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firelxdykatara · 4 years

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Touching Zuko’s Scar

It’s entirely possible that someone has written meta on this before, and possibly done it better/more eloquently than I’m about to. However, I have Things To Say and I’m going to say them, and hopefully my point comes across! This post is largely spurred on by a few posts I’ve seen in the tags lately which have... rather baffling takes on the whole ‘who touches Zuko’s scar and why’ situation, particularly in regards to feeling the need, for some reason, to diminish the scene in which Katara touches his scar and the importance of that moment for both of them.

From what I can tell, this was done in an attempt to prop up Maiko, which I suppose makes some amount of sense since that is a ship which can barely stand on its own without tremendous amounts of headcanoning to fill in the gaping holes left by the fact that the entirety of their relationship development happened off-screen (and the glimpse we do get into it in the ‘going home’ midquel comic leaves a lot to be desired in terms of why Zuko would even want to be with her, but that’s another discussion entirely). But it still doesn’t quite fit, because the scenes with Katara and with Song are so much more meaningful, both in terms of Zuko’s arc and the way the girls relate to him (and it also ties into Katara feeling so hurt by Zuko’s betrayal, and needing more than any of the others before she can forgive and accept him into the gaang).

Now, that out of the way, I do want to say up front that the intention here is not to be particularly anti Maiko, but to examine the situations in which Zuko’s scar is touched (or almost touched), and the similarities two of these scenes have which are not shared by the third (at which point, you’re obviously free to draw your own conclusions).

Also, please bear with me--I can’t take screenshots or anything, so I’ll reference scenes and the episodes they come from but there won’t be images.

Under a cut bc this got long

To start off, there are three moments in the entire series where a character touches, or tries to touch, Zuko’s scar with her hand. (I say ‘her’ because all three instances occur with girls near Zuko’s own age.) The first moment is in The Cave of Two Lovers, the second episode of book two--this is the moment where Song sees Zuko’s scar, recognizes it for the intentional burn from a firebender that it is, and reaches for it.

Song: Can I join you? I know what you’ve been through. We’ve all been through it. [looks at Zuko’s scar] The Fire Nation has hurt you. [she slowly reaches for his scar, but before she can touch it, Zuko grabs her wrist and stops her; she puts her hand back in her lap] It’s ok. They’ve hurt me too. [pulls up the leg of her pants to reveal the burn scars there]

The second moment comes at the end of book 2, in The Crossroads of Destiny, in a moment that is a deliberate parallel of Zuko’s connection with Song--but this time, he lets Katara touch him.

Katara: [she holds up a vial] This is water from the spirit oasis at the North Pole. It has special properties, so I’ve been saving it for something important. [moves closer to Zuko, standing in front of him] I don’t know if it would work, but... [Zuko closes his eyes, and Katara’s fingers touch his scar; the scene holds there as the music swells, before they’re interrupted]

Like Song did, Katara felt a connection to Zuko via a similar trauma he suffered. However, unlike Song, Katara knew who Zuko was--the banished prince of the Fire Nation, and someone who had been her enemy for most of the past several months. However, she still feels compassion and empathy for him, and it is for this reason that she takes his subsequent choice harder than anyone else in the gaang does (and why it takes more for him to earn her forgiveness).

Now, the third moment is... rather incongruous. There is neither compassion nor understanding involved in touching his scar, there is no real emotional connection, and it comes right on the heels of his girlfriend--someone we’re supposed to believe cares about him and his emotional wellbeing, since they’re in a relationship (which happened off-screen, but I digress)--shutting down his attempt to talk about his feelings, something that will present a conflict in their relationship later on.

Mai: [yawns] I just asked if you were cold, I didn’t ask for your whole life story. [she moves forward, smirking, and then chuckles, putting one arm around his neck and pulling his face towards her with her other hand] Stop worrying. [they kiss, and then Mai walks away, leaving Zuko to stare out at the horizon again; the wiki transcript says he looks relieved, but to me he looks resigned more than anything]

What’s interesting about this moment is, for one thing, it’s unclear if Mai is even supposed to be touching his scar at all. Giancarlo Volpe, the director for this episode, put the original storyboards for the scene up on his DeviantArt, and in them, it seems he was fairly careful to make sure Mai was not touching Zuko’s scar. This would make sense, considering that touching Zuko’s scar was presented as a very big deal--he specifically prevented a girl from touching his scar in the beginning of book 2, and at the end, he allowed another girl to touch him, showcasing vulnerability and trust in that moment. It is the culmination of one small part of his character arc, and that makes the moment that Katara touches his scar even more meaningful.

Of course, I can’t say definitively that it was an animation mistake or something that was deliberately changed during production (which, considering there is a moment later in the book where Bryke mandated a change, isn’t outside the realm of possibility), but it does present interesting implications.

However, even if you take the scene at face value and assume that Mai was intended to be touching his scar....it’s still presented in an entirely different framework than the previous two scenes, despite occurring almost immediately after Zuko’s moment with Katara in the caves (at least as far as episode count).

The different framework being, of course, the fact that it.... doesn’t mean anything at all.

In the first two scenes, Zuko’s scar and his pain--as well as the pain of the girls who are forging an empathic connection with him based on understanding each other’s trauma--is the focus. Touching, or attempting to touch, Zuko’s scar is the point--it is very deliberate, and there’s no way to argue against it because the writing is very explicit, and nothing else would make sense for those scenes. On the other hand, you could take out the moment where Mai touches Zuko’s scar and lose absolutely nothing--because the focus is not on Zuko, but rather on the fact that he was attempting to open up emotionally to his girlfriend (and note that this is the first indication we get in the show that they are together--take out the kiss completely and no one would even know they’re dating, let alone supposedly like one another even as friends), and was shut down with a sarcastic quip, ostensibly because Mai simply didn’t want to hear it. (This is in keeping with her later characterization, where she would much rather distract him and keep him from actually talking about any of his problems, but @araeph goes into the nature of Mai and Zuko’s emotional intimacy [or lack thereof] in much greater detail in this essay, so I won’t get too deep into it here.)

Mai touching Zuko’s scar doesn’t mean anything to the audience because it doesn’t mean anything to Zuko. He doesn’t react to or acknowledge it in any way, it’s as if he doesn’t even notice it happening (perhaps because it wasn’t supposed to? but again that’s speculation), and nothing in the scene would change if it didn’t. It simply doesn’t matter. On the other hand, Song nearly touching Zuko’s scar and then Katara actually touching his scar? They matter to him--and to the show, and therefore the audience--very much. Both moments are incredibly important to Zuko’s overall arc, because together, they show how far he had come in his own emotional journey over the course of the book.

Of course, it isn’t enough to keep him from choosing to side with Azula, because his journey was far from complete--but the fact that he was able to show such trust and vulnerability to a girl who had been his enemy not very long ago? That was huge. Because Zuko didn’t just let Katara touch his scar--he closed his eyes. She could have hurt him in that moment, but he trusted that she wouldn’t. He trusted that she was willing to use special water she’d been saving for something important--and he trusted that, in that moment, he was important to her.

It wasn’t just Zuko showing trust either, though--Katara showed trust in him. She trusted, after a few minutes of conversation and learning about the loss of his mother (and, specifically, the fact that the Fire Nation was responsible for the loss of his mother, just as it was responsible for the loss of hers), that he had changed--that he was different, and she could trust him. She was willing to use the spirit water she’d been carrying around for months on someone who had recently been so much an enemy that she fled from the tea shop, convinced that he’d somehow infiltrated the city and was planning something.

The fact that she trusted him in that moment is exactly why she took his next choice so hard, but it is also why their relationship cemented itself so solidly after The Southern Raiders, giving them quite possibly the strongest relationship in the gaang outside of Katara and Sokka.

Anyway, that was a lot of words for what essentially amounts to this: Song attempting to touch Zuko’s scar in the beginning of book 2 is explicitly paralleled by Katara being allowed to touch his scar at the end of it, and both moments occur during scenes where Zuko’s pain and trauma are acknowledged and validated, and where the person he’s speaking with feels a connection to him because of that shared trauma--because they understand what he has been through. It’s likewise important to note that while Song didn’t actually entirely understand, because she didn’t know who Zuko was or what being traumatized by the Fire Nation actually meant to him, Katara did--and she still was able to feel for him, connect to him, and want to help him.

By contrast, the moment with Mai occurs in a scene where Zuko’s pain and trauma are invalidated and dismissed, where his girlfriend attempts to distract him rather than help him through what is clearly a moment of great emotional turmoil. No, she shouldn’t have to be his therapist, but emotional support is vital in any relationship--especially when one party is traumatized and desperately needs support and love--and it is notably lacking from Maiko, starting from their very first romantic scene together.

Make of that what you will.

#atla #zutara #zuko #katara #mai #song #maiko salt #just covering my bases #atla meta #zutara meta

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bythebigcoolingtower · 4 years

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Eye on Springfield - An Interview with Raymie Muzquiz

Since working on eighteen episodes of seasons two and three of the Simpsons, Raymie Muzquiz has enjoyed a strong, thirty plus years career in the animation industry, including directing eight episodes of Futurama’s second run. Here, Raymie talks about his spell on both shows, his other projects and the industry itself.

Let’s start at the start, how did you get into animation and end up at Klasky-Csupo?

In 1988-89, I was working for a movie trailer company. I was a production assistant and then a post coordinator for about 2 years. I learned a lot about film post production and worked on a flatbed editor, dubbing machines, etc. (all pre-digital). However, it was nonetheless a miserable, unartistic, poorly-paying job that laid bare all those awful “Swimming With Sharks”, fear-and-loathing tropes of the movie business. My boss was a horror. He’d yell at me about the dressing in his salad, or the variety of bread on the sandwich. I was his presumed personal assistant to deride. Yet he would shamelessly “lick the boots” of celebs and execs higher up the food chain. To this day, I cannot watch movie trailers. On the rare trip to a theater, I sit in the lobby and have my wife text me when the feature starts.

During this awful period I would look daily through the trades for another job. One day in the Hollywood Reporter there was an ad that included a picture of Marge (I think). Klasky-Csupo (just blocks from my apartment!) was looking to staff for Season 2 of The Simpsons. Since I storyboarded all my student films and some action sequences in live-action low-budget features at Roger Corman’s Concorde/New Horizons in the late 80’s. I applied for a storyboard position. What happened next gave me whiplash. I was given a test. Hours after turning the in the test I hired as a staff storyboard artist to start two weeks hence and immediately given a freelance assignment.

How did I get this plum position with zero experience? This requires some context. The Simpsons was an unexpected TV-animation phoenix rising from the ashes of a poverty-row industry. It is little exaggeration to say that the TV animation talent pool (as opposed to feature animation) consisted largely of old, alcoholic and broken-spirited artists doing Saturday-morning hack-work, subsuming their talent to low budgets and low cel counts. The necessary talent were simply nonexistent for this new, hip renaissance. The doors opened to the young, the students and the inexperienced like me; someone who didn’t go to art school nor drew for a living. It was a singular event for me. I was ignorant that there was even a difference between animation and live action storyboards. I was even naive about my drawing ability. Imagine my reaction when I saw trained artists draw in a professional environment. It blew my mind! My only saving grace was that as a live-action film graduate, I knew film language. I could stage without “crossing the line”. Scenes “cut” together and “hooked up” and I was staging in depth rather than in the traditional “proscenium” cartoon style. My acting was restrained, not broad or cartoony.

I did my first storyboard freelance while still at the trailer company. It was for Jim Reardon; his first directing assignment: Itchy & Scratchy & Marge in 1989.

Can you explain the work you did on the Simpsons?

Everybody probably knows what storyboarding is, so I’ll keep it short. It’s the visualisation of the script/story. It’s TV animation’s biggest step from script to screen. You are staging the characters in space and acting them out and breaking it up into separate scenes that informs the entire rest of the process. Design, layout, key posing, action and timing build off the storyboard.

When you were assigned to work on the show what were your thoughts? It was a phenomenon by that point.

The first season’s episodes of the Simpsons were being re-runned to death. I remember doubting if they’d successfully make more before the buzz died off. When I was hired I couldn’t believe my luck. The Simpsons was THE hip show of the moment. To actually be a creative team member on something fresh and original AND get paid more than beggar’s wages was like winning the lottery.

How closely did you work with the directors and writers, what kind of notes and feedback did you receive?

When I arrived for my first meeting, Mark Kirkland and Jim Reardon were crowded in a small room with folding tables, right off of reception. I believe they were both directing for the first time. Although I was already hired to work in-house, I had to give two weeks to my current, satanic employer, so I was assigned work as a freelancer. It was to board an act of Itchy & Scratchy & Marge by its director, Jim Reardon. Little did I know what I was getting into.

I never had to draw so much in my life! My drawing hand (left) was killing me in those early months. I had to develop a callous on the middle finger. They gave me the “radio-play;” an audio cassette of the recorded dialog to draw to and tons of model sheets.

I remember being overwhelmed by the volume. And you had to draw in these tiny boxes of the formatted storyboard page. I didn’t have that kind of discipline (I never did: I eventually developed a style of drawing on blank pages, then fielding and formatting them onto a page. Sometimes I scaled my drawings down on the xerox machine. I also drew on post-its (the greatest invention in animation after cels) and taped them onto the formatted sheet.

As this was freelance, I actually only met with Jim twice: Once for the hand-out and then again to show him my roughs. I vaguely remember him asking for changes that I thought were off-show (I’d seen all extant episodes multiple times on TV by then). Plus this was my first time and really had no expectations of what the process was.

But--he was the director--I addressed his notes and turned in the storyboard to the receptionist without further feedback. This almost became my undoing. In future, I would know the director should go over the storyboard and decide if it was ready, needed further revision or even just check the “bookkeeping”; the placement of dialog, notes and scene and page numbering before releasing it to the producers (all the Executives at Gracie Films across town). However--for whatever reason--this didn’t happen. It went directly from reception to Gracie. And evidently the executives didn’t react well. I was ignorant of all of this for years; until Mark Kirkland told me what happened...

The Executives were displeased with the storyboard and demanded to know what happened. Someone blamed it on the new guy (me!). So it was decided I had to be fired (before I even started my first day on staff)!

Did I get thrown under the bus? I can’t say. I wasn’t there. I am only relating events second hand.

Anyway, Mark Kirkland, who shared the room with Jim Reardon and was present during my meetings came to my rescue (again, completely unbeknownst to me). He vouched for my character and said I was worthy of rescue and rather than firing me, I could work with him.

So I have Mark to thank for my career. If I was fired, it would have been crushing and I think it’s safe to say I would never have become the artist I’ve become in the thirty plus years of my career.

What was the pressure like working on the show and at the studios during that time?

Because of my lack of experience, I found it difficult judging deadlines and the necessary labor (and just pencil mileage) to succeed. Plus I was traumatised by my previous job; I was conditioned to fear punishment and humiliation at anytime for something I did or didn’t do.

The climate at Klasky/Csupo couldn’t be more starkly different; so egalitarian! Everyone was socialising and goofing around. Gabor Csupo couldn’t be a more laid-back boss! Long lunches with side-trips for comic books and toys! Nerf guns in the hall. I shared a tiny room with two other board artists, Peter Avanzino and Steve Moore. They would both have to vacate the room for me to reach my desk in the far corner. We bantered and laughed more than worked. Celebrities would drop by (Most memorable was meeting Frank Zappa). There were events always going on; bowling, screenings and parties. And yet, a ton of thought and drawing was necessary; especially for me. I worried I couldn’t work as fast as other artists. I often had to work nights and weekends to meet my deadlines. However, there always were other artists doing the same thing; they may have been more experienced than me, but they were young and not so disciplined; so I was never alone. Plus, you never knew how off the mark your roughs could be and after a meeting with the director and Brad Bird, you might suddenly be looking at a ton of revision work. I also remember that Brad was busy weekdays and meetings could sometimes only be done on Saturdays. I simply had a lot to learn and time to put in to build my proficiency. And Brad Bird was very important influence in those days: I could be nervous and exhausted preparing for a meeting with him, but he’d so infect you with his enthusiasm and creative vision that you’d end up re-doing the whole thing but be excited about doing it. He emphasized the cinematic aspects and empowered us to be bold and push the limits of traditional animation staging.

You worked on some of the show’s early classics, could you tell from your position how the episodes would come out?

My next episode for Jim Reardon was “When Flanders Failed”. Because of the kerfuffle of the first episode I did for him, I was anxious to be as professional and impressive as possible. I thought the act I did showed improvement. However, the episode seemed to languish at some point (after animation?) and word got around that it was a bust and wouldn’t reach air. My memory is hazy about this, but I was bummed at the time; thinking my working relationship with Jim was snake-bit.

A season later, it eventually did air. I’m not giving a very good account of this, sorry.

“Flaming Moe’s” was an episode I was excited about. I remember Brad Bird suggesting some very exciting staging that turned my head around. Especially the part where Homer ends up--“Phantom of the Opera-ish”--in the rafters. I think that was a turning point for me; I was going to be a Brad disciple and determined to push the staging from then on.

“Stark Raving Dad”, is memorable to me, but not for a good reason. It was one of the last episodes I worked on; only doing an act. I remember being scandalized that Michael Jackson was the subject of the episode. Being a Simpsons purist, I believed that the show existed in a parallel universe and celebrities were parodied for laughs; it was too hip to be a shill for celebrity. There was no Arnold Swarzenegger, there was McBain. There was no Hal Fishman (our local channel 5 anchor), there was Kent Brockman. Dr. Hibbert was a parody of Bill Cosby. Mayor Quimby was a parody of Ted Kennedy. Even Nick Riviera was supposed to be Gabor Csupo! Having Michael Jackson exist in this universe and embodied in a sympathetic character (rather than a target of ridicule) was seriously “jumping the shark” in my opinion. I believed the show had done the unthinkable and it would prove fatal to the series.

Of course I was wrong. The Simpsons goes on like a perpetual motion machine. But I couldn’t abide watching this wise and subversive show trample over its principles to star-fuck. Now of course, which celebrity HASN’T been on the Simpsons. As you may well know, “Stark Raving Dad” has been pulled from the series since the premiere of the HBO documentary “Leaving Neverland”, giving some credence to my long ago objection: sometimes it bites you on the ass.

“Black Widower” was my swan song. I remember meeting Kelsey Grammer at the table read and being mesmerized by his voice. He sounded just like Orson Welles. The act I boarded included Bob and Selma’s honeymoon. I wanted to give the staging a Hitchcockian influence with deep-focus, Z-axis compositions (like looking out of the fireplace, across the gas burner to Selma and Bob) and my first-ever use of DX (double exposed) shadows to provide menace. I thought that was my best work of the series.

One of my favourite early episodes is ‘Homer at the Bat’ which you storyboarded. What are your recollections on working on it? Did you get any specific notes when it came to the players?

“Homer” was my third “at bat” (pardon the pun) with Jim. He’s a baseball fan as I am, but he also PLAYED Chicago-Style Softball (baseball with a huge, soft ball). I’m a baseball fan too, but I felt I’d be exposed a dilettante due to my terminal lack of athleticism. I was assigned all three acts of the show as well! I really had to be on my game (again, pardon) and not miss any of the references. I reluctantly took him up on his offer playing in one of the Chicago-Style games one Saturday in Burbank. It was a sacrifice as I had to work weekends to keep up with the workload of this episode. I went with a fellow board artist, who’ll remain unnamed (to remain friends).

It went terribly. At bat, I whiffed three pitches in a row, and Jim kept pitching more and more out of pity. I missed them all. He finally had to tell me to just give the bat to the next guy. In the outfield, I stunk just as badly. The piece-de-resistance was when my fellow board artist was at bat and swung hard on a pitch. He missed the ball AND dislocated his knee. I ran to him as he plopped down in agony onto home plate with his knee, shin and foot pointed in the wrong direction. “If my leg stays like this much longer, I think I’m gonna start crying,” he said through the pain. After a terribly long moment, his shin and foot rotated snapped back into place. We hobbled off the field as Jim and his pals resumed the game. Could things have gone any worse? I was certain that Jim had no faith in me by that time. If so, he never said it. He was a laconic guy.

I worked on it a hundred years ago so I don’t feel the pride I objectively should. The episode went against The Cosby Show and beat it in the ratings! There’s even an exhibit in The Baseball Hall of Fame in Cooperstown, that I wasn’t aware of until I went there. No artist other than Matt is mentioned. It’s all about the writers and the players who voiced the show.

I still have the storyboards of Jose Canseco in the bathtub with Ms. Krabappel that Jose objected to and we had to cut. I’ll post them someday.

How do you reflect on your time working on the show? Do you ever watch those seasons and episodes back?

See below for details; but no. I haven’t watched the episodes I worked on or those seasons for decades. I haven’t watched any episodes after the 3rd season at all. I did see the movie.

The relationship between Klasky-Csupo and Gracie Films finished at the end of the third season, when Gracie decided to move production to Film Roman, what was your view of that situation?

With the handwriting on the wall that Fox might pull The Simpsons from Klasky-Csupo, the in-house producer Sherry Gunther countered by getting all us artists to sign a document tying us exclusively to Klasky-Csupo in an effort to block Fox access to the crew. That gambit didn’t dissuade Fox. They pulled the show anyway and took it to Film Roman. At the time, I wanted desperately to follow the show, but naively thought I couldn’t because I was bound by Sherry’s contract. Virtually everyone left Klasky-Csupo for Film Roman anyways; contract be damned.

The studio became a ghost town. I stayed, distressed that I had to work on Rugrats. However, I eventually concluded that being torn away from The Simpsons was the best thing for my creative growth. Wherein The Simpsons was written so well, closely supervised and finding its stride, The Rugrats scripts were mediocre and the gags not funny. Rugrats was a vacuum to fill and I was empowered to add gags and exercise Gabor’s mandate to really push the staging into warped and low-angled baby POVs that defined the series. It lacked the regimentation of The Simpsons and I exposed to all the other processes in making cartoons. On the Chanukah special I directed, I timed the animation, I even helped direct the voice talent and supervise animatic and final edit.

The Simpsons, like many prime-time animated shows, are dominated by writer/producers who closely control the creative aspects and the artists are more or less staying in their lanes.

After the Simpsons you were assigned to work on ‘Duckman’ where you directed eight episodes, what was the step up to direction like?

I didn’t go directly to Duckman. There was a period of boarding on Rugrats and assistant directing on two Edith-Ann specials for ABC. It was a sad time, something like being in purgatory, but one which I believe was necessary in retrospect.

Speaking of being in purgatory, here’s an anecdote. Klasky-Csupo was a bunch of empty rooms after the Simpsons left. I was working on Edith Ann one day and Gabor was walking a tour of potential clients through. I showed them what I was doing and then Gabor directed them to the next room; opening a door to usher them in, various large and small auto parts suddenly tumbled noisily out onto the floor. A car bumper, pieces of trim, a fender and hub-caps.

You may ask why auto parts were in there? I’ll tell you: When Rich Moore worked there, his office overlooked the corner of Highland and Fountain avenues. Over time, he and his crew witnessed a lot of auto collisions on that corner. They would go and retrieve the parts left behind and hang them on the wall. Rich obviously left without taking his collection and somebody decided to hide them all in this room. Suffice to say, it didn’t look professional and I felt terrible for Gabor at that moment.

When I did become director, there was many moments of panic. I was used to storyboarding to my personal standard and quality that defined my aesthetic. Paradoxically, being a director meant losing close control. I had to depend on clearly communicating to the storyboard artists, quickly learning you can only tell artists so much before they “top-off” and forget what you said. No one took notes! It was all by memory! I always took notes as a board artist. A good board artist makes a director look good. There are far more mediocre storyboard artists than good ones; mainly because the good ones are promoted to directors (I feel the quality has improved over time). And I had to deal with freelancers for the first time. They are the guys that fill-in when there’s not enough staff artists. These people were usually moonlighting for extra money and end up storyboarding your show in the style of the show they were working on during the day. There just wasn’t enough time in the schedule to fix everything without working crazy hours. The Simpsons had layout. So storyboards didn’t have to be so precise and if something wasn’t staged right or acting out in storyboard, you could work with a layout artist in shorthand to correct it. Virtually my entire career has been absent layouts. They are very rare for TV nowadays. This makes the storyboard all the more important. The bar must be high; we call them “layout storyboards”; they need to be closer to model and the acting must be spot on.

Animation timing was also something I had to get control of; At first, Duckman didn’t have a supervising timing director, who could maintain the quality and the timing aesthetics particular to the show. It was up to the director to check timing. I had almost no experience and it was a new show. No one person had the answers. I could review the timer’s work (so often a dreaded freelancer) and I could see it wasn’t at all right and I’d wholesale erase it, but then I panicked that I might have done more damage than good; suddenly in over my head. It took time, but I got it.

I believe that the director who masters his x-sheets is true master of his show. I could add quality and personal aesthetics in a new dimension.

Does you background as a storyboard artist influence the way in which you direct?

Absolutely. In animation history, there were directors who didn’t storyboard or even draw. There were a few of these “dinosaurs” on Rugrats. They sat and read the paper when we boarded their shows. But because of the overseas process of animation and the loss of layouts here at home, if you are going to direct at all, you have to be comfortable drawing a detailed, informed layout storyboard. It is literally the blueprint of your show.

That said, I had to mature as a director who storyboarded. It was insane to try and board all my episodes personally, though directors will put some work aside for themselves, especially if its a sequence that would be too hard to delegate to another artist. If a sequence involves a new character, location or prop integral to the story, it may not be designed yet, so I’ll take it on and “feel it out;” designing as I board.

I had to learn how to be a good delegator and a clear communicator. I pitch sequences to the board artist before they begin and give them roughs of designs, poses or staging I think is important for the sequence. From my boarding experience, I don’t like directors who don’t tell you what they want until after you’ve drawn the storyboard. That wastes time and effort. And morale. I want the artists to know my take and hopefully that will inform the storyboard they do. I also know from my board experience that you should balance criticism with praise. Communicate what you like about how they do this and that before you go through critiquing the parts that aren’t working. Ultimately, you want to help the board artists be successful in storyboarding it their way, not my way. If it works, don’t change it just because it isn’t the way you’d do it. Lean into and support what they’ve done.

‘Duckman’ had a cavalcade of guest stars throughout the shows run, did you ever get to meet any of them, and if so, do you have a favourite encounter?

I was always of two minds regarding using live-action stars for animation. Yeah, it’s fun to meet them and some like Jason Alexander can knock-it-out-of-the-park, but sometimes this kind of “stunt casting” backfires. In my first episode, we used Crispin Glover in a stunt role as a crazed maniac with only one line. He showed up brandishing an eight inch hunting knife acting like a REAL maniac. Maybe it was method acting, but we were scared of him and got him in and out as fast as we could. His delivery didn’t work for the line and it spoiled the joke in my opinion, but it remained in the episode. If we used one of the legion of professional voice actors available, we could have worked with them for the perfect “voice” and delivery and nailed it.

We also used Teri Garr for an episode (not one I was directing) and I attended because I was a huge fan of hers. I got to see her behind the mike as she looked over her pages and said acidly, “This isn’t exactly Tolstoy, is it.” That is the opposite attitude you should have when you’re hired. She was soon pitching underwear afterwards...obviously not Tolstoy either.

So I’ll say it again: using celebrities can bite you on the ass.

Performances aside, I certainly did enjoy meeting legends. Carl Reiner played a priest in Noir Gang. Mind you we recorded in a small studio that was in the back of the Rugrats building that was essentially a cavernous storage room. Ed Asner looked visibly uncomfortable when we huddled around him in there. I’ll never forget the look on Marina Sirtis’ face when she arrived to record an episode. Me and a couple of other guys were laying in wait in this sketchy storage area eating our lunches. She was concerned: “is this the right place?” I felt like a lech and stopped going to records that I didn’t have to be at.

Overall, if the celebrity you’ve cast for a voice roll has theater experience, you are more likely to get a good vocal performance. Especially musical theater experience. They are more aware of their voice and have the tools. This goes for Jason and others like Tim Curry and Bebe Neuwirth; all great voice talent to have behind the mic.

You worked on the second run of Futurama, had you been a fan of the original seasons?

No. I didn’t watch the show before. I had to catch up and learn the “canon” when I was hired.

How did you get involved in working on Futurama?

The animating studio, Rough Draft, was something of a clique. They didn’t just hire “anybody” and unlike most studios, they maintain a staff of lifers who usually have the choice positions. I knew Peter Avanzino from our Simpsons days doing storyboards together, so he vouched for me. I was hired to direct on the 2nd season of Drawn Together. So they had a taste of what they could expect from me. I was no longer an unknown quantity when Futurama came around.

One of the eight episodes you directed was, ‘The Mutants are Revolting’, the shows hundredth episode. How special was it to work on such a landmark episode?

It had the most visibility of my episodes, at least internally. They made T-shirts and some publicity art and even the script had a nicer cover. But it was the episode with the most headaches. The scope of the story was huge with multiple set pieces. The opening newsreel, movie in a movie of the Land-Titanic, the asteroid delivery, the party at Planet Express, the riot in the sewers and the flood and “parting of the red sea” climax all required a ton of designs and characters; plus more hand-drawn and CG effects. That’s a lot to manage and marshall for a TV show. Most episodes don’t require the director to do this kind of heavy lifting. I find that when a show demands this much visually, the story ends up being more superficial, gag driven and episodic feeling. Such is the case for this episode. It was visually pumped up because it was representing the 100th episode; meaning I was saddled with managing lots of logistics rather than the usual character-based comedy and emotion of say, Tip of The Zoidberg, which is a relationship story that--as a director--I feel I give more time to flourish and shine with.

‘The Mutants are Revolting’ features some fantastic animation, most notably a brief sequence of Bender standing perfectly still as the Planet Express ship moves around him. Can you explain the challenges of a sequence like that?

That’s a good, insightful question. A shot like this shows off the resources Rough Draft has that aren’t available at just any other studio doing TV animation. The interior of the Planet Express Ship was built and animated in CG. At it’s gimbal point was a CG version of a stationary Bender; locked to field, but who’s feet move with the CG ship. Once the CG elements were approved, they were printed out as wire frame drawings printed onto pegged paper. My Assistant Director drew key poses of the characters on a separate layer in register with the CG print outs, old school on a light box animation disc. This all was sent to our overseas studio Rough Draft Korea for inbetweening and color of the characters only. That came back as an alpha-channeled digital file and layered over the CG animation in our digital compositing department.

Scott Vanzo runs the department and directs all the CG animation effects. I can’t remember who exactly built the interior of the PE ship and animated it, so I’ll rely on IMDb: Don Kim and Jason Plapp. But all the guys in the digital department do tremendous work and allowed us to fine tune a lot of animation (that doesn’t have CG in it); giving us the ability that raises the quality and takes the curse off of overseas animation limitations.

‘The Tip of the Zoidberg’ was nominated for a Primetime Emmy, how proud were you of that achievement and the episode itself?

The episode was one of my favorites; it was character focused and elaborating on canon so a director couldn’t ask for more. As for the Emmy nomination, it’s one of those show business awards that I realized early I can’t get emotionally vested in. The Futurama guys have a formula for figuring out which episode will be submitted. I think it has something to do with each writer getting a shot at the statue. And then from then on it’s just politics.

You’ve also done work on ‘Disenchantment’, giving you the distinction of having worked on all three of Matt Groening’s shows. What’s your relationship like with him?

I can’t help but laugh at this question. I’ve run into him twice out in public over the years and he didn’t recognize me. Once at the Moscow Cat Circus! But that humbling fact aside, he’s a genuinely nice, funny person devoid of pretence and he’s said some very complementary things about my work. However, it’s all business. Like virtually all primetime shows, he’s with the writers at their separate production office. Animation production takes place in a different geographical location. My face time is limited to usually 2-3 meeting points in a show’s schedule. Anything in between are fielded via emails routed through coordinators and assistants.

As well as short form animation you’ve been involved with several feature length productions, including ‘The Rugrats Movie’ and ‘Despicable Me’, what are the key differences between long from and short form animated projects?

I don’t think I’ve ever had a purely feature production experience. The Rugrats Movie(s) were spin-offs from TV series so some processes were grandfathered in from TV production. Despicable Me was truly off-the-wall in that the storyboard artists were working remotely from literally all over the world. No one met each other. I met with Chris Renaud once. I was not allowed to see the entire script, only pages here and there. It was called “Evil Me” at the time. I was truly working in the dark and ultimately, they didn’t use anything I drew. Which to me seemed par-for-the-course: this was one harebrained, inefficient, right-hand-doesn’t-know-what-the-left-hand-is-doing way to make a show. Again, I predicted it would fail. Again, I was wrong.

At the time I was working on Despicable Me, Gru looked like Snape from Harry Potter and there were no minions yet, just an “Igor” kind of 2nd banana that was a shorter version of the final Gru design.

So my takeaway from those experiences is that I prefer TV production. You don’t have the luxury of a feature schedule, but there is less time for executives to get replaced, sundry monkey-business and creatives pulling the rug out from under you. However, TV is catching up in those regards. See below.

Do you have a scene or episode you’re particularly proud of working on?

I feel fulfilled and proud of directing and being supervising producer on Hey Arnold: The Jungle Movie. I was empowered to work in every aspect of the process and benefit from my experience to make it the smoothest running ship and happiest crew ever. Only at the very end did the executives get into overdrive meddling. But it ran well and looked good. It may not be as funny as my prime time stuff, but I think we elevated the material across the board; writing, design, animation quality. And it was a project put in mothballs 15 years before being resurrected. So it completes me in a way.

Ultimately, I believe work is about relationships and quality of life. The shows where you were empowered and respected and not overworked due to inefficiency are the shows I’m proud to work on. As Jim Duffy would always say, “It’s only a cartoon.”

Often sequences are cut or revised before broadcast. Do you have any favourites that didn’t make it in?

If I had, I’ve forgotten them.

What are the biggest changes you’ve seen in the industry over your time and what do you think the next big change will be?

The trend seems to be as I get better and more efficient at my job, creators and writers (especially in streaming prime-time) are becoming more entitled, indecisive, mecurial and demanding. As processes have evolved in digital technology, we’ve opened the door for those in power indulging in more rewrites, revisions, reviews, etc. Despite the technical advancements, animation remains expensive and time intensive and good artists (especially in TV) have to work intelligently and diligently on tight schedules to produce funny, inspired, detail-oriented work. Rewrites and revisions burn out artists and make us feel like office machines and though our overlords pay for the last minute re-dos, they are often throwing out higher quality work for patchwork revisions that lower the overall quality of a show.

Who inspired you as a young animator and who do you look to now?

Ironically, I never saw myself becoming an animator. I did do some stop-motion on Super 8 as a kid. But that was because I didn’t have access to peers to act and help. What inspired me were live action directors with strong, individual styles: Orson Welles, Stanley Kubrick, Peter Greenaway and Terry Gilliam. I think of these guys in essence as “live-action-animation directors”. The stylization in their sequence planning, shot selection and composition as well as how production design integrates in their storytelling reminds me of how background design and art direction naturally occur in animation production.

I’m sure there are new visionaries out there, but I’ve become so disenchanted with modern cinema, I rarely see new movies anymore. I find streaming TV much more interesting. Current movies strike me as self-consciously mannered and hyperactive. I find it endlessly fascinating looking back into cinema history before movies had to begin with three or four production company logos whooshing noisily about.

What advice would you give to people looking to break into the animation industry?

I’ve seen an improvement in the college educated animation students over the years. They seem to be of a higher intellectual standard than before. They aren’t as thrown by the rigors of schedule and they ALL can draw circles around me.

Be original in your own work, but also be a craftsman (as opposed to purely an artist) who can take criticism neutrally and have the tools to fit in the grand scheme of a show that might challenge your personal aesthetics.

Denis Sanders, a directing teacher I had in college said the director’s job is to be “an expert at all things”. In animation, that translates into intellegently knowing what to draw. If a character is looking under the hood of a car, know what an internal combustion engine looks like and what reasonable pieces you can have your character toss out of said engine. The distributor, the carburettor. Find and use reference! Go that extra step and inform your work with the texture of reality.

Don’t regurgitate old tropes. A trite example of what I’m talking about: If a character is peeking at another, avoid the obvious keyhole in the door trope. Keyholes aren’t in doors anymore. It’s been a cliche from the beginning of cinema. Rather, crack the door open, slide your cellphone under the door, look through a window or punch a hole in the door and look in. Like I said, this is a trite example, but making non-obvious choices rather than knee-jerk non-choices makes cartoons fresh and funnier.

What animated shows do you currently watch and what’s your opinion on the current state of animation?

It’s a terrible admission, but I’m not watching anything in animation. There’s a lot of animation that seems to be just writer-driven, animated live-action sit-coms. There isn’t a reason for them to be animated. Those are the kind of jobs I get offered a lot. It seems like a more trouble than it’s worth.

Who are some young animators you think we should be looking out for?

Gosh, I don’t know.

What projects are you currently working on?

I’m productively unemployed at the moment.

Where can people follow you on social media?

I only do tumblr: mashymilkiesinc.tumblr.com

#The Simpsons #Futurama #Eye on Springfield #Raymie Muzquiz #Not tall or wide

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natsspammityspamspamham · 3 years

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Dino Watches Anime (Dec. 21)

I postponed posting this for a while because I wanted to wait until the Fall 2020 season was over. Now, it’s almost Christmas. Some parts of the world are snowing, and as I feel the HUGE 2021 WINTER ANIME SEASON APPROACHING, I will reminisce about the anime that I will miss (or not).

Half of these aren’t even seasonal.

Anyway, I’m going to make some sort of “TOP ? ANIME OF 2020″ even though I haven’t watched half the seasonal anime I set out on watching HAHAHA!

Not Seasonal

As usual, I am periodically watching Gintama (which I’ve watched 106 episodes) and Hunter x Hunter (2011) (which I’ve watched 13 episodes), but I won’t finish those anytime soon.

Gangsta (ON-HOLD - 3/12)

I feel like I have to be in the right mood to watch this, and I just haven’t been. However, I can’t say it’s a bad show at all. In fact, it’s quite good, especially considering that it was done by a studio that went bankrupt. Seriously, they closed up the season after this anime aired. Surprisingly, they’ve done a lot of good anime in the past. Samurai Champloo, Ergo Proxy, and some other ones.

Space☆Dandy (COMPLETED)

I was on and off in terms of dropping this. I didn’t enjoy a good chunk of the episodes because... a lot of them rely on fanservice. To be quite frank, this anime’s motives can be boiled down to being h*rny. However, some random episodes/segments are good. And the animation... the animation of the non-fanservice scenes are masterful. I’m actually going to dive into this a little bit to justify why I’m actually watching this.

Studio Bones is amazing when they commit themselves to an anime, and looking at the staff, you can certainly see that this anime will be fun to look at. It’s a spectacle.

Sayo Yamamoto has done some incredible stuff in her career. Despite her role in Space Dandy season 1 being small (episode director of episode 2), I wanted to still cover her works. Her portfolio is massive, and she’s only 43. She did the storyboard for some really stylistic and unique openings like Arakawa Under the Bridge (both seasons), Kakegurui (which despite being heavily sexualized, is incredibly fluid and eyecatching even for me), and Psycho-Pass. She also did some storyboarding for the Attack on Titan ending and Samurai Champloo. Not to mention the obvious: She’s the director of Yuri!!! on Ice.

Shingo Natsume is a director for this series, and he has a lot of works too. For one, he was the director of One Punch Man season one which was really well-animated. He has also worked on some Masaaki Yuasa works, Gurren Lagann, and Fullmetal Alchemist: Brotherhood.

Last but certainly not least, Shinichirou Watanabe is also a director here, and even to someone who isn’t that versed in animation staff, he is incredibly well-known and skilled. He’s the director of many incredible works including Kids on the Slope, Zankyou no Terror (also the original creator), Samurai Champloo, Cowboy Bebop, and Carole & Tuesday (also the original creator).

There are even more amazing directors and contributors to this series, so rest assured, this anime looks good.

But once you get past all the wonderful visuals, the characters are meh and the story is... not that good. The voice acting is great. Junichi Suwabe is amazing as Dandy, Hiroyuki Yoshino plays a good wimp as Meow, and Uki Satake actually surprised me because I haven’t heard of her really but she plays the perfect QT. This anime is like having great icing on the cake, but the cake is actually a cowcake.

Zettai Karen Children: The Unlimited - Hyoubu Kyousuke (COMPLETE)

This anime is meh. Everything is meh. This was also done by Manglobe which went bankrupted shortly after Gangsta aired. The animation was alright. I thought this anime was older than it was because I wasn’t that impressed by the visuals. Cowboy Bebop looks better than it despite being almost a decade-and-a-half older. The voice acting was alright. I’m not the greatest fan of Kouji Yusa, but it’s mostly because I don’t like his voice. I’ve heard Junichi Suwabe portray other characters better because there was more substance in those other characters. The rest of the cast was forgettable. I didn’t even bother watching the parent series of this spinoff because it’s not needed, and after watching one episode of it, I wouldn’t be able to sit through the rest of it. There were some redeeming points to the story, but when your biggest plot twist is sticking out going, “LOOK AT ME, I’M A PLOT TWIST!”, you start to go, “I would be more surprised if they didn’t pull that plot twist.” And I guess it goes without saying, but the main guys do not end up together despite some of the hints they dropped.

Another funny thing is that they put a disclaimer that “this is not based on real events”, but they put in a ton of references to WWII which can be... troublesome? I don’t know how to put it, but after watching Hetalia, I’m very apprehensive about any anime trying to portray real-life events like that.

Seasonal

Munou na Nana

Honestly, I found the manga better. The anime captures just a portion of the suspense and stuff that goes on in the manga, and the manga holds a lot more suspense. It’s kind of like how Junji Ito anime usually have a hard time. Horror is just like that in general though. It relies a lot on the psychological effect, and the anime just didn’t have it for me anyway.

[I also don’t like this show’s comedy and find it lacklustre]

Kamisama ni Natta Hi

You know how in my previous post I sensed this really going downhill? I was right! This anime got really shitty halfway through after Izanami’s dad had his touching episode. Next week is the final episode, but we all know half of Jun Maeda’s anime end off a cliff.

Tonikaku Kawaii

This anime got boring after a while. You know they did it off-screen. Puppy love is okay in small doses for me, but a whole anime about that and only that? It was... alright. I’m not the target audience, honestly. BUT, if you’re tired of stupid love triangles and misunderstandings, this anime is a breath of fresh air. Not to mention, it’s canon from Day 1.

Ani ni Tsukeru Kusuri wa Nai! 4

This anime took no commitment, and some of the episodes were enjoyable, so I can’t say I wasted my time, but they truly only peaked in season one.

Jujutsu Kaisen

While I’m still not incredibly sold on the series, it’s really starting to take shape. The OP and ED are reasons to watch alone... and Gojo seems to be a popular choice for ladies who are into white-haired anime guys. Either way, it’s still a solid watch, but they need those character arcs to come in fast because the only thing I feel is really holding this show back is character depth (and I know they have it in the manga). The art, the voice acting, the music, everything else is there, and the story is, as I said, starting to take shape.

Maoujou de Oyasumi

I saved this one for last because this anime was so pure and wholesome, and it was definitely the biggest surprise of the season! I know some of the people I know are into those dating sims with the demon kings and whatever, but consider this demon king from this show. He’s an utter wreck, can’t be evil half the time, is a himbo, and you really wonder how they managed to keep their own castle together. The princess isn’t trapped in the castle with the demons, the demons are trapped in the castle with her. She commits burglary, assault, genocide, and mutilation is the name of a good sleep. Her name is also a pun on sleeping.

#dino watches anime

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ducktracy · 4 years

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162. porky and gabby (1937)

release date: may 15th, 1937

series: looney tunes

director: ub iwerks

starring: mel blanc (porky, gabby, truck driver)

a new name in the director’s guild for the first time in 9 months! feels longer, doesn’t it? ub iwerks, as in flip the frog creator and co-creator of mickey mouse iwerks, landed a very short term gig at warner bros. his warner bros gig was essentially a freelance gig as he floated around studios. he got some work to do, and leon schlesinger was able to meet his cartoon quota. he only directed 2 cartoons until one day he just up and left, leaving his unit to bob clampett. after jack king left the studio in 1936, iwerks came. bob clampett, who had been promised a position by schlesinger for quite some time, wasn’t too happy that this new guy was stepping in and taking a directorial position after HE had been promised a position for quite some time, so schlesinger appointed him to help iwerks out and to get that looney feel in the cartoons. clampett took chuck jones, bobe cannon, and manager ray katz with him. thus, when iwerks left, clampett inherited the unit. essentially, he, chuck, and bobe acted like co-directors on the iwerks films, refining them to give the films a more warner bros feel. clampett’s first entry, porky’s badtime story, was started by iwerks before he left the studio. this newly formed unit became known as the ray katz unit, separate from the leon schlesinger unit.

with a new director comes a new “star” (or not): gabby goat. gabby was warner bros’ response to donald duck. a temperamental, brash, angry sidekick to balance out the good-natured, happy go lucky, though slightly bland porky, whose personality was still up in the air. bob clampett credits cal howard for the creation of gabby, who would actually voice him in gabby’s final appearance, get rich quick porky. gabby himself only starred in three cartoons, never making it out of 1937. however, storyboards for clampett’s porky’s party (1938) DO show gabby (and petunia) starring alongside porky in the short. gabby really interests me as a character. he was so rude that his brash personality was considerably toned down by his last entry. he paved the way for daffy as a sidekick—in fact, clampett would remake porky‘s badtime story in 1944 with tick tock tuckered, daffy usurping gabby’s role in the cartoon. while gabby (and iwerks)’s stint was short, he was actually revived in the second season of wabbit/new looney tunes in 2018, voiced by bob bergen! he’s an interesting case who i like a lot, even though he doesn’t have much to show for himself.

the synopsis speaks for itself: porky and gabby are headed for a peaceful camping trip, but a variety of mishaps threaten any ounce of their enjoyment.

iris in with porky and gabby (literally) trucking their way through the rolling country side, their car brimming with camping essentials and more. a jolly motif of “gee, but you’re swell” scores quite a majority of the cartoon, and the opening scene is no exception. gabby doesn’t seem to share the same appreciation porky does for the outdoors, haughtily slumped over in his seat as porky asks “sure a swell day to go camping, isn’t it, gabby?”

before gabby can respond, their jalopy hits a rock, which catapults all of their camping supplies up into the air. thankfully--because why else?--the supplies piles back up neatly in the trunk, recovering from the bump. that is, except for one. a frying pan smacks gabby right on the head and gives him a shiner, much to porky’s amusement. gabby, full of malice, growls “YEAH!” in porky’s face.

just then, the two get stuck behind a moving van. we hear excessive honking as their jalopy zigzags back and forth, attempting to squeeze past, but the van is too big for the small country road they’re on. gabby is the perpetrator behind the horn, doing a fleischer-esque shiver take in anger as he honks on the horn and hurls insults. “hey you! get that big crate off the road! move over, we ain’t got all day! what’s the matter with you, you deaf!? you can hear that, can’t ya!?” while gabby engages in his hotheaded rant, porky, behind the wheel, is able to pull up next to the van, where gabby now yells at the bewildered truck driver in person. “get over, ya big sheep!”

as gabby threatens to “bounce one up [his] chin”, the truck driver pulls on a lever, attached to a hand shaped paddle. the paddle smacks gabby right in the face, causing him to spin around and dangle helplessly from the outstretched paddle as porky drives on ahead, clueless. reused from porky’s romance and from the radio show community sing, the truck driver tells gabby not to get excited. gabby retaliates in a flurry of sped up anger (the voice clip reused from porky’s romance) “EXCITED?? WHO’S EXCITED!? I’M NOT EXCITED!!!”

conveniently, the paddle dumps gabby right in a mud puddle, sparking another angry outburst, now spewing insults and mud alike. porky, still driving on his merry way, overhears gabby’s rampage and screeches to a halt, now driving in reverse. the animation in this scene and the next one is nice and rubbery, very elastic and stretchy. ub’s cartoons are hardly the most entertaining, but i do love how rubbery and tactile his animation is. a jolly underscore “gee, but you’re swell” triumphantly scores porky’s demise as he too is smacked by the passing paddle on the moving van. he’s then tossed out of the driver’s seat and splayed onto the hood of the car.

while gabby continues his muddy ranting and raving, the car conveniently runs right over gabby, halting just above him. porky looks around, befuddled, stuttering “hey, gabby! where are you?” mel’s deliveries as gabby are more than amusing as gabby growls back “where am i! where am i? now ain’t that a smart question! i’m under the car, you big fathead!” porky, unscathed by the remarks, climbs back into the driver’s seat and tells gabby he’ll pull up. he does so, running over gabby’s head in the process. more scathing remarks from gabby, with some particularly fluid and lovely animation as he jumps up and down in the mud puddle.

transition to the two back in their car, inching their way up a very steep incline. there’s some lovely synchronization between the animation and music as the car trucks its way up, the water in the engine spurting with each push up, all in time with the music. this collaboration is furthered as the score slows down, now as fatigued as the car trying to truck its way up. very clever indeed. just as they finally reach the top, the engine dies.

porky suggests pushing, much to gabby’s chagrin, making his distaste known by slamming the door as he begrudgingly exits the car. more rubbery animation as porky pulls at the bumper from the front, gabby pushing from the back, griping about how he wishes he’d stay home. “i don’t like camping, anyway!” porky manages to pull the bumper off the car entirely, just in time for gabby to get a running head start and ram into the back of the car, causing the car to topple over porky and barrel down the hill.

quite an interesting switch in angles as the duo run down the hill to catch the car, the decline turning into an incline once more, with the car slowing considerably and beginning its journey up the hill. now, porky and gabby run AWAY from the car, not towards it, as the car slides back down the hill, seeing as it can’t accelerate or decelerate on its own. predictable, yet fun to watch as porky and gabby engage in a game of cat and mouse with the car, the car ultimately barreling into them, sending the two twirling up into the air and landing neatly back in their respective seats. cartoon physics to the rescue!

a bit confusing as the car suddenly gains life again, trucking uphill, exhaust coming out of the pipe, but so be it. porky and gabby FINALLY reach their destination, the score now a rendition of “speaking of the weather” (which is the title of a frank tashlin merrie melody as well!) but, as we all know, this is only half the battle. porky triumphantly declares “well, here we are! i’ll put up the tent. you unload the car.” judging by the way porky moves and how gabby squints at him in contempt afterwards, i’d wage this as bob clampett’s animation. gabby retorts “yeah, i get all the hard work!” he struggles to untie the endless luggage piled up on the car. instead, he pulls the weight of the entire car on top of him, luggage spilling out on the ground as the car does a few barrel rolls, landing neatly right side up. gabby pokes his head out of the luggage pile, giving the audience an angry trademark Gabby Wink/Grimace.

elsewhere, while porky’s setting up the tent, a pesky bee comes to assess the situation. i wonder if bees in cartoons are an ub iwerks thing, or just a coincidence--in porky’s badtime story, which was started by ub, there’s a scene where porky tries to swat a bee away with a pillow, hitting gabby in the process. this could have been a clampett gag, but it wasn’t included in the tick tock tuckered remake, so who’s to say. some more interesting rubbery animation combined with a shiver take as porky angrily attempts to swat the bee away, getting stung in the ass in the process. the tent collapses, pinning porky and the bee together under the same tarp. the animation is just lovely to watch as the bee swoops around in circles, the tarp leaving a trail behind. very rubbery and malleable.

gabby begrudgingly prepares the furniture when he hears porky. “gabby! gabby! get a sly fwatter--a-a--a fly swatter!” gabby mutters to himself, scouting out a fly swatter, when he hits gold. a shovel. three times as big and three times as effective! gabby’s gleeful, slightly twisted grin as he charges towards the tent wielding the shovel is priceless. he’s a little too eager to bash some sense into that bee.

porky’s still being stung to pieces when gabby arrives. this is probably one of the funniest moments in an ub cartoon at WB, the timing is just too good: gabby hesitates, watching porky writhe around in agony under the tarp, before bashing porky’s head in. porky (rightfully) cries “OW!” and we hear silence. no movement. even better is when gabby carefully picks up the tarp and looks inside, making sure his pal is still breathing. instead, the pesky bee flies out from the tarp and stings gabby right on the nose.

more wonderfully fluid animation and speed lines as gabby now chases the bee with the shovel, cursing all along the way. ub’s flip the frog cartoons didn’t shy away from cursing (lots of “damn!”s), so i wonder if he ever thought about giving gabby a proper sailor mouth. seems likely. the bee lands on the exhaust pipe of their car, and when gabby hits the pipe with his trusty shovel, the force is enough to knock out the engine of the car, popping out of the grill.

more bob clampett animation as porky recovers, struggling to tie the tent’s rope to a stake in the ground. now, porky asks for a piece of rope, much to gabby’s chagrin. “rope... rope... i ain’t got any rope! guy’s always wantin’ something. why don’t he get his own rope? ah, here’s a piece!” sure enough, a spare piece of rope slithers out from the pile of junk by the car. treg brown’s use of a donkey braying as gabby pulls on the rope is a great touch.

unfortunately, we see that the rope is attached to the outboard motor. gabby gives a hearty tug, and the rope is freed from the motor, which activates it. the motor flies into the air, threatening to guillotine anyone who comes in contact with the blades. gabby is knocked into a hole the motor dug into the ground, peering out of it for safety (in a very similar manner to porky poking his head out of a hole in porky’s last stand). speaking of porky, he dives into his tent for safety as the motor cuts the tarp away into pieces.

the animation in this sequence is lovely, accented by carl stalling’s favorite “black coffee”. gabby resorts to shooting at the motor with a rifle. cartoon physics--the knockback from the rifle sends gabby flying, landing on a car horn, which catapults him forward. he shoots, he bounces, he shoots, he bounces, and so forth. one excessive shot sends him flying onto a spare mattress, the spring catapulting him into the air. gabby shoots himself down, but it’s no use. the spring gets caught on a tree branch. the motor threatens to graze gabby as he yells at porky for help (”i’m caught on a limb!”). rather, the motor runs into him, sending gabby twirling around the branch and hurtling towards the ground, the spring coming loose. it’s difficult to put into words, but it’s a lovely scene with some lovely animation.

porky, who has now miraculously found some rope, fashions a lasso and corrals the motor. “i got it! i got it!” but, as always, there’s a catch. a loop ties around porky’s legs, the motor dragging porky along in the wild goose chase. gabby scales up between two, lanky trees for safety, the motor cutting the bottoms off and making makeshift stilts. more beautiful animation as gabby struggles to stay put. eventually, the rope attached to the motor ties the two trees together, the rope loosening from porky’s legs and sending both him and gabby toppling to the ground.

befuddled, both investigate the eerie silence--no motor in sight. that is until the familiar sound of whirring grows louder from off screen. in a panic, the two bump into each other as they scramble to escape, both flopping to the ground just in tiem for the motor to rocket over their heads.

all hopes of a camping trip are out the window as the two scramble into their car. the engine, which had been catapulted out the front, is now pulled inside as the two speed away, hoping to outrun the deathtrap. i LOVE the detail of porky paddling at the air as they drive away, as if his meager attempts to paddle would speed the car up even more from the motor that flies threateningly close behind them.

meanwhile, they encounter an old friend: the moving van that gabby had harassed from before. once more does gabby berate the innocent driver (”HEY! MOVE OUTTA THE WAY, WE’RE COMIN’ THROUGH!”) as we get an interesting angle of the motor heading straight towards the audience.

porky and gabby duck, ready to meet their demise when the motor crashes into their car, pushing the car forcefully into the moving van. a cloud of smoke as the crash ensues. the truck driver has a tire dangling from his next, much to gabby’s delight. gabby bursts into a fit of hysterical, bleating laughter, nudging a dazed porky so he can get a good look. the van driver pulls on his trusty lever, and the hand shaped paddle from before gives gabby a well deserved smack. iris out as both the van driver and even porky beam at gabby’s humiliation.

what an interesting cartoon, to say the least! there’s a lot of layers to it, while simultaneously, there aren’t at all. to put it bluntly, at surface level, this isn’t a very good cartoon. a few plotholes (like porky randomly finding a rope after he needed one, the car miraculously working again after it had died, etc--but these are mainly cases of cartoon logic, don’t take these too seriously. these are observations rather than critiques), and the plot itself is very bare-bones. this is moreso a series of mishaps rather than a cartoon with a concrete storyline.

yet, with that said, i still enjoy it. the animation is the best part of the cartoon. i’m a very detail oriented person, and not a big picture person, which serves me well and detrimentally at the same time. so, i absolutely love how fluid, bouncy, and fun the animation is in this cartoon. that’s certainly an incentive to watch it. carl stalling’s music score, as always, compliments the cartoon quite nicely. and furthermore, this cartoon has some historical significance to it. not very much, but it’s there: it’s gabby’s first cartoon. that serves as another incentive to watch--gabby isn’t too exciting of a character, but he’s so fascinating to me that i can’t help but like him. he’s like a hidden secret. porky’s first sidekick, unless you count beans, but porky was moreso beans’ sidekick rather than beans being porky’s sidekick. gabby’s pretty obscure, but someone from the simpsons was a big enough classic cartoon fan to know who he was--they make a reference to him as “disgruntled goat”. this could be a coincidence, sure, but i’m definitely thinking this is a reference, especially considering another episode referenced friz freleng’s pigs is pigs from earlier in 1937.

in all, this isn’t a great cartoon, and you probably COULD go without watching it and be fine, but i say watch it. there’s some wonderful animation and it has some interesting history, such as ub iwerks’ first cartoon at WB and gabby’s first cartoon. check it out for yourself and see what you think!

link!

#lt #porky and gabby #reviews #looney tunes #iwerks #long post

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mwolf0epsilon · 4 years

Note

I was asking what you think Henry's fate is. Is it a time loop? Is it just a reel playing? Is all of it just a dream on his or Joey Drew's death bed? But you pose an interesting question too, do all the games connect in some way even if BATDR is not gonna be a direct continuation?

I’ve pondered on the nature of the world of Bendy and the Ink Machine for a while now and, after a little bit of digging around, reading theories that people have had, watching theory videos and a few playthroughs, I’ve come to a few conclusions over Henry’s fate and the meaning behind the ambiguous ending we got.

This idea is, as such, a mixture of Game Theory’s Revised BATIM Ending Theory plus expectations for BATDR, SuperHorrorBro’s ideas for who BATDR’s Big Bad might actually be, as well as several other ideas that have consistently popped up through out the Fandom’s existence.

Buckle up, this might get long as heck.

---

To start this off, I’m gonna need to clarify that the Cycle (which is the dimension the first game takes place in, although the origins of this particular world are still debatable as real or fiction within the canon itself) functions in a way that seems to rely heavily on ideas and impossible physics. Not only that, but those who exist within this plane will follow a mixture of Real World and Cartoon World laws, so while death exists in the Cycle it isn’t permanent and things that could usually obliterate you in one go (like massive falls, a hit with an axe, or getting bashed by an out of control fairground attraction) aren’t an instant threat to your overall health. It also appears that people within the Cycle aren’t immediatly aware that they’re following cartoon logic, as Henry (who is supposedly human) doesn’t seem to react all that much to some of the most life threatening moments he faces in the Studio. This in itself already shows something is off about the whole situation Bendy’s original creator has gotten himself mixed up with.

Another thing I need to point out is that the Toonification process doesn’t seem to be reliant of the Cycle itself, and instead happened in the Real World as the events in “Dreams Come True”, and Thomas Connor’s and Joey Drew’s Audio Log on the Ink Demon imply. This, to me, seems to point towards the Cycle having been made some point during Joey’s Toonification experiments as maybe somewhere to hide his twisted creations, so it might be the Ink Machine has the capacity to not only bring things to “life” but to also create other dimensions from templates. Where these dimensions are kept is up to debate, but I assume Joey keeps the Cycle withing the Ink Machine itself. Either way, what I mean to say with these two little notes is that, while Henry appears to be in a fake version of the Studio that doesn’t mean the story of the game is just that, a story. I think everything IS real. But more on that in a bit...

Lets get started with the actual questions you asked:

--Is it a time loop?--

Yes, positively. The Tool clarifies this as soon as we get it. In fact, the iteration of the loop we’re doing as Henry is the 415th, and the following we do with the Tool unlocked is the 416th, meaning Henry (and by extention the other Studio Prisoners) have been at this for quite some time even if we weren’t aware at first. To the point where Henry began trying to establish contact with himself.

--Is it just a reel playing?--

Also yes. The Cycle as I’ve pointed out before, operates on Cartoon Logic. As such it can be compared to an endlessly looping reel of unfinished film. This is made more apparent by the reel Henry uses to “beat” the Ink Demon. “The End” is something of a curiosity as it is a contradiction in of itself. Not so much a final dot to close off an act as an infinity mark. It’s existence within the Cyle is also curious, as it seems unlikely Joey would have physically made a reel to stop the Ink Demon, so it brings the question of whether or not Mr. Drew can alter the Cycle externally (something that’s already hinted at due to the storyboards you can find on his desk at Joey’s apartment).

This to me indicates the Cycle can be altered (which Henry does whenever he tries to communicate, and by Allison Angel discovering the messages), but that bigger changes need to be done from the Real World.

--Is all of it just a dream on Henry’s or Joey Drew's death bed?--

No, I don’t think it’s a dream or just a story Joey is telling a child. I think the happenings of the game are actually happening, but that perhaps “The End” is a series of blank reels Joey feeds into the Ink Machine and that get filled out by Henry’s actions, and that Joey then watches them and recounts the tales to who I can only assume might likely be Henry’s and Linda’s daughter (as Joey pointed out Henry settled down while he did not, and it’s never mentioned if he has siblings).

With these questions out of the way, here’s what I believe happened to Henry and the implications of the game’s ending where Joey’s “niece” requests another story... The fact of the matter is that Henry is dead.

Why do I believe this? It’s like Matpat pointed out in his Revised Theory video (I know, y’all gonna get on my case because “Game Theory is cringy ew”, but seriously have a look yourself instead of going off in my askbox). It all has to do with small details that seem insignificant or just asthetic choices, but that can actually have a lot more hold on the plot.

Two of these details are:

The 5 coffins at the Studio and letters in Joey’s appartment.

The newspaper clipping Joey keeps in the Ink Machine room at the appartment, which was specifically picked and curated to appear in the game despite the player never going into the room to see it up close.

There’s a number of characters you learn about in the game and (by extention) the novel, and quite a few are dead (Such as Buddy’s friends Jacob and Dot who were murdered by an insane Sammy), but surprisingly only 5 have physical coffins at the Studio ingame.

And what do I mean by physical coffins? Well, there’s a 6th unofficial one, that’s what... And where can we find it?

Henry’s cell in chapter 5. He drew it himself even.

This doesn’t confirm anything of course, it could just be that Henry is into dramatics, but then we get to the newspaper clipping that Joey picked out specifically and kept in a room only he likely enters:

“Local Artist Pushed Himself Too Hard, Found Dead at Desk”

And what did Joey say about Henry pushing him to do the right thing? That he should have pushed a little harder... Like somehow Henry is at fault for Joey’s bad choices. Like Henry deserves what comes next... It almost feels like someone dishing out a speech before an execution, justifying why they’re getting killed. It’s a scene that made me inexplicably nervous until I looked into things.

Why bring up the coffins and letters to prove this, you may ask? Well, another thing Matpat points out is that the people who have coffins are people who were put through the Ink Machine, dying in the process and returning as Ink Monstrosities/Imperfect Toons, while people who got a letter from Joey and that replied to him were never lured back to him.

Wally Franks, for example, is living in Florida so he couldn’t make it to New York to fall into Mr. Drew’s trap. Allison and Thomas Connors are also out of the way so they merely exchange formaleties through correspondance (which implies Joey “made up” with them at some point to try to lure them back and has kept the charade up for a while).

So anyway, people who have coffins in the Studio are not only confirmed dead but also became monsters.

Norman became the Projectionist

Grant likely became either the Piper, Fisher, or Striker

Bertrum became the monstrous Carnival Ride

Lacie likely became either the Piper, Fisher or Striker

Susie became the Imperfect Alice Angel

You’re likely asking about Allison Angel and Tom Boris now, to which I raise you another Matpat pointer from the video above: Allison Angel states that she and Tom would dissolve if they were in contact with pools of ink.

Why is this relevant? Well, it means their bodies are made entirely of ink unlike, for example, Norman who is the sculking Projectionist. Why Norman? Well, he wades through a pool of Ink in level 14 and doesn’t dissolve. Heck, he chases Henry through the pool of ink without any trouble whatsoever in catching up. Why is he different from Allison and Tom? Because he has a soul stabilizing his grotesquely altered body.

Creatures that were once human and were transformed don’t just dissolve into ink. Their bodies remain intact after death until they eventually return to the inky abyss (potentially from being ripped apart) or until they’re revived by a Bendy Statue (Like Sammy, as implied by a clever easter egg near the fountain with the respawning Swollen Searcher).

In fact, now that I think about it, out of all the hostile creatures you encounter, Sammy, Susie, Norman, Bertrum and the Butcher Gang are some of the more stable bodied creatures within the Cycle, requiring a lot more hits to die than Searchers and Lost Ones, although Susie does die from a single stab (though the blow itself WAS pretty devastating in itself).

After pondering on this little idea I realized that the presence of Allison Angel and Tom Boris were entirely fabricated at that point. One of many alterations created by Joey to guide Henry through the last leg of his journey towards “The End”, very likely modelled after the real Allison and Thomas who he viewed as hostile, thus portrayed them as initially aggressive towards Henry. I mean, after so many unsuccefful attempts to make creatures entirely of ink (like the Ink Demon), it’s not too farfetched to say Joey eventually got the hang of it. The Mini Ink machines do it flawlessly and even help Henry, so who’s to say Joey didn’t perfect it within the Cycle to create beings not quite as strong as the Ink Demon, but strong enough to kill corrupt humans?

Again why is any of this relevant to how I think Henry’s dead? Simple. People who replied to Joey lived. Henry didn’t reply, instead he was lured in.

I believe that the Ink Machine’s disastrous results in the Real World made Joey realize that making a person into a Toon through passing them through the machine with a template wasn’t gonna cut it to fix the grand mess he’d made out of the Ink Demon. But, I also think he realized passing them through the Ink Machine while living was also the issue. The ink corrupted their souls, left them vulnerable to becoming Imperfect beings like Susie. Having them ingest the ink prior to going through was also not gonna cut it, as it’s connection to the Ink Demon gradually destroyed Sammy’s already frail sanity and changed him into an abomination (that had a pretty strong will for possibly three deaths before he finally lost himself completely and became a soulless Searcher). This left one final method to experiment with on the one person he thought responsible to clean his fuck-ups: Joey had to kill Henry prior to putting him through the machine.

In “Dreams Come True”, Buddy reveals that upon becoming Boris, his body was discarded. A byproduct of his soul enfusing with the ink and rejecting his human flesh. It might be possible that Joey was quick enough in killing Henry in an inconspicuous manner and then putting his body through the machine that Henry’s soul was pulled into the Cycle flawlessly while his body was spat back out for Joey to later deal with (Putting him behind his work desk as if he’d simply died of exhaustion, neatly hiding his crime behind the “suffering of a tortured artist”). This would explain why Henry lacks a shadow or reflection. He’s a ghost. A ghost that’s slowly realizing how hopeless his situation is. What a great pal Joey Drew turned out to be...

Moving on to the ending of the game itself, there’s some very dark implications that come with Henry being dead. For one, Joey Drew doesn’t have a family, yet he’s recounting Henry’s plight to a little girl who affectionately calls him “Uncle Joey”. We know Henry pursued a family over a busy career, so it’s heavily implied that during the 414 attempts of trying to find a way out of the Studio, Henry’s wife has been grieving him, going so far as to leave their daughter with Joey as she tries to provide for the both of them.

Joey being the pathological liar that he is, would likely graciously look afer his old friend’s daughter and maybe offer “emotional support” to a distraught Linda, cementing his innocense, all the while bragging to the child about what really happened to her father without her knowing. That is a pretty twisted theory and I honestly like the idea due to how horrific it is.

But where does BATDR come into play here?

Well, it’s been confirmed to not be a prequel nor a sequel. Matpat suggested it might either be an Alternate Universe or a Side Story. I believe the latter is more likely, thanks to SuperHorrorBro theorizing that the people behind Gent might be the Big Bad/cause of that particular game’s misfortunes. A Side Story about the Ink Machine being recreated and templates re-used to create a familiar yet brand new nightmare.

I believe BATIM and BATDR are a vicious cycle of madness happening at the same time. The same task repeated by people who expect different results. Only with Joey Drew it was an animation studio, with GENT it might be on a larger scale...But who knows?

There will be returning characters, so maybe BATDR will shed new light upon the Ink Machine and the Cycle’s true nature.

#Bendy and the Ink Machine #BATIM #Bendy and the Dark Revival #BATDR #Theory #Speculation #Friend Anon

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the-blueish-trashcan · 4 years

Text

He’s in Charge; Chapter Eight

Pairing: Henry/Bertrum

Warnings: Slight body horror, mentions of homophobia

A/N: Hoo boy, took me an awful long time to get this out, didn’t it? Ah well, technical difficulties happen. In this chapter, we get a little insight into just what goes on inside the head of voice actresses- and what’s been happening behind closed doors at Joey Drew Studios.

Chapter word count: 2,331

{First part} {Previous part} {Next part}

Chapter Eight; Inner Demon

Once the studio was back to running normally again, it was already Thursday. Joey had evidently returned to work against doctor's orders, but he, like everyone else, was anxious to get back to work. Joey summoned Henry to his upstairs office almost immediately that morning.

As he stepped into the cramped room, Henry's heart was solidly lodged in his throat. He forced a neutral look onto his face, though. Joey sat behind his desk with a pen in his hand, scribbling notes on… something, Henry couldn't tell what. With his other hand, one wrapped completely in thick bandages, he gestured to the chair across from him.

Sitting down only gave the animator a better perspective on the extent of his injuries; Half of his face was an odd purple-yellow, the bruises trying their best to heal. From his eye down to his jaw on the right side, his skin had been dyed that almost sickly color. A gash across his cheek on the opposite side was still healing, but he obviously hadn't bothered dressing it. What really shocked- and to some degree, worried- him was the wheelchair Joey had been placed in. That, for the most part, was probably what was making him look so angry.

“G'morning, Joey.” Henry tried hesitantly.

“I hope you've enjoyed your time off, we're all going to have to make up for it around here.” Joey practically ignored his greeting, speaking through a scowl. Henry was able to see where he was missing a bottom tooth as he did. “You've got to start on the storyboard for the next short, the writers already have the script downstairs. That's all, just get going. Please.” The please he added as an afterthought.

Henry nodded, already standing from his seat. “Right away, I'll get that going.” He made his way to the door.

“And Henry?” Joey stopped him just as he was about to close the door. Henry poked his head back in. “For the love of God… Stop seeing Bertie. He's dangerous. He'll end up hurting you, look at what he did to me.”

“If you say so, Mister Drew.” Henry accepted what he said, then shut the door. As he made his way to the writing department, he shook his head. Bertrum would never hurt him, that he was sure of.

*****

Saturday night, Henry stayed at Bertrum's house again. Bertrum had offered to visit with Henry instead, but the animator knew his run-down apartment would be nothing compared to where Bertrum lived. He made his way back home Sunday afternoon to take care of some housekeeping, and to make sure he had enough clean clothing for the upcoming week.

When he got to his desk that Monday, almost exactly on time, Joey was already waiting for him. He'd parked his wheelchair right in front of Henry's chair, preventing him from getting to it. Henry stopped at the end of the hall, on edge.

“Good morning, Joey.” He greeted.

Joey slowly rolled the chair up to him, pushing him back against the wall and glaring. His bruises had already started to clear, but the gash on his cheek wasn't healing as well. “You. You need to stay away from Bertrum. Do you know what I'll do if you don't?”

“Dock my pay? Fire me? Out me? Honestly, Joey… your threats are… getting a little old.” Henry voiced. Of course he was still terrified of Joey, he didn’t want to show it.

“You're distracting each other. Work isn't going as fast, and that's costing us some serious cash. Do you really want this whole place to go under because of you and your little game? Because you wanted to have a little ‘harmless’ fun?”

Henry took a moment to calculate his response. “Do you really expect me to believe that? If things are really so bad, you wouldn't be-”

As soon as the words left his mouth, Henry could see the shade of his boss's face change. His jaw clenched and the inside of his eyes caught fire. Before Henry even realized what was happening, Joey was up on his feet, wincing as he slammed his hands into the wall, one on either side of the animator's head. The man towered over him. “You have a job to do, Stein! And I'll be damned, if you won't do it, I'll make every aspect of your existence a living hell!” Joey roared, spit flying into Henry's face as he flinched. He hadn't even noticed the whites of Joey’s eyes beginning to darken. “I'm in charge here! What I say goes, no questions! No what if's! No maybe’s! This is my studio! My company! My animations! Behind the scenes, I own you! Do you understand me?! You and your work belong to-”

Joey was suddenly interrupted by his own ragged, shuddering cough. He backed away, falling into his wheelchair as his body continued to seize. He pushed a hand over his mouth to muffle himself and the longer it went on, Henry realized he'd begun spitting up a thick black sludge. It seeped between his fingers and started to drip from his nose, also pooling in the corners of his eyes.

All Henry could do was stare, horrified. “Joey-”

“Leave!” Joey's strained voice commanded, prompting Henry to do so. He practically ran from the hall, past the exit and down the stairs to the music department. Only then, at the foot of them, did he stop for a moment.

The first person to catch his eye was a violinist- he recalled her name being Ellie- standing by the door to the music hall, who waved. She made her way over to him with her instrument in her hand, frowning. “You look like you've seen a ghost, mister. You alright?”

Henry hadn't realized he'd gotten so pale. He swallowed and nodded. “I'll be fine, thank you, Ellie.”

The curly chestnut hair resting on her shoulders moved as she shrugged. “If you say so. What brings you down here? Mister Lawrence and Mister Fain are in their office if you need ‘em.”

Henry figured that would be as good an excuse as any to be away from his desk for a few more minutes. “Are they? Thanks.”

“No problem!” She waved again as he moved off down the hall.

As he did, through the huge glass window in Sammy and Jack's office, Henry could see the music director pacing back and forth, clearly ranting about something. When he got up to it, he knocked on the glass. Sammy froze, glancing at him. Henry shifted to push the door open, taking a step inside. “Hey, how are things down here?”

“Could be better.” Sammy and Jack spoke in unison, throwing each other a look. Both groaned, Jack lifting his hat enough to push his hand through his frizzy hair.

“These demands are getting ridiculous! How are we supposed to have a full score in two months?! He’s fired half my orchestra! Without even consulting me, I might add.” Sammy explained.

Jack turned to him, dark marks evident under his eyes. “I just don't understand the logic here. Does he know how writing music works?”

Henry crossed his arms and shook his head. “I'm not sure he knows how any of this works.”

“Amen to that.” Sammy scoffed.

“Is there anything I can do to help you guys?” The animator offered.

At first, Sammy shook his head. “You have your own assignments to worry about, I'm sure.”

“Actually…” Jack perked up. “You used to play piano, right? Think you could do one of these songs?”

“Well, I still sort of remember how to play… Can I see the keys?” Henry asked, looking to Sammy.

Sammy, knowing which one Jack referred to, picked a few papers out of the stacks on his desk. He held them out. “Here, it's fairly simple. We're still trying to teach one of the two bassoonists left to play piano, I'd appreciate your help.”

Henry took the papers, looking over them. “Hm… I'll take some time to practice on my lunch hour, if that's okay with you two, but it does look pretty easy.”

“Perfect.” Jack and Sammy spoke in unison again, glaring at each other with mock annoyance.

“I'll see you then, Henry. Thank you for this.” Sammy clapped him on the shoulder, only briefly.

“Yeah, of course! See you guys later.”

“Bye, Henry!” Jack raised a hand as a send off, his back already to Henry as he continued his work.

Henry pulled the door closed behind him, figuring it had been long enough for Joey to compose himself. He was almost back to the stairs when a man walking out of the department “lounge” caught his attention. He recognized the man as a trombone player, but also one of their voice actors. “Oh, hi. Harry, right?” Henry asked.

“Nah, Harrison, actually. Mistah Drew insists on Harry.” Harrison spoke with the twinge of an accent Henry couldn't quite place.

“Right, sorry. Is something wrong?”

“Nah, Miss Susie was lookin’ for yah. C'mon.” Harrison gestured for Henry to follow him and disappeared back into the lounge.

The room itself wasn't so much of a lounge, more like a small room with a beat up pool table and some crates stacked up in it. Leaning over said pool table lining up her shot was Susie, aiming a green ball towards a corner pocket. Two other musicians stood to the side, watching and talking quietly. Henry couldn’t for the life of him remember their names, though.

“Uhm… Susie?” Henry tried to get her attention.

She took her shot, which she’d evidently calculated perfectly. Then she stood up, turning to him. She offered a small smile. “Hi, Henry.” She moved to the other side of the room, away from the pool table, and Henry followed. “Look…” She made her voice soft, though the others weren't paying attention to them anyway. “I'm… sorry about the other day. The way I reacted to you… wasn't the best. I wasn't expecting it, especially from you.”

“What's that supposed to mean?” Henry raised a brow.

“Well, look at you!” She indicated him as a whole with one hand. “You're adorable, I would think you'd have girls all over you, I never would've thought that's not the team you play for. But regardless of that, I'm sorry for how I acted. After what Joey did to you for it… I feel awful for letting it slip to him.”

Henry bit his lip. “Oh. You're the reason he knows…?”

“I am, and I'm so, so sorry. I had no idea he'd threaten you like he did, I…” Susie trailed off, unsure of what else to say.

“I guess it's… fine. All Joey wants is to blackmail me with it, I don't think he's really going to out me. Or, at least, I hope.”

“I hope, too. So… are we okay? You don't… hate me?”

Henry shook his head. “I don't think I'm able to hate anyone, really.”

“Oh, good.” Susie opened her arms for a hug and Henry accepted, though neither made it a very strong one. “I'll see you around, Henry.”

“Yeah, see you later, Miss Campbell.” He gave her a small smile and wave, exiting the room and going back to the stairs. Thankfully, that time, he was able to do so uninterrupted.

The hall to his desk was another story, though. He had nearly made it back to his workspace when he spotted a sandwich board, the letters “floor is wet” crudely painted on it. The sign wasn’t exactly blocking the space, it was plenty small to move past easily, but it brought a small smile to his face. As he came around the corner, he spoke. “Hi, Wally.”

The janitor paused to wave and grin, mop still held in his other hand. “Mornin’! Say, did ya spill?” He indicated the spots he’d mopped already with a tilt of his head. “Was pretty hard gettin’ the stuff up, is it a new brand?”

“Of ink?” Henry questioned, and Wally nodded. “No, it…” He glanced around, making sure no one else was within earshot. His voice dropped low. “It was Joey. I… I don’t really know what happened, he was talking to me and he started to get upset… and then he started to cough, and… This black gunk started coming out of his mouth.”

“Ya tellin’ me tha’ crazy bastard was coughin’ up tar? It looked like tar, there was a lot of it.” Wally matched his volume.

“I’m not sure what it really is, it started happening and he told me to leave, so I did. I wasn’t even sure he’d be gone by the time I got back here.”

“Huh. Y’know, he stays hea’ pretty late at night, I got the feelin’ he was up ta somethin’.”

“You don’t think he’s just sick?”

“Not a chance. Listen, Henry,” The janitor reached over to put a hand on his shoulder. “Stuff’s goin’ on hea’ tha’ you’ve got no idea about. Really, I shouldn’t even know, but I do! I got keys ta everywhea’, so Drew can’t keep secrets from me!”

Henry’s expression became concerned at the statement. “You know what Joey’s done lately, you really should be careful snooping around like that.”

Wally waved a dismissive hand. “Pff, I’m not snoopin’, I’m cleanin’! Drew wants this place spotless, I gotta get everywhea’!”

“Well… if you say so…” Henry still didn’t sound convinced.

“I do! Hey, I’m gonna get outta hea’ and let ya do ya work, looks like Drew left somethin’ on ya desk.” As he spoke, Wally stuck his mop back into a water bucket on wheels, starting to move off. “Lata, Henry!”

Henry gave a small wave to his back, then shifted his attention to his desk, where a thick packet awaited him. He could see already that they were his sketches- some he’d never given to Joey, he noted- and they were covered in red chicken scratch. He sighed, taking his seat.

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syndullastars · 4 years

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tagged by @brontes thank you !! ♡

on a scale of 1-10, how excited are you about life right now? like a 5.5 maybe

describe yourself in a hashtag? #AHHHHHHHH

if you could do a love scene with anyone, who would it be? does anyone actually like to do love scenes cause it seems like it’d be pretty uncomfortable to me

if your life was a musical, what would the marquee say? rolling with the punches

what’s one thing people don’t know about you? probably that i’m actually a mess hahaha

what’s your wake up ritual? bathroom, brush teeth, wash face, contacts, breakfast and then get dressed

what’s your go to bed ritual? bathroom, brush teeth, contacts out, read until i’m ready to sleep

what’s your favorite time of day? depends on the season, but since we’re coming up on summer i’ll go with that twilight time of the evening between like 7 and 9 when the sun is setting and you can hear all the crickets and other insects singing and everything seems blanketed in this otherworldly glow

your go to for having a good laugh? old messages/videos/photos, cracky memes and shitposts

dream country to visit? new zealand

what’s the biggest surprise you’ve ever had? my parents surprised us with a trip to disney once! my sister and i literally cried lmao

heels or flats/sneakers? sneakers

vintage or new? depends, but usually new

who do you want to write your obituary? whoever wants to i guess

style icon? padme amidala (yes a fictional character)

what are three things you cannot live without? family, friends, and good stories

what’s one ingredient you put in everything? i use red pepper a lot, but not in everything. so probably too much salt

what 3 people living or dead would you want to make dinner for? my best friend, my sister, my mom

what’s your biggest fear in life? failing / not living up to my family’s expectations of me

window or aisle seat? window, but only if i know the people next to me. i get up way too many times to bother them if i don’t lol

what’s your current tv obsession? the clone wars :(

favorite app? apple music or messages, bc those are the ones i use most

secret talent? all my talents have long been put on display and used to give me stress lol

most adventurous thing you’ve ever done in your life? moving across the country for school probably

how would you define yourself in three words? perceptive, self-aware, empathetic

favorite piece of clothing you own? maybe my fila disruptors? basic i know but they're very stompy

a must have clothing item that everyone should have? a nice pair of jeans i think

a superpower you would want? telepathy

what’s inspiring you in life right now? art and the people who make it

best piece of advice you’ve received? forgive and let go (but don’t forget)

best advice you’d give your teenage self? stop worrying so much about being well-behaved and fight back. tell people what you think even if they don’t want to hear it

a book everyone should read? everyone has different values and interests so i don’t think i can recommend one book that everyone should read

what would you like to be remembered for? being a good friend

how do you define beauty? beauty is in the eye of the beholder, so it’s whatever i think is beautiful, and also whatever anyone else thinks is beautiful

what do you love most about your body? if we’re talking about features then my eyes, but overall i’ve worked hard to get strong and i love how effortless everything feels now

best way to take a rest/decompress? lounging around and watching something, maybe with friends depending on my mood

favorite place to view art? i guess it depends on what type of art

if your life was a song, what would the title be? keep on

if you could master one instrument, what would it be? piano or saxophone

if you had a tattoo, where would it be? it would be small, just under my hairline on the back of my neck. but i would never get a tattoo anyway

dolphins or koalas? dolphins !!

what’s your spirit animal? i don’t think so

best gift you’ve ever received? probably books that i asked for

best gift you’ve given? i design a themed calendar for my best friend every year and she always really loves that, but also i did something very elaborate for my sister last christmas and she was laughing about it for weeks. the pieces are still arranged in a shrine in her room lol

what’s your favorite board game? clue, or trivial pursuit but only if it has a fun theme

what’s your favorite color? all of them!

least favorite color? there are no bad colors

diamond or pearls? pearls

drugstore makeup or designer? you could hand me one of each and i wouldn’t even know the difference

pilates or yoga? i’ve never done either so idk

coffee or tea? coffee but i like both

what’s the weirdest word in the english language? discombobulate, canoodle, phlegm

dark chocolate or milk chocolate? dark for sure

stairs or elevators? stairs, i hate elevators

summer or winter? both

you are stuck on an island, you can pick one food to eat forever without getting tired of it, what would you eat? just the thought of that makes me tired of every single food in existence lol

a dessert you don’t like? anything fancy

a skill you’re working on mastering? life drawing and general storyboarding stuff, for school and career purposes

best thing to happen to you today? the clone wars finale :((((

worst thing to happen to you today? also the clone wars finale :((((

best compliment you’ve ever received? a few of my friends have told me that i always know exactly what to say, and that makes me happy bc i try very hard to understand them and be what they need so i’m glad it pays off

favorite smell? pine trees and snow on the air, but also sunscreen and the sea

hugs or kisses? hugs

if you made a documentary, what would it be about? honestly it would be about star wars, but specifically george lucas and his vision and how the unique position the franchise is in, where multiple authors and creators are contributing to it at any given time + the disney rebranding + the fact that star wars fans have always seemed to adamantly want to discard lucas’ original intent has led to the way fan circles view star wars now and how wildly different those views can be from what lucas intended

last piece of content you consumed that made you cry? the clone wars finale lol

lipstick or lipgloss? lipgloss

sweet or savory? savory

girl crush? natalie portman

how do you know you’re in love? i’ve only been in love once and it was a very fledgling thing but it was like, they’re always on your mind, seeing them is simultaneously like there’s no ground under your feet and also like there’s no oxygen in the room, and being with them makes you insane just the same as not being with them makes you insane

a song you can listen to on repeat? right now, youth by glass animals, but it always changes

if you could switch lives with someone for a day, who would it be? definitely no one! my life is like a well organized library (even if maybe some books are missing or damaged lol) and i would hate to be dropped into an unsorted pile of books and have to organize all over again

what are you most excited for/about this time in your life? well real life is kind of on hold but my cousins and i just merged our quarantine circles which is a lot of fun so there’s that lol

this is long so i’ll just tag a few: @yensofrivia @daenerystargaryes @elizabethswcnn @kristnbell ( feel free to ignore ofc ♡ )

#tag games #about me

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steve0discusses · 5 years

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Yugioh S3 Ep 44-45: Bakura‘s Back for More of This Nonsense

Man, I can’t believe we’re closing in on the 4th season of this show (still in shock I’m still able to make these.) Seems like just yesterday I felt like I had no idea what was happening, and now I’m like “they put in freakin Sans into Smash but not Bakura???” I’ve become one of those people now.

It’s been interesting how, because I have slowed down to watch these, I think I’ve been able to have a much more positive experience with the show. People have been talking about how binging has kind of changed TV from a place where fandoms could chat to a place where...you just watch it all in a weekend and hope no one spoils it and then wait for the next big thing to consume a week later.

But, when you’re watching a 15 year old anime you don’t have to worry about any of that. So it’s like a kind of nostalgic experience of a pre-streaming era despite the fact I’m totally streaming this.

But back to the show, now that the deep and reflective moments for Marik are over, my favorite storyboarder went home and left the rest of this to the night team who are clearly in a real rush to get this all finished. Again, the Yugioh whiplash is going from that high of “damn this is so goo-” then to the reality that the rest of the art direction in this show is “-acceptable. I meant to say acceptable. It’s perfectly acceptable”

Yugi Muto is still strung up by weird shadow magic restraints that must also be around his legs for some reason. I mean...it wouldn’t be so kinky if it wasn't also around his feet. More bits and pieces of Our Boy have been removed over the course of this endless card game, and he’s doing pretty good considering.

Joey has decided he’s had Enough Of These Damn Ghosts.

And so Marik decided that he’s been shamed by Joey Wheeler enough that he will just go away like Joey asks. This may be the only person who was actually bothered enough by Joey Wheeler to walk away in all of Yugioh.

(read more under the cut)

They....

Legit no one told her what had just happened.

They........

Just want to note that while Yugi’s leg burst out a stream of weird purple gas and Yugi screamed in pain, when his crotch disappeared, he did nothing but patiently look over at Pharaoh, who awkwardly winced. I guess the animation team knew better than to animate gas exploding out of that one particular spot, but it is still a rather funny contrast.

Marik has achieved his final form of so many veins, and it is a still frame every time it’s on screen. You cannot animate this. You cannot.

On the other end of the field, Odion has somehow made it down these extremely steep stairs, only to look up and see so many more stairs.

And back on the field is so many cards. So many cards, including the Card Poem. This awful Card Poem I tried so hard to forget.

Bro brings up that maybe this poem sounds way cooler in Japanese but like...I doubt it, right? Like this was a poem that the writers threw together in 5 minutes and were like “we’re never going to actually say the shame poem, right?”

But anyway more cards things happen but why talk about cards when this eventually happens.

I feel like Pharaoh was attempting to use Shadow Magic on Marik like just a few episodes ago so he could have done something now but...maybe he forgot? I dunno. Pharaoh didn’t feel like participating in this particular fight, maybe because his alter ego is holding on to life solely by having extra long emo bangs to count as lifepoints.

and so, Odion gives Marik a pep talk--and I kid you not, this is all Marik needed the entire time.

Yeah.

That was it.

Like maybe Odion had to be awake since Odion has a spell or whatever on Marik but still it’s like...all you had to do was say “This guy is not even a person, Marik--you are the person, just nix him and we’re good”

And so the two alter ego’s fight with eachother in the same body and that must have been a treat for everyone watching.

Man, it’s a good thing Mokuba already has so many PTSD situations under his several belts up to this point, because otherwise I’d be somewhat concerned about this very young kid who is privy to all this type of magical abominations every time his brother just wants to play cards.

and then...Yugi plays a bunch of cards and...um......

......don’t ask me what happened........

After the big group hug, Marik and Marik switch places.

This was because bad Marik was fused with a monster card--which turned bad-Marik into...the definition of a Monster.

So, if you kill the monster card then you can...

...switch places with your alternate half...

...yes...

Basically it’s a more complicated version of what Pharaoh did to Ryou and Bakura in S1, except in S1, Bakura played Ryou as a card and Pharaoh just slammed his hands on the table and was like “Screw it, Bakura! I’m so tired of this! We’re all so individually tired of this! I’m just going to use my Shadow Magic and switch you with Ryou and then we’re all going the HELL BACK TO BED!”

This time it just had to be so much more complicated although we have seen Pharaoh willy nilly switch souls before just two seasons ago.

So, just like Bakura did to his evil side in S1, Marik banishes his evil side to the shadow realm in a card game.

Which worked super good last time, amiright?

I guess we’re all just going to assume that this works now? Even though this absolutely did not work in season 1? Like Bakura went right back to a life of murder immediately?

Then again, Bakura’s an actual dude, and Marik’s alter Ego was a figment of his anger or something?????? Maybe that’s the difference? Maybe that’s why we can be rest assured that this works now?

Maybe they’re just tired of the Marik plot line and are like “listen, he’s kind of hard to draw and we don’t want to do it anymore. He’s dead now.”

For realsies though, from what I’ve been told, Marik never goes cray again and gracefully exits the show. But, if they ever want to continue Yugioh back in this direction, you can just have him snap at any time you feel like, we all know this type of exorcism is wholly reversible.

Anyway, the clouds are lifted and we are reminded that it is still hardly even lunch time.

It is at this point that Marik turns to his Brother and his Sister, who all three have no world skills outside of scamming museums and filtering sewer water, and waxes long about all the great times they’re about to have in the future.

Like what future though? You have to go to 20 years of actual real deal school, Marik, you can only read one Egyptian text. Hell knows how many people you possessed in order to get that motorcycle permit. You for sure aren’t ever allowed to play cards ever again. Like what are you going to do, Marik?

...dude what if he just goes back on the boat and just sails away for the rest of his life with his cultists who are equally unqualified to live in the real modern world. OMG what if that’s the real Marik’s Boat Time all along?

Ah.

I almost forgot about you, Bakura.

Just in time for the British Bake Off to start updating episodes on Netflix, just in time, Bakura.

And following this is actual real thing that happened which, if you told me about, I would have just assumed was a joke or an edit to make it appear like this is happening. But no, it’s strip time.

the hell?

Yo can you believe that like a week ago I was like quoting “One Week” for kicks in these recaps and then this week Marik is, indeed, “in the history of taking off his shirt” ?

Anyway, Marik reminds us that his only purpose in life is to uh...be a book. A book that no one can read because Pharaoh didn’t have the foresight 5000 years ago that no one would be speaking Egyptian anymore and also that his reincarnation would be a 14-16 yo Japanese boy who’s entire brain power is used for selecting cards and selecting matching belts.

I just...Pharaoh’s mind must have been in a real place 5000 years ago and that was before he ever became a ghost.

Also, it is kind of amazing how many times it has come up how illiterate Pharaoh is over the past season and he still hasn’t decided to do anything about it. Like, he’s just kind of hoping that someone else (probably Kaiba) will feed the answer to him like a baby because that’s just how this show has been up to now.

In this case he has a one-ness moment with the tablet and gets the sense of “It’s fine, we’ll figure this out later” which um...

I’m really happy that in this scene, Pharaoh is still tripping balls but everyone else is so used to him doing stuff like this, they just completely ignore it.

So glad I had 2 seasons to build up this back tatt in order to figure out that Marik’s back didn’t help Pharaoh at all. The tablet yes, the back tattoo--no, completely unnecessary. Congrats, Pharaoh’s mole people servants, you screwed up and did this weird ass ceremony on 12 yo’s for 5000 years trapped underground for NO REASON.

Anyways, preteens rejoice, Marik without a shirt is randomly 10 lbs more buffed now, which I’m pretty sure was never a thing when he was wearing that itty bitty pink hoodie. Like maybe the animators are just used to really buffed anime and this is them toning it the hell down, but uh...no actual 16 year olds will ever look like this, sorry to break it to you, preteens.

Man, the horny line running through this show lol.

Letsee, Yugi now has the puzzle, Ishizu’s necklace, the Ring, the Rod, the...

...where’s the freakin eyeball?

Did...where is it? Where is the nastiest of the golden objects?

Did Bakura never bring the eye with him to this trip? Like...is it just hanging out in his desk at home near his secret stash he super hopes that his Mom doesn’t find?

Guys, where’s the eyeball?

Anyway, now that Mokuba has decided Seto can feel joy and smile again, he gives Seto the A-OK to blow the hell out of this moneypit island that has already been violently blown up just a few years previously.

Like this begs the question, why even build this tower if you wanted to blow it up? But then again, that is the equivalent to a small child that builds block towers just to knocks them over, right? Like that part of Seto just never grew up?

So........

My bro, while looking this over, gave me the best spicy bro headcanon I’ve ever heard, and it’s absolutely too ridiculous for this blog that is mostly about what actually happens in the course of this show, but I’mma gonna share it with you anyway. I’m pretty sure this isn’t a common headcanon, but if my bro got it from some random fic he read off Ao3, I don’t know any better. So bro kinda squints at Roland, Seto Kaiba’s most incompetent bodyguard (if “bodyguard” is even an accurate description for the weird fake not-a-job that this guy has to do) and is like “do you feel like Roland has Noah’s hair color?”

and I was like “Bro, if you are suggesting that Roland is the illegitimate son of Gozobura because his hair is the same shade as the darker parts of Noah’s hair, that is one wild headcanon and I love it”

So--using Bro’s logic, lets say Gozaboro had a really stupid illegitimate son he had to hide from his wife. So he just...gives him a fake job. Considers “maybe I can use this son on A.I. Noah?” but Roland ends up being too much of a dumbass to intimidate Noah, so instead, he keeps Roland around on low-tier jobs so he gets keep an eye on him, torture him, etc.

And as the company falls out around him, Roland gets slowly promoted, as Seto and Mokuba fire basically everyone who worked with Pegasus and the Big 5. And Roland, who is just so bad at everything, forgot to attend the Pegasus coup (and would have no idea what is ever happening), so when the Kaibas returned from Pegasus’ island they still have Roland...sitting there at that long table covered in 4 identical idiot salads and orange juice he laid out for them in his patchy green moustache and his huge Gozaburo shoulders, they’re like “well.....I guess we have to take care of him now.”

And that’s the story my brother has in his head now every time Roland is on screen. It’s not canon at all that Roland is the secret 4th Kaiba brother but damn. What if he’s just the 4th Kaiba brother but has no idea, and Mokuba and Seto do, and that’s why they drag him all over the world with them? Hilarious.

I mean...Seto and Mokuba fire everyone. But they don’t fire Roland, their biggest dumbass. What a headcanon. (and if this joke ends up being real I’ll be very happy)

ALSO, new thing, the necklaces around their necks with the cute picture of eachother that they had up till now to remind eachother of their forever brotherly love--also keys used to blow up things very violently.

I should have expected this.

Anyway, lets check up on Mai---oohhhhhhhhhhhhhhhhhhhhhh

Y’all this was WEIRD.

WHAT. THE. HELL.

So after that extremely insensitive joke that made us doubt if bringing back Mai was a good thing, lets have a reminder that we brought back someone else even worse, who, like a parasite, was devouring everything that they love.

(Bakura’s font color has been changed to blue stripes because before he was just too similar to Joey’s yellow and my white. Eventually I will find the right system for coloring everyone’s font legibly, although I know that the patterns are sometimes harder to read for people that aren’t colorblind.)

Ah, local nasty boy is back. I’d love if they had shown more of the food he ate, but they wisely decided to crop that huge spread out of frame. Bakura eating all of the donuts is canon though. Somehow every donut aboard this blimp fit inside of that small boy’s endless stomach.

PS Kaiba Corp makes their own milk. At some point, Seto Kaiba was just leaning back into his work chair, Mokuba on the couch watching TV, Roland completely unable to reload the Keurig, and Seto was like “But what if...I made CHEESE.” (BECAUSE YOU KNOW HOW MUCH THESE KIDS LOVE CHEESE) and Mokuba was like “OMG you could sell the company back to them at 2 times the price for each share” and he was like “I KNOW.”

and so he marched down to the nearest cheese fields to buy some cows, only to find out that the agriculture market is so strained you can’t sell the shares at a times-two profit now and he‘s like “Ah dammit! I have to do real business! This freakin blows!”

Makes you think.

Anyway, then Ryou throws some shade at us about “PS, I was in Hell! I love you, too!”

Anyway, so it’s about time we ended this season, so how about it? How about we take off, watch it all blow up as a symbolic representation of all the hopes and dreams Kaiba had at the beginning of this tourney, and end this crazy ass season?

Oh wait, that relies on Roland being able to do even one thing competently.

So, that’s where we leave off.

Really truly, honestly, we need to get everyone on this show matching cuff radios because the number of times they’ve needed to call Kaiba is insurmountable. Could have solved so many problems. Really surprised that Roland can’t like...call the Kaibas right now, but now that I think about it, we clarified several episodes ago that Mokuba forcibly kicked Roland off of the radio because he was unable to work it properly.

Good job Roland, the best Kaiba son.

Anyway if you just got here this is a link to read just the Yugioh recaps in chrono order

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alexswak · 4 years

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Animator Hiroshi Watanabe’s Interview

This is an interview with one of Studio Live’s main animators, Hiroshi Watanabe. For more on Studio Live and Hiroshi Watanabe, I recommend reading my previous post on Minky Momo.

This interview goes into his start in the industry, the hardships of being an animator in Japan, and some technical tidbits. Although conducted in mid 1980s, most of what is mentioned here still holds waters today, and it’s interesting to see what changed and what didn’t from that time.

First published in スタジオライブの本・らでいっく (1)　(Studio Live’s Book Vol.1). Translation by me. I’m not the most experienced translator nor am I excellent in Japanese, and although I think I managed to properly translate this since it’s not that hard or complicated of an interview, I’ll provide the original interview in case someone wants to check my translation for errors, for which I’d be pretty thankful actually.

Sorry for the long intro, here’s the original interview in Japanese.

-Moderator: Today we will be hearing animator Hiroshi Watanabe’s story since joining Studio Live up to the present day.

-Ashida (Toyo, Live’s Predsident): My, aren’t you serious.

-Moderator: It’s just kinda an official thing isn’t it *laughs*. Anyway, let’s start. First, can you tell us something from the time you left Kumamoto to Tokyo to join Studio Live?

-Watanabe: I was making anime by myself beforehand, but I had no idea how to draw in-betweens. Joining the company and using the tap for the first time made me see how real work really is different. At that time, 1000 drawings was the normal output of an in-betweener, but after all my effort it took me around 3 months to draw that much.

-Moderator: 1000 drawings in 3 months, how good is that?

-Ashida: Fairly fast I would say.

-Watanabe: Yet Matsushita (Hiromi) drew that much in one month and a half… so at that time my abilities weren’t really good enough, and there was the tough in-betweens check; no matter how many times I redraw it doesn’t get approved. Lines are a bit dirty, erasing remains are visible… really small stuff. I had my own thoughts of course, and with that happening I felt like the people on the other side just couldn’t understand. It’s really frustrating, but you still need the money to eat so you keep on drawing… such situations are pretty tough.

-Moderator: “I drew those in-betweens that way because it’s the way I do it” or something like that?

-Watanabe: Right. I didn’t want to admit that I lacked the skills at all. That was definitely the case, but the fact that I had the mentality of “it’s my way of doing things” was… frustrating.

-Moderator: Back then, and even now...

-Watanabe: No, thinking about it now, I’d say that period was normal. Yet back then, all I had in mind was “I’ll make them accept what I’m making”. And then I looked at what the key animators made and thought how different it was, which made me wish even more to become a key animator myself.

-Moderator: The thought of wanting to make an anime with your own sense...

-Watanabe: Back then, all of Live’s projects were adult shows. That’s why they seemed to lack the power. Although such projects are actually harder, I wanted to swing the camera more and move things around. Thus I wanted to become a key animator as fast as possible, and worked hard to achieve the goal of 1000 drawings.

-Moderator: Is it the same for everyone?

-Ashida: Not really, but I’d love if all of Live’s staff were like that. It’s a matter of future prospectives. Do you want to do in-betweens forever? Or become an ordinary key animator? An excellent key animator? An animation director maybe? Everyone is different.

-Moderator: And Watanabe wanted to become a key animator quickly.

-Watanabe: Correct. That’s why I, although not directly related, was so motivated to draw the 1000 sheets and become a key animator quickly and make the company acknowledge me, which enabled me to do just that.

-Moderator: So how long did you do in-betweening for?

-Watanabe: I joined the company in April and did in-betweening till October. “Cyborg 009”’s first episode was my first time drawing key frames.

-Moderator: Not too long, huh?

-Ashida: It was actually a little too fast? But then, he was our prodigy. It’s not about drawing nicely, it’s more about instinctively knowing what anime is.

-Watanabe: Why did I want to become a key animator back then? Ashida-san wanted to show youngling’s power, pent-up emotions and new strength and abilities in “Cyborg 009”. I was there anyway so it was more like “we will give you a chance then” type of thing.

-Ashida: As I said, the longer you do it the harder it becomes. At first, doing what you want is fine, but in 3 years time a wall will come, overcoming that will give you another 3 years before the next wall, until you reach a point where the wall comes every year.

-Watanabe: At that time, maybe because of being young, but I had the power to do anything. Everything I did was fun. In “Cyborg 009” or “Blue Bird” I overdid even the simplest scenes. It was all pretty interesting back then, be it anime itself or key animating itself… Then came “Arale-chan”, and after that came a time when I started paying attention to character consistency (looking the same), but getting full of myself I always thought what I did was fine and didn’t put in the effort to make them look consistent.

-Moderator: “I don’t mind if they don’t look alike. It looks fine the way it’s” type of mentality?

-Watanabe: I mean, Ashida-san was going to correct them. But I wonder if “Blue Bird” was the last project I did with my youth power. A bit after that I started feeling as if my power was fading away.

-Ashida: Well, it wasn’t about losing power, rather more about having to do the same thing for a long period of time. If you can’t overcome that, then… You just can’t stay a promising young animator forever.

-Moderator: What are your thoughts when you watch “Blue Bird” now?

-Watanabe: Watching it now… Watching it now… *laughs*. I find the projects back from the period I had power pretty good. Some small details look rough, but really the things I did back then were impressive.

-Ashida: It’s not knowing fear. Now that you know what to be afraid of, going about it the same way isn’t possible.

-Watanabe: Right. I can refine the small details now, but achieving the same furiousness wouldn’t be possible. To this day seeing the dragon fight from “Blue Bird” (This scene) gives me goosebumps *laughs*. Why was I able to do something like that, I ask myself.

-Moderator: Oh no, this is turning into an old geezers’ conversation *laughs*.

-Watanabe: So, being completely helpless with character acting scenes, action sequences were my chance to go wild and forget about the storyboards. That’s why I did what I did. And that’s why I had that much fun. Then it became bitter, bit by bit, drawing key frames I mean, until one point in 198X where I just couldn't draw anymore.

-Moderator: Not being able to draw… what kind of situation was that exactly?

-Watanabe: Not going to Toei anymore, spending all day on Pachinko machines, that kind of stuff.

-Ashida: Truancy, basically.

-Watanabe: Along the way I started gradually wanting to draw again, drawing became interesting again. Then I said to myself, why not do some animation director assisting jobs, and since I have been causing all sorts of problems and troubles for the animation directors, I was so happy to be in a position where I can repay them. Everyday started being fun again.

-Moderator: What is an animation director assistant actually?

-Watanabe: Key frames, prior to the animation director’s corrections, are terrible. Although my frames don’t get approved, looking at the frames that do get approved I see only the middle of the frame being drawn while everything else is left to the animation director’s assistance to fill in. Also stuff like character faces being completely off, all these things have to be at least “prepared for correcting” in this process. It’s more of a 2nd key animation role than an animation director assistant. It was nonetheless fun, and correcting characters like that made me feel like I made some progress.

-Moderator: What about “Momo” (Minky Momo)?

-Watanabe: “Momo” was fun. Although in 198X I was kinda mentally depressed, none of the key animation I drew for “Momo” was turned down or returned for retakes. So I just kept pushing on.

-Ashida: This is the effect of the ultimate “Opening Strategy”. Let someone do the opening and have the fame at first, it was the same with the animation direction role.

-Watanabe: That was again a fluke of luck. My first job as an animation director was an episode with Kaijus fighting. With such things you just have to make them move, make them flashy and catchy.

-Moderator: Your speciality, huh.

-Watanabe: It wasn’t something I excelled at as much as it was something I had fun doing. Also, when speaking with Yuyama (Kunihiko)-san, I see he has something he wants to create with which I can totally empathize. Doing the normal life scenes without any interest, for example. So it got to the level of being a hobby where I give all my effort, rather than a job I have to do.

-Moderator: That’s how much you as an animator can get into in the project, right?

-Watanabe: Of course, being at Ashi Pro means that things like drawings numbers don’t matter. Such situations exist, but at stricter places cuts are made at the storyboards or screenplay stages. Deciding to tune down here a bit or focus here a bit from the start means that all this is planned through, something we can understand and makes us feel like the whole thing is indeed worth doing.

-Moderator: “Momo” was your first project as an animation director, how was it?

-Watanabe: Doing animation direction is annoying. Fixing the key animation of other people requires all my effort, animation direction isn’t a job you can slack off at even slightly. That’s why it made me want to draw key animation even more. That being said, doing animation direction limits me, but whether I’d be able to draw key animation if I didn’t do animation direction… Also, character acting stuff was handled by Yuyama-san, and I handled things like character faces. Those being Live’s key animation, I’d say MatsuX (he means Matsushita Hiromi) drawings were completely off, while (Kazuko) Tadano-san’s drawings were even more on model than mine *laughs*. Man, no more talking about “Momo” please.

-Moderator: *laughs* Well, that was the end of today’s interview. Thank you very much.

#hiroshi watanabe #studio live #interview #translation #toyo ashida

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callsignbaphomet · 4 years

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10 Qs!

Tagged by @lordfenric (tysm!)

1. Do you have an OC that’s basically a version of yourself?

I....do actually. I've said it a couple of times and then I get embarrassed and then delete the post. Anyway, he's a version of myself AND a version of myself I wish I was. Ya know, my ideal self. He also filled another role which I haven't had the need to put to use as hard in a very long time which is a good thing I think. He's grown, evolved, matured as I have. Any changes to him are pretty much things I've changed about myself. Basically he'll always be a WIP because I'm one too.

2. What is your favorite type of scene to write?

Ooh! Many scenes! Fight scenes are super fun! Love me a good gun fight. I think I like more dramatic and emotionally charged scenes. I think I'm pretty good at those and suspense filled scenes. Not to be mistaken for horror though.

I know it wasn't part of the question but my least favorite are sex scenes only because I am HORRIBLY TERRIBLE at them. For real. I've tried my hand at it numerous times but it sounds disingenuous and like I'm trying way too hard. I really suck at them. Got a bunch of half finished files of n///sfw stuff that I never finished because I just think I did a terrible job at it. Maybe I'll upload 'em for a laugh one of these days.

3. Do you write cliffhangers?

No. I don't like them. I think they're like jump scares in horror movies. Just cheap ways to get the reader's attention.

If I ever leave a chapter on a cliffhanger it was not intentional. Much less would I leave a story on a cliffhanger.

4. One word or phrase that you think you overuse (but probably don’t):

I overuse the word however way too much. Probably another one but can't recall at the moment.

5. Least favorite thing about writing?

Editing. Gods above I haaaaaaaate editing. Mainly for two reasons: I always think the sentence/paragraph/chapter coulda been better executed. Second reason is I waste a shit ton of time second guessing my choices in words. Listen, you don't need to tell me my vocabulary is at kindergarten level. I KNOW it is. Most times I feel like shit about it and waste even more time with the browser on dictionary.com looking for synonyms for words to replace them with so it doesn't look like a 5-year-old just tried to write a weird espionage (idk C called what I'm writing that and it's stuck ever since).

6. How much prepwork do you do before writing if any? (outline, scene breakdown etc)

Far

Too

Much

I overthink it to death.

I have my plot, characters, locations and everything that goes into it. To the point of what weapons everyone will be using and why. I take a crash course on the locations, the culture, languages, take an unnerving amount of screenshots on Google Earth. Check stores and hours of business. Traffic, population, day to day activity. Check the history of the location and a refresher on what happened in the years where the story takes place. Find ways to translate the local language. Weapons! I check their history, when they were made, if they're still in service, what ammo, they're strengths and flaws, manufacturers. Same goes for the gear they wear. Why are the antagonists there. What do they want and how do they get it and how can they succeed. Should they succeed? Should they fail? Why? What motives they have. What the history and origin of the mythological creature(s) are involved is.

Take all I just said and triple the amount of work if I make up a town or city for the sake of storytelling.

Tl;dr a lot.

7. Do you use any visuals to help you with writing? If so, what?

Nowadays I have to. I don't know, I think my brain is broken or something and I can't concentrate like I used to. I can see and hear the scene in my head like a movie and I can repeat it as many times as needed but as soon as my fingers touch the keyboard I draw a blank and lose direction. I've actually resorted to doing storyboards of scenes and rough sketches of buildings so I know where to go, why and what for. I've turned all my sketchbooks into storyboards.

If there's hand to hand fighting or with bladed weapons I watch some videos on YouTube or wherever I find them and write down what I see and later edit it well.

If I was any good at it Legion would be a comic instead but I'm no good at it. So I gotta resort to writing and even then I heavily question my ability to do so. I know I'll get something written and finished someday but boy is it frustrating.

8. Is there magic or new technology in your WIP? How did you come up with it?

Yes. Both but mostly magic. I'm kinda working on implementing more technology. I do also combine both magic and technology. One example is a small sphere made of plastic that can easily break. Place it in your mouth and bite into it. Inside is a light pink mist that feels like a warm liquid (also minty sensation) that travels through your body. It's a combination of adrenaline, pain killer and healing aid. Won't magically mend broken bones, remove bullets or revive the dead but it'll help in ugly situations. There's also laser weapons that run on crystals. So long as the crystal has energy you got ammo then just recharge the crystal and you're good to go. There's some more tech but that's for another time.

The only magic I've made up for this is Astral magic and its counterpart and it's been a bitch trying to balance it out but I've gotten there.

Portals are also a thing I added in.

Honestly I really wanted to add magic. There's supernatural stuff in it anyway so might as well go all the way. I just come up with these out of wanting it there or to fill a role.

9. What are you currently reading?

Nothing. With my attention span I'm lucky to get to the third page. Last book I bought is still in a drawer gathering dust. Was a Tom Clancy I believe.

10. What would you like to see more of in Fantasy novels?

Wouldn't be fair to make demands for a thing I don't partake in now would it. Don't read anymore honestly.

Tagging: no one but if ya wanna give this a go then go right ahead.

#tag game

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meimi-haneoka · 5 years

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Thoughts on Chapter 34 of CCS Clear Card

Aaaaand here we are again, at that time of the month, ready to talk and scream (?) about another of Clear Card’s chapters! Sakura and Syaoran have sorted out their problems, no more lies and secrets between them, Sakura even had the chance to witness in front of her eyes how her wishes can instantly turn into “incidents”, and her resolute face at the end of Chapter 33 hinted that she’s not gonna succumb to her fate!

What possibly could go wrong?

CLAMP:

UNDER THE CUT!!

The calm before the storm

First of all, I have to admit it. Those talking with me on the Clow Kingdom discord server might have already heard this, but this chapter left me totally disoriented. I don’t know whether it’s due to CLAMP not planning the storyboard properly (unlikely) or because it was supposed to feel like this, as the focus is all on the cliffhanger on the final pages (after all, this is future volume 7′s last chapter), but the feeling I got is that the flow of events is a bit rushed. We have many POV in this chapter, first we’re with the kids, then Kero and Suppi, then Nakuru and Yukito, then the kids again. 32 pages might not have been enough to develop everything properly, but we had to arrive to that cliffhanger.

And some things look definitely off. Like, Tomoyo is finally made aware of the fact that Sakura is the one creating the cards. And her reaction is “Oooh.” . She’s totally....unfazed? o_o Even seeing the Clear Card that represents her, she just comments with “まあ”?! Ok, Tomoyo might not be a drama queen ok no scratch that, she totally is, but I expected a bit more of surprise from her. Instead, she gushed over the Rewind card’s cuteness and started her usual ranting about recording this and that. It’s getting a bit repetitive and stereotypical, CLAMP? Tomoyo is so much more than that. She may not be my favorite ever but I do like her and her perceptiveness. I went so far that I even imagined she already knew Syaoran was the one behind the Sakura Card’s disappearance. So much for that. I hope CLAMP will find the time to bring out a shiny moment for Tomoyo, as I understand that the pages are what they are, and they have to develop the plot for the new characters, so they inevitably have to sacrifice the screen time of other characters.

We have a brief moment of Suppi explaining everything to Kero, and here I go “eh?” again at the story: Sakura says “Kero-chan is at home, this morning a guest came over” .... Ok? Did Sakura see that it was Suppi??? DIDN’T SHE INSTANTLY GO “WHERE THE FUCK IS YOUR ELUSIVE MASTER?” on him??? Ok maybe not with those terms, but....isn’t she surprised, didn’t she ask him why he was there? Again, a totally confusing part. We’ll see if that’ll get explained later on. We have a cute moment between the two small guardians, and again we have a character who acts nonchalantly about the situation, justifying it with “It’s Sakura. She’s gonna do something about it.”

DUDE

I wouldn’t want to break your world made of unicorns and tasty gourmet dishes, but this is exactly the reason why Sakura is in the situation she is, right now!! It’s a problem she’s got in herself and she can’t do much about it, at the moment. This is what she is. A 12/13 year old girl with a scary amount of power in herself, that is growing by the minute (and we’ll see how, in this chapter). A power she can’t control. Sakura being Sakura is the source of the problem in itself.

I know, it’s supposed to show that he’s totally trusting his mistress, like he effectively says to Suppi. But he’s the 2nd character out of 3 who is acting in a way too relaxed manner, in this chapter.

The third one is Yukito. It’s Nakuru to remark this fact, adding that it’s better that way. Sure, if everyone started feeling gloomy it would be a big mess. But even being too relaxed, in a situation like this, might lead them to overlook important things. BTW, it seems Eriol arranged paperwork to enroll Nakuru in college! That’s totally an Eriol move! XD Keeping Nakuru and Yukito together without disrupting Yukito’s normal life, great idea.

Sakura’s anxiety

But it’s when the kids arrive to the classroom, that the “fun” starts. The girls are talking about the swimming class they will have today, and Sakura is her usual cheerful self.

Then, Akiho arrives.

Sakura turns around normally, but when she sees her, anxiety start churning inside of her.

Sakura, who never ever felt anything about Akiho, not even after Kaito rewound time, feels something is wrong with her friend. The moment we’ve been waiting for 26 chapters. But there’s more, she can’t shake the feeling even during the swimming class (OFFICIAL SCHOOL SWIMSUITS, BTW!! they’re even more conservative than before and it’s alright XDD).

Of course, eh, her frown doesn’t escape observative-boyfriend-Syaoran's stare. She asks him if he can feel something from Akiho, and he says no, AND HE’S NOT LYING DAMMIT, he really can’t feel anything, but how can he explain ALL THE REST to her, with the spell placed upon him? Of course, this is Syaoran we’re talking about, so he tries to say something anyway, and finds himself not emitting a single sound. See, there’s so much to talk about in so few pages, like how we’re again presented with the fact that Akiho is similar to Sakura in the good reflexes too, AND FOR THE FIRST TIME EVER Sakura’s smile to Akiho is so forced and lukewarm that you CAN really feel something is terribly wrong. Or, how we cannot talk about the first YAMACHIHA FLIRTING SCENE EVER?? I was so happy, in a moment of such tension those two managed to give us a breather before going back to the utter mess that is about to unfold. I love those two and their relationship <3

BUT LOOK WHO’S BEING A TOTAL CREEPER WATCHING KIDS IN SWIMSUITS? Our legendary asshole Yuna D. Kaito, of course!! XD Now, I have to be sincere. This is another of those “???” scenes because, ok, they try to explain that he’s there to cause some trouble now that Sakura knows the origin of the cards, but I still didn’t get why he’s doing that. What’s the connection between the two things? He smiles warmly while taking out his staff and he’s the usual smartass we love to hate!

Shit definitely goes down again

Then, panic unfolds. We have the final proof that in this chapter, Sakura could feel things before happening TWICE: one is as soon as Akiho arrives to school, having an uneasy feeling that she never had while looking at Akiho, and now, seconds before Kaito stopped time with his magic. Actually, scratch that: they might be 3 TIMES, as she pulls out her key and Reflect Card even before the real attack comes to her. This is all fun and games, until you actually stop to realize...that Sakura’s power might have increased once again, leading her to new heights of worrisome strong magical powers.

A whirlpool raising from the pool attacks Sakura, to which she effortlessly responds using “Reflect” and here I’m once again confused because the scene just doesn’t flow right, there’s at least a panel missing to show that the one attacking her is “the pool” and those “arrows” don’t come out of nowhere, like the rest of this attack anyway, as it felt totally random (this might be the part pertaining to Kaito, anyway).

And, as if anyone called her: hello there, “vessel-mode” Akiho! (Ah, actually “vessel” is not a thing anymore, as the term has been completely erased in the tankobon release of volume 6, the latest out. The term “vessel” has been replaced with 中, “inside”. I’ll do a post about it, later on.) Just like last time, the usual assholes are talking through her again, using her as an intercom (though, I’m not sure if these are the Squids or the Association), commenting on Sakura’s powers and then attacking her, still using Akiho, stating that they have to bind her to this book. Yes, the verb used is really “to bind, to file” and it’s relative to books etc.

Soooooo, now what I want to know is:

IS THIS THE CLIMAX STARTING TO MOVE FOR REAL, this time around?

Is something irreparable about to happen? Will Sakura be trapped in that book?

But most importantly, will Kaito rewind time once again and make the fandom riot like they never had before??? I really want to see if CLAMP are going to put their fan’s patience on the line like that ^^””” Still, it probably feels too soon to wrap this up, considering Kaito said there aren’t enough cards not many chapters ago. She did 3 in one day, yes, but if Kaito was about to cause something before the assholes interfered, it’s probably because he wanted her to give birth to another card. And now we have to see if this will happen or not.

If you’re wondering when next chapter is going to be released, please read my post on the matter. UPDATE: a confirmation of a break for the July issue came from Nakayoshi’s Twitter account, you can read more HERE .

Thanks to @horitsuba for the scans featured here and thank you for sticking around to the end of this rant!! Mwah mwah! XDD

#Card Captor Sakura #cardcaptor sakura #clear card #clamp #clear card arc #clear card manga #ccs spoilers #chapter 34

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