what is dead can never model

Snog Me Senseless 4

A/N:  So this was supposed to be a one shot about kissing, but then it became so much more.  Thanks to @team-styles for the teamwork between author and reader.  Thanks, as always, to @little-black-dress-24, for the encouragement and for forcing me to have the courage to tell this story.  I am so grateful to @melissas173, @niallandharrymakemestrong, and @emulateharry for their amazing suggestions and ideas.  

For Soap, my tumblr little sis.  I hope this one doesn’t embarrass you too much.

Part 1  Part 2  Part 3

As soon as you hear the sounds of the other boys in the fraternity house stirring, you move to get dressed in your clothes from the night before.  Harry, being the thoughtful boyfriend he has proven himself to be, clears the hallway so that you can use the restroom.  And even though you wrinkle your nose at the smell of the place, and even though you are stunned at the amount of shaved whiskers in the sinks, and even though the room is as close to a garbage dump as you have ever seen; you still glide in with confidence because you know your boyfriend is guarding the entrance.  You take care of your needs quickly, washing your face clean of any makeup and sliding into your clothes from the night before.  You finger-brush your hair, hoping that no one really notices that you’re wearing the same clothes.  Then again, you’ve never done a walk of shame, and you’re strangely excited at the prospect.    

Keep reading

twryst  asked:

I absolutely love this world you've happened upon; it feels like it was always there, the students on the same tumblr we're on. I'm particularly curious how They and their gifts interact with tech... EU opens an animation department, and soon animation company recruiters are coming upon their portfolios online, lovingly sculpted 3d models of elk (it's OBVIOUSLY an elk... right?) that somehow hit the uncanny valley dead-on as if your eyes can only parse it as attempting humanity.

Oh wait I love this, I’ve never even considered what happens if you try to fit depictions of the Gentry and Elsewhere places into technology. Weird, weird things happen.

Sometimes you don’t know what you really see, both with your eyes and mind. Whether it’s a wild storm turning hair into a beautiful mess, an unstoppable fire burning everything into ash, deep blue water trying hard to put out the blaze and rushing through veins like thousand rivers or if it’s a lonely desert with cracks and a dead surface. You don’t know it and you never will but what you can feel is a rainbow of everything creating the power of an individual being. 🌙🖤

jessicafuckingjones  asked:

Sarah HOW DO YOU BRAINSTORM PLOTS my mind is a mess of half-baked ideas that wouldn't work

Plots, I can’t help you with so much. Plotting isn’t my forte. But I can maybe help you get half-baked ideas to a fully baked souffle, and the way you do that is by fucking up a lot of souffles to be honest, but I’m here to offer my advise on how you gain quite a lot by fucking up those souffles for a while

SO: margotkim’s patented Idea Development Help Guide That Might Be Useful?™

aka COOL ID-BASED IDEA FLESHED OUT UNTIL IT MAKES SENSE

This is literally the only method I have for coming up with ideas solid enough that I can plot the out: I have one image I want to work towards, and then I work out all the things that I have to figure out for it to happen.

STEP ONE: HAVE COOL IMAGE OR SCENE, DON’T WORRY ABOUT LOGIC

  • and I mean really don’t worry about logic or reason or even if anyone else will think it’s cool, that’s just gonna get in the way at this point. This is working on the image of the kind of strange stories you tell yourself as you wait to fall asleep. 
  • So I have this image I’ve been thinking about of a magic fight that takes place in an old looking gothic church with no ceiling, shattered stain glass, ivy growing up. The columns that lead up to where the ceiling should be lead up into nothing but pure white, outside the windows are pure white, it is clear this place is outside the world we know. Up around the place where the ceiling should be, there’s a winged black shadow. Underneath there’s a man in hospital scrubs in a wheelchair with a shotgun. 
  • Or I have this other idea that I’ve been thinking about, where two characters face each other in a room, and all I know about them is that they are on the same side, they knew each other, but one of them is younger and a wunderkund who messed something up tremendously, and the other is older and their teacher and she has to figure out how to punish this other character who is simultaneous a good person and someone who did something very very wrong. 
    • This image is bookmarked with a line of dialogue from the Walking Dead video game where your character says, “You’re not a bad man, but what the fuck are we supposed to do now.” I bring this up because fiction often inspires other fiction in strange and indirect ways, and you should always pay attention to your influences to use them as scaffolds for your own ideas, which can often mean being inspired to veer off deliberately in the opposite direction. Never underestimate how inspiring it can be to have a model to work against. 

So that is some free association in two different ways there, but it’s super vivid to me. I know what these scenes looks like, and I understand and find interesting the emotions involved. I just don’t why they are happening. 

and actually hold on a sec.

STEP ZERO: BUT WHERE DO YOU GET THE IMAGE

  • I’m sure you have an image where you’re like “badass badass badass” or “SO EMOTIONAL OH GOSH” or “these two characters are culminating their love, also who are they”, but you might think that that isn’t the basis for a story. And listen. You gotta put yourself in the place where you trust your brain enough to follow the random bullshit it spits out. 
  • I used to draw this line in my head between “respectable story ideas” and “random terrible daydreams that make me very happy but no one else will understand”, and that was a bad call because the ideas that make you passionate and make you want to think about them all night are the ideas you should nurture
  • and look
  • the majority of these images start with things like: 
    • LOOK AT THIS COOL LADY ON A MOTORCYCLE WITH WINGS AND ALSO SHE HAS A SWORD AND THE SWORD IS POISONED. 
    • or maybe: WOULDN’T IT BE COOL IF THERE WAS A PLANET THAT WAS COVERED OCEANS BUT THERE WAS ONE CITY THAT WAS ALL METAL AND IT WAS SINKING INTO THE OCEAN EVERY DAY. 
    • or: I LIKE THE MONSTERS OF PRINCESS MONONOKE AND I JUST READ A BOOK ON GIANT SQUIDS, HOW CAN I COMBINE THESE
  • because the images that reach past your idea of what a good story is supposed to be to squeeze your heart are the images that drive you to create
  • the ideas that give you utter joy but you think are untranslatable to other people are the ideas that are worth the time to translate
    • writing is a long act of trying to get a reader to see something you are creating out of nothing. 
    • it’s an act of conjuring
    • it’s a pain in the ass 
    • regardless of whether it’s an academic paper or a twelve novel epic fantasy series
    • so it might as well be a pain in the ass you’re passionate about. 

for me, the best ideas are also embarrassing. if you don’t feel a little awkward about explaining it to someone, it isn’t intimate enough to you to be a story that no one but you could tell. 

okay? moving on.

STEP TWO: HAVING ESTABLISHED THE IMPORTANCE OF BELIEVING IN THE IDEAS YOU THINK ARE COOL BECAUSE THEY ARE COOL AND MORE THAN THAT THEY ARE IMPORTANT BECAUSE YOU ARE IMPORTANT, WE MUST KNOW ANSWER THE QUESTION OF HOW THE FUCK THAT IMAGE CAME TO BE, SO ASK YOURSELF QUESTION AFTER QUESTION

  • church fight scene image
    • for me, the man is the clear entry point into this image, which has almost too many elements to work out. the man is human
      • when working with genre work, a rule of thumb I find helpful: the genre elements should support the character and themes you want your characters to explore
      • if working with people is easier for you than working with genre elements (and genre btw can be romance, magic, mystery, anything, we’ll use genre as a shorthand for “the elements that determine where in the library a book gets shelved”), then build your characters and then build genre elements off that
      • if working with genre elements is easier for you, reverse engineer a character that thematically suits your genre elements that you want to work with
      • realistically you’ll develop both elements together, each organically pushing the other in new directions
      • but it’s easier to start somewhere
      • so let’s start with the man 
    • who is the man
      • why is he in the wheelchair?
        • is he in a wheelchair because of something within the story you are telling or as something that happened seperate of the story you are telling
        • and as a corollary to think about: what about this man did he start this story with and what did he gain/lose over the course of this story
      • where did he get a shotgun?
      • if the man is in scrubs, does that mean he was in a hospital before?
        • was he a patient? doctor? nurse? tech? criminal? 
      • is he equipped in anyway to handle this problem?
      • is he going to be played by oscar isaac?
        • spoiler warning: yes. he is going to be played by oscar isaac
      • what does the man feel at this moment? 
      • what has the man done to get here?
      • how does the man’s external situation reflect his internal? 
        • what can the scuttling shadow thing reflect? why does it matter that he’s in a strange unworldly church? why is he handling this situation with a gun?
        • we sometimes talk about THEMES as this thing that just exists for english majors to write essays about, but THEMES are tremendously useful to writers as well. they ask you “what is this story about?” in a way that helps you construct a world that allows you to explore your answer
        • for example: this story will be about loneliness. the main character will suffer from loneliness. the antagonist will exacerbate their loneliness. the side characters will provide different views on loneliness. the solution to the problem will in some way address loneliness. 
          • which could be something like: a man who isolates himself because he doesn’t want to risk emotional connection with people suffers tremendously from loneliness which only causes him to isolate himself more as he feels less and less capable of approaching people. the monster is something that snatches people from the world without a trace. by the end, the man might very well be the last person on earth, in a place that’s the last place on earth, and now utter isolated, he has to fight the monster alone. 
          • this is a super loose construction, but it’s a beginning 
    • then reach outside the image
      • first, reach outside the image altogether, back into the world of your own head and ask questions like: what kind of plots do I find interesting? what kind of works does this image remind me of? what connections am I making that I don’t unerstand yet why I’m making them? 
        • most useful question for me, because I’m a character girl girst and foremost: what kind of characters do I always love? I’ve got like five stock characters I love in every situation, which one works the most interestingly here? The Reserved Good Man Who Is Punished For Doing The Right Thing? The Badass Character Who Is Secretly A Dork But Also Secretly Has A Super Dark Past? The Normal Person Who Does Their Best Amidst Forces Far More Powerful Than Them? 
          • I plug in different characters I like and see how the image changes
          • I see which one makes me immediately want to know more
    • second, reach outside the immediate image you have to explore what’s on either side of it
      • what happened one minute before this image? and one minute before that? and one minute before that?
        • what happened ten years before that? 
        • how do you link those two times?
      • if the man wins, what’s the next hour look like? 
        • what about if the monster wins?
        • what does it mean in this story to win? 
      • what characters that matter aren’t in this picture?
        • did someone give the man a shotgun?
        • did someone unleash the monster? 
        • is the man fighting for someone besides himself? 
        • who does the monster love, if the monster loves?
    • and literally keep going
      • just ask question after question after question after question after question, because one question will suggest the next, and each answer will create new questions, and the questions that you think to ask will be as informative as the answers you come up with
        • for example for this story, towards the end I started asking questions about the monster winning, who does the monster love, who unleashed the monster, and the wording made me realize that I’m interested in a monster that’s sympathetic
        • but my image is dependent on a horrific monster
        • the combination of horrific and sympathetic, combined with the desolate beauty of the church, is pointing me towards a specific theme and mood that will help me define my story 
  • two people at a table scene (I’ll do this one quicker, I promise) 
    • for human drama, I think instantly on two character types I both love, and how can I put them against each other
    • or what’s a dynamic that I’ve always wanted to see done a different way
      • in this case, I immediately think “the young viewpoint character of any action/genre show who is good at stuff without trying, and their rival/mentor who works really hard at stuff and puts effort in but doesn’t have the same natural talent” 
      • and this is a case of reaching outside the image to the box of things I know I like, because often times making a story is bringing together:
        • new inspiration, and 
        • old loves
    • and then when I think of the trope that interests me that works in this moment, I think of where I have seen that trope, and the ways I have wanted it to play out differently
    • then I think about the setting that would bring this trope out best
      • and this decision is influenced heavily by the things I like
      • the things I like are spies and bureaucracy (babe, I fucking LOVE stories about bureaucracy, which is weird, I know, but is also the thing that Me, Myself, and I bring to this story that most other people won’t)
      • and so this story is now about a younger rising star spy who disobeyed orders on a mission because she thought she knew the right thing to do better than anyone else, and the older more trained and experienced spy who has to deal with her
        • an important element of my story from the beginning is that both women are good people but the younger one has done something Wrong, and to avoid false drama, it has to be something genuinely bad 
        • so her breaking orders on a mission resulted in friendly fire where the younger one accidentally shot and killed her ally
        • and for the sake of drama, let’s say the person she shot and killed was the older woman’s good friend
          • and there’s the beginning of a plot

IT’S SO LONG, I hope this is helpful to you, and here’s the cliffnotes:

  • release yourself from your own judgment and explore the images, tropes, and ideas that make you truly excited
  • and make sure that you are really, really excited about the idea
  • because that excitement is what’s going to power the aggressive interrogation of your own idea that lets you create a truly thought-out, living world 
  • and once you have asked yourself all these questions about your image, you’ll find that your questioning leads you to the themes you find powerful and the actions you find exciting, and this will help you coalesce all these questions and answers into a plot that combines and drives themes, actions, genre, and character  

Colorism in black men can be so bad…I’m on the phone with my dude and he asked me what my dream girl is. I tell em my “vision” straight up based on personality. Mind you I never mentioned skin tone. He dead ass came out his mouth and said “ever since I was little I had the vision that if she don’t look like this:(sends me some pic of an Armenian looking model and honestly she got a bird nose, fake contacts, and she a duck to me straight up lol). So I ask him if a dark skin woman was to have all the qualities he preferred would he marry her.

He goes “date maybe and I said date”

So I then blasted his phone with hella gorgeous dark skin women like out of everybody league and asked again. “If they were your dream girl but dark skin, would you marry her” he replied with the same “ever since I was a kid I liked light skin women, it’s not a race thing…”

NIGGA. You dead can’t persuade that mentality. In terms of people like him, you just gotta chock that person up as a loss relationship wise cause that’s such a fucked mindset…

I always noticed his type and the girls he talked to but damn…that shit hurt being my homie since elementary, he fail the brown paper bag test, and he still has that mindset…

To top it all off I asked him, what if his daughter was dark skin? He replied: “she won’t be, her mom’s gonna be light skin”… I can’t…

And we still talkin bout this like dead ass. It’s to the point that he doesn’t see why he sounds fucked up.

wanna chat? pt 4

on ao3

pt 1 | pt 2 | pt 3 | pt 4

how are my avoidance tactics working? anyway i just needed to write something before starting homework today and that means you get whatever this is. enjoy? 


11:59 PM

the real ladybug™: /loud groaning/

drop the bass: what up

flour power: I thought you were going to bed lile an hour ago
*like

the real ladybug™: i cant SLEEP

drop the bass: did you try counting sheep

the real ladybug™: thats bullshit and u know it

drop the bass: bruh it works for some people

flour power: Just relax al

the real ladybug™: r U rlly telling ME to relax

flour power: Yes

undead zombie model: I thought everyone was going to bed?

the real ladybug™: then y arent U in bed m.???
im very disappointed in u

Keep reading

anonymous asked:

Imagine Bucky was cloned a few times, so that HYDRA would have backup Soldiers or they could work as a team. And just as everyone is having their "Thank God he's back" moment after saving him, especially Steve, they learn about the cloning and that they've got A Bucky, not THE Bucky.

Natasha realizes as soon as she sees him, the way he looks at her. Not like how the one she knew looked at her. She remembers rows upon rows of potential Natashas, what she did to make sure that there would only ever be one Black Widow.

“Where are the rest?” she asks, her hand on her gun. He looks down, and she knows what became of them. “Can you talk?”

“I can talk,” he says, petulantly. “Take me with you. To the Captain.”

“You’re not the one he wants.”

“But I’m the one he’s going to get,” he says. Scrappy, just like all clones, just like her. Natasha’s artificial belly button itches, and she takes her hand off the gun.

“Come with me.”


Steve can’t bear to look at him, at first, because he looks just like Bucky. Except his hair is darker, ostensibly from not being in the sun as much as a person would be, and his hands and face are so smooth. That callus Bucky had on his finger from writing so much isn’t there, or that scar on his chin from when he fell and hit his face on a window ledge when they were kids. He squints because he isn’t used to rooms with windows. This isn’t Bucky.

“He wanted to come with me,” Natasha says tonelessly. “He wanted to meet you.”

“It’s good to meet you,” says not-Bucky, holding out a smooth hand. “We talked a lot about you, in the hive.”

“The hive,” Steve repeats blankly.

“Where I’m from,” he says. “Um, I’m Job. Like the whale guy.”

“Like the whale guy.”

“Sure,” Job says. “Because I’m the optimist of the bunch.”

Steve doesn’t know what to say.

Job is innocent. The rest of the clones died because of a genetic illness their generation was vulnerable to; Job got sick, but survived along with a couple of others who left the hive to try their fortunes elsewhere. And Job? Job stayed, tending to the bodies of his generation and living off of MREs while he got a hang of the Internet.

They get him a change of clothes and offer him a soft bed. On the surveillance cameras, they watch Job cry himself to sleep. The optimist of the bunch.

“I have questions,” Steve says to him the next morning. Job is eating fruit salad, and duly impressed by the cubes of pineapple he keeps spearing. He’s wearing tinted glasses, thoughtfully picked up by Natasha, who Steve has only just realized has a habit of wearing sunglasses indoors. He stows that uncomfortable thought away for later.

“I bet,” Job says. “Clones, right? Who knew?”

“I mean about your original, your…” Steve trails off, but Job nods, understanding.

“I’ve never met the original,” he says with regret. “I kinda figured he was dead. But see, I kinda figured you were dead too! And then I got the Internet and it looks like in a world with clones, anything is possible.”

“I know he’s alive,” Steve says.

“Cool,” Job says. “The more the merrier, I never say. Is that why you’re keeping me around? Until you can find the original? Because that makes me really uncomfortable.”

“No, I…”

“I’m no good at fighting either,” Job says. “I’ve never even held a gun, obviously. I’m a decoy model.”

“A what?”

“The weaponized ones are useful, they have individuated skills that take a while to program,” Job says. “I’m just insurance. Dime a dozen.”

Steve feels sick while Job prattles on about essentially being a specially grown human shield.

“But I was really bad at even that, so they just left me alone for the most part. With books and shit. And Rosetta Stone,” Job says. “And the guys, obviously. I socialized them. Anyway, I shouldn’t be an Avenger.”

“What do you want to do, then?”

“I kind of just want to be left alone. With books and shit. And Rosetta Stone,” Job says, and clears his throat, to disguise a sob, Steve realizes.

Theory: Mona Faked Her Death and Got It All Caught On Film So She Could Frame Alison

So I’ve heard people say that Mona faked her death or that whoever killed Mona got it caught on film, but what if Mona faked her death and left a video behind to make Alison look guilty? 

Mona starts taking blood from herself when she is still in Radley, in case she ever needs to disappear. Marlene said that Mona’s death was planned for a year and since Mona was unmasked as Original A during junior year it would’ve been last year. We see her prick her finger while she’s still institutionalized: 

*gif not mine - not sure of the original source since it’s be in the theories tag so many times so if it’s yours and you want credit just ask*

She does this for quite some time, taking a little bit of blood from herself each time. Remember in the choir room she passes out. When she does, there is a band-aid on her arm. Perhaps she took a little too much blood that day, which caused her to faint. She tells Hanna it’s no big deal but come on - they wouldn’t have added it if it wasn’t important. 

So, finally Mona decides that it’s time to put her plan into motion. We know Mona was scared of Alison - or at least she told The Liars she was. 

*again, not my gif*

Surely if Mona was going to frame Ali for her “death” she’d want people to be suspicious of Alison, to think Mona was scared about what Ali might do. 

Now, Mona is ready to stage her death scene. Remember, Marlene Instagrammed this picture: 

This doll can also be seen in Mona’s room. Since the caption of Marlene’s pic is ‘I see you’, maybe the doll had a camera in it. More on that later.

Mona then asks one of her anti-Ali army members - who also hates Ali and would love to see her go down for a murder - to put on a blonde wig and a black hoodie and come into her room while she is home alone. 

When they enter, Mona acts shocked. A staged scuffle ensues, in full view of the camera. With the hoodie, the blonde wig and possibly an Alison mask, it would look believable enough to anyone who saw the tape provided the fake Ali doesn’t look right at the camera. Mona and whoever she had dress up as Ali then run out of the room. Downstairs, they stage a crime scene, complete with enough of Mona’s blood for a homicide to be ruled even though there’s no body. 

The video is left for the girls or the police to find. I’m going to go with the girls, since we know Mona apparently left clues for them to find. When they see it, Ali will become the number one suspect in Mona’s murder. Everyone will remember Mona saying she was afraid of Alison and the video will make Ali look pretty guilty.

Now, to make it even more believable, Mona has a mannequin made that looks like a dead version of herself. We know Mona has a thing with dolls: 

She’s also staged deaths before - Alison’s and Toby’s. When she faked Toby’s death, there was some kind of fake body left for Spencer to find, we just never saw the face as Mona distracted Spencer before she could remove the helmet. Perhaps Mona’s skills have simply improved since then and she’s made a bigger and better model, of herself this time? 

We also see -A and/or Mona’s alleged killer replace the Jesus in Emily’s nativity scene with a doll of Mona. Then they put the Jesus doll with Mona’s “body” in the trunk. What does Jesus do? He comes back from the dead! 

People have also pointed out that you can see dark, curly hair peeking out of the hoodie when A takes the baby Jesus. Sounds like how Mona’s hair looks. The “body” is also in a blue car. When we see Mona’s car (don’t remember what ep it is) it’s blue. Mona could use her mannequin to send pictures to the girls or the cops, making them think there is a body without them actually being able to see it in person and realize it’s fake. I also think whoever enters Mona’s house can’t be Alison because upon closer inspection they don’t have the same hair. It’s shorter and straighter. While it’s not exactly right, it would be good enough for the tape - no one would notice that small difference. 

Alison does look shady outside of Mona’s house (and to be honest, I don’t trust Ali as far as I can throw her) but perhaps it’s not because she killed her but because she’s onto Mona. After all, Ali knows what Mona is capable of - Mona helped her fake her death once.  This is Mona we’re talking about - I wouldn’t put an elaborate plan like this past her. She’s extremely smart. 

anonymous asked:

I'm 19 living in Arizona and I've been looking for a home defense weapon, and I've been considering a Taurus snub 38. because my father owned one for years and I liked shooting it at the range, but could I hear your hang ups with the Taurus models before I make any decisions? I don't want to purchase anything I'd regret, so I'm asking you because you know what you're talking about

Yeah, I’m not going to say all Taurus guns are just trash and waiting to break or something, some of them are pretty decent guns. it’s just that I’ve seen so many broken guns of theirs that I can never see myself ever trusting them with my life. 

If you want something you can be confident in, and are dead set on a wheel gun, look at what Ruger and S&W have to offer.

Re: Sailor Moon Crystal Animation

Already getting sick of people posting wonky inbetweens from the first Sailor Moon Crystal episode so they can feel justified in their hate of the style and animation. Woah, congrats, junior, you figured out that between key frames the characters might look funky and off-model. It’s like you figured out the big secret of the universe.

Yes, it’s 2014 as many of you keep pointing out, but it’s also 

  1. Anime. I’m sorry, even now, a lot of anime is not fluid throughout and still relies on still shots to save on money.
  2. Not drawn in a cartoony style, as in despite the fact that it’s heavily stylized, objects and people are still based on how they would look in reality. Go back and watch something like Justice League Unlimited and watch how the characters have to stand around and mostly talk because they’re conserving the budget for the action scenes, just like with most anime. This kind of animation  is already hard to pull off, so add in the fact that
  3. It’s a television show on a television budget. Not even that exactly, as Sailor Moon went straight to the internet and I imagine will be relying on DVD sales in the future too which are not set in stone.

You want Disney or Miyazaki levels of fluidity? It’s not possible with the resources, and even then, go scrubbing through the highest budget animation you can and you will still see funky inbetweens and shots that are unimpressive compared to the rest. This is because to give the illusion of movement, in between the keyframes that you have meticulously drawn and tried to make as beautiful as possible, you have to do some crazy things to make the damn character look like its moving. You have to

  • Exaggerate so that the action will read in the few seconds you are seeing it
  • Draw all those ugly faces that we make in real life when we move and talk and emote but don’t see until someone hits the pause button because otherwise we don’t catch it
  • Literally break joints sometimes, like the elbows and the knees in order to achieve the illusion of fluidity in limbs swinging, that sort of thing, because it doesn’t work out very well if you try to move them 100% realistically. What you will get instead are puppets. And even PUPPETS exaggerate so you can read the action
  • Put things in weird places that you never thought you would do, but it ends up looking ten times better when you’ve sped it up. If your character looks up suddenly, it can be helpful to have the mouth drag behind long after the eyes have reached their destination, making the face stretch before clicking back into place and looking more lifelike and again, EASIER TO READ FOR THE AUDIENCE

Look, you can the on the style all you want, but it’s not an easy style to draw in, and a lot of the criticisms and mockery I see use inbetween stills which immediately gives me the impression that you know shit about animation and that you seldom pay attention when you are watching it. And that you are blinded by nostalgia. I love a lot of animated shows from now and the past, and I promise you, even the best stuff can have some things in there that look to you like crap.

Remember when The Legend of Korra came out and the animation was really impressive but people STILL scrubbed through and found weird faces and stuff like Toph having SIX FINGERS? Yeah people are having a giggle at Usagi having six fingers in the intro for one shot, a shot that’s in motion no less. It’s inevitable, even if you’re a series that’s only twelve episodes. Even FLCL by Gainax which is only SIX episodes and considered one of the best animated anime series of all time has its flukes, and that shit is movie quality. It’s Gainax, a whole ‘nother level than Toei.

Bitch and complain about things like aesthetics, but don’t complain about what are honest mistakes and sometimes purposeful bending of the rules to make a motion look better. It makes you look like an unintelligent jackass. As someone who was training to be an animator once, I can tell you it’s stressful as hell trying to get something to look just right, and at the end of the day, you have to turn it in anyway because this shit has deadlines.

Go animate something that never strays off model and you will get a wooden, dead puppet show like new episodes of the Simpsons. Go animate something that has a deadline and a budget and see how glamorous every one of your frames is, I’m sure it’ll work out great. Go learn how to draw in someone else’s style and see how great your first episode doing it looks. 

Hate the show if you want, even how it looks, but don’t make uneducated claims about the animation because it doesn’t live up to your standards and false perception about how all 2014 anime is glorious and fluid.