i really buy into the snow bunny theory tbh. if you haven’t heard of it, it’s basically this: monet died. one of the tangerines on nami’s tangerine tree regrew as her devil fruit. (because from punk hazard we know that after a devil fruit user dies, their devil fruit manifests on a nearby fruit). carrot is going to eat her devil fruit and get snow powers.
it makes logical sense to me, first of all. monet is dead as far as we know, devil fruits re-manifest on nearby fruits, the sunny was nearby when she died, and carrot is definitely the kind of adventurous person who’d eat a random ass fruit off the tangerine tree.
and it also makes sense to me from a character/plot standpoint, especially wrt carrot potentially joining the crew- one roadblock i’ve had with that is that carrot’s electro is kinda too similar to nami’s thunderbolt tempo, and given how unique all the other straw hats’ powers are from each other i can’t see oda being ok with two members both using electricity as their go-to, so this would give her a new and unique power. plus it’s a logia, and we’ve never had a logia on the crew. it’s also snow, which is, you know, white and therefore fits carrot’s look and style.
so yeah idk. i wouldn’t be surprised if carrot ends up eating monet’s devil fruit, especially if she joins the crew.
Munnar, Day 2: There’s something about this weather that brings back an October of five years past. I slip into a dream, a cloud like those that settle on the mountaintops before drifting down to the valley. I spend today cushioned in a down of what-ifs. (What if I’d loved you then? What if we could go back to that Autumn?) Moosh is a pragmatic sort of individual. He prefers loving me in the here and now, he grounds me. He’s the cool touch of the rainforest canopy to my inscrutable evening mist.
There’s something about this weather that brings out the classic British style in me. I made your country the subject of my lifelong study, I tell him. Everything I ever worked towards was for this. I sought out your culture, I made a study of your people, your literature, your music, our mutual histories. Does that make you love me less? He holds my face in his hands, smiles and says, no, no it doesn’t. So I dress in an uniform out of the books I grew up reading. I match my lipstick to my bag, and we go for a stroll. Moosh remarks that we could be walking down an English country lane. He’s right. Some memories are so visceral, so powerful in their tug and flow that a part of you never ceases to live in them. I remember that first walk down the bike path that October in York. In my dreams the two lanes merge and we walk once more in the northern sun under which we first met.
I can’t wait to marry this man and begin our life together. Make a home out of our love, revel in domesticity, wake up next to each other every morning and kiss each other goodnight. It’ll be a while coming, though. Until then, we must meet only in the twilight roads of the hills and our dreams.
Story Author: myfavoriteloves (ship blog) / omgstuffandthangs (main blog) Fandom: Riverdale; Bughead Rating: PG-13 / M-ish
Summary: Their story was just beginning, but if Betty wanted it to continue, she had to find Jughead. When she does, she discovers that her childhood friend is hiding more than just his feelings.
Note: A fluffy, romantic piece with just a touch of angst. Picks up where
we left off in episode 6.
My absolute favorite thing about “the moment” was Jughead’s reference
to The Yellow Wallpaper. That has always been one of my favorite short stories,
and it inspired me here. Go read it,
Munnar, Day 4: No journals were kept on this day for this day was a pain in the ass. Almost a month later, as I sit down to recall the series of memorable buttaches that comprised this day, my predominant impression is that of cold. How cold it was, how cold! The hotel shunted us out in an auto at 6 in the morning, claiming apocalyptic strikes and road barricades. 11 kilometers of bumpy hill-riding later, we reached a shady motel in town where we decided to rest our feet and bags. Following which, Munnar completely failed to rise to the occasion, remaining sleepy, tranquil, and pointedly strike-free for the rest of the day. I wanted to dress for travelling, so I picked the comfiest possible outfit from my greatly diminished pile of clean clothes. Then we heard rumours of a flower garden in the neighbourhood, so Mooshu had to be pressed into action with the camera.
A couple of things I was grateful for that day: my tweed blazer from Sumissura and my Unique Vintage tote which doubled up perfectly as a carry-on bag. Rarely have I worn clothing that’s been tailored to my exact measurements, and the difference is ever so surprising and pleasant. We wandered around the garden, took a mini hike to a ‘sightseeing point’, napped in the shady motel bed, and slept through 12 hours of two different buses in hills, forests, and finally the long dusty plain. My jacket became a pillow, a comforter, a blanket to hide in from the mountain blast, a window shade against the highway lights. I was a wayfarer and that jacket, my towel. We saw the stars that night as I’d never seen them. The milky way like a sheet of galactic dust stretching from hilltop to hilltop, merely an arm of the spiral faint with starlight old and new, but so immediate, tangible, the star crown of our little slice of the universe. If the ancients were obsessed with the stars, seeking patterns, prophecies and portents in them, they did so for a reason. Seldom have I felt such profound nothingness in my being as I did that night, my consciousness extinguished as the pinprick of a dying star, a dust trail dissipating dim in the nether reaches of the cosmic dark. The stars alone were worth the journey, and after them everything else felt incidental.
There were meals to hunt down, drunks to ward off, language barriers to overcome and a house to be cleaned when we got back - the fine print of daily life that weighs us all down in its infinitesimal details. Later, there are meals to cook and outfits to blog and precious nuggets of time that Moosh and I spend together before I bundle him into a taxi in a blur of tears, and eventually, as the days trickle past, I forget that night we drove through the forest, and I forget the stars. Yet in times when the world ebbs away from me, and I’m left alone in the echo chamber of my head, I think of the galaxy. I think of the night forest, and the dome of the universe arched above our heads, the wash of light dusting across it, and I think of what filled my puny little heart to bursting then. It’s stardust I think, the stardust in my bones, calling me home to the infinite.
since this is relevant to this ask, gonna talk about how different my 13 is from the movie 13, in regards to events that happened
he was activated before 14 and 15, just straight up used the trump card first ( also because he was finished before them ) so he was the one to go to the city to fight goku
at the time of his first initial activation, that’s when his programming was at it’s strongest. he wasn’t him, 13 and ellis are arguably very different people but i’d still say he was entirely conscious of what he was doing and aware of the horrible things he did while trying to get to goku, his programming just made him behave differently in the moment- and this was all before he met ruby, which i make very clear was a heavy influence to 13 and sort of, calming his aggressive and fighting nature left over from his programming which he had tamed at that point but it still had it’s after effects
he probably destroyed a lot of buildings, and therefore people during his skirmish with goku in the city before he would fly off into the arctic to fight him one on one, and he has every single memory of doing so but he thinks of it differently. feels about it differently since he’s a very different person since that moment
so unlike movie 13 who wasn’t at the city along with 14 and 15, 13 was the only one to fight goku, one on one at that, in the city and the arctic and is entirely responsible for the deaths of those people in the city, and he takes the responsibility for his actions, even if at the time it was gero’s programming that had him under the influence, he doesn’t want to use excuses when someone’s friend and family died because of him
Doodles of woodie and my OC cadot as a kinda warm up… I’m trying to figure out Cadot’s bloodborne outfit so I gave him a toque as a culturally unique hat but…. he just looks like a hooligan haha. I’m not great at character design.
Warner Brothers and Disney: Two Approaches to Two Similar Characters
I watched the Disney short ‘Trick or Treat’ (1952) for the first time recently and I noticed some striking similarities with a later Warner Brothers short ‘Broom-Stick Bunny’ (1956).
I’d argue Warner Brothers does a much better job at characterisation than Disney and what better way to prove it than to show how the two studios approach two similar characters.
Both have a character named Witch Hazel, both are voiced by the same actor (June Foray), both of the stories involve trick-or-treaters. Fom then on they start to differ. Let’s start off with the designs.
The WB Hitch Hazel is full of contrasts, subtle angles & curves. Even if she didn’t have green skin the design would still be very unique. She has a large overweight body, very short skinny legs, a big angular bulbous nose. Her hands are very skinny and bone-like (with knuckles, not always common in cartoons). The hat is unique, and so is her hair, it even has individual curls (a nice touch, adds to her character, shows that she’s a bit manic) and the Chuck Jones patented skin tooth.
In contrast the Disney Witch Hazel is a lot more generic. Being the Aryan lover Walt Disney is, the Witch is blonde & white. She has a wart, cleft chin, a couple of winkles on her lip and a bulbous nose (not as large or angular as WB). The big contrasts in her design is that she’s very short and her hat’s very tall. The hands are fairly unique & complex for Disney character design at that time but still nowhere near as unique as the WB Witch Hazel.
Now to be fair, you could argue that ‘Trick or Treat’ was made earlier than ‘Broom-Stick Bunny’ and the stylised, UPA-influenced designs weren’t as prominent in 1952 as they were in 1956 (the year ‘Broom-Stick Bunny’ was made) but even so ‘Toot, Whistle, Pluck and Boom’ (a stylised, UPA-influenced Disney short) only came out a year later in 1953 and Warner Brothers were already making more specific, angular designs in the late 40′s and early 50′s. Even the WB Witch Hazel character was introduced as early as 1954.
Now let’s look at how the two characters act, starting off with the WB Witch Hazel. I’d recommend watching the scene again from 2:43 to 3:12. Note how tailored the animation is to Foray’s voice than Disney’s.
Here she says, “LIKE IT?!? why it’s absolutely HIDEOUS!!!”. Witch Hazel leans back & stretches out when she shouts “LIKE IT?!?”, crouches down & curls up as she says “why it’s absolutely..”, then stretches out again to say “HIDEOUS!!!”. The animator has exaggerated Witch Hazel actions when she shouts, but moves her less when she speaks softly. This kind of animation makes you believe the character you’re watching on screen is saying those exact words.
There’s plenty of great scenes with Witch Hazel in ‘Broom-Stick Bunny’ (even though this is a Bugs Bunny short, she steals the show) but I really like this particular scene for showing her character. Notice her hand movements, the way she twiddles her fingers, the way she leans in to talk, blinks slowly, flutters her eyelashes, moves her legs and so on.
Compare this this to scenes with the Disney Witch Hazel.
This would be one of the ‘better’ acting scenes in the short and even this isn’t in the same league as Looney Tunes. All she does in the clip is put her hands on her hips (to show she’s cross), pull a generic angry face (only the eyebrows show she’s angry), and rubs her nose (for what purpose I can’t fathom).
A lot of the scenes with the Disney Witch Hazel involve her moving and jumping around a lot. Which doesn’t add up to describing the character’s personality apart from saying that she’s energetic and happy.
It doesn’t help that a lot of the camera shots are cut very short. Compare that to ‘Broom-Stick Bunny’ which has an uninterrupted animation scene for almost 30 seconds. Goes to show how much priority Warner Brothers put towards character compared to Disney.
Here she is introducing herself. There is a tiny bit of unique acting here, she does flutter her eyelashes (like WB Witch Hazel).
Here she says “kids,this piegeon’s a pushover”. All she does is point to him, and flick her hand. Note here how in all of these clips (and when you watch the whole short) how the Disney Witch Hazel hardly makes any facial expressions at all. Meanwhile the WB Witch Hazel has no shortage of different facial expressions.
To sum up then, Disney take a very general, stereotypical approach to characters whereas Warner Brothers made more specific, unique characters and even though they’re more exaggerated than Disney, they’re based off observations of real life people.
That’s why people remember not only the main characters like Bugs & Daffy, but a whole cast of other characters like Witch Hazel, Tweety, Sylvester, Foghorn Leghorn, Marvin the Martian, Wile E. Coyote, etc.
If you’re into animation and you’re studying animation characters, study Looney Tunes not Disney.
This Unique Vintage maxi has such an early 20th century vibe, it took me right back to the time I was obsessed with Virginia Woolf and the Bloomsbury hipsters. The hat and shoes are from widely differing eras but on the whole I feel this is the sort of wearable period look that I immensely enjoy.