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itsytinyspiders · 5 months

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(Part 13)

And the comedic duo is back!

(Poor Watson, getting dragged into Sherlock’s mess…)

We love a woman who girlbosses her way into snagging two manservants by letting them burn her house down.

The “Miss” versus “Mrs.” argument is definitely both of these characters’ most catfight moment. Irene is just integrating herself into Sherlock’s circle by getting on everyone’s nerves and Miss Hudson has the misfortune of needing to act the part of the adult in the Sherlock crew.

(Also poor Watson, who gets literally walked on by both of them as they go look for clothes for Irene.)

I must make a confession – my Japanese is not very good and I didn’t watch using English subtitles. I get the gist of most scenes, but sometimes, like in this scene, I have no idea what’s going on. It doesn’t help that the previous scene was of Irene dragging Sherlock to go shopping with her, so I can’t tell if we’re concluding the Baskerville arc or if we’re jumping into the Morigang’s part in the Irene arc.

Looks like we’re doing both!

I love how encouraged Fred is by William’s words, especially since he usually seems more emotionless. And Moran patting Fred on the head! Give that boy all the love and encouragement he deserves it.

(I say as I watch Moran and Fred fight like children.)

Carrying him over your shoulder might be a bit much though, Moran.

At least the Moriarthree find it funny.

Back to A Scandal in the British Empire, Albert finally reveals his new assignment. Seeing the three of them in solidarity like this is always heartwarming.

That said, I was not expecting a literal flashback of William and Louis as children after Albert reaffirms that the THREE of them are James Moriarty. It’s also gone in a flash, so I’m a bit confused on why they chose to show this.

Back to the Irene show!

Irene teasing Sherlock about Miss Hudson is so funny when you consider that Sherlock most definitely does not swing that way. (That said, heteronormativity. What can you do? I do find it sweet that Miss Hudson and Sherlock are clearly found family and that they have each other’s back, even when the other isn’t there.)

While the reason Irene is still wearing Miss Hudson's dress is due to theatre production constraints, I want to think of it as her showing her appreciation for Miss Hudson's kindness.

One of the things I like about Yuumori is that they really show how noble privilege permeates in all spheres of society. Personally, I would have thought that nobility would be involved in the theatre world only through sponsorship or viewership. Performing in theatre seemed like something nobles would look down on, if it’s done by another noble. So, I was surprised when nepotism of the noble variety was brought up as an issue in this scene.

They made “Irene jumping into the water to save Kate” into an action scene. Well, to be exact, they made “Sherlock throws a buoy towards Irene” into an action scene. I do love the visual effects and the moving staircases, which bring Irene and Kate into and out of view as needed.

Oh! Another girl comes in to help Kate. That’s surprising (and if I’m not mistaken, it’s the actress who played Michelle Burton earlier).

At least in the stage play, Kate has someone who might be on her side.

What I love about this iteration of Irene Adler is how much she cares about uplifting the people around her and especially her juniors. It makes sense to give her this motivation since Yuumori is all about destroying the old hierarchy to allow everyone an equal chance of happiness, but a good idea is nothing without good execution. And the reveal of Irene<s character was done very well.

Not only does Irene not hesitate to jump into the water after Kate, despite the fact that her dress may end up being more of a hindrance given its weight, but she also takes the time afterwards to do three things. One, reassure Kate that her dress is far less important than saving Kate’s life. Two, warn Kate about the potential dangers and pitfalls she will encounter if she decides to pursue her dream. Three, encourage Kate by telling her that Irene cannot wait to see her shine on the big stage.

Show, don’t tell.

Sherlock also gets a characterization moment here, as he shares his own experiences. Honestly, I completely forgot that he mentions his university days to Irene (maybe it was cut out of the anime?). It’s nice to see these two people who have been trying to get the upper hand on each other until now commiserate over shared experiences. I think this is the first time either of them actually saw the other person.

A wild Albert appears!

The invitation to the masquerade has been received and the stage is set.

#morisute case 1 #moriarty the patriot #yuukoku no moriarty #a scandal in the british empire #morisute reaction

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lunataurora · 3 years

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Wait crybaby got everything wrong? It's the only devilman media I've interacted with, and I only watched it bc an animator I like worked on it. And even now I feel like vomiting when I think about it bc it just fucked me up dude. The whole thing felt like the sole purpose was to shock the audience with emotional, psychological, physical, and sexual violence D:

👉👈🥺 what is...the good devilman media?

wwjhd aaaaa oh man im so sorry you had to experience all that!! i know how you feel!! it was so awful and gut wrenching i had to stop watching 😖

im really particular abt what the best version of devilman is, there's quite a lot of iterations out there with varying amounts of gore and genuine awfulness

imo The Best form to consume devilman is the original manga(from the 70s),

im not even completely sure what to say, its basically one of the best horror mangas ive ever read, features two girlbosses, its got a few accidentally really funny scenes, honestly it plays with emotions really well, there are scenes that are intended to shock you but i feel like theyre handled really well as dramatic plot points, like i think reading this was the first time i felt so much connection and dread thru any media that i could feel my entire heart drop in reaction to only a single panel. the gore isn't intensely graphic overall, there are a few scenes I'd consider fairly grotesque, but this is from memory so im not sure how accurate i am abt that..... tw for child death, body horror, im not sure if they did this in crybaby too but there's mild transphobia due to assigning certain genitalia to sexual orientation(tho i recently found out that was go nagai's only choice in order to get past censorship and include a gay character,,, so 🙄 idk. i think he did what he had to and what he had to do wasnt alright), tw for animal death, like brutal depiction of dead animals near the beginning, there's lots of nudity, lots of boobs... sorry its been a while, my tw list probably isnt as precise as I'd like it to be, but from my memory there's no sexual assault whatsoever, barely any direct references to having sex either(unlike crybaby)

and i gotta warn you about a version called "the classic collection" for the manga. its supposed to be 2 large books that feature the compiled full story, but wow i regret having purchased these at all go nagai added some really disgusting things(sexual assault, short comic literally depicting sympathy towards hitler[specifically a guy gets abused by a demon and a woman he loves is killed and the comic does a whole "and that man that u just sympathized with... that was hitler" like.... okay actually i am going to attack go nagai to death] like he did this short series abt real terrible people in history where the "reason" they were so villainous was "actually bc of demons uwu". AWFULLL.) like! be careful not to purchase these and then take too long to read them to get to these weird hyper fucked up additions placed randomly within the books and become unable to return them ;_;

and then there's the 2 ova's from 1987-1990, called Devilman: The Birth, and Devilman: The Demon Bird

these two are usually paired together, you can find them uploaded on youtube every once in a while, the dub is. well in a technical sense it should be considered awful but i personally think the ridiculousness and constant unnecessary swearing really fits. its considered the best anime adaptation but there's only 2 episodes, theyre long enough to cover a chapter each but.... man if only they finished. i should also warn there's some heavy violence in these. like its not *as* bad as other iterations of devilman but like.... its worse than the manga by far, and there's one second of violence that always makes me flinch in the first ova. (theres quite a bit of guts in these i think... but the 2nd ova is much worse on the gore in one rlly long scene)

i dont rlly like the second movie as much... its just kinda meh for me.. except to see and hear sirene... literally her voice actor did such a good job im so gay (dont worry abt sexual assault in the ova's either, sirene is safe from that kind of depiction)

but basically! i say read the original manga, and if u want more(and rlly want to laugh) watch at least the first ova, then the 2nd if u want. but i beg you not to purchase anything new literally please dont support this disgusting author in any way

#i always feel so conflicted abt even talking abt devilman sometimes..#like the original manga devilman is objectively good but literally i wouldnt think twice about running go nagai over with a car #like dont ever look into his other works he's made beyond the first devilman manga series. dont look at anything else it will only hurt you #i got those nasty copies of the 'classic collection' and yknow what i had a lot of fun defacing that book and removing those pages.#someday I'll get started on collecting those individual manga preused...#like the weirdest part abt go nagai making a sympathy piece with hitler is like... ok this fucker misunderstood his own fucking book #like. theres scenes of characters listening to hearsay that ppl are 'evil' and hating and attacking them with no basis and we know the #characters are innocent. so its all pointless. but. still. go nagai chooses to forgo something he himself was against at one point #hatred against go nagai. go back to being a decent person or else go nagai #devilman #asks #noize-machine #hitler ment #EDITED BC I FORGOT THE READMORE

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love-takes-work · 4 years

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The Art of Steven Universe the Movie: Outline & Review

The Art of Steven Universe The Movie was released March 3, 2020. It's a wonderful journey through the concept art, character development, and experience of fashioning these ideas into the movie we all love.

Nuts and bolts: The book is published by Dark Horse, and it was designed by Ryan Sands (a zine specialist), with commentary by Takafumi Hori, Kat Morris, and Rebecca Sugar. It includes art by Rebecca Sugar, Kat Morris, Takafumi Hori, Alonso Ramirez Ramos, Angie Wang, Ashley Fisher, Becky Dreistadt, Chromosphere, Danny Cragg, Elle Michalka, Hilary Florido, Ian Jones-Quartey, Jasmin Lai, Jeff Liu, Joe Johnston, Julian De Perio, Katie Mitroff, Leonard Hung, Miki Brewster, Patrick Bryson, and Paul Villeco.

Full review below with low-quality images.

[SU Book and Comic Reviews]

An introduction explains the same origin story that Rebecca Sugar told us in the movie DVD's commentary: that she accidentally restored her phone to factory settings and lost years of important stuff, and she ended up applying that devastating premise to her movie. That combined with the concept of "breaking" the main premise of a TV show to make a movie was how she got started developing the story. The opening of the movie styled like a storybook is blocked out with some great drawings and breakdowns of which narration would go to what storybook pages. This is combined with some partial sheet music for "The Tale of Steven." Rebecca writes about how she felt having to wrap pre-production on Season 5 only to take on this even bigger movie challenge. The biggest challenge was writing all these songs in such a short time--six weeks--and having to deal with the stress, being crushed under all that pressure while still wanting to do this story so badly, and it was humbling to still have to work so hard to sell the idea. The feeling of relief to finally be done that Steven expresses in "Happily Ever After" is very similar to what Rebecca went through feeling like she wanted to be finally done but still knowing what she had to do to climb an even bigger mountain. Some very cute Steven-at-age-16 and Connie in Space Camp clothes follow. Notes indicate that Steven and Connie are the same height now, but his poofy hair is just slightly higher than her head.

Notes from 2017 also give us the "Neckstravaganza": design notes on Steven's new form, with a neck and a jacket. It's very cool.

Some beautiful Joe Johnston boards follow, with sequences from the "Happily Ever After" song. We also get Angie Wang's final design (with Ashley Fisher's color) of the injector, including some sketchy concept art for it from Rebecca Sugar and Hilary Florido. In the rough concept notes, they call this the "Mega Injector," with notes for Takafumi Hori to use for scale. It looks beyond huge in a Leonard Hung drawing.

Spinel concepts are next. Some notes explain that aivi & surasshu (the usual composers) were involved very early since it was a musical, and Rebecca included them when pitching the story to the Crew so they could organically develop the sound. The heart shape was central to Spinel from the beginning, and early versions of her had an entire heart shape to her head.

(There's a doodle of what looks like a cartoon dog in the pile of drawings shown in this section. It's not clear what that was.)

Spinel was given the heart imagery partly because Rebecca had learned early on about the importance of symbols, and when it came time to assign one to Steven, the star was chosen because it's so positive and is read as gender-neutral. Rebecca still hadn't used hearts for anything, so it was time. They also incorporated really old, dated character design ideas to make Spinel feel like an outdated cartoon from the rubber hose era.

The aspect of her design with the running mascara versus cute eyelashes predated the rotation of her Gem. Rebecca likes to start with more realistic sketches when she's figuring out a character, and then she'll move to making it more cartoony. A quote from Miki Brewster is shared: "Spinel can do anything, as long as it's entertaining!" Her "best friend" form is described as "a doll for friendship fun & games! Of a different era--hokey, charming, weird...super gullible and trusting. Incredibly loyal, constant entertainment machine!"

When it comes to developing her "worst enemy" form, Rebecca explains a bit that she has a really complicated relationship with old cartoons because nostalgia is not compelling to her--the animation from the 1930s is so neat, but considering the social limits and the way the industry was at the time, Rebecca doesn't think she could have participated. Especially considering nowadays she even had to struggle to be allowed to tell the stories she needed to tell and it would have been impossible five years ago. The norms of the time aren't entirely extricable from the art itself.

Takafumi Hori weighs in with commentary on how fun it was to animate a scary but fun character on top of Miki Brewster's boards for the "Other Friends" fight sequence.

Next, moving on from the central new character, they also spend some time discussing Steg. Rebecca first explains "Steg Multiverse" as a character so uplifting he can make you fly, combining Greg's unending support and Steven's positive power. She makes reference to the early "stegosaurus" concepts they had for his look, but they didn't want to lose the opportunity to have his hair flow. Rebecca confirms that the pompadour idea was established in "Steven and the Stevens" so they wanted to give it to Steg, and she credits Paul Villeco for really finalizing his design and bringing him to life.

And of course the poofy hair from Steven and the double-necked guitar was essential for Steg.

Next, the book gives us a whole page of handwritten notes about "Drift Away." Kat Morris explains the intentional duality of the scene--how Spinel should be shown seeing her own past with new perspective, being embarrassed, blending together who she was with who she is. The partial lyrics to the song and some sketchy boards are offered.

Rebecca shares her personal connection with the subject matter--how she once left a stuffed animal in her garden and the side facing the sun faded. It really made a mark on her as a child that things changed without her, because of her actions, and that she'd left this treasured toy alone without thinking about it all that time, letting it be affected by the elements without her interference. She wrote "Everything Stays" for Adventure Time based on that plushie, and realized that she was writing about it again for the Steven Universe movie.

Many beautiful miniature boards are shown in this section.

Partial sheet music for "Drift Away" is also offered here. It's credited to Rebecca Sugar and Aimee Mann. The music sheet is followed by some lovely images of the garden by Julian De Perio, Patrick Bryson, and Leonard Hung.

Takafumi Hori returns for a discussion of the final fight sequence during "Change," which he animated from Jeff Liu's boards. He discusses trying to keep the fight feeling dramatic and serious even though Spinel's fighting style is funny. He wanted to keep her tension. Hori-san throws in a word of thanks for being allowed to work on his favorite show again, praises Jeff and Miki, and compliments Rebecca Sugar's demos. He hoped we'd get a soundtrack album. (Of course, we did.)

Some final boards by Rebecca Sugar and Becky Dreistadt of the characters in their show gear descending the steps close out the book. There are also some cute little doodles at the end on the credits page, like a head of lettuce with caption "lettuce adore you" and Spinel in a drifting go-kart laughing, captioned "drift away."

The back cover pictures Steven with his arm around a heartbroken Spinel, comforting her.

Overall, the book is wonderful--the accompanying information is generally not new to anyone who watched the DVD's documentary and commentary, and many of the sketches have been released one way or another directly by the artists through Instagram, Twitter, or Tumblr blogs. There was still plenty of wonderful new concept art that wasn't already out there, and looking at some of the iterations Spinel and Steg went through was particularly captivating. There was no new insight into the development of the plot beyond the premise and the Spinel-related conflict, though; nothing about how they decided to focus the Garnet storyline, the Pearl storyline, and the Amethyst storyline for how they would each get their memories back, and there was no spotlight on their movie versions--modern Cotton Candy Garnet, copycat baby Amethyst, and factory settings uncustomized Pearl. I was hoping especially for some Amethyst stuff because the movie was the first place we got to see her with the simple default outfit and segmented limbs. It was primarily an art book with commentary on some of the most definitive movie aspects--it didn't reach the depth that Art and Origins gave us. It has a start-to-finish feeling in a sense, but it's mostly just splashes of information that are fun to know. It's a great companion and definitely should not be missed by any fan of the movie. I recommend it heartily!

[SU Book and Comic Reviews]

#steven universe #steven universe the movie #the art of steven universe the movie #movie art book #myblog

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