#steven universe renaissance

[steven-universe-renaissance]

https://archiveofourown.org/works/52663255

[inariedwards]

DraftDash: Day 21

Okay so yesterday I stopped at a spot that was gonna need a bit more brain power than my usual sessions, so I didn't use a timer today because I didn't want the pressure. Instead I just worked on it until I got past the sticky wicket to a spot where the flow goes more smoothly again. So I wrote maybe 15-20 minutes and got 204 words down.

Very close to being finished with this episode because I have had the ending finished for ages, as it's related to one of those key fridge logic problems that the show caused me and it's one of the earliest problems I solved.

This is kind of my process for this project: I write the parts that I am really into way way ahead of time (for example Jail Break is completely finished, as is most of A Single Pale Rose, and many more scenes from a bunch more episodes) and then I hack at the story in the order of the episodes so that I will get to the good parts.

I still have parts that I haven't solved, so every once and a while I find a solution to something and get to take a break from hacking at it.

[spooksier]

these will be colored later but in the meantime, ily 2010s cartoons 5ever

[porcelain-rob0t]

blue diamond, she was always my favorite <3

just a little ramble about inspiration:

i sometimes get burnt out when im only doing original art so its nice to do fanart every now and then. i was such a big steven universe fan back in the day, it was such a big inspiration for me as a young artist. i lost interest years ago but it still is important to me, just as important to me as invader zim, adventure time, regular show, and all of the other cartoons that were formative for me.

i think some day soon we are due for a steven universe renaissance, where we re-evaluate what worked, what didnt, and its cultural impact in a nuanced way (LILY ORCHARD WHEN I GET YOU). i hope with the SU renaissance, people start making gemsonas again. that was my absolutely favorite part of being in the fandom, gemsonas were what make me take character design seriously.

enough of my sappy ramblings, i also like steven universe bc the diamonds are morally fucked up milfs, and thats how i like my women.

[skipppppy]

Wanted to do some personal stuff between work so I went back to my baby artist roots and redrew a Steven Universe screencap…one of my first gay crushes on god

(psst. my commissions are open!)

[redrrrre]

hehe art request for @hooliganpearl i forgot how much more challenging yet fun it is to draw on paper instead of digital

[cyclic-laughter]

some pearl characters ive been thinking about a lot lately

first two characters were not designed by me

[kkkkkkkitty]

[sybleavingsoon]

in my personal opinion the chuck e cheese spinel x starbucks employee volleyball (pink pearl) au was the most moving and culturally significant piece of steven universe fan content i’ve ever had the honor of consuming

[corruptedhyena]

Stardust the African Wild Dog!!

At long last, I can proudly present my newest partial fursuit, Stardust! He/they, an African Wild Dog, but from space! He was heavily inspired by Steven Universe, but also was originally created by Camden on ChickenSmoothie. I made the suit myself, though the paws were made from a template bought from the amazing YBL suits.

See the pink and white on the paws? It's meant to represent dots and dashes in Morse code spelling out "CQ," meaning an outgoing call to everyone. Stardust is a friendly spacefarer always looking to make friends, so I thought it fitting! The freckles on his muzzle, too, are laid out to be constellations! (Though I forget which, it was a design choice set early on and it has been MONTHS since then lol)

This weekend, I got to debut him at Renaissance Faire and meet some other lovely furs, whose suits were all so adorable!! (If you were one of the four fine folks I met and would like to be tagged here, please let me know (: ) Also went with my friends Rae and Crow (The plague doctor shown ofc) who were absolutely the best <3

The day we went it was pouring for most of the morning, so apoligies if Stardust looks a bit soggy. Gotta say, though, I didn't feel the least bit damp with the head and my hands, so kudos to that Amazon luxury shag lol.

Hope y'all are having a good day, and best of wishes to all those suiters off to Ren Faire too! Hope to see you on the 27th, where I'll be in a Spring-Bonnie head!

[steven-universe-renaissance]

https://archiveofourown.org/works/55996651/

[isawken]

i am going to watch steven universe in the year 2025 and i am going to create new and enthralling discourse the likes of which will spur a great intellectual renaissance that will usher in SJW 2

[spooksier]

hey guys anyways nothing captures why i love steven universe so much better than the lines "i dont need you to respect me, i respect me. i don't need you to love me, i love me." most transgender show of all time

[yardsards]

i'm only a very casual hobbyist artist and i don't rlly wanna be any more well known on this hellsite than i already am but. sometimes i see those Super Popular Tumblr Artists and i kinda want what they have. specifically the Power to create mini fandom renaissances/influence fanon by the power of making really good art/comics/etc.

specifically i would use it to create a steven universe fandom renaissance and make queerplatonic lapidot be widely accepted fanon

[sjsmith56]

The Flame Burns From Within

Summary: A late medieval / early Renaissance AU told in six parts. Lord Barnes comes to formally claim the hand of the woman he has been betrothed to since her birth. Other suitors object to his claim setting off a series of events.

Characters: Named OFC (beautiful, tall and red-haired), Ser Anthony Stark, Lady Stark, Lord James Buchanan Barnes, The Duke of Long Isle Prince Steven Rogers, Ser Samuel Wilson, Lord Alexander Pierce, Ser Brock Rumlow, John Walker, Father Bruce, Garrison Commander Barton, Riley, Lady Natasha, Ser Scott Lang.

Warnings: Minors DNI - contains sexual content not suitable for readers under the age of 18, OFC is a virgin, age gap (OFC is 21, Lord Barnes is 32), arranged marriage (but she is given a choice to go through with it), threat of forced marriage, violence, misogyny, kidnapping, attack against a church full of parishioners.

Author notes: This is an alternate universe set during the late 15th century. America is a separate kingdom located closer to Europe than it is now. There will be reference to Arthurian legend with changes to it.

Part 1 - Negotiations

Part 2 - Secret Wedding

Part 3 - The Abduction

Part 4 - Captive

Part 5 - Escape

Part 6 - Justice

Short Fiction Masterlist

As with all of my works, the characters originally created by Marvel are the intellectual property of Marvel / Disney. This original work of fiction is derived from those characters who are shown in a different manner than their original portrayals. The plot and original characters are the creation and property of the author, who claims all rights of ownership. Please do not copy, paste, or translate for posting on any other platform. This work will be cross posted on the author’s Wattpad and AO3 account.

[kylesvariouslistsandstuff]

How the “Disney Renaissance” narrative changed, the few pivotal movies that got left out…

It is often agreed that the famed Disney Renaissance began with the 1989 theatrical release of THE LITTLE MERMAID… A return to the kind of critical acclaim the studio’s animated features hadn’t enjoyed in a long while, especially on a consistent basis. And apparently, their first box office hit in a long while.

History shows a different picture… THE LITTLE MERMAID, in fact, was merely building upon an upward climb that not only Disney Feature Animation was seeing back then, but also other divisions of the enterprise’s film domain.

It’s not like Disney Animation was really struggling THAT much anyways, before Michael Eisner and Frank Wells and Jeffrey Katzenberg came into the picture with a returning Roy E. Disney. Things were far from great in the ‘70s and early ‘80s, yes, but the features made between the posthumous release of THE JUNGLE BOOK in 1967 and the misfire release of THE BLACK CAULDRON in 1985 did not lose money. ARISTOCATS, ROBIN HOOD, RESCUERS, FOX AND THE HOUND made beaucoup bucks in several European territories, for starters. THE RESCUERS even enjoyed rather enthusiastic critical reception on American soil, with one figure asking if a “renaissance” (!) for animation was underway… In the year 1977… 12 years before THE LITTLE MERMAID came out.

Really, it all begins in the summer of 1986 with the muted release of THE GREAT MOUSE DETECTIVE.

This one entered full production after Eisner/Wells/Katzenberg assumed control, and it was Katzenberg who had significant changes and facelifts made to the project, other than its silly title change. Despite the production being a more enthusiastic one for its young animators, more so than the previous endeavors, Disney didn’t really go ham on its marketing outside of a few trailers (which were surprisingly lost until some really cool folks did lots and lots of digging in the recent years). In fact, its theatrical posters were the early mock-ups. They just… Went with those, and called it a day…

MOUSE DETECTIVE was no blockbuster by any means. $26m domestically only put it $5m above the previous summer’s BLACK CAULDRON, but because it hadn’t cost as much as CAULDRON nor was marketed much, it was considered a profitable success. Reviews were generally positive, too, the best for a Disney animated feature since THE RESCUERS nearly a decade earlier... It no doubt kept the thought of shuttering the animation studio at bay, and it no doubt created some enthusiasm within the walls of the studio.

Later that year, former Disney animator turned rival Don Bluth struck big with a picture that freakin' Steven Spielberg produced... AN AMERICAN TAIL. Released by Universal during the Thanksgiving frame, the feature does the unprecedented: It takes the box office crown that Disney had held for decades. A real upset! Reportedly, it got Katzenberg and all of them nervous. All of a sudden, there was a real push to invest in making animated films. By early 1987, Disney began to put more pictures into development. Only three was in the works by then: Modernized Dickens adaptation OLIVER AND THE DODGER, classic fairy tale THE LITTLE MERMAID, and a RESCUERS sequel. By the end of 1987 and into early 1988, BEAUTY AND THE BEAST, ALADDIN, and a story about the African wildernesses were in some form of development.

Summer 1988 saw the release of the live-action/animation hybrid WHO FRAMED ROGER RABBIT, a revolutionary animation and VFX spectacle that involved Spielberg as producer, directed by BACK TO THE FUTURE director Robert Zemeckis, and had most of its animation provided by the esteemed Richard Williams house across the Atlantic.

Critical darling, huge box office smash, animation and classic American cartoons are cool again to the general public...

OLIVER & COMPANY came next in the fall of 1988. A full-fledged marketing effort, and Disney had the guts to release it next to Bluth's THE LAND BEFORE TIME, which Spielberg back as producer, **and** freakin' George Lucas as well...

It was a big hit. $53m domestically, and - according to Disney at the time of its release - over $100m at the worldwide box office, taking the crown back from Bluth in addition to beating his newest endeavor. Things were looking up...

Then THE LITTLE MERMAID released in Thanksgiving 1989, rest is history... They saw a small bump in the box office road with THE RESCUERS DOWN UNDER in late 1990, but rebounded BIG TIME with BEAUTY AND THE BEAST, ALADDIN, and THE LION KING, one after the other...

So yeah... ROGER RABBIT aside, because it wasn't a Walt Disney Feature Animation production (Spielberg especially felt the studio's crew weren't really cut out to make the animation of a high level that he was looking for), the two pictures before MERMAID are typically left out of the Disney Renaissance narrative.

MOUSE DETECTIVE was a much lower-budget endeavor, seen as a B-picture of sorts. It didn't make a huge amount at the box office, it had merely only made its money back and got good reviews. So some do not count it because of that. But on the other hand, it was the directorial debut of Ron Clements and John Musker, the reviews were very solid, it showcased the then-young animators having the kind of fun they didn't enjoy on FOX AND THE HOUND, MICKEY'S CHRISTMAS CAROL, and BLACK CAULDRON... For some, it is the seeds of the Renaissance. The launchpad for the rocket.

OLIVER & COMPANY is even more baffling when you consider it took the highest-grossing animated movie crown back from Bluth, and was the first animated film to make over $100m worldwide on its initial release. However, the reviews were more mixed for that one, and it's considered an incredibly outdated film. Which it is, I won't lie. It's certainly stuck in the late 1980s, for sure, and many consider its storytelling to be average at best. They feel the story is definitely buried in the hip attitude and pop star voice cast.

But its success was absolutely important to what lie ahead.

Disney *used* to credit it as such...

Look at the BEAUTY AND THE BEAST sneak peek from the May 1991 VHS release of THE JUNGLE BOOK...

OLIVER is a prominent part of the narrative. RESCUERS DOWN UNDER, which was only a few months old by the time they put together that sneak peek, is not alluded to whatsoever. The narrative is OLIVER, then MERMAID, now BEAST. An example of the studio's upward climb... No DOWN UNDER, despite its technological innovations that allowed for BEAUTY AND THE BEAST to even be made the way it was...

DOWN UNDER got a more mixed critical reception and also underperformed, but that was largely because Disney had lost faith in the film long before it was released. After a not-so-great re-release of the original RESCUERS in spring 1989, it was largely just seen as a vehicle for the further development of the C.A.P.S. process of digitally inking and painting animated movies. A full-length test feature/gap filler, if you will. Then it came out, wasn't warmly-received, and it didn't do great. Disney immediately excluded it from their new upward climb narrative.

(Though, I guess as compensation, a trailer for THE RESCUERS DOWN UNDER comes on after this JUNGLE BOOK tape's BATB sneak peek. It's a short trailer for its home video release, though it looks to be a snippet of a commercial or theatrical trailer.)

Flash-forward... ALADDIN is coming out...

Its marketing emphasized MERMAID and BEAST as the stepping stones to that film...

No OLIVER, and certainly no DOWN UNDER...

The fall 1992 release of ALADDIN was where it was cemented, that THE LITTLE MERMAID started it all...