in to make the romance/dialogue more specific. i personally dont read much xReader fic nowadays, but mostly only cause i’m an old fart who can’t relate to the ‘you’ format. i miss the good old days when people actually created OC’s and then inserted them into things LOL. but also LOL if you think i’ve gone an entire year of quarantine without some imagined personal fantasies of joe mazzello (or steve aoki in the years before)(ramilicious can attest to this. she can also attest to most of these fantasies ending in friendship rather than anything explicit cause that’s just how i roll these days lol). the line i draw is i would never post these types of fics in a place where the subject could accidentally find them - you have to go looking for this stuff on tumblr, most fics are given explicit ratings and under read-mores. with the blacklist tags it’s pretty easy to filter things out. its even easier to add filters to ao3 searches. i am NOT going to do something like message steve aoki and say ‘yeah i watched that movie Ibiza like five times, here is my 1k fic where you’re the dj and i’m the one night stand’. but obviously people still enjoy imagining scenarios like these otherwise movies like Ibiza wouldn’t exist?

for art, i consider anything already on display up for grabs, we all know a certain person’s ass is all over the place...all you have to do is google ‘need for speed’ and rami’s name. HOWEVER, in the case of actors i personally would not draw anything more explicit than what’s already there. i’m not gonna draw full frontal nudity for rami (unless he gifts us with it in a movie, i suppose) or anyone. this is 100% a personal choice for me. 

i was a sophomore or junior in college when i volunteered as a figure drawing monitor where i’d time the nude model’s poses and help them set up the stage and lighting and such. there was this one guy in his mid forties probably, a regular who came every week, and i always thought of him fondly till one day (the day after i ran into my Hot Programming TA during dinner and later sent him an email begging him to go on a date with me because i was desperate for kissing experience)(and Hot Programming TA emailed me back within minutes saying yes) this artist guy who i saw all the time and thought i knew fairly well, decided to draw me instead of the model. which would have been fine except he drew me naked. i was NOT naked at the time, i was wearing a shirt, and a bra, and a full prairie skirt with alternating calico and floral patterns. he drew what he imagined was underneath all that. he came up to me after the figure drawing session and showed me his drawings and told me i had been ‘glowing’ and my response was to laugh it off awkwardly and get the hell out of there as soon as i gave the model their pay check. but inwardly i was thinking a) i was NOT glowing for this creepy man twice my age and b) i did NOT give him consent to sexualize my body under my clothes and then SHOW me that objectification. i never said anything to him or anything else, i continued to be the monitor, and i continued to field off creepy advances from him including multiple job offers, but when i finally realized i could just...stop..and i passed the student volunteer monitor job on to my friend naeem, i also realized that what that older male artist did was NOT ok in my book. and it was probably not something he would do while naeem was monitoring.

nowadays im working in an industry that regularly objectifies female bodies. in the past year alone i have had to deal with requests to make breasts bigger, i have been given character rigs that in addition to the usual elbow, knee, and spine joints also have ‘nipple’ joints but ONLY for the women (to make them jiggle for animation), every time i send out a female pose i get it back with notes that push it further into the sexy type of body language reserved for women (twist the spine more! sway the back more! give it ‘energy!’), i have been told to erase wrinkles and fat and pores but ONLY for the women (men you ADD pores bc realism! and manliness!) and this is all me working for a company that is actually fairly progressive in terms of sexism compared to OTHER studios.

like it or not, sexual objectification is a huge part of specifically women’s lives and how we react to that is our business. for me, turning the tables and putting men on display feels like fair’s fair. i cant stop the men from doing it, so if i want to enjoy sexualizing male bodies, damn it im gonna! like dang it, boy do i want to send steve aoki a thank you note every time he posts a video of himself doing those ice baths during the sunset golden hour bc holy shit gorgeous or working out in his gym wearing VERY little clothes, but i dont because i know what its like when someone imposes their personal fantasies on the subject. or, god, there was that time i had to unfollow nicole’s insta for a while bc i had a very explicit dream about her and realized, shit, i need to take a break and get my emotions under control before i can refollow. and god some of the stuff i see dudes sending her during her live videos on mental illness/meditation is TOTALLY gross and not something they should be confronting her with. and she’s not even ‘famous’ famous. or how some fans send their idols explicit direct messages without consent. THAT feels inappropriate to me.

a part of me feels like i shouldn’t have to defend this. men don’t. they’re even encouraged in mass media to sexualize women. but i also recognize the importance of talking about consent. the importance of recognizing that a celebrity deserves to have their boundaries respected. these are my lines in fandom. other people have different lines they won’t cross, and that’s okay to me. i block or blacklist any blogs or tags i think go over the top.

heck, even in fandom-only spaces i still try to keep my own more sexual fantasies off this blog and only in private messages with my friends and mutuals, and i feel like that might come across as unintentionally prudish or judgmental sometimes. i’m not ‘horny on main’ very often. but like...every time i reblog that particular ‘washing machine’ gif of joe mazzello am i thinking about him naked and thinking about how he’s got very loooooong feet, and ‘gee i wonder if that means /other/ things are Too Big for my tastes’ but also ‘gosh wouldnt that make a pretty picture to draw’???? hell yeah.

i dont know who is gonna actually read this essay but yolo i guess :)

[theeverlastingshade]

Pitchfork Music Festival 2021 Recap

This year I finally attended the full 3 day Pitchfork Music Festival after years of deliberation. There's no way my enjoyment of the experience wasn't compounded due to live music having been on hiatus in the United States since March 2020, but I suspect that I would have enjoyed it all the same if that hiatus hadn't transpired. Pitchfork put on an impressive festival defined by  a superbly paced, and varied roster of some of the most exciting up and coming artists, legacy artists, and plenty in between. While not a perfect festival by any means, Pitchfork nonetheless showcased what was close to a small to mid-size festival ideal.

Each day was paced well, alternating between sets from acts on either the green or red stage juxtaposed with electronic or folk acts on the blue stage across the park. Friday alternated between the weirder, artier folk/pop acts and various electronic producers running the gamut from the headier, house strain of The Soft Pink Truth, to the skull rattling rush of techno from Yaeji. The pacing between sets worked pretty well, and the only substantial runoff was Yaeji's relentless low-end creeping into Big Thief's set (and again on Sunday with FlyLo's music bleeding into Cat Power's set). For the most part, nothing felt particularly overwrought or ill-considered from a booking or performance perspective, and the day consisted of the sort of purposeful curation that just isn't common at most music festivals at this point in time.

The heavier acts were generally relegated to earlier slots, (with the exception of Ty Segall Freedom Band on Saturday) while the bulk of legacy acts and zeitgeisty up and coming artists performed later in the day. It's hard to deny that many artists really brought it like Dogleg, but at this point in Pitchfork’s existence a melodic hardcore/emo band isn't going to be granted more than an earlier/mid-afternoon slot. The diversity of the artists was far more varied than could have reasonably been expected from a post-Conde Nast curated lineup, but the lack of metal, shoegaze, drone, or noise was still a bit of a letdown.

Dogleg were an exceptional early set that blew most of the following artists away. The bulk of their setlist came from their 2020 debut LP, Melee, and it all translated as well to a live setting as could have been expected from that kind of high-wire energy. They also seemed like one of, if not the closest band to exemplify aspiring rock stardom, and they delivered a raucous set filled with cartwheels and windmills, and other kinds of fun guitar antics that bands just don't seem interested (or capable) of executing. The vocals were a little rough around the edges in spots, but they played with remarkable dexterity and chemistry, making a strong case for the staying power of capital-B bands in an era where the solo artist still reigns supreme.

The first electronic act of the festival that completely blew me away was Drew Daniels, aka The Soft Pink Truth. Daniels drew the most from his latest and finest LP, Shall We Go On Sinning So That Grace May Increase, fleshing out the music with a more aggressive low-end that complemented the ambience of the songs beautifully while giving them a heightened edge. The songs continued to build to ecstatic heights without losing their shape, and each flowed superbly into the next without the stiches ever showing. Towards the end of his set Daniels began to draw more from his great 2014 black metal influenced record, Why Do the Heathen Rage? for some of the most chaotic, and eclectic mixing that transpired all weekend.

Even with the absence of founding member and guitarist Matt Kwasniewski-Kelvin, black midi were as great as they've ever sounded, this time rounding out their lineup with a keyboardist and a saxophone player, which is only to be expected given the more prog-leaning approach that they took on their latest LP, Cavalcade. Although a band like black midi is best suited for a seedy, beer stained club than any kind of outdoor festival the new material translated well to this specific context. The songs on Cavalcade are more sprawling, and lend themselves better to lengthier jamming than their earlier material. Throughout their set, black midi managed to breathe some fresh new life into these songs without ever quite extending anything past its welcome. They remain a satisfying anomaly at a festival like Pitchfork, and within the greater sphere of contemporary music as a whole.

The most unpredictable, and satisfying set of the night came from Animal Collective. They returned to Pitchfork with the full-band, four piece setup that was somewhat reminiscent of their dynamic while touring the material for their 2005 opus, Feels, with the exception of Deakin primarily playing keys and synths instead of guitar (except throughout highlights "The Purple Bottle and the "Grass" b-side, "Fickle Cycle", both from that aforementioned era). In proper fashion, they predominantly played new material, which took the form of lounge-flecked psychedelia that continues to make good on their path towards jam band ascension. Aside from the Feels era cuts they also performed Merriweather Post Pavilion cuts "In the Flowers" and "No More Runnin'", and “Unsolved Mysteries” from Strawberry Jam. It was thrilling to hear Panda Bear behind the kit bashing out tight floor tom/cymbal rolls, and Geologist occasionally abandoning his rig for some time with the Hurdy Gurdy. They capped off their set with "The Purple Bottle", and Avey was in top form singing and shrieking his way through the jubilance with tight precision. There are very few bands that continually change their setup, challenge audience expectations, and experiment with form even in the midst of live performances quite like Animal Collective, and on Friday it payed off remarkably.

There are also very few active bands that display the kind of immense inmate chemistry that Big Thief have, and it was palpable throughout their entire set. The band drew from all four of their albums, leaning heaviest on their exceptional pair of 2019 records, U.F.O.F. and Two Hands, with a few great new/previously unreleased songs thrown in. Their most stirring performance arrived with "Spun Infinity", a Lenker solo song that the band helped build into a rousing sing along. They've played it both times that I've seen them, and it's grown in potency each time that they played it (here's hoping it makes that next record). They delivered highlights from both spectrums of their sound, from the lush sway of "Cattails" to the searing eruption of "Not", with older favorites like "Shark Smile" and "Masterpiece" thrown in for good measure. They closed their set with a new song called "Dragon" that was even more intense than the songs from TH, cementing the notion that they're among the best bands active, and one that's still getting better with each record and show.

It wasn't surprising that Phoebe Bridgers headlined Friday given what a massive glow up in popularity that she experienced throughout last year, but her set couldn't help but underwhelm following right on the heels of Big Thief. Her performance was serviceable, with subdued highlights like "Scott Street" and "Garden Song" retaining the melodramatic arcs of the source material, but her set generally lacked the sense of risk, experimentation, or versatility that Big Thief and Animal Collective carried in spades. The lack of dynamics and variation doesn't necessarily hamper the cohesion of her records, but it left quite a bit to be desired from her headlining set. There’s no question that Phoebe’s a talented artist, and she’s already released a handful of good records in the brief span of time that she’s been professionally recording, but her music doesn’t necessarily lend itself to a particularly strong festival headlining performance yet.

On the whole, Saturday didn't quite match the highs of Friday, but there were still a handful of great performances. The lineup was arguably more sonically diverse than either Friday or Sunday, and it showcased the strongest balance between veterans and up-and-coming artists. Bartees Strange delivered a solid performance that exuded the soulful intensity of his recorded output, but it wasn’t quite as gripping as the searing performances early in the day that Dogleg and Special Interest delivered. Divino Nino sounded far more raw than they come off on record, delivering a solid performance only occasionally hampered by muddy basslines. Maxo Kream was charismatic, and engaging, but his performance lacked the intensity of his raps on record. Things didn't really pick up until Waxahatchee's set. Waxahatchee drew most predominantly from her terrific 2020 record, St. Cloud, with a few older highlights like "Silver" thrown in as well. Katie Crutchfield's voice sounds just as strong live, as it does on record, and what the band's performance somewhat lacked in SC's urgency she made up for in gorgeous melodic phrasing.

Aside from Kream, and a few particularly propulsive selections from Divino Nino, things generally remained in a low-key, blissed out temperament perfectly emblematic of the inoffensive chill malaise of mainstream indie up until Ty Segall and his Freedom Band took the stage, and then things took a complete 180. Ty Segall is inherently a throwback, to be sure, from the sonic parameters of his records, to the pacing of his output, to his career trajectory built on relentless touring with an indifference to the expectations of individual branding and fan engagement. All of which makes him an exciting prospect at any sort of festival; there's was some explicit potential for real spontaneity. And while the band mostly stuck to cuts from Segall's recently released, synth-heavy Harmonizer, they also performed a few of Segall's classic cuts like "The Only One" and "Love Fuzz". Everything was heavier, and more aggressive than it comes off on record, with The Freedom Band exuding an impressive level of chemistry that heightened everything that they performed. It would have been nice to hear some more range given just how disparate Segall's discography is (a cut from Sleeper or Goodbye Bread as a breather would have gone a long way towards helping smooth out the pacing), but they still delivered an exciting set with the kind of unrelenting intensity that the festival could have used a little more of.

One of the most intriguing acts going into the festival for me was the prospect of a solo set from Kim Gordon. She released a terrific record in 2019 called No Home Record, but that’s technically the only solo project to her name, and it was hard to say what else she might draw from, and how well the insular music from that record would translate to a festival setting. Gordon was backed by a standard guitar, bass, drum trio while she predominantly provided vocals, and some occasional guitar playing as well. They just played the entirety of NHR all the way through, and yet her set was still the most unorthodox and engaging of Saturday. The music was layered with the usual dissonance and distortion of all her work, but the slyly funky rhythms and jagged no wave guitars were interwoven into some new shapes that service her sparse vocal melodies well. The music translated much better to an outdoor festival space than I had anticipated, in no small part due to the versatility and straight up intensity of her drummer. It was hard to believe that Gordon was able to restrain herself from saying fuck the governor of Texas until the last 15 minutes of her set, but given everything that Gordon has ever stood for the sentiment couldn’t have possibly gone unsaid. It was a welcome reminder of her steadfast commitment to feminist ideals amidst an abrasive set that never quite buckled under the weight of her legacy.

The only mention of 9/11 that I remember was Angel Olsen claiming to have been inspired to write a new song the night prior to the anniversary only to jump into "Shut Up Kiss Me". The absurdity of the sentiment was only matched by a fan asking Olsen if they could throw broccoli on stage, and then actually delivering on the request after she gave it the thumbs up. For all the self-seriousness of her recorded output she certainly seemed to be enjoying herself far more than she generally lets on throughout her records. Her set predominantly featured songs from her last and best record, All Mirrors, with a few songs from My Woman and a handful of earlier cuts sprinkled in. Olsen's band consisted of two guitarists or two keyboardists depending on what she was playing, and was rounded out with drums, bass, synths, a violist, and a cellist. You probably wouldn't necessarily have guessed that was her first set in 2 years given how strong the band's chemistry was, particularly during the AM cuts. She carried herself with the theatricality of a natural performer completely in her element. For Olsen’s last song of the night Sharon Van Etten made a surprise appearance to join her for their collaborative single “Like I Used To”, delivering an immensely satisfying cap to just over a decade long creative and commercial ascension for both singular artists.

As expected, Jay Electronica pulled out of the festival last minute. He was replaced by RP Boo who took Jamila Woods' set time, and Woods took Jay's slot. Jamila performed a strong set, with the only misstep being her underwhelming cover of Nirvana's "Smells Like Teen Spirit". She drew predominantly from her last and best record, LEGACY! LEGACY!, in addition to a few older cuts, and a promising new song. Her voice retained the understated grace, and effortless control of her recorded output, and the band behind her (particularly the drummer and keyboardist) elevated her songs with tight grooves and virtuosic keyboard vamps. Along with Waxahatchee, Jamila delivered some of the strongest melodies of all the acts on Saturday without missing a step. It was incredibly satisfying to see an artist from Chicago take a slot that late in the day, and absolutely crush it. If there’s any justice in the world she’ll be playing larger slots and festivals within the next several years to come.

Annie Clark, aka St. Vincent, is a reliably great performer, and despite the lackluster quality of her last two records her set was much tighter than they'd suggest. Aside from a corny bit where Annie pretended that her sister called her while dropping a P4K 6.8 joke, and seemingly drawing attention to the lukewarm reception of her last record, Daddy's Home (a far worse record than Pitchfork acknowledged in their review), in light of her headlining status, her set was immensely engaging. For the most part she thankfully eschewed that kind of performative exhaustion and eye-rolling by breathing some new life and renewed energy into her songs by way of tight chemistry, great harmonies, and occasionally just fucking ripping into guitar solos. Very few artists had guitarists that can play guitar like Annie, and only Dogleg, Ty Segall, and Yves Tumor seemed to match her aspiration of traditional rock stardom (and of those three, only Yves Tumor was on the same level of her stage presence). Naturally, some of the DH songs fell a little flat, while a few of the songs that predated Masseduction were transcendent. After seeing her twice now it seems pretty evident that no matter how disappointing her records become, she’s still going to deliver a pretty strong show.

Sunday was defined largely by hip-hop and r&b, but there was still some nice variation earlier on in the day. Special Interest kicked things on Sunday off with an urgent performance that retained their aggressive no wave meets four on the floor energy. Although their music is much better suited for a dank basement club, their serrated beats and overall bombast still translated fairly well to the dust-ridden grounds and dry Chicago heat. There were some minor vocal flubs, and some stiff pacing, but they brought some much needed teeth to the day's proceedings right out of the gates. Special Interest have only released two records to date, but their performance reaffirmed that they’re on to something truly singular.

Aside from Dogleg, oso oso were the only fifth wave emo ambassadors that played Pitchfork, and their set was unsurprisingly among the weekend's highlights. Still riding high from their sublime 2019 LP, Basking in the Glow, oso oso delivered a rousing performance imbued with the sugary, top notch vocal melodies that play a large role in shaping their records (oso oso frontman Jade Lilitri is still completely in a league of his own when it comes to writing vocal hooks). They played a few older songs, including Real Stories of True People Who Kind of Looked Like Monsters highlight "Where You’ve Been Hiding ", but the bulk of their set was split between songs from the aforementioned BitG, and their 2017 breakout second LP, The Yunahon Mixtape, capping it off with their great 2018 single “gb /ol h/nf”. The band backing Jade sounded tighter than any I've seen perform with him in the past, freeing him up to just deliver his infectious hooks and prance around the stage. While plenty of acts delivered great melodies throughout the weekend, no one matched the sheer immediacy of oso oso. Oso oso have been making some of the best guitar pop of the last few years, and their live show captured the spark of their records.

Choosing to see Sean Bowie, aka Yves Tumor, over Thundercat was easily the most difficult decision that I had to make that weekend. Thundercat is always great live, and the last two songs that I caught after Tumor's set ("Them Changes" and "Friend Zone" respectively) were tight performances, but Tumor has quickly become one of the defining artists of our time. Bowie’s set brought the smoldering psychedelic glam rock of 2020s Heaven to a Tortured Mind, and their recently released The Asympomtical World EP to life with finesse and ferocity. The four piece band behind them featured guitar, bass, drum, and assorted electronics freeing Bowie to freely prowl about the stage howling, crooning, and shrieking as the songs demanded. The set drew the most from those aforementioned releases (which compounded just how badly I fucked up by not traveling any distance necessary to catch them while touring their 2018 masterwork, Safe in the Hands of Love), but they still dove into "Licking an Orchid", “Lifetime”, and "Noid", showcasing how well the avant-pop of their breakthrough works within the context of their current phase. It was incredibly heartwarming to see dozens of people legitimately moshing to avant-garde music, in addition to Bowie reveling in the immense goodwill that their game changing records deserve. Most of the sets that I saw throughout the weekend were great, but Bowie’s set felt like a particularly transcendent star-making moment.

As anyone who's seen Danny Brown live can attest, it’s always a great time, but you don't exactly know how he's going to perform, and his set on Sunday was no exception. He started off strong with "Dope Song", and one for the heads with "Black Brad Pitt", but within short order Brown began to stumble through a few cuts. Brown stopped many of the songs he performed after just a verse or two since he couldn't remember the rest of the words which made for a disjointed experience, but it also meant he was able to draw from more of his catalog (if only for a minute or two per song) than he would have otherwise. His flows were as sharp and controlled as ever, and there's no denying his idiosyncratic stage presence, particularly during classic cuts like "I Will" and "Grown Up". After shouting out his Bruiser Bridge label Zelooperz and Bruiser Wolf joined his set for a few songs which gave the proceedings a nice Bruiser Thanksgiving spirit. He played only a few tracks from his latest record, uknowhatimsayin? with the bulk of his set drawing on classic cuts from XXX and the tried and true festival staples that make up the bulk of Old’s b-side. While certainly not the tightest performer of the weekend, Danny Brown was easily one of the most charismatic and engaging, and on a handful of songs, like “Attak” from Rustie’s 2014 LP, Green Language, he proved that he's still one of the best rappers alive.

Flying Lotus emerged on the red stage towards the end of Sunday evening with his mind-bending visuals and light show well-intact. He started off playing cuts from his recently released Yasuke OST from the anime of the same name before pivoting to some remixes of old classics, with “Zodiac Shit” in particular teased with its original, iconic Adult Swim visual. The mixing throughout was as remarkable as anyone who’s seen FlyLo live would come to expect, and nothing overstayed its welcome, seemed forced, or uninspired. At one point Thundercat leapt up from the side stage to deliver vocals during "Black and Gold", and the chemistry between them was almost overwhelming. At two different points during his set FlyLo descended from the decks donning his Captain Murphy alter ego which allowed for some nice variation between the dense electronic onslaughts. In a shocking, but sublime move FlyLo ended his set with "Do the Astral Plane", a highlight off of his opus, Cosmogramma, that he doesn't play often, but is nevertheless the perfect festival send off, and yet another reminder of just how far he's taken his singular beat making.

Erykah Badu was only 25 minutes late for her headlining set Sunday night, but her performance was well worth the wait. She performed alongside a 9 piece band, and delivered tight renditions of classics from Baduizm and Mama's Gun, as well as some cuts from her great 2015 mixtape But You Caint Use My Phone. Her singing sounded just as strong live as it does on record, imbuing the music with the same hazy warmth that helped shape her strongest material. Badu’s backing band retained the multi-faceted sweep of her music while subtly enlivening it, and Badu herself had a commanding stage presence that bellied the understated swagger of recorded output. Badu’s set was the perfect send-off for what was by all accounts an extremely well structured and executed festival. Within a landscape of music festivals with homogenized lineups that generally don’t even give the illusion of curation or any sense of personality, Pitchfork 2021 was a satisfying anomaly that will hopefully continue within this vein for years to come.

[stemmmm]

An Animation-Term and Keyword List For People Who Haven’t Studied Animation

I’ve decided it’s time to put my BFA in animation to use and share with you all about 40 terms I could get off the top of my head that I’ve seen confusion and misconceptions about.

If you know a term that was missed here, feel free to add a definition or ask for one! 

Animation (in this context) -- The act of taking a series of images and putting them in a sequence next to each other which is then viewed in rapid succession, thus giving the images the illusion of movement.

Anime -- The Japanese word for “animation”. This term is often used to refer to the style of drawing in the west, but it literally ONLY means “animation”. 

Animatic -- Unfinished visuals and audio cut together into a watchable video format. This is NOT another word for short animation. An animatic would use visuals from a storyboard rather than rough or finished animation

Anticipation -- A slower movement made by a character to lead into action. This is used to great effect in comedy animation and in games like Dark Souls. The posing and buildup makes you expect something is going to happen.

Cel -- A tool for animating. Traditionally, this is a sheet of clear plastic that a frame of animation is drawn on and painted color is applied to. These are set on top of background images and photographed so they can be used in the final animation. The term can also be applied to hand-drawn digital animation. Pre-digital nearly everything was animated in this fashion, like Bugs Bunny cartoons or classic Disney movies. Some Japanese animation is still done like this, but the move to digital has only recently begun there.

Claymation -- A branch of stop motion animation, it is when moldable clay is shaped, photographed, and reshaped in a manner that gives it the illusion of movement.

CGI -- Stands for Computer Graphics Imagery. Any image that is generated by a computer. This applies to all digital artwork, even 2D, but is most commonly used to refer to 3D images created by a computer.

2D -- Flat images such as those you would draw on paper. They have height and width but no depth.

3D -- Images with height, width, and depth. Computer generated images and physical sculptures fall under this category. 3D computer animation and stop-motion animation are 3D.

3D Computer Animation / 3D Animation -- Animation done on a computer specifically using 3D software to either give the image more depth or to make it look more lifelike. It is made by creating digital sculptures of characters which a “rig” is attached to which gives the animator the ability to move the sculpture like a puppet. If you say 3D animation, people will know you are referring to computer animation. Most American movies in the past decade are or include 3D animation.

Digital -- Any animation done on a computer. This applies to 3D animation, 2D graphic animation, and hand drawn animation done on a computer. Most animation has moved to digital formats because of computers ability to automatically in-between--thus saving large amounts of work. Computers also eliminate the need to physically store easily lost or damaged piles of paper and film, and they eliminate the need to manually photograph individual animation frames.

Flash -- Refers to the now mostly defunct Adobe Flash program which gave animators the ability to turn 2D drawings into puppets that could be animated. The similar Adobe equivalent is now called animate. It popularized a style of puppeted animation similar to paper cutouts in a digital format, but while it is known for that, it can be used for hand drawn animation as well. This puppet style of animation has improved dramatically since it’s beginning in Flash, and the same (or similar) technique is used by people who animate with programs like Toon Boom. Shows animated in flash include Johnny Test and My Little Pony: Friendship Is Magic.

Frames -- A single image as part of the whole animation. A picture of a cel on a background would be one frame.

Frame rate/ Frames per second -- How quickly the frames are played back for the viewer. Film standard is 24 FPS, or 24 frames played in rapid succession for the duration of 1 second. Games often play at 30-60 FPS to aid reaction time.

1′s and 2′s -- To animate something on “1′s” means to create 24 distinct frames to play for a full second. 24:24, or, just 1. 2′s--also known as 12FPS--similarly means you do half that amount of work. 24:12. Most things are animated at 12FPS because it is less work and accomplishes approximately the same thing as animating on a full 24 frames. Animations at these rates are still played at 24FPS. Contrary to popular belief, classic Disney movies are mostly animated on 2′s.

3′s and 4′s and so on -- Like 1′s and 2′s, but less. 8 and 6 FPS respectively. These rates are used more commonly in television than movies, but even then rarely. 3′s and 4′s most often exist in conjunction with 1′s and 2′s to both save work and give the animation more expression. These are also always played at 24FPS. Studio Trigger most notably animates like this.

Hand-Drawn -- Animation that is fully drawn by hand and does not involve manipulating a puppet character. Traditional 2D animation is hand drawn, Flash animation isn’t.

Hold -- When a frame or pose lasts longer than normal. A hold can be completely still or have slight movement. They are used to break up action and very often used to create anticipation of an action. 

In-between -- Frames that connect the action happening between keyframes. They change something from a set of poses to actual animation.

Keyframe -- Important frames in the animation, often major poses in an action. These are sometimes taken from storyboards but not always.

Meaningful animation -- Or animation with intent. Parts of an animation that were specifically made to do a certain thing. This comes up in discussions about higher frame rates and whether or not they matter to a work. An action that could be expressed in 8 frames played at 24 FPS does not necessarily need 24 frames, because the additional frames provide too much visual input, could be drawn more poorly, or are a waste of time to do. A computer generated tween is not always meaningful because it was not always intended to exist by the animator. The frames generated when you take an animation at 24FPS and modify it to be 60FPS are not meaningful.

Mocap/ Motion Capture -- When a person wears a silly suit with little balls or other markings on it and acts around a stage, that is for motion capture and animation reference. Motion capture tracks a persons movement and can apply it to a 3D rig, but it is not perfect so animators are still needed to correct the movements and make it work in the final product. This is used in many live action movies that feature CGI and notoriously in The Polar Express.

Mograph/ Motion Graphics -- This is the animation style used in many commercials, how-to explainer videos, and animated company logos. This is the lovechild of graphic design and animation. It is most often 2D, sleek, and heavily design focused as opposed to character focused. Most often made in Adobe After Effects.

Paper cutout -- A form of stop motion animation where pieces of paper are placed on a flat surface and photographed from above. This can be done with light from the front to see the full detail of the paper, or back lighting to give it the effect of shadow-puppetry. The first animated film was done in this style.

Pre-production -- Work that is done before something is animated. Includes character designs, environment designs and layouts, scripting, storyboards, audio recording, and anything else necessary to have done before you begin the arduous process of animation.

Post-production -- Anything that needs to be added after all pre-production and animation is finished. It includes editing everything together, adding effects, and whatever else must be done before you can call something “finished”.

Procedurally Generated Animation -- This is animation made entirely in a computer through use of algorithms. Used more often in games than anything else. Animations are generated in real time to create more variety in the movement. It allows for things that can’t be done with pre-made animations like making characters feet land and/or slip on rocks or track their head and eyes to look at something.

Puppet Rig/ Rig -- A skeleton applied to any type of puppet you want to animate. 3D and puppeted stop motion animations both use this, though in stop motion it is more likely called an armature. 2D animations like Flash animations also use these

Onion Skin -- A 2D animation term. In traditional animation, a person works on paper over a light table which shines light through the paper and lets them see the frames they’re animating between. In digital animation, you press a button and the onion skin will display in either a lighter color or different hue the frames in front of or behind where you’re working to a point you can set and adjust. It’s called onion skin because peeled onions are transparent.

Reference -- Looking at something from life to base your work on. If you are animating a flying bird, you need to know how their wings move, so you need to watch birds or maybe film them and play it back slowly so you can see the small details. Animation since Snow White has used life action reference heavily, many old animated movies were fully acted out and recorded before they were animated. Movies today don’t do that much, but animators will record themselves acting out scenes they’re working on to capture body language and lip sync. Reference is not tracing or rotoscoping, but it can be.

Rotoscope -- Animation drawn directly over life action footage. This is reference to it’s extreme, because the drawings do not take inspiration from the movements so much as they are an exact recreation. It is often easily noticed for the higher framerate it often has and for having movement unnatural to animation. Unless the character is heavily stylized, rotoscoped animation often looks strongly like real people. 2D animation traced over 3D animation is not rotoscope. Motion capture is also not rotoscope. Many classic Fleischer films had rotoscoped sequences and Anastasia is known for it’s heavy use of the technique. 

Rough Animation -- Animation in it’s early stages, it may not be fully in betweened, but even if it is, it isn’t cleaned up or finished. Drawings in the rough stage are often messy and incomplete so it is easier to throw out frames and replace them.

Rough Cut -- The next step from an animatic. A rough cut contains all finished and unfinished work as a preview of what the final product can be. They can have any combination of animatic materials, rough animation, and finished work.

Stop motion -- Animation of physical objects on a set, photographed one frame at a time. Covers everything from claymation, to paper cut outs, to puppets, and more. More prominent in early film as visual effects before that became what it is known as today. The most popular form is puppet animations like those done by Laika studios.

Storyboard -- A sequence of rough drawings paired with script that dictate what will happen in an animation. These are not keyframes for animation, nor should they themselves be animated.

Timeline -- In digital animation, this is the bar that holds the individual frames in sequence so they can be played and viewed as you work. You can also stretch the frame length to last longer or shorter, hence “time”.

Traditional (Cel animation) -- Earliest form of 2D animation, the same as hand drawn animation only it’s done on physical paper. The terms are blurred together however, so when talking about traditional animation you may need to specify whether it’s on paper or digital.

Tweens -- Computer generated in-between frames. Applies to 3D animation, but most often refers to puppet rig 2D animation like flash animations. Often used as a derogatory phrase, as computer generated frames can lack the visual appeal of hand made ones. Tweens move extremely smoothly and evenly from pose to pose, which is the tell of a puppet rigged animation.

VFX -- Stands for visual effects. They are effects applied to a film in post-production that can be CGI or not, but are very often CGI. Includes aspects such as explosions, weather effects, background details, cleanup, etc. 

[lil-demi-boy]

Do you and Hal have any petnames for each other? Who's more affectionate? What do y'all do on dates? Oh and How did you meet Bro? Who is more likely to trap the other with cuddles? *Hugs*

Another cut, yay

We're not huge on pet names, but he does occasionally call me dear n I occasionally call him sweetie (much to the dismay of everyone around us) so that's nice at least

I'm the affectionate one in this ship, I like to draw him stuff and he'll download it to his storage folder in a special section he made just for me and my art, and sometimes when we're apart, he'll just pull up the drawings and go through them, also bringing up his video memories and replaying the time I gave whichever art piece to him so he can relive watching me blush and squee when he complimented my art =v=

As for dates, we usually either relax at home and play gratuitous amounts of Animal Crossing (of which he's figured out how to put himself in so we can both play on the same console. Thanks to him being an AI and such, he can get into the games code and get me any item I need or allow me to terraform/move items outside while he's there. It's rly fun to see his custom avatar run around and get dressed up in whatever dumb outfits I pick out for him

Oh and meeting Bro was a trip and a half- since there's no pre-established bands on Earth C, Bro, Dirk, and Hal all worked together to rig up a stage that would use recordings of songs and live band performances to simulate the effect of being at a real concert. Of course I had to go on opening night since I adore music so much- there was a point in the show where the genre was ska, so ofc once the dance floor opened, I had to get out there and skank (which is just the term for dancing to ska, I don't mean it in the negative connotations)

I guess my skanking was enough to inspire more people and it became a whole flailing mosh pit with the sound of Save Ferris blasting in our ears at a soothing billion decibels. Bro was one of the people in the pit, but I accidentally got a little too close n maaayyyyyy have accidentally punched him ^^;

He took it well though! I walked out with him to the bathroom to get him checked out in private and make sure he was okay, and once he gave the all clear, we just kinda sat back there and talked through the rest of the show. The rest is p much history

And for the cuddles, that's def him. You wouldn't expect it, but he's a cuddle machine. He's also very strong and way taller than me, so it's almost effortless for him to hold me tight n snuggle me, keeping me in the bed for just a lil bit longer

[bvannn]

Weekly Recap Feb 3 2023

Not too much to say about this week. I had far more work than anticipated but tried to do pet projects regardless.

My main focus this week was Tim and Emile’s test animation. I storyboarded it, to which I am satisfactory (though may tweak some areas). I have begun keyframing, and discovered that I can reliably use the models asymmetrically so long as I adjust a couple pieces. This is wonderful, as it means I do not need to make new pieces. I am still uncertain how I will do the direct interaction, but I have part of a plan, which will be adjusted as needed.

In the coming weeks I hope to create some more clip studio assets for these animations, including the stray sketchy lines, dry ink lines, impact bursts, potentially a generic background, etc. that I include in my individual art, as well as some glitchy effects for Jon and maybe some blurs for fast motion. I want my art style to stay distinct and a bit messy, so I want to include that in the animations as well.

On the topic of TRG, Colosseum is approaching! Last year I did a few art pieces of some of the ‘bumpers’ that played before or after segments (for those unfamiliar, these were short skits the participants wrote, acted, and recorded). I don’t believe I ever posted those to this account, so I will likely do that, as well as drawing some more. We got a new batch of skits last year, including some instant hits including ‘Cardboard Jon’ and ‘I took a Few Liberties’. As much as I would love to animate these, most of these skits would involve rigs I do not have built yet, and will not for a while, so I will stick with single illustrations, or potentially comics, at the very most a short gif in reference to a skit. I may reawaken my Twitter to post these, though afterwards it will become dormant again.

I have also been rewatching TRG’s older videos, in part to select a clip to animate, but also to buffer my volatile mood as of late. Rage helps writing stories, but hurts many other functions, so I can’t let it linger more than a couple hours.

Unfortunately I have made little significant progress with stories to speak of this week. Rage helps build despicable villains, though I have focused on them enough as of late. I have devised a few henchmen for both the primary and secondary stories I am working on, which greatly assist in characterization of the villain in the primary story, and push the plot and raise the stakes of the secondary story. I hope I can use these characters to assist in structure of both stories, and that I may do proper art of each soon as well.

Unfortunately, the USB port on my computer is broken, significantly reducing capacity for art, as I can no longer use my art tablet. The port should be fixed late Monday, and a USB hub item I had ordered for unrelated reasons (I wanna draw and watch cartoons on my fire stick at the same time) should be arriving this weekend hopefully, so this should be a very momentary delay in work, and I can still work on animations so long as I don’t need new storyboards.

I fulfilled the Inktober 52 prompt barely on time this week, this will likely repeat. I wish to get better with placing my sketchy lines, and more practice on both paper and digital are required.

I got scouted for the newgrounds portal this week, which is wonderful as it confirms my art is at the standards of newgrounds. This is wonderful news for my confidence, I hope I can provide a halfway decent drawing to the website every once in a while as a thanks!

I have thrown together some music to potentially rearrange and create original songs from, though this would need testing. I do not expect to have time for this in the coming week, though I may throw more measures together.

Main plans for the coming week are to chip away at the test animation, work on story outline/structure, inktober 52, and at least one TRG Colosseum drawing. Anything else is a fun bonus.

[magiskasyskon]

Name: Rigmor Strid

Name meaning: ‘(name of a) queen’ (Swedish), ‘mighty spirit’ (medieval Danish). Rig is a nickname she gets from everyone, as not everyone finds her name easy to pronounce, especially her friends who don’t speak Swedish. She considered changing it to a name that rather begins with a vowel and not a rolled R, as well as because of the fact that she used to believe it was an old woman’s name as a teenager, but has decided to keep it. She later discovered there was a character with the same name in The Elder Scrolls, and became further fond of the name. As for Strid, the Swedish word for war, she believes it fits her and her siblings perfectly, describing their exact relationship with their parents and the nature of their lives.

Age: 26

Ethnicity: Swedish

Nationality: Swedish

What time do they usually get up in the morning?: Rigmor starts work around 10 AM and likes to have an hour to have something for breakfast and brushing teeth and putting clothes on, so she gets up at 9.

What is their morning routine?: Showers, brushes teeth and hair, goes for a jog/does some exercises, has breakfast (usually muesli or toast and black tea), plays with her cat Krabba.

How long does it take them to get ready?: Between 5-10 minutes, up to 15 when she’s sleepy.

What time do they usually go to bed?: A little before midnight.

Do they fall asleep easily?: Usually depends on the day Rig has been through. If she has had a day with darker thoughts, it takes her a while to fall asleep, and she may have trouble falling asleep. If she hasn’t thought of anything bad, she’ll be asleep within seconds.

What position do they sleep in?: On her right side, or on her back

What is their handwriting like?: When she isn’t rushed for time, Rigmor’s handwriting is an elegant Monday Routines (example here). When in a hurry, it resembles The Coastal more (can be seen on the same page).

Do they prefer typing or writing things?: Though she often draws using a tablet and a computer, Rig prefers writing things by hand. She keeps the correspondence with the couple of pen-pals she connected to in high-school written, as well as any letters to closer friends.

Are they an artist themselves? What kind of art do they do?: Rigmor is, aside from a tattooist, an artist, and she likes to paint and draw with ink pens and crayons and charcoal, often images from nature like plants and animals, and also do embroideries and knit and sew things, though she isn’t as good at sewing as she is at drawing or painting. Rig has also made pottery several times, and likes to do it from time to time so she can either make extremely ugly-looking pots and smash them and let go of her anger, or make exquisite vases and mugs and then paint them and give them to friends as gifts. In her free time, she also does make-up art, and is very fond of it.

What are some of their favourite books?: Poetry, comic books, biographies, new adult fiction, young adult fiction, mystery, crime, thriller, horror, historical

What genre of movies do they like?: Adventure, fantasy, documentaries

What music genres do they enjoy?: Folk metal, glam metal, melodic death metal, funk metal, heavy metal, viking metal, grunge, punk, rock, hard rock

What are some of their favorite musical acts?: The Greatest Showman. She doesn’t watch a lot of musicals

Do they prefer their music to sound a certain way?: Rigmor enjoys the music she listens to to have a good rhythm and meaningful lyrics, though she can easily enjoy music with no lyrics such as classical pieces by Beethoven or Rachmaninoff for example.

Do they enjoy music from certain decades? If so, which decades?:  90′s, 80′s, classical music

Are they a musician themselves?: To an extent, I guess? Rigmor can play the guitar and sing beautifully, and has partaken in duets with her brother, Arvid, or trios of them and their sister Robyn, but hasn’t actively recorded music or gone on gigs. She does like to play the guitar when the mood strikes, though, and draws the art for her brother’s albums.

What are some of their favorite pieces of clothing/outfits in their wardrobe? If not applicable, what do you think would be some of their favorite pieces of clothing/outfits?:

How much are they willing to spend on clothes?: Not much, really. Rigmor likes buying cheap but pretty outfits, sometimes from second-hand shops, but most often from little shops close to her home.

What colors and patterns are prominent in their wardrobe? What colors and patterns do they wear the most often?: Blue, most often dark blue, and black, or purple, with an occasional dash of red.

What kind of clothes do they like?: Shirts and jeans, as well as hoodies, but also skirts and dresses in her favourite colours.

Do they wear makeup? What type do they wear?: Usually Rigmor can’t be bothered to wear more than an eyeliner and mascara, but when going to a celebration, or out with her friends, she often likes to wear eye shadow.

Do they wear/do you associate them with clothes from a certain decade? If so, which?: 90′s - the early 00′s

What font/fonts do you associate with them?: Baskerville

What colors do you associate with them?: Light and dark blue, light and dark purple, black, dark and light green, silver

What natural elements (geographical features like mountains, animals, seasons, locations, plants, etc.) do you associate with them: Spring; its freshness and the fascination of newborn life. Nature awakening from its winter sleep. Winter; the calm winter evenings in front of a stove. A cup of hot chocolate or coffee. A starless night with just the moon brightly shining. The calmness and quiet of an ocean at night. Lupine. Rose. Flower crowns for Midsommar, one of her favourite celebrations. Felines, especially bigger cats. Vulpines. Beaches, in the late afternoon when people are leaving and there’s barely anyone, as well as late at night.

Tagged by: stole this kinda older post from @dethqveen​

Tagging: See this? You wanna do it? Steal it & tag me