ewingstan

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in most scenes of twig, ashton was using his robust imagination to meticulously craft a small video of Subway Surfers gameplay in the corner of his field of view. he did this because he is swag, and so epic

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the mysteruous creature known as, Ashton Stillons, has been sighted in the ward-twig district of the post apocalypse wormblr website. their gender is not to be trussted

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My Regent crown has finally arrived.

I'm in a melancholic mood now. However, this is quite suitable for a lullaby.

#wormblr #wildbow #cosplay #alec vasil #parahumans

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Some notes from watching Ghibli's Tales from Earthsea:

I guess they were hoping having Lebannen be a killer runaway would make him more engaging a character than he was in Le Guin's books. Certainly its a more exciting introduction than "was sent to Roke and Ged decided he should tag along." But this is hampered by how Lebannen and all these characters have maybe two character traits between them.

No matter how bad the movie is, if its a Ghibli film its gonna be beautiful. The background artists for this should be given a medal. Hork town especially is incredible:

Although these are clearly Ghibli asthetics more than Earthsea aesthetics. We got all your Ghibli staples: the weird mammals that are almost real animals, the random fighterpilot elements in the costume design, that one weird type of hood, etc.

I do like the action scene of Lebannen dealing with the slavers. Only well-paced part of the film I've seen.

The shadow "visiting" Lebannen while he rests was done very well. The color dimming, the shadow on the water, the rushing wind towards him, its all great. I'm especially a fan of how when Lebannen looks over his shoulder, he sees nothing but a stream of water coming out of a wall. Fits with what's actually happening on in the dryland very well.

The "Ged rescues Lebannen but only takes the chains off the other slaves" is a weird detail to keep in the adaptation, though I guess it's less an obviously dick move when the slaves aren't trapped on a boat with their former captors.

I feel mixed about this version of Cob? Making him the slaver lord isn't a bad choice, though it does kind of positions slavery in Earthsea as "the bad thing that the one bad guy is doing" instead of, y'know, a cornerstone of Hork Town's economy.

They don't make him an especially originally villain either. He's literally introduced with the old "flash of villains castle, lieutenant comes in nervously to report on escape, almost gets killed until he mentions something important" trope. They did kind of flatten him into the stock fantasy big bad.

But Cob from the books didn't really have a lot going on character-wise either, so its less offensive a flattening than some of the other characters. And I do like his character design alot. That eye makeup is some Hot Topic Shit but it works. The thin lips and tall everything is a type of exaggeration I don't see in Ghibli's character design very often.

Christ, Ged's monologue about the balance and true names is really just plopped on the audience's lap like a dead mouse. The bridge from "why does a wizard like farming" to "everything has a true name that wizard's use for its power" is nonexistent. They really couldn't find another place to explain the basics of the magic system? Couldn't seed it with Ged using true names while freeing the slaves? No? Lord.

The ghibli food twitters aren't gonna touch this movie. No love was put into that cheese.

Oh this depiction of the dry lands fucks. Love how the sky is a completely different artstyle than anything else in this movie, really sells this as a weird and alien place.

Hare and two suspicious women clutching each other and going "they're not from around here" are the only time this movie has felt like it knew what it was doing. They're giving them banter and the actors are being allowed to put emotion into their voices. They're actually breaking out facial expressions for these guys.

God all the dialogue is so bad.

WHEN IS THIS SONG GONNA FUCKING END

What the fuck is Lebannen and Tehanu's relationship. None of their emotional beats have any real connection.

The thing haunting Lebannen (are they giving him the gebbeth plotline?) always makes the best scenes. Lebannen struggling to wade through the muck while the shadow casually strolls atop the water's surface creates such great tension and horror.

Tenar keeps talking about being rescued from the tombs and pausing like there's about to be a flashback. Why are they bringing so much attention to that detail if they're not gonna tie it in to anything. Either have it be an aside to make the world feel richer without it being a thing your constantly gesturing at, or don't bring it up at all.

It really was a choice to take the worst Earthsea book as the main thing they're adapting. All the "life without death is no life" rubbish and not even Le Guin's prose to save it. It's not even a theme the rest of the movie seems concerned with.

Why are they taking something called "Earthsea" and making 90% the outskirts of Hork Town. We saw the ocean like twice. This supposedly expansive fantasy world feels twenty feet across.

Having Tehanu follow the gebbeth to the castle is honestly a really cool adaptational choice. I do like the weird conflict they set up between the gebbeth and Cob over who gets to have Lebannen.

Great shot of Cob getting amputated. Thats some Mononoke-level satisfying gore.

See when Ged didn't do shit for most of The Far Shore it was fine, because it was the third book in the series and the reader already knew why he was a big deal. Here we keep hearing how cool and powerful he is but get shown nothing.

2D has grown odd in his old age.

They have not set up dragons as a thing (or connectd them to Tehanu) nearly enough for this ending to work. Having Tehanu transform instead of calling Kalesin works adaptation-wise though.

Final analysis: I liked Hork Town. I like how the dragons trail sparks from their eyes. I like Cob going all gooey. I like Hare. These were the isolated pockets in an otherwise bland experience. The plot was barely held together and I can't imagine someone who hadn't read the books would be able to enjoy this at all.

#mals says #look at my posts boy

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died and came back exactly the same but something was so so so wrong with me before and now I have an excuse to really lean into it

#this is how Ward resurrection works right

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ever since i was a little girl i knew i wanted to be a stressed adult male protagonist splashing water on his face in the bathroom

#blake thorburn

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You can donate to the Palestine Children's Relief Fund for as little as $1.00.

There is a fee you can choose to apply to cover processing.

Which if you choose to do leaves you with a total of ~$1.35 (USD) depending on the type of card you have.

PCRF has a score of 97% on Charity Navigator.

Adults and children alike are currently dying in Palestine due to starvation. (World Health Organization Link)

The Gaza Strip is one of two places in the entire world that is categorized as Phase 5 (the highest phase) on the Integrated Food Security Phase Classification scale.

So even if you think it isn't enough, remember that donating even as little as $1.35 helps! It's $1.35 they wouldn't have had otherwise. So donate if you can. 🇵🇸

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I love thumbnailing! There are so many Worm characters, I want to draw them all! If you haven’t read Worm you need to right now!  https://parahumans.wordpress.com/   Kudos to anyone who can identify characters in this menagerie! 

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Amara / Magma sketch - letting other ideas breathe (and dissipate). A cooldown sketch of X-Men Evolution's Magma, with a little Sienkiewicz of course.

twitter / insta / studio

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Kevin Norton by JeffShoemake

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Inspired by that one post about how Worm feels like a long-running comic book canon- The UnderSiders issue #3 comic cover sketch! More details about the design under the cut

I think that the UnderSiders first two issues would be about the heist that they pulled, and Lung deciding to get revenge for it. This issue, #3, would be the introduction of Skitter (who would quickly become a fan favorite, giving her the leading role in the remainder of the UnderSiders run and her own spinoff series, Weaver- as well as the starring role in the Golden Morning crossover event), and issue #4 would be a flashback to the first arc or so of Worm the webserial.

I've put Lung's name in the sort of stylized font characteristic of titles, implying that he has his own comic, but I haven't designed anything for that. I also feel like he came out more 'demon' than 'dragon', but I had a tough time with him so I'm not doing more on that.

The Undersiders themselves are up on top of the roof, although they're partially obscured by the title, so they may be hard to see. In issues #1 and #2, that cockroach on the second R wasn't there- adding it was a way of indicating that Skitter is going to join the team.

#oh really cool #wormblr #parahumans #wildbow

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New Wicky (worm sticky)

#Rachel!!! #wildbow #parahumans #rachel lindt #wormblr

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Got a Worm meta question for you. I'm starting on the early parts of Taylor's warlord era - I'm about to leap into Arc 13 - and the general concept of a ravaged American city being divided up by various supervillain groups is reminding me a lot of that Batman story arc No Man's Land from the late 1990s. Unfortunately my comics knowledge is rudimentary at best, and I haven't been able to any discussion comparing the two stories, so I was wondering if I could pick your brain on the subject. Was it just convergent evolution, or was Wildbow engaging with the Batman story in some way?

I myself have only read about half of No Man's Land- and several years ago to boot- so I've got limited ability to do a direct compare and contrast. No Man's Land is absolutely the sort of status-quo-shattering, history-book-making upset that, within Marvel and DC, nonetheless always inexplicably heals and loses salience until you can barely tell that it's still in continuity. Worm is heavily informed by Wildbow's irritation with that sort of thing, so I think it's totally reasonable to view the warlord era through the lens of "What if No Mans Land had no editorial escape hatch." Alternatively, I think it kind of makes sense to view it through the lens that it's working backwards from the premise of No Man's Land- In what kind of setting would it be plausible for the Federal Government to write off a sufficiently-damaged American City? In what context would the legal infrastructure have been established for that, in what context would that even fall within the Overton Window? What muddies my opinion on this is that the general concept of a ravaged, atmospherically-apocalyptic American city torn up by superpowered gang warfare is something that's kind of just been in the water in superhero comics since the mid-eighties at least, and it was a relatively common thing to see during the Dark Age- they were choice prey for all those overpouched musclemen with their poorly rendered firearms. I'd be surprised if Wildbow wasn't at least aware of No Man's Land, but it's definitely not the only cape book from the late 90s or early oughts where you could pick up that idea from. Ultimately this leaves me unsure if No Man's Land is the specific referent or if it's just part-and-parcel with trying to do an involved, thoughtful take on what cape comics were like at the time.

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you know in a way shinji really was the amy dallon of eva

#fuck #wildbow #wormblr #parahumans #amy dallon

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it has been a while since i drew tattletale so i wanted to draw her again in my updated style :+D

#oh love this #lisa wilbourn #parahumans #wormblr #wildbow

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Wildbow and his fans relationship feels like something wildbow would write