#I like his original design this is just a reinterpretation

[candy-red-river]

DRUGGY COCK DRAGONS

the title is a reference to "faberge falls for shuggie" by of montreal

#hazbin hotel redesign #i guess? #This is just my own version of him tbh #Imagine my suprise when he wasnt a “druggy cock dragon” in the show #Smh #Still breedable tho #This might be the best of my artwork put out on this site #Very proud #Took several retries despite being a shitpost #hazbin hotel #adam hazbin hotel #I like his original design this is just a reinterpretation

[enlightenedrobot]

Other Characters you can legally use for your Mickey Mouse project

Mickey Mouse is in the public domain, as is Minnie Mouse and Peg-leg Pete. There's some caveats to that, and I talk about that more in this other post, but for now, let's talk about other characters who you can also use to fill out the cast.

These characters should all be in the public domain, though some characters still have treademarks. I'll get into how to use them safely as we go. Anyways, let's start.

Other Disney Characters

Disney obvciously doesn't advertise this, but there's actually quite a few Disney originals who've actually been in the public domain for a while.

The Mad Doctor never had it's copyright renewed, and so it's very technically the first Mickey Mouse cartoon to enter the public domain. Keep in mind, the version of Pluto featured in the short isn't in the domain just yet, but the Doctor himself is free to use.

What's funny is that Disney would later use a version of Doctor for Epic Mickey. Obviously don't use that version of the character.

Aside from the Mad Doctor, we also have Oswald and Ortensia

Yeah, as it turns out, Oswald's been in the public domain for quite a while, but he's still trademarked by Disney. Easy recommendation... use the original "fat" design of the character and have him go by Lucky.

But before Oswald, we have the Alice Comedies

Everything about the Alice Comedies is Public Domain for a long time, and the Disney corporation very rarely acknowlege these characters existence. Which is a shame because These shorts were some of the first shorts Walt ever produced, and they have the unique gimmick of featuring a live action girl in an animated world.

Everybody already knows about Oswald, but nobody talks about Oswald and Mickey's older brother from these shorts, Julius the Cat

Like... yeah no, it didn't all start with a mouse. Or a rabbit. It started with a cat.

Foxy and Milton Mouse

Both Foxy (top) and Milton (bottom, pictured with his girlfriend Rita Mouse) were characters created by Warner Brothers and Van Beuren respectively to cash in on Mickey's success, and both characters are also in the public domain.

In fact, all Van Beuren cartoons are apparently in the public domain, and I encourage you to find their cartoons and use them as you please.

Fleischer Characters

Betty Boop is probably in the Public Domain, but there's a few caveats with this. From what I can tell, the name Betty Boop is trademarked, but the character herself isn't. Most of the old Betty Cartoons are free to use, but newer incarnations, including the versions used in 1985's The Romance of Betty Boop and 1989's The Betty Boop Movie Mystery are still very much under copyright.

To avoid any legal trouble, I have two big recommendations. Although everybody remembers Betty as having Black hair, in one of the few early instances of Betty being shown in color, she's actually depicted as Redhead.

This is Betty Boop in 1934's Poor Cinderella, and her hair color is pretty clearly red.

The other option is to just make her black.

Though there's been some debate as to whether Betty Boop was intentionally modeled after Esther Lee Jones or not, there's still no denying the influence of Jazz on the character. Betty Boop is a Jazz singer and is often depicted dancing to Cab Calloway. Hell, the Betty Boop musical features Jasmine Amy Rogers as the titular character.

Betty Boop aside, there's an entire world of defunct Betty Boop characters who are definately public domain, including Bimbo and Koko the Clown.

Next year, Popeye's also gonna enter the Domain. So keep an eye out for him too.

Anyways, these are my picks, but obviously this list isn't meant to be comprehensive. There's a ton of old cartoon characters out there who can be freely reinterpreted into newer works. Feel free to add your own favorite public domain cartoon to the list.

#Mickey Mouse #Public Domain #Betty Boop #Koko the Clown #Foxy #Milton Mouse #The Mad Doctor #Oswald the Lucky Rabbit #Alice Comedies #Disney #Walt Disney #Max Fleischer #Warner Brothers. #Cartoons #Animation #Editorial

[kiwipineappleparasol]

Another Random Assortment of my AU Scribbles from Various points in Time. Notes Are Below:

Yes I forgot the ... Handlebars ??? Omega has on his shoulders on that First Drawing . Yes this is a Crime that I Rectify in my later Scribbles. Otherwise the changes made were made for my Awesome Au where I can make the designs easier to draw for my Puny Mind.

Uncle Chuck but he’s Evil. And his Mustache? Fake. He puts it over his nose. Why did I make him Evil? I thought it would be Funny. I tried to make him look Less like Old Sonic and turned his eyebrows into Spines. His outfit is loosely based off his Pre Reboot Archie Fit. But only Loosely.

I don't actually know Why I did designs for Honey and Mina. Honey looks more Akin to a Tiger now and I Epically Failed to translate her outfit to my Redesign Rules. Mina I completely overhauled Simply for the sake of it, I guess. Tried to keep the Important Elements and Reinterpret them.

Just turned Wave's shirt into that fluff the other two Babylon Rogues have. I didn't add her Glasses here but I Probably would give them Back.

Bunnie and Cassia I scribbled Awhile Back. I don't have Much to say, considering it was A Long While Ago. But I liked them Well Enough to put here, I guess. I Apparently tried and Failed to scribble Clove as well (which is why she’s Missing)

Harvey Who and his Iconic Line AND YOU COULDN’T EVEN STOP ONE SKUNK???? He is in my AU for that Alone

I thought it would be fun to Combine aspects of the Freedom Fighters and Secret Freedom Fighters. Especially the Totally Original Field Outfits (The Joke is They Are Actually from Sonic Rivals)

Shadow and Maria are also Here. Contributing. Filling up Free Space. Etc.

#sth #e 123 omega #honey the cat #mina mongoose #charmy bee #bunnie rabbot #cassia the pronghorn #uncle chuck #I am not calling his ass “Sir Charles the Hedgehog” #shadow the hedgehog #maria robotnik #sonic au #the kiwi scribbling zone #I just want these Out of my drafts even if they don’t exactly Go Together #Oh how could I forget #Harvey who #My favorite character People Totally Care about

[amethystfairy1]

Hai I'm back, with questions! (and art on my page :P)

In my last ask (I think?) you said the collars will only trigger if the person understands what the command is. Would convincing someone that the command meant something different than they originally interpreted it as (especially through siren spells) change the collars response, or no? For example, in the very first fic with Grian, the guy said "quiet, you." If Grian originally interpreted that as "don't make any noise," but then after reconsidering, genuinely thought he the order actually meant "don't speak" as opposed to no noise at all, would the collar also reinterpret it? Sorry if that was wordy lol, I hope that makes sense. If so, with Scott's Siren spells he could potentially undo commands lol (with practice ofc)

in the same vein, would written commands affect the collar, or only verbal?

How do the collars work? Like, do the runes work through a form of magic enchantments? And could you theoretically cast a counter-enchantment to disable them?

What's the extent of nature elf healing powers? Do they require practice to refine?

Can Tango drink water, and if not does he have a substitute for it?

Hello hello! ✨

I LOVE THE ART! I absolutely ADORE your design of Ren you have no idea! He looks AMAZING! And witch Martyn is beautiful as always! Thank you so much for sharing as always, anytime you feel like drawing because of the AU I am incredibly thrilled!

Questions…🏃‍♀️

1. That’s a really good question! I think so, yeah, if upon deeper consideration they are convinced it meant something else, the collar would enforce something else. This is also the point where Pearl would find loopholes in orders by only addressing them in the literal sense. So yes! Scott’s siren spells could potentially manipulate a command, but I don’t think they’d be able to undo it. Again, Scott’s siren spells only really give his words a stronger influence, but if he tried to convince someone that an order of ‘do not speak’ actually meant ‘talk a lot’ that wouldn’t work, because obviously it’s untrue. It would have to be smaller than that.

2. Written commands wouldn’t work, only verbal! Also unfortunate running trend, most hybrids are functionally illiterate sooo…wouldn’t make a difference either way. 😭

3. The collars are enchanted through the runes, yes! Rune work and rune craft are specific branches of magic in this AU, and it’s used for everything from the collars to daily things such as working with redstone tech to run the wagons everyone is riding around in, making indoor plumbing possible, other odds and ends. Theoretically, yes! But those counter-enchantments are incredibly complicated and difficult, the runes for the collars are made with the intent that they should be super difficult to break.

4. Nature elves can heal anything so long as it isn’t instantly fatal, but it takes a toll on their magic reserves, the nature spirits that give them strength can get exhausted. These are the little fairy lights both Scar and Gem have used! We’re gonna get into the details of nature magic and the elves power sets pretty soon, it’s gonna be integral to the next arc of the story, so for right now just know that they are very powerful, but that power can’t be called up in large quantities without a cost.

5. Tango can drink water, yes! He just can’t let it touch his skin, so he’s either very very very careful or uses a straw if that’s presented as an option.

Hope these were helpful! Thanks again for your incredible art! 💖

#fanfic #ao3 fanfic #hermitcraft #traffic smp #worldbuilding #traveling thieves au #pearlescentmoon #grian #scott smajor #tangotek #goodtimeswithscar #geminitay

[mysticmonkiebusiness]

ISSUE 69 BLOCKS MAGAZINE PAGE 35 + 36

[ID 1: Two magazine pages. The first shows several pieces of digitally painted concept art of; MK, a roughed-up couch, a game controller, a polaroid of an early design of Mei, and another polaroid of Monkey King from the film “Havoc in Heaven”.  Below it is an image of a LEGO designer referencing a piece of concept art, one of MK flying on a hoverboard, to design MK’s minifigure, which is being drawn on his tablet. ] 

[ID 2: On the left, between the text, minifigures of MK, Mei, Sandy, Pigsy, and Monkey King descend vertically. On the right is an ink sketch of Monkey King, who wears a crescent fillet and has a large forehead. He sits atop his cloud, below him is an early version of MK, who has a skateboard, spiky black hair, and a shirt with a star on it. Next to this image is a digital painting of Monkey King, who closely resembles his minifigure but has a full cape and golden sleeves. Under this is a picture of Monkey King’s minifigure, who stands on a LEGO cloud and wields his staff.]

Transcript:

The Characters

MK Monkie Kid, the theme's titular character, Is chosen by the Monkey King to be his successor and defend against the Demon Bull. He's a brand new character in the story.

ΜΕΙ Mei is part of the Dragon Family, a descendant of the legendary White Dragon Horse, which the monk Tang Sanzang rode down the Silk Road on his epic pilgrimage to India and Central Asia.

SANDY Once a soldier, Sandy is now a relaxed, tea drinking nature lover. He's based on the character of Sha Wujing. the most kind-hearted, loyal and logical of Tang Sanzang's three disciples.

PIGSY Head Chef of Pigsy's Noodle Shop, the character takes a great deal of pride in his kitchen. He's based on Zhu Bajie, a part-human, part-pig monster who embodies the sins of sloth, gluttony and lust in the original story.

MONKEY KING After vanishing centuries earlier on a magical cloud, Monkey King is back to train the Monkie Kid. He's based on Sun Wukong, who like Sha Wujing and Zhu Bajie was forced to accompany Tang Sanzang on his quest by the goddess of mercy.

Developing Monkie Kid

It wasn't just name recognition that the Monkey King story enjoyed: it was also ripe for a LEGO adaptation. 'I knew something about the Monkey King and Journey to the West because key beats from that story have been reinterpreted in Hollywood so many times,' Simon says. 'When we were discussing retelling it, we were just listing out the big, iconic aspects.'

The biggest of all is of course the Monkey King himself. 'The Monkey King is such an amazing superhero because he can transform himself into so many different things. He can fly on a magic cloud, he's slightly cheeky, he slightly breaks the rules and he's not perfect. He's got that likable character; he's not the typical square-jawed hero that's just going to save the day.

'The team in China started saying, 'There's the Bull Demon and he has a wife that has this huge fan that creates tornadoes, and a son who can control fire, then all the other demons like the Spider Queen...' You just think wow, these demons are awesome and we can bring them to life in brand new ways.'

That early meeting set so much direction for the theme - not just for the villains, but also for the title. As with all great moments of invention, though, no one person can claim the credit. 'I wish I could remember who it was, but somebody said, 'It's the next generation of the Monkey King and he's just a boy,' and somebody said, 'The Monkie Kid.' That was the spark moment.'

Testing proved that children could identify with the Monkie Kid, or MK as he is also known, seeing the possibility that they could be the Chosen One.

Returning to Billund in September 2018, it was time to present the concept. 'We had a 'portfolio gate' as we call it at LEGO, which is where the senior team meets and we have to pitch what we have been working on, and get their approval to move forward. Everyone was like, 'Wow!' and the China team supported it 1000% - they gave us the green light to move forward and we went into the full development phase of sculpting new characters and building models.'

"HOW CAN WE MAKE SURE WE AREN'T JUST SPRINKLING A LITTLE BIT OF CULTURAL DUST ON TOP?"

#LEGO Monkie Kid #lmk mk #qi xiaotian #mei monkie kid #long xiaojiao #sandy monkie kid #sha dali #pigsy monkie kid #zhu da chu #monkey king #concept art #blocks magazine #mmb.png

[worflesbian]

right okay i dont know exactly how persistent an issue this is bc i almost never go into the tags on this website, but even ive noticed this happening so i feel like that’s justification to make a post about it. the whitewashing of julian bashir as an established Thing not just in the fandom but in official merch has been discussed before, but recently i’ve noticed the inverse happening with martok and b’elanna, a white character and a lighter latina character who people seem to often draw darker than they are in canon. and there’s like. a Lot going on there to unpack.

so this video goes into some detail about the racism baked into the origins and design of the klingons in tos, it’s very informative about the anti-asian stereotypes especially in a 60s context but i feel like it doesnt really cover the way that antiblackness becomes a more significant factor in the next gen era so like. if you didn’t know, the majority of the klingon characters in the next gen-ds9-voyager era are either played by actors with dark skin or Very frequently by white actors in heavy dark makeup. if you look up the actors of grilka, alexander, kehleyr, and sirella for example you’ll see what im talking about like the difference is Stark and these are some of the main recurring klingons across both shows. hopefully i do not need to explain why packing white actors in brown makeup to play members of a species characterised as violent, warlike and animalistic is racist. i say hopefully bc who knows with this website. anyway i’d recommend this video for a wider context on the legacy of blackface in tv!

martok is a rare example of a klingon played by a white actor who, as far as i can tell, does not have his skin significantly darkened. so to see him frequently being drawn with darker skin is uh Slightly Concerning given everything in the previous paragraph! ive even seen art where he’s drawn darker than julian in the same post which... anyway im not trying to blanket condemn reinterpreting the design of alien characters in fanart, but i am asking white fans like myself in particular to think critically as to why, out of all the white characters and aliens on ds9, martok is the one you want to do that with.

because b’elanna is not a white character i think its a slightly different situation, but at the same time she does have lighter skin and i have seen fanart of her drawn much much darker and once again, im not condeming it especially in works ive seen which explore the relationship bewteen her latina and klingon identities, but its something white fans need to handle carefully. in the voyager episode Faces where she gets split into a human and klingon version of her (dont have time to unpack all that) you can see the difference in undertones between human b’elanna and klingon b’elanna (also included a pic of regular b’elanna for reference). the brown makeup is obvious here too and if you can see why it might be racist to attribute a person’s rage and violent impulses to a part of themself that is then personified as darker skinned/more brown, then you might also see some of the wider problems going on here and can understand that this is something that demands a lot of thought and consideration.

i’d like to reiterate that this is a very complex and nuanced issue, especially considering the intersection of fictional race within the setting and the racial biases operating behind the scenes/metatextually, and i’d love to discuss it more (and to cite better sources than youtube videos when i have the time). but for now i’d just like to say yeah just ask yourself what the implications might be to drawing these characters in particular darker than they are in canon, especially if theyre the only characters you do that for, or you’re intentionally contrasting them with other characters (e.g. b/7 fanart) or yk. drawing a white character darker than a character of colour like ive seen people do with julian and martok.

#disclaimer that i am a white european and if anything ive said here has been not my place to discuss i would be so grateful to be made aware #but like. i see a lot of this and while some of it is definitely like intentionally engaging with this aspect of the text conscientiously #a lot of it clearly comes from people thinking klingon = dark skin and not bothering to unpack Why thats been established #sorry anyway. #long post #star trek #tlhIngan #ghItlhpu'wIj

[miloscat]

[Review] Bomb Rush Cyberfunk (PS5)

Jet Set Radio Future 2 is here, and it's all I ever wanted.

When Team Reptile made Lethal League and—more precisely—its sequel, they did an excellent job capturing the feel and aesthetic of Sega's Jet Set Radio games in a new genre. Now they've only gone and bloody done it - made an actual Jet Set Radio homage game, and it's an absolute stunner! Specifically, this is a pitch-perfect pastiche of Jet Set Radio Future, acting as a sequel to the 2002 classic in all but name, and since that particular instalment is a personal favourite of mine, I couldn't be happier.

BRC seems to deeply understand what was great about JSRF and then faithfully and lovingly recreates it, with some new ideas and refinements to boot. In case you need catching up, it's a sort of urban street punk adventure: you get around, grind, and trick on inline skates, tag graffiti all over, contest with rival gangs, and avoid the overzealous police force. The world is colourful and detailed but a bit low-poly with a cel-shaded filter, and levels are set up as huge skatepark playgrounds. All the while a soundtrack of fresh beats including hip-hop, house, and electropop accompanies you.

In BRC the structure of story-related tasks broken up by exploration returns, the levels full of collectibles to give you new colour schemes, music tracks, graffiti designs, etc. as well as just setpieces to "platform" around. A fast-travel system helps you get between areas, some of which replay the hits of JSRF while others explore new territory like a mall complex or industrial oil rig; the setting of New Amsterdam nods to the developer's Dutch origin but in practice it feels like it would easily fit in Tokyo-to (disclaimer, I have never visited The Netherlands). In addition to skates you have skateboards and BMX, each one having slightly different manoeuvrability plus the chance to open certain doors in the game world: for example, a skateboard can trick on fire hydrants to get elevated to a handful of secret areas. This gives more of a reason to have different ones on hand but can feel like an arbitrary passkey check.

Movement is aided by the new boost pack mechanic, which gives you an enormously useful air-dash. A boost meter gives you some speed but can also freshen up trick combos and extend your manual, while it's refilled by tricking (like in Sonic Rush), so doing these cool lines and combos feeds back into movement in a satisfying way. Cans have been done away with entirely so you can tag at any time without worry, and graffiti minigames have actually been brought back from the original JSR, except here they're super quick and snappy, and your inputs determine which of your unlocked tags goes up which keeps the visuals fresh.

A handy new feature is the flip-phone menu (reminiscent of The Arcane Kids' vaguely JSR-esque Zineth). It's great for flavour but also lets you get tips from teammates or contact new recruits, check out your range of graffiti designs and how to write them, consult a persistent minimap while highlighting tag spots, or change the currently playing music. And speaking of the soundtrack, it's sublime, a heady mix and perfect tonal accompaniment that even includes three tracks from the funky uncle himself Hideki Naganuma (much like Hover before it)... and if you ask me they're some of his best.

Another way BRC expands slightly on JSRF's template is a bit more emphasis on plot, with a central mystery revolving around recently-decapitated protagonist Red, his new cyberhead, and his connections to the previous top dogs in the city's counterculture. This framing fumbles at times, but it gives more purpose to your interactions with other rudies and conflicts with the cops, and interstitial sequences between chapters lets the game reinterpret JSRF's surreal climax in a dream context.

I've been eagerly awaiting this game and as a big fan of JSRF it didn't disappoint. BRC takes everything I loved about that (now slightly creaky and inaccessible) game and gives it a fresh coat of paint. I've seen people gripe about the price and playtime but both are about on par with the game that it styles itself as a love letter to, so it would be disingenuous of me to complain about either. Better by far to celebrate what an awesome achievement this game is in recapturing a unique classic while brilliantly modernising it. Bomb Rush Cyberfunk reminds me why I love video games.

#bomb rush cyberfunk #jet set radio #indie #review #ps5 #team reptile

[imagitory]

Okay, disclaimer here. I can't really call myself a true fan of Disney's Wish, just as it is. I do think the film had a LOT of really good ideas and I do think that a lot of artists and creative types put sincere work into it -- I mean, all one really has to do is look at the Wish art book to see that the creators wanted to salute a lot of Disney's overall legacy with their work. However the result turned out -- and I personally found it a bit half-baked with a lot of story and character elements that just didn't quite come together for me -- I like the overall concept enough that I've really enjoyed seeing the fandom embrace those good ideas and reinterpret them. I like the art people have started doing based on Star's old designs by artists like Brittney Lee. I like people writing drafts with villainous-couple-goals Amaya and Magnifico. I like people envisioning Asha as becoming a fairy godmother more in the vein of Whitney Houston's version of the Fairy Godmother in the 1998 Rodger's and Hammerstein's Cinderella! So everything I'm going to write here is from a place of sincerely wanting to add onto the original concept and perhaps improve on it, rather than just out of a desire to make petty pot-shots at the film.

With this out of the way, let me get to the crux of it.

(concept art by Brittney Lee, found in Disney's The Art of Wish)

Now of course people have discussed the concept of Star as a love interest for Asha before. And I won't lie, I do think it's cute! It could even offer a great potential for diversity if Star remained androgynous gender-wise, the way they are in the finished film. Honestly, even having a completely mute leading character and love interest throughout the entire picture would undoubtedly be a unique and special challenge for any animator and storyteller...and for those people who want to evoke old Disney projects, it would prove a great opportunity to build on the legacies of voiceless Disney characters like Dumbo, Bambi, and Tinker Bell, while still adding a new twist in the form of this character being magical and therefore being able to express their feelings not just through colors and body language like Tink does, but perhaps also through the instrumental score! You could embody the whole core of Fantasia -- a passion project of Uncle Walt's that he never saw appreciated in his lifetime but is widely considered to be a masterpiece of animation and music -- in one character!

This leads nicely into another tack this could've played into -- the idea that Star could be an embodiment of Golden/Silver Age Disney, while Asha embodies Renaissance/Revival Disney. Star could be endlessly optimistic and a bit naive, but strangely resilient -- something that seems fragile and helpless at first glance until you realize just how many people and creatures alike gravitate toward them and want to help and protect them. Meanwhile Asha could be all about proving herself -- she could want to become a powerful magician and do great things like her master King Magnifico, but lack confidence in her own abilities and feel isolated thanks to how much her service to and desire to honor Magnifico has isolated her from others.

Star would be Snow White to Asha's Tiana. The Aurora to her Mulan. The Tinker Bell to Asha's Elsa. The bright star to Asha's cool, thoughtful night.

And this is what I love most about this idea -- their relationship wouldn't need to be romantic. It could be platonic. It could be romance-adjacent. Or, if one wants to really go and do something different for a Disney movie...Star could be a child. A mute, sweet, brand-new star, one just born, that responded to a wish that Asha made when she thought no one could hear -- a wish she has trouble admitting to anyone, especially her mentor and toxic father figure, King Magnifico -- because as much as she plays contentment, there is a part of Asha deep down that wants something more. That remembers the loving embrace of her deceased parents and how much Magnifico can't quite capture that warmth and nurturing, however tight his hold might be and placating his words might be. And out of that wish is born this little bundle of stardust, which Asha is now suddenly responsible for and wants desperately to hide and protect from Magnifico.

In essence, Asha would be put in the same position that Willow is put in, when he suddenly becomes the caretaker for baby Elora in the film Willow.

Now that would change up the context for At All Costs, wouldn't it? This lullaby-like song would resonate awfully well in a story where Magnifico sees Asha as an apprentice and almost surrogate daughter and wants to "protect" her a la Mother Gothel by controlling everything in her life, while Asha sees this new Star who's now reliant on her and feels this strange, new desire to protect them from the man who filled the role of her father after his death in a selfless way that man could never understand?

If someone tried to hurt you... I don't see how that could happen! I'd fight for you in ways you can't imagine! Felt this? No, I haven't -- I hope it would be alright to Stay right here beside you...

It would be such a beautiful picture on how love can be both selfish and selfless -- how a villainous person can love, perhaps, but that that love is poisoned by the desire to mold someone into your image and hoard that person away from others who could "take them away" or "change" them...how love at its truest core is selflessness and fighting on behalf of others, to give them a world where they could live safely. And again, this could be either in a scenario where Star is Asha's "child" or her peer -- for a world can't be safe for all if anyone is under threat because of who we are. And Asha, Star, and Rosas all deserve to know true happiness, not just mindless, complacent contentment -- the happiness that can come from the birth of ideas we never thought possible, until we're given the freedom to dream and dream big.

#disney #wish #disney wish #wish (2023) #fan theory #opinion #star #magnifico

[dominijoyce]

"Are you crying? Is everything alright?"

"Yes, I just- I have always dreamed of this opportunity and lost hope in it and yet- And yet, here you are."

Idea inspired by @starplatinumgold in which Fugo is a gorgon who went all of his life scared of hurting others and Giorno is a living stone statue and therefore immune to his deadly sight giving his lover the opportunity to be this close to someone without worry of doing them harm.

Also if you are interested, I included some of my ideas of other Vento Aureo characters in this Monster AU under the cut- Maybe someone might get inspired to produce something out of that, just how I did, heh.

Okay *cracks knuckles*

Vento Aureo Monster High AU (cause that's what happens when two completely different hyperfixations meet)

First things first, this AU doesn't take place in the high school itself, cause I don't wanna mess with character ages and etc. This AU (at least my version of it) doesn't involve mafia either, because I just imagine it as a simple Vento Aureo Simple Slice of Life shenanigans, but with monster twist (they deserve to not suffer at least once, heh)

The main idea for Fugo other than a gorgon is that he is specifically the child of Sthenno (was thinking of Euryale first, cause there is no canon child of her yet, but I think Sthenno fits him better)

The original poster that inspired this idea compared Giorno to a gargoyle but I don't think that fits him so he is a living statue, cause Araki based his design off of one. While they aren't connected in this AU, I also sorta got the inspiration from the myth of Galatea and Pygmalion which makes both Giorno and Fugo related to ancient myths ^-^ (also my friend pointed out that it also fits, because vampires are connected to Pillar Men - wasn't intentional, but also fun)

As for the rest of the main squad-

Bruno is a werewolf, but not because of the reasons that people might compare him to one (wolflike behaviors, leadership skills, sort of caretaking nature etc.), I mean those too, but I made him into one, because of a reason that only real true OG Monster High fans are able to connect :p

Leone is a banshee, because death follows him everywhere, heh. In all seriousness I just think it fits him and his aesthetic and also I have seen multiple reinterpretations of him as a ghost and I wanted to be sort of "original" (banshees *are* ghosts in MH, I know, but they are like weird and not full type of ghosts so *shrug*)

Narancia is a steam robot, who is a "failed prototype" of his creator, that was thrown away. He malfunctions quite often or even completely shuts off due to various issues with his design, quite often forced to replace his parts with any new ones he manages to find (can't exactly afford to buy new ones yet or do a full repair). Also he has a jetpack, a radar similar to his Stand and his shoes can switch to roller-skates.

Mista is a black werecat, because I honestly have no idea what else could fit him tbh. His main gimmick is luck and unluck, where he is superstitious about every little thing (not only fours) that could bring unluck - sometimes including himself, even when others reassure him there's no way he brings anyone bad luck with just existing. He is still paranoic though.

Lastly, Trish is a hybrid monster, because I fell in love with this concept back when it was introduced and I firmly believe we need more of that. She is a sea monster and boogeyman hybrid. Sea monster cause she grew up on the coast and boogeyman cause Diavolo ofc, but also I think it is funny cause in canon MH boogeymen hate being the center of attention and use shadows or shapeshifting to always be out of spotlight, while I imagine Trish would be the opposite of that and always strive to be the brightest star in a room. Sea monster also fits, because some of those underwater weirdos (like octopi among others) can manipulate their shape to such a high degree and fit into such narrow spaces and that kinda reminds me of her Stand.

If you read all of this, thanks for being interested in my random rambles and ideas and hope you like them. Maybe I will come up with more (was considering Part 6 Protagonists as Monsters, but not many ideas yet), but for now have these funky creatures!

#i wanted to make this into full art but life said no #and threw so much garbage at me in the last few days #but i am satisfied with the sketch enough to post it publicly #this is my first sketch in like... 9-10 months i think? i wanna get back into drawing but it is a struggle #giorno giovanna #pannacotta fugo #jjba giorno #jjba fugo #fugio #jjba part 5 #my au

[sociopathicbunnyrabbit-blog]

So I really like comic books as like an art form, media, form of visual storytelling and sequential art and I know many people know comics via Marvel and DC superheroes so i wanted to highlight some creative fan's who's artwork, character designs and or redesigns and Au's who I really like and i think deserve some love...

P.S Im super Sorry if some of the link's are not active but im having trouble putting in Links to instagram profile's

The Anti-Apocalypse Man 

There headverse au of Dc characters is a bold , colourful , pop explosion that effusively mixes all of their favourite comics with their own creative touch , no shying away from non humanoid bodies with aliens or robotic character's , piercing , cool fashion sense, big capes, long jackets, crop tops, chunky boots and gloves, belts make up some of the common design elements in their designs. Check them out, they have a great sense of style that's wholly unique to them that screams too cool for school.

There's an obvious almost infectious sense of Love present for some of the characters that always manages to improve my mood. Another facet of the art is the great background lore for their au that creatively mashes together like dozens of cool ideas from the comic's like multiversity, all-star superman, scott synders justive league, the characters of jack kirby and steve orlando. 

I would recommend you take a look If you like the works of Grant Morrison, Frank Miller's Dark Knight universe, 90s teen superheroes especially, you might find this right up your alley. Lots of designs for young justice, JSA, Doom patrol, superman and batman families of characters there's a lot to love about the pop, punk, bright saturated colours and almost collage artwork/pop art feel it gives off with the sheer visual kaleidoscope of awesomeness that is on display. 

JENSCIN are two people

This indonesia pair of artists share some great artostic talent their desings or classic dc character's makes them look very human and have this comforting sense of warmth. Their artwork involving their original ideas for some adorable short little dc comics with a very huggable looking superman redesign that take inspiration from more classic golden age adjacent media look a lot of cool ideas about superman experience as an immigrant, like have you ever wondered what kryptonian food tasted like I didn't used to but now I do. An amazing take on an asian american lois lane, a 10/10 mercy design, Atlantienis having pitch black eyes like that of deep sea fish from living at great depths is an amazing detail. Have I mentioned they ahve put more thought, effort and love into everyone's Extraterestile cookie monster J'onn J'onzz then Dc has done in years please take some time to read Sons of Mars, their mars au lore is just excellent and their reinterpretation of mallifalak is so much better than what's previously been done with the character. Also not having the scientist who teleported John to earth be actually alive and part of his immediate social group is great. There way of blending sci-fi elements of DC stroies with a perspective focused on exploring character's unique cultural backgrounds is absolutely fascinating. 10/10 please check them out if you have the time.

Gabriel Larragán Villalobos 

He is a Costa Rican Artist I found Via instagram, art style is very sharp line work, angular designs jaws and well defined musculature. Their colour work ranges from vibrant bright primaries or metallic golds highlighting darker colour palette featuring forest greens, dark blues. Wine red, blacks.

He has a lot of great marvel redesigns in their Au he created for their Spider-sona the Night spider universe with a amazing original avengers line up and outside of that some excellent x men character artwork ( glad to see someone else liked wolverine and the x-men young cast members as well), moon knight as the leader for the 'cult of knoshu'. His DC stuff is also really great, lots of very fun Bat family designs along with some dynamic and interesting new takes on Teen titans and the Super son's and a great Outlaws Au with red hood, Roy harper and kara as a rebellious punk found family is awesome. Their Nubia and Daina are very cool. Their Black canary design is just Great (short hair). Also check out his powerpuff girls and Ninja turtle stuff. 

https://instagram.com/gabriellarragan

Milkydraws 

This Tumblr user's Artwork is really great in having warm tones and does redesigns for Dc characters such as the Justice League , JSA, JL international and teen titan's, DKR universe stuff. They do a very good job with clothes as well as musculature so their amazon sketches are really good, diana as a wrestler in the style of grappling wrestling they did historically in ancient greece is really fun idea, they also do a great job at non-human characters and their designs for atlanteans, starfire, trigon, martians are all appropriately horrifying in tjis artwork.

As fans I think we forget just how not like a person some of these characters should look, the scales/fins being part of aquamen rather then clothes is cool, some specific details i found i really liked were the dixie boots and retro S design for superman, diana's hair and more tiga like upper outfit, the big ears on their batman, the female flashes designs , clear glass on cyborg synthetic parts, that power girl design ( of several) with like the clunky mecha boots and gauntlets. The artists have a great use of colour, great understanding of anatomy, and some really good clothing designs. Fair warning some bare chests ( npth male and female) and some more gorey pic's among their work.

bOssu

An artist I discovered via Instagram under the account name vnskecthes that has some great marvel redesigns and DC ones in between lots of commission work and OC sketches, using the likes of spider man, dr strange, black panther, iron man, captain america, ant man, shang chi ect. They offer a lot of variety as any single character focus piece has multiple designs presented, very slick artstyle with usually small colour palette for anyone, design keeps things nice and uniform, great texture on metal. Really cool mecha looking iron man stuff , and nice difference in masks for their black pattern designs, oni mask wolverine and daredevil is pretty cool. they done some DC resigns as well really like the No cape strong body armoured Martian manhunter,dr fate as a dog, satna with a little cape and glasses ( gives off very much a dork in private life vibes), fem flash with a mask, duel sword Wonder woman. A lot of influence from anime ,manga and video games for inspiration here that creates its own unique vibe.

https://instagram.com/vnsketches

Vinícius Lopez

This artist has a lot of great Redesigns. A good fantastic four redisings, a strong more stocky built version of susan storm, a reed with a clam smile and a good amount of grey hairs and a johnny a lopsided grin. Their x men redesigns are also pretty cool, their modern x men line up has this double line motif on cyclops, accents beat's lab coat and storms stockings mixed with bright colours makes it look very slick and striking, the classic x men line up has some practical looking suits and features a non-binary angel, his justice league redesigns are pretty cool I like the variance in body type and hair styles he has, also the dr fate design is way too attractive. His batman redesigns are pretty cool pinty little shoulders and full mask, jacket and goggles catwoman ( some pre-crisis red head jason love), teen titans redesigns are cool too, prosthetic looking leg cyborg, energetic beast boy, also both of his wonder woman designs go slap so hard! The original more canon adjacent one with the Dog tags and tie back hair is super cool but the later sketches of a tall, wild free flowing hair and BUILT like a brick house are also excellent.

https://instagram.com/viniciuslopez_artwork

https://twitter.com/lopez_artwork

Taku (@Yotakuboi)

Probably the artist with the least amount of artwork out at present but quantity does not equate quality. I found them on instagram as yotaku_boi , this artists has a frantic sort of energy to their art but crisp, clean line work effective matched with effective colour schemes and some really great character redesigns for spider man related characters, a more monster looking batman, a really cool catwoman design, the best drax design I have ever seen, a really interesting look for venom with a bulbous frog like tongue and black and white used to make a skeleton accents that remind me of a de los Muertos mask. Lot of his designs feel like they belong in an animated cartoon series and there is an obvious appreciation for a bit of a horror esthetique in some of his work.

https://instagram.com/yotaku_boi

Mike Becker

This artist most easily found on deviantart has a well proportioned that depicts almost Gabriel Ba esque art styles version of these characters very well, his use of bright colours and love of zany more cosmic, high flying silver age comic vibe is evident in every artwork especially some of his OC's , hes done art of the avengers, spider man, dr strange, fantastic four and a fairly extensive list of X men characters , he has also done Justice league, teen titans, legion super heroes. New gods, super pets and some DC rogues galleries. His artwork often features status effects around the characters such as radiating Kirby krackles of energy or surrounded by flames, he also often plays with detail on characters skin such as swirling moving of magma's arms or magic's metal arm or the tattoos he gives hawkwoman. He also seems to really love animals and that's always a plus. I don't care if it's silly if we are able to say a person can fly then why can't his dog also fly too.

Link: https://instagram.com/mikebecker

LuisBajoColladoes

For anyone who's a fan of thor or DC character's I would encourage you to take the time to check out this amazing artist. He has recently done DCtober an art challenge where people redesign/draw a character a day for a month all of which are very cool, the year before he did a Marveltober where he did the same thing although those designs are monochrome but still excellent.

There are many things I can point to as to what I enjoy in his designs his batgirl home made looking costume, how cartoonish Mr Miracle looks like he's trying to escape being two dimensional, the ocean colour scheme for his aquaman and the fiery colour scheme of his ares, he also has really cool designs for high tech armour on characters like black manta, blue beetle, big barda. He has also done art based on various IP's he doen designs based off the unfinished justice league mortal film film the 2000's, flashpoint universe characters, spiderman and spider verse and X-men with a EArth X design influence.

Oni18064

Where do I even begin to describe this artist. He has a constant output of new artwork everyday. I have been following for the past two or 3 years now and can definitively say that he loves art and is always improving his already amazing skills. His character redesigns mostly Marvel stuff although his old Dc redesigns are fun too and have a great Idea of giving each big character their own fifth dimensional imp, He's done about three maybe four rounds of redesigns at this point for a lot of the different ip's like X-men, spider man, fantastic four, captain america, hulk, thor, runaways, big hero six ect. The hero in question is a lot of their rogue's gallery and their allies.

His most recent has him doing different alternate universe to his overall AU version of marvel which has some interesting features to it such as mash up of new warriors with big hero six, happy hogan in a iron suit, black peter parker, with miles morales under the alias scarlet spider and ghost spider being the gwen clone from the original 70's clone saga story, fem captain america and falcon, monica rambeau as captain marvel with kamla as her sidekick spectrum, Nick coulson as Machine Man ( for my fellow agents of shield watchers I thought this was very clever). Overall great creative energy very well versed in both the comic's themselves and other related media such as recent video games or movies. The overall influences and desing elements are taken from all over showcasing both their immense creative and technical skills and their humbling love for these comic books in every piece of artwork they post.

#comic books #artwork #dc comics #marvel comics #fanart #fandom #comics #art #redisngs #AU #awareness #support artists #tumblr #instagram #Devaintart #JENSCIN are two people #the-antiapocalyptic-man #Gabire Larragán #bOssu #Milkydraws8 #Vincíncius Lopez #Taku (@Yotakuboi) #Mike Becker #LuisBanjoCollados #Oni18064 #character art

[enlightenedrobot]

Concerning the Mouse

Disclaimer. This is a blog post. It's not an essay or legal advice or any of that. It's mostly a collection of thoughts. If you want something a little more well researched, might I suggest this post here. Anyways, let's talk about this lovable rat right here.

As of January 1st, 2024, Mickey Mouse, as depicted in Steamboat Willie, The Galloping Goncho, and Plane Crazy is in the public domain. Personally, I've been looking forward to this, and I've kinda taken it as a personal challenge to figure out how exactly I can reinterpret the mouse for my own projects. And I actually think I got it. But before that... let's talk about this.

I don't think the image above is safe.

It's true, Steamboat Willie is in the public domain, but Mickey Mouse is still protected by trademark law, and those frames and that get up specifically are still very much protected.

I can't be too sure about this, because both Infestation 88 (The Videogame) and Mickey's Mouse Trap (The Horror Movie) seem to use variations of this specific design, but like... those ears are probably still protected, as are those pants. This version of Mickey also lacks his iconic white gloves, but contrary to what other people might say, I don't think "old cartoon wearing white gloves" is something uniquely trademarkable to the Disney corporation.

So if you wanna play it safe, it might be a good idea to use other elements provided by these cartoons as the base for your own interpretation of the character.

This is the version of Mickey Mouse as depicted in the title card of Steamboat Willie, and like, there's a bit more to work with here. His pants have stripes not seen in other incarnations of the character, and he also has a pretty distinct hat and cane.

More notably, his eyes are actually very different from Modern Mickey. They're huge, and the pie eyes that everybody associates with this era of animation are actually pupils. Not the eyes by themself.

What's funny is that there's a definite resemblances between these eyes and those of Sonic the Hedgehog. Sonic was apparently based on Mickey Mouse, so I'm not super surprised.

Those eyes in the title screen actually seem to be a holdover from Plane Crazy, where Mickey Mouse continues to have huge eyes. From that same cartoon, We also have Mickey Mouse deliberately messing up his hair to resemble the pilot Charles Lindbergh.

And like... it's cute. It's a look.

One thing I also keep seeing on social media is that Mickey Mouse has to be Black and White and he's not allowed to speak, because both Mickey's voice and his iconic red pants wouldn't be used until much later.

But like... you're allowed to build on these designs. Just because you can't color his shorts red doesn't mean you can't use color period. And using a different voice for the mouse is a very good way to differentiate your incarnation of the character from Disney's. This isn't legal advice, but I do believe you could get away with giving him a different colored outfit and, say, a deep souther accent ala Foghorn Leghorn.

Anyways, with all this in mind, allow me to introduce my own take on the character, Micheal Elias Mouse Jr. (Mike E. Mouse for short)

He's a former childstar, the son of the original Mickey Mouse, and an intellectual property lawyer with a dubious degree.

I intentionally made him rattier to make him more distinct, but don't let the smell of beef and cheese scare you off. This mouse might of been hit by hard times, but he still has a big heart, and deep down he's still the mouse we all know and love.

From a design standpoint, I tried my best to make the character recognizably mickey life while also changing up the original silhouette. Neither of the ears are perfect circles and one of them has a pretty significant bite taken out of it. The ratty hair and hat also help.

His gloves are yellow, inspired by various promotional materials for the original Steamboat Willie where Mickey dawns yellow gloves instead of the usual white. Further, I changed up the design of his shorts just because pushing the design that much further would help make this version of the character distinct from the Disney version.

If I'm not already protected by the public domain, I'm also protected by the fact that this character is obviously a parody. Middle aged dilf Mickey is not something Disney would never make, and the story I have in mind for him is more or less critical of the Disney corporation while still celebrating the artistry of the original cartoons and animation on the whole.

Anyways, Mickey Mouse entering the public domain is a big win for creatives everywhere, especially for fans of the original character. My interpretation isn't the only valid take on the character out there and I'm excited to see where everyone else goes now that the rat is free use.

#Mickey Mouse #Steamboat Willie #Public Domain #Plane Crazy #Mickey's Mouse Trap #Infestation 88 #Art #Fair Use #Creativity #Mickey #Cartoons #Animation

[semi-imaginary-place]

Trigun manga

I thought the Vash ass was a one time thing but Nightow gives us an ass shot panel like 3 times every chapter.

As someone who entered the franchise through Stampede it's interesting to see what Stampede changed (I mean besides the obvious timeline stuff). Like Stampede left out Vash getting a vent cover dropped on him while using a urinal and that whole subplot. It really is a rewrite, reminds me of the Evangelion movie series in that way, a reinterpretation of the major concepts of the series.

Vash's Stampede design better matches my sense of aesthetics. I never liked the BDSM leather harnesses and straps aesthetic but I gotta give it up for manga Vash's design, it is the most iconic and unique Vash design, it really stands out. 10,000 leather straps with a sleeveless leather harness with cutouts isn't my thing (seriously what the hell are you wearing Vash!) but it is definitly a Thing. Gotta recognize Nightow's dedication to giving Vash long shapely legs.

In stampede the Plants look like bulbs with roots or when unfurled Avatar alien plant people, in the manga there resemble living cells with amalgamated human faces and wing things and are feathery when unfurled. Trimax has stronger angel/demon imagery while Stampede sets up a stronger dichotomy between terraforming vs. Plant technology as the future of humanity. Manga plants are also giant in comparison

Milly is peak character concept. Bigg woman with a giant gun who loves her family, I'd go cafe with her and eat cake.

Oh hey Gunsmoke has pigeons.

Vash Legato telepathy?

I was wondering just how delusional vashwood shippers were. I mean shippers WILL see something when there's nothing this always happens. Wolfwood and Vash have no chemistry in Stampede season 1. Manga tho? Vash is instantly smitten when Wolfwood 3 way splits his last 3 coins with some street kids. And then they start flirting immediatly, yeah this is what chemistry looks like, "Your smile itself is a compliment", "a smile suits your face" damn.

Interesting interesting, in the manga its Vash's fleshy right arm that merges with the gun, in Stampede it's his mechanical left arm that merges with the gun. Although given Stampede is pre-July the right arm could also still happen.

I can see why people like the manga. I can also see how Stampede is playing a longer game planning farther ahead and has a more constructed narrative. The manga was always in jeopardy of being cancelled and then it was and you can see Nightow writing like every few chapters would be the last. Stampede has the advantage of knowing everything and being able to reconstruct the series while having the whole picture. I do like Meryl and Milly in the manga better than Stampede's Meryl and Roberto, but I like Stampede's Vash better than the manga's, he's cuter. In terms of story and format I like both, the more meandering episodic and the more straightforward story.

Maximum! So Knives blew Vash's angel gun again and now there's a hole on the moon and that dyed half of Vash's hair black… somehow I rather how with the artstyle you can't tell if the black is because his hair color changed or if its dramatic shading. I do think Stampede made the right call with the July incident leading to Vash's Eriks phase and 2 year gap instead of having another moon hole incident. The original 3 volume manga almost feels like a gaiden.

Wait wait. 2 year timeskip as Eriks and then we jump another 11 years!! Year 113 Meryl is 23, moon blast was on year 100. No way Meryl was 10 and a senpai insurance agent. Huh?? Between year 100 and year 113 2 years passed. Is this a translation error??

I need to go rewatch Stampede, Vash was able to keep far less secrets like Meryl and Wolfwood found out about him being a plant much earlier

#Trigun

[bluepigeon300]

Ive decided to make a redesign/reinterpretation of Battamonda, he so silly but a good villain for this precure season 😈

I like the original's design but i wasnt just a very fan of the color palette so i changed it for Red colors, because i think it will fit more with his sadistic personality and added other details like the B on his outfit, because he loves himself so much, why not.

#my artwork #digital art #hirogaru sky precure #precure fanart #soaring sky precure #anime #my style #this is just mi reinterpretation #i love this villain

[adarkrainbow]

The sequels of the Three Little Pigs

I talked previously of Disney’s “Three Little Pigs”. But what few people know is that The Three Little Pigs wasn’t just one animated short among the Silly Symphonies, but a whole series! To bank on the success of the original animated short, three different sequels were created. Overall, all three were considered to be “failures” which led to an iconic line of Walt Disney “You can’t top pigs with pigs” - but they actually form a trio of important shorts that influenced further development of the “Three Little Pigs” world later on, for example by introducing several elements and characters that Disney would repurpose in various forms and shapes.

We are not here however to make a history of Disney characters - rather we are here once again to compare fairytales and adaptations, and analyze what exactly the adaptators did through their work.

The Big Bad Wolf, 1934

# Disney’s “Three Little Pigs” already played a bit with fairy tales inter-connections by referencing in an indirect way “The Wolf and the Seven Goats” - but here, the short “The Big Bad Wolf” fully plays on the fairytale crossover by having the Three Little Pigs meet Little Red Riding Hood. In this short, little Red Riding Hood, on her way to meet her sick grandmother to give her cake and wine, passes by the house of the Three Little Pigs. While the two first pigs are still playing music and dancing around, the third pig is still building with bricks - this time an extension to the house. It presumably seems to be a nod to the continuity of the shorts, as given his two brothers live with him now he needs to expand his own house. 

# Here the careless two little pigs advise Little Red Riding Hood to take a shortcut through the woods to reach her Grandma, much to the dismay of the third pig who explicitely says how the shortcut is dangerous due to the wolf living in the woods - he rather advises to take a longer road out of the woods, but his brothers mock him and express their lack of fear of the Big Bad Wolf who just “huffs and puffs” (clearly here a reversion of the traditional tale, as huffing and puffing is precisely the very real threat of the menacing Big Bad Wolf, but here reinterpreted literaly by the pigs as the wolf being basically “full of hot air” or “just air”). Once more, the fault of the two first little pigs is too much careleness, not taking anything seriously be it threats or warnings. 

# So the two little pigs escort Red Riding Hood through the forest. Someone else pointed out in a blog that it is quite disturbing how the human design of Little Red Riding Hood makes her look like the pigs - but I think it is the entire point. Like the Pigs, she is small, plump, pink-skinned, and when she leaves with the two pigs she becomes the third part of their trio. All of them the perfect victims for the hungry wolf...  There is also a clear divide between the countryside and the woods - the countryside the pigs live in and Red Riding Hood goes through is an open place with no obstacle to see the sky, gentle slopes of pastel colors with gentle flowers, birds and insects everywhere... Meanwhile, the wood is clearly designed as an enclosed place where the trees prevent from seeing the sky or the horizon, with darker colors and a lot of shadows everywhere - and while it is not a “creepy wood” in itself, just a normal wood, there is a clear intention at creating a darker and more claustrophobic feel for the wood. 

# The Big Bad Wolf tries to get the protagonists again through the use of disguises - this time, by becoming a ballerina-like fairy-queen called “Goldilocks”. On one side, it obviously plays into the grotesque here. The masculine, hairy, ugly wolf tries to mimick a beautiful and feminine entity ; in doing so he actually mixes up everything by acting both at the same time as a fairy and a ballerina, and adding the name “Goldilocks” taken from another little girl lost in the woods, there is a comical effect here. But on the other side, such a disguise is PRECISELY the best disguise the Wolf could have, as it is the complete antithesis of what he is. He takes an “superior” being, a fairy AND a queen, when he is an “inferior being” (an animal dressed like a hobo) ; he takes a female persona when he is male ; he tries to become your typical adjuvant and helper of fairytales when he is a villain ; and finally he tries to have the grace of a ballerina when he is clumsy and violent. In fact it is the later opposition that breaks his costume, as his heaviness is precisely what results in the destruction of his costume ; and later we again have a play on the wolf’s girth as he is too big to go through the narrow passages the smaller Red Riding Hood uses. 

# As with the previous short, the story of Red Riding Hood is HEAVILY softened here. Not only is Grandma not eaten, rather hiding in her closet at the wolf’s arrival, but Red Riding Hood either is left untouched, as she joins her grandma’s hiding in the closet (which results in a funny call-back as the Wolf asks for the women to open the door and let him in, a clear re-playing of his earlier fights with the pigs, except here instead of trying to enter a house he tries to enter a closet). In fact, while the Three Little Pigs original fairytale was adapted in a pure “adaptation” way, this short plays much more with the fairytale of Red Riding Hood by notably having the Big Bad Wolf break the fourth wall during his recitation of the “Oh my Grandma what big X you have / It is better to X you”, asking the audience “How am I doing?” ; but also by changing the last line which isn’t anymore “The better to eat you!” (which becomes invalid as he doesn’t end up eating her), but rather “You haven’t seen the half of it”. Clearly, the short considers that Red Riding Hood is such a well-known and classic tale that it can’t be fully adapted in a straightforward way and needs to be played with to work. 

# If we base ourselves on the Grimm version of “Little Red Riding Hood”, then the third pig actually fills here the role of the Woodsman, as in he is the one who, alerted, goes to save the two women. In another continuity-nod, we see that now the third pig has got a full arsenal of “wolf exterminators” ranging from rifles, bear traps and knifes to swords, canons and axes, passing by poisons and bombs - weapons he even keeps in a bag paralleling the Wolf’s own bag in which all of his disguises are hidden. But, fascinatingly, the third pig doesn’t use any of those weapons - rather he vanquishes the Wolf by throwing unpopped pop-corn in his pants, and coals. 

This demise is supposed to mirror the defeat of the Big Bad Wolf in the first short: once again we have a food-related demise (popcorn), and once again we have the Wolf being hurt on his butt. Which, as you will notice, is a recurring theme of these shorts who have a strange “let’s harm the butt” obsession... I could push forward the idea that it might be a cultural reference to a very iconic wolf-demise in European literature, one of the harsh tricks of Reynard the fox played on Ysengrin the wolf - the fox betraying the wolf so that he loses his tail... But this is probably just looking too much into what was just the humor of the time. Hit them in the butt, everyone laughs. In fact this very demise, unlike the one of the previous short which robbed the Big Bad of his human disguise and pretense, this one is just designed to be goofy and silly as the wolf runs away in a rain of popcorn. 

Three Little Wolves, 1936

# Now this short actually does what the subgenre of “fractured fairytales” would later do: start playing on the concept of twisting, reversing, breaking fairytales. And here the twist comes in the very title. We do not follow Three Little Pigs here anymore... but Three Little Wolves, who as it turn out are the triplet children of the Big Bad Wolf, miniature copies of their father. 

# We are introduced to the “house” of the Big Bad Wolf, which as it turns out is an underground lair under a big tree. A negative picture of the brick house of the third pig : both are strong houses that hold on to attacks, but where one is bright and good-looking and on top of a hill, the other is a dark and creepy underground lair. The Big Bad Wolf is notably introduced singing to his sons a song about cooking pigs... in a strong German accent and with German words mixed with the English. We are in 1936... This is not a coincidence.

# The parallel between the Three Little Wolves and the Three Little Pigs is driven even further by the three wolves imitating the pigs’ song “Who’s afraid of the Big Bad Wolf”... except that they perform this song to mock their own father due to them being naughty brats... and they use a bone instead of a flute. 

# The previous short mixed the Three Little Pigs with “Little Red Riding Hood”. Here, the fairytale is mixed yet again with another famous wolf-involved children story, though not a fairytale: rather, it is The Boy who Cried Wolf, a fable. Here the two pigs play the role of the Boy, as they blow the horn used as a “Wolf Alarm” just to play a prank and have fun on their third brother. Which later bites them back when the Wolf kidnaps them and their brother ignores the horn as one of their pranks. 

# Here, to trick the Little Pigs the Wolf disguises himself as Bo Peep, from traditional nursery rhymes (again, another confusion between fairytales, fables and nursery rhymes) and his sons as sheep. What I should note is that a recurring theme of all these sequels is how the Wolf takes on female disguises. Before we had a fairy-queen, and a grandmother ; here a sheperdess (even more, a “little girl” sheperdess), and as we will later see this continues in the next sequel. And this is driven even further by a later fact: when the Wolf, still in his Bo Peep disguise, manages to lock the Pigs in his lair... the Pigs blush and whisper “Oh, Bo Peep” as they believe something ELSE will happen now. Only to have their (either romantic, either lustful) hopes crushed when the sheperdess removes her disguise... There is clearly something to say here about the Wolf, a purely male force in all its nastiness (ugliness, brutality, hairiness), tricking the Pigs constantly with female disguises of various forms of kindness and innocence (fairy-queen, grandmother, little girl/sheperdess), and the disguise even pushing as far as hinting at a romance... Of course, the little wolves being disguised as sheep is also a nod to the expression “a wolf in sheeps’ clothing”, an expression already used in the first original short.

# In a very nice moment, after locking up the Pigs in his lair, the Big Bad Wolf swallows the key. Beyond it possibly triggering any trauma one may have gotten watching “Coraline”, it also highlights subtly the nature of the Wolf. He is a being of devouring. He only cares about eating little pigs or little girls, and he even only teaches his sons about how to cook and eat pigs - so of course, it would make sense for him to swallow the key. Swallowing the only mean of escape for the pigs is a foreshadowing of how the wolf himself will swallow them later. And the little wolves are not paling in comparison to their father, as they gleefully hunt down the pigs with a big meat cleaver - but hopefully for the pigs, the little savages are as much busy fighting each other for the meat as they are hunting the pigs. 

# The plot of this short is resolved when the Pigs trick the Big Bad Wolf into blowing the Wolf-Alarm horn. This is the reusing of a traditional and classical element of fairytales: tricking the villain in its own demise, or more specifically tricking the ogre into destroying itself. You can see it for example in the Hansel and Gretel fairytale, when Gretel convinces the witch to climb herself in the oven, or in Puss in Boots when the cat plays on the ogre’s pride to trick him into becoming a mouse. Here, as with many ogres of fairytale, the Big Bad Wolf is tricked by his own meal as his preys play on his arrogance. 

# Interestingly, to defeat the Wolf, the Third Pig reverses the original situation of the first short: this time, it is the Pig who disguises himself (into an Italian merchant) and knocks at the door of the Big Bad Wolf. And the Pig plays on the Wolf’s greed and gluttony - by offering “free tomato samples”. But unlike the Big Bad Wolf, who wanted to ENTER the Pigs house, here the Pig tries to convince the Wolf to come out, so that he can fall in the trap he purposefully designed for him... a trap disguised as a Fruit and Vegetables Shop. Here a double-play, again: the Wolf, the meat-eater by excellence, meets his doom by entering a place selling anything but meat ; and the Third Little Pig did not built a real, safe, solid building as he did with his brick house. Rather he completely inverted things by building a fake building that crumbles as soon as the wolf enters, to reveal its true nature of a trap. 

The Practical Pig, 1939

# The fourth part of the Three Little Pigs series, and the third (and last) of the sequels of the original short. Here we have again an opposition between the two little pigs and the third, the former mocking the latter for working all day and having no fun. Even more egregious: they mock their brother for building “yet another wolf machine”, and think he is crazy for building so many defenses against the wolf. And they decide to go swimming in the nearby pond, despite their brother’s insistance that the pond is a dangerous place as the Wolf is known to roam nearby. 

This is what actually made a lot of people dislike those sequels: in each of them, the two little pigs seemed to remember less and less about their original ordeal. The “moral” and the “lesson learned” after each short disappeared by the next, making it seem like the two little pigs basically deserved to die for not learning anything and not growing any kind of common sense. But it also shows one of the “traps” of fairytale adaptations: the cycle. Fairytales are basic stories with identifiable structures, repeated again and again and again. And while this series of Silly Symphonies tried to capitalize on one given story, they did so by repeating the story again and again - more specifically, they ended up returning to the same beginnings, the same “faults” leading the characters in dangers, the same mistakes... which in turn makes it feel that nothing is learned, that all the adventures are worthless, and that ultimately the characters of the Pigs and the Wolf are trapped in an endless cycle of hunts and pursuits. We already have here the logic of cartoons such as Looney Tunes - but this logic clearly was not mastered by the creators of the shorts ; OR was not appreciated back then by the early 20th century audience.

# The Wolf tricks again the swimming Pigs by putting on a disguise ; again he uses a female disguise, as I pointed out earlier. He takes the form of a mermaid - after the supernatural fairy-queen with insect wings who flew around like a bird, we have now a half-fish half-human creature. But as I also pointed out earlier: as the shorts go on, the Wolf’s disguises and luring tactics become much more overtly sexual and seductive in nature. In “The Big Bad Wolf” there was no obvious seduction or sexuality ; in “The Three Little Wolves” there was sexuality/attraction coming from the Pigs and not wanted by the Wolf ; but here the Wolf expressively plays on that, sending kisses and roses to the Pigs to lure them. 

# We find back the Wolf in his lair with his three boys, and we have a bit more of a glimpse at the dysfunctional family that is the Wolf family. This clan was clearly designed to be a clan of disorganized and chaotic brutes. In the previous short we knew that the three wolves clearly did not respect much their father (using slingshots on him and openly mocking him, even though they did obeyed to his plans and went searching for him when he was defeated), and also were quite selfish as when it came time to eat the bigs they fought among themselves. Here we see that the three little wolves are like their father brutal embodiments of gluttony, unable to wait to eat the pigs on the spot. But we also see how the Big Bad Wolf is a brutal father that answers his sons lack of obedience with violence, at first by hitting them, then by using his “huffing and puffing” on them to blow them away. It is clear that this “clan” is broken by their own selfishness and lack of respect for each other. 

# Unlike his sons’ desire to eat the pigs on the spot, strangely the Big Bad Wolf refuses. Despite having his long-desired meal in his grasp, he decides to wait. Why? Because as he explains he wants to have the Third Pig too and to eat them all at once. And this, as it turns out, will be his downfall, because his very decision to go after the Third Pig before eating the siblings will make his entire plan fail. Did he act by pure gluttony, wishing to have all three in his belly? Or did he act out of a petty revenge, unable to let go of the several times the Third Pig beat him? Or was it more of a mesure of cautioness, not wanting the third brother to spoil his fun at the last minute, as he always do? We don’t know for sure. 

# Similarly it is the three wolves own gluttony that will lead to their meal escaping: not only do they not follow their father’s orders of not eating anything until he gets back home, but they also decide to add pepper for the flavor to the baked pigs. This act of gluttony will actually accidentally free the two pigs and immobilize the three wolves, unable to catch their prey fleeing away. 

# The last thing I want to talk about is the machine the third pig newly built for the Big Bad Wolf: a lie-detector machine that beats up the liar strapped in it. What is interesting is that the machine displays only two types of punishment. One, rincing mouth with soap, which is a traditional expression when it comes to punishing people for lying or saying bad words (and unfortunately was sometimes taken literaly by some very harsh and unpleasant parents) ; and the second is rather spanking - a punishment clearly designed for a child. By using these two punishments in the machine, the short clearly targets its audience as children, because they are precisely two typical punishments inhabiting the minds of children and existing in the “children universe”

#disney #the three little pigs #fairytale adaptation #the big bad wolf #fairy tale adaptation #silly symphonies #the three little wolves #the practical pig #cartoon #walt disney

[cinematicct]

Moulin Rouge! (2001)

Directed by Baz Luhrmann, this jukebox musical film stars Nicole Kidman and Ewan McGregor as courtesan/star attraction Satine and poor writer Christian, respectively, in a story about truth, beauty, freedom, and love above all things.

The supporting cast includes: John Leguizamo (who performs on his knees to appear dwarf-sized) as French artist Henri de Toulouse-Lautrec, Jim Broadbent as Moulin Rouge owner Harold Zidler (loosely based on real-life Moulin Rouge founder Charles Zidler) and Richard Roxburgh as the Duke of Monroth.

Among the dazzling performances of a terrific cast, Nicole Kidman and Ewan McGregor both manage to add some extra sparkle to the screen as two lovers who come to realize their mutual relationship is greater than anything in the world.

The story takes place in 1899 Paris during the Bohemian movement. A nightly district of France is the Parisian neighborhood known as Montmartre, where artists, writers, performers and even visitors come together to mingle. The backgrounds are created in visually stunning (and painterly) detail since the film depicts a world of blissful entertainment as opposed to a historic setting, winning an Oscar for Best Art Direction (known today as Best Production Design).

The costumes (which won an Oscar in that category) enhance the bohemian underworld in terms of color and livelihood. Among the embroidered clothing, Nicole Kidman’s wardrobe stands out ranging from sequin outfits to proper evening gowns. It goes to show that while Satine is sensually desirable at the Moulin Rouge, she dresses appropriately after every performance.

However, apart from the debauchery, the Moulin Rouge also has a strict policy that prohibits the performer from falling in love with the customer and vice versa. Furthermore, Satine (later revealed to be diagnosed with tuberculosis) has been arranged to seduce a powerful, antagonistic Duke (who holds the deed to the Moulin Rouge) in exchange for the conversion of the Moulin Rouge into a theater. Christian on the other hand is determined to prove that love can overcome any obstacle by putting on a show.

But on top of all that, the actors’ singing draws you into the bewildering world of contemporary music against the whimsical backdrop of turn-of-the-century France. Every song contains an eclectic blend of modern pop, rock, techno and Broadway show tunes spanning the 20th century. What’s more, the can-can dancers are dubbed the “Diamond Dogs”. The track list includes both solo and medley renditions of: “Nature Boy”, “The Sound of Music”, “Children of the Revolution”, “Lady Marmalade”, “Because We Can”, “Smells Like Teen Spirit”, “Diamonds Are a Girl’s Best Friend”, “Material Girl”, “Rhythm of the Night”, “Your Song”, “One Day I’ll Fly Away”, “Górecki”, “Like a Virgin”, “Roxanne” and “The Show Must Go On”. The film also includes an original love theme (which serves as a secret yet powerful affirmation of love) titled “Come What May”, sung by Nicole Kidman and Ewan McGregor. In addition, a cover version of “Lady Marmalade” performed by P!nk, Mya, Lil’ Kim and Christina Aguilera is heard on the soundtrack. These songs not only reflect the intoxicating frenzy of a nightclub attraction, but they are reinterpreted as an act of creativity by a group of entertainers who appear to be ahead of their time.

Thanks to the visionary style of Baz Luhrmann, we see a groundbreaking spectacle of musicality. Plus, this particular story confirms that despite the complications of show business, the greatest thing ever is just to love and be loved in return. All that said, I recommend this enticing, original film to every lover and hater of musicals.

#moulin rouge 2001 #jukebox musical #baz luhrmann #ewan mcgregor #writer #nicole kidman #courtesan #john leguizamo #henri de toulouse lautrec #red curtain trilogy #montmartre #Paris #bohemianism #turn of the century

[princerevelucide]

Hello!! I just wanted to say that I ADORE your KI ocs!!! they're all so detailed and interesting! I'd love to know if you have anything that goes more into depth about their designs and what influenced them, cause I can tell you put so much thought into them!

(also I feel I have to mention this, but I have an oc named Arethusa as well! so seeing that one of yours was named that as well was a bit of a surprise lol)

ohh thank you very much!! you’re very kind!!! it always means a lot that folks seem to like them all so much!!

i have this google doc explaining some of their personalities and in-universe origins, though that’s probably not what you’re asking for since there’s nothing in it about their influences and designs as characters, BUT i can still tell you what i remember thinking when i first made them!!

the concepts for asterie, linus, and raniris were just ‘i like stars, music, and rainbows. i’ll make kid icarus god ocs out of them’ and that was that. i think i was just so into my kiu kick at the time that my brain was ready to start spouting ocs at me i think asterie’s design was supposed to have a viridi-ish feel to it in the dress’ build? i actually don’t remember her inspiration too well sadly. linus’ design is based on an orchestra conductor, octavo from cadence of hyrule, and a bunch of music symbols i found online and just dotted onto his design. (i also originally concepted him as a villain, but that felt awkwardly written so i dropped it)

raniris is inspired by the actual greek goddess iris (her name is that + ‘rain’ without the I) and her design is based on wedding dresses, while the idea for dia came from iris’ golden wings, which i was inspired to turn into its own character as it would fit them being a sort of palutena & pit parallel. her design is also based on flower girls to go with raniris’ wedding dress!

the idea for zero came to me while listening to the kirby planet robobot ost and i just thought a digital pitthree clone would be a genius idea lol. his design is based on pit’s black alt from smash 4 (having silver and purple accents) while also looking somewhere in between pit and dark pit colour-wise, plus his outfit is sort of a modern/casual reinterpretation of pit and dark pit’s actual chitons.

arethusa literally came to me in 0.2 seconds while i was looking through the window one day watching the next door house which wasn’t finished yet getting soaked in the rain. i thought ‘what if there was a rain girl to go with phosphora being a lightning girl’ and then oops. HER design is based on phosphora’s with a more subdued, serious tone to it to go with her being the serious sister vs. phosphora being the energetic sister, and also minus the plants because i figure that’s probably just a viridi thing. there’s also their mother zephyra, goddess of storms, who i have not designed yet and god knows if i’ll ever get around to it

as for the skyworld angel citizens, they’re all from these separate characterisations i made up for fun imagining each of pit and dark pit’s alternate colours in smash being their own characters with their own history. those ideas went all over the place but arcis is green dark pit, leto is yellow pit, ethi is white dark pit, mynta is blue pit, and aui id purple dark pit. and i have more that never got past the scribble stage (but i’d like them to!!!)

apologies if that’s not as interesting or detailed as you were hoping, but it’s the best i’ve got!! especially in terms of their actual personalities because all i can say regarding that is they come to me in my dreams like a prophet receiving visions from an angry god. but thank you again for being interested enough to ask! ;w;

#kirby answers #kringle1763