I went to check out the Ikebukuro Jazz Festival today when suddenly-!! The game with the nasty crime kids was having an event space in the nearby Marui store! They had loads of merch, plus some exclusive like WIP figure designs - and copies of the original voice scripts! Wowee! I haven’t actually played P5 yet (due to the slight issue of not owning a ps4 yet) but I already love everyone in it and everything about it.

💙Mermaid playlist! For Mermaids, By Mermaids.💙

💙 Hey, you know… I’ve seen a lot of playlists about mermaid songs but… all of them are sad, and mermaids aren’t sad all the time people. Accept it. 

Now a mermaid has made a more joyful playlist, but still themed with the Ocean, the Moon, singing… that kind of things we merfolk love(?

It’s mostly dubstep, but it’s not the only type of music we’ve here!

💙 Black Sea - Natasha Blume | Lullaby of the Moon - Nightcore** | Deep Sea Girl - English cover* | How i became the Sea - Owl City | Siren - Kat Krazy ft. Elkka  | Oceans - Nightstep** | Lights and thunder - Krewella  (feat. Gareth Emery)  💙

💙  Listen to it here!  💙

💙 *=This song is originally on japanese.

💙 **= This songs are nightcore edits of the original songs.. I think they sound better that way tbh.

Molte persone amano “perché”, e molte amano “sebbene”, pochi individui “amano”. Non si possono porre limiti all’amore: ma molta gente passa la propria limitata vita cercando di evitare che gli capiti qualcosa che non ha limiti. Krazy, comunque non è “la gente”. Krazy è se stessa. Non le si possono porre limiti: lei “AMA”. Ama nel solo modo in cui si può: senza limiti. Lei non è morbosa e non soffre a lungo; lei non ama qualcuno “perché lui le fa male", e non ama “qualcuno che le fa male”.
Proprio il contrario: lei ama uno che le procura gioia assoluta.
e. e. cummings’ preface

anonymous asked:

Just wondering, have you ever heard of Felix the Cat? Some people said that he probably the reason why old cartoons (or rubberhose) are they are back then

Im familiar with Felix the Cat and he was certainly one of the main stars of the Silent Age of cartoons but by no means do I think he is the main source of the rubberhose style. 

It really helps to look at cartoon comic strips during the early 1900′s as they would eventually be the style adopted into animation. Folks like George Herriman who created the comic Krazy Kat and Winsor McCay who made the Little Nemo in Slumberland comic both exhibit traits we associate with rubberhose such as the toony eyes and simplified character designs. Winsor McCay actually made a lot of big strides with cartoons and animation with films like Gertie the Dinosaur. 

Even Felix the Cat was a collaboration of Pat Sullivan and Otto Messmer with Felix’s final design often being credited to Bill Nolan (sometimes considered one of the main artists who created that Rubberhose Style. You can see some of his work here)

Here is a simple summary of the silent era of cartoons.

I guess its easy to try and say ‘this one thing started everything’ but a lot of art movements rarely work that way in my opinion.

 Personally I see the whole rubberhose style as a culmination of many artist’s styles and work. While there are definitely notable mascots that remain iconic throughout the years like Felix, Betty Boop, Mickey, and Oswald, they are just a drop in a vast ocean of cartoons and characters and if you have time and interest I would definitely recommend looking more into it.

If you’re interested in some cartoons to watch my buddy @ragtimegoat made a nice little post with some rubberhose cartoons to watch and get you started.
You can see the post here!

This has been a real pleasure. I am grateful to Tisserand for introducing me to the inspiring works of Garge the Greek. It’s a clear, detailed, thorough, warm, affectionate biography - a model of the biographer’s art. It offers a wonderful introduction to the world of Krazy Kat and Ignatz mouse - it is peppered with examples of frames from the cartoon strip, and it offers plenty of descriptions and discussions of classic moments from Herriman’s extensive oeuvre. There is another world here, a world of sports journalism, of work that is not work, of life lived according to lost ideas and approaches. Of course, part of that world was the vicious institutionalised racism that led the Herriman family to seek to erase their Creole heritage. That is an eye-opener in a tragic sort of way. Overall, what emerges is the gentle, sweet, inventive loveliness of George Herriman; a man who would make a driver stop the car so that he could save the life of a bee. The visual energy, the absolute play, the word-games, the undercurrent of challenging injustice and bitterness: Krazy Kat was a thing a beauty. S/he is immortal. Tisserand’s book should help to bring Herriman back to the public consciousness again. I hope so. 

I realized Krazy was something like a sprite, an elf. They have no sex. So that Kat can’t be a he or a she. The Kat’s a sprite - a pixie - free to butt into anything. Don’t you think so?
—  George Herriman
A Dialectic Approach to Comics Form II: Dis/Continuity

Loto #5 : Mouvement Absolu

Another dialectic relationship in fundamental formal features of comics is continuity and discontinuity. In comics actual images are discontinuous, distinctive and different, but the reader interprets it as a continuous action by the same character in the same space-time. We do not read the first three panels of Alexis Beauclair’s Loto #5 : Mouvement Absolu as three different instances of the ball at rest in three different space-times. We interpret it as the ball continuoisly moving through a tube. The reader produces the continuity out of discontinuity. The reader is an active reader.

When the reader perceives the continuity in comics, s/he unconsciously focuses on the common factors and ignores the differences. In Krazy Kat, the background changes panel by panel, but the reader interprets the work as characters remaining in the same place, not as characters moving to different spaces panel by panel. This demonstrates another dis/continuity in comics: the ability to present differently when depicting the same concept. In Krazy Kat, it’s the landscape / background. Here again, the reader creates the discontinuity out of continuity, but this time, the artist consciously employs this dialectic relationship for the work.

First six pages of Hundert Ansichten der Speicherstadt

Martin tom Dieck’s Hundert Ansichten der Speicherstadt exploits this dis/continuity to the extreme. In Dieck’s silent comics, there are few repeated elements or images among the pages. The reader needs to take the time to recognize the object and the association between different images, rather than perceives the repeated same images right away.

Vincent Fortemps’ Barques deploys this dis/continuity and association to study the issue of representation. Fortemps draws on Rhoid sheets with crayon, then scratches the sheet with knives. Barques’ images are associated by appearance. We are accustom to reading the discontinuous images as a continuous action or situation, for example the different representations of the same object or concept. 

But Barques refuses to be read this way. One image looks like a silent ocean. Another image looks like a boat. Another image looks like a wave. Another image looks like an abstract painting. These images blur the distinction between figuration and abstraction, as well as what images represent. Barques asks us the question what comics and ultimately, images represent. Do they really exist? Or are they an illusion created by the reader? 

Fortemps creates objects (Fortemps said that his comics-making is more akin to sculpture than drawing), not images. However, in the end, the reader sees the pure, reproduced images, as opposed to a material object. This contradiction of production and reception corresponds to this question on the ontology of representation.