- The main character is actually not the main character
- There’s enough paradoxes, dimension wise in story, that if you manage to keep yourself straight through it you’ll feel like a genius
- legit likable characters
- Guitar Ninjas
- There’s fighting
- But not from the main character (aka the magical girl) she doesn’t fight no sir
- She basically tells you to stop your shit and then helps you work through your problems while dancing with you
- not about being yourself but also about being yourself
- i mean the moral is literally to fight your fate
- but also to realize that you are the best person you can be
- really tragic ending i mean you’re going to cry but also be very happy
- the antagonist is a female who’s been manipulated her entire life and you think she’s going to fall into the trope of class a bitch who’s competing with the main character for the love intrest
- but she’s not
- she’s a freaking real person who breaks free of the manipulation, gets the guy, is best friends with the girl
- also like i said you think she’s gonna be a dick but she’s not she’s actually very sweet and kind
- YOU WILL COME OUT OF THIS KNOWING THINGS ABOUT BALLET, PLAYS, AND CLASSICAL MUSIC I’M NOT EVEN KIDDING
- it’s empowering
- The plot is so good. I mean it’s literally a really good plot.
- DO NOT FUCKING SKIP ANY EPISODE EVER EVEN IF YOU THINK YOU CAN DON’T SKIP IT
- there is literally not a SECOND in this show that is not relavent you will see
- magical ballet girls who have fights and people defying they’re LITERAL inverse written roles and it’s just
- watch the damn anime
Wow, it’s so pretty.
It will protect you. I made it from the thread they spun.
four genres [3/4] | animation
Can we just take a moment to appreciate how diverse all the female body types are?
Up until recently it seemed like there was just a stock body shape for shows, and now I’m seeing so many different ones and it makes me happy. It’s just really lovely.
Adventure Time and Bravest Warriors both created by pen ward. Natasha Allegri is the creator of bee and puppycat, Rebecca Sugar is the creator of Steven Universe. Both have worked on Adventure Time as well.
moses u little shit
what a man
Secret of Nimh - Pencil Tests
"You’e weak! And I’ve outgrown you."
My brother called me yesterday with a stunning revelation he’d had about this scene: intentional or not, this is a perfect commentary on the superhero genre of today, and about one of its greatest weaknesses.
He’s calling Mr. Incredible weak here because the man refused to do one thing—and that was to kill someone. And because he sees him as being unable to kill, he sees him as weak—and childish. “I’ve outgrown you.” Now he is in the realm of “mature” superheroes, where Superman has to snap a man’s neck and Catwoman has to shoot Bane, where the purity of a woman forged by clay is unrelatable and marriage is nonconducive to an interesting story. His is a world where superheroes die to make villains seem impressive, a world where a dark and gritty realism is more important than a fun and adventurous fantasy.
In the end of this movie, though, the Omnidroid isn’t beaten by Mr. Incredible finding Syndrome and beating an explanation out of him to stop the robot; they solve it through brainwork, audacity, and a fun and creative action sequence. Syndrome dies in the end, yes, but that’s primarily because he keeps trying to push his view, and ends up destroying himself.
But this is Syndrome being Zack Snyder or Frank Miller, and believing that the fun adventures of yesteryear are childish fantasies that need to be left behind: ours is a world where to relate to a superhero, we have to see that superhero be unable to accomplish his task completely, where he has to settle and accept a compromise in order to preserve the greater good. We can’t admire them for being able to do what we cannot—we have to grow up and see that they’re just like us, they’re nothing special. Not really. And that is what true maturity is. A truly mature Avatar would kill the Firelord, a truly mature Superman would have no choice but to fight in the middle of a city, and video games need to be about cover-based shooting and military combat in the real world. With quick-time-events!
And of course, that’s all complete bullcrap, and the sooner that mentality gets sucked into a jet engine, the happier I’ll be.
Yes, YES, absolutely. I love the philosophy behind this movie in celebrating the light, warm, wholesome side of superheroism.
And I love how well Syndrome represents basically ‘toxic nerd culture’. When he can’t see superheroes as people he relates to any more, he regresses and sees them as playthings instead. He acts like these real people are action figures for him to do with as he pleases, as visually demonstrated by the scenes where he holds people in zero-point stasis and moves them about, frozen in stationary action poses.
He refuses to accept any perspective but his own. He talks about the superheroes like they’re comic book characters to him - like when he finds out Mr Incredible and Elastigirl got married, or in the interrogation scenes where he seems to be critiquing the ‘new’ Mr Incredible and berating him for having let him down. He talks about it like it’s a character reboot he doesn’t agree with. Plus his whole mantra of providing (selling) superpowers to everybody, so nobody will be ‘special’ any more, entirely designed to take away the specialness of what he coveted and couldn’t have, just as many guys entrenched in nerd culture refuse to let anyone else share it and act like it’s a secret club only for them.
Syndrome represents arrested fanboy development in which he refused to grow up. He carries this resentment from childhood all because his favourite hero actually had other things to do with his life than to cater to him. Mature people have responsibilities, actual jobs, they age and have families of their own, that’s what mature means and it’s what Mr and Mrs Incredible stand for, and everything that Syndrome echews in favour of being somebody’s ‘arch-nemesis’. He still thinks that maturity is dark, brooding, sexy (I mean the person he picked as the front for his scheme, not him), and about how much collateral damage you can cause. But he’s just a manchild living out a comic book dream, creating his own fictional life story (his robot is designed to be impervious to superpowers and stage a disaster that only he can defuse, thus saving the day - the whole thing is playing pretend and endangering thousands of people’s lives). Kids like to play at being heroes and stopping disasters, but because he refused to grow out of any of this, he acquired the means to do it for real and became a murderer in the process. All because he couldn’t accept that he was, essentially, wrong. By refusing to believe that his childlike hero-worship was over the top, he buckled down into it and continued to play pretend as a child would. Another aspect of maturity is natural change and Syndrome rejects it just as Mr Incredible and all the other supers accepted their reprimand (by having to go undercover and live as normal people) and adapted to it even though they didn’t want to.
My favourite line in the whole film is when Bob threatens him and Syndrome shrugs it off saying, “Nah, that’s a little dark for you,” because he’s all at once criticising Mr Incredible’s ‘character’, evaluating a real person in front of him as though he has him pegged on a morality chart, and you know he could back it up with some creepy nerd facts like “In 1964 you said the same thing to Lord Heatwave and you were totally bluffing”, as though Bob is predictable, unchanging, completely fictional to him, AND he’s being dismissive of Bob’s personal life, he thinks Mr Incredible’s gone soft, weak, become a family man, because he thinks his former hero needs to be cool and gritty and running away from explosions, not an actual person with depth and goals and feelings - which is, of course, why we as an audience like Mr Incredible and his whole family, thereby proving Syndrome and the Dark Gritty Reboot culture wrong simply by having watched and enjoyed the movie they were in.
Prince of Egypt (1998)“Many nights we’ve prayed with no proof anyone could hear. In our hearts a hopeful song we barely understood. Now we are not afraid, although we know there’s much to fear. We were moving mountains long before we knew we could.”
In October of 2012, I was enrolled in one of my first serious animation classes, with a professor who I rather admired. I admired him so much, in fact, that I caught him outside of class time and asked him to review a few of my personal character designs. I was a very mediocre artist at that point (as opposed to now, where I’m a slightly less mediocre artist) and upon presenting my teacher with my designs, which were all intended to be different characters with different stories and different appearances, he barely had to scrutinize them before he delivered his verdict: “They all have the same face.”
And, I was dismayed to discover, he was right.
Since then, I have studied long and hard, so that my female characters may no longer have the Exact Same Face. Huh…female characters. Funny how that works, isn’t it?
A few months after this incident, the official character designs for Disney’s Frozen were leaked.
Up until then, all we had seen was concept art, which was so far removed from these that a lot of people thought they were faked, me among them. I seriously believed that someone with too much time on their hands had photomanipulated some screenshots of Rapunzel and tried to pass them off as the official Frozen designs. After all, there was no way that a major animation studio like Disney would knowingly, willfully produce three princesses with the Exact Same Face.
And again…princesses. Female characters. Exact Same Face. Something is amiss here.
Unfortunately, I overestimated Disney, and it was revealed that these were the real character designs indeed. Even though I will concede that, yes, there are some slight differences between the Frozen girls and Rapunzel, there are zero changes in the faces of Anna and Elsa. Zero. They have the same facial structure, the same eyes eyes, the same nose, the same mouth…and while we’re at it, the same body too, with the exception of Elsa being a little taller. The only differences are in skin tone and surface details, such as freckles and makeup (which, as I’ll cover in a moment, don’t fulfill even the most rudimentary basics of good character design — but we’ll get to that). So, how did this happen? How did a design mistake that would get you called out in a beginning animation class end up in a major Disney release?
In my opinion, the answer isn’t necessarily limited time, which was certainly a factor in Frozen, or laziness, or the fact that they’re all CG characters (sorry, 2D animation advocates, but lots of 3D girls do not look identical). To me, this speaks to a disturbing trend in Disney’s general approach towards designing female characters.
But first, some context…
Nice post! Only a few things I disagree on or am unsure about.
1) I wouldn’t agree that Mother Gothel was meant to fit the “ugly villain” trope — even if she had a fuller waist than Rapunzel. Her body in general is just more developed and fits what people think of as “womanly.”
I think she instead fits into a different trope of vain women. I’ve written about this before, particularly in reference to her, as well as the Queen in Snow White. Both women are fairly beautiful, even if in a more “mature” way — in both movies, their beauty is seen as a “negative” because they are fixated on it — it makes them evil — which I think is pretty representative of the lose/lose situation facing many girls. “Natural beauty is the best beauty… but all the natural faces we point out are actually faces made beautiful by makeup and we just don’t realize it.” "Age gracefully and don’t get botox… but we’ll also make jokes about you and call you an old hag if you don’t."
2) I have to say I was a little put-off at being referenced with the waist-head ratio. In case it wasn’t clear, I have issues with it precisely because it appears over and over and over in animation and reflects problems in current beauty standards. If just one or two characters had it, you’re right, realism wouldn’t really matter. I wouldn’t bother addressing it. But not only does it happen over and over, but when people suggest “hey, what about a different body shape?” Many, maaany fans will reply with, “well that wouldn’t be healthy!” which is why it’s worth noting that their dimensions aren’t physically possible anyway.
Especially when this isn’t just exaggeration in animation? It’s something that happens to images of real models and celebrities all the time, too. I studied art in college, I’m not unaware of the fact that animation involves exaggeration. It seems kind of strange to keep repeating over and over that “but that’s just design!” when design can have a real impact on how people see themselves and others?
IDK. I don’t mean to sound too critical and I just write too much by nature, but at times it almost seemed like you were arguing against a straw man, at least considering that you were seemingly referencing my blog. “Character designs are exaggerated by nature; the problem doesn’t occur when a character is given a small waist or large head, it occurs when design after design after design portrays these traits as the height of beauty.” I hope no one got the impression that I was saying the problem was simply a “large head” - the problem is always how the head/waist relationship relates to beauty standards?
3. As you mention, one reason animation falls back on child-like proportions like huge eyes/tiny hands, noses etc. is also to make characters appeal — predictably — childlike. But this is an animation style being used to craft teenage girls and adult women… who typically have different proportions than a six year old. Considering how endemic the infantalization of women is in our culture, I don’t really feel comfortable shrugging and saying “it’s a bit of a diversion from the overall issue.” I think it really is: part of the issue. It’s the fact that they keep pushing it every single time. And not to push them into a designing box b/c I realize every studio has their own style, but Studio Ghibli films do manage to have very expressive characters who make do without goblet-sized eyes
A key part of many of these characters is that they’re supposed to be beautiful princesses (exceptions: Mulan, Tiana, possibly Pocahontas, which brings up the issue that these stories could have been told without the protagonist being super hot)
I understand what you’re saying, I think, in that their bodies are a little more realistic? Though IDK if Tiana would fit that even? but I think it’s a little… questionable to identify these specific three as “not super hot” esp. when Merida isn’t listed there either
5. I was also hoping to see silhouettes of the princesses, that would have been interesting since I’m guessing it might really highlight what you’re saying about same-face!
I think it’s interesting that female characters “need” to have heads bigger than their waists to show their exaggerated facial features/expressions/reactions, but male characters don’t. Male characters can have more normal/adult sized heads and their expressions come through ok. Also, characters in older Disney films/Studio Ghibli films, etc somehow manage to have more natural sized heads and still convey expression. Why is that?
I also think it’s a BIG FUCKING PROBLEM that female characters presented as “hot” have eyeballs bigger than their waists. I mean, that’s non-human territory right there. That goes beyond extreme corseting, you know? There is an ongoing trend in animation that goes beyond Disney where women are presented as taking up teeny amounts of space compared to men. They are shorter than men, they are INCREDIBLY slimmer than men, their noses/mouths/chins and feet and hands are tinier in proportion to their bodies than the same features on male bodies. There is a wide range of male bodies presented in animation but more and more female bodies are presented as stick figures with massive bobble heads, perky tits (if they’re old enough for them), and saddlebag thighs if they’re 30 or older.
ALSO I kept misreading “sameface” as “shameface.” And it’s not just the main characters who have it. I noticed in the crowd scenes in “Frozen” that a lot of background characters are just the same figure/face with a palette swap. There’s one particular fat woman with a doughy face who has a BUNCH of clones running around Arandell. Super lazy.
brigidkeely, I wasn’t 100% sure if you were disputing me or just adding discussion, but either way I wanted to address a couple things:
I never said that female characters “need” to have heads bigger than their waists. What I was trying to get across was why bigger heads are often used in animation for both genders and why there’s no specific ratio that can be used to determine when a design becomes problematic. (I have a real issue with wording things, so if I wasn’t clear, I apologize.) Most males don’t have normal-sized heads — they’re still at least a little bigger than human-sized if you compare, as are the eyes — but you’re right, it is troubling that women are consistently given much bigger heads and eyes, and smaller waists, hands, et cetera. And as you pointed out, animated females who aren’t proportionate like that are no less effective in communicating their expressions. Again, if I was unclear or didn’t touch on that enough, I’m sorry. I’m in no way trying to justify Disney’s design choices here.
I forgot to mention this in the article because I had so much to say, but I did find it notable that middle-aged women still have tiny waists, and the only changes are wider hips and, as you put it, “saddlebag thighs.” And yeah, there’s a real problem with male vs. female body diversity, that was sort of my point.
I noticed the thing about the background characters in Frozen too. :/ That bothered me a lot. In the case of that film, I think it’s because they had a year less production time than is typical for an animated movie, and they were cutting corners left and right. That doesn’t excuse it, because it is very lazy and unfinished-looking, but it’s my theory on why it happened.
Took forever to figure out how to compress this to be small enough to get to work on Tumblr. Either way, it is here now.
This was a little pencil test I intended as a warm up but ended up taking longer (total frames: 104). I really wanted to make a looping pokemon evolution gif like I’ve seen floating around tumblr in the past. So I decided to do one for my favorite pokemon line, Togepi, Togetic and Togekiss!
The Togepi line has always had a special place in my heart. I loved them back in Johto when there were only two and when Togekiss was introduced in Sinnoh it gave me a new love for the line as a whole. And now they are fairy types in the new games which I’m really happy for.
the united states has a fucking series about a talking sponge working at a fast food restaurant
is japanese anime REALLY that weird.