#pitch deck creator pitch deck design

[nicklloydnow]

“Dearest Martha,

We knew each other a very long time. Exactly a century in fictional terms, several decades in reality.

From the first discussion I had with Dave Gibbons at, of all places, the San Diego Zoo, about the two of us working together, when I didn't even know your name, I knew that you were a noble, and quintessentially American, creature.

One thing I've always loved about my country is its indomitable spirit, and you were indomitable from the day you were born. The deck was stacked against you: you were Black, female, and impoverished, but nothing ever stopped you. To date, you are the most heroic creation I've ever had the honor to write.

Dave and I fell in love with you early and often. In fits and starts, we told your tale. We hit a crisis early on: puffed-up with self-importance after the success of The Dark Knight Returns, I mischronicled your first adventure as something too on-the-nose political, too self-consciously serious, and, in a word, dreary.

Dave quit. You were almost stillborn, baby.

It took Lynn Varley to straighten my brain out and advise me to reconfigure your story, to bring absurdity and sarcasm and adventure and boyish joy to it, and to win Dave back. Dave's instincts and Lynn's wisdom brought you back from the brink, Martha. It's hardly a coincidence that Lynn shares your birthday, in day and month, if not in year.

So, Martha, my sweetheart, you've been both daughter and mother to me. You've been noble in your every decision, your every aspect, and you've been, unfailingly, a writer's dream: a character who wrote herself.

From housing-project prisoner to drugged-out victim of an insanity ward, from soldier to explorer to savior of the world, to mother of a new generation worthy of your name, you always, relentlessly, wrote yourself.

As Dave does, I miss you, Martha. And I will always love you.

Frank Miller

New York City, 2008”

“Despite being an extremely successful commercial work, and arguably the series that really put Dark Horse on the map as a home for adventurous comics creators bored with the Big Two, the Martha Washington epic is curiously underrepresented in comics criticism, generally liked but not held in anywhere near as much esteem as the creators’ other contemporary works. The character of Martha Washington will occasionally pop up in lists about strong women characters, or POC representation, or bleak sci-fi, but it’s treated as almost a footnote in the careers of Miller and Gibbons. For Gibbons, it serves as a personal and ambitious attempt to stand outside the shadow of Watchmen before the artist shifted towards more commercially inclined series. For Miller, it’s the exact line of demarcation between his classic Formalist Auteur Era (Daredevil, Dark Knight Returns, Ronin) and his hyper masculine Abstraction Auteur Era (Sin City, 300, Holy Terror). Martha Washington is the most human character Frank Miller ever wrote and the last time you can see him caring about a character more than experimentation and style, and not coincidentally it’s one of the last times he would share basically equal creative autonomy with someone.

As Gibbons and Miller both explain in the introductory text in the complete Martha Washington collection, Miller convinced Gibbons to work with him on the series by pitching him the story of Martha “on a mission to prevent an evangelical Elvis clone [from] nuking the rest of the United States from deep in the Arizona desert.” For Gibbons, this offered a giddy respite from “our recently successful dark dissections of superheroes,” so he started working on designs and plans based on that treatment. But when Miller’s script finally arrived, Gibbons was horrified by how dark and gritty it had become, missing the surreal humor and absurdity that had first caught his eye. Miller admits that the project would have been “stillborn” if Lynn Varley hadn’t convinced him to take Gibbons’ concerns into consideration and rework the entire project. The work that Miller and Gibbons eventually created is an incredible hybrid of these two spheres, brutal and unflinching yet curiously warm and tender and goofy. Not unlike life itself, in other words.

What’s especially clear throughout the series that make up the Martha Washington epic is that Miller and Gibbons and their various colorist collaborators truly love Washington as a character. And it’s not hard to see why. Washington is an epic hero with all of the tragedy and none of the hubris. If she has a tragic flaw, it’s that she has hope for humanity, but that’s also the ingredient that makes her continue long past the point her many enemies expect her to fall. As Washington herself puts it in a survival mantra, “When things get bad like this, you just keep telling yourself ‘This won’t kill me, I won’t die here, this won’t kill me.”

(…)

This is why Washington is such a uniquely potent dystopic protagonist. Gibbons draws her not as a cold superhuman brute or insensitive sex warrior (and notably Washington encounters and defeats characters who represent both of these tropes) but as a bold and powerful black woman with a wide emotional range to reflect her equally wide array of physical talents. Many of the most memorable scenes in the series are simple one page depictions of Washington crying in solitary peace after making a difficult decision (like her first foray in the senseless Amazon War between PAX and the rogue Fat Boy Burger corporate state), or multi-panel sequences showing her reaction to a trauma shifting from shock to acceptance to strength (the killing of a basically nonverbal bully who had just slain her adolescent mentor). So many dystopic and post-apocalyptic works gives us protagonists who are blank slates or emotionally cold, indicating that survival is only possible if you shut down everything that makes you human. But with Washington, Miller and Gibbons reject this premise and provide an emotionally open yet brave and strong woman who survives because of how much she values that which makes her human.

As that anecdote about Martha Washington’s gestation shows, a huge amount of Martha Washington’s humanity is due to Gibbons’ vision for what would make this project work and ability to weave that into even the most ambitious of Miller’s ideas (as well as minimize the tone deafness of Miller’s worst concepts– the less said about the gay Nazi terrorist group, the better, though it’s hard not to think of them as predecessors to the dreaded Nu Fascist icon Milo Yiannopuolos). Gibbons rightfully continues to get acclaim for the patterns and precision focus he brought to Watchmen but while that series and Washington share dystopic themes, Washington also serves as a foil to the unfeeling, repetitive nature of that landmark work. Washington is still just as ambitious and epic but there’s a chaos and looseness to it that makes it far more exciting and filling. Miller’s script gives Gibbons ample opportunity to show off his range as an artist, with issues taking place in locations as diverse as the densely overcrowded urban centers of Chicago and New York, the equally claustrophobic but less populated world of the Amazon and the far more desolate realms of the southwest and outer space. But beyond that, it also pushes Gibbons’ talent for realistically rendering human expression to new extremes, with many of its climaxes getting delivered via small panel beats and compressed close-ups of reactions. It’s a detailed work that never feels overbearing, that demands innumerable rereads but never makes that feel like a chore.

(…)

The Washington series is at its best when it focuses on these personal, human tragedies and how they spark the larger, more apocalyptic events filling out the background of the series. Though every Martha Washington release is worth reading, there is a significant difference in mood, tone and aesthetic in the initial Give Me Liberty series and what followed in its wake. The clearest difference comes with the departure of masterful colorist Robin Smith, who was brought on to the series to give it a more “European” feel. Smith’s coloring recalls 2000 A.D. and Heavy Metal but it also fits perfectly alongside the adventurous work Gibbons and Miller’s peers were doing at DC in the same era, particularly Tim Truman’s Hawkworld and Howard Chaykin’s The Shadow: Blood and Judgment, both of which utilized their painterly textures to depict grimy urban decay and freakish figures in ways that felt raw rather than realistic.

(…)

Yet the conclusion of the series, Martha Washington Dies, brought Miller and Gibbons full circle, reuniting them with the fearless and eternally optimistic Washington on her final birthday. A century old and still stoic, Washington knows death is on the way and what surprises her most is that she isn’t alone but surrounded by people she cares about. She chooses to spend last day inspiring them, not holding back about how dire their situation might seem in yet another apocalyptic scenario but focusing on the human capacity to overcome hopelessness. And in her final moment, Washington transforms into a literal beacon of hope, dying and then immediately being reborn as a lightwave leading on the troops. It’s not exactly a happy ending but it’s a perfect ending for the type of warrior Martha Washington is, eternally focused on overcoming all challenges and abiding not by law but by what’s best for humanity. In times like these, that’s perhaps better than a happier story or an unrealistically revolutionary text.”

[stellarconsultancy]

Unlocking Success with Professional Pitch Deck Services

In today's competitive business landscape, the art of pitching your idea or business to investors, partners, or clients can be the difference between success and obscurity. A compelling pitch deck is your gateway to capturing attention, Pitch Deck Services conveying your vision effectively, and securing crucial investments or partnerships. This article delves into the significance of professional pitch deck services and how they can elevate your business game to new heights.

The Power of a Well-Crafted Pitch Deck

A pitch deck is more than just a presentation; it's a strategic tool that distills your business concept, market opportunity, competitive advantage, and financial projections into a visually engaging format. It's your opportunity to make a lasting impression and persuade stakeholders to buy into your vision. However, creating a compelling pitch deck requires a unique blend of creativity, storytelling, and business acumen.

Why Opt for Professional Pitch Deck Services?

Expertise and Experience: Professional pitch deck services bring years of experience and expertise in crafting winning pitch decks across various industries. They understand what investors look for and how to structure information for maximum impact.

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Visual Excellence: A visually appealing pitch deck is more likely to capture attention and leave a lasting impression. Professional designers and content creators know how to use graphics, charts, and visuals to enhance your message and engage your audience.

Storytelling Mastery: Beyond data and numbers, a great pitch deck tells a compelling story. Professional services excel in crafting narratives that resonate with investors, highlighting your journey, milestones, and potential for growth.

Time and Resource Efficiency: Crafting a high-quality pitch deck requires time, skill, and attention to detail. Professional services free you up to focus on your core business activities while they handle the intricacies of creating an impactful pitch deck.

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[printedwindowes]

Complete Report On Window Graphics Printing

In the field business, entrepreneurs' path to success is often paved with complex strategies and precise planning. For businesses embarking on the path of launching their own business the importance of having an effective business plan cannot be overstated. It serves as the blueprint, guiding each step towards achieving goals and objectives. But, creating a thorough business plan that conveys the essence of the venture and its potential for success is a daunting endeavor for many. This is where the knowledge of professional business plan writers and pitch deck design services come into the picture. Hiring business plan writers as well as designing services for pitch decks can significantly increase the chances to be successful for any endeavor. These specialized services offer invaluable assistance to companies starting new businesses, providing them with the necessary tools and expertise to help them navigate the maze of business plan and presentation. Business plan writing requires a thorough understanding of the various components that include finance projections, market analysis, competitive analysis, as well as strategic plan. A well written business plan not only articulates the vision and mission of your company but also offers a clear way to achieve profitability and sustainable.

For companies that lack the expertise or resources to complete this job, outsourcing business planning to a professional is a good investment. The pitch deck design services are a complement to the business plan through creating attractive and appealing presentations that convey the core of the business to prospective investors or partners. A compelling pitch deck is essential for capturing the attention of those who have an interest in the business and convincing them of the viability and potential of the venture. The best pitch deck designers utilize inventive design elements as well as persuasive storytelling techniques to craft compelling presentations that leave lasting impression. Companies that are launching new businesses looking for professional pitch deck designs and writing services for business plans can benefit immensely from the expertise and guidance offered by these specialized providers. Whether it's refining business ideas and conducting market research or writing compelling stories business plan writers as well as pitch deck creators are essential to shaping the outcome of an enterprise.

These are the kind of scenarios in which entrepreneurs need to seek a business plan consultant or consulting company that can assist them through the remaining steps of writing a business plan. When they engage the services of experienced professionals, companies can cut down on time and money while ensuring the quality and efficiency of their business plan as well as pitch deck. Hire Business plan writers and pitch deck design services are essential partners for businesses who are creating a new business. Their expertise and guidance will help you navigate the maze of business plan and presentation, significantly enhancing the chances of success for every venture. Therefore, for businesses seeking assistance in writing business plans and pitch deck layout, outsourcing to professionals is a strategic decision that can pave the way to long-term success and prosperity.

[websitebloggers]

Can AI Improve Video Slideshows? Revolutionize Your Slideshows: How Can AI Enhance Your Visuals? Revolutionizing Slideshow Designs: Can AI Take Your Videos to the Next Level? Unleashing the Power of AI: Elevating Your Video Slideshows with Dynamic Animations? Are AI-Generated Transitions the Key to Stunning Video Slideshows? Unleashing the Power of AI: Elevating Audio in Video Slideshows? AI technology has quickly become popular with content creators looking for quick ways to produce text and imagery quickly and efficiently. Digital design giant Canva recently unveiled their Magic Write tool which uses AI generative capabilities to produce text documents based on user prompts or directives. AI presentation tools like Slidebean and DeckRobot have been created specifically to aid businesses in creating pitch decks and investor reports. To read the rest of this article, please click on the link below: https://websitebloggers.com/can-ai-improve-video-slideshows/?feed_id=6117&_unique_id=65bb88b57c9e4

[imajicaentertainment]

Imajica Entertainment: Expanding Global Reach through Niche Streaming Channel Sites

Imajica Entertainment: Expanding Global Reach through Niche Streaming Channel Sites

Imajica Entertainment Facilitating via Niche Streaming Channel Sites of Entertainment to the World. In addition, developing Satellite, Cable and Free to Air facilitation of Imajica Entertainment Niche Streaming Channel Sites. Seeking Investment and business enquiries.

As society becomes increasingly connected through the power of the internet, the demand for niche entertainment options continues to rise. This is where Imajica Entertainment comes in. We specialize in providing Niche Streaming Channel Sites content, making it easier than ever for people all around the world to access the entertainment they crave. From indie films and documentaries to underground music and high-energy dance performances, Imajica Entertainment offers a diverse selection of content that caters to a variety of tastes and interests. Our platform is designed to be user-friendly and accessible, allowing our customers to easily search for, discover, and enjoy the entertainment that speaks to them. At Imajica Entertainment, we’re passionate about supporting creators and artists who may not have had the opportunity to showcase their work on a larger platform. By providing a space for niche content to thrive, we’re helping to foster a more inclusive and diverse entertainment industry. Whether you’re an avid music lover or a film buff searching for your next hidden gem, Imajica Entertainment has something for everyone

For more information please email:  imajicaentertainment@gmail.com

[davidcampiti]

THE ELECTRIFYING TALE OF TESLA

True story: Two writers with whom I work dreamed up a TESLA comic book that teamed the real-life genius inventor Nikola Tesla with his real-life author friend Mark Twain for a buddy-action-movie-style series of adventures. At once clever and exciting and (overall) historically accurate, the scripts were illustrated by Filipino artist Bong Dazo, best known for Marvel's DEADPOOL and THUNDERBOLTS, and for STAR WARS at Dark Horse. Bong did a masterful job designing and illustrating the project.

TESLA caught the interest of a client aspiring to publish projects that would capture Hollywood's attention. On that publisher's board of directors was a movie producer who claimed TESLA was ideal for Hollywood, and they would push the project aggressively if the company co-owned it. Contracts were signed for TESLA to appear in a serialized anthology. Four installments were completed. Three were published. Glass House provided all of Bong's concept art, and they told us the Hollywood push began.

First came a curious lack of feedback/updates regarding the Hollywood situation. Then came bigger concerns: Among them was the contractual guarantee that if the material got used in a certain promotional book, the creators would receive $10,000. The book was published; the payment never came.  

The actual breaking point occured when the publisher, looking at the eight series he was releasing, decided to do a crossover mini-series. His new (licensed) character would, in each issue, enter and interact in the "world" of each otherwise-unrelated series, theoretically throwing more attention on his line of books. 

At first it sounded interesting, and per contract the authors had the first opportunity to write any tie-ins/spin-offs. The problem was that the publisher assigned HIMSELF the writing job for the new-mini-series. His excuse was that the company needed to save money and, as publisher, he would write it all for free; we soon learned that he paid himself the company's top writing rate for the crossover stories.

The authors blocked the crossover, cited breach of contract, and demanded the property revert back to them. Two years of fighting over ownership and payments ensued, with the publisher demanding reimbursement of art costs on the unpublished issue and the authors simply saying "deduct those art costs from the 10 grand you owe us, and pay us the balance." Finally, those contracts simply expired with the publisher never paying that balance, and Bong died waiting for the situation to be resolved.

Before long, a TESLA feature film hit theaters; publicity said the film was based on an earlier script the director had written but had never been made. And yet that SAME PRODUCER who told us he was shopping TESLA for us was credited as producing this film. It was certainly a far different -- and way less fun -- story. But given the lack of transparency in the whole situation, one wonders how much, if any, of our TESLA material was used in pitch decks and presentations and such to shop and develop the film that finally got made.  

At the very least, if the producer's interest had shifted from our TESLA to this other TESLA at some defining point, you'd think we'd at least rated the professional courtesy of advising us as much.

[tomreview]

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[pitchcreator01]

Presentation of Design Company: The Pitch Creator

Discover the ultimate tool for crafting compelling business pitches and presentations with 'The Pitch Creator.' This innovative design company offers a powerful platform that empowers businesses to showcase their ideas seamlessly. From captivating visuals to impactful content, The Pitch Creator ensures your pitch leaves a lasting impression. Their expertly designed templates cater to various industries, making it adaptable for startups, established firms, and everything in between. With a user-friendly interface, crafting presentations becomes effortless, allowing you to focus on the content that matters most. Stay ahead in the competitive landscape by conveying your messages effectively and efficiently. The Pitch Creator isn't just a presentation tool; it's your partner in nailing that next big deal. https://www.usphouse.com/pitch-deck/

[celra]

Week 15: Intellectual Property and Fundraising and Pitch Deck Contents

We find ourselves navigating the fast-paced technological landscape where entrepreneurship and technology converge. Technopreneurship has emerged as a powerful force, allowing us to leverage innovation and technology to build successful businesses. Understanding Intellectual Property: Intellectual property refers to the legal rights granted to individuals or entities for their creations or inventions. It encompasses intangible assets such as ideas, designs, brand names, logos, and creative works. The primary purpose of IP protection is to incentivize innovation by granting exclusive rights to creators or owners, enabling them to profit from their inventions or creations. In conclusion, In the world of technopreneurship, intellectual property protection is a fundamental element for success. By understanding the various forms of IP, harnessing its benefits, and strategically protecting our creations, we can unlock the full potential of our innovations, differentiate ourselves from competitors, and pave the way for sustainable growth and profitability. Embracing IP protection empowers us as "The Gamechangers" to foster a culture of innovation and secure a valuable position in the dynamic world of technology-driven entrepreneurship.

[ekaapitch]

Best startup presentation template

Graphically design startup presentation template, Get funding chances high with our best startup pitch decks team covering Business Strategy, Market Analysis, Financial Modeling.

[stellarconsultancy]

Elevate Your Business Pitch with Expert Pitch Deck Design Agency

Introduction:

In the competitive world of business, making a lasting impression is crucial, especially when pitching your ideas to potential investors or clients. One of the most effective tools for a successful pitch is a well-crafted pitch deck. However, creating a visually appealing and persuasive pitch deck requires expertise and creativity. This is where a professional pitch deck design agency comes into play. In this article, we'll explore the importance of a pitch deck design agency and why partnering with one can elevate your business presentations to new heights.

The Role of a Pitch Deck Design Agency:

A pitch deck design agency specializes in transforming concepts, data, and ideas into visually compelling presentations that captivate audiences. These agencies typically consist of a team of graphic designers, content creators, and presentation experts who collaborate to craft engaging and persuasive pitch decks tailored to their clients' specific needs.

Benefits of Partnering with a Pitch Deck Design Agency:

Expertise in Visual Storytelling: Pitch deck design agencies possess the expertise to translate complex ideas into visually appealing graphics and compelling narratives. They understand the importance of storytelling in capturing the attention of investors and conveying the value proposition of your business.

Customized Solutions: Each business is unique, and a one-size-fits-all approach to pitch deck design simply won't suffice. Pitch deck design agencies offer customized solutions tailored to your brand identity, target audience, and the purpose of your presentation. Whether you're seeking funding, pitching a new product, or showcasing your company's achievements, they can create a bespoke pitch deck that aligns with your objectives.

Attention to Detail: From font selection and color schemes to slide transitions and imagery, every element of a pitch deck plays a crucial role in shaping the audience's perception. Pitch deck design agencies pay meticulous attention to detail to ensure that every aspect of your presentation is polished and professional.

Optimized for Impact: A well-designed pitch deck not only looks impressive but also delivers results. Pitch deck design agencies understand the psychology behind effective communication and design layouts that maximize impact. Whether it's strategically placed call-to-action buttons or data visualization techniques, they know how to engage and persuade your audience effectively.

Why Choose Stellar Consultancy?

When it comes to finding the right pitch deck design agency for your business, Stellar Consultancy stands out as a top choice. With years of experience in crafting compelling presentations for clients across various industries, Stellar Consultancy combines creativity with strategic thinking to deliver pitch decks that command attention and drive results.

By partnering with Stellar Consultancy, you can expect:

Professionalism: Stellar Consultancy takes pride in delivering high-quality work with a focus on professionalism and attention to detail.

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Collaboration: Stellar Consultancy believes in collaborating closely with clients to understand their goals and objectives, ensuring that the final deliverable exceeds expectations.

Results: Ultimately, Stellar Consultancy is committed to helping your business succeed. They measure their success by the impact their pitch decks have on your audience and the outcomes they help you achieve.

Conclusion:

In today's competitive business landscape, pitch deck design agency the importance of a well-designed pitch deck cannot be overstated. Partnering with a pitch deck design agency like Stellar Consultancy can give you the edge you need to make a memorable impression and achieve your goals. Whether you're seeking funding, wooing potential clients, or showcasing your company's achievements, investing in professional pitch deck design is an investment in the success of your business.

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[nickraith]

I wanted to share my Pitch deck for the Animated Series I have been making “Welcome to the STD” Its a dark comedy about a 30 year old incel who commits suicide and gets wizard powers. A lot of this art is from earlier in production and has been improved since, but I think this is one of the cleanest pitch decks I’ve ever made!

You can watch the trailer on my YouTube Channel, I should be releasing Episode 1 some time next week hopefully! :) It would mean the absolute world to me if you like and subscribe as well <3

[lolamenthol]

AI Technology for Concept Development

Every single one of these photos were created using an AI system that “creates realistic images/art from a description in a natural language.” 

Last night was the first time trying it for myself after hearing about it from friends/online and avoiding it for weeks (if not months.) I know there is a lot of negative things to say, think, and feel about using AI to create art like 3D renders, cartoons, and poetry even; but hear me out 🥴 

My initial feelings when hearing about Open AI Dall-E was fear (obvs) but also curiousity. “HOW TF???” 🤯

I don’t know enough about the technology yet to understand how these images are generated but after using it to create a couple batches of images from just written descriptions of what I want, I’m ready to learn more. 

I chose to try this system out at a coincidental (I think not) moment in my creative journey. I’m currently developing animated series concepts with the intention to pitch them to larger studios. As soon as I tried to create a “3D render of a kawaii pastel punk girl with a “Lucky” face tattoo” using Dall-E, I squealed with uncontainable excitement realizing I could use this to help with character design, story conceptualizing/developing, and creating pitch deck materials.

This could usually be a daunting task especially for anyone creating a show/movie who isn’t also an illustrator/designer. Using AI technology as a tool for this conceptual phase in the writing process can save time, money, and energy for creators. All we need to do to generate images for this purpose is describe the character we want to see (e.g. expression, style, personality) and in what environment and lighting! Apparently you can get really specific with your descriptions. 

AI would not necessarily take the place of traditional character designers either. Again, it could be another tool to help guide them and the rest of the creative team in the same direction. It’s like using a mood board on Pinterest or Google Slides but with more customized images. 

Don’t knock it til you try it! You get a couple generated images free a month using an account on Open AI Dall E  *not sponsored*

Have fun! I definitely did haha 

Feel free to share your experiences ~ 

Xoxo,

✨ Lola Menthol ✨

[birb-tangleblog]

What's your issue(s) with 7k? /gen

Okay so, if you scuttle around in my negativity and salt tags, you'll find a few other posts I've made on why I dislike it and my personal issues. I'm always happy to ramble on anyway, but full disclosure there's a good chance I might end up repeating myself a bit. Fair warning for criticism/negativity here too!

My biggest issue is honestly that 7 K bears zero resemblance to the original source material, and feels like it wasn't made with a lot of love for it. Where are the series' locations and lore? Any of the characters? The new cast, their designs, and the setting(s) they come from don't fit the worldbuilding and aesthetic that I love.

Like there are so so many loose ends and plot threads you could choose to expand on in a sequel or spinoff, and 7 K ignores absolutely all of them. Along with being written/conceptualized before S3, it feels incredibly disconnected and dissonant to anything T T S to me.

It seems like the creators wanted to take Var and pair him off w/ an OC they ported from elsewhere- and at that point, just retool him and make the whole thing a standalone/original project? Nothing against canon/OC either... but I wouldn't go and pitch my self-indulgent fanfic as a sequel to the original series to actual Disney execs, either?)

Overexposure and saturation in tags and fandom spaces is the other biggie. It's not quite as prevalent as it was when it came out, but it's still popular and hard to ignore- ex. Hugo is tagged in almost 500 stories (and counting) on Ao3. It’s... a lot. I really like Var himself, he has so much potential- but it’s hard to find content w/ him now that doesn’t somehow include 7 K, and it’s a bummer.

And the dynamic with Hugo... it's really not my cup of tea, and from what I've seen, Var's characterization suffers from it? Lot of him getting pigeonholed as this sassy uwu disaster baby gay/bi with varying degrees of angst/badboy mixed in depending on the take and idk if I think that's true to him.

And I'm just really, really over the white twink ships that are popular in fandom, man

I've heard the 'coming of age' and 'Var finds a group of peers his age' as selling points or a big part of the appeal, which makes sense, but both of these fall flat to me b/c the gang... ISN'T his age. Y/ ong is 6 years younger than him, Nu/ ru is 2- literally the only one his age is his love interest (how convenient)

Re. 7 K as a coming of age story, I feel like much of Var's arc in the show already went in that direction, with him learning from exp, growing up and maturing, making his dad proud, and becoming responsible. He's undergone the development 7K's premise sets him up for, and it makes it feel extraneous or like a step backwards.

Honestly, I think there's a lot of overlap btwn 7 K fans and fans who are extremely critical of the orig, who welcome the 7 K cast b/c they believe Var's friends in the series let him down, didn't care for him, acted unforgivably, etc- and I straight up diagree/don't feel that way, so I don't feel a need for him to have a new or better friend group. It doesn't compel me.

Idt I've mentioned this, but I really dislike the handling of Var's mother in particular. She's revealed to be alive, then turns out to be evil as a 'twist', and is killed off to further Var's char development. It's defrosting her from the dead mom fridge only to stuff her back in it at the end. I also have a problem with her abandoning her husband and young son and the timeline wonk of, 'why didn't she decide to follow her old dream BEFORE settling down'.

I've got more smaller gripes re. the AU itself as well as attitudes and trends in the fandom surrounding it- like, the elemental kingdoms feel generic and video-gamey, momification/supportive ‘shipper on deck’ treatment of the only female main, and children being little clones of their parents with every trait being inherited bugs me (seen in Var’s extended family and his mom being an alchemist like him)- but those are my big issues.

[islandcane]

Standing Tall

Standing Tall: Part 1 of 3 Our mission was to tell the greatest story never told. A tale of a creator who changed the face of Carnival as we know it. A well-crafted narrative about an unparalleled genius who single-handedly revolutionized ‘The Mas’ and through his works, changed the landscape of fashion, design, and puppetry, via his artistic designs, by contributing multiple mastermind creations – including one of the most significant, and iconic contributions to pop culture in our lifetime.

Alas, we failed. Here’s the story behind the story�� A year into the pandemic we worked our way into the room, consisting of powerful decision-makers responsible for many of the hits you see today on Netflix and other streaming platforms. Strategically placed behind them sit rows of Emmy statues, akin to the way a child or collector would line their toys on a shelf, as a subtle and gentle reminder perhaps who wields power. It is important to give credit where credit is due. We arrived at this point because five Carnival entities brainstormed for months on how we could make a significant contribution to our culture and galvanize our community to band together on Carnival Monday and Tuesday – recognizing that there would be no festivities in 2021. One of the ideas revolved around the production of a television series that would pay homage to the icons, history, and future of the "greatest show on earth". These powerful brands comprised of a Carnival juggernaut, an international DJ, event mavens, and media and talent specialists. We knew that if we stuck with it, we could make it work! One day, after a meeting comprising of our teams that included both genders, someone excitedly exclaimed that we had never taken a picture together. A strange thought perhaps as we were all practically in the same year of college, and for the most part, attended similar secondary schools or kicked ball together. That’s when an impromptu photo of five guys, with the hashtag #CarnivalAvengers, became fodder for certain members of the public to speak of the male domination of Carnival and the inherent problems of Mas. The funny part of it all was that four out of five of those guys probably didn’t want to take that darn picture, and I have to tell you, nearly every entity had (and has) some of the most incredible and dynamic women running the actual operation. So, while we departed the meeting earlier than expected, the true heroines were upstairs drawing up battle plans.   The viral uproar sadly put a spoke in the wheel of an agenda that revolved around educational initiatives and community-building ventures, in a genuine and good-hearted effort to show our people (and the world) that we could represent the spirit of Carnival in a time when we lacked it. Mere weeks later, the group dismantled. Ironically, it only amplified the respect that the foreign executives had for us, and -- to my knowledge -- one of the women who vociferously fought against “the regime”, ended up collaborating with one of the Avengers for an upcoming Carnival project. I guess there were some wins after all. The documentary series ended up falling apart for a few reasons. Primarily, our inability to confirm that Carnival was going to happen … amid public distrust for the entertainment sector, and soaring cases worldwide -- which was the final nail in the coffin for any Mas, and of course our project. Looking through the pages of our pitch deck, one name came up over and over again, and no matter how you tried to connect the dots of Carnival, one cannot do so without recognizing, the one and only, indomitable, Peter Minshall. Standing Tall: Part 2 of 3

A few months later a team of my peers focused on making a film on Peter Minshall; specifically his work during the Olympics in Barcelona and Atlanta. This 90-minute documentary pitch was well received by foreign production & distribution firms, but to maintain creative control it would mean aligning ourselves with sponsors to acquire the seed capital to create this piece of art.

Several joined our efforts, but there was one in particular that offered to become a Title sponsor in this venture. We celebrated and began filming the documentary with what little we had, believing in the dream.

That may have been the beginning of the end, for as they say, “never count your chickens...”

It was a Wednesday, and this specific hump day would soon feel like kyphosis.

I was on my way to a meeting with one of the greatest minds behind the production of Carnival events, Hasani Lesedi. Prior to entering the restaurant, I received a call from the brand manager of our “Title sponsor” for the film. She sounded amazingly chipper. At the time, I figured she probably wanted to discuss some of the finer points before signing the contract that week.  

After an exchange of pleasantries, it was revealed that the deal had fallen through based on various mitigating factors – and do note, to this day, there has been no letter to explain their rationale. The blood literally left my face, and I looked like a ghost for Halloween.

Upon wrapping up the call I sat down opposite Lesedi, who proceeded to ask me if someone died. My response was, “Me apparently.”

I have faced heartbreak before in my personal life as well as in business transactions, and there have been many challenges that have tested us beyond measure. This specific deal, conducted with this prestigious banking institution, stung the most. . FIRST off, the way it fell apart rattled me to the core, and the whimsical and nonchalant manner of the dismissal irked my spirit and crushed my soul. The radio silence that these men and women adopt when they have left you at the crematorium doesn't help either.

Sometimes I wonder if executives in these high, seemingly unreachable, positions ever take the time to understand or consider the level of damage that is done when they rip the hearts out of the chests of creators or enterprising business folk. I’m pretty sure they sleep well at night. However, I do fear by treating us this way, they unwittingly create one of three monsters: the self-loather, the hater, or the avenger. One resorts to acts of harm against themselves. The other becomes so jaded that they hate everything about their island and people. The last is consumed by vengeance and eventually one day (maybe) they have it, but at what cost?

Whether it lasts a day or several months, everyone who has lost a deal finds themselves questioning their worth. Personally, I felt I had hit rock bottom.

Our team worked tirelessly for many months doing this dog and pony show, all with "my word is bond" promises. Yet somehow, curiously in the process, we found ourselves aligned with another entity that we now had to provide 25% of our ask, as the determining factor to acquire what we were seeking.  

Perhaps you want to say "it's just business", but speak to any producer in our industry, such as Danielle Dieffenthaller, Lisa Wickham, or Michael Mooledhar -- entertainment is different. Sometimes it feels like no matter what we accomplish, it is almost as if we have to approach our next sale as if we are first-time sellers. Even in music, by comparison, a reggae singer creates a smash song and tours on that track for several years – sometimes their entire life; a soca artist (on the other hand) must deliver a hit single every year in order to survive. 

The economic landscape is also far more disparate. In 2000, there were a handful of promoters attempting to woo companies for a pot that was valued in the tens of millions. Today, the pot hasn’t grown and there are a thousand of us fighting for the same sum.

My mom, occasionally a sleuth and conspiracy theorist, believes that someone else received the funding, as the institution wouldn’t let it simply slip away into the ether. Perhaps, she’s right, but contemplating those actions sends one down the rabbit hole, and I was already submerged so deep, I did not wish to discover how close I was to the bottom.  

Frantically calling around in an attempt to salvage the production, one executive suggested that we would probably acquire the financing to complete the film once our protagonist passes on. Proving once again that the only time we see the value in our creators is when they’ve reached the gates of Heaven.

A few days later I packed up and left for Barcelona, for what was supposed to be a filming run that would touch five cities around the globe, covering terrain that Minshall had impacted over the course of his career. Instead, I spent the month with my wife and her family in Germany and learned the value of loved ones and unpacking mental and physical baggage.

Standing Tall: Part 3 of 3

The two years following the pandemic were extremely tough for those in the entertainment sector.

Professionally, we parted ways with a band we managed for sixteen years. Covid created a housing crisis. Soaring inflation did not help our mortgage situation. Plus, being kept in solitude without being able to provide care or support for those in our family, bore witness to the loss of loved ones.

These were not the best of times.

Developing a plethora of successful acts over two decades conjured a mental, spiritual, and emotional toll on my business partner and I, and in April 2020 a conscious decision to hang up my music management hat was made. Even thoughts of relocating started to infiltrate my mindset. A first for me, as I consider myself extremely patriotic.

However, the Minshall project steadied me.

I could channel my energies on a cherished icon that made me fall in love with Mas. So much so, I fondly remember when our family would rush to sit in front of the television set just to see how Minshall would delight us on Dimanche Gras or Carnival Tuesday.

Today, I value and recognize the incredible pool of talent and resources we are blessed with, because of the camp he created in Chaguaramas (and even prior at his home in Woodbrook).

The fact is, when projects like these fall apart, multiple people are affected. Our crew is made up of twenty or more members who dedicated more than a year to see this through. Some are based here, others in the United States, the United Kingdom, and even Australia.

The cloud that hung over me after receiving the call from the marketing manager at the Bank, lasted for some time and it slowly morphed into this physical cross that I felt, I alone had to bear as a citizen.

It was on my Euro trip that I began to unpack these heavy negative emotions I thought I buried but realized were still there. The more I let go and accepted light, the stronger my spirit, resolve, and determination grew akin to a Phoenix rising out of the ashes.

Then something extraordinary happened.

Before we could return home, we had to fly through Barcelona, as that was where we were supposed to capture B-roll and interviews on Minshall's work on the '92 Olympics. My wife insisted we visit an art museum. My heart was still heavy, but Tanja's determination allowed us to see the works of great modernist artists like Banksy, Mungo Thomson, Guillermo Lorca, Kaws, and Takashi Murakmi. Minshall is not represented in those halls, and the fact that he isn't, is not his fault, but ours... and that visit lit a fire.   

Marveling at the artistry displayed by these creators, I made a conscious decision that we need to do a better job to ensure our stories are told, from Codallo to Meiling to Ras Shorty to Lynn Taitt to Beryl McBurnie and many others. All seen through a global lens, thereby giving our culture a chance to reach millions of subscribers on platforms like Netflix, Amazon, Disney, or Hulu. 

Now that I'm back on home soil, our team is making a determined effort to finish what we started. It starts by securing the necessary funds to complete the documentary, of course, and so letters will be sent and calls shall be made.

It's absolutely incredulous and insane that I need to resort to any platform to champion a cause, such as this, to raise funding for a documentary on Peter Minshall.

To put this into perspective, we have distributed more than 100 letters to seek assistance, of which we have had less than a 7% success rate. Some were bold enough to ask for ROI and SDG evidence, and I wanted to respond, "Minshall's work and contributions to our industry have created more of a return on an investment for our country than your firm will achieve in 100 years." 

One would think this is a no-brainer, but clearly, justifying funds for worthwhile causes has always been a moral dilemma for those who sit in high places. 

There are times when I wish I knew the likes of multi-millionaires or billionaires who could be supportive of our vision and help not just me, but all creators who face this struggle of telling tales on shoestring budgets. And to echo a comment made by a very wealthy person involved in the construction sector, "...who dies with the most, wins". That's the perspective of Trinidad's rich perhaps and our reality.Fairy godmothers and genies are but a fantasy perhaps... If only MacKenzie Scott were a Trini.

It is true, I failed, and as a collective, we were unsuccessful. But you, Mr. Title Sponsor, along with the dozens of rejections received from various corporate and public sector interests, didn’t break us. My team is still here… standing tall.

At this point, none of us knows where the financing will come from to finish what we started, but we have assembled into a stronger force than how you left us.

One day we will remind you. Not through vengeance, but via success.   

#light #positivity #good vibes #never give up #Carnival Avenger

[elwenyere]

Deck the Halls

(Steve/Tony fluff, in which the Avengers make their own holiday decorations, and it goes about as well as you would expect)

Also on AO3

“Okay,” Tony said, “I am willing to admit that putting repulsors on the Iron Man ornaments was not my best idea.”

He paused to duck as a pillow, half a molasses crinkle, and what looked suspiciously like a tranquilizer dart flew at him from three different locations in the Avengers common room.

“But I maintain,” he continued from behind the couch, “that the underlying principle of the design is both technologically sound and aesthetically adorable. Also, refs, can I get a rule check on ‘no using knock-out techniques on your teammates’?”

“If I wanted you knocked out, you’d be dreaming of sugar plums right now,” Natasha called out from somewhere behind a makeshift barricade of packages and wrapping-paper rolls. One of the tiny Iron Men buzzed over her head, sending a barrage of dime-sized repulsor blasts at a Rudolph gift bag, and Natasha shot the ornament out of the air with her Widow’s Bites.

“Also, calling in the refs is a pretty bold move,” Bruce added, “considering that the miniature murder bots guarding our Christmas tree are in flagrant violation of rules ten through fifteen.”

Bruce’s voice was slightly distorted by the walls of his blanket fort, which Steve had suggested building as an anti-Hulking measure when the first wave of ornaments flew off their branches and into attack formation. So far the strategy had proved successful, with only one close call after Thor almost collided with the fort during an enthusiastic mid-air tackle.

“Remind me never to do holiday dinners with you guys again,” Rhodey groaned. He was crouched next to Tony behind the couch opposite Steve’s, and Steve could hear the faint whir of the War Machine gauntlet as he scanned the room. “I could be falling asleep on my couch to the Vince Guaraldi Trio, and instead I’m hiding from an army of weaponized Christmas figurines.”

“When you’re subpoenaed for the inevitable senate hearing about this, just remember: it was all Steve’s fault,” Tony advised.

“Thanks, sweetheart,” Steve replied, adding an eye roll that he knew Tony would hear in his voice.

It was true that Steve had been the one to suggest that they make their own decorations for the Tower this year. But it was also true that Steve’s contribution (a hand-drawn series of family holiday cards to hang on the fridge) had been the only one that hadn’t tended to produce chaos. Thor and Natasha���s idea to braid garlands had started out innocently enough. But then they’d decided to add “motivational mead” to the creative process. Ten hours later, they’d produced so many strings of spruce, holly, and taffeta that the garlands had to be looped around every available surface, twisting around lamps and chair legs until the common room looked like it was being slowly strangled to death by a festive boa constrictor. Bruce – in a complete failure to learn from the previous Halloween’s Saltwater Taffy Incident – had concocted a spiced eggnog so addictively good that each new batch he made disappeared almost immediately – setting off a cycle of recrimination and dairy-based hoarding. And Clint had stayed true to form by making an extremely explicit, themed pin-up calendar of himself, which had been quickly banned from all common areas by a 4-2 vote (“I think these poses are courageous,” Thor had explained, “considering your very small human sizes”).

“Blame is assigned by the survivors, Stark,” Natasha said evenly. Her face darted into view at one end of her barricade, next to a box wrapped in “Hulk Smash!” paper. “And if we don’t get these ornaments contained before Bruce’s chocolate pecan pie has to come out of the oven, I can’t guarantee that anyone in this room will qualify.”

“How many left, JARVIS?” Tony asked.

“Just three, sir,” the crisp voice replied. “And my sensors indicate they are all locked in a standoff with the large stuffed hedgehog on the lower floor.”

“Do I have to ask?” Rhodey muttered.

“It’s for Pepper,” Tony explained, “a running gag: she thinks it’s hilarious.”

“We should set a trap to draw out the remaining ornaments,” Steve decided. “I want eyes on the perimeter – where the hell is Clint anyway?”

As if on cue, a grappling arrow shot across the room and latched onto the side of a container of eggnog. The metal wire attached to the hook pulled taut and then retracted with a sharp twang, yanking the eggnog over their heads and back into the air vent.

“You have a problem, man!” Rhodey yelled after Clint’s feet as they slithered away from the opening in the ducts. “Get help!”

“Ah that gives me an idea!” Thor exclaimed. He popped his head up from behind the kitchen counter, where he had apparently been braiding one of the garlands into his hair. “The tiny Iron Soldiers seem determined to guard the spirit of the holidays. Perhaps we can use that to our advantage.”

“Right,” Tony agreed, “cover me.”

He stood up and strode toward the Christmas tree, gauntlet charging.

“Come out, my tiny, murderous robot sons,” Tony called, “or I’m going to turn your favorite tree into a pile of toothpicks.”

“Did you actually equip them with audio sensors? Or are you just grandstanding?” Rhodey asked.

“Kind of stepping on my moment here, Gumdrop,” Tony replied.

And whether it was because the ornaments had somehow sensed a threat to the tree or because they had successfully subdued all the stuffed animals in the vicinity, Steve’s ears suddenly picked up the low whine that meant hostile décor was incoming. As Tony held his position, Steve saw Natasha, Rhodey, and Thor leap out from cover and take aim at the three diminutive Iron Men that were shooting toward their creator’s head.

“Tony!” Steve yelled, and Tony let out a small yelp of surprise as Steve tackled him sideways onto the couch. Steve curled his body protectively around Tony’s, and he threw up his shield just in time to shelter them from the disintegrated ornaments, which fell like a shower of harmless glitter into a halo around their heads.

Steve cleared his throat, feeling his cheeks flush slightly as a chunk of armor the size of a pea pattered onto the couch next to them with a barely audible fizzle.

“My hero,” Tony smirked.

“A bit overdramatic, Rogers,” Thor observed.

“Ooooooh, Captain America!” Clint called in a high-pitched voice from a nearby vent. “You’re so dreamy. Will you sign my chest?”

A chorus of boos and a smattering of tossed cookies followed Clint’s laughing retreat back through the ducts.

“So I’m thinking the Mark II ornaments should come with a fail-safe button,” Tony mused, looking up at Steve with his head still resting in the crook of Steve’s arm.

“Tony,” Steve sighed.

“What?” Tony asked with exaggerated innocence. “I have models for the whole team. There’s even a little Cap ornament with magnets for the hug and fly.”

Steve chewed his bottom lip.

“Are you trying not to smile?” Tony asked.

“I’m trying to contain my disapproval,” Steve replied.

“You’re trying not to smile,” Tony confirmed. “Let it out, Steve. I’m objectively delightful.”

“You’re objectively a threat to national security,” Steve retorted.

“Yeah, and you love it,” Tony nodded. “That’s like…your number one turn on.”

Steve finally allowed a smile to spread across his face. In the part of his mind that was always scanning his periphery, he was aware of Natasha helping Bruce out of his blanket fort and picking a piece of lint out of his hair – her hand lingering a little longer than necessary as Bruce assured her he had a backup pie in the fridge. Rhodey and Thor were loudly concocting plans to smoke Clint out (and pointedly ignoring Clint’s own contributions from the vent above them). And in the center, as always, was Tony, who was grinning victoriously as he took in Steve’s expression.

“You’re right,” Steve told him. “I do love you.”

Tony's smile froze in momentary surprise and then softened.

“This is how you want to say that for the first time?” he asked teasingly, his hands coming up to brush at Steve’s sides just above the hem of his jeans. “On the couch, surrounded by our catcalling friends and the scorched remains of the homicidal holiday ornaments I created?”

“Yep,” Steve answered, leaning down to kiss Tony’s forehead. “I love that you make messes,” a kiss on the right cheek, “I love that you invite messes to move in,” a kiss on the left cheek, “I love that since I met you, you’ve made every mess of mine your mess too,” a final kiss – as gentle as Steve could make it – on Tony’s lips. “I love you, Tony.”

He pulled back so he could look into Tony’s eyes and watch the rapid play of emotion across his face – always too fast to track.

“I love you too, you big sap,” Tony replied, and as the team whooped and set off a round of Christmas crackers, he pulled Steve back down by the front of his Iron Man sweater.