wow i mean i know i go on about connor all the time but do you ever like think about aveline and how she deserved SO much better than she got?
like when they finally make a woman an ac protagonist they dont do it in a main game title and instead keep her trapped in a shitty handheld no one had and when it was FINALLY released for home console it had little to no marketing??
plus just how ac games had (white) women as either related to the hero, an apprentice or as a love interest and when a woc showed up they decided that she was better as an Independent Woman Who Doesnt Need No Man even though she had great potential with connor, elise lafleur or patience gibbs as love interests?? like a woc with no romance arc is nothing new or revolutionary but ubisoft pretended it was this Revolutionary Move™ and like… yikes
i know we talk about connor a lot but she deserved better too
Presenting the rough animatic for the show’s main titles! This was a true labor of love and a chance to work with one of my animation heroes, Hiroyuki Imaishi(Best known as the co-founder of Studio Trigger)!
For this project, we began by solidifying the theme song. Our team at Mint Potion Studios, headed by composer Jake Kaufman, created a blood-pumping disco song that not only extols the virtues of friendship but also brings to mind the visual of robots exploding. As an easter egg, the first 9 notes are a callback to the theme song of the original 2012 “Lakewood Plaza Turbo” pilot!
We sent the theme song and some early episodes to Imaishi-san in Japan for him to get the vibe of the project. He sent us a mind-blowing storyboard- he created an otherworldly image of a planet encased in a discoball seamlessly transitioning to a wild action sequence(described by him as “CRAZY FIGHTING”)! Our storyboard supervisor Jeremy Polgar took it from there, and animated the heck out of it. Pausing randomly on the final version reveals some pretty out-there character drawings!
This intro is very special to me, as it encapsulates all of the feelings of the show into one place. It took months of coordinating across multiple time zones. It was a challenge to get all of the main characters, rivals, settings, and a discoball all in 20 seconds! Please, enjoy our hard work!
Storyboard: Hiroyuki Imaishi
Director: Jeremy Polgar
Revisions & Additional Animation: Max Collins, Anna Craig, Ian Jones-Quartey
Not going to lie, I’m crazy happy to see Pauline in Super Mario Odyssey. I can’t believe she’s appearing in a main Super Mario title as a prominent NPC. That’s very cool! Can’t wait to see how she’s used and if we get any other cool cameos.
I love that she’s mayor of New Donk City, and red suit is a nice touch. The fact that she’s a singer, and sings the theme song is just awesome and perfect.
I only have one concern - she’s always been taller than Mario, but previously it appeared she was closer to Peach’s height or at least shorter than characters like Rosalina (although Pauline’s size has always been inconsistent), but this game slightly redesigns her to be less “cartoon-ish/stylised”. Making her somewhat semi-realistic like the other citizens of New Donk City (although her face and appearance are still more stylised than the other NPCs in her area). This worries me because it makes her proportions very different to other Mario franchise characters and I’m scared this means she’ll never appear past this game, in spin-offs or future titles (as Super Mario games rarely repeat locations as well) because she won’t fit stylistically.
Although, I suppose Nintendo could always re-cartoon her/shrink her down at their own discretion (as lets be honest consistency is not always a big concern to them), to insert her into - oh I don’t know - a kart, a party, or whatever.
However, even with this concern … I’m thrilled to see her, this is an awesome surprise and MAYBE it will be her last appearance for a long time again (I don’t know, I hope not), but if that’s the case its a pretty fantastic one!
Oh! Also the New Donk City purple currency has an image of the city on one side and a profile of Pauline on the other, which is sweet.
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Ampleforth/Lay Me Low by The Albion Band (this was written in the ‘70s, but The Albion Band, and this album in particular, is made up of a bunch of old Fairport Convention members with vocals from people like Martin Carthy and Maddy Prior of Steeleye Span, and you really don’t get more Traditional English Folk than that)
here’s an old star wars creative spread that i made in my bullet journal after watching rogue one! this layout was inspired by @tbhstudying‘s rainy weather creative spread. to everyone out there taking exams and finishing up the school year, may the force be with you!
“American Gods” is the new Starz series based on the Neil Gaiman novel of the same name. It’s scored by Brian Reitzell, who’s worked on Sofia Coppola’s Lost in Translation, Marie Antoinette, and The Bling Ring. Today, Milan Records has announced the “American Gods” soundtrack, which is out digitally June 16. The soundtrack includes Reitzell’s score, as well as collaborations with Mark Lanegan, Blondie’s Debbie Harry, and Garbage’s Shirley Manson. Below, listen to a new song from the soundtrack, “Queen of the Bored” featuring Manson. Scroll down for the full tracklist.
Prior to “Queen of the Bored,” Milan shared three offerings from the “American Gods” soundtrack: Reitzell’s “Main Title Theme,” Reitzell and Lanegan’s Lead Belly cover “In the Pines,” and their rendition of “St. James Infirmary Blues,” a song popularized by Louis Armstrong.
01 Main Title Theme 02 Out of Time 03 Gumball 04 In the Pines [ft. Mark Lanegan] 05 Shopping 06 Bilquis Gets to Work 07 Salim Waits 08 Salim and Jinn 09 St. James Infirmary Blues [ft. Mark Lanegan] 10 Queen of the Bored [ft. Shirley Manson] 11 Laura’s Affair 12 Nunnyunnini 13 Media Bowie 14 Wednesday Heals Shadow 15 Vulcan 16 I Put a Spell on You [ft. Mark Lanegan] 17 Essie Accused 18 Bilquis Orgy 19 Tehran 1978 [ft. Debbie Harry and Shirley Manson] 20 There Here Finale