Draw your characters like this

Junko: Mukuro Ikusaba. You mean, my sister. Makoto: Your sister? Junko: That's what I said. Makoto: But you have different last names. Junko: Well, momma had an active social life.

Source: Rango (2011)

Bloodbender Katara strangling Azula: Do what he says or by all the fires of Koh's lair, I'll squeeze those pretty golden eyes out of your skull. Long Feng: Now, hold on Katara, there's no need to- Katara: Let me do my job! You brought me here now we're gonna play this thing out to the end! Do what he says, Azula! Azula: Go to hell. Katara: Where do you think bloodbenders come from? Look into my eyes. I wanna see you die.

Niall: Go to hell!

Louis: Where do you think I come from?

Raph, to Karai: Go to hell!

Donnie: Where do you think she came from?

Kovit: I couldn't help but notice you noticing me noticing you. 

I'm frying every single one of my brain cells on this yeehaw fic and I'm only at chapter seven omg there is so much to do I don't even know how I'll finish it before next year

Aaaaaaand here it is

[Captions are provided!]

Inspired by @thekoopalingsandstuffs (and their side blogs ( @koopakidsandwhatnot and @spontaneouskoopalingblog ) as well as @maggie4thewin with all of their own voice posts for their aus!

Intro song: If I Had You (Adam Lambert)

More under the cut!

Voices:

Ludwig: Bandit (Bluey)

Wendy: Cosmo (Sonic X)

Roy: Bully (The Adventures of Super Mario Bros 3/ Super Mario World)

Morton: Wakko (Animaniacs)

Iggy: Yakko (Animaniacs)

Lemmy: Bluey (Bluey)

Larry: Bingo (Bluey)

Toadstool: Peach (Super Mario Bros Movie)

Bully: Angel Dust (Hazbin Hotel)

Kootie Pie: Baroness von Bon Bon (The Cuphead Show)

Big Mouth: Big Mouth (The Adventures of Super Mario Bros 3/ Super Mario World)

Kooky: Dexter (Dexter's Laboratory)

Cheatsy: Cheatsy (The Adventures of Super Mario Bros 3/ Super Mario World)

Hip: Pinkie Pie (My Little Pony: Friendship is Magic)

Hop: Fluttershy (My Little Pony: Friendship is Magic)

Topper: Cuphead (The Cuphead Show)

Hariet: Dot (Animaniacs)

Spewart: Mugman (The Cuphead Show)

Rango: Sterling Wright (Hell's Kitchen S13)

Hopus: Sody Pop (Chikn Nuggit)

Willow: Chikn Nuggit (Chikn Nuggit)

Peasley: Jack Skellington (The Nightmare Before Christmas)

Boom Boom: Shredder-Michelangelo (Teenage Mutant Ninja Turtles 1987)

Dieter: Tails (Sonic X)

Kaley: Himiko Toga (My Hero Academia/ Boku no Hero Academia)

Beef: Joseph Tinnelly (Hell's Kitchen S6)

Video Sources:

Bluey, Bingo, and Bandit

Cosmo

Bully

Wakko

Yakko

Peach

Angel Dust

Baroness von Bon Bon

Big Mouth

Dexter

Cheatsy

Fluttershy and Pinkie Pie

Cuphead and Mugman

Dot

Sterling

Chikn Nuggit and Sody Pop

Jack Skellington

Shredder

Tails

Toga

He can speak for himself, he knows who he is

☀️What your favorite parent from the Sun and Moon anime says about you🌙

CW: SUGGESTIVE JOKES AHEAD. THIS IS ALL MADE IN THE SPIRIT OF FUN AND IS IN NO WAY THERE TO MAKE JABS AT OTHERS.

Kukui: There is a 70% chance that you are a gay man, and I mean this not out of a place of judgement, but experience with the fans. The cause tends to differ between his game and anime incarnations, but, in the latter's case, not only are you happy about his character being developed there, but also are happy to see Ash having that father figure he craved so badly.

Burnet: You've probably popped the BIGGEST bottles when you've recognized her all the way back from Dream Radar, and have managed to get even bigger bottles when she and Kukui got married. Honestly, most of the Burnet fans I saw were real chill people. So long as you're not one of those Gen 5 fans, I have no mean words. The chillest group.

Guzma: Oh, hello, LGBTQ+ community. Either that, or you relate to him and Team Skull on levels that may be deemed as unhealthy. You're a bit on the feral side; chaotic gremlins who will not only listen to whatever combination between Breakcore and Metal there is, but would also make it your neighbors' problem. You understand the pressure of having to succeed in life and inevitably breaking under it, only to receive no compassion nor any form of apology from your elders. Also, def neurodivergent.

Plumeria: Two possibilities; either you're definitely a lesbian and/or trans gal, or are a hardcore Guzmeria shipper- though, it is more than likely that you're both. You love a good ol' girlboss who is not necessarily a villain; someone who was hardened up by experience, but is still, at the day's end, a human. Either you were the one who needed protecting back in the day, or were that protector; either way, you, too, deserved better in life.

Lusamine: Just like Professor Kukui, the reason as to why she's your favorite depends HEAVILY on which Lusamine from which canon we're talking about. Maybe you like the overzealous Lusamine who is presented as a person with actual flaws that hurt everyone around her - including herself - without her knowledge. Maybe you like the prospect of a morally ambiguous Lusamine who is ready to do everything for "the greater good" even at the cost of hurting others, including her own family. Orrrrrrr maybe you have had a parent like Lusamine in the Sun/Moon games, a classic narcissistic parent, and want to hold out to the hopes that, just like her, your own folks would see the error of their ways; that they would actually apologize to you and finally start improving on themselves rather than drag everyone else around them through the mud of their own misery.

Mohn: There is a high chance that you just want the family back together; you reminisce on the old days where they were complete, before they incident with the ultra wormhole, before Lusamine inevitably lost her marbles, but such is the way of life, right? The ultra games were your golden era, and his anime debut? Let's just say that your wishes FINALLY came true after so long. You love fix-fics and those surrounding the pain of amnesia a bit too much.

Abe/Mallow's dad: Him being a hunk - a himbo - aside, the trauma, the potential, the raw emotion; all there as garnishes for this fine steak of a man and you love each and every one of them. His incompetence and portrayal as a neglectful parent in Mallow and the Forest Teacher forever gives you the ick, but you either tend to ignore it or use that as another source of angst potential.

Mallow mom: I just know your ass is either suffering from trauma, sudden loss, anxiety, fear of death, or a combination of the above. Yes, you wish she could have been developed a little more, but at least we got a huge chunk of her personality and even development in one episode, which is nothing short of impressive. Also, you like hurt/comfort fics.

Sima/Kiawe's mom: You're right.

Rango/Kiawe's dad: Autism rep? In MY Pokémon anime?! Sorry, but it is so frustrating to see that ya'll are few and far between - just as shy and anxious as your husbando -, but I know you guys exist! Please, let yourselves be known! I would kill just to see some more content regarding him! Also, I just know you love meganes, and, of course, there's nothing wrong with that.

Sophocles' dad: Traumatized. You probably crave the very affection he's giving his wife and kid, and seeing an honest, brash, funny man like him who isn't an abusive rat gave you whiplash initially, but eventually you wanted more. Crafting and/or gardening lover, and maybe a lore fanatic as well because how the FUCK do you know about all the things he's done for Sophocles' happiness from scattered dialogue alone? Also, like Kukui fans, there's a high chance you're neither straight nor cis.

Sophocles' mom: Also traumatized. Maybe a little bit on the autism spectrum, too. Back when the anime first aired, you were scared that maybe the dynamic between and her hubby was imbalanced, until later episodes began to showcase that she is more in charge than he is. You're probably a quiet person irl who is hiding nothing but the most chaotic of thoughts. You wanna try the malasadas she makes at least once.

Lana's mom: I'm saying this right now; if you are well over the age of 20, you are not seeing the pearly gates after the Day of Resurrection.

Lana's dad: Nothing but respect. A man with a design that irradiates potential having less dialogue than Sophocles' mother is infuriating, and the lack of content being made around him by both canon and the fans is even worse, but you don't let that bother you. Either you're the less degenerate version of the fans of his wife, or just like him because he looks way too much like Archie for it to be a coincidence.

Headcanon time;

MT - Em[p]ty

Emar - EMR(Emergency Medical Response), when emar/rango was trapped in the fire and suffered severe burns the response team couldn’t get to him in time

Oooohh! I like these!

I actually thought about the "Empty" connection before, but that was just a neat coincidence.

You know what? Buckle in, because I'm about to explain how I named these freaks:

The process I had for coming up with these names was pretty strange. At first, none of the broodals had names. They were just called "monsters". Later on, they were called "Mech", "Molten", and "Masked", and THEN they were called "MT", MR", and "MH" (which stood for 'Mechanized Topper', 'Molten Rango', and 'Masked Hariet').

After that, I decided that I actually wanted to expand upon this AU rather than letting it remain a joke. I completely modified their designs, personalities, and backstories, along with changing their names. "MT" still made sense to me, so I kept it. I couldn't come up with anything for Hariet, so... I just didn't change her name lol. "Emar" was originally a joke about Emar misspelling his own name, but I eventually kept it because I thought it was nice to differentiate him from MT. I also kept it for its slight similarities with the word "Ember". I think the headcannon you had for his name is very clever though, and I wish that was the actual inspiration, but alas, it came from a much lamer source.

Tagged by the amazing @caesariawrites thank you!!

Rules: Post 10 of your favorite movies and tag 10 people

1.) Everything Everywhere all at Once

This movie became one of my absolute favourites almost immediately, related deeply to Joy and cried like 3 times. Waymond Wang is the absolute best character!!!

2.) Rango

The animation is just gorgeous, and I adore the character designs! Rattlesnake Jake is top 10 Villain designs btw

Also the choreography in some scenes like the mole people chase scene where theyre riding off in a canyon with moles flying after them on bats

3.) Fantastic Mr. Fox

One of my comfort movies and favourite stop motion film, I love Wes Andersons work! And I wish he does more animated films like this one and Isle of Dogs.

4.) Mean Girls

Another comfort movie, I watched it at 9 years old and decided it's one of the films to ever and I was right

5.) Kick-Ass

A comic book movie where it's better than the source material, what is there to say? It's fun, insane, and crazy everything I want from a CBM

6.) Shin Godzilla

I love Godzilla films in general but Shin Godzilla!!! is plain remarkable alright, this film also goes back to the original 50s concept of Godzilla where he's well a metaphor of a nuclear bomb

7.) Grave of the Fireflies

my favourite Studio Ghibli movie in which I watch in order to feel something (usually pain)

8.) Swiss Army Man

It's the funny gay necrophilia movie! What else is there to say??

9.) There Will be Blood

both Daniel Day-Lewis and Paul Dano were quirked up in this and I fucking love it

10.) The Truman Show

this is top 5 Jim Carrey films and if you disagree you are incorrect jk

tagging all though no need to do this: @calliecorn @thatoneartistinthecorner @rafatello @bathtub4rats @itsnemusan @unrestrainedbalderdash @gretaghostgirl @it-is-i-zim @arkhams-knights-blog @fatgumsurpremacy-remastered and anyone else who wants to do this

mostly tagged some of my new mutuals so hiii :0

Here we are... Best Animated Feature noms...

My predictions were 4-out-of-5...

THE BOY AND THE HERON, NIMONA, ROBOT DREAMS, and SPIDER-MAN: ACROSS THE SPIDER-VERSE all got in...

The one I got wrong was TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM, which to be fair, I did say in my previous post that that one was the wild card out of my predictions. Despite the high praise and tons of nominations TMNT:MM got elsewhere, in addition to a single win, I guess those who were nominating it for the Oscar just didn't think the oozy gross-out turtle action-superhero movie cut it.

Instead, we have ELEMENTAL, so Disney Pictures gets at least one slot this year. The last time they were shut out entirely was for the features of 2011, the year they released the critical dud CARS 2 and the completely dumped WINNIE THE POOH. I was pretty sure that this year, they also wouldn't make it. ELEMENTAL's critical reception was fine at best, nowhere near the acclaim MUTANT MAYHEM got. WISH was both a critical and commercial dud, so that had no chance, only ELEMENTAL did... Maybe the Academy just didn't feel like pulling a 2018 and nominating two superhero action animated movies. Maybe they decided to have just one IP-based movie in the race, and opted for an original story. (As NIMONA and ROBOT DREAMS are based on pre-existing source material, BOY AND THE HERON references a novel that plays a part in its story.) Maybe something else about it wasn't all to their liking. Maybe Disney is just that powerful that they got themselves a slot.

I still think this is a strong line-up, and again, it speaks to how robust this year was for features both mainstream and independent.

And I will admit, even though I wasn't in love with the movie, ELEMENTAL getting into the race is very nice, I feel. Director Peter Sohn's first Pixar feature, THE GOOD DINOSAUR, was both a box office flop and didn't get a nominated for the Oscar (it shared the year with sister Pixar movie INSIDE OUT). It was also a film that he inherited after its original director got removed from it. ELEMENTAL was his personal project from the ground-up, and after a rough opening and all the press jeering that it was going to be this big flopperooni, it had excellent legs at the box office... and now... It has a Best Animated Feature nom. Talk about staying power! Maybe Pete Docter should think twice about that statement he made back in the summer, about trying to go back to Pixar's "roots" in trying to figure out what audiences supposedly want from this studio.

Anyways, Pixar usually gets a nom every year. For 2022's animated features, TURNING RED was in the running. 2021, LUCA. 2020, SOUL, which won for that year. Last time Pixar didn't get a nom at all was for 2016, their sole feature that year was FINDING DORY. Got good reviews and made beaucoup bucks, but it shared a year with Disney Animation's ZOOTOPIA and MOANA, two heavy hitters which ended up getting the noms. So, outside of FINDING DORY, MONSTERS UNIVERSITY, and CARS 2, Pixar usually never misses a nom whenever they release a single movie in a calendar year.

Most of Paramount's Oscar noms in animation were for DreamWorks movies they released circa 2006-2012, which are all now Universal movies since Comcast owns all of DreamWorks Animation outright. Funnily enough, the inaugural Best Animated Feature nominations included Paramount's JIMMY NEUTRON: BOY GENIUS, which was up against eventual winner SHREK, and MONSTERS, INC. Paramount then began distributing DreamWorks movies in 2006, and scored nominations with KUNG FU PANDA, HOW TO TRAIN YOUR DRAGON, KUNG FU PANDA 2, and PUSS IN BOOTS. For a non-DreamWorks nom, there was RANGO, which won for Best Animated Feature of 2011... Ever since then? Only one movie, ANOMALISA. The films they released from 2015 to now just never made it: SHERLOCK GNOMES, WONDER PARK, SPONGEBOB 3, RUMBLE, etc. MUTANT MAYHEM really had a good shot at getting in... Maybe TRANSFORMERS: ONE surprises later this year, I don't know. Paramount's animation history post-80s is so weird...

Anyways, congrats to everyone. I'm personally rooting for either BOY AND THE HERON, or NIMONA.

Rango essay if you weren't joking please please please please

I WASN'T joking I genuinely love Rango and have a ton of thoughts about it, BUT I don't have like. an essay written about it YET lmao. When I say "essay" in this context I DO mean like a paper with research and sources and stuff, so it'd be more of an undertaking than just a Big Rango Post. If I ever do get that done I would definitely post it up somewhere. If you wanna know my generalized thoughts and what themes of The Rango Essay would be, they're character design, tone, intended audience, pop culture references/how it exists in relation to the things it references, and general unconventionality in relation to all those things. One day I'll write the Rango essay and the punk rock essay and the devil music essay and then you'll all be sorry

[ Catra vs Adora in season 1 and 2. ]

Catra: Go ahead, hero. Stab me. You got killer in your eyes, Adora? I don’t see it.

[ Catra vs Adora after the Portal. ]

Adora: Only takes one stab.

Catra: You don’t have the nerve.

Adora: Try me.

BREAKING

An Israeli drone attack killed a senior Hezbollah commander, Wissam Tawal, in Lebanon in the last hour.

An all-out war seems more possible than ever.

Source: Reuters

🚨FRIGHTENING Times: this seems like a targeted assassination and a provocation of war.

"Israel killed a top Hezbolla commander in a strike in South Lebanon on Monday, sources familiar with the group's operations said, inflicting a heavy blow after three months of hostilities at the Lenanese-Israeli frontier.

Wissam Tawil was a commander of Hezbollah's elite Radwan forces and the most senior Hezbollah officer killed so far in the conflict, a senior source in Lenbanon said, adding he played a leading role in directing its operations in the south."

-----------------------------

Última Hora

Un ataque israelí con aviones no tripulados mató a un alto comandante de Hezbolá, Wissam Tawal, en el Líbano en la última hora.

Una guerra total parece más posible que nunca.

Fuente: Reuters

🚨 Tiempos aterradores: esto parece un asesinato selectivo y una provocación de guerra.

"Israel mató a un alto comandante de Hezbolá en un ataque en el sur del Líbano el lunes, dijeron fuentes familiarizadas con las operaciones del grupo, infligiendo un duro golpe después de tres meses de hostilidades en la frontera lenanesa-israelí.

Wissam Tawil era un comandante de las fuerzas de élite de Hezbollah Radwan y el oficial de Hezbollah de más alto rango muerto hasta ahora en el conflicto, dijo una fuente de alto rango en Lenbanon, y agregó que jugó un papel de liderazgo en la dirección de sus operaciones en el sur."

via. IG: khaledbeydoun

Journal #8 - Rango, Ethics and Animation (Sean Cubitt)

“Rango, Ethics and Animation” is a paper about exactly that. Posing the question of where animation stands within morality and ethics, and how we might go about gaining an understanding about it through the study of the movie Rango. While this paper does largely concern itself with the ideas of 3D animation, vectors, bitmapping, etc… I do still believe its insight is welcome in all aspects of animation, if for nothing else than an interesting alternative look into the medium. Before I go any further, there are certainly aspects of this paper that might be reading overall too far into the ideas of autonomy in animation, but nevertheless I think it is as the paper itself states - an interesting and worthwhile avenue of discussion, not necessarily to solve the question posed but to simply pose it with enough information as to create discussion. Cubitt starts off by stating that it will for the sake of its argument, include anecdotal evidence to support its exploration. The reason it states for this is that “Ethics concerns not the general but the specific” and “If ethics is a matter of confrontation with demand… It stands between the partners in the encounter, rather than joining them.” All in all, it makes itself clear that the inspection of Rango is again only the start of the conversation, not the key to the end of it. The idea of anecdote is integral to the paper, as inspection of a single work if essentially reading the account of anecdote. The film is an anecdote, the convergent stories within are anecdotes and - most importantly to this paper because it is a main feature of the film - Rango himself is in essence an anecdote. His story is deeply intertwined with the nature of storytelling, beginning the film as barely anything more than a slate for storytelling even within his own terrarium enclosed world. 

This idea of an anecdotal character then translates into the idea of ownership and autonomy. Simply put, who is Rango? Is he the designer or writer who created his character? Is he the modeler or animator who gave him life and movement? Is he the person who voiced him and acted out his lines for later reference? (Side note here but Cubitt does include a very funny quote from filmmaker Jean Renoir demolishing the “sub or dub” debate by suggesting that putting any voice over a film is comparable to heresy) And if the methods of 3D animation allow for characters to be animated in the sense of programs and set, repeatable cycles, is could there be an argument for the autonomy of Rango to be his own, separate from human hands? It is suggested then in the face of this dilemma, that he can be viewed as an animated artifact inhabited by multiple, disparate sources. Additionally and predictably, in the conversation of autonomy in today's age, we come eventually to the idea of corporate property, and the ethics within that as well. If Rango possesses in short the souls of all the previously described sources, what does it mean for him to be legally owned by a company who is free to do with him as they see fit, and even more so how does this relate to both his status as in some sense a celebrity and human celebrities who sign rights over to studios and corporations. Just because Rango is unable to sign papers in the real world does not mean there would be no complaints or repercussions from the sentient parts of his being or the dissonance of his character, should he appear tomorrow in a toothpaste commercial.

The real importance of talking about Rango specifically in this paper is the ways in which the movie talks about acts of performance, narrative and control within a story. Firstly, with performance, we come to the issue of viewership and what that means in context. Essentially all parts of the film are an act intended to be viewed. Even within the sense of turning vectors into flat bitmaps, feeding everything through a codec, in the same way that live film is captured and becomes flat images, so too does the final result of animation become only the memory of the original. This allows for an odd dissonance where as an audience we can view loneliness despite being in a theater full of people. The concept of suspending disbelief for the sake of story exists, but in the context of a character who does not know they are acting in a story viewed by millions, that suspension can lead us to different concepts than we would be usually accustomed to. Secondly, in the narrative we have the idea of a story written about a story. Rango is through and through an actor within the narrative. Even in the finale, where he accepts his role as sheriff, his role can still be read as playing a part, regardless of how fully he believes in it. Rango is, as Cubitt describes him, “...not just a specific performance of an object, but a representation of that performance.” Rango the character directly represents the performance he is unknowingly playing. Finally, the idea of control within the story. For this area Cubitt pulls back even farther, no longer examining only the character of Rango but of Beans as well as the animations of water present within the film. Beans functions as Rango’s antihero in many ways. Where Rango is trapped under layers of outside forces and metatextual ideas but still throughout it all retains an aspect of autonomy (if anything present in the visuals of the movie can be considered to truly have autonomy), Beans explicitly has that ability revoked, becoming catatonic at a moment’s notice. Even further, within that state her autonomy is moreso revoked by the ways in which Rango continues to come on to her. The narrative has for all intents and purposes abandoned her, left to the whims of morally questionable characters until, as the paper argues, she forces her will back on the story and regains consciousness, moving back from inanimate, objective fetish to character with control. Interestingly however, Cubitt also considers this idea in reverse, that the act of inanimation is - on a grander scale - an act of rebellion by a character so controlled by the narrative. The choice to refuse animation in an animated film, and then to choose her own time to reemerge from that is, in a way, a decrying of the external forces that move her along in her own story. In the complete reverse to this is the idea of water within the film. Water is explicitly uncontrollable, and to all best efforts is still never truly controlled even in the case of Rango, where it is all computer generated. In a completely different act of rebellion, but rebellion nevertheless, water demands everything of its creators and holds nothing back, if they want to have an end result that at all resembles the real thing.

Overall this paper presents a very interesting way of viewing animation. While there was no particular reason as to why I picked this paper over any other besides my preexistent fascination with Rango, I am very glad I did. As stated by Cubitt, there are the beginnings to a very interesting conversation within, certainly it is something I will consider moving forwards. To say I was surprised by this paper would be an understatement. Cubitt clearly has a very well articulated and thought out stance on this question and he is able to explain it in an incredibly interesting and compelling way. There are many points within this paper that have certainly crossed my mind before and will undoubtedly come up even more now that I have read this. As such I do believe this is a good read for anyone interested in the idea of ethics in animation, if only for the thought of hearing more people’s opinions on it. I think this concept is very applicable to many aspects of animation, the places to do so becoming even more common at the introduction of video games into the conversation. A medium within animation that features not only control from the craters but from the creators but from the viewer themself is practically begging for this conversation (and in many ways has already had it, but it is a fascinating subset of this conversation nonetheless that should continue to be developed). Overall I believe this paper was a worthwhile read and the very well spoken beginnings of a conversation I hope to have more of in the future.

SOURCES

(both are the same source but given that this is posted on a public blog I am including both in case one is inaccessible)