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six-eyed-samurai · 16 days

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Thinking about being such a Demon Slayer fan that you literally have every merchandise possible: posters, figurines, plushies, magnets, haori and even the character's accessories. You've even dyed your hair in (character)'s iconic colour scheme and style.

But that wasn't enough for you, so you decided to go to Japan. Hey, the tourism was good, and if you got to buy and explore more of your favourite anime, bonus!

So you arrive and wander the streets gawking in awe with full shopping bags in your hands, humming Gurenge under your breath. You were so lost in your daydreams you slam into someone - sorry, two people.

Cue your apologies as you scramble to your feet, but a melodic voice interrupts you with assurances that it was alright as two pairs of hands help pick up your fallen items. You look up to see a pair of petite sisters with matching blue-tinged hair and smiles.

"That's a nice hairpin!" Was what the elder and taller of the two called out as they continued to walk past you, and you self consciously raise a hand to the Kocho family butterfly pin in your hair.

You continue your walk downtown, strolling past screens with the world famous Tenma Uzui's face plastered on it as he lifted his latest medal and advertised products. At the toy store you had paused to look into, three youngsters rushed out with their newfound prizes in hand.

"Sabito! Give it back!"

"Hey, you already said we'd swap!"

"Until Makomo said she'd give me hers!"

You glance at them out of the corner of your eye and laugh seeing them fight over the colours of the warding masks. An old man with a red face mask stepped out of the shop shortly after and began to shepherd the trio away.

Seeing the Gashapon machines inside the store, you decide to step in too, but before you could the door flew open and a short, purple-haired man tumbled out. Clearly he had been kicked out but he wasn't taking the hint.

Inside the shop an exasperated but still polite voice echoed. "For the last time, Enmu, that toy train is for display only."

"I'll buy it someday!" Enmu declared cheerfully as if this were a regular occurrence and simply brushed himself off and headed to the direction of the nearest station.

You shrug and quit your side eyeing, venturing inside. The red haired shopkeeper looked up from the counter, his formerly poker face transforming into a bright smile that matched the red sun of his hanafuda earrings. "Hi, are you looking for anything? Tourist?"

Sheepishly you replied and casually asked Yoriichi, as he had introduced himself, for any recommendations on where to eat for lunch.

"Oh, you should try the diner down the road! It's family run - Mrs. Iguro is very sweet and they're very famous for their sakura mochi! My wife Uta and I frequent there, so just tell them I sent you."

That sounded good to you, so you thanked him along with your exchange of tokens, then asked for directions.

"It's right on front of where my brother works, Kibutsuji Enterprises. It's a huge office, you can't possibly miss it."

"Kibutsuji Enterprises...? I think I've heard of them, run by Kagaya Ubuyashiki right?"

"Oh, no, don't get confused, they're rival companies actually. The Ubuyashiki company has a wisteria as its logo."

A little confusing, but alright! You thanked him profusely once again and left, making your way through the busy streets to the diner.

You thanked your lucky stars you got there on one piece, for there was a motorbike zooming and booming through the crowds without a care for law or life just now as you were walking. Thankfully you had jumped back just in time before they could mow you down. From what you could see in the racing blur there appeared to be a green-haired young boy dressed in a crimson shirt with a manic smile on his face and a screaming white-haired girl clutching onto him for dear life driving. You hoped the two scarred faced policemen would catch them - no doubt, actually, seeing as they were both already brandishing guns and chasing after the two with furious speed .

"SHABANA, YOU'RE ABOUT TO GET FINED AGAIN!"

"I DON'T GIVE TWO FXXKS, SHINAZUGAWA!"

"Yeah, that's right, Onii-chan!"

You pass a school bus dropping off a bunch of tiny preschoolers, herded and fretted over by their hulking giant of a teacher. His wooden bead necklace matched yours, clacking together as he urged the kids to stay together. How cute... although such a big man being so kindly was a little unnerving.

"Oh? Want to try our signature Eternal Paradise perfume? We guarantee you'll have anyone falling for you with it!'

You ignore the blonde salesman leaning outside his store. He peered over his rainbow tinted sunglasses to catch you rolling your eyes and with a fake gasp of hurt he grabbed his chest. You snort and continue walking.

Mrs. Iguro was just as welcoming as Yoriichi had promised, although you were rather caught off guard by her bright pink and green hair and the fact she was carrying a whole stack of plates and balancing a baby at the same time.

"Hi!!! Welcome, do take a seat, what can I get you? Obanai's special for today is Western food - oh wait, silly me, you're not from around here, are you? I expect you'd want something local! Coming right up!"

You can't help but be buoyed by her bubbly nature, waiting patiently with a contented grin. You look around the diner and while the snake ornament at the counter catches your eye you find yourself studying the other customers instead.

A pair of identical twin boys eat quietly, with a younger boy with rosy cheeks noisily chatting with them; evidently a playdate of some sort.

"Don't forget, Kotetsu, you're paying because you lost the last shoji match."

"Aw, Tokito, you're such a seaweed head. I'm just a beginner!"

"Brother's a seaweed head, not me."

"HEY! WE LOOK THE SAME!"

You chuckle and your gaze strays to the other table, where a family of three ate their ramen. Their son seemed a little paler than normal and you couldn't help but overhear the mother's worrying.

"Darling Rui, don't eat so fast, you might choke and you just recovered!"

Embarrassed at your eavesdropping you duck your head and look at the other table where a group of rowdy students sit and snack.

"YOSHITERU AGATSUMA, HOW DARE YOU BURP LIKE THAT IN PUBLIC!"

"It was an accident, Toko! I can't control it!" Was the whining answer. "KANATA, DEFEND ME! OW! YOU'RE NOT A REAL FRIEND, KAMADO!"

"UMAI!"

Mrs. Iguro - or Mitsuri, as she had insisted you call her - arrived with towering plates and hell lot of topics to converse about. You happily indulged in their famous udon and her delighted talking while her husband glared at you from the window, although the threat was rather marred by the fact he was feeding a toddler at the same time.

You learnt Mitsuri - so cool! Her name was the exact one as the Love Pillar from the series! - had five kids (your head was still spinning over the fact) and that her hair had turned out that way from eating too much sakura mochi, which made you wonder what was happening to you after eating so much (favourite food) over the years.

After your meal you repeatedly thank Mitsuri for her meal and longingly promise to stop by again you leave for the last place on your agenda, Gyokko Art Studio.

The exhibitions mainly displayed brightly painted vases and scupltures; you had a lot of fun taking selfies with the gigantic koi fish statue and the one of a dozen blacksmiths forging swords. The studio also doubled as a pottery school, and when you enter you had immediately spotted the five rowdy teenage boys who were now arguing over a kiln and a broken vase at the back.

"KARAKU, YOU BROKE IT!"

"Hey, Sekido, chill! Zohakuten pushed me!"

"SHUT IT, WHY ARE YOU ALWAYS BLAMING ME? IS IT BECAUSE I'M THE YOUNGEST? AGEIST!

"Guys...quiet down....granddad is sleeping upstairs...."

"Nah, Aizetsu, I wanna see what happens!"

"Enough! All of you just clean that mess up! We have visitors! Your grandfather and I may be friends but I will never know what went wrong when he was raising all of you!"

Out of the back appeared the most flashy man you had ever met, eye catching with his coiffed purple hair and thick makeup, his scale tattoos catching your eye as he shooed the arguing brothers away. Eyes outlined with clashing green and red turned to you and he held out a stained hand. "Managi at your service! I run this humble store and I deeply apologize for the boys. Honestly, the Hantengu brothers are absolute menaces and I speak knowing the Shabana siblings."

Managi gave you a quick private tour of his studio, his arrogant but dramatic way of speech amusing you greatly, especially when he complained about a pair of twins who came in on the weekends, his two workers, children...well, Managi had an opinion on everything.

"Those Tokito whippersnappers have no appreciation for art! The only reason I haven't shooed them out with clay gluing their ill-mannered mouths shut is because their mother is a regular of mine."

"Haganezuka! Absolute concentration in what he does and a prodigy in vase making, but he is absolutely terrible with customer service! I usually leave that to Kanamori but we waste more time preventing Haganezuka from attacking customers than actually selling.

It was definitely a trip you'd like to remember, so you bought a small cup that had caught your eye and waved goodbye to Managi as you left for your final destination, your hotel.

You decide to take the longer way round to enjoy the picturesque walk beneath the sakura trees. Stopping to admire the pink fall you suddenly realize there's a couple beside you taking photos. Embarrassed that you might be unintentionally photo bombing, you move away, but a tap on your shoulder spins you back around.

"Hi, excuse me! Do you mind taking a picture of Hakuji and I? We tried taking a selfie but haha, the shot didn't cover the trees."

You oblige, secretly delighting in observing the young but loving couple interact with each other - especially when the punk-looking, tattoo-covered Hakuji was holding her so gently like that. You take their photo and after their grateful thanks you resumed making your way back.

Upon arriving at the lobby you were annoyed to say the least to find yourself stuck behind an irritatingly loud young man arguing with the poor receptionist. Of course, you couldn't actually see the receptionist's - Nakime, on her name tag, and that sounded rather familiar - face due to her long bangs but anyone would honestly be irritated with how obnoxiously he was talking.

"Sir, I have explained to you already, your booking was cancelled because you were late with your payment-"

"Oh come on, woman, it was just a day late!"

"You too are very late with your excuses."

The tall, tuxedoed man from the sofa had gotten up and was now towering over the younger man after politely excusing himself for getting in your way. "Miss, look for a room registered under Kokushibo. I suspected my fool of a secretary Kaigaku would make yet another mistake."

"HEY, LISTEN HERE, OLD MAN-"

"Kaigaku, I really don't have time for this, my wife is going to be back soon from taking the kids to the zoo. Thank you, miss, and excuse us."

"That guy was irritating you, wasn't he?" You remarked, accidentally blurting out your thoughts. "I mean, I wasn't eavesdropping!"

The receptionist smiled faintly. "Don't worry, I'm used to him. Your name?"

And it was only when you flopped down on your hotel bed and stared at the ceiling did it occur to you that a lot of people had seemed very familiar to you today.

Perhaps fiction and reality weren't that far apart after all.

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starwarsultimateseriesproject · 2 months

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star wars the phantom revenge

star wars the phantom revenge the original video animation aka ova.

rated t.

summary story: Anakin Skywalker & his temple security force guard aka his Skywalker force team to search for the red doubled bladed lightsaber wielder at the jungle of naboo, he is confuse that name is Darth Maul is behind this letter to him after he got the note by someone to meet someone at the jungle of naboo, he do remember he sense Darth Maul is back to life from the dead, he order his troops to keep searching for someone, but he heard his troops scream & yell from the abandoned building, so he rush to the abandoned building as he was stock to see his squads found dead, then he see the dark hooked figure who turn on his red doubled bladed lightsaber who reveal to be Darth Maul, so Darth Maul mock him as qui gon jinn's only padawan after he kill qui gon jinn at naboo in long time ago, Darth Maul tell Anakin Skywalker to released his anger to fight him to avenge his fallen master, Anakin Skywalker never forget for what Darth Maul done to his master, he has no choices to only to fight Darth Maul alone, well he defeat Darth Maul by let go of his anger or well he will gain anger to kill Darth Maul after mock his master's death.

"Star Wars: The Phantom Revenge" is a thrilling original video animation (OVA) that follows Anakin Skywalker and his Skywalker Force team on a mission to the jungle of Naboo. When Anakin receives a mysterious note summoning him to the jungle, he senses the presence of Darth Maul, the Sith Lord he believed to be dead.

As Anakin and his team search the jungle, they encounter eerie happenings and eventually stumble upon an abandoned building where their fellow guards lie dead. Suddenly, Darth Maul emerges, brandishing his signature red double-bladed lightsaber. He taunts Anakin, reminding him of their past encounter and the death of Anakin's mentor, Qui-Gon Jinn.

Anakin, fueled by rage and a desire for revenge, confronts Darth Maul in a fierce battle. As the two adversaries clash, Anakin grapples with his emotions, torn between his duty as a Jedi and his desire for vengeance.

"Star Wars: The Phantom Revenge" delves into themes of anger, redemption, and the consequences of giving in to dark impulses. Will Anakin be able to overcome his anger and defeat Darth Maul, or will he succumb to the lure of revenge and risk falling to the dark side? The OVA promises intense action, emotional depth, and a gripping showdown between two iconic characters.

#star wars #star wars art #star wars fanart #anakin skywalker #darth maul #qui gon jinn

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ikebanaka · 3 months

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Saw someone emphatically pro Israel in the One Piece tag, with a bunch of strawhat icons, and it caught me so off guard because I'm so used to seeing One Piece fans with braindead takes everywhere but tumblr. Like, usually if a One Piece fan doesn't have basic media analysis or critical thinking skills, they have the decency to be on crunchyroll or YouTube or reddit, not in my fucking house, brandishing a rabid raccoon that is so so docile because it let them pick it up, no really, why don't you want it in your house you animal hater-

#tell me you can't recognize evil if it's not cartoonish and fictional without outright saying so #i don't know how to get through to people like this so i have to settle for mocking them instead of helping them #in hopes less decided people will see it and understand they're not to be emulated #one piece #israel

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beingharsh · 10 months

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At any rate, this pure formal redundancy of the signifier could not even be conceptualized if it did not have its own substance of expression, for which we must find a name: faciality. Not only is language always accompanied by faciality traits, but the face crystallizes all redundancies, it emits and receives, releases and recaptures signifying signs. It is a whole body unto itself: it is like the body of the center of signifiance to which all of the deterritorialized signs affix themselves, and it marks the limit of their deterritorialization. The voice emanates from the face; that is why, however fundamentally important the writing machine is in the imperial bureaucracy, what is written retains an oral or nonbook character. The face is the Icon proper to the signifying regime, the reterritorialization internal to the system. The signifier reterritorializes on the face. The face is what gives the signifier substance; it is what fuels interpretation, and it is what changes, changes traits, when interpretation reimparts signifier to its substance. Look, his expression changed. The signifier is always facialized. Faciality reigns materially over that whole constellation of signifiances and interpretations (psychologists have written extensively on the baby’s relations to the mother’s face, and sociologists on the role of the face in mass media and advertising). The despot-god has never hidden his face, far from it: he makes himself one, or even several. The mask does not hide the face, it is the face. The priest administers the face of the god. With the despot, everything is public, and everything that is public is so by virtue of the face. Lies and deception may be a fundamental part of the signifying regime, but secrecy is not. Conversely, when the face is effaced, when the faciality traits disappear, we can be sure that we have entered another regime, other zones infinitely muter and more imperceptible where subterranean becomings-animal occur, becomings-molecular, nocturnal deterritorializations over-spilling the limits of the signifying system. The despot or god brandishes the solar face that is his entire body, as the body of the signifier. He looked at me queerly, he knitted his brow, what did I do to make him change expression? I have her picture in front of me, it’s as if she were watching me … Surveillance by the face, as Strindberg said. Overcoding by the signifier, irradiation in all directions, unlocalized omnipresence.

"587 BC-AD 70: On Several Regimes of Signs", Gilles Deleuze and Félix Guattari, A Thousand Plateaus

#a thousand plateaus #gilles deleuze #felix guattari #words

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cornbread-but-art · 2 years

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"Megalomaniac" - Glitchtale Screenshot Redraw

i've actually done this screenshot twice before, but it was on another platform, and i haven't been bothered to archive PNGs of them here.

regardless, the lump on chara's shirt is from the heart locket which i like to include in these, despite chara probably not wearing it in the megalomaniac timeline. i decided to drawn them wearing it under their shirt this time as a nod to them doing that in the current timeline.

also, the save star not having a reflection is intentional.

[ID: redraw of a screenshot from camila cuevas's "megalomaniac" undertale animation, specifically the part where chara takes over the fight against sans. they stand in the middle of the judgement hall, brandishing their knife and wearing a grin. their shadow does the same, though it is exaggerated, and more in line with the iconic "lines-for-eyes" grin with circles representing chara's cheeks. it glows red. chara is wearing their heart locket under their shirt, and it forms a noticable lump. chara's scleras are black, and their pupils glow red.

the judgment hall in the background is in grayscale, while chara is not. the pillars, windows, and chara themself have reflections on the tile floor, while the save star, notably, does not.

the second image is the same as the first, but zoomed in to show the detail on chara, since they are very visually noisy when zoomed out. end ID]

#screenshot redraw #glitchtale #chara dreemurr #judgement hall #weapons tw #knife tw

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drew-mga2022mi6021 · 28 days

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Screenwriting | "Good" Dialogue

An Example of Bad Writing - Gyro Zepelli, JJBA: Steel Ball Run

One thing that I feel that my film is lacking is realistic dialogue in my scenes. As of now, when I say it out loud, everything sounds clunky and awkward. To rectify this, I did some research on writing dialogue for animation. Surprisingly, not all realistic dialogue is good, and not all good dialogue is realistic. Take for example Samuel L. Jackson's character from Pulp Fiction. He says many raucous, iconic lines that are quoted to this day, but are they necessarily lines that someone would say in real life? No. But it is still good dialogue. Why is that?

In my research, I found a few key principles that good dialogue adheres to. One thing to keep in mind is the purpose of the dialogue. What does this person want in this scene? How would their wording reflect their wants? If everyone sounded the same on a screenplay, there would be no unique auditory identity to these characters. Thus, one must create this based on several factors such as culture, personality, upbringing, and so on. An important aspect of this is a "filter". For example, if a generally happy character feels depressed, they are not going to outright say what they are feeling. Instead, they would continue speaking the way that they would normally, but other cues would give away the fact that they aren't good (body language, cynicism, etc).

This is why the infamously terrible dialogue in Star Wars: The Attack of the Clones is so bad. Anakin constantly just outright states how he is feeling, in an incredibly wooden and unnatural way. In this movie, information is exposited to the audience heavily through dialogue, and it doesn't work because it simply doesn't sound like the characters are actually talking to each other. Instead, it feels as though the characters are talking to the audience, which breaks the suspension of disbelief. Good dialogue fits information into the scene naturally. For example, take Marty and Jennifer's first interaction in Back to the Future. In very few lines, we get a sense for both of their personalities, their relationship with one another, and what is going to follow in the next scene. Good dialogue is always multifaceted, which is to say it serves many purposes in a given scene and the grander story.

On the topic of exposition, a franchise that does this right is John Wick. In the movie, Viggo educates his son as to who John Wick is, and thus opens the door for exposition. This scene works because we see aspects of Viggo's personality come through, and because he is educating his son about this person named John Wick. Both the audience and the characters are learning new and useful information. This also subverts the pitfall of boring dialogue. If Viggo was just telling this to any other character who knew who John Wick was, the scene would be less impactful, but it is because the dialogue here collides with the plot that it works.

A principle that is practiced in improv acting that works for creating good dialogue is the "yes, and..." framework. This dictates that good dialogue should seldom reveal just one piece of information. The "and..." part of the framework makes audiences more engaged as bits of information are revealed over time. This is not to say that every sentence in one's film needs to drop a large bombshell that changes everything, more so that sentences that serve more than one purpose are generally more effective than straight, direct interactions.

Cycling back to Pulp Fiction, one key element of the dialogue in this film is its interesting and unexpected nature. In real life, no one would quote the bible right as they brandished their weapons and shot a person in the head. However, it works in this film because it is not something typical. This also does not come out of nowhere. By this point, audiences are conditioned to expect this kind of behaviour from Jackson's character. Another great example of this is the seemingly random tangent about rats in the opening scene of Inglorious Bastards, which soon comes full circle as the audience realises that the Jews of World War II are being likened to rats.

While this works in some cases, overuse of this principle is detrimental to others. Once again, a film guilty of this is Attack of the Clones. Anakin Skywalker often says things that are far too flowery and poetic than they have any right to be. While the lines sound nice on paper, the audience can never buy that Anakin is saying these things. These long monologues actively hurt the characterisation of the character and thus, leave audiences less engaged.

Finally, one of the last ingredients that I found to writing good dialogue is surprisingly one that is not practiced very often. In the Pirates of the Caribbean series, there are several lines that are deemed iconic by fans of the series, most of all the infamous "Why is the rum gone?" and "You will always remember this as the day you almost caught Captain Jack Sparrow" lines. But why? These bits of dialogue aren't particularly special or unique, but they are instantly quotable.

Surprisingly, it is because the characters in the movie treat these lines as quotes themselves. These come in short bursts, often within scenes of each other. The line is said in one scene, a short while later it is requoted in another scene in another context and a little later that is varied upon in another scene in another context.

eg;- "You will always remember this as the day you almost caught Captain Jack Sparrow" -> "You will always remember this as the day that Captain Jack Sparrow almost escaped."

This helps the lines stay in the minds of the audience just a touch longer, due to the nature of it being repeated. Another film that does this well is Terminator 2, with the iconic "Hasta la vista, baby." line being used twice in the film in wildly different circumstances. There are many other principles of good dialogue, but these were some of the more applicable ones to my animation that I managed to extrapolate from other films.

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