#the mascot upshot

[multimonorail]

Big Hero 6 Month Day 29: Family

"🎵 Fa-a-a-mily is the best! 🎵”

[drama-glob]

Today marks the 2 year anniversary since “Big Hero 6 The Series” ended and I can’t believe it’s already been that long. ;_; I know so many of us are sad it ended and “The Mascot Upshot” tried to wrap things up WAY too fast and left so many things up in the air like “What about Hiro and Karmi?” or “Who will be on BH6 if Honey Lemon, Wasabi and Go Go leave?” (Globby should automatically be on the team and I will fight you so hard to defend him :) <3<3<3). I did admittedly enjoy “Krei-oke Night” with so many of our favorite characters getting to sing, have fun and hear the epic performance of Professor Granville (which is why she makes up a good chunk of the gifs ;) ). The undeniable love of Felony Carl and Globby was so sweet and I’m glad they had their moment. ^_^<3<3<3 I’m still so sad it ended/got cancelled, but I’m grateful for the fandom still doing what it can to show this show some love and keep it alive. <3<3<3

[theradioghost]

I want to hear about your OC! -chinhands-

fuck yeah time to go full mary sue no shame no hesitation

well last year I got really into the Monster Hunter series, and what attracted me in particular to it was how its sort of USP within its genre (it invented the genre, but no other similar game has really copied this) is that it's basically spec bio. there aren't just Big Monsters, there are Big Monsters with evolutionary histories and ecological roles and interactions and biologies and I Just Think That's Really Neat

i've also always been fascinated by animal color genetics since I was little, and pigments/color genetics isn't something the games and lore have really gone too deep on, so I like messing around with theories and headcanons in that sphere, especially since the series does have a few monsters that are just palette swaps that range in quality of actual gameplay/design creativity, but might be even weirder if you come at it from a biology standpoint.

take the raths, the series mascots -- they're a sexually dimorphic species. the males, rathalos, are red, and the females, rathian, are green. but green pigment is super rare in amniotes (green color is usually an effect produced by some sort of structural element/process, unless you're a turaco or something) whereas red pigments are super common in carotenes and melanins and whatnot. then the rarer, more powerful variants of the raths basically switch pigments, becoming the pink rathian and azure rathalos

^pink rathian

but basically if that color WAS melanin-based you could have melanistic all-black raths. also there IS a spinoff series where you befriend and ride the monsters and within that series there ARE hunter characters who express interest in becoming riders or incorporating rider knowledge into what they do

the upshot of all this is that the backstory I invented for my character in Monster Hunter World is that the vaguely mentioned "hunting partner" she claims couldn't accompany her for the game's events is a black rathian named Tulip, who she met and befriended in the aftermath of a natural disaster when they were both young, classic RPG orphan style. Tulip is a big poisonous dragon who loves fish, scritches under the chin, and attention and I love her SO MUCH but maybe not as much as every scientist she meets

[themattress]

Disney TVA Finale Ranking

For every Disney TVA series that features continuous plot/character development.

13. Milo Murphy's Law - Sphere and Loathing in Outer Space: Milo Murphy’s Law is a depressing failed experiment of a series. For its first season, it was a spiritual successor to its creators previous show, the episodic hit Phineas & Ferb, but with more of an overarching narrative that was incredibly silly but also had some legitimate heart to it. But that arc’s finale ended up being the second season’s premiere, where the main cast of Phineas & Ferb crossed over and totally stole the spotlight from the characters we’d actually been following. From that point on, the “Phineas & Ferb effect” never went away, leading to a jumbled mess of a second season arc involving aliens and relationship drama and Dr. Heinz Doofenshmirtz annoyingly inserted in at every turn that concluded in this underwhelming finale that was so clearly not intended to be the series finale when it was made. There’s no real closure nor satisfaction to anything, leaving viewers nothing but the show’s wasted potential to dwell on.

12. The Lion Guard - Return to the Pride Lands: After the final battle, we had two more episodes left in this series and they just feel so bland and perfunctory. There’s no real conflict left, no character arcs still in need of concluding, it really just boils down to connecting fully to The Lion King II: Simba’s Pride and explaining why we never saw nor heard of Kion during the events of that movie. I forgot this finale almost as soon as I saw it; that’s how weak it is. 

11. Star vs. The Forces of Evil - Cleaved: Perhaps the most notorious of the finales on this list, “Cleaved” and the three episodes leading into it really feel like watching a train that had so much momentum behind it derail, crash, explode and burn. Everything from the pointlessly disjointed story, underwhelming endgame threat, out-of-nowhere character turns, waste of important characters, failure to connect enough to the show’s past, brushing aside the horrific implications of destroying magic, and the resolution that puts the show’s freshly hooked-up main ship above everything else come together to create a woefully unsatisfying conclusion. But hey, at least it is a firm conclusion, and one I’ll always remember for just how bad it is.

10. Big Hero 6 the Series - The Mascot Upshot: While this show got screwed over by executives big-time and this short, silly story being the finale is emblematic of that fact, it does accomplish exactly what it needed to: wrapping up all lingering story threads (the Noodle Burger Gang, the unexpected bond Hiro developed with Momakase, and eliminating the last trace of Obake’s evil from San Fransokyo) and leaving things on a feel-good note.

9. Wander Over Yonder - The End of the Galaxy: This is the most standard kind of “good” finale that a series could ask for when prematurely cut short. It’s got the highest stakes to date, the biggest personal conflicts for the protagonists to deal with, the main villain at their diabolical best, and an ending where the status quo is retained while also leaving a clear path forward for new developments which fans can imagine for themselves. It’s a shame that the series couldn’t continue beyond this point as was planned, but what we got was still solid.

8. The Ghost and Molly McGee - The End: No galaxy here, just the end of its story in a calm, mundane way where the stakes are purely emotional rather than physical. Despite that, it stands out as elevating the whole series to a higher level than it was at before due to the big reveal of Scratch’s true nature and the ultimate moral the story imparts on the viewer. 

7. Sofia the First - Forever Royal: The plot of this finale is very weak. The whole Mystic Isles / Protector Sofia / Wicked Nine story arc felt half-baked to start with, and not enough had been done with Prisma / Vor to feel like her / their status as the Final Boss was earned. However, the characters make up for this. Given that Sofia the First has mostly been episodic throughout its run, you don’t quite realize how much Sofia and her family have grown until you reach the end. The things they accomplish along with the new things revealed about them elevate this finale beyond its flimsy story, with special mention going to my boy Cedric. Once you reach the end credits, you definitely feel like this show wrapped up very nicely.

6. Elena of Avalor - Coronation Day: While this finale has something of a rocky start, partially owing to the (presumably network-induced) wasted potential in how this final season’s arc progressed, once Elena and Ash Delgado have gotten trapped in the Spirit World and Esteban aligned himself with the Four Shades, things pick up and the quality stays high to the very end. The character development is on point, especially for protagonist Elena and antagonist Esteban, and the Four Shades end up selling the apocalyptic threat they pose, especially Cahu the Time Shade who gets away with some of the most horrific shit ever put on a show that airs on Disney Junior. And the ending where Elena is officially crowned Queen of Avalor is just perfect, capped off by a delightful surprise guest star appearance.

5. DuckTales - The Last Adventure: While it’s disappointing that Huey’s arc peters out halfway through in favor of Webby, some long-hanging elements are paid off in a shockingly underwhelming way, and this already long finale honestly needed even more time to fully flesh things out (ex: the resolution to the battle against the Phantom Blot, which as stands is totally off-screen), it’s counter-balanced by so much strong material and a shining heart, with the finale doing a fantastic job at tying the series together as a single, grand, three-act story.

4. Tangled the Series - Plus Est En Vous: There is very little to complain about with this finale. We get the full-on Sun and Moon-powered battle between Rapunzel and Cassandra that the series was building to, perfect cappers for the redemption arcs of Varian and King Edmund, the Big Bad Zhan Tiri having the last of her backstory filled in and then becoming an active threat in her demonic form, Eugene and the other side characters banding together to buy time for Corona’s survival, and Rapunzel getting to save the day alongside Cassandra to the point where she’s the one who cuts her own hair this time. The biggest quibble would have to be Cassandra’s turnaround and departure feeling rushed, but otherwise this was an above average conclusion to an above average TV show based on/continuing a movie.

3. The Owl House - Watching and Dreaming: Starting in “Thanks to Them” and continuing in “For the Future” before concluding in “Watching and Dreaming”, The Owl House’s finale really pulls out all the stops and makes the most of Disney having cut the series short. Every character gets their time to shine and wrap up their arcs in a satisfying way, every core theme of the show is driven home beautifully, and the action and animation is at its peak. Yes, there are problems due to the aforementioned executive meddling from Disney, particularly in how some questions are raised but either never fully answered or answered in too rushed a way to be impactful, but on the whole Dana Terrace and her crew pulled off an excellent ending. 

2. Amphibia - The Hardest Thing: Starting in “The Beginning of the End” and continuing in “All In” before concluding in “The Hardest Thing”, this was a finale that I doubt anyone expected to be as amazing as it was. Amphibia started out as just a cute, fun little show about a teenage girl trapped in a world full of talking frogs, and concludes in the most epic, intriguing, philosophical and heartfelt way a story can possibly conclude in. I could bring up nitpicks like the Final Boss battle being ridiculously quick and perfunctory, or how Sasha’s conclusion is marred by her backstory episode getting left on the cutting room floor, but these things feel insignificant when compared to just how good and fulfilling the finale is overall.

1. Gravity Falls - Weirdmageddon: This three-part conclusion (or four-part, depending on which way you’re viewing it) is often cited as one of the best finales to any television show, animated or otherwise, and it’s not hard to see why. Everything just feels like it’s coming together here, everything the show has ever been and was always building to. It’s exciting, it’s funny, it’s scary, it’s thought-provoking, and by God is it emotional. The final end credits are some of the best, most downright perfect I have ever seen, making you really feel the worthiness of the experience that was this show. It’s certainly not being topped anytime soon.

[skatoonyfan1234]

I think these reformed Mascots woulda been a good superhero team if we had more eps of Big hero 6 the Series.

Imagine; 'Mascot Hero 4'!

[arctimon]

 *Spoilers for “The Mascot Upshot”*

One of the things that’s been bothering me since seeing the episode is that Hiro made mention during the final battle with NBB and his family is that he made a deal with Momakase for her assistance.

But what was the deal? Were they referencing the fact that he helped her get the family swords back in “Hiro the Villain”?  On the surface, it would make sense; the deal between them came as a shock to both the villains and the rest of the team, which weren’t around at the time of the backstory being told.  But wouldn’t Hiro have told them after the fact? And someone brought up an interesting point on the BH6 TvTropes forum: why is Momakase even in town still?  She could probably do much better at the thieving if she just moved to a new city?  What is keeping her in San Fransokyo? The conspiracy theorist in me says that Hiro made a new deal with her.  For what...I don’t know. Maybe she wanted something that only Hiro could get for her.

Or maybe she just wanted her record clean.

Or...maybe there was something else.

See, this is what happens when you’re trying to write a story and you rewatch the episodes to get more insight and your brain starts wandering.

[brainyxbat]

Well, that’s it. It’s over; no more Big Hero 6 episodes. 😢

[atruehiro]

The series finale is free to watch on DisneyNow, though only available in the US. I got passed the location lock with a VPN, but I know not everyone has that option, so I put a temporary (until I find better files) screen recording of the episode on my episodes page.

But welp... guess the series is officially over.

[tadashitea]

I was just notified of this and I’m not trying to steal anybody’s thunder or anything, just reporting but there’s a post swirling around from Bob Schooley, one of the creators of the series where he shares some pictures. We’re going to focus on one in particular

There’s a lot there but the binders is what everybody’s going nuts about because it’s the episodes of S3 except we left off on De-Based and there are 6 (fitting) more episodes after that, so that means we might get those at some point this year as a “Part 2″ of S3

The last ones that we haven’t seen read:

The Misfit

Return to Sycorax

A French (Apprentice?)

Noodle Burger Ploy

The Mascot Upshot

and Karaoke Night.

I actually see more to this but I just wanted to give a heads up for this post then speculate in another one since it’s already kinda long so look forward to it.

Edit:

This says as soon as Feburary!

[g00mbers]

BIG HERO 6 FINALE SPOILERS WARNING!

continue reading at your own risk!

i'll be talking about the two final episodes of the series ^_^

(random photo because i wanted to put a filler photo but also didn't want to put a BIG spoiler of the ending)

- - - -

Anyways , it's time to talk about Krei-Oke and The Mascot Upshot , this series finale was definetively sad and it hurts to know that we may never see more of it again , but we got to admit that it was nice while it lasted!

(Spoilers Ahead)

Now Noodle Burger Boy and his sisters are now a family next to aunt cass working in the Lucky Cat cafe! that's super nice and was definetively an heartwarming surprise , It's not definetively the SUPER-MEGA-EPIC type of battle finale but it's definetively enough and wholesome at the end! showing a conclusion on basically everything , the third season was just a conclusion of all of the things that happened in season 2 and 1 , showing us the villains finale , what do the hero's do now to spend their time , those type of stuff so you have to get that in mind when watching the third season!

Krei-oke night was also a really good episode in my opinion (I mean , I LOVED TO SEE A LOT OF CHARACTERS SING! THEY WERE SO GOOD) and i'm also SUPER happy for globby and felony carl! there's no way they aren't a couple , it's literally canon and right there! bless 💖💖💖💖

The fact that Noodle Burger Boy was so fond on singing was a special fact and also we got a LITTLE specific detail about him being able to still enter krei's tech because he was maded there! that's super awesome in my opinion , but i'm glad he's not a super killing machine anymore (I got to admit i'll miss a lot of stuff the evil mascots did) but i guess it's over and we have to accept it and embrace with open arms this wholesome ending concluiding everything! (most of) , there could have been a few more things in detail it but maybe we'll get an answer of it later (or i dont know)

In my opinion , this third season ISN'T a season of action or common stuff of a plot for big hero 6 , it's a conclusion of everything and that's good enough for me 💖 (I'll miss the action tho!)

So that's all my rant! Bye!

[multimonorail]

"Love you, mother!"

[ashleybenlove]

BAYMAX HAS A FAMILY IN HIRO. 

[insert gross sobbing]

[disneylanddilettante]

The Disney Renaissance Killed the Disneyland Star

This post has been brewing and stewing in my brain for some time.

We here in the Disney theme park fandom are prone to lament the modern attraction design philosophy that says everything must be based on a movie. Aside from spectacularly clueless comments about “a random mountain in India or whatever” and misuse of the term “barrier to entry,” the reason behind it seems to boil down to: That’s what guests want. On the one hand, this is very clearly an excuse to do what Marketing wants (because film IPs are proprietary in a way that broad concepts are not, and can be merchandised accordingly), but on the other hand…it seems to be…kind of…true? The vast majority of the public, in my experience, does think of Disneyland (which I am going to use as synecdoche for all Disney parks, because it’s the one I grew up with, it’s easy to say, and because I can) as a place where you see Disney characters walking around as if they were real, and go on rides based on Disney movies, and anything else there is just to, idk, fill space until they can think of a cool movie makeover for it.

I have spoken to people online who quite enjoy Disneyland, but also think the Enchanted Tiki Room should become a Moana attraction, Tom Sawyer Island should be something to do with The Princess and the Frog, and the Matterhorn should be turned into Frozen. When I challenged them as to why, they didn’t seem to understand the question—what did I mean, “why?” Isn’t it self-evident? A couple years ago, one of the Super Carlin Brothers (I don’t remember which one; anyway I couldn’t tell them apart if you put a gun to my head) made a video expressing bafflement over the use of Figment as a mascot in Epcot because “He’s not from anything.” As if a ride in that very parkwere nothing.

So there is something to the assertion that film IP tie-ins are what regular guests expect and want. But the question remains as to why they want that—after all, it didn’t used to be that way. Costumed characters and rides based on movies have always been part of Disneyland, of course, but in past decades, the most elaborate and promoted attractions were the ones based on unique concepts that had nothing to do with the movies. The reasons to love Disneyland were things like the Haunted Mansion and the Mark Twain and Space Mountain…not so much the chance to meet Mickey Mouse. So what gave the public the idea that it was all about movies and characters? I’m sure there are several reasons, but I’m going to focus on one that I don’t see brought up that often.

I’m going to blame the Disney Renaissance.

Let me give you some personal background. I’m a young Gen-Xer, born in 1977. I was a child of the 80s…and in the 80s, Disney wasn’t doing so hot. Feature Animation had dropped to a cinematic release about once every four years, the live-action division was even less productive, and the corporate raiders were pawing at the door. In those days, when I saw a Disney movie in theaters, probably four times out of five it was a re-release of an older classic. (Anyone else remember when that was a thing?) There wasn’t much new at Disneyland either. The biggest thing to happen in the first half of the decade was the remodel of Fantasyland, which added one new ride—based on Pinocchio, a 43-year-old film—and otherwise just rearranged and refined what had always been there. On the other hand, the big Imagineering projects of the 60s and 70s were mostly still going strong.

The upshot is that if you were a Disney fan in those days (there weren’t many of us, even in my age cohort), you were a fan of the older movies and/or the parks. And for all its genuine quality, that stuff was showing its age. It was made in decades past, and there was a corniness and a quaintness to much of it. Most of the kids my age considered Disney “baby stuff” and were eager to put it behind them. It seems to have been a widespread phenomenon, because I don’t remember the park being very crowded when I was a young kid. Queues for even the roller coasters tended to top out around 45 minutes and it was very rare that we didn’t have time to do everything we wanted on a given visit.

And then, the year I turned 12—the year my age bracket hit puberty and could definitively be said to have outgrown cartoons altogether (except for the weirdos like me)—The Little Mermaid hit theaters.

Two years later, we got Beauty and the Beast.

And the hits kept coming. Suddenly, Disney was the hottest thing in entertainment again. Not just kids—by this time the generation that would come to be known as Millennials—but their parents watched these movies and went wow, this is really good. Disney is better than I thought. Maybe we should rent some of those older movies that I remember from when I was a kid. Maybe we should go to Disneyland… Unlike in the past, when families went to Disneyland because it was advertised and known as a family destination, families went to Disneyland because the kids were going gaga over the new Disney movies and the parents wanted to make them happy.

So a whole new generation of fans flocked to the parks, most probably never having been before, or not recently. They didn’t know what to expect. They just knew they loved these new movies with their endearing lead characters (so much more full of personality than Snow White or Alice or Pinocchio) and their big bombastic Broadway-style musical numbers (so much more in line with current musical tastes than the Tin Pan Alley ditties from Cinderella or Peter Pan or The Jungle Book). That’s what they wanted from Disney, whether they were paying six bucks a head plus popcorn, or fifty bucks a head plus lodging.

And that would have been fine but for the fact that endearing characters and big bombastic musical numbers are really hard to build traditional dark rides around. What you can do, though, for people who want to meet their favorite characters, is build dedicated character meet-and-greet spots. What you can do for people who want to sing along with Academy Award-winning songs is create huge colorful parades and stage shows that feature those songs. Best of all, if you are certain people who shall go unnamed, these sorts of things are much cheaper to create and operate than rides. Corporate was more than happy to meet, rather than try to exceed, the expectations of this new wave of fans.

The newer guests got used to seeing more-or-less verbatim (condensed) film content in the form of these shows and parades. The classic dark rides began to look decidedly odd to them—why are the movie events out of order? Why doesn’t the main character show up more? Why don’t we get to hear all the songs? And no one was there to explain it to them, because the older generations of fans had largely drifted away and the internet wasn’t quite a household staple yet. Rides that weren’t even based on a movie seemed even odder—what does a Wild West roller coaster have to do with Disney? What does a submarine ride have to do with Disney? I thought this park was supposed to be for kids, but my kids don’t recognize this stuff! They should build a Lion King ride! They should build a Toy Story ride! That Snow White ride isn’t suitable for kids; they should do something about that! I didn’t pay all this money to stand in line for an hour and a half and go on a ride that my kids don’t get!

The pattern was set. IP tie-ins were what the people wanted, and they closer they hewed to their source material, the more guest approval they got, simply because people didn’t know any different. And it has snowballed from there. The Disney Renaissance was amazing for the art of animation, but I think it was a net negative for the art of theme parks.

Tl;dr The Disney Renaissance changed guest expectations for Disney entertainment products in ways that were incompatible with classic Imagineering principles.

[hxrohamada]

so in this picture from Twitter,

we see the show binders for each bh6: the series season 3 episode starting from “mayor for a day”. however, they’re a few episodes we haven’t seen yet at the end. some have already been announced on Twitter but the last two have not.

what do you think they say? i see: “the misfit” , “return to sycorax” , cannot read the third , “noodle burger ploy” , “the mascot upshot” (i think), and lastly “.....night”

[itz-darktrax]

Here’s a wallpaper from the mascot upshot in 1920 x 1080!

[disneytva]

February 2021 Highlights 

Big City Greens

Mages and Mazes ; Okay Karaoke 2/6 

Date Night ; The Room 2/13

DuckTales

Beaks In The Shell 2/22 

Big Hero 6 The Series

The Misfit/ Return To Sycorax 2/1 

 A Fresh Sparkles; Noodle Burger Ploy 2/8 

The Mascot Upshot/Krei-oke Night SERIES FINALE 

Puppy Dog Pals 

Pups of the Dance; Fantastic Pet Force Gems 2/26 

Vampirina 

The Magic Howl ; Edgar the Ghoul Girl 2/22

Mira Royal Detective

A Royal Detective Mystery ; The Mystery of the Missing Crown 2/19 

Muppet Babies

Muppet Space Camp; The Best Best Friend Beach Day 2/12

 The Ribbiter ; Presto Uh Oh 2/26 

T.O.T.S Tiny Ones Transport Service

Sled Pup ; Baby Boogie 2/12

Listen to Your Llama ; Swimming With Seals 2/19 

Go Baby Go ; Baby Freddy 2/26

Mickey Mouse Mixed Up Adventures 

Dale's New Pal ; The Cuckoo Turnstyler! 2/5 

 It's a Hap-Hap-Happy Hot Dog Hills! ; Happy Friend-iversary  2/19 

Fancy Nancy 

Pajama Drama ; Chirp Trouble 2/14