What about pre-shance where the two found other versions of Lance from other realities and they figure out that out of every Lance in the same room, only (canon)Lance is not in a relationship with Shiro?
Lance (A) is carrying a little girl in his arms who is later introduced to them to be his three-year-old daughter with his husband, Shiro (A), who is working as a police officer in their reality(Shance (A) can be a little older??)
Lance (B) is in his garrison uniform, which means he is already going out with Shiro (B) back at the Galaxy Garrison, but in secret, as Shiro (B) was just recently promoted to be a senior officer there.
Lance (D) is…, I’m not sure how to explain this but his Shiro died???(Okay, originally this was supposed to be Shiro (D) with his Lance being dead while he explains that the team (D) especially he and the blue lion have been mourning over him. Idk how to sort this one out but I just love the angst it brings)
I’m not sure what other Lance(s) I’d wanna add to this but yeah, that’s the idea :) and also, I kinda thought of having the Shiro(s) from the Lance(s)’ separate realities to join them.
Okay, it’s time for me to talk. I know, right? My stupid ass just got BACK from a trip and the first thing I do is go and TALK more? What a dweebo.
But there is something I would like to discuss from an animation perspective. And that is, essentially, what the Powerpuff Girls reboot lacks visually. And one of the major complaints people have had, aside from the writing, HAS been regarding the numerous animation mistakes that the show has. Like the reboot or not, it has been noted for having several extremely sloppy errors per episode that would have been considered unacceptable even in a beginner’s class.
But I don’t want to focus on the reboot or the way it chooses to animate things. Rather, I’d like to focus on the original show and how it choose to animate things. I opened up this with a clip from the Powerpuff Girls movie made in 2002. Now I know what you’re thinking, its unfair to compare television animation to movie animation, but we’ll get to the television animation in a bit. Let’s take a look at this clip for a minute first.
First thing you’ll notice is that compared to modern animation, or even other cartoons of that age outside of Tartavosky and McCracken cartoons, the animation is surprisingly minimal when you really inspect it. There’s a lot of repeating loops, frames where only a single part of the character moves, freeze frames, and even shots where the character limbs aren’t even moving. Now its easy to consider this lazy until you really look at how the animation utilizes it. Picture a slingshot, pulling back as far as it can, until it finally fires in a sudden snap. That is how a lot of the animation in this is. It takes advantage of those freeze frames and minimal animations by using them as the SNAP of the slingshot, having the other more vibrant and extreme actions of the animation act as the pullback–thus, said freeze frames and minimal actions allow the scene to have more weight. They make the scene feel important.
For example, when Jojo pushes Professor Utonium so he hits the Chemical X, the animation jolts to a stop. Everything focuses on that one frame of Utonium and Jojo, hovering by the broken Chemical X with Utonium staring at it in shock. Add to this the music escalating and the animation quickly shifting back and forth between Utonium stirring and Jojo running before this frame happens. Once all put together, this puts so much emphasis on that one moment that it conveys its message to the viewer: something important and major just happened. Even if you don’t know the show at ALL, you know that some serious shit is about to go down because of what just happened. It is big. There is no denying it. And the animators honestly did not have to do much to achieve it. It is made up of two loops (Jojo running and Utonium stirring), a short motion, and a single frame of animation. But because of the way the animators FRAMED it, this minimal way of approaching the scene made it have a massive amount of weight and buildup.
Which leads to the second thing you might notice: colors. Something I’ve always noticed and admired about McCracken and Tartavosky’s work is that they both have a great grasp on color and how to use it. Let’s backtrack to the scene with Jojo and Utonium breaking the Chemical X. The entirety of the opening, while very aggressive in its mannerisms, keeps to the standard color scheme of the characters and backgrounds–UNTIL that freeze frame of Jojo and Utonium.
Immediately on that frame, the color scheme shifts to a red palette. And as simple as it seems to use red to indicate danger, the use of this color change puts even MORE emphasis on how very important that scene is supposed to be. You feel more weight in this scene in this red tone than you would in the standard palette, because red is a color that indicates danger. Stop signs are red for a reason–it is a color that can incite rage and fear. If this was being viewed by someone who was not familiar with the property of the Powerpuffs, they would be on the edge of their seat wondering what horrifying creation this man had made. Interestingly enough, this is also the first scene we see Jojo with red eyes–an subtle indicator of what’s to come and that this lab monkey may be more than meets the eye.
And consider: this was all carefully constructed with motion and colors. A person standing to the side saying “We might want to worry about that guy, he might be a problem later” is not needed. We as viewers can gather that all from the animation and subtle queues given throughout a piece entirely fueled by its intense soundtrack…until it comes to a jarring stop, visuals disappearing and music stopping to emphasize the laughter of little girls. Well, what does THAT mean? The un-introduced viewer will not know. But the intensity presented in the scene will prompt them to continue on instead of leaving the theater or falling asleep.
“Yes, but this is all the movie. Movies have bigger budgets. What about the show?”
You have a point. So I’m gonna look at one of the earlier episodes of the show regarding this. Specifically, the classic introduction to one of the classic Powerpuff villains (despite not showing up much), Sedusa…or Ima Goodlady, if you will. Specifically, I’d like to focus on the use of colors–both black and red. One of the first scenes is when Ima, or Sedusa if you will, slams the door on the girls when they’re going to sleep (contrasting an early scene, but that’s more writing related so we won’t discuss that). The viewer is greeted with complete darkness, which one could easily argue is not too difficult to animate. However it ends up looking VERY good, because the dark screen is contrasted with the flashing ring from their phone. The darkness is given a reason to exist, and is utilized.
This is utilized again twice more in the show: when they sneak back home, and when they finally catch Sedusa. It involves an almost film-noir esque setup with the accuser sitting in complete darkness and turning on a lamp when they catch the accusee, all shaded in a red palette against a solid black (along with a later scene including light blue). You get almost an art deco-ish feel from the layout, but more importantly, the weight of the scene is back. The viewer feel like something big and threatening is going to happen when the girls are caught by Ima, and similarly the viewer feels like something big and revealing is going to happen when Sedusa is caught by the girls. It builds up expectation of the following scene, thus leading the animation to assist the writing in its execution.
One can tell that the people working in creating the episode genuinely knew not only about animation, but art as a whole. You feel the strength of the choices they made in movement, but you also feel the strength in the choices they made in color theory. Some of it is undeniably minimalist but the final result is that despite having perhaps not a stunning budget to work with at first, they did in fact manage to make something that looks very nice despite that. They had the knowledge to create something that had impact even without a massive amount of money not via cutting corners, but via directing the animation in a more experimental way that allowed more of the budget to go towards specific parts of the animation while still making the prior scenes look good.
Ultimately what I am trying to say is that budget is not an excuse. Both the movie and one of the earliest episodes for the original look great, even when Mommy Fearest probably didn’t have the same budget as the whole movie. People have made masterpieces on minimal budgets, hell, people make masterpieces on zero budget. It is a result of how much the creator and the team actually care, not how much money went into it. And in thus, budget should most definitely not be an excuse for this:
if the creators and team members truly believe and want others to believe that they care about the quality of their product. And to make this clear I mean this not just about the Powerpuff Girl reboot but about ALL cartoons regardless of when they were made, who they were made by, and the audience they are targeting.
Yes, all cartoons have problems. Yes, the original had errors. But you can feel a heart, soul, and effort that went into making the animation for the original that more often than not makes up for those errors. I don’t feel that in the 2016 animation. I more get the feel that it was rushed out, as quickly as they could with no thought whatsoever in an effort to make themselves look good and to put some cash in Cartoon Network’s pocket. And that’s just sad.
Are You Constantly Worried Your Whole Life Could Fall Apart At Any Minute?
You’ll be half asleep
In gym shorts and a t-shirt with the armpits ripped out
Wrapped in a blanket with one eye open
You could be sober
You could be the biggest drunk the world has ever seen
You could literally be a crow hanging on a sloping wire
It doesn’t matter
One day some serious shit will happen
Are you gonna cry?
Are you gonna kick yourself for not having serious shit insurance?
Are you gonna beg for help?
Are you going to become a hermit and never leave your house again?
Are you gonna bottle it all up and passively take it out on the people who love you most?
Are you gonna write weird poetry?
Are you gonna buy a Harley Davidson and then yell at your wife when she says she’s worried about you?
Are you going to stumble into the desert high on peyote and wait for a rattlesnake to tell you what to do?
Are you going to look for love to save you?
Would that make you whole?
Dead leaves scatter across the ground
Sad men eat cheeseburgers and drink weird beers you’ve never heard of
Children play outside with remote control cars and laugh hysterically when they hit each other
A middle aged woman watches murder mysteries on cable for twelve hour straight
Crows scavenge through trash and go ‘caw caw’ and whatnot
The bathroom smells like bleach
The family room smells like smoke
Time drools along
Who do you want to be?
Where do you want to go?
Would it be better to just close your eyes and wait for the whole thing to be over?
Would it be better to endlessly talk about your problems to whoever will listen?
Learn to play a piano
Write the saddest song ever written
Get a good nights sleep
And tell me specifically what you plan on doing tomorrow
I’m such an evil creature! Wanted to draw something story related, and this came out, shame on me >w<
Once Papy was treated so badly, he almost gave up on everything. Asy took some great effort (even used his painful magic) to help his brother and pull him back from the edge and proved they need each other more than anything.
Did anyone ever think about when Luke was being slowly killed by the emperor, what did Leia feel? She said she sensed he was safe after the Death Star exploded but what did she feel when he was dying? Did it wash over her like Obi-Wan felt when Alderaan blew up? Did she hide her pain from Han so he wouldn’t worry?
Many are speaking of what Leia felt during Han’s torture. Now think about what she felt when her brother was dying. This woman has been through some serious shit…
N\A: OK, So it didn’t come out as good as I hoped but it’s here anyway. I had this idea on my mind since season 1 but didn’t had the gut to write, but it sucked anyway so hope you guys like it but I make no promises…
Steve was walking in front of his car, he was damn nervous. How did this happen? They were so careful. Well, Y\N was careful and worried, Steve usually just worried about holding her in his arms.
A/N: We are back to our regularly scheduled program! All my new followers, this is my fic, Cherchez la Femme! It’s long as hell and has an OC, but I encourage you to read it because BUCKY AND STEEB. It’s been updated on AO3 and the tag list is open! This thing is my baby and needs some love. So here you are.
WARNINGS: Swearing, awkward moment in the bedroom (sorry, not all sex can be perfect), kinda coitus interruptus, discussion of kinks and why they exist (I used my own personal reasons for this character), some serious shit happens at the end of this chapter. Allusions to Bucky’s PTSD.
WORD COUNT: 3038 (Jesus Christ, this is what happens when I don’t post for ages.
Sirius x Hermione - optionally time travel or Ron fucks up, que to a hot, more age-appropriate Sirius back from the veil
“Wazzaaaap? And who’s that hot, fucking beautiful - oh hey, Hermione!”
Tom x Hermione - time travel fix-it, cause you know you’re tempted and geniuses are hot, especially if you have to show them the power of first sexual attraction and some fuzzy, warm moments and fuck it
(Tom inwardly cooking in a slow fire)
Dramione - CAUSE HEY HE’S SMART AND HONEST AND HAS A MANOR AND IS FUCKING HOT, THAT’S WHY (especially if it’s Draco turning to the good side after some serious angst and off-screen shit happening)
GEORGE x HERMIONE - cause contrary to the more popular Fred x Hermione, it’s Hermione helping a seriously awesome guy find joy in life again and George was the shier, more insecure guy and that just made him more adorable even before the book 7 angst
Remus x Hermione - there was a time when Tonks was too old for me to relate to and a time travel Remione seemed like great stuff
Sigh.. Sorry Tonks. I was young. You’re awesome and now I’m older than you.
Seriously I fucking loved a PERCY x HERMIONE fic and it was called Igniting the Sea and they were seriously rocking it in a hidden impossible love found in comforting, deep conversations in the library, occasional sex and Hugo was actually their kid, they named it after their favorite writer.
what she means:
In WALL-E, there were infants aboard the Axiom being taught by a robotic teacher. Why do they need an education if all jobs are performed by robots? If people don't do any work, is there a monetary system at all? If not, does that mean that the technology everyone has was forced upon them? And if people are so engrossed in this technology that basic face-to-face interaction is unheard of, how were those children born in the first place? Do their parents even know about them or were they to be raised by robots? Is that, then, how the adults had been raised as well? Did humans have any control over their own lives before WALL-E came on board or was everything run exclusively by the robots? What was really going on aboard the Axiom?
How would the people of Lucis feels about Prompto being Noctis' Consort or co-King(?). How would Regis feel also? I'm really into this idea where Prompto officially become Noctis's husband! The drama! Angst!
The Sun King is probably my favorite AU (I haven’t written shit for it though :D Oops)
Regis is a cinnadad in my head, but realistically I think he would have a lot of reservations about this common boy who his son was in love with. It would take some time for him to believe that Prompto truly loved Noctis, though I think he would be one of their supporters because he knows that Prompto does care about his son. When he’d let himself believe though, in the way the two of them felt about each other and watched how happy they were together and what giant nerds they could be, he would be papa bear Regis and he, Cor, and Clarus would scare the shit out of anyone who tried to step on the happiness the boys had found. Also he and Prompto would bond over silly things because I firmly believe Regis likes pranks and chocobos and things.
The people would gossip about it and there would be a lot of turmoil, but nothing highly serious in most of the population. Most of the backlash there would be between the ideals that their marriage represents. The LGBTQIA+ community in Insomnia would feel empowered but there might be those that were angry about the marriage and started targeting others. Basically there would be some serious shit that happened but with the functioning government system it would be taken care of. The glaive and local police would work together and because the kingdom has run under noble kings the people would feel safe reporting attacks and things and the perps would be caught and dealt with pretty well. (Can you tell Im a salty American who’s really sick of so much of our shit from this post yet or?)
Eventually I think the people would warm to the two Kings a great deal, especially because we know from some of the announcements on the radio in game that Noctis is already known for being kind and volunteering and loving animals and things. With Prompto beside him they would grow to be pretty honored by their people.
So I’ve seen Sam’s Albus 15 times and I feel like I’m not the only one getting frustrated at the awards nominations and the lack of Sam Clemmett’s name. Albus isn’t big and loud but he’s the backbone of this play.
It’s clear to see that Albus is the quieter of the scorbus-duo but I don’t think that makes him any less amazing. The first time I saw the play I re-named it “Harry Potter and the angsty teenager that ruined everything” but that was perfect! Albus is spoilt and lacks perspective to the point that he gets himself into some serious shit. He’s a warning of what happens when privilege gets mixed with sadness and confusion which the teenage years often lead to but he’s also incredibly misunderstood, which comes across so well.
The way Sam plays a lot of the angsty lines straight after or followed by a line delivered with such heartbreak makes Albus really lovable. I think this must’ve been a big challenge for him, because it’s quite important that the audience gets on board with Albus and wants him around to them getting pulled along with the emotions Scorpius is feeling. This is so incredibly subtle that it’s probably missed by a lot of people who haven’t thought about this play as much as I have because there’s a lot going on, and if you focus on Albus as a plot point, he’s pretty annoying. That doesn’t explain why the arguments with Harry break my heart or why he moves me to tears in that last REALLY sad bit. He throws so much brilliantly thought out backstory into every scene, particularly those with his family in the most understated way which shows that he’s really gifted and deserving of a leading role (and awards).
I think people miss how emotionally heavy Albus’s role is. If we take the Albus/Scorpius scene in act 2 as an example, Albus starts off as a ball of self-centred anger which is heavy in itself. Then he realises how terrible he’s been as a friend and is heartbroken almost immediately (the switch is stunning), then he becomes the joker to try to cheer his friend up and shows how he loves Scorpius in that deeply understanding way only best friends do. Without an amazing Albus in this scene, Scorpius wouldn’t be able to shine in his anger and heartbreak. A lot of people (rightfully) point this scene out as an amazing Anto moment but they both need to be on point for this scene to work so well.
It would be easy to forget that Albus is a 14 year old boy for the majority of this play because of the plot but the vulnerability Sam shows makes it real and scary and quite sad. Especially in the earlier Godricks Hollow scenes he is hopeless and scared without it being a pity part, which I really love.
And Sam in those Scorpius torture scenes gives them a double blow. Seriously, I know it’s difficult because Anto has all the light on him and is making more noisy but watch Sam. It’s like this desperate, painful look with a really horrible scream which makes the whole thing much more traumatic. Again, Sam bringing the scene to another level. And really emotionally heavy.
I’ve also noticed how adaptable Sam is to Jamie and Stuart’s Harry’s (I’ve seen Stuart a few times). Stuart is much less outwardly angry than Jamie and if Sam reacted to Stuart in the same way as he does Jamie in the argument scenes it would seem way over the top and I think he would lose the audiences sympathy. But he bounces off both of them to just the right level and allows them both to be the perfect Harry… because he is the backbone of this play!
I know my babble is incomparable to an actual Olivier nomination, but I think a lot of us feel the same way about this and I hope what I’ve written has done him justice!
(I’ve only seen Tom Mackley’s Albus once so I don’t feel like I’m qualified to talk about him but I’ve heard that this week he’s also been holding down the play like a boss!)
Just some thoughts on Souta and Furuta’s Trump Cards. With last chapter, the mystery of why Souta’s Trump Card was separate to the rest of the Clowns has been cleared up. We’d all guessed that Souta was working with V but I think it was still a little bit of a surprise (for me at least) that his loyalties to Pierrot was completely non-existent.
There’s the obvious clues that we’d all figured out were important:
Pierrot were depicted on the 8 of each suit
Souta/Furuta was an outsider in the Pierrot Trump Cards, being designated a 5
(5 = V in Roman Numerals)
The background of both the 5
card and Joker card also gave clues that his loyalties lay with V all along. Souta within the bird cage, Furuta’s with the birds- he is one of the birds in the ‘bird cage’ on the world that V and the CCG is keeping in check.
Despite this, he is clearly aware of this world order and actively helps maintain it.
But then there’s also something suspicious with Souta’s hands going on. The obvious one was his left hand making a V which combined with the bird cage showed his association with the V organisation. But the right hand is harder to make out but it’s too unnatural looking to be insignificant. I just have no idea in what way (if anyone has any ideas about this, please add on!)
One possibility is that it’s a C and with the G on his mask and some careful choices in shadowing, it creates “CCG” hinting that they were working together to maintain the ‘bird cage’ on the world.
C is also the Roman Numeral for 100, a number connected to the OEK from 100 years ago
the C and V together in Roman Numerals makes 105 which I have absolutely no idea what significance 105 would have but according to my friend Wikipedia, 105 is a triangular number
It could also be a U, meaning Souta is just trying to warn us of the dangers of UV rays and being sun smart. Slip, slop, slap kids.
Lastly, if Furuta was a part of V, and his 5
♥ cards represents that… does this mean the other 5′s are also a part of V? There’s one 5 in particular that is especially suspicious…. I’ll put it under the cut just in case you don’t want potential spoilers for that character
So, I decided to just take the plunge and post the first chapter of my first ever (majorly fluffy) Negan fanfic.
I welcome any comments and feedback, but please be kind! I want to give a massive thank you to the incredible @lovingzombiechaos who has given me the support and confidence in myself to post this at last, and for helping me write and edit this entire thing! I hope you’re happy that I finally did it! :)
headcanon where all of holsters sisters know immediately that holster likes ransom when ransom comes to visit and they chirp him. constantly. like. its lowkey vicious?? he is attacked by a 15 yr old girl on the daily?? like she’ll text him in the morning,
“HES GREAT, GRACE.”
“oh, i bet he is. does he know youre in love with him yet?”
“go to school what the fuck” and then ransom walks up next to him and glances at the phone sometimes and hes like ??? and holsters like NOTHING IS HAPPENING.
and then his other sisters are more subtle abt it, his older sister collette lives in boston & sometimes she drops by and they have coffee and talk and sometimes shes just like.
“so. anything interestin g happening in ur romantic life?”
/cue holster sighing heavily and dramatically
“no its p stagnant rn”
“r u sure i mean… justins snapchats say different”
“u cant hide shit from me u punk” and holster is just like ??
“i see u…. i see that mixtape u made for him u transparent ass bitch”
“ITS NOT A MIXTAPE WTF”
but. it true. he cant hide. he a obvious hoe.
but rlly, its mary whos like real savage bc. she wont bring it up ever. she lulls him into a false sense of security. he is caught off guard when like one day on the phone shes just like.
“so grace tells me u had a gf for a day & then u broke up”
“yeah her names april”
“cute. how u think u only like girls”
“…i like girls”
“u also like a 6ft tall ‘girl’ named justin”
“not you too”
“when it stops being true then itll stop” and then hes just like
“IM NOT GAY FOR RANSOM” and like ofc ransoms in the room and u kno what happens next brah. some serious bromantic comedy shit. #graceknewfirst