anasten27

[anasten27]

Furrified the fam! Look at these cuties! They're based on @ack-cough 's vision in this post!!! I took Loop's design from @gardensnakie !! Such a cutie! I love dragons. Extra thoughts on each piece and a few extra sketches under the cut:

I know Bonnie's wok ain't technically that big, but I thought it looked fun cause it made em look smaller haha! And I like the thought of em making a Big Meal just for Frin! He's always so hungry. I remember the scene with the Beauty Alliance sticked to my brain like "they're so silly, I wonder what cool poses they made". So take these as one of the possibilities! Can you imagine if they posed differently every few loops? That would've been cute. Last, but not least! Been thinking about that potential Loopdile (platonic or romantic) dinamic some folks have talked about. That like soft moment of "Maybe you are a lil bit weird now, but you're absolutely fascinating. You may have changed a lot, but you're still part of the family." Just like, that little reassurance. I feel like Loop needs a bit of that.

Here's some extra art that I didn't do lineart for, so they look awful crunchy cause of how much I edited them so they'd be visible (they were made in red pencil originally)

Mirabelle looks a lil more like a chinchilla here I think. Cause of the angle on the final drawing I think she lost some of that longer snout. She looks cute in both versions tho <3

I gave Odile shorts for her silly swan legs. I didn't wanna cover em up completely. I like silly legs.

I really struggled to get the angle right for the Loop and Odile drawing, so I tried a bunch of different compositions! You can sorta see em all around Odile. The other two near Mira are the thumbnails for the Beauty Alliance!

[anasten27]

Spit it out. Tell them. They’re here for you. Keeping it inside is killing you.

[anasten27]

I love weird and messed up little creatures! Loved that creepy Opportunist smile with his spooky horse teeth. The dragon making the Princess dance~

Kept the lil thumbnail in the corner there.

[anasten27]

Thank you, I shall go sell this. Maybe then I can buy a pair of cool glasses or something

Detective. Arriving. On the Scene!!!

Based on @rand0lphcarter 's post. It was too wonderful of an idea to pass up. Now they owe me tare so I can exchange it for a few coins. Sorry it's monochromatic and messy, but an attempt at a background was made at least! I don't do those as often as I should

[anasten27]

Detective. Arriving. On the Scene!!!

Based on @rand0lphcarter 's post. It was too wonderful of an idea to pass up. Now they owe me tare so I can exchange it for a few coins. Sorry it's monochromatic and messy, but an attempt at a background was made at least! I don't do those as often as I should

[anasten27]

I think my a03 trademark now is writing weird POV fics.

Anyway please enjoy my Disco Elysium fic from the perspective of a toy plane

[anasten27]

Here's my poorly made addition to this post. I sent the original to a friend and he said "Do Kim" and I was like "He wouldn't make that face" and he went "Well, what face would he make then?" and I thought that for a small little woaw he'd just O-O though I know he is capable of many more expressions

woaw

[anasten27]

Disney's unconventional "Cinderella" (1950) (long)

Having watched most of the many adaptations of Cinderella, I've come to realize what a unique adaptation Disney's 1950 animated classic really is. Unlike Snow White, which only had a few stage and screen adaptations before Disney produced its groundbreaking film, Cinderella had already been adapted many times before Disney's turn came, and Disney's version makes a surprising number of departures from the standard Cinderella "formula." It was definitely a fresh, creative Cinderella when it made its debut, and it arguably still is. Yet because it's become so familiar in pop culture, and today so often serves as our childhood introduction to the tale, it's easy to overlook its inventive storytelling choices. The 2015 live action remake uses several classic Cinderella adaptation tropes that the original 1950 film actually subverts!

Here's a list of the often-overlooked ways in which Disney's Cinderella stands out from earlier adaptations, and from many later ones too.

Cinderella herself. Disney's Cinderella isn't a traditional Cinderella in personality. The "traditional" portrayal of Cinderella, seen in virtually every adaptation before Disney's and several afterwards too, is the portrayal I call "The Waif": a very young, fragile, melancholy girl, dressed in pathetic rags and smudged with ashes, who makes the audience want to rescue her and who wins the Prince's heart with her wide-eyed innocence and artless charm. But whether chiefly to set her apart from earlier screen Cinderellas or from Disney's earlier delicate ingenue Snow White, Disney's Cinderella is none of those things. She comes across as older, or at least more sophisticated. Nor is she waif-like, but instead combines down-to-earth warmth with ladylike dignity, even at her lowliest. She doesn't sit in the ashes ("Cinderella" is her real name in this version), and her servants' dress is humble yet clean and only slightly tattered. She's gentle and kind, yes, but also intelligent, practical, playful, sometimes sarcastic, philosophical, optimistic, genuinely cheerful when she's with her animal friends, and yet angrier and stronger-willed than virtually all earlier Cinderellas. She doesn't beg to go to the ball, but asserts her right to go, and then sets to work fixing up an old dress of her mother's for herself. Only her stepfamily's sabotage, first by keeping her too busy to finish the dress, and then by destroying it after the mice and birds finish it for her, prevents her from taking herself to the ball without a Fairy Godmother. To this day, she stands out as a complex, unique Cinderella, which pop culture too often forgets.

Lady Tremaine. Some critics today complain that Disney makes Cinderella's stepmother a total monster instead of giving her "nuance" and call her portrayal "sexist." But can't we agree that her sheer cruelty enhances the film's dramatic power? And compared to earlier portrayals of Cinderella's Stepmother, it definitely makes her stand out. In most pre-Disney Cinderellas and many after, the Stepmother is a pompous, vain comic antagonist. Once again, Disney was innovative by portraying Lady Tremaine as a dignified, manipulative, and truly sinister villain, who takes quietly sadistic pleasure in abusing Cinderella and will stop at nothing to prevent her from going to the ball or marrying the Prince. As far as I know, she's also the first Stepmother to realize before the slipper-fitting that Cinderella was the lady at the ball and to take action to prevent her from being found. That's a commonplace plot device in more recent adaptations, but in 1950 it was a creative twist!

The mice and other animals. Viewers debate whether Cinderella's mouse friends, Jaq, Gus, et al, and their misadventures evading Lucifer the Cat are a welcome addition or take away too much screen time from Cinderella herself. But there's no denying that the presence of the mice and birds is an inventive storytelling choice, which makes Disney's Cinderella stand out! And I can provide a long list of reasons why they're more than just "filler." (1) They add liveliness, humor, and appeal for younger children. (2) They gave the animators an outlet for the type of character animation they did best, rather than binding them to the harder work of animating realistic humans. (3) They give Cinderella someone to talk to besides her stepfamily. (4) They give her a way to demonstrate her kindness. (5) The struggles of the mice with Lucifer parallel Cinderella's abuse by her stepfamily, and Cinderella's undying optimism not only keeps her from despair, but inspires them too. (6) They arguably provide a further reason why Cinderella stays with her stepfamily – not only does she have nowhere to go, but an entire community of small sentient creatures relies on her for food and protection. (7) They reward Cinderella for her kindness. From the start, her friendship with the mice and birds makes her life easier to bear, both by easing her loneliness and because they do helpful deeds for her, like mending and cleaning her clothes. They fix up her mother's dress for her to wear to the ball – only the stepfamily's last-minute cruelty requires the Fairy Godmother to step in. And in the end, they're directly responsible for Cinderella's happy ending by freeing her from her locked room. They do all these things because Cinderella has protected them, fed them, made them clothes, and been their friend. Therefore, Cinderella's good fortune never feels "just handed" to her: her kindness directly earns it.

The Fairy Godmother. It's always varied between illustrators whether Cinderella's Fairy Godmother is portrayed as a grandmotherly old woman or as youthful, regal, and beautiful, but screen and stage adaptations before the Disney version virtually always took the "youthful, regal, beautiful" approach. That is, when they didn't change her into a wise, fatherly male magician-advisor, as in several opera adaptations! At any rate, seriousness and dignity were the norm for this character in most adaptations from the 19th century through the 1940s. Making her a sweet, comforting, grandmotherly figure, with a comically and adorably absent mind, was another of Disney's fresh choices.

Cinderella's entrance at the ball. We all know the classic image of Cinderella's entrance from other adaptations. Cinderella appears at the top of the grand staircase that leads down to the ballroom, and a hush falls over the assembly, as not only the Prince, but all the guests and members of the court are amazed by the unknown lady's beauty and magnificent dress. Even in versions without a staircase, Cinderella captivates the room the moment she enters. Adaptations both before and after Disney's, including Disney's own 2015 live action remake, play her entrance this way. But the 1950 animated classic subverts it! The grand staircase leads up to the ballroom, not down to it, and Cinderella's entrance isn't a triumph at first, but a vulnerable moment as she makes her way up the stairs alone, dwarfed by the splendor around her. Then, when she reaches the ballroom, no one notices her at first, because the other ladies are being presented to the Prince and all eyes are on him. But then the Prince notices her in the shadowy background as she quietly marvels at her surroundings, and leaves his post to approach her and invite her to dance. Only then does the rest of the assembly notice her, because she's the one the Prince has singled out. It's more understated and it feels more realistic than the traditional entrance, as well as more clearly symbolic of Cinderella's venturing above her station, then both literally and figuratively being led out of the shadows by the Prince's unexpected attention.

The slipper-fitting plan. Over the years, it's been fairly popular to mock the idea of using the glass slipper to find the Prince's love, as if there were no chance it would fit anyone else. Disney's version is creative by having the slipper-fitting search be the comical, hot-blooded King's idea, not the Prince's, and making it clear that it's not, nor is it meant to be, a foolproof plan to find Cinderella. The Duke points out that the slipper could fit any number of girls, but the King doesn't care if they find the right girl or not: he just wants to hold his son to his pledge to marry "the girl who fits this slipper" and force him to marry the first one who fits it. This also means that Disney doesn't do what most adaptations do and have the Prince conduct the search himself, but follows the original Perrault tale by having a gentleman, in this case the Grand Duke, do it instead. This prevents audiences from mocking the Prince for relying on the slipper instead of knowing his beloved's face.

Cinderella breaking free and asking to try on the slipper. Even though in Perrault's original tale, Cinderella asks to try on the slipper, she almost never does in adaptations. In most versions other than Disney's, including Disney's own 2015 remake, Cinderella's presence in the house (and/or the fact that she has the other slipper) is either discovered by accident or revealed by Cinderella's allies, not by Cinderella's own initiative. In some versions, she even tries to hide from the Prince and/or the search party, either out of fear of her stepfamily or because she feels unworthy of the Prince in her rags. But not Disney's animated Cinderella! First of all, she has an assertive emotional breakthrough when she calls on her dog Bruno to chase Lucifer away and free Gus to slip her the key to her locked room. Earlier on, she urges Bruno to try to get along with Lucifer, lest the stepfamily not allow him to sleep in the house – it's clear that Bruno represents her own rebellious side, and in that scene she's really talking about herself, revealing that she tolerates her stepfamily's abuse so she won't lose her own "nice warm bed" and be homeless. But in the climactic scene, when she finally sees a way out, she gives up playing nice and seizes her chance. First she unleashes Bruno on Lucifer, and then she runs downstairs and directly asks to try on the slipper, not caring how her stepfamily will react, or what the Grand Duke will think of her shabby dress, or whether the audience will accuse her of gold-digging or not. This isn't a common breakthrough in other Cinderella adaptations, but it fits perfectly (like a glass slipper, you might say) with the Disney Cinderella's stronger-willed and more self-assured characterization.

"I have the other slipper." We can probably all safely assume that when audiences first saw Disney's Cinderella in 1950, they all expected Cinderella to try on the glass slipper she lost, with her identity revealed by its perfect fit. They never would have expected Lady Tremaine to trip the footman and break the glass slipper... only for Cinderella to calmly reveal that she has the other one. It's yet another clever and unexpected twist, not seen in any other version. Not even Disney's own 2015 remake.

Disney's Cinderella deserves far more credit than it gets for being unique among the myriad versions of the tale, especially compared to the versions that came before it.

[anasten27]

FUCKED UP BEETLE

PROBLEM

So you're having a totally fine day by all accounts and then it instantly goes to shit just because you pass by a fucked up beetle hidden in the grass. You've seen bugs dead all the time, so what. So what if its torn up wings and cracked shell definitely mean that some random kids fucked it up before it died. So what if your dad was drunk and high all the time and screamed at you and you fucked C over and you fuck everything up. SO WHAT. No amount of therapy or 'healthy coping mechanisms' or 'unpacking of trauma' will ever erase the ultimate truth underneath. You are intrinsically, hopelessly fucked.

-3 Volition: Fucked in the head

SOLUTION

You're going to wake up the next morning totally fine again. In fact, Harry's probably going to put some extra effort into making breakfast nice to cheer you up--which will actually kind of annoy you, but in a way that makes you feel all fuzzy and warm. Sure, you still get stuck in your head sometimes about sad shit, but you're dealing with it better and better, and the days where you actually feel like someone are beginning to far outnumber the days you don't. For now, you hug him a little bit tighter. You're safe now.

-1 Composure: Permanently a little bit fucked

+2 Volition: You're going to be okay

_

transcript under read more

VARIOUS CANDY WRAPPERS SPLAYED OUT ON THE TABLE: The label reads 'BLUE DREAM'. Unlike what its colour may suggest, it is not flavoured a blueberry or bubblegum, but vanilla.

[A red orb appears above Harry's head]

SHIVERS [Impossible: Success] - The air has been shifted ever so slightly. He's trying to breathe correctly, but blurs of thought keep flickering through his mind. This continued for the entire thirteen minute trek home.

PERCEPTION [Medium: Success] - A loud thunk rattles across the room as Cuno closes the door, he looks out of breath

EMPATHY [Easy: Success] - He's barely holding it together

CUNO - He looks up at you with a yelp, "Fuckin hell! Wasn't the pig supposed to be out investigating some shit?"

SUGGESTION [Medium: Success] - He didn't want you seeing him like this, answer his question, he'll leave if you ask him about it first.

1. "Did something happen?"

2. "You look like you ran a damn marathon kid, what's up?"

3. "I had to quickly come back to snag some important evidence for the case" (point to various candy wrappers)

CUNO - He scrunches his brow "That mean you're getting your ass outta Cuno's face soon?"

DRAMA [Easy: Fail] - Wow. He didn't even ask about the wrappers!

EMPATHY [Difficult: Success] - He doesn't want to be alone

1. "Did something happen?"

PERCEPTION [Difficult: Fail] - Cuno's hands tremble as he mumbles out a whisper of words you can't make out

1. Cuno?

[Harry reaches out to comfort him, but Cuno sees this and snaps at him]

CUNO - "NOTHING FUCKING HAPPENED ALRIGHT? THINGS HAVE BEEN FUUUCKIN PEACHY TODAY"

"CUNO GOT A FUCKIN A ON HIS ESSAY, ABSOLUTELY WENT DOWN ON A DELICIOUS FUCKIN KEBAB YA HEAR?

CUNO - He pauses. "Nothin fuckin happened today. It's all me. Cuno's the one thats all fucked up"

He starts choking up by the end of that,

(a yellow orb is seen above Harry's head as he looks at cuno breaking down [it's reaction speed])

Harry hugs him

CUNO - "Fuck"

KUUNO - He hugs back tightly

[anasten27]

YOU - "Only if you promise that we'll talk again. It's *important*."

Process - [ rough keyframes ] , [ some inbetweening + color-key ]

[anasten27]

you guys deserve to see this too. credit to deluluvian on tiktok

[anasten27]

🍎Hello Everyone!🍎

👠We are proud to announce we will be opening preorders in ONE WEEK!👠

Feb 1 - March 1st

Be on the lookout!

[anasten27]

Hey everyone! We wanted to get your opinions on something. With the Holidays approaching, we have been tossing around having a small sale the week of Christmas (the week of the 25th). However, we didn't want this to seem unfair to those who have already purchased items for our zine. If we do the sale, we will give those who purchased the zine at full price an extra free gift in exchange for not getting the sale price. Do you think this is a fair exchange or should we not have the sale and instead look at wrapping up the store?

[anasten27]

I know everyone is crying about the ending (myself included) and other game stuff, but can we stop for a moment and just look at her?? This is just so funny to me, just... ᵗᵉᵉⁿʸ ᵗᶦⁿʸ ᵉʸ���ˢ

[anasten27]

*Sniffs you back*

Sniff

Sniff sniff

...

Sniff sniffff

[anasten27]

It's time!! Our store is officially open!! 30 artists, 5 writers, and 5 merch arts have come together to produce the Sweet Spirits Zine! We offer multiple different bundles as well as each item individually! Check the images below and visit our store to see more!

(For mobile users, click the 3 dashes at the top to view all of our products)

https://sweetspiritszine.bigcartel.com/

[anasten27]

Being-A-Creative-On-Tumblr-Culture is going through all of the 24 reblogs on your post with 357 notes just to get just enough serotonin to get through your day by reading what the five god sent people who left tags wrote