#same creator / universe
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aquanutart Ā· 1 year ago
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Nyaha~! Caught in my electroweb! ā™”
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puppyeared Ā· 5 months ago
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i feel like im not making any sense but does anyone else feel like there are stories that let u run with them and ones that spell everything out for you
#im reading that post that says artists are directors of audience reaction and not its dictator:#'you cannot guarantee that everyone viewing your work will react as you are trying t make them react. a good artist knows that this is what#allows work to breath. by definition you cannot have art where the viewer brings nothing to the table ... this is why you have to let go of#the urge to plainly state in text exactly how you think the work should be interpreted ... its better to be misinterpreted sometimes than#to talk down to your audience. you wont even gain any control that way; people will still develop their opinions no matter what you do#im thinking abt this again cuz i was thinking maybe the thing that lets adventure time work so well the way it does is cuz it doesnt#take itself too seriously that it gives the audience enough room to fuck with subtext and then fuck with them back yknow. i think it was#mentioned somewhere that they werent even planning to run with the postapocalyptic elements that are hinted in the show but changed their#mind after the one off with the frozen businessmen and dominoed into marcy and simons backstory. on the other side there are stories that#explain too much to let the story speak for itself and i think it ends up having to do more with the crew trying to lead ppl in a certain#direction than expand on what they have and i see a lot of this with miraculous. like when interviews and tweets are used as word of god in#arguments and it becomes a little stifling to play around with it knowing the creator can just interject. u can say its the crews effort to#engage with its audience but it feels more like micromanaging. and none of this is to say there ISNT room for stories that spell things out#theyre just suited for different things. if sesame street tried abstract approaches to themes and nuance itd be counterproductive#a lot of things fly over my head so i need help picking things apart to get it- but it doesnt have to be from the story itself. ive picked#picked up or built on my own interpretations listening to other ppl share their thoughts which creates conversation around the same thing#sometimes stories will spell things out for you without being so obvious abt it that it feels like its woven into the text. my fav example#for this might be ATLA using younger characters as its main cast but instead of feeling like its dumbed down for kids to understand why war#is bad its framed from a childs point of view so younger audiences can pick up on it by relating to the characters. maybe an 8 year old#wont get how geopolitics works but at least they get 'hey the world is a little more complicated than everyone vs. fire nation'. same for#steven universe bc its like theyre trying to describe and put feelings into words that kids might not have so they have smth to start with#especially with the metaphors around relationships bc even if it looks unfamiliar as a kid now maybe the hope is for it to be smth you can#look back to. thats why it feels like these shows grew up with me.. instead of saving difficult topics for 'when im ready for it'#as if its preparing me for high school it gave me smth to turn in my hands and revisit again and again as i grow. stories that never#treated u as dumb all along. just someone who could learn and come back to it as many times as u need to. i loved SU for the longest time#but i felt guilty for enjoying it hearing the way ppl bash it. bc i was a kid and thought other ppl understood it better than me and made#feel bad for leaning into the message of paying forward kindness and not questioning why steven didnt punish the diamonds or hold them#accountable. but im rewatching it now and going oh. i still love this show and what it was trying to teach me#yapping#diary
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front-facing-pokemon Ā· 1 year ago
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paranormaljones Ā· 5 months ago
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I totally hear and understand everyone saying that parts of My Adventures with Superman feel rushed and that they wish they would take more time to expand on certain things, but I do want to remind people that this is likely not a storytelling problem. It's probably due to what the current climate surrounding animation is: a hellscape. Countless series getting cancelled left and right, streaming platforms removing pre-existing series and not even letting the CREATORS have access to them, to the point where the creators are ENCOURAGING PIRACY. Having to wonder every day whether they'll be renewed, or if their story has to come to an immediate, undeserved, and non-negotiable end because "not enough people binged the entire season in one day". It's insane.
I think the creators of MAwS are working their asses off trying to tell as much of this story as they can and praying that they don't end up on the chopping block. It is deeply sad that animated series are given half a chance to survive nowadays. We all wish things were different. Hopefully they will be soon. But right now, I really think that the MAwS team is doing the absolute best they can given the current climate surrounding them.
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mothmanwarble Ā· 10 months ago
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My excitement over the sudden return of Summon House last week motivated me to rewatch all of Animal Investigator/AI Builds again, and now I canā€™t watch either series without being reminded of the other.
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totaleclipse573 Ā· 4 months ago
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Redesigned the Supreme, so take the art XD
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jewishcissiekj Ā· 2 months ago
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wait why does older Omega look so different than Emerie Karr??? they're literally clones so????
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erstwhilesparrow Ā· 1 year ago
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i've been thinking about maps and how they're inherently tricky little liars. you know that story about the emperor who wanted a 1:1 scale map of his entire kingdom, but creating that map required them to perfectly replicate the entire kingdom, at the exact same size as the kingdom? you see how that's kind of useless and how maps kind of have to leave things out for us to get any of the usual navigational help out of them? someone has to make decisions about what gets left out. what's important enough to be included. how things and places get represented. modern day maps loooove to promise objectivity and accuracy, but maps have stories and beliefs and historical contexts embedded in them no matter how hard you try to get away from those things. but this also means you can use them to tell interesting stories! how a thing is depicted on a map tells you things about the person / people responsible for its production!
due to being who i am, i think about this a lot in relation to empires smp. the kinds of maps that could be produced as the landscape of the world changes. the way that the in-game maps allow for a kind of instantaneous transfer of information over literally any distance via map copies. the extremely fixed and limited point of view provided by the in-game maps. the biases and interests of the cartographers of any given empire.
some (many) scattered thoughts in list format under the cut:
the particular idea that spurred this post: topographical maps of the regions surrounding the cod empire and mythland -- the way intensity of colour / shading and the choice of scale could be used to emphasize or gloss over the ravine separating them -- the ravine like a scar on the page, deep and dark, or the ravine like a neat line bracketed by the two other neat lines of the empires' respective walls. there are easy enough to guess reasons for who would want to create each type of map and why; tells you something about how each empire responded to the separation and war.
maps of pixandria from above -- i think a lot about how fwhip took copies of maps that the other empires had on display and put them up in his base so he would be able to see immediately if any of them start building something new. i think a lot about how when i was looking at minecraft maps of pixandria, big chunks of it just blended into the desert sand because pix was building with sandstone and i wasn't at all used to seeing pixandria from anything but ground-level. i think a lot about how this could add an extra element to how pixandria is supposed to have a bustling city under the anthill, and how fwhip's secret base is also underground, and how yeah, that's just A Cool Thing People Do Sometimes, but if it's so dangerously simple to get information about the surface of the world... how might people respond to that? consider spycraft in the empires. consider clever tricks and countermeasures. (consider s2, katherine's kingdom is falling apart, and her response, among other things, is to collect maps of her neighbours' territories. what's she worried about?)
itinerary maps -- maps have not always been bird's-eye view and carefully made to scale! itinerary maps were designed for travellers, and interested in accurately displaying the relative length of one's journey from one place to another, as well as the landmarks that one might see along the way (take a look at the Tabula Peutingeriana -- are you aware it's showing you italy?) -- in the context of empires, what types of journeys are so common that there might be demand for itinerary maps? who makes them, who uses them, what's considered a major landmark in this area and also does every mapmaker in this region consider that thing to be a major landmark? can you make something a major landmark by representing it on a map? (consider the turn of phrase about putting oneself on the map. who might want this, or not want this? the conspicuous absences in a map can also be telling. huh. i wonder how often that raid farm impulse built shows up on an empire's map in season 2.)
the usefulness of a given perspective -- kind of related to itinerary maps, i wonder how much more use you can get out of an in-game map when you have elytra? the emperors pretty much all have elytra, and the emperors often keep in-game maps of their empires. is there something there? what might it suggest about the expected use of those in-game maps?
self-aggrandizement -- another anecdote i think about all the time (and this one might be anecdotal sorry take it with a grain of salt) is the one where jesuit missionaries went to china and managed to convince some chinese nobles to trust them more after showing them a world map in the ortelian style, because chinese maps at that point mostly showed china as disproportionately large and at the center of the map, with europe (and the threat of barbarian invasion) dangerously close, and this map... didn't do that! consider how maps can create a nation or empire's sense of itself. the cod empire and mythland, always so fucking careful about the clarity of their borders. mezalea that looks massive on one map and is shoved off to the side in another. pixandrian maps that are cross-sections and not views from above. maps from the crystal cliffs that emphasize the mountain ranges like a jagged warning.
shape of the map -- hey did you know medieval european maps were often circular, with jerusalem in the center and the rest of the world split into asia, africa, and europe? you know maps can be different shapes, and this can tell you about what the creator thought was important (i don't remember exactly how circles are important to christianity but it was something about the perfection of god, maybe?) and how they understood the world? you think it could tell you something about where the map was meant to be used (a big circular map was probably meant to go on display!) and who was meant to see it? (ha, if you live in minecraft, what shape do you think the world is?)
questions and answers -- stuff like "who made this? to what end? under what influences?" are questions i have been specifically taught to ask about maps that i am presented with. in the context of empires worldbuilding, there's a really fun inversion where you do not have to work from the map to the context, but from the context to the map that might result from it. you can do cool things with this!! i am sure of it!!
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zetsubou-shita Ā· 11 months ago
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actually this is pretty important frame that means that he dont want hiyo to be around while she is alive. ig adashitoka didn't want to capture circumstances of her death, after which yato will get her as shinki.
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moinsbienquekaworu Ā· 1 month ago
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Full sketchbook page of younger Constant doodles. I am rotating this OC like never before
#truly what inspired this was finding what they were called before#because they were not always constant! they picked that out as a family tradition#the tiefling thing of having virtue names#i made it into 'around coming of age some cultures of tieflings will change their names to a quality they want to embody'#constant's mom is named passion for example#you could find a mystery or a dashing or a quiet or a resolute#how common that is varies by region and it's tied to specific cultures among tieflings#all the tieflings you see in bg3 have tiefling names and not a single virtue name in there#but constant's mom comes from a family that does it#and constant wanted to as well. they felt it was a good coming of age custom#they picked constant for steadfastness. predictability. regularity. dependability. constancy!#and because they wanted it to be a name name as well since their dad isn't from that tradition#and so having their birth name lets me kind of see who they used to be. well it's the same guy! but they're not constant Yet#they haven't committed to this specific way of living yet#they were almost curiosity. or insight maybe. something like that (in universe. me the creator i never considered anything else seriously)#but they wanted to be there for people more than to focus on discovering things#and their curiosity is so very regular it works with being reliable honestly#you know they'll touch that button and go check the weird book out and lick the spider and drink the potion. you plan for it#by the end of the adventure their companions see some strange little mystery and go 'constant. please don't touch that' by reflex#but yeah it's made me think of baby constant-who-wasn't-constant-yet#i feel weird putting the name out cause it's not a deadname but it kind of is?#they're not that kid anymore in the tiefling tradition way and in the trans way. but also they were that kid in both ways once again#anyway. my darling. constant crestridge. they didn't make it alliterative on purpose btw it just happened#wow i have an ocs tag now#bg3
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aunty-matter Ā· 9 months ago
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I hope that everyone has found/discovered/heard of and potentially watched ā€œHazbin Hotelā€ because itā€™s incredibly good.
I love the characters but OMG Alastor is the best!
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Click HERE to listen to "Insane" (Alastor's Song) by Black Gryph0n and Baasik
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give-grian-rights Ā· 1 year ago
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head in hands. trying to look through the yjtv tag. i KNOW the show has its shitty moments i KNOW it has moments where it kinda sucks and is Weird towards the source materials but PLEASEE.E PLEASEEEE SO MUCH OF THE TAG IS FULL OF HATE
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rathayibacter Ā· 1 year ago
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thinking a lot about how IMMORTALITY squeezes a ton of meaning out of being a game. like, theoretically, you could get all the same themes and significance from watching all the footage once or twice, in order, all the way through. after all, that's kinda how previous game by the studio Her Story was: there was a full picture, and it was waiting for you to put all the pieces together so you could see it.
but IMMORTALITY's a bit different. the thing that you perceive to be the big mystery actually isn't that hard to solve, and is really just a couple stops to check off along your much longer journey of understanding. and so much of that is thanks to the specific mechanic of how you uncover new clips. you click on something in the shot, and you're brought to another shot with the same object, or a shot related to that object, or a shot thematically linked to that object. you're navigating via the Kuleshov Effect, and that means you're constantly, inevitably creating meaning through how you interact with the game.
like, super minor, non-spoiler-y example: there's a set of scenes connected by a cat. you see a cat in one scene and click on it, and you're taken to the rehearsal of a scene that will have that cat, but they aren't using the animal actor yet cuz it's just rehearsal. you're brought to the moment that an actress is leaning down and petting where the cat will be, at some point, later. it's a cute little move by the game designers, cuz yeah, these scenes are connected by that cat you clicked on, but not literally, only in the final product.
but then i clicked on the space where the cat would be, and it took me to another scene, once again with the actual cat. and isn't that funny. isn't that interesting. of course it makes sense in hindsight, right? we're traveling via cinematic language, and in rehearsal there's no difference between a cat and an empty bit of floor where the script tells you a cat will be. you gotta treat that empty space like there's a cat there, or else the whole thing falls apart.
this isn't a significant moment in the game. none of the three clips involved really matter that much. but like, at the same time, by connecting these three pretty empty filler scenes in this way, by taking you from a cat to a not-cat to a cat, and telling you that they're all equivalent, the game is making a pretty strong thematic declaration, one that would be completely absent if you'd just watched these three clips separately, in the parts of the movie that they belong in.
not every player is gonna read that deeply into this moment, just as i havent read this deeply into most of the other connections ive made in my so-far 12 and a half hours with the game. some folks will read something completely different into it (there's a pretty fun discussion you could have about it happening in 2 Of Everything specifically, playing into the mistaken identities plot via Schrƶdinger's cat). some players won't even find that connection at all! there's enough redundancy in everything here that nobody needs to find every possible point of interaction to finish or understand the game. and all that's kinda the beauty of it, right? there's a million ways to examine this text, to work your way through the enormous tower of information you're presented with, and every single one of those paths is gonna create unique meaning. they've taken the process of interpreting art and made it a game mechanic, without hamstringing the actual act of interpretation in the process. the game says "hey, in order to see everything, you're gonna have to make connections," but never forces your hand in what those connections have to be. it's absolutely fascinating.
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occatorcreator Ā· 2 years ago
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Alan's wife would probably check on Alan whenever she can as her husband is in the computer and it's probably very jarring for Alan
Most likely, she and anyone else would be reasonably worried.
I will be honest I am unsure how to answer questions regarding Alan's wife given that she's not exactly a character in the universe. Like you only hear her calling Alan off screen and that's it. She's not like the Animator who has a presence and actions in the universe (and man I know the character version has the same name as the creator of the series, but it still feels weird for me to refer to the Animator as Alan.)
It just feels weird for me to speculate on someone who's a real person.
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finalhaunts Ā· 11 months ago
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If anybody wants some good psychological horror go check out lost in vivo. It's definitely heavily inspired by silent hill but it's so unique in its own special little ways that it's amazing on its own even when knowing of its inspirations. Its a first person shooter tho if that turns anyone off
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overlyimmersed Ā· 2 years ago
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Ok so, Grudge of Edinburgh...
So I did indeed watch this like right away when it came out. I didn't speak on it immediately cuz it's just part 1 and I was gonna wait till we had the whole story, but there are some things I'd like to talk about because...continuity errors?
Spoilers ahead!
Ok, first of all, just to get this out of the way because it's not a continuity thing; Lancelot sounds exactly like I thought he would XD
Ok, the first continuity things is the Sacred Tree in the Fairy King's Forest.
The one on the left is from the anime and the one on the right is from Grudge of Edinburgh. And they are supposed to bet he same tree, so why the color change?
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It's not age, cuz the tree from the original Fairy King's Forest before it was burned down was thousands of years old and was also pink.
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The second thing is...children? Like are these two supposed to be children?
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Lancelot does refer to the trio of these two and the Giant child as "kids", but there's a couple problems with that.
šŸŒæ First of all, it's been established canon that Fairies don't get their wings till they mature and both these Fairies have wings.
šŸŒæ Second, it's also been established that Fairies don't...really have babies? Like it's stated outright that Elaine is the first Fairy in history to get pregnant.
And sure, first doesn't mean last. Maybe these two are around Lance's age? But Lancelot is 14 in this movie and there's no reason for 14 year old, or younger, Fairies to have their wings yet.
so like...what's up with that?
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