Today is the day the revstar girlies and the love live girlies lay down their weapons and turn in to watch chainsaw man, a show with a wildly different genre, for our beloved kusunoki tomori
23 notes
·
View notes
today i love the red metal crane in her long neck arching her body over the boston skyline, which means i am okay for a moment. when i am unwell, everything is a little ugly. i always tell myself look for the beauty but when it is bad, i will look at birds and sunsets and little ducklings and feel absolutely nothing.
when my brother got his puppy, i was in a deep depression. what kind of monster isn't affected by a puppy. i was gentle and kind to her - i just didn't have an emotional reaction. she's five now and i feel like i spend all of our interactions apologizing to her - i don't know why. i just didn't feel anything. how embarrassing. i feel like if i admit that, i'll seem cruel and jaded. it comes in waves. like, two months ago when i went out into the world - it was like that. life behind a pane of stormglass. a firework could go off over your head - nothing. like dead skin, no reaction. not to ice cream or rainbows or baby chickens. life foggy and uninteresting.
i love goslings again. i love their little webbed feet splayed over grass. i love good food and live music and long walks. i like puppies. i feel like some kind of my soul has been starved - i keep staring at everything with wide eyes, trying to burrow the sensation into my stomach. it's real. beauty is real. when it's bad again, remember this. i stop and smell the flowers, feeling cliche in the moment. i like the white-to-red ombre of my neighbor's roses. i like colorcoding and yoga and cold drinks. i try to pass my hands over every moment, feeling like i'm squeezing joy out of every instant. remember this. for the love of god, it's real - just remember this.
1K notes
·
View notes
it’s pretty funny to me that when katara positions herself as the more mature sibling in the pilot, a lot of people just take her claim at face value?? as if every single person in the world doesn’t think that they are infinitely smarter and more mature than their sibling(s). sokka also considers himself smarter and more mature than katara, he just doesn’t vocalize that belief as explicitly. but in truth, they’re both mature and immature. neither katara nor sokka has a monopoly on maturity and competence, or lack thereof. sokka is cynical, condescending, and neurotic, but he’s also selfless, responsible, and loyal. katara is impulsive, naive, and recalcitrant, but she is also brave, resilient, and caring. and they’re both strong, courageous leaders who are brilliant, innovative, and skilled in their respective domains. it’s not a competition.
432 notes
·
View notes
I also think a lot of the Shiori Hate™ comes from her portrayal in Adolescence. Now, while I understand the conclusions that peoole come to based on this, I don't think it's entirely fair to Shiori's character as it doesn't really take into consideration the context of Adolescence and the role that Shiori plays in the narrative.
Adolescence of Utena (regardless of whether you interpret it as a direct sequel, a standalone reimagining, or something in-between) clearly serves as a synopsis of the events of the series, just with details cut-out, changed, or condensed to support the movie's length. For example, the Student Council arc is instead condensed into a single duel with Saionji, as is the Apocalypse arc with Juri.
I would argue that Movie!Shiori, rather than being 100% representative of the real Shiori, is instead meant to serve as a stand-in for the Black Rose Duelists as a collective. The Black Rose Arc in RGU is vital in showing how victims of the system are turned against one another in order to keep them distracted from their real oppressors (this idea is also embodied in the series by Nanami, who is missing from the movie). It also demonstrates several examples of how Ohtori Academy's patriarchal system has fostered unhealthy and toxic relationships between various characters. I believe that Shiori is meant to serve as the embodiment of these themes in Adolescence of Utena, in lieu of the Black Rose Arc.
In Adolescence, Shiori has a very unhealthy and toxic relationship with Juri. She wants to force Juri to be her prince forever, so that she, by extension, can gain power within the system. This is in much the same way that the Black Rose Duelists make their respective student council members into rose brides by forcefully pulling swords from their chests, all in order to gain power and agency within the system. Shiori also plays a major antagonistic role in the movie as she is the one who exposes Anthy as the one who "killed" Akio, and she later attempts to stop Anthy from escaping to the real world (its a big mistake to think you're the only one who can turn into a car). I would argue that this represents how the Black Rose Duelists are convinced by Mikage to kill the Rose Bride, believing that it will solve their problems- which in itself represents how victims of the system are turned against other victims in order to keep them from rising up against the real oppressors. I think that this shows how Shiori's motivations within the movie more closely align with the general motivations of the Black Rose Duelists as a whole, rather than her original motivations within the series (which are worthy of an analysis all on their own).
-
Tl;dr Movie!Shiori shouldn't be taken as a true 1:1 representation of Shiori's character, because she actually represents the entire Black Rose Arc and all its themes as a whole, just in condensed movie format.
240 notes
·
View notes
How I save time on backgrounds as a full-time webcomic artist
Hi! I make webcomics for a living, and I have to be able to draw a panel extremely fast to keep up with my deadlines. I draw about 50 panels a week, which gives me about 45 minutes per panel if I want any semblance of a healthy work-life balance.
Most webtoon artists save time on backgrounds by using 3d models, which works for them and is great! but personally I hate working in 3d... I went to school for it for a year and hated it so much I completely changed career paths and vowed never to do it again! So, this is how I save time without using any 3d, for those of you out there who don't like it either!
This tactic has also saved me money (3d models are expensive) and it has helped me converting my comic from scroll format into page format for print, because I have much more art to work with than what's actually in the panels. (I'll touch on this later)
So, first, I make my backgrounds huge. my default starting size is 10,000 x 10,000 pixels. My panels are 2,500 pixels wide, so my backgrounds are 4x that, minimum. Because of this, I make them less detailed than I could or that you might expect so it doesn't look weird against my character art when I shrink portions of it down.
I personally find it much easier to add in detail than to make "removing" details look natural at smaller sizes, but you might have different preferences than I do.
I also make sure to keep all of my elements on separate layers so that I can easily remove or replace them, I can move them to simulate different camera angles more easily, and it's simple to adjust the lighting to imply different times of day.
Then I can go ahead and copy/paste them into my episodes. I move the background around until it feels like it's properly fitting how I want.
Once I've done that in every panel, I'll go back through the episode and clean up anything that looks weird, and add in solid blacks (for my art style) Here's a quick before and after of what that looks like!
This makes 90% of my backgrounds take me just a few hours. This is my tactic when I'm working in an environment that an entire scene, or multiple scenes, will take place.
But many panels will inevitably have a location that's used exactly once, and it would waste time and effort to draw a massive background for those. So in 10% of cases, I just draw the single panel background in the episode. I save all of these, just in case I can re-use it later (this happens more often with outdoor locations, but I save them all nonetheless!)
I generally have to draw about 2 big backgrounds per episode, and 3-5 single-panel backgrounds per episode! At the beginning of an arc/book the number is higher, but as the series is continuing and I'm building up an asset library of indoor and outdoor elements to re-use for the book, the number generally goes down and I save more time.
My series involves time travel and mysteries, so there's a lot of new locations in it and we're constantly moving around. If I were working on a series that was more consistent in this aspect, this process would save me even more time!
Like I said earlier, this also saves me a lot of pain and gives me a lot more options as I'm converting from scroll format to print format!
panels that look like this in scroll format...
can look like this in print!
because I drew the background like this, so I didn't need to go through the additional effort to add in the extra detail to expand it outwards at all.
Anyways, I hope this helps someone! As always if it doesn't help, just go ahead and disregard. This is what I do and what works for me, and I feel like I only ever see time-saving tips for comics that involve 3d models and workflows, which don't work for me at all! I know there's more people like me out there, so this is for you!
Enjoy!
Also obligatory "my webcomic" if you want to see this in action or check it out!
192 notes
·
View notes