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Some mean offscreen canon for Legend of zelda: wind waker. They forgot Vaati when they dumped a whole ocean at the end. he’s still just down there.

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Artwork from ‘The Legend of Zelda 4 Koma Gekijou’ #5 Manga, published in 1994.

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Cultural Anatomy: Hair Loopies

Dissecting the real life cultures that influenced show. First up is Katara’s trademark ‘do!

Hair Loopies

So this first fact actually comes from the Twitter poster, Low Arctic (https://twitter.com/LowArctic). The reference pictures used are screenshots from Atanarjuat: The Fast Runner (Inuktitut: ᐊᑕᓈᕐᔪᐊᑦ).

While braided hair is common in many cultures, Katara’s trademark “hair loopies” are uniquely Nunavut Inuit. If anyone can provide me with the proper Inuktitut term for this hairstyle, I’d be super appreciative! While her “loopies” are drawn un-braided in the show for ease of animation, I’d love to see them thinly braided and decorated with bright blue beads in the live-action adaption.

Here is another examples of “hair loopies” in real life and Avatar:

The young woman photographed is Nancy Columbia, an Inuit-American beauty queen, actress, and screenwriter from the Silent Film Era. When I try to imagine Katara as a real person, she ends up looking a lot like Nancy.

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motivational mimikyu ko-fi request!

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For all the MTG fans, if you know, then you know.

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weird question. how do you feel about toriyama's art, and the use of his art style?

Artistically, if people take anything away from Toriyama's work, I want it to be his talent for conveying action through still panels.

I've read plenty of comics and manga where the action is honestly pretty hard to make sense of. Like taking still images of one of those jumpy thousand-cuts-per-minute modern Hollywood action scenes where the images are taken like fifteen seconds apart and there's no real sense of how anyone got to anywhere or where that punch is supposed to land.

By contrast, reading Dragon Ball is like watching an actual martial arts film. Toriyama's panel work was a big part of what made him such a great mangaka. It's very easy to follow Toriyama's action from panel to panel; To read the visual language of the fight.

Look how smooth that is. People don't think of Dragon Ball fights as clear, concise affairs where every punch has weight and every move counts. But that's exactly what the manga is. This was Toriyama's greatest asset as an artist.

Look at how the panels follow Frieza's right leg. He's stepping forward with his right leg. His right leg is in front of Goku's face. His right leg kicks Goku into the air. Then he sweeps with his right leg. And then the right leg connects.

That whole sequence follows Frieza's leg. It's what is going to be used to hit Goku and so the action tracks it from panel to panel. You always know where Frieza's right leg is.

And it's why the whole "Characters designed by Toriyama" thing never really meant as much as it was hyped to be. It doesn't matter if he drew a guy's hair Goku-style. What matters is this. When the fists start flying, is it going to be his action?

Or is it going to be something like this?

Did Goku push Vegeta? Did he shoot him? Because he was like ten feet away from the fighting when that maneuver was completed. And then he definitely took that hit to the back of the neck but I guess he was just playing pretend?

Did Son Goku just fake a knockout so he could land a cheap-shot sucker-punch on an adversary?

(This same fight also had Goku defeat Granolah's knack for targeting someone's vitals by suddenly being able to reposition all of his organs somehow, incidentally.)

11 pages of pure action just to convey that Goku and Moro are equally matched. By the end of this, the fight hasn't actually moved in any way.

Goku and Moro chitchat with each other across a beam struggle?

Just so Goku can brag that Toyotaro knows what the Zanzoken/Afterimage is.

By contrast, Toriyama's Beam Struggles look like this.

Intense, strenuous affairs which are clearly and visibly taking a toll on both participants, in which one party ultimately and significantly prevails over the other.

In Goku and Moro's struggle, neither of them really seems to be trying very hard. Goku and Moro are able to water-cooler chat across the beam somehow and then they both just stop caring and leave. It was a Continuity Moment so Goku could call out the Zanzoken but ultimately Goku's Kamehameha achieves nothing and the fight just carries on like it never happened.

Also there's a point where Moro telekinetically yanks Goku down out of the air and then, on the next page, Moro telekinetically yanks Goku down out of the air again. What's that about?

The double-punch panel to show that they're evenly matched is... I have no idea where Moro got the strength to suddenly do that when last we saw was him recoiling from being hit over and over? Moro suddenly gains Super Armor between pages so he can be back in control of a situation where they were not evenly matched and he was clearly on the back foot.

The art is really good and, visually, Toyotaro has a good bead on what these characters should look like. But not what they should move like. It's not Toriyama's action, and you can feel that difference.

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For those wondering - Amazing Spider-Man Vol 1 #338 (Hobgoblin sprays Spider-man with poison) and #339 (Doc Ock reveals the poison only becomes lethal when combined with cocaine).

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Another Kremlin policy to kill Americans put in place by MAGA traitors.

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Waste. Fraud. Corruption.

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Capitalism does not breed innovation.

Tech gatekeepers have escaped so many investigations and consequences from breeches of trust.

The People need to make a change.

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Later:

There was never a straight explanation for this🪐

Happy pride month to them, I guess🏳️‍🌈

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Squall, SeeD Mercenary Illustrator: Yuu Fujiki

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Terra, Herald of Hope Illustrator: Misei Ito