#viz

[everymangavegeta]

HUFF Huff Huff

[justharoo]

WELCOME BACK!!! ❤️🤍🖤💛

[beanclam]

i have no idea if people are still following me, but i worked damn hard on this book so I'm showing it off EVERYWHERE.

I did the lineart for Mirrorverse Belle, a graphic novel backstory of Belle from Disney's Mirrorverse game.

It's out April 23!!! Cover and storyboards were donw by Jan Apple, tones done by Umi Miyao.

[matt0044]

Honestly, I feel like "It's a web series, not some Disney spectacle" is the best mentality for RWBY Volume 1. It's rough, it's rugged, it goes it with a lot of heart.

A lot of the critical side of the FNDM seem to have some complaints be about RWBY's ambition in a, "if you can't do it or do it right right away, don't do it at all." It's such a non-risk taking, non-experimental mentality that clashes with how art often is.

Real art, be it one person or collaborative. It can be messy, mistakes are inevitable. But that's what attracts me to stuff like RWBY: the human element. The "low on budget, high on heart" vibe oozing from it.

So long as they're not being a jerk about it, artists should be allowed to get too big for their britches. We mock them but it takes a lot of nerve to essentially tear out a piece of your soul for all to see.

[thecoolguy24601]

She made the microwave into a macrowave

[odioart]

Tatsuki Fujimoto x Odio Chainsaw Man Colorful

[graveweaver]

I'm the Grim Reaper Volume 3 cover! :3

[supergirlytreiner]

The Good Ending! (+ some refs for the aliens!)

[metamatar]

The plain fact is that whatever Homer or Aeschylus might have had to say about the Persians or Asia, it simply is not a reflection of a ‘West’ or of ‘Europe’ as a civilizational entity, in a recognizably modern sense, and no modern discourse can be traced back to that origin, because the civilizational map and geographical imagination of Antiquity were fundamentally different from those that came to be fabricated in post-Renaissance Europe.

[...] It is also simply the case that the kind of essentializing procedure which Said associates exclusively with ‘the West’ is by no means a trait of the European alone; any number of Muslims routinely draw epistemological and ontological distinctions between East and West, the Islamicate and Christendom, and when Ayatollah Khomeini did it he hardly did so from an Orientalist position. And of course, it is common practice among many circles in India to posit Hindu spirituality against Western materialism, not to speak of Muslim barbarity. Nor is it possible to read the Mahabharata or the dharmshastras without being struck by the severity with which the dasyus and the shudras and the women are constantly being made into the dangerous, inferiorized Others. This is no mere polemical matter, either. What I am suggesting is that there have historically been all sorts of processes – connected with class and gender, ethnicity and religion, xenophobia and bigotry – which have unfortunately been at work in all human societies, both European and non-European. What gave European forms of these prejudices their special force in history, with devastating consequences for the actual lives of countless millions and expressed ideologically in full-blown Eurocentric racisms, was not some transhistorical process of ontological obsession and falsity – some gathering of unique force in domains of discourse – but, quite specifically, the power of colonial capitalism, which then gave rise to other sorts of powers. Within the realm of discourse over the past two hundred years, though, the relationship between the Brahminical and the Islamic high textualities, the Orientalist knowledges of these textualities, and their modern reproductions in Western as well as non-Western countries have produced such a wilderness of mirrors that we need the most incisive of operations, the most delicate of dialectics, to disaggregate these densities.

Aijaz Ahmed, In Theory: Nations, Literatures, Classes

[savage-kult-of-gorthaur]

VIZ MEDIA MAKES A FORAY INTO THE WESTERN COMIC BOOK MARKET WITH A STUDIO GHIBLI CLASSIC.

PIC(S) INFO: Spotlight on a 1988 Viz Select Comics house ad for Hayao Miyazaki's "Nausicaä of the Valley of the Wind" comic book adaptation, from the 1984 post-apocalyptic fantasy animated feature film of the same name by Studio Ghibli.

PIC #2: Promotional "Nausicaä..." artwork for the North American/Viz Select Comics Monthly market, c. late 1980s. Story & art by Hayao Miyazaki.

Sources: https://readallcomics.com/amazing-heroes-151 & The Arts Mechanical (Wordpress).

[everymangavegeta]

Yeah.

[sketch-shepherd]

Memes from the official RWBYxVIZ accounts following the good news about RWBY’s survival is exactly what my Monday needed

[cometblaster2070]

EVERYONE WAKE TF UP

RWBY GOT ACQUIRED BY VIZ

[rodrevart]

Loona under water.

[thecoolguy24601]

RWBY has been picked up by Viz Media

WE WON!!!!

[beetletricks]

Two scenes that represent Oscar after the merge

Based on RWBY Beyond, we can see Oscar very similar to Ozpin, I know a lot of reactors who were even tricked into thinking it was Ozpin, which I think was intended.

Except for the scene where Oscar gets nervous referring to himself living through fairytales

Thus

despite Oscar's great changes, the core personality is hardest to change as deep down he does want to be open with others and have meaningful connections connecting back to Volume 8----

Wishing to be part of the team but felt that he couldn't do to Ozpin having more trouble truly trusting others going against the normal flow of the merge)

Despite Oscar and Ozpin dealing with this issue, Ozpin starts unconsciously fighting the merger after the events of the V8 finale, probably blending more of the emotional pain Oscar is feeling when thinking about Ruby and the others.

Which hints at the next step of Oscar's arc

Using the pain and frustrations one feels and channeling it in the right direction

Ozpin would always suppress his emotions, helpful when talking to Jaune as last time Oscar was straghtforward with him he got pushed into a wall

Oscar however is more sincere with his Ruby in Volume 5, and that in turn allowed Ruby to actually sulk, something that she was severely lacking despite other characters being able to to do so while still fufilling their duties.

Oscar can channels these two representations and blend them into one by

channeling his frustration to find a different resolute in finding his own and supporting others right to self-freedom

Allowing the merge to go with little disruption