1. The Arcade appears to be the congregation zone for most people at Beach City. I’m guessing aside from the Beach and the Carnival (which aren’t too ideal when it’s really hot out) the Arcade is the place to go. Good for you, Mr. Smiley.
2. And speaking of Mr. Smiley, he doesn’t look as exhausted as he did in Too Short to Ride and Future Boy Zoltron. That could mean post-holidays, the tourists are back in town and he’s not living like a one-man staff anymore.
Noting that cameo too! And they come back alter in the wash.
3. Lars and Sadie are trying being “together.” And it doesn’t seem as destructive as they were when they started out and denied their own identities. Sadie is still tough as nails and she’s not conforming to what she thinks the girl should be like in a relationship. And Lars isn’t pushing her on that or comparing her to other girls.
Sly hand-holding, guys.
4. But Ronaldo is spying on Lars and Sadie? It’s completely in the norm for him to be observing things in general, but the way Connie’s binoculars pan imply his are trained right at them. That’s new. Or he could’ve been on them just at that moment because
This might (read: this most definitely is, but it would be cool if this much thought has actually been put into this) be a stretch, but, if you cast your minds back to the Reflections, where everyone made an appearance in some way, even if it was subtle (billboard advertising Lucio’s world tour, Symmetra appearing on the front cover of an Architect magazine, etc).
If you recall the two page spread showing the majority of everyone having their own Christmas traditions, you see that:
The newspaper featuring Bastion appears in Torbs frame.
And we just got a comic featuring Torb and Bastion.
Now, I am probably (read: definitely) giving too much credit, and this was probably (read: absolutely) just random chance, but if this was thought out and deliberate (I can already hear the anons saying I’m reaching too far but let me hypothesise for a sec, okay, people?)
So lets just hypothetically say this was deliberate, and this was a nod to a future comic, we can then hypothetically say that there were perhaps other instances nodding towards future comics and/or shorts.
Ignoring the panels where people were obviously grouped together because of their connection to each other (Roadhog and Junkrat, Ana and Jack, Genji and Zenyatta) or on their own (Hanzo, Gabriel, and Lucio and Symmetra having smaller cameos) there are two frames that stand out with people being grouped together that have no current connection to each other:
We joked at the time about Reaper’s two adopted kids meeting up for the holidays and getting drunk together, or Sombra stalking McCree on Reaper’s orders, or a variety of other theories surrounding the holidays as to why they ended up in the same bar. But long story short, there was no real reason to put these two together in the same panel. Sombra could just have easily been drinking at another bar to parallel McCree’s loneliness, or she could’ve been shown holed up with a computer in a dark room, finding out everyone’s secrets.
And D.Va, Zarya, and Mei. All both shown right next to the RECALL: ACTIVE sign at Watchpoint. Similarly, these three could’ve been shuffled around the panels and appeared elsewhere, instead of grouped together. So, with apparent rumours of a Mei short in the works, this might hint towards more characters teaming up or coming together by chance with their own stories? We might also end up seeing something involving McCree and Sombra at some point too, and I think I saw somewhere that Johnny Cruz mentioned a Lucio short too, but he didn’t know when, so, maybe we’ve got hints as to potential shorts or comics in future here.
I don’t know, I know this is one helluva stretch and I’m rambling on the internet for nothing, but it’d still be pretty cool if the writers planned ahead for stuff like this. Highly doubtful, but, worst that can happen is I’m proven wrong, so…
Was Bendy’s cartoon stardom affected at all by the Hays code the way Betty Boop’s was?
I’m not an expert, but basically the Motion Picture Production Code, nicknamed the Hays code after Will H. Hays, was put in place by the Motion Picture Association of America to regulate what could and couldn’t be shown in movies and cartoons from 1922 to 1945. That included sexual content, nudity, strong language, drug use, sexual relationships between black and white people, things like that.
Betty Boop, created by Fleischer Studios, is considered one of the first animated sex symbols. (She’s also apparently 16 but that’s a whole other discussion entirely.) She debuted in the 1930 cartoon Dizzy Dishes as an intended love interest for a dog named Bimbo, who was himself intended to be competition for Mickey Mouse. Betty was originally a humanoid French poodle, but was quickly redesigned as a human. After that, Bimbo was made her love interest, along with Fleischer Studios’s other character Koko the Clown. These three went on all sorts of zany adventures, some of which included jazz music from famous black musicians like Cab Calloway and Louis Armstrong.
But, suggestive immoral behavior? A human dating a dog? Reference to drugs? (Laughing gas, actually, not hard drugs.) Not on the Hays code’s watch.
Most people agree that Betty’s best cartoons were the ones produced from 1930 to 1933. The Hays code began to hit hard when it went into effect in 1934, and it showed. Not only was Betty redesigned from a flapper into a mature, modest housewife or career-woman who didn’t show her legs (which I have mixed feelings about but again, another topic for another day), but she was also given new co-stars like her boyfriend Fearless Freddy, the eccentric inventor Grampy, and a dog named Pudgy. Bimbo and Koko were hardly seen, if at all, in Betty Boop cartoons after 1934. In fact, the whole point of pairing Betty with new co-stars was to make them the new stars of Fleischer Studios. For the studio, Betty wasn’t popular as a career girl of the swing era; she was a sex symbol of the jazz era, the spirit of the Roaring Twenties. And these newer cartoons were flopping during the Great Depression of all times. Betty’s last cartoon was 1939′s Rhythm on the Reservation, which is just as racist as it sounds. She wouldn’t be seen on the big screen again until her cameo in Who Framed Roger Rabbit in 1988, almost 50 years later. Her main voice actress, Mae Questel, even came back to voice her!
There have been a few (failed or unfinished) attempts to bring Betty back in animated form, but most people today probably know her by her abundance of merchandise rather than her cartoons.
So what does this have to do with Bendy? Just look at who he is as a character. Creepy behind-the-scenes occult shenanigans slowing cartoon production aside, Bendy himself is portrayed as a demon and his cartoons reference religious subjects like Hell and angels. You can’t tell me people in the 1930s didn’t try to claim it was “religious defamation” or “making light of a serious subject” or something.
If anyone else knows more about the Hays code, feel free to add your own info or correct me if I got something wrong.
Road Runner and Wile E. Coyote, who briefly appear in the final “roll call” shot, actually had not been created at the time Who Framed Roger Rabbit was set (1947). The characters were given a small cameo anyway at the insistence of Steven Spielberg. Wile E. Coyote and the Road Runner also appear silhouetted on the elevator door as it goes up.
The original owner of this tiara was the infamous Josephine de Beauharnais, who got it as a gift from her husband Napoleon in the early 1800s. The seven large cameos were not all initially supposed to go together, and are different sizes and shapes. The cameos themselves are framed in pearls, sitting on a base that’s made of gold and more pearls.
The tiara ended up with Josephine’s granddaughter and namesake, Josephine of Leuchtenberg, who brought it to Sweden with her when she married the future Oscar I and it has remained in Sweden ever since. Josephine would leave it to her only daughter, Princess Eugenie, who in turn left it to her nephew, Prince Eugen.The tiara was borrowed back and forth between multiple royal relations before it ended up in the hands of Princess Sibylla of Saxe-Coburg and Gotha, the mtoher of the current Swedish King, Carl XVI Gustaf.
Sibylla began the tradition of wearing it as a bridal tiara, echoing the Swedish tradition of brides wearing crowns on their wedding days. It was worn by two of her daughters, Princess Birgitta and Princess Désirée, before it was inherited by her son when she died. Carl XVI Gustaf’s wife, Queen Silvia, wore it when she married him, and their eldest daughter, Crown Princess Victoria, also wore it at her wedding.
It’s done! I decided against the gold mesh trimming and veil, so I just had to attach the fancy jewel.
It’s actually a glass montee which I colored with alcohol inks. Then I glued a beaded border around it and attached it to a brass cameo frame.
I’m super happy with how this turned out! It isn’t perfectly symmetrical but it’s so different from the headpieces i’ve made before and as a whole I really love it. Especially the way all the materials work together, I think it’s quite striking.
I’ll try to get a worn photo of it tomorrow - but I have to finish the dress that goes with it before taking fancy photos, and that might take a week or two.