#lots of animation meme action in this one

[w0w0zella]

MORE SILLY DOODLES!!!!!

[venuscnjunctpluto]

📸28 Degrees 📸

Credit: @venuscnjunctpluto

1000% sure this contributes to someones legacy and it is a cancer degree so this could imply the persons family played a huge role in their success.

ASC🦋Audrey Hepburn has this degree and she is known for her look and her name is referenced a lot. Along with Lindsay Lohan and Miley Cyrus. Actor Warren Beatty has this and his mom/sisters inspired him to become an actor which led to his acclaim. I think it could point to childhood notoriety or coming into the world with a purpose of achieving a household name. The family could have an impact on this persons entire persona and tied to his persons name in a way.

SUN🌞 Michael Jordan is extremely famous but also carries a cheerful image. He is listed as one of the greatest in his career field and has received a lot of accolades. In Aquarius, he was in the classic film Space Jam which blended animation and live action.

MOON🌜Kim Kardashian has this and her family are extremely famous. Their Show keeping up with the kardashians has allowed the family to hold onto the fame they might not have had before. She has numerous memes of her crying and also her mother Kris Jenner is well incorporated into Kim’s image.

MECURY🧠 Vince Staples known for being funny and extremely witty. He is heavily associated with his neighborhood and literally has an album called “Ramona Park Broke My Heart”. Solange has this as well and she is known as Beyoncé’s sister (which I do not condone or support but let’s be real) and mercury rules siblings. PartyNextDoor’s references a neighborhood hood and he is well known where he’s from. This might suggest being mostly known within your town/city. Will Smith is known for his role as the Fresh Prince of Bel-Air (neighborhood)

JUPITER 🏹- Reaching an Intense level of fame Michael Jackson.

VENUS💄Marilyn Monroe is known for her beauty and alleged relationships. Asap Rocky is known for his attractiveness, his fashion endeavors, and now his relationship with Rihanna. Angelina Jolie is known for her beauty as well as her relationships.

URANUS🛸 Megan thee Stallion became well known very quickly (collab w beyonce, song w Nicki, and a song w bts not too long into her career) and incorporated being tall in her name. I remember before she got super duper famous there was an article and her interest in anime was highlighted.

MARS🔥Rihanna known for being a go-getter and having a masculine edge. Nicki is known also for being able to occupy a genre that was male dominated. “Sexy B*tch but my money real manly”.

NEPTUNE 🪞Steve Jobs has an image curated in illusion. I read his bio and was shocked at how neurotic and insensitive he seemed to be. People dream to be like him and he serves as motivation for a lot of people. Jay a has this as well and I immediately think of the “would you rather have money or a sit down with Jay Z” conversation.

LILITH 🌶️ Ariana Grande has this and her scandals become extremely known for example the donut incident and her pattern of dating men w partners. People make comments about her getting away w a lot which could be due to her Lilith being in pisces. But no one can deny everything she’s been accused of/has done becomes known to EVERYONE. There was an athlete who got outed for sleeping an OF model (who also exposed his k*nks) and I check his chart to find 28 degree Lilith.

PLUTO 🦇 Nicki Minaj has had many eras and is known for changing the way female rappers are seen. (She also has pluto in 10th). Justin Bieber has this degree as well and he’s also has gone through many eras. He went from having the teen idol image…bad boy image…more spiritual image …

[icarusallusion]

One of the main reasons I've been so fond of Otasune since I first knew it was a thing was because I think they're genuinely one of the purest forms of love in Metal Gear.

Throughout the series we see horrible relationships between horrible people trying to get by and then that relationship gets dragged through the awful scenarios they live with, be it war, internal struggles, infidelity etc. Despite this common place struggle with so many other characters, we see Otacon and Snake steadfast loyal and healthy throughout every struggle they go through.

They may not be an official couple, but they will always stay the most communicative relationship even outside of shipping. I see people joke about how Otacon kind of bosses Snake around (especially in MGS4), but I always saw it as refreshing. In the series, there is so many times where x character does something horrendous and y character just sits aside and silently sulks about it.

But this doesn't happen, like at all, with Dave and Hal. There are many times where Snake doesn't think about consequences to his actions as a general rule of soldier, however Hal has never been a soldier. So when these things happen, Otacon tells him off and it's something Snake genuinely needs to hear. It's something human, away from combat. Because Otacon is one of the very few characters that talks to Snake as a person, as a human, not as a soldier or fucked up clone baby.

Snake has gone his whole life scrapping the bottom of the barrel to stop feeling so lonely, he flirts with every woman he sees, he attaches himself very easily onto superiors, etc. Snake is a man who has spent his whole life trying to appeal to people, to get the praise he was never allowed as a child. Otacon gives him the comfort he never got. While any military superior can say Dave is the best of the best. None will look him in the face and tell him he has to live to just live.

Hal also opens a lot of doors to Snake's own discovery about himself. While this next point might sound a little cringy, stick with me. People may joke about the anime interest Snake and Otacon share, but it always came across so genuinely sweet to me. Snake's only interests up until he met Otacon have been, stop feeling lonely and war. I think even part of his musher life and interests within sledding can contribute to part of this. I mean come on, not even a regular musher keeps 50 dogs in their house and dogs are a natural remedy to loneliness. But in all seriousness, David refers to the huskies as his only family and I don't see him connecting with any other mushers he works with, it reads as him wanting to not be alone while also still being so lonely. As well as how mushing is considered a more normal interest than being an otaku, especially in the early 2000s. Mushing is a sport, and being an Otaku was pretty much unheard of or hated. Watching this guy who has been stuffed full of war propaganda scream a dorky "falcon punch" and "ninjutsu" with his best friend is so heartwarming in a way.

As well as Otacon's whole meme turned question of "do you think love can bloom on the battlefield?" Is something that I think Snake needed to be asked. It's probably been something he's been thinking about. It is also one of the most human things Snake asked throughout the game. About finding love in fear. Otacon constantly prods into Snake's heart and brings out the good in him.

Not only does Hal open up a space for Snake to have genuine unashamed interests and show true pure humanity. He also shows off their childhood. Both Hal and David never got proper childhoods. They connect that with each other through cheesy animes, talking about uncertainty in love, finding out what life is all about, navigating feelings, and through that damn cheesy handshake hug. It's all genuinely pure and wholesome love that connects what they didn't get to explore in childhood with one another. When Snake opened that piss covered locker and saved Otacon, he brought his own salvation into his life without knowing it. The very presence of Otacon saved Snake. It's why MGS4 felt so depressing for me especially, the strain between Snake and Otacon left a hole in my little heart and made Snake feel even more hopeless.

I also want to talk about how Snake benefited Otacon.

Otacon begins as cowardly and timid, he's an incredibly insecure character that struggles to connect with others, probably stemming from the issues in his younger life. When he meets Snake, he's faced with someone he could relate to that has an outward appearance that makes him seem so much more confident than he is. Snake is not this, he's as insecure as Otacon. Indirectly, Snake is the whole reason Otacon gets on his feet to take action against terrorism, takes action to become a better person. Snake shows Hal that he doesn't haven't to be strong to do the right thing. Throughout time, Snake helps Otacon come to terms with his own self worth and issues.

In MGS2, it has one of my favorite examples. The infamous bro hug scene.

Before it, this is when Otacon allows himself to open up about his childhood, not even just Infront of Snake, Infront of Raiden too. This showcased such a development in his character because he's proudly talking about it, while even through tears he doesn't hide it anymore.

Did you know that during that scene if you pan the camera to Snake, you can see that he is crying too?

When Hal has a breakdown over his sister's death, Snake is there to comfort him as well as tell him how it is in bluntness with a hand on his back that he needs to save people. It isn't cold or callous, it's letting Otacon know that he has something worth fighting for after a loss like that. Then when they face one another, they embrace each other and Snake tells Hal that he believes in him. Hal spent a lot of time as a scientist, hoping for someone to believe in him, while Snake puts all of his belief into Hal.

I can never forget the iconic "You're the only god I can pray to, Otacon" line. Snake has a deep loyalty, love, and belief in Otacon that Otacon has never been truly given before.

They both, in turn love each other till the end of their lives. Their love was one of the most heart wrenching and beautiful things in Metal Gear Solid and it's no surprise it captivated so many people. Their relationship, whether you ship them or just see them as a bromance. There is no denying the love they feel for one another as friends or lovers is one of the most iconic and sweetest bromances out theres They have impacted so much pop culture and I love them forever, as I'm sure many of you do who read all the way to the bottom.

[headspace-hotel]

Just spent a couple hours digging into this book. I'm not even sure what has worse environmental impacts, the paper the book is made of or the opinions printed within.

Is "post-colonial" literary theory a joke? It's distressing that a book printed in 2021 by a reputable academic press can be so painfully Eurocentric, and I mean PAINFULLY. The philosophical and literary frameworks drawn upon in most chapters are like what some British guy in 1802 would come up with. In most of the chapters, every framework, terminology, and example is inseparably fused to Latin, Greek, and/or Christian philosophers, myths and texts, even down to the specific turns of phrase. You would think only Europeans had history or ideas until the 20th century.

Don't get me wrong, non-european and even specifically anti-colonial sources are used, and I don't think all the writers are white people, but...that's what's so weird and off-putting about it, most of the book as a whole utterly fails to absorb anything from non-European and in particular anti-colonial points of view. The chapters will quote those points of view but not incorporate them or really give their ideas the time of day, just go right back to acting like Plato and Aristotle and Romantic poets are the gold standard for defining what it means to be human.

In brief, the book is trying to examine how literature can shed light on the climate crisis, which is funny because it completely fails to demonstrate that literature is good or helpful for the climate crisis. Like that is for sure one major issue with it, it shows that people *have* written stuff about climate change, but it sure doesn't convince you that this stuff is good.

Most of the works quoted are rather doomerist, and a lot of the narrative works specifically are apocalypse tales where most of Earth's population dies. The most coherent function the authors can propose that literature fulfills is to essentially help people understand how bad things are. One of the essays even argues that poetry and other creative work that simply appreciates nature is basically outdated, because:

“One could no longer imagine wandering lonely as a cloud, because clouds now jostle in our imaginations with an awareness of atmospheric concentrations of carbon dioxide and other atmospheric pollutants” (Mandy Bloomfield, pg. 72)

Skill issue, Mandy.

The menace of doomerism in fiction and poetry is addressed, by Byron Caminero-Santangelo, on page 127 when he references,

the literary non-fiction of a growing number of authors who explicitly assert, some might even say embrace, the equation between fatalistic apocalyptic narrative and enlightenment…they are authoritative in their rejection of any hope and in their representation of mitigatory action as the cliched moving of deckchairs on a sinking ship

He quotes an essay “Elegy for a country’s seasons” by Zadie Smith, who says: “The fatalists have the luxury of focusing on an eschatological apocalyptic narrative and on the nostalgia of elegy, as well as of escape from uncertainty and responsibility to act." Which is spot-on and accurate, but these observations aren't recognized as a menace to positive action, nor is the parallel to Christian thought that eagerly looks forward to Earth's destruction as a cathartic release from its pain made fully explicit and analyzed. Most of the creative works referenced and quoted in the book ARE this exact type of fatalistic, elegiac performance of mourning.

I basically quit reading after Chapter 11, "Animals," by Eileen Crist, which begins:

The humanization of the world began unfolding when agricultural humans separated themselves from wild nature, and started to tame landscapes, subjugate and domesticate animals and plants, treat wild animals as enemies of flocks and fields, engineer freshwater ecologies, and open their psyches to the meme of the ‘the human’ as world conquerer, ruler and owner.

This is what I'm talking about when I say it's dripping Eurocentrism; these ideas are NOT universal, and it's adding nothing to the world to write them because they fall perfectly in line with what the European colonizing culture already believes, complete with the lingering ghost of a reference to the Fall of Man and banishment from the Garden of Eden. It keeps going:

“Over time, the new human elaborated a view of the animal that ruptured from the totemic, shamanic and relational past.”

Okay so now she's introducing the idea of progression from shamanic nature-worshipping religions of our primitive past...hmm I'm sure this isn't going anywhere bad

“While humanity has largely rejected the colonizing project with respect to fellow humans, the occupation of non-human nature constitutes civilization’s last bastion of ‘normal’ colonialism. A new humanity is bound sooner or later to recognize and overthrow a colonialism of ‘nature,’ embracing a universal norm of interspecies justice.” (pg. 206) 

OKAY????

Not only denying that colonialism still exists, but also saying that humans' relationship with nature constitutes colonialism??

Embracing limitations means scaling down the human presence on demographic and economic fronts…(pg.207)

ope, there's the "we have to reduce the human population"

Embracing limitations further mandates pulling back from vast expanses of the natural world, thus letting the lavishness of wild (free) nature rule Earth again” (pg. 207) 

aaaaaaand there's the "we have to remove humans from wild nature so it can be freeeeeee"

don't get me wrong like I am a random white person with no particular expertise in anti-colonialist thought but I think this is an easy one. I'm pretty sure if your view of nature is that colonialism involving subjugating humans doesn't exist any more and actually humans existing in and altering nature is the real colonialism so we should remove humans from vast tracts of earth, your opinion is just bad.

Anyways y'all know I have an axe to grind against doomerism so it was probably obvious where this was going but good grief.

[centrally-unplanned]

The thing about morality is that it only matters when it's real. Discussions of rules or norms for what is right or wrong are almost always, at some level, illusions, approximating reality and guiding decisions in an uncertain world - which does not make them useless, just contextual. Profaning god in your bedroom can never be “wrong” - there is no one to hear you, no one to be hurt by it. You can only show something is really wrong from the intentions of the actions and their results.

So with that out of the way, lets talk about Knives Chau - and specifically, how the comic vs the anime handled that part of the story.

Scott Pilgrim vs The Reification of Dating a High Schooler

There is an extremely pervasive meme in Scott Pilgrim discourse that our titular Scott is a scumbag. Our returning whipping boy the Kotaku article loves this idea, describing Scott’s “detestable behavior” and wondering “was it too subtle the first time about Scott being an absolute shitbag?”. There is this viral headline screenshot from an interview floating around right now riding that same line:

Which is, of course, pretty much false. Its up to you in the end, “shitbag” is a subjective description, but the story just isn’t about events that would be described that way. Its the story of a guy getting over an awful ex, hurting some people, then meeting a new person, and realizing step-by-step what it takes to be their partner and levelling up as a person each time he does. He starts off broken, and Ramona of course is just as broken - getting better is their mutual arc. And its fundamentally about relationship drama - those stakes don’t make you a scumbag lol, just clueless, unless you are terminally online and don’t know what real stakes are.

I will let O’Malley get the last word in with his quote the writer of that interview is hilariously trying to torture into his headline:

There's a bit of, like, young people see Scott Pilgrim a certain way, and, you know, there's a lot of, like, 18-19-year-old fans that are really judgmental of the character. They're like, "Oh, he's a bad person. I would never do that." But I always tell them, like, get back to me when you're 25 or 30, tell me how your 20s went. Were you a bad person? Everyone has to make choices and do things in life that maybe they're not going to be proud of later.

Scott is a scumbag the way everyone is - you yourself will likely commit similar sins; that at least seems to be the authorial intent, and I agree with it.

So how does dating Knives Chau slot into this?

Despite the memes, age, in fact, is just a number - two consenting people dating does not a sin make. The reason dating underage people is bad is because of its consequences, not the categorical imperative. So what are the consequences of dating Knives Chau in the comic?

Knives is, as a consequence of dating a guy who is simply via his age able to appear so much cooler than her peers to her, absolutely obsessed with Scott. She worships his band:

She starts aping his taste in music and interests; she slots herself into his circle of friends, who don’t relate to her, even after their breakup (often drinking her way through it):

She totally spirals after he cheats on her and leaves her, blaming everyone but him; she is wounded and hurt for months, a year, over a relationship that lasted weeks:

Knives Chau is a literal poster child for why you should not date a high schooler. She is, at every turn, emotionally not ready to date someone who is not at her own level of social development, and is deeply affected by it. It is, sometimes, played for laughs - that is the nature of the comic, everything is played for laughs, but I would have given it a bit more dramatic space myself - but over the course of the story Scott himself realizes how much of an ass he was to her, and how he didn’t take what happened seriously.

The reason I view this with charity is what Scott did to lead to this - he met a cute girl on the bus! He was deeply hurt and kind of numb in life, and found someone who was safe and easy to talk to. He never attempts to kiss her (she starts trying to kiss him which he repeatedly rejects) they don’t even hold hands, and it lasted a few weeks. He knew deep down, pretty much immediately, it was fake:

Then he met an actual person he liked, and with some browbeating from Wallace agreed to break up with her, but chickened out for a day. Then the next day he decides to break up with her, and she drops the L bomb before he can, so he instantly ends it. It is really awkward for everyone involved.

Pushing off an awkward and uncomfortable conversation resulting from a dumb decision you made on a whim for a week - god I relate to that, that’s everyone! If you think it isn’t you I think you're lying. Its why this relationship is so interesting in the comic - Scott is always one step removed from it, putting it at abeyance, and the fact that something so minor to him is so destructive to her is a really good portrait of how these kinds of things happen. Its so easy to hurt someone when you don’t even know what the stakes are, and when its coming not from malice, but from weakness. Its a very good portrayal of a bad relationship because its bad in a relatable way, even if as a story is a bit more dramatic than is typical. And its a great portrayal of how fraught age gaps can be - this bad relationship is part of what makes the comic a good story.

But its 2023, we don’t give a shit about any of that anymore!

O’Malley in the same interview discusses the cultural shift around these kind of relationships:

I felt like in this day and age, I had to provide clarity on that [relationship]. Because when I wrote the first books, I took it for granted that people would understand that dating a high schooler was a bad thing. But on the internet, in this day and age, people are like, "He's dating a high schooler. That's terrible!" Like, that's pretty much what I say on page 1 of the book. But I try to spell it out a little bit more this time.

He isn’t telling the full story though - it was bad in 2004, but not bad the way it is today. Its dubiousness was mitigated by its frequency; people were doing this kind of shit all the time. Scott Pilgrim is a bass guitarist in an indie band; fucking groupies is like built into the cover charge. Half the problem Scott has in dating Knives is that she is the wrong kind of 17-year-old - had Scott met her at 1 am in the aftermath of a Born Ruffian’s concert at the Whippet Lounge knocking down shots off the back of her fake ID, no one would have even noticed. Hell, no one does notice; there is someone who actually makes out with a drunk 17-year-old Knives Chau in the comic Scott Pilgrim, and isn’t Scott Pilgrim:

No one cares about Kim’s inebriated petting session here; that is 10% because she is a Girl and Girls Can’t Be Predators, 40% because she isn’t the main character, and 50% because Kim Pine’s dating history is not a useful proxy battleground for GamerGate-adjacent nerd culture wars in ~2014; but that is road that goes directly to hell, so let's veer back.

The point, of course, is that in 2004 this is a crime flecked with normality, something your friend would do and you would maybe just cock an eyebrow at:

Its not that in discourse today - it is radically more condemned. It is not a contextual sin, but an original sin. It underwent a process I am calling reification - where it goes from being just a shifting descriptor of reality, to a thing in itself, with a defined (reified) meaning. And to be clear, that is in a lot ways on net a good thing? The reality is that, despite everyone’s protestations, there are today thousands of 17-year-olds taking the L line out to a gig at the Brooklyn Steel and going down on a 25-year-old guy they just met in a back alley off Frost St who swears he’s a “drummer in a sick new band” that played here “just last week”, he promises, and she is having a great time, bragging to her friends about how hot his tattoo was, and then shipping herself off to Cornell next year to start on her pre-med track with barely a memory. But for every dozen of those, there is at least one person who is deeply, deeply hurt, a Knives Chau who never deserved this. The rest can have a slightly worse time, its probably worth it.

That does not make it a categorical imperative, though - the reification has masked that truth. The crime comes from the context - those other girls aren’t victims, they would laugh at you for suggesting they were. But in 2023, Scott Pilgrim Takes Off is no longer concerned with context. It is telling you, right to your face, that Scott is a bad dude. Over and over and over - jokes from the Evil League about “wow, I thought we were evil”, its not subtle.

Yet meanwhile, Knives Chau is, like, fine? She dates Scott, is totally into him, and then literally in the middle of his funeral forgets about him for Envy crashing it:

Picks up the bass and has yuri-inflected playtime with Kim the literal next day:

And less than a week later is pitching an off-broadway musical adaption of Scott’s life to a billionaire Matthew Patel - I can’t explain that okay, I’m as confused as you are.

She is mad at Scott, sure, but she is over it in a matter of days. Hell, notice how she was already a fan of the Clash at Demonhead now? There is no scene of Scott introducing her to his kind of music. He didn’t change her. By the end she is a member of his band and they are totally chill:

This is, again, about a week or two later.

Knives is not an important character in this show, way less than in the original, this is no grand sin. But I still find it very interesting: O’Malley is wrong. He “spells it out” way less in this version when it comes to the actual consequences of Scott’s actions. Everyone’s verbal condemnations are substitutes to replace the real damage his actions dealt in the comic. Scott is a better person this time, in a world that has universally agreed he is worse (still not a good move ofc). Even Scott’s moment of apology to Knives about their dating is so tepid its almost Straussian:

Its ‘frowned upon’…which is not the same thing as saying it was wrong! I don’t think this is intentional, its just funny, but its a nice capstone nevertheless.

And it had to be this way, not just for media in general, but for Scott Pilgrim in particular. Not only are sexual crimes far more reified today, but Scott Pilgrim’s sin of dating a high schooler is reified as well - its the first piece of discourse everyone encounters about it. Its the ur-debate of the franchise. The idea of actively engaging on this point, and digging deeper into it…its too hot, too controversial. Way better to shy away from it, disown it. The discourse wrote this part of the script over the course of a decade; its not something the creatives had any say in.

Honestly they should have just gone all the way - just make Knives 19. Then how tepid it is wouldn’t be a distraction anymore. Scott can just be an asshole for cheating on her, that would work fine. If you aren’t going to commit to the reality of these things, you shouldn’t bother with it at all.

[velnna]

What's wrong with using a pose ref lol, didn't you just redraw a screencap from a tv show

See this is why I prefaced it by saying it's not objectively "wrong", it's a personal take and a grey area. Ultimately if an artist tells you they're uncomfortable with something and you choose to do it anyway it's on you if they then complain about it or ask you to reconsider, it's not the law. You can always tell them they're wrong but then don't be surprised if they take issue with that lol

But for a more detailed answer, I know I've said this a thousand times but I'll always hammer it in. I think there's definitely leeway to do redraws of things across media (so if you redraw a screenshot from an animated show and link said redraw etc, I see it as more of a transformative thing and a tribute than just straight up copying. Same for live action or even photographs - the same way that if someone took one of my drawings and decided to replicate it in photography or animation with a very clear link to it I would see it as more of a tribute because it's transformative) but even then if anyone was shown to take an issue with it I'd just Not Do It. Also the vast majority of the time these things are memes and very obviously a nod to the original one rather than me saying "look this is totally something canonical to the characters I'm drawing and didn't originate elsewhere"

There's times when I don't take an issue with people using my poses as inspiration or reference but a lot of my work does sort of just work as pieces of a comic or a scene that I don't like seeing repurposed for other characters. But that's the keyword: I don't like it. Not gonna send the police after you for it or claim copyright or even force you to take it down but I may *ask* you to reconsider it and think about it. And if it's a recurrent thing and I see you do it a lot I may insist 🤷‍♂️ it's a boundary I established but others are free to feel differently

ALSO I'm not referring to accidentally creating shit that's too similar. We all take inspiration from each other so that's bound to happen. I'm mostly referring to when it's very obvious a single artwork was used as a direct reference - and again, no shade if people do it without realising the artist might feel bad about it. I never assume ill intent from the get go

[pearlprincess02]

gemini sun, gemini moon, libra rising, gemini venus, cancer mars

gemini sun: great comebacks, lemonade, anime, spring, talking and talking and talking and talking, memes, ice cream, social adaptability, electrifying eye contact, flowers.

gemini moon: individuals with the moon in gemini handle their emotions using their intellect. they often approach feelings with a logical mindset, aiming to understand and communicate their emotions openly. people with a gemini moon experience a broad spectrum of emotions and can easily adapt to various emotional situations. expressing emotions through words is common for those with a gemini moon. they enjoy sharing their feelings, thoughts, and experiences through conversation, seeking verbal reassurance to feel emotionally connected. additionally, humour plays a significant role in how they deal with their emotions, and they may use it as a tool to navigate emotional experiences, not taking themselves too seriously. this ability to use language and wit adds a unique dimension to their emotional expression.

libra rising: soft/feminine features - just like taurus libra is ruled by venus which rules over femininity, conventionally attractive - venus rules over beauty, beautiful hair - venus rules over the hair, symmetrical face - libra’s symbol is the balancing scale, it’s even on both sides, curvy feminine body and nice shaped butt - venus rules over femininity and your butt

gemini venus: they will listen to you the way a child listens to their favourite bedtime story, they will want to put you in their pocket and bring you everywhere. this is a placement that will tell you so many random stories, so many jokes, they will talk to you about anything, entertaining all of your interests. you like painting, great they will go paint with you, you like cooking, they will go to a cooking class with you. they will suggest you two go off and do a bunch of random activities together. they love to spend time together, they want to keep things light and playful too so they will always insert humor into everything. they will text you all the time, these are the people that text you goodmorning every day and ask you what you had for breakfast. but then they will also need times when they will kind of fly away for a little bit, just because they need a lot of stimulation so they need a lot of people in their space, you can do group activities together but they will always need time away and if they are provided with this freedom that doesn't clip their mercurial wings then they will fall in love even more deeply.

cancer mars: cancer mars can have a tendency to be overly protective and emotional when it comes to their actions and decisions. they may be attached and protective of those dear to them, and can have a strong instinct to protect them no matter the cost. this can lead to a tendency to being overly controlling and being unwilling to let go or release their attachments. they may have a tendency to overreact and act excessively when it comes to protecting their loved ones. they may also come across as being overly sensitive and impulsive, making them prone to taking things too personally and being emotionally reactive.

(@camila-heart)

ᵒᵇˢᵉʳᵛᵃᵗⁱᵒⁿˢ ᵃʳᵉⁿ'ᵗ ᵐⁱⁿᵉ

[kingofthewilderwest]

Am I the only one who feels like HTTYD isn't as memeable as Shrek or KFP? I know we have "You're as beautiful as the day I lost you." and the famous dancing Toothless, but that one was really from a parody recap. Other than that, I really don't see a lot of memes from it.

I think that means HTTYD is successfully doing its job with the type of narration it intends.

There are comedic lines like "talking fishbone" and "thanks for nothing, you useless reptile" that fandom has parroted since the early days. There's Hiccup encouraging Toothless while the Light Fury looks aghast as a meme template. And fandom can find anything to josh with, be it Hiccup's hot froglegs in HTTYD 2, or Hiccup's love affair with scrap metal from RTTE, or throwing everyone in the dungeon who made a Stoick joke (I am DATING my time in the fandom here, y'all). There will always be moments we play with, as it were.

But HTTYD, while funny, is built on heart. Shrek and KFP have heart, too (especially KFP), but they're built around different vibes (especially Shrek). Shrek was an intentional, abrupt, genuinely shocking aberration from animated fairy tale movies. For people who weren't around when it happened, there's a REASON it was a HUGE, rocking sensation and has become part of permanent culture. Meanwhile, KFP is a comedy action. HTTYD, at its core, is the story of a boy and his dragon, and a boy and his dad. I wouldn't expect fan response or general societal response to respond to these different frameworks the same way.

When audiences think about the impact of HTTYD, they aren't thinking about the pleasurable absurdisms that lead to "You're tearing me APART, Lisa!" or "I don't like sand" (which actually, for the record, I think is an unironically good character scene, sue me).

You ever watch a movie where they try soooo hard to be meme-able? Or they're throwing in jokes at places they shouldn't? I'm not not not saying it happened here, but one of the things I think THW could've improved was by reducing the number of gags it tried to run - while competing for time to emotionally conclude a sweeping trilogy. Sometimes it's not the place for a movie to have the content that'd make it meme-able. HTTYD's always been funny, yeah, and that's part of the franchise's charm. But different types of funny bring different audience results, and you ain't gonna beat Shrek when it comes for appropriate humor vibes for memes.

I could be forgetting a ton in my sleep-deprived state. But I'd agree it's not as meme-able as Shrek, one of the most meme-worthy pieces of media to exist. It means both have their place in the ecosystem of movies, and it makes both of them fantastic for what they are.

[kiragecko]

How to Support People With Faceblindness/Prosopagnosia Online

This isn't super important. I'm pretty sure I'm not the only faceblind person whose response to not recognizing people was to stop caring about celebrities (and most live action). Unless it's an important political post, we're unlikely to NEED to recognize a random image on Tumblr. But if it you have the energy, this really helps:

Caption photos with the names of whoever is in them. Even if it's someone like Elvis Presley or Donald Trump, who EVERYONE recognizes.

I can't consistently recognize Marilyn Monroe. And I don't want reassurance that she looks just like someone else, so you understand. There will be someone you don't understand, and I still won't be able to recognize them. I'm bad at faces.¹

-

I notice that reaction images are especially hard for me. People LOVE seeing how much context they can remove while still leaving a reaction image recognizable. I have to guess that the zoomed-in eyes are probably still the Obama reaction image from years back. They're just eyes to me. Even normal reaction images are hard if they don't have distinct enough poses.

If you can mention the person's name in the alt text or a caption below your reaction image, it would help a lot.

-

This doesn't apply to people whose names aren't well known. If their identity isn't adding to the meaning, I don't care who it is.

For example:

With the 'then perish' Obama meme, part of the humour is that the then-president is the one telling us to die. So mentioning that it's him aids my understanding of the meme.

With 'Dead Dove: Do Not Eat', mentioning that the actor is Michael Bluth, or that the scene is from Arrested Development, allows me to go find out the context if I want to know more. (Which might have stopped me from distributing misinformation to thousands of people about the meaning of the phrase!)

As far as I can tell, the fact that the 'snakes started manifesting' guy is named Uhrie Anthony is NOT particularly important to the meme. I don't need to recognize him from somewhere else to understand what's going on.

-

I don't struggle nearly as much with cartoon characters. Just live-action/real people. Not sure if there are faceblind people that will struggle that way. It's still nice to get context for where some anime character is from, but it doesn't affect me the same way as seeing a random blond woman on my dash, and trying to figure out if she's a singer, an actor, an activist, or something else completely.

-

¹ I'm not annoyed, just trying to support those who struggle with reading comprehension. This isn't about the individual people I'm mentioning. It's about my ability to recognize ANYONE.

[iamcautiouslyoptimistic]

🦅Russell Adler Headcanons

{Author's Note} Since I'm literally obsessed with this man, I thought I'd post my headcanons for him. All of these are based off of his canon backstory and character with bits of my own speculation thrown in so nothing should be too out of left field here. I may end up posting more of my thoughts on him soon so we shall see. Hope y'all like it and I'd love to hear what you think, as well as any headcanons you guys might have! Tagging @littlemissclandestine for this since she's an Adler fan. Let me know if I did this man justice lol🤭

‼️Content Warning: swearing, suggestive themes‼️

~ ~ ~

-Badass asshole

-Takes awhile for him to soften enough to really love someone

-Flirtatious jerk when he has a crush

-Shows he cares through small actions that can be hard to notice, as well as vague, rather backhanded compliments

-Shamelessly stares from behind those glasses of his

-Thinks it’s really cute when you wear his shades but would never admit it

-Stylish with heavy 70s influence

-Probably modeled for a male fashion magazine at some point LMAO

-Definitely knows how to dance

-Seems like the type to meme a bit on British people (specifically Park lol)

-Very sarcastic, sometimes to the point that you don’t realize he’s actually joking because he's always so monotone

-Secretly loves Belgian waffles (this is a reference to that one Bruce Thomas TikTok lol)

-Has a soft spot for the Beach Boys (I mean, look at that 🎶bushy, bushy blonde hairdo🎶 of his)

-Since so many people have asked and teased him about it (I see y'all in the fandom and I will not accept this slander lol) -> his hair isn’t fake, it’s actually pretty soft, very bouncy, he likes styling it

-Very particular about his appearance as it is one of the few things that he can truly control

-Prefers cats over dogs

-Can get obsessive about certain things and lose himself to them (i.e. his search for Perseus) -> Mason quote: “He spent so long searching for Perseus, he didn’t notice when he lost himself.”

-Still struggles with PTSD from his time in Vietnam, which, alongside his obsession with finding Perseus, is what led to his divorce

-Carries a lot of guilt and regret that he doesn’t like to acknowledge

-Started smoking to cope with the trauma of war, now has a nicotine addiction; when he’s really stressed, he chain smokes like a chimney

-Gets restless if he doesn’t have a cigarette

-Doesn’t sleep well and when he does, he usually wakes up every few hours

-Scars - Shrapnel? Abuse? Torture? Animal attack? No one knows and he’ll never tell

-Kiss or trace those scars and he WILL melt

-Difficult for him to let his guard down

-Has a tendency to isolate himself -> Mason quote: "You were never alone, Adler. Only in your own stubborn head."

-Always wearing those damn glasses cuz STYLE but also to hide his eyes to remain as a sort of blank, emotionless slate to other people

-Absent parents who never showed him real love or support as he grew up so he struggles to do the same for others -> they were the reason he joined the army as soon as he turned 18

-When it comes to cuddling, he loves holding you against his chest and running his fingers along your arm, cheek, or through your hair; small but intimate actions like that are his favorite

-Doesn’t like to show emotions at all, even during more intimate moments; he needs some coaxing to relax in that way, which takes time

NSFW Below👇🏻 (it's really not too bad tho)

-Sit on his lap👀

-Will pin your wrists during the sexy times🫣

-EDGING & OVERSTIMULATION

-After his divorce, he's tended to view sex as more of a transaction where both parties are fulfilling needs for each other so he'd be selfish at first but as your relationship progresses, he'd become far more generous

[brucebocchi]

brief reviews of all the manga i read while i was procrastinating from finishing my anime reviews

instead of actually watching a lot of the new anime that's coming out this season, and also instead of writing the anime reviews i had been planning to write for the previous three and a half months, i read a ton of manga in my downtime. here's what i read:

kindergarten wars: action romcom? say fucking less. it nails both sides of that dichotomy very well, though i'm still waiting for a little more commitment to the romance side. it gets surprisingly heavy at times and those emotional beats pack some serious punches. this is gonna make a banger of an anime one day.

blue box: save for dungeon meshi and maybe frieren, this is my favorite manga i've picked up so far this year. a damn good slice of life romance and a damn good sports manga at the same time. i'm beyond excited for the anime this fall.

hirayasumi: god, this rips. cozy as fuck, sweet as all get out, but doesn't shy away from portraying its characters as jealous, selfish people when things don't go their way. the art has a lovely sketchy vibe to it; almost gives off "grown up skip and loafer" vibes, and how appropriate that the scanlation group handling it also does skip and loafer! already bought the first volume.

kagurabachi: i hated the memes surrounding this manga when it debuted and never once found them funny, but i eventually gave in and picked it up while it's still relatively new. it's solid! i can see this continuing to improve as the mangaka finds more of a voice. some really excellent splash pages and i can see this being adapted into a really good-looking anime somewhere down the line.

the way of the househusband: it's pretty one-note as gag manga go, but it's a very funny note. seeing an ex-yakuza tackle daily mundanity with the exact intensity you'd expect is always great. it can get a little repetitive, and it even lampshades its running jokes, but it still works most of the time. the art is OUTSTANDING in this too.

telework yotabanashi: i already talked about this when i finished it and it's a short one but it's worth mentioning. kintetsu yamada can do no wrong. i adored sweat and soap so i knew i was gonna like this one, and i was right! very satisfying despite its length and a very lovely story for a very specific moment in time.

tales of wedding rings: yes, the anime drove me halfway insane until i dropped it, and i went ahead and read the manga anyway. it's decent as trashy isekai go. the story goes in a slightly unexpected direction and it's very slowly approaching the finish. the surprising thing was that all of the nudity in the anime was anime-original; the manga doesn't really lean into full-on nudity until a major story climax (lol) and from there the floodgates burst open (lol). my complaints from watching the anime still stand, and the anime still looks like dogshit (especially compared to the source material), but i'll finish it out.

i also read nozoki ana but uh, we're not gonna talk about that today.

[talenlee]

do you have any thoughts on how (if at all) the Toy Story films impacted how children play with their toys?

Yeah, quite a bit.

Toy Story is a 1995 animated feature film by Pixar Studios, distributed by Disney, that serves as one of those iconic examples of early 3d Animation that ‘holds up’ over time by people who haven’t gone back and looked at any of the humans in it. With the voice talents of Tom Hanks and Tim Toolman, it follows the narrative of a pull-string cowboy doll competing with a kung-fu action grip spaceman toy for the attention of their gigantically towering owner, whom they must never allow to know that they live, breath, and know his name.

For kids!

Look, classic yada yada, groundbreaking yada yada, wholesome yada yada. I actually got to see this one while inside a controlled christian media bubble, and if tomorrow I found out all copies of it had been deleted I would react like that ‘oh no, anyway,’ meme. It is not a movie for which I have an enormous amount of affection. I don’t want to talk to you about the narrative, though, not of Wilson’s Best Friend negotiating with the Last Man Standing about which of them will be more validated by an actual literal child and the ontological questions of why aren’t the parts of Mr Potato Head independently alive?

I want to talk to you about the humans of Toy Story. Specifically, about Andy, and Sid, and the weird world they live in, and the weird world they’ve created.

Andy’s a weird kid.

Andy’s a weird kid, in this specific case, because of the toys he loves.

Andy’s collection of toys features a lot of things that were, for want of better phrasing, are old. Plastic army men, Mr Potato Head, metal slinky dogs. In 1995, none of that stuff looked like the heavily branded, overmerchandised toys I was used to. Kid didn’t own any legos? No rainbow vomit coloured plastic slinky?

Sure, my collection had some old toys in it. That was because I was poor, and we got a lot of toys from the Salvation Army story or second hand from the throwouts in the church charity bins.

Thing is, as toys, Woody and Buzz aren’t really like the toys I was interested in during the 1990s. Cowboys weren’t cool. Cowboys were old. Cowboys were shown on TV in largely black and white. Cowboys were always about being sour and mad and long periods of nothing happening and nobody did a single kick flip and there weren’t any ninjas. Buzz Lightyear looked extremely embarrassing, and not like the kids’ toys of the time. He didn’t transform, he was big and chunky and not an action figure. Lords knows he wasn’t going to stand up to either GI Joe or Action Man. The scale was all fucked up, he clearly cost a lot, and we never saw signs of playsets or vehicles in the movie.

Though I say that, and you know what he did look a lot like, size wise? GI Joe. Not my GI Joe, from the 1990s, which were the size of my thumbs and cost five dollars so you could army-build. Original GI Joe, from the 1960s, which was a much taller toy, literally a foot tall. You know, like how tall Buzz Lightyear is.

My point is: Buzz Lightyear is not a 90s toy. He was a toy that looked like a boomer’s toys. Andy, a child created to fit in 1995, in a large expensive home with lots of toys, has lots of old toys. Andy has toys that speak to growing up in the sixties, with one toy that’s meant to be a toy of the 90s that’s still kinda not.

But now those toys are iconic kids’ toys, now, because Toy Story became a classic, and people who saw it as kids had kids and shared it with their kids. That is, the parents saw Toy Story and went ‘oh that’s fine for my kids,’ then those kids passed on Toy Story to their kids, and so on and now thanks to it being interdimensional meme cryptid’s extended tentacles into our reality, Woody and Buzz are now iconic kid’s toys that rely on being this sort of post-packaged boomer nostalgia.

That’s the wildest thing. The combination of Andy’s wealth and diversity of toys (why do you have a ceramic Bo Peep statue?)  creates this weird impression of Andy being somehow a child with vintage toys that represent taste thirty years older than him. If Andy was poor and isolated it’d make a ton of sense for him to have all these old toys and none of the newest, coolest toys, like Sid has.

I’ve written about Sid in the past, in part because I think he’s the only character in the entire universe I have any real fondness for.

Well okay, maybe Rex.

Anyway, Sid’s poor? Like, his house, next door to Andy’s, is grungy and grimy and there’s a question about how Andy’s house is so nice and clean and fancy and Sid’s is basically a hell dungeon, but in hindsight it’s kind of hard to look at it and not see it as classic Disney Fisher King stuff. You know, the way that when Scar ruled Pride Rock, there was a drought, and the second Scar was replaced by Simba, there was rain. In this case, Sid, being bad, has a house that’s full of Badness, and Andy, being a good kid, has a good house.

But Sid is signalled as being poor. Everything in the house is grungy and secondhand, and he’s constantly playing with toys that have been discarded or lost, and he modifies them. Sid is curious and creative and yes, destructive, and he’s destructive of things that, as far as he knows until the movie decides to massively traumatise him, are just toys.

Like, think about that. Sid damages and messes with toys but he uses that to make other toys, to make things he plays with. His play is seem as scary and traumatising, because… what? Because he violates the ‘proper’ image of the toy. The toy that is not properly preserved, the toy that is torn in pieces and put together again is seen as somehow violated because it is no longer’ right.’ The implication there unstated is that toys are ‘right’ when they are sold to you, and when you change them from that product, they are ‘wrong.’

Sid’s sin is making his own toys, and he is punished by the avatar of a multinational company that will sell you toys that are right.

There’s this fun story beat, where in Toy Story 3, you find that Sid is now a garbage collector. You can see him wearing the same shirt, and dancing happily as he collects trash. In the garbage dump in that movie, you’ll find there are also no toys, which creates the strange question of how things get that way. A story that explains this, a story I like, is that Sid, with the skills he has with toys, took the job as a garbage collector to rescue these tiny sentient creatures from humanity discarding them and is running some sort of toy game preserve in his home. After all, he is, as far as we know, the only human aware that toys are alive.

And he’s the asshole, not the seeming adults who traumatise a kid for playing with toys. Sid, after all, doesn’t play nice.

Source.

[katzske]

EARTHSPARK SPOILERS ABOVE AND BELOW!

For a kids show, I'm glad that they're able to touch upon serious topics like the effect war has on individuals and, in this case, species. I think TFA is the only notable TF show that wiggled its finger and made clear yo these are fucking aliens. But even there it felt one sided, as in, robots finding organics gross.

In TFE, you get so many perspectives on the Cybertron- human relationship and I love is so much. You have people who embrace it and accept each others differences. You have those who have internalized xenophobia but don't notice. People who don't care and just wanna be themselves and live in peace. And those who outright HATE the other species.

Visuals: the first half had its animation mainly focused on action. and while there is still action here, the conclusion of the season offers a lot of cinematic shots which tbh kinda took out of the immersion but are awesome screenshot material. it gets really dark as well, and there is a shot with Bee that stood out to me, where he's hanging from a ceiling, and his expression is full of fear. It was grand.

Audio: You still have the same synth wave music (which I like) but you also get some amazing sound designs for animal based alt modes, like Grimlock and Tarantulas. Nightshade unfortunately has this repetitive sound playing whenever they fly, (hawk screech) since they don't have a motor IG??

Characters: The viewer will be introduced to Hashtag, Jawbreaker and Nightshade. They have distinct abilities and personalities. (By now, I can already tell that my favorite Terrans are Nightshade, Jawbreaker and Twitch lol). They're interesting characters and their dedicated episodes were quite entertaining.

The most notable new characters who actually have their dedicated episodes and voice lines are Shockwave and Tara. Shockwave, as you can see from my memes, is a raging classist and racist. He's pure evil. But I really enjoy him because he's so smug. Imagine TFA Shock's smugness but in higher dosage. I fucking love it. HIS VOICE HAS SO MUCH RANGE. reminds me of an evil DJ subatomic supernova. His eye also reminds me of shin godzilla's... an unrelenting blank stare, unnaturally wide. Tarantulas on the other hand takes a much different spin than his BW counterpart. I think he joined the cons and stuck with them is because he wanted equality for all (during a short convo between Megs and Shock it's implied that it was their original goal). He's sick of the war and just wants to survive. He wants to be himself. He does these typical cinema spider noises like hisses, or gargles in his alt mode BUT OH BOY in his robot mode he's one fine fella. And his voice. chef kiss. i think it's British, but can't pinpoint what region.

Plot: Earthspark is gonna build upon the concept which TFP poorly introduced: A villan human faction. TFE is building upon and further fleshing out what they tried to do with M.E.C.H. The execution so far looks very promising.

They have taken their time to introduce G.H.O.S.T for a whole season, and put a bit of effort into showing that the organization is made out of individuals who have different motivations.

Their official motivation is understandable. The "good guys" wanna protect civilians from threats, like bots who break shit. But ofc there are some nasty people in the ranks who are lowkey masochists lol

Also, since Cybertronians are known to the public, it deepens the complexity of the conflict. Xenophobia against Cybertronians ranges from this cooperation to just regular people, who are mad that their planet was turned into a battle ground.

[bluntblade]

I've got a theory about why this happened, and I think the other Mandoverse shows support it, especially Mando S3. Basically, these shows have over-committed to using the Volume to the point that it hurts their action scenes. Not just in terms of how they look and feel, but what can even be put in front of the camera.

As Greig Fraser (the brilliant DoP who worked on early Mando as well as Rogue One, Dune and The Batman, and first got the Volume to work) has said, the Volume comes with pretty steep limitations. Spielberg has managed to do some things with it that Fraser hadn't thought possible, but for the most part it restricts what angles you can shoot at and also what movement you can have. Film Crit Hulk talks about it in more detail re Mando back in 2020:

Note HOW MANY times they’re standing relatively flat and the camera angle is directly parallel to a ground so that it puts the horizon in the same 1/3 of the frame spot behind them. They do this because if they raise the camera higher (as many shots should and would) it would reveal the “boxy” angle of the stage. It may seem small, but it REALLY de-emphasizes the natural surrounding and I’m worried it’s hurting the overall look of the show.

And it occurs to me that arguably the best-shot action of that series is probably the one where they went out and just filmed in the California hills. Note how Boba gets to tower over that one Stormtrooper and how there's a real sense of wham when he lands.

If you're shooting everything in a context where nothing can move all that fast, though, it really hurts your most kinetic characters. When Kelleran Beq gets his showcase in Mando S3, the camera can't move to add oomph to his strikes or give him a hero shot (in Kenobi you see them trying this with Vader, but they have to stop short of an angle which will actually give the image punch). If you've seen Dune Part Two, think of how the camera races along with Paul and Chani in some of their fights with the Harkonnens. That's wholly missing here.

And this also impacts the old jet packs (and Jedi acrobatics, for the most part). Whereas Jango could rocket around merrily, it's notable that the Children and the Nite Owls alike only really use their packs for dedicated aerial scenes. In the pirate fight, you can easily imagine them boosting from rooftop to rooftop and sparking even more "high ground" memes, but instead they conduct the fight entirely at a walking pace and on the ground.

And all of this hurts Sabine in particular, because like Ahsoka, she originated in animation and has previously been depicted in a really kinetic way. Even without a jetpack, she's a very acrobatic fighter in Rebels, and it's one of the things which makes her a really fun character. But in the process of moving to live-action, Filoni and co opted to change the characters to fit the Mandoverse style, instead of changing the style to fit the characters. The result is that lots of the things that first made Sabine so cool and fun just aren't really possible now.

[caw4brandon]

The Power of Stop-Motion

Media in today's standard is quick and easy. Rarely is a show more than 2 hours long or 13-epiodes per-season. With that, animated movies are a lot slower than the typical films.

There is a discussion on if animation is suitable for film purposes and while it is often shunned by the Golden Globes or the Oscars or other awards. The very few outliers can prove these awards and the world very wrong.

But that is not what we will be talking about today. Because while animation is popular, there is a dark horse among its sphere. One with a rich history and strong filmography that should be shared. Let's talk about;

- Have I possibly gone daffy? -

Stop-motion is a film making style that compiles multiple still images of an object being physically manipulated in small movements into one whole scene.

Majority of Stop-motion films and videos use [Clay Animation] or [Paper Animation] with several more varieties of new innovations emerging under the umbrella of stop-motion. The most popular of them in the modern era towards kids is [Lego animation] which is the manipulation of Lego models in motion.

The earliest trace of Stop-motion in films is the 1898 short [The Humpty Dumpty Circus] by Albert E. Smith and James Stuart Blackton which is said to be a lost media. To compensate, please watch [A Tribute to Stop Motion]

In its early concept, Stop-motion was used as a method to create impossible things or do practical effects under budget constrains. Such as the iconic King Kong scene at the Empire State building. Since then, Stop-motion has evolved into a full production industry. From Indies; [Righteous Robot] to Juggernauts; [Laika Studios]

- Shimmer a Little at The Edges -

Unconventional media such as stop-motion is often not a style suited for every story. Its a rather expensive type of media that requires worthy innovations top break the niche barrier. Just looking at Laika Studios alone, we see that they've develop a lot of interesting ways to improve visual effects while staying to their stop-motion roots.

One perfect example is seen in < Kubo and the Two Strings > where the animators need to create water in a still image world that feels natural. [A Perfect Storm] one other part of the stop-motion puzzle is the iron-willed discipline it to conceptualize, animate and edit a production that can take about 3 to 5 years to complete. More so of a time frame than a normal film.

This difficult curve lead to budgeted methods such as using models that already exist to tell new stories. Such as; Legos or with crude multi-jointed figures of existing characters. [MOONSHINE]

While I may say its crude, the low budget production is the selling point. Assisted with sound bites taken from gaming sessions or from shows featuring a lot of inside jokes and memes. Also, its hilarious to see a Teletubby turned into a Eldritch monster.

These attempts to make stop-motion productions accessible has captured the attention of other like-minded channels to collaborate and elevate one another. [ERB: Harry Potter vs Luke Skywalker]

- For Better Tomorrows -

With all that is said, what is the power of stop-motion? As a media that is tediously overlapping across processes. What are the better tomorrows for our inanimate subjects?

I like to think, that as filmmaking grows. Stop-motion will continue to remain as a sacred tug against live action films and traditional animation. It can be used to tell complicated stories with concepts that may look strange if its adapted in a live action.

As I have mentioned in [The Beautiful World of Hilda] animation's greatest strength is simplification. Stop-motion takes the opposite side of that philosophy.

Its a higher level of world building of the materials with willingness to accept mistakes and ruggedness that gives them that little flavor of life. As an actual touchable thing, the various cartoonish styles can take on a whole new dimension to heighten the style and give it that detail that is less polished.

Stop-motion shows that filmmaking magic can still exist despite already knowing the tricks. Its a media where every frame shown has a significant purpose that invokes a specific flow. That's the power of stop-motion.

[minijenn]

Jen Tortures Herself With Every Dreamworks Animated Movie Ever: Megamind

So surprisingly, this is one movie I've never actually seen before outside of all of the memes and all of the love people tend to shower upon it, and after finally seeing it for myself... yeah, I totally get why. Megamind is based as fuck, ya'll.

We focus on, of course, Megamind, who is a supervillain who terrorizes Metro City and is opposed by the heroic Metro Man. At least until Megamind seems to successfully defeat Metro Man, leaving Metro City in his hands and quickly leading him into wanting more than just power alone. While in disguse, he ends up striking up a romance with Roxanne, a local reporter, and at the same time, he ends up creating a new opponent for him to fight to curb his growing boredum in the nerdy (incel) Hal, who quickly becomes more of a villain himself than the hero Megamind wanted him to be. So of course, this leads to all sorts of chaos and hijinks, and while you might think that plot sounds too complicated for its own good, I can surprisingly say, it really isn't!

Yeah, all of the moving pieces here work so well together, interwoven into a really compelling story with some pretty solid emotions and some great character moments. It helps that our cast itself is fantastic; Megamind is such a good lead, he's a genuis, but he's also totally socially graceless and is an absolute lovable goober as a result, one who comes to realize that he can be more than the "villain" stereotype he believed he was forced into being from childhood. Roxanne is also a really good leading lady; she's funny and snarky and has really great chemistry with Megamind throughout.

Metro Man doesn't get a ton of screentime, but he's a great parody on the usual superhero tropes, while Minion is the perfect right hand man (fish?) to Megamind in every way. Even our villain, Hal, or as he comes to be called, Titan, works really well here; he's the kind of asshole who just doesn't take no for an answer that we can all justifably hate (but he's also hilarious in his own right).

The animation is also really great here. I find that Dreamworks movies tend to look their best when their characters are highly stylized, and that's what we get a lot of here. We get a lot of really fun action scenes, both in terms of fighting and Megamind's tech. and strangely enough the special effects here (things like fabric and particle effects, etc) really stood out to me, they were all super well done.

The humor is absolutely fantastic here. It's not as adult as some of Dreamworks earlier days, but instead it relies more on who these characters are and how they interact with each other. I think one of my favorite running gags is Megamind obliviously mispronouncing various words (like school and Metro City). There's a bunch of small bits just like that throughout the movie, and they're all so fast paced and well delivered by a really stellar voice cast. The emotions also strike a cord here; there aren't any tearjerker moments, but you really do feel Megamind's growth here as he falls in love and eventually decides to become the hero he never thought he could be.

So yeah, I really enjoyed this one! It's a shame it took me this long to watch it, because it was super enjoyable all the way through. Also amazing that it never really spawned any legit sequels, but I heard its getting a show next year, so idk. I am probs not gonna watch it. Movie good tho, give it a watch if ya haven't.

Overall Rating: 9/10

Verdict: There is no Queen of England

Previous Review (Shrek Forever After)

Next Review (Kung Fu Panda 2)