#because adults try to tackle art at the technical point first!

[poorly-drawn-mdzs]

Hi!! I love this series so much, and as someone who hasn’t really drawn since they were a kid but wants to start as a hobby, do you have any advice for sort of learning to doodle on paper and get better at it? I want to start but I don’t really know how/where

The most important step in getting better at any skill is Persistence and Consistency. Practice and keep practicing! The best way to do that is to keep it fun! Picking a project helps generate ideas (e.g. drawing Pokémon, or characters from a series you like). There are also a ton of monthly prompt lists out there!

I also highly recommend scheduling in a 'drawing/practice' time in your day. For me, I started with 30-60 min before bed (bonus: its a good 'no screentime' activity), and the habit took root there.

There are a lot of 'technical' things to study but find the fun first. At a certain point you will discover you've hit a wall, and have a specific aspect/goal you want to target (colour theory, anatomy, lighting, comic layout). Then it's time to go looking for resources.

Once you have the habit and some goals, go collect some inspiration! Find people who inspire you and study their work!

Another little 'art skill builder' I recommend is the Shrimp Method! Only if you find technical challenges like this fun though (Example of one of my studies below)

[icharchivist]

wait crotchery again what do you mean gbf is an adults only game, i thought it was just some character collect-n-battle kind of thing?? am i missing something here

I meant by that that the rating had changed from Teens and Up to Mature in the app store basically.

GBF is still a Gacha RPG Visual Novel first and foremost. you go through a main story and side stories event in Visual Novel form, you have to fight battles to get further into the plot, and to collect items that'd make you stronger, and for that you need to collect the gacha characters who each have features to approach the fights in the game.

The change in rating was done because GBF became increasingly more gore as the years went by and eventually started to tackle more and more serious subject. Sexuality is not the main reason of the rating going up, but it sure didn't help.

When GBF started back in 2014 it was rated Teen And Ups. In events from 2014 to 2018 the gorest you'll get is like, if someone gets stabbed their sprite will tremble and the description will tell you a quick thing about what's going on. Sexually speaking we had characters like Metera who were extremely flirty and would moan to fluster you but that's a bit standards even by gacha standards.

in 2018 What Makes the Sky Blues part 2 came out, with a huge gamble: Visually showing a major character death by showing his beheaded head, and having Belial as a major antagonist while he is always talking about sex. Even the English translation actually toned down his speech by a lot. ("so you're here for the sodomy?" was translated "oh you're ready to get down and dirty with me?" for example).

It was a major gamble at the time that was extremely well received by fans and it encouraged the company to do more and more as time went by. Villains introduced since Belial have had a tendency to be trying even more of the edge to see how far they can get away with. Gore scenes are visually illustrated on the screen as vividly as possible for a Visual Novel. Beheading, and such.

It culminated eventually in 2021 when the character of Ferdinand was introduced, a cannibal abuser and groomer who moans everytime something goes his way. (a throughout explanation of Ferdinand can be found here). At the same time, Lobelia (a serial killer who has orgams everytime he tortures people because he gets off on the sounds of screamings. he's a friend btw.) got a summer skin in which tapping on the screen will have you hear a woman screaming to her death as she's eaten by sharks.

I think those were two of the major points which had the censors especially decide to do something (especially the Lobelia thing that actually was quite the scandal at the time), though technically it's been a while since this type of things have been going on in the game. (it just that it was quite the timing, i think the rating really went up a few weeks after Lobelia's skin came out and a couple month after Ferdinand was introduced/right before he became a major focus also).

And that's when the app stores all decided to raise the content from Teen And Up to Mature, specifically, +17 people.

So at least it's Rated so that young players shouldn't play GBF.

GBF is mostly a browser game though (the app is only available in Japan but genuinely it's easier to play on browser, both on computer and on phone), so it's not really something Granblue concerned themselves with.

But as it is, the moment they had their rating raising, they kinda went, well, fuck it, if our attempts at being PG are not good enough, then YOLO.

And it's when we started to have extremely sexual units and arts. Summer Belial's crotch. Valentine Wilnas's ass. Yukata Ilsa or Yukata Narmaya.

So what i meant by adult game is in the sense that the rating is actually not recommanded for teens, and that the game is going ham to prove it, but it's mostly in question of gore and questionable content. Sexual stuff are still also a reason but it's actually not the major reason for it all.

But. We know for a fact it all started with Belial. he was considered the riskiest move from the company they almost scrapped him at the time. but since he was so well received, they decided to keep pulling those risks and here we are now.

And that's what you missed on granblue fantasy o7

[book-o-scams]

Ed, Edd n Eddy Series Bible (1996) -Analysis-

You can all finally read/download Ed, Edd n Eddy's official Series Bible right here! Thanks again to Chuckletons for sharing this with me and to Joey/Kongiscool0518 for sharing it in the first place, the Holy Grail of lost Ed, Edd n Eddy trivia!

One of the first posts I made for this blog was the Series Bible page. It was a composite of every source we had ever seen reference the series bible so far-- storyboarders in interviews, CN's old character guides, and the biggest source, an old CN UK posting about the show. Well, I figure now that we have the official source, I better update the old page (so everyone knows it's out of date), and make this new Series Bible post using the official source! Not much new information, but I was intrigued to finally learn the true phrasings of some things we had only heard paraphrased, as well as at least one detail from the movie that I couldn't believe came up this early in conception...

Unfortunately, Tumblr has apparently updated its post system to only let me add 10 images? Gonna try and only use images for what I need since you can read the actual document above, I guess I'll transcribe it too for easier reference and so we don't ever lose some archive of this.

Quickly, let's review what a series bible is:

A series bible is how creators pitch shows to networks. They can be called “pitch bibles” as well. Bibles do not usually get posted publicly, because they are initially under a strict Non-Disclosure Agreement by the network; also the creator may simply not wish to share it because it reflects the earliest stages of development.

The pitch materials typically include early concepts for characters, locations and episodes. Sometimes it exposes secrets, in this case, Ed and Eddy’s home lives, and sometimes the stuff in it is completely abandoned because it’s so early in production, in this case, casual references to school and adults.

Alright, everybody, it's time to gather 'round and read the Ed, Edd n Eddy Bible!

THE YEAR IS 1996.

YOUR NAME IS LINDA SIMENSKY. YOU WORK AT CARTOON NETWORK. A FRIEND OF YOURS, DANNY ANTONUCCI, IS WRAPPING UP A SHOW ON MTV. YOU GET THIS FAX.

Linda Simensky immediately fell in love with this concept because as a child, she was best friends with 2 other Lindas for seemingly no reason other than the shared name.

I love how Danny decided last second to pencil in the correct names over each Ed, since they're arranged out of title-order.

"They're friends because they have the same name."

-the Logline for the series.

Fun fact: one storyboard artist for the movie observed that the movie is essentially all about challenging the series' original notion that the Eds are friends ONLY because of their name.

"A Danny Antonucci Cartuna"

-the label Danny used to use under announcements of new productions.

PAGE 1:

Ed, Edd n Eddy

They're best friends because they have the same name.

A gag laden, beat generated CARTOON bumper car ride of 3 misfit youths on a cul-de-sac in the suburbs of America.

Through summer vacation, part-time jobs, or just hang'n out at the corner mail box, they want to belong....but CAN'T.

From home chores, helping neighbors or eating jaw breakers, they want to fit in...but CAN'T.

Ed is into "B" monster movies, model kits and is quick to break out into rashes.

Lots of luck...

Edd is into chemistry, biology and prone to crushes.

Later...

Eddy is into pranks, is stylish and flaunts himself to the world.

Ya Right...

Ed, Edd n Eddy is a show about confusion and contradiction, that awkward part of youth, pimples, big feet, oily hair and... girls???.

Puberty is unforgiving.

I was fascinated by the lack of art on this page, it makes the pitch feel very focused. AKA logo in the corner, the title logo again up top, then the logline appears again below.

I really love the breakdown of Danny's vision of the show. "Gag-laden, beat-generated, CARTOON bumper ride." Very accurate, and I think "beat-generated" is the phrase that interests me the most. I typically think of "animation beats" as sort of a give-in-- technically all things fit a rhythm, so all stories are essentially just a montage of beats. But this does make me realize how important the strength of the beats and their rhythm are to the pacing of a cartoon and making you feel like "that was a good one." I feel like the "seasonal rot" viewers feel over the course of a show, and the way that perception differs from person to person, depends on the type of beats you want. Even though I am very into the experimental beats of a show in its later seasons, I can definitely see how season 1's beats are more typically appealing to a wide-audience, and how important a focus on that is to the longevity of a show.

I found it really interesting how the scams are initially conceived of here as "summer jobs." It adds to the sense that adults were originally meant to be present. Honestly a little surprised nobody with access to this bible had ever thought to mention that-- scams are not referenced ANYWHERE. Their image in the Series Bible is that they have summer jobs and help neighbors, which is certainly a much cleaner reputation than the Eds ended up with in the show. Makes me realize though, were some of the early scams, like Ed's Hive Bee Gone and their newspaper routes, supposed to be leaning into this early idea of them with almost legit jobs for unseen adults?

I was very amused by the repeated phrase that the Eds simply CAN'T fit in.

Loved to finally see the official phrasing for the confirmation that Peach Creek is in America. Not much different than I was led to believe, but still nice to have the true quote.

Also love Eddy being described as "stylish and flaunting himself to the world." The bold-print reactions to each micro-description is a cute idea too, I truly wonder who we were meant to picture saying those things in reaction. Each Ed? Kevin?

The "corner mail box" is an oddly specific phrase-- the Eds do hang around mailboxes throughout the series, especially seasons 1-3, and I believe the canon map does have a corner mailbox, but the idea that the Eds hang out at one specific mailbox went the way of Bro's supposed secret treehouses.

PAGE 2:

Ed, Edd n Eddy

Show Description

Gag laden. True cartoon style, inventive, non parody, fast paced, stretch and squash

Beat driven. (even when characters stop they hold with a bounce cycle. Adults never bounce. Music can play important part, not just fill.) But not a musical.

Cartoon surrealism. (viewers see the show as Ed, Edd n Eddy would, less important things tend to blend into the background, while objects of Ed, Edd n Eddy's desires are focused. Premise driven.)

The school year's over, (yeah!!!!) and the long HOT summer vacation begins (gulp). What to do?

Stuck on a cul-de-sac in the suburbs of America is the last place you want to spend summer break, especially when you find life confusing and contradicting.

Ed, Edd n Eddy is about friendship, and serves to remind us that they're no "good ole days," just smelly runners.

You can tackle anything, when your with your pals.

Their days are spent, for knowledge, acceptance and some cash for jaw breakers. Armed with pimples, big feet and oily hair the three amigos trek into the unknown.

Ed, Edd n Eddy are dying to be grown-ups, but they're kids, and attack adulthood as only kids would. Simple situations turn into a manic rollercoaster ride. (Don't forget your barf bag).

They just want to belong, and they're willing to pull off any insane stunt to prove it. First they need to figure out what it is they want to belong to.

Found it interesting that on this page, the show's logo is replaced with the title written in a jumbled font. Seems like the font from the show's end credits.

Hehe, the continued reactions to the descriptions. Allow me to be Double D for a moment and point out the increased use of parentheticals on this page, as well as one wrong "your".

I love Danny's insight that season 1 is framed by the context of how hyped everyone still is just to be out of school, but also the sense of pressure to make use of their break.

I really appreciate Danny getting further into the details of his summary of the show's style on the previous page. It only makes sense that he had this much of a vision that early.

A second confirmation of the cul-de-sac being in America! I'm also really into the repeated focus on the Eds finding the world "contradicting." I always loved how EEnE's inexplicable cartoon antics supported that sense that the Eds are highly aware of contradictions in both societal things and the actual characters.

WOW, so I'm fascinated by this dual reveal. Before the wiggling outlines, which Danny usually calls a "boiling line" and describes as a tribute to wiggling inking in early animation, the series bible instead refers to him wanting the characters to do the iconic Fleischer "bounce," which is a much more commonly recognized rubberhose animation technique. Very interesting that Danny decided not to stick to that. Did it feel too out of place? Or was the overseas team not willing to animate a weight-shifting for every single held pose? Haha, guess I can see why boiling was an easier compromise. I wonder if he had any other ideas for how to make it more of a 1930s cartoon.

The other reveal to me here is that the movie's choice, that adults don't always wiggle in the show, was an idea from the very beginning! I guess I can better understand now why it's just too difficult to communicate a stylistic choice like that overseas-- no point making Bro not wiggle, that'd just create confusion.

Also, really disappointed that my wish for a musical is officially squashed in the series bible itself. That's a tragedy. The show's over, ya couldn't let me dream, Danny!? Conversely, I love Danny's forethought to say "non parody," I definitely noticed and appreciated EEnE's avoidance of derivative parody humor.

My spouse had to point out to me that Danny probably means sneakers here, lol. Canadianisms!

The comments about the Eds wanting to grow up but needing to figure out what they want to belong to are so great and relate to the movie so well. I've heard those comments before, but the correct phrasing was cool to see.

PAGE 3:

Ed, Edd n Eddy (image of Ed in right corner)

Character Description

Ed

Attention deficiency syndrome.

He has trouble...

He can't....um...

OK, he draws all day in class.

When Eddy gets a bright idea...Ed's in.

Ed is easily talked into doing Eddy's "hard work". He has great physical strength.

Ed's happiest with his Model kits and B-monster movies. He draws his knowledge from his movies.

Ed smells. Flies are attracted to him.

Ed has sayings for all situations

ED: "you can change your shirt, and Bingo was his name..."

Ed's perpetually a slave to his younger sister's whims and whines.

Ed may have to baby-sit his sister, or let her watch whatever she wants on TV, or let her dress him up in mom's clothes.

Ed breaks out in Rashes. He's allergic to practically everything, especially Guinea Pigs.

Ed's Mom xerox's his sketches and doodles for her therapist.

Ed's Dad hopes to pass on to his son, his knowledge on "pre-owned" auto sales.

Very cute bit wasting the space at the top of the page. Danny seems very invested in Ed's personality already. The old sources we used to have definitely tried to condense these down to simpler blurbs.

Weird how Danny wants to essentially diagnose Ed with ADHD here (phrasing it very poorly, but it was the 90s and... Canada?). I don't know enough on the subject to debate it, but I still gotta point out Ed's canonical cracked skull!

Interested in the comment about Ed being most allergic to Guinea Pigs. I don't think that animal was ever even mentioned in the show. Eddy mentioned an old gerbil once....

Neat to finally have the real phrasing of the official word on Ed's parents! I saw someone comment earlier that this seems to be hinting Ed's Dad is selling stolen cars. I've never thought to question the legality of his apparent second-hand-car dealership (I imagined he works with Eddy's dad, who has received a legitimate award for his salesmanship), but those quotation marks are certainly making Mr. Ed's practices questionable! Best case scenario, Danny meant that more like italics or something, but maybe Ed's dad IS up to no good...

PAGES 4 & 5 (Ed's turn sheet and expression sheet)

PAGE 6:

Ed, Edd n Eddy (image of Edd in right corner)

Character Description

Edd

is really smart.

is really quiet.

Edd is unnaturally-- polite.

Edd hasn't been allowed to take gym ever since the Dodge ball incident. He's been excused to free study time in the library.

Edd doesn't like it when people touch his things.

EDD: "You may enter in my room, but don't touch my Lego robot. Thank you."

Edd's learning to play Peddle steel guitar. (his Mom makes him)

Edd's prone to "crushes". Girls in School, in his neighborhood, TV, anatomy books. He mails "true loves" his socks.

Edd is always ready for action, even though he can calculate the implications.

Edd constantly mumbles.

No one ever sees Edd's parents. They both work nights. They communicate to their son solely through Post-it notes. Edd's not allowed to touch anything in the house while they're gone. Anything.

Interesting how Danny slightly differentiates the barely-used space at the top here from Ed's description, to characterize Edd as more quiet and mumbly, adding an awkward "--" mid-sentence, perhaps to create the impression that Edd halts to choose words carefully.

Everything on this page feels familiar, from the character guides and other old sources. The most interesting thing to me here is that Edd's Mom forcing him to practice Pedal Steel Guitar is established this early, don't think I knew that, but I had noticed that it existed in his room from ep 1.

I love how the explanation in the beginning for why Edd goes along with their dumb schemes even though he's smart is basically just "he's always ready for action." ?!? I guess in a way???

That weirdly phrased Edd quote amuses me because it references Lego, just like the original concept background for his room before somebody nixed the copyright-namedrop.

Edd's prone to crushes thing has been reaffirmed over and over in character bios even though it really doesn't come up outside of the cupid magic in HPH and the pilot-episode heart eyes at Sarah that are barely canon. Still, I've always loved the truly disturbing statement that he mails "his true loves his socks" and how that managed to make it into canon with a comic book example, a cel animation example and a digital era example.

PAGES 7 & 8 (Edd's turn sheet and expression sheet)

PAGE 9:

Ed, Edd n Eddy (image of Eddy in right corner)

Character Description

Eddy

Exhibitionist.

Megalomaniac. (quote from his report card)

Eddy is the unofficial leader of the trio.

He's always got a plan, a stunt or a weird noise.

Eddy's the "class clown". He loves showing off. He loves being the centre of attention-- no matter how stupid the reason is.

Eddy is the only kid in his grade to have been expelled for aw hole week from school. It was his turn to set up the video for science class. He switched "Our Friend Yeast", for a video he "borrowed" from his parent's room.

Before Eddy's brother went....away, he enlightened Eddy with the "legends" of the neighbourhood. Eddy knows where all the abandoned tree houses are, which sewer pipers are safe to spelunk, and the secret recipe for the "El Mongo Stink Bomb" (it's been in the family for years).

He is the one who is most able to pretend that he knows it all... and doesn't care what anyone else thinks about him.

His genes are working the fastest.

Eddy's Dad is constantly concerned that Eddy may grow up to be a ...figure skater.

Eddy's Mom never believes his little darling was involved in such a heinous act.

Funny choice that Eddy's wasted-top-space is just two one-word descriptions, and allegedly lazily swiped from his negative report card.

Wow, we knew the report card quote and the "Our Friend Yeast" story from the UK show guide, but now we also know Ed's page says that Ed draws in class, and now I realize that Ed and Eddy have series bible school blurbs to match Edd's classic dodgeball incident blurb. Anyway, it's great that Eddy's showed his entire school some sort of sex video his parents have.

Very interested that the phrasing for the Bro/El Mongo Stink Bomb blurb even seems to suggest it's a family recipe. Eddy's Dad did have prankster stuff in his closet in JJJ... did Bro learn his prankster ways from Dad?? The neighborhood's secret tree houses have come up in other descriptions (at best, I'd say this could be related to that creepy shack the Eds found in the woods), but I think it's new info that Eddy personally learned the sewer routes from Bro. Interesting...

Thankfully, I had already heard about the Bible's awkward reference to Eddy being the most pubescent as "his genes are working the fastest," lmao.

Once again the Double D in me comes out to point out that the description of Eddy's Mom seems to switch to the Dad's pronouns.

PAGES 10 & 11 (Eddy's turn sheet and expression sheet)

PAGES 12-14 (Sarah, Jimmy, Rolf, Jonny, Nazz, and Kevin lineup of all 6, then 2 zoomed in lineups of the first 3 kids and last 3 kids)

(Funfact: the kids' designs were allegedly freelanced to an outside studio, hence why their refined later-season designs are so different from these lizardy starting places, lmao)

PAGE 15: (images of Sarah and Jimmy next to their blurbs)

SARAH

Ed's baby Sister.

It's her way or the Highway.

She has everything done for her, if NOT she'll "make" them do it.

She can be quick to judge.

Whinney.

A tatrum for every occasion.

More than a handful for Ed...or Edd and Eddy.

Thinks Edd is kinda cute.

Wants Eddy to MOVE...to another planet.

JIMMY

Sarah's best friend

He is always playing with girls, boys are just too tough.

He is accident prone, when ever we see him he has a different affliction, ie: band-aids, patches, casts, lumps...etc.

He is very clean.

The Ed's frighten him, "They're such brutes".

I'm surprised how much of the UK guide was accurate to what was really in the bible for them! Also surprised Danny misspelled "whiney" and "tantrum," one right after the other. Is this how Sarah spells them? ...Sorry, Danny, I yam what I yam.

PAGE 16: (images of Rolf and Jonny next to their blurbs)

ROLF

First generation of a landed immigrant family.

Nationality not important.

He's proud of his heritage.

He has peculiar traditions and/or customs.

He eats "weird" things.

He has hair on his back..... "yuck".

He confuses the Ed's to no end.

He confuses the other kids to no end.

JONNY 2x4

He is a wanderer and very inquisitive

From early morning to supper time, he is always outside playing, with his buddy, "Plank".

"Plank" is a wooden board that Jonny drew a face on with a crayon.

Jonny has wonderful conversations with Plank. ...Plank is a piece of wood.

Jonny makes himself very "accessible" to the Ed's.

Found it interesting that Rolf's bio is less clearly phrased than the UK bio set it up to be-- there they made it sound more like he mixes up who the Eds/kids are, here it's unclear whether it means that or (more likely) just means the obvious statement that everyone finds him confusing. If it's that, what a lame hollow bio Rolf got. This kid's based on you Danny, show some of that personal side!

Always loved Jonny's description, his life sounds so cute. Playing outside literally all day. Interesting to have it confirmed that Jonny drew Plank's face, I preferred to think the Eds drew him and sold him to Jonny, but whatever.

"Accessible" has always been an important vague description of Jonny to me. It really only applies to how chummy they could be with him in season 1, but it still sorta applies to his personality throughout the series as well.

PAGE 17: (images of Nazz and Kevin next to their blurbs)

NAZZ

She's cool, calm and assertive.

She is the most matured of the kids, or so she thinks.

She's into make-up and fashion magazines and Boys.

Sarah thinks she's awesome, wants to be just like her when she grows up.

When she enters a scene, all activity stops... boys freeze, they sweat, their hearts beat faster and faster. They lose their ability to talk. When she leaves, they recover and conclude it was something They ate.

She thinks the Ed's are funny.

KEVIN

He is cynical and sarcastic.

He thinks he knows the "routine". That's because he watches "60 Minutes".

It got a big laugh out of me that Kevin's description is only 2 sentences long. Nazz even has a more detailed character description from inception than Kevin. Love this for them.

Who's the Eds' rival? Well, he's cynical, sarcastic and he watches 60 Minutes, doesn't that tell you enough!?

I love the "mature... or so she thinks" remark about Nazz, a grounded flaw for her to have, being a little overcommitted to being mature like Eddy. It also perhaps suggests naiveté that makes it a little more reasonable that they didn't notice they were dumbing her down at the end of the series, but I do think the movie version of her better reflects the Bible's concept.

PAGE 18:

The Other Neighborhood Kids

Lineup of May, Lee and Marie.

The Kanker Sisters

These gals are tough. They bother, bully, provoke and bewilder everyone.

They live in a motor home park on the other side of the Cul-de-sac. The other kids have never been there.

They are proud of their Tammy Faye Baker memorabilia.

Their project "Cooking with Ketchup" closed down their school for a whole week.

No one likes them, especially the Eds.

They are determined to marry the Eds. They want them to do their dishes.

Amused that the Kankers are essentially being labeled backgrounds characters here, the role they mostly fell into in season 5. "Other" neighborhood kids...

I love that the Kankers have a school blurb to match each of the Eds', and that theirs has similar destructive-intentions to Eddy's video premiere story.

I believe all of this was all known from the UK guide as well, but still, neat stuff!

PAGES 19 & 20 (zoomed in Kanker lineup and their height chart with the Eds)

PAGES 21 & 22 (early promo art that used to be on CN's old Eds webpage, the art of the Eds eating jawbreakers at the end of ep 1 with the overhead text "Ed, Edd n Eddy love JAWBREAKERS!!!", and the art of the Eds all running with overhead text "Ed, Edd n Eddy see something shiny...."Jiggers." That weird "jiggers" statement at the end was normally edited out and I don't know what it means. Looked it up and it seems to be Chinook jargon (like when Ed said he was "skookum at X's and O's") usually said in the same sense as "CHEESE IT!")

PAGES 23+:

The rest of the pages in that bible download are from a 2004 storyboard test. The storyboard sample "It's Raining Eds," which we've seen some submitted samples of before, interpretations with Ed attempting to fly or chew gum and Edd making radioactive gum, I was surprised to find out the outline is just the original outline for the opening sequence to season 3's 'For Your Eds Only', seemingly Jonny was not written into the original outline (or was excised for easier testing purposes) but Kevin's brief cameo was. Now I wonder if they knew this would be used for a test when they wrote it, and if they would've come up with a less random way to include him if weren't forced to be a concise bit for testing's sake. (Your limit is typically 40 storyboard pages in my experience.)

I also noticed that in the included background references, the anonymous adult neighbor house next door to Ed's is officially just referred to as a "generic house."

My analysis ends here, but be sure to download that sometime and enjoy all the raw storyboard sketches at the end of the document!

[steve0discusses]

Yugioh S5 Ep 20: Pharaoh’s Cool New Trick

Digging my way through quite a pile of commission work (funny how these things only come all at once or not at all), nearing the light at the end of the tunnel, was looking forward to some free time to catch up on my many little side projects when I was asked to take off for a weekend to do some cat-sitting to which I would NEVER say no to a cat, so like...Rip this blog I guess, we only update like once a week nowadays, but what do you do?

That’s right, play Puzzles and Dragons! The only phone game worth paying any attention to! Where they just released Pegasus on their Yugioh Collab and he looks pretty great!

So I’m just gonna take a second for some art appreciation, because the Puzzles and Dragons art team is just A++++ honestly, and yes, I did pull 13 times to get a Pegasus in my monster box, and yes, he is a completely insane team leader that is absolutely broken when paired with Yugi (the numbers are so satisfying) but...look at him. He looks so good!

(also I finally got Joey Wheeler, and so now my gatcha cravings are settled. And, don’t worry, I play this game so much that I was there during Christmas when they offered like a bajillion stones for free so I didn’t actually use real money on this.)

Now PAD also released a Weevil and Rex, and I don’t know why, and neither does the art team because they still look pretty good but in comparison to all the mains, they sure do looks like just some shorty guys in some casuals.

though I gotta admit, I want to learn how the hell this art team does swooshy effects, because man, that would make my art so much better to just have flames violently exploding out of all my art. Why am I not doing that more often? I have the technology.

anyway, I didn’t bother trying to pull them. Maybe I’ll accidentally pull them when they eventually release a Duke Devlin. (also, RIP to the fact that Roland will probably never be in Puzzles and Dragons but like...I can only send them so many polite letters covered in stickers pretending I’m some 10 year old child and writing in my broken Hiragana “Roland in PAD?”. Thems the breaks. (They also might not remember who Roland is.))

Shoutouts to the card that Weevil is holding that is censoring this nipple on the booby spider, PS.

So because this is not actually a Puzzles and Dragons blog, and it’s been ten eons since I regularly updated so I could remember episode to episode...where the hell were we?

That’s right, we’re on an island now. This show’s wonderful obsession with evil islands (and spoiler, this is one of the few Yugioh Islands that doesn’t explode at the end. Mostly because Kaiba isn’t here to do it or this place would be cinder)

(read more island stuff under the cut)

Anyway, after announcing “hey guys! Screw islands!” Yugi immediately collapses and without any warning.

Apparently the armor is a big ol parasite, which is something that Yugi is so used to at this point that he refuses to admit that this is a problem. Just normal Muto stuff, refusing to tell anyone that he has a serious illness going on underneath that giant mass of hair.

(the sailor moon vibes coming off this weird orb energy)

Sort of feels like a call back to S1 when Yugi was clearly possessed and everyone else was like “He acting weird to you?” except it’s S5 and everyone has learned to never trust Yugi when he says he’s fine and they are responding like he is about to die. Which is correct.

Outside of the cave falls this scroll that is...glowing, I guess. So they open it up and get a bunch of hieroglyphs that give them the “riddle of light” and like youknow...it’s riddle stuff.

They’re doing this riddle for “wings.” And it’s like...everyone’s monster here has a set of wings or an ability to fly. Every single monster except for I dunno, flaming swordsman? Hell, Yugi himself had two sets of wings when he fused with Dark Magician (which was weird, and I still don’t like to think about what technically was going on there.) But we have to go and get ourselves even more wings.

Weirdly, Joey turns to Tea and does something that in any other show would be completely normal. He was like “you want to stay here with Yugi, don’t you?” and it was the first time Joey has ever actually addressed the fact that Tea and Yugi are close. Uncharted territory. I was amazed at the amount of casual shipping that is happening here. It’s almost like a normal ass relationship.

So the boys decide to go off, and be boys and tackle this themselves. And they shouldn’t have, because Tea is smart for this group, and also has the only healing spell.

Like if you’re playing D+D you wouldn’t typically leave your only healer behind. Just saying.

Also like...Grandpa Muto went with them? I guess he’d have to since he’s the translator but also...kind of weird to leave your grandson dying in a cave, but maybe that’s just the Muto lifestyle.

Do not be fooled by my caps, no one has addressed the Bakura in the puzzle for 3 seasons. I’m starting to think this show will never address the Bakura in the puzzle. Which honestly, that would be hilarious if they made a big deal out of that plot point and then couldn’t use it in the end.

And speaking of plot points that kind of come out of nowhere and don’t make full sense with the continuity of the show--Joey has regressed back to the 4th grade.

Hey show? What?

So like if you love Joey, this is not the arc for you, because this arc he is reduced to a Himbo and nothing else. Straight up didn’t know what an echo is, but is very strong and pretty, I guess.

This inevitably happens with any TV show becuase different people make different parts, and I’ve brought up before that sometimes it feels like some teams only have loose post-it notes of what any character should be like at any given point (ESPECIALLY with Seto Kaiba’s timeline) but like...

...Personally I’m mot so fond of this interpretation of Joey, kind of ignores Joey’s best traits, and makes Tristan look way too smart in comparison (and like I always pinned Tristan to be the Himbo of the group, but maybe it’s because they give Tristan so little else to do?)

And like don’t get me wrong, Joey’s a dumbass a lot of the time and needs to get corrected by his pals...but...to the point he doesn’t know what an echo is? He’s a dumbass in a High School student sort of way, youknow?

Anyway, they get down to this big ravine, and they have to destroy this stone while the light passes over it. Kind of feels like a Breath of the Wild shrine quest, actually. In fact, I think Breath of the Wild recycled the shadow/sunlight pathing quest like 4 or 5 times. (I love Breath of the Wild to death but boy did they run out of ideas at the end there.)

They have to fight a glass monster and it’s kind of like...do you know the game Balls 3D? probably not, but it looked like a bunch of random shapes stuck together like a 90′s animation. They basically went to war with shapes.

Pure Himbo energy, has several pokemon, but punches for his pokemon instead of using them. A power move if I ever saw one.

Youknow that would make pokemon a lot more interesting if you could like throw out your pikachu, and then choose to just physically run up to your opponents Eevee and sock it in the jaw. Raise of hands--I know you all would love a version of pokemon like that. Let Ash Ketchum punch a Ratata.

Bro has informed me that Ash does do something like this in the anime. But I’m not talking about the anime, I’m talking about the video game. Give me the option to physically combat my rival. This is what I want, Pokemon.

They discover a way to break the monolith, and the show thinks we’re like actually 7 years old (because the show is Y7, although I forget because it deals with so many dark themes) so the show is going to hold on to this puzzle for a while...just to fill time. And it’s fine because we gotta switch over to Pharaoh anyway.

Yami has this dream again. He attempts to fuse with Dark magician to overcome the dream, but alas, he is still not strong enough.

Yugi wakes up in this murky cave while Tea is out washing out like...some rag? (he’s also still got a rag, so I guess multiple rags were required for how sweaty Yugi is.)

Yugi says “I feel like I’m a new man!” a lot in this episode, and every time he calls himself a man like he’s some sort of adult it’s very funny to me.

And then this plot lore dropped.

I mean I guess inevitably it had to happen...

But man, end of an era. It was freakin hilarious while it lasted: that Pharaoh refused to read ancient Egyptian because it’s like 2002 and he is a High Schooler living in Japan and he actually doesn’t WANT to resolve the mystery of the puzzle. Maybe the people who made this arc don’t know about how in S2 and S3, the fact Pharaoh couldn’t read Marik’s back tatt was like...a really big issue. He couldn’t read the God card, he couldn’t even read that massive tablet that read “HEY PHARAOH THIS IS LITERALLY YOU”. KAIBA had to tell him how to read the God card for him. Freakin Seto “Magic is a lie” Kaiba had to tell him how to use the God Card because Pharaoh couldn’t read it.

But like...Pharaoh finally gave in at some point after the world was devoured by the Leviathan, and before Kaiba finished building Kaibaland (which was already built in S1 but wtv)

The timelines on this show have always been a mishmash...but this one is just like...

...show are you trying to convince me that at any point in this show after season Zero, Pharaoh had any idea what he was doing? Did he sap that brain energy straight out of Joey Wheeler so he could do this?

Wow.

(secretly hoping he forgets how to read Egyptian after this arc is over and the show goes back to the other development team)

Pharaohs reasoning is that, if this is the riddle of the light.....

....then where is the riddle of darkness????????????

and when Tea was like “Pharaoh that is not even remotely logic. Omg it’s so bright outside, lets go back to gross cave.” and Pharaoh was like “Tea! You got it!” and she was like “What the hell are you talking about?”

Not gonna lie, I saw the Orichalcos green, and I got concerned.

Anyway, Yugi gets very frustrated and was like “ugh, lets go save em. They’re gonna die (again.)” and marches down there as if he didn’t pass out an hour ago.

And he fuses with Dark Magician again while everyone else (including his grandpa) was like “Yugi are you freakin kidding me? The suit freakin kills you omg! Tea you had one freakin job!”

And then we get the plot twist that...I mean it makes sense but it was choreographed in a confusing way.

And out of no where this guy shows up again:

So this mysterious man shows up and says “If you don’t succeed you have to live here forever” which...nice...that would probably save the world a lot of problems if Yami got locked away and took his OP puzzle with him. And then this man also says “if you do succeed you become VERY POWERFUL” and Yami was like. “...”

This whole episode had a theme to it, where Tristan and Joey were trying to prove that they could do things on their own and without Yugi’s help. And honestly...felt a little bit misplaced. Yami’s the same guy who murdered Yugi last season with the Orichalcos so like...

...I mean he is probably more reliable than Tristan who once died and turned into a robot monkey for 10ish episodes.

and then they flew into a glowing door.

Folks, this was wild to look at.

This is wild.

And at this point I closed Photoshop and thought I was done. But then I looked at my timeline on the video and was like...wait...there’s more?

and I’m really glad I kept watching because it went back to Alex, who...is apparently just still at those steps in this haunted ass Pyramid.

Now we’re watching Yugioh.

I forgot for a second when they turned Joey into a Himbo and made Pharaoh literate, but we’re back. I mean...

...look at the liner art on this adult man.

So...I posit the question...has Alex spent the last 2-3 episodes doing nothing but applying eyeliner to his face in the dark? Because he absolutely has. And honestly, the vibe of being in a spooky haunted pyramid with barely any light, just applying eyeliner down the edge of your face...that’s a Yugioh vibe, if I ever saw one.

This arc is wild. Anyway, next episode we do even more fetch quests and riddles? Just going to guess now that we probably will.

(and for those new here, this is a link so you can read them from the top. Which, since we’re in S5, means you got like...hours of Yugioh content to read through. Enjoy the rewards of my weird hobby.)

https://steve0discusses.tumblr.com/tagged/yugioh/chrono

[soyouareandrewdobson]

The first comic: Maturity or rather the lack thereoff.

Something I commonly saw within the last decade was people arguing that animation has reached a new peak by the amount of quality in storywriting put into them and some even claiming cartoons have become more mature, particularly compared to shows of the 80s and 90s. Dobson too joined the trend and as such made this little comic in 2015 titled “Mature”, in which he argues that cartoons for children are more mature and handle serious subjects better than any media tagged with an r-rating or not following the format of animation.

  While I admit that the comic is not the most offensive and insulting thing Dobson has ever created when soapboxing about nerd/american culture, I do think “Mature”  actually in composes quite a good insight in how Dobson does not understand concepts of storytelling and overhypes the achievements and merits of children entertainment to a degree that is hurting the “cause”. Which greatly annoys me as a fan of storytelling and animation in general and paints Dobson as incompetent in the field of work (cartoonist, comic writer/artist) he tries to engage in. And I can bring this lack of understanding by Dobson down by just one simple question:

What exactly counts as a mature subject here?

 Dobson randomly accuses any form of fiction that is not a children’s cartoon or comic to have no idea how to approach a “mature” subject, but he can’t even give an example of what he defines by this term.

See, for me a mature subject is e.g. an social, emotional or political issue we as humans can correlate to in the real world. Either as a result of personal experience or a bigger picture in our history and culture (such as racism, poverty, existential dreed, personal/emotional growth, any form of oppression etc.) Something that does not only drive a story forward as a source of conflict or a character’s backstory/arc for the sake of entertainment, but may even make us think afterwards.

 And as much as I like cartoons, I do not think this is something children cartoons do most of the time.

 And before I get accused of thinking cartoons are only something for kids or that a thoughtful story can not be told via the medium of animation, let me put a few things into perspective.

Unlike Dobson, I do not have an educational background in animation. However, I grew up with a lot of cartoons, animated movies and comics from all over the world and thanks to the wonders of the internet read up here and there on the different ages of animation and certain tidbits in what went into the making of certain works of fiction and why they may have been a huge thing in the time periods they emerged in.

As such I know that the medium of animation can be used to not only create “child appropriate” content, but also movies like Barefoot Gen, Fritz the Cat, Felidae, Animal Farm and so on, which tackled themes of social issues, political worldviews and personal/historical tragedies.

 Then there is the fact, that depending on the culture, there are very different interpretations in what can be considered “child appropriate” in certain parts of the world and therefore what themes a cartoon may tackle. Like how in European children cartoons such as Alfred J. Quack there was a story arc resembling the rise of Adolf Hitler in power, to tell about the heroes of the show working in the underground against an obvious fascist regime. Or how in certain Japanese children shows the subject of death can be rather common, while in American cartoons just mentioning the word “die” seems a red flag to some studio executives. Lastly, a lot of early animation, (particularly western animation) did not even start off as something targeted primarily at children. Animation started off as a technique to tell a story through “moving pictures” and some of the first animated shorts ever had a huge fanbase of adults and children. “Snow White”, Disney’s first animated movie back in 1933 was a technical marvel at the time. A movie we nowadays mostly consider a children’s movie with a slightly dull story compared to other Disney outings, was back then a risk that earned Disney multiple Oscars and was appreciated more by adults than it was by children, despite being based on a fairy tale. A type of story mostly considered “appropriate” for kids.  

 What I am trying to say is, that I am aware of how not all children cartoons are the same and can vary in terms of “maturity”. Something I think Dobson can’t, because he also can’t see that there is a huge variety of “children” cartoons.

 Despite his background and claims to consider animation an art, Dobson has shown a huge lack of knowledge or admiration for shows/movies that do not fit into the specific mold of “western animation primarily targeted for children and airing on american television”.

And that is not a claim I make half-heartedly. I have done research on the guy, I know how he likes to brag when he considers he found a great cartoon or something interesting. So I find it telling that aside of nostalgia for certain 80s and 90s cartoons we all know, Dobson’s recommendations and taste in shows seems to be primarily focused on just the most recent stuff everybody else likes/a very small pool of rather generic shows. I am not saying he should be contrarian on principal and e.g. dislike Gravity Falls, but he lacks initiative to look out for new and old stuff himself.

I in fact remember when he asked twitter first if he should give Wander over Yonder, one of the best cartoons of the last decade, a chance, cause it seemed he was too chicken to have an opinion on his own.

Then again, weirdly enough, Dobson actually tends to be contrarian for the sake of it, till someone he respects or sucks up to tends to have a different opinion on a show/movie. For example, while he acts like Frozen is a great movie franchise and defends the second movie to the point he becomes anti-feministic when a woman has a different opinion than him on it, he actually gave the first movie a terrible review on deviantart back in 2014. Accusing it of “same face syndrome” and a shame to the name of Disney. Obviously that was also before the hashtag #GiveElsaaGirlfriend became popular and he went so far as to hint he thinks an incest ship with Anna was great. And Legend of Korra? According to first deviantart posts by him garbage. Which was an opinion swiftly changed the moment Korrasami became popular in the fandom by season 3.

 The point I want to make with this digression is, that there are a lot of past actions by him hinting on the fact that Dobson kinda despises animation, when it does not fit within a very narrow niche of things he likes. Further indicated by his disdain for “adult” animated shows or hostility towards foreign animation, except the occasional movie by Studio Ghibli for example.

 Because of this lack of a bigger picture, I do not think Dobson is aware how in terms of story, cartoons can heavily vary. And when it comes to mature subjects, you can’t really engage with them if you lack a story carrying them in turn. Let’s look again at the comic. What cartoon characters do you see in it, when Dobson talks about how he believes children cartoons “treat these (non-defined) mature subjects with FAR more respect than the hardest “dark, grim and gritty” stories”?

Pinkie Pie from My Little Pony, three main characters of Spongebob, Steven Universe, Courage the Cowardly Dog, Blossom from the Powerpuff Girls and Mickey Mouse. You want my opinion on them? None of them are from any cartoons tackling mature subjects in a huge manner.

 However, they are from great shows. (Well, everyone but Steven, but I explain that later.)

See, this is where putting cartoons into perspective within the vast history of animation, comes in handy. Cause looking at them it is undeniable that people put effort into these shows. Effort in the animation and the writing in order to create an entertaining product, decent enough that not only little kids can enjoy it as a mindless distraction, but even older people can find merit in it, thanks to characters with decent personality, good humor, world building and even an engaging story. But all of that doesn’t make these shows or any story necessarily tackle a “mature subject”. Sure, the latest incarnation of My little pony was not as saccharine as its predecessor but rather cartoony as a good 90s show, but that doesn’t mean the new version is the Schindler’s List of animation (excuse the hyperbole). Same for the other cartoons, with Dobson also not acknowledging the fact that Spongebob e.g. had quite some dips in quality over the years (and even made pretty awful jokes about serious subjects such as suicide) or that Steven Universe, while tending to tackle mature subjects for its story (like trauma, war, abuse, self esteem issues, racism, rape and homosexuality) has failed multiple times over its run (even back when this comic was made) to treat these subjects not just as plot and drama points, but also with enough respect within the narrative, to the point a lot of former fans of the show turned their back on it, cause they had enough of the issues they could relate to being simplified and resolved in a cookie cutter manner so Rebeca Sugar could tell a whimsical story about gay space rocks and forgiveness.

 Let us not even forget the fact, that while there is a huge number of cartoons with decent writing and value to them (and that those were not only created within the last 10 years or so), there is also just a lot of garbage out there that counts as “kids animation”. Cartoons and movies that were written with not a care in the world and at times outright more mean spirited as some of the stuff Dobson likely hates in life action. Are you telling me those toilet humor driven garbage piles of creativity are mature?

 The point I try to make is, Dobson’s GENERAL statement that kids cartoons tackle mature subjects better than other form of media, is factually wrong, because a lot of shows don’t even try to be mature in the first place. Which however does not mean, there aren’t attempts made at being mature or tackle a mature subject.

 Growing up with cartoons since the 90s, I saw quite a few cartoons once in a while having episodes with themes to them that were surprisingly “dark”, dramatic or related to issues I and other kids could also see and relate to in the real world. Bullying going out of control, eating disorders, school violence (even school shootings), dealing with the passing of a loved one, to name a few basic ones. Gargoyles and Hey Arnold were two very important cartoons for me in that regard, with Gargoyles showing me how dramatic a good action cartoon could be when compared to other action cartoons at the time (like Ninja Turtles) and Hey Arnold episodes like “Helga on the Couch” giving me a rather somber look into what “therapy” looks like closer to reality, while normally being a show with the slice of life adventures of a kid in the big city.

And I do highly appreciate that nowadays there are more cartoons doing ongoing storyarcs and as a result of actually having more drama to them, adding tension and character development to their plots. Things we did not quite have to the degree we have nowadays back then in the average show. But it is debatable if those things are equal to “mature subjects” such as racism, abuse or trauma. Cause at the end of the day, a lot of kids cartoons tend to only scratch the surface of those things in order to flesh out a plot, instead of making the plot about those issues. Which at times is even for the best if you ask me. Cause we should not forget, these shows and movies are made for kids. And because of their age, a lot of kids lack at times the knowledge and experience in life to properly understand the themes and subjects some people may try to convey with their work. Particularly when you want to tackle subjects such as trauma, abuse and war which lets be honest, a lot of people can’t even comprehend in their complexity as adults. So how are kids supposed to comprehend them? One way, in my opinion, is by simplifying them and turning them into part of a narrative instead of the main focus of the narrative. But that in itself doesn’t always work and can have negative consequences in multiple ways. For example by making the story suddenly non engaging, delivering the subject in such a manner that people can get the wrong message of what you are trying to say or (at worst) simplifying it to such a degree, it becomes outright offensive to others.

A good example that comes to my mind for that would be how Captain Planet back in the 90s tried to tackle the subject of AIDS in one episode. On one hand, considering how the disease was a big deal back then but no one openly talked about it, you kinda have to give credit to Captain Planet to tackle it. On the other hand, is a subject such as a deadly disease that back then was barely researched and killed millions, really something you want to tackle on an overly preachy (but considering whose company produced it, also very hypocritical) kids show, where most of the time the solution to a problem was not even grounded in reality? And spoilers, the episode treated AIDS not even as the big deal it was, but as something the villain would exploit to spread a rumor on the ill kid, because that somehow equaled a chance to pollute the world more. Not really mature, if you ask me.

 What all of this ranting is boiling down to, is that Dobson failed to make a case for how kids animation is able to tackle mature subjects, by not putting his opinion in the bigger context of what animation is/can be and what he means by the term “mature theme”. All he did was just indirectly soapbox that he thinks every other form of media is incapable of being about a serious issue, in doing so also insulting the art of storytelling in itself by disregarding anything not expressed in funny pictures specifically made for children or manchildren on tumblr who want to act they are the big boys, cause a cartoon horse made them feel sad.

He did so by making a very weak argument, not being able to present it in a manner that was hard to debunk and by drawing a comic in which everything looks surprisingly lifeless and like the least amount of quality and effort (things I argued can make a great cartoon) was put into it.

 Which ironically, is the total opposite, of being mature.

And lastly, can’t believe I have to say that, but Dobson, the Pokemon’s name is Butterfree, not Butterfry. Butterfry is what you get when you make a statue of a Futurama character made out of something you put on your bread.

[faranae]

If you don’t mind me asking but how can the word queer be used as a positive thing to say about the LGBT community, As every time I hear it it has been used in the negative way.

First thing’s first: I’m very sorry that’s been your experience Nonny. I don’t mind you asking at all, but it’s just not an easy question to answer. 

Here’s the thing: I’m not an educator. I’m just one queer dude trying to fight for the right to identify myself as I see fit without being tackled to the floor and accused of being a “cis white neurotypical homophobe” for it. (I do wish I were exaggerating, but my inbox has been hella wild this week and I can assure you I am maybe one of those things, possibly two but I am honestly just not ready to dive into the technicalities of what qualifies as cis right now.) 

As for your question: I can give my own take on things, but I’m the first to admit it will be biased. 

Story time! Long post incoming:

I hail from a tiny village in Ontario, Canada, where I was raised by my grandparents. 

Where I grew up in the early-mid 90′s and beyond, queer was used as a slur just as much if not less frequently than gay, lesbian, dyke, butch, twink, and any number of currently acceptable(?) LGBTQ+ terminology. Consider this my point of argument, I suppose: A good portion of the stigma is absolutely based in locale/environment. In my personal history, they were all bad. Especially since baby Fara was raised in the Roman Catholic school system. 

Then came the opportunity to leave: I was accepted into a specialized arts program at a high school in the city. I moved away, and nosy neighbours and an unshakeable reputation were traded in for public transportation and being lost in the crowd. It was the best thing to happen to my baby gay life. 

Ninth grade was a wild awakening. I’d already known for years that I wasn’t exactly “normal”, but the sudden exposure to all of these divergent teenagers was really something. I was quickly adopted into this massive group of queer peers, and there was a lot of education in that short year as I learned about myself and others through them. 

We were the group of kids that took up a good third of the cafeteria every free period, playing Magic: the Gathering and euchre and singing songs and laughing amongst each other. We were the theater kids, the artsies, the techs, and the nerds. We outnumbered the jocks and other social stereotypes by a decent margin. A quick social media check on my part shows most of those kids identify as LGBT, queer, or otherwise allies in their adult lives. 

Those kids taught me that queer was a weapon for us as much as it was for “them”. Someone on the bus calls you gay? Turn on your heel and plant an innocent kiss on your best friend’s cheek. Don’t be vulgar, but absolutely fight for what you believe in. Some were… Considerably more aggressive in their acts of expression. Queer was ours. It was what we made it. What that old lady on the bus said with disgust, we held over our heads with pride. 

A lot went wrong after 9th grade. My mother pulled me from the arts program and as such I was sent to a brand new school elsewhere in the city. What happened there made it very clear that experiences are not universal. Where I’d previously had a massive group of support and strength, I found myself forced back into the closet for my own safety. 

Not only was “queer” a negative expression once again, it was violent. 

Within a week of reluctantly admitting to a counselor at this new school that I wasn’t straight, I was very publicly pulled from PhysEd and assigned an isolated changing room for the rest of the semester. Only a few days later and my new peers suspected I was “one of the gays”, all without me saying a single thing in public about it. 

Make no mistake: I was a shy, quiet kid for the most part. I tried to be brave and embrace the change as I’d learned from my peer group at the first school. I made the mistake of wearing a pride pin to school after that; my quiet little rebellion against what they’d started to say about me. I held my chin up through the glares where I could, and shot coy smiles at those who used those words against me like they were supposed to mean something unforgivable. I even called a few girls pretty out of spite. (They were actually quite pretty, but also very ugly on the inside.) 

My “cocky” and “unapologetic” refusal to be insulted was met with a group of girls beating the everloving shit out of me while I waited for the bus after school that day. All because I was “queer”. I didn’t go back. 

A lot’s happened since then: I dropped out of high school and got my GED as soon as I was legally able. I found my tribe again after that, and reconnected with a good chunk of the original crowd. I discovered there was a word and culture based around my take on how relationships should be (polyamorous). I got married. Had a kid. Bought a binder. Did a lot of living and made a lot of mistakes. Still am. 

I hunted for literal years trying to find one word, one flag, one identity that fit me. What I wanted. Where I belonged. I was especially sore about it whenever Pride Month rolled around:

(From the end of pride month in 2018)

Most terms that seemed to fit always had some exceptions or exclusions that turned me off or disqualified me from using them by saying I straight-up wasn’t welcome. It was only in the past couple years that I finally said “fuck it” and settled on “Queer”, an identity I’d had since ninth grade but always wrote off as “too vague”. I hadn’t realized that it wasn’t vague, it was intentionally inclusive of anyone who wanted to use it. 

And that, that’s the important distinction there I suppose. Are there those who don’t want to use queer or find it makes them uncomfortable? Absolutely, and that should be respected. We all have different experiences; different origins that paint our perspective of what is and is not acceptable. To some queer is power or comfort, it’s rebellion, it’s a fist in the air screaming that we exist and aren’t going anywhere. To others, it just digs at old wounds. To another group, they read that it was a bad word online and dug their heels in. 

The problem lies in that only one side of this argument seems to be respecting those distinctions. If one does or doesn’t want the Q in LGBTQ to apply to them, that’s their choice. You don’t see gay dudes up in arms saying “There shouldn’t be an L in LGBTQ since I’m not a Lesbian and I don’t appreciate people implying I am.” Or you shouldn’t see that, anyway. And yet we see that very thing happening with the Q. 

Members of our community are being pitted against each other by people who have no business instigating such fights. The same rhetoric and strategies are being used to shove queer out of the spectrum as are being used to exclude aro/ace and bi folk, and trans to a point as well. 

The culture itself is being twisted. People aren’t looking into why and how queer has come back into the spotlight as a “slur”, when we’ve been peacefully using it ourselves and reclaiming it since the late 80′s. Hell, we were “queer” before we were ever “gay,” with that use of the word originating in the 1800′s (gay popped up as an alternative to homosexual in the early to mid 1900s). 

In 2005, when same-sex marriage was legalized nationwide here, we threw parties and held each other and cried at how far our queer butts had come. 

In 2020, I look at the next generation on social media and see them screaming that my identity is now an unforgivable and homophobic slur. 

I hope you can understand where I’m a little skeptical and even bitter here. 

We’re going backwards, and it hurts. 

So yeah. Queer is seen differently by many people based on our experiences and exposures. Unfortunately that paints it in very different lights in different corners of the community. 

I am queer. At no point will I ever apply that label to another person who doesn’t want it to be. In my experience anyone who implies that “the queers are trying to force you to be queer too” is either very ignorant, very misinformed, or malicious in their intent. 

It’s no different than the “foreigners are going to take our jobs”, “gays will corrupt our children”, or “foreign religions will take away our freedoms” arguments. They are started and spread with malicious intent, and latched on to by those who don’t yet know any better. It’s why civil discussion is so, so very important. 

Thank you for asking so politely, Nonny. I’m sorry that I couldn’t do much more than give some personal anecdotes, but the use of the word queer is something that isn’t entirely black and white for anyone nowadays. I can’t just pull a bunch of citations out of my butt and say “this is why it’s a good thing”, because it really is subjective you know? 

Besides, this is my blog, not my old Comms class in college. Nobody’s convincing me to write a full APA-compliant essay on the subject unless they’re paying or professionally grading me on it. 

[joyofcrime-elinorhigh]

Teen Titans Go! REVIEW: (Part 2)

 Hello everybody, my name is JoyofCrimeArt and welcome to part two of my Teen Titans Go! retrospective! Or should I say my Teen Titans.....................................................................................................................No....retrospective.

https://www.youtube.com/watch?v=qzKJ4HX4Fuk

Get it? because the show isn't that good! Okay, remember to click that bell icon and turn on notifications to-  So in case your just joining in, this is part two of my Teen Titans Go! retrospective/review. If you haven't seen part one than I highly recommend that you check it out before going forward. To sum up the point I made in my last part...I didn't like this show that much.  WHAT?! A CARTOON CRITIC ONLINE WHO DOESN'T LIKE TEEN TITANS GO?! WHAT A NEW AN UNIQUE TAKE-  But for THIS part we are mostly going to step away from the show itself, and focus on the more meta aspect of the show. So really this part isn't even a review of Teen Titans Go! and more of "A review of elements that are tangentially related to Teen Titans Go! and the conversation around it." But since that title won't fit in the Deviantart title box and it's not "clickbait-y" enough, we're going with this instead.  So I just want to re-emphasize that, for the most part, none of the things I clique here are actually the fault of the shows crew or creators or anything. But I think it's still important to discuss these points because, as I stated last time, I think the conversation around the show is far more interesting than the show itself. So let's dive in.  We'll start with the elephant in the room. Let's talk about the shows handling of critics. This is one of the most notorious elements of the series. Now, I'm just going to say this...I kinda get where the creators are coming from. For real. While there are MANY legit reasons to dislike the show, (Around 4,000 words worth according to my last review alone.) However, out the gate, Teen Titans Go! got hate from ALL cylinders. Young Justice fans bitter about there show being "replaced." Old school Teen Titans fan upset this wasn't season six. People who just wanted action shows. And I'm not going to be high and mighty, as I said last time, I was one of these people. (However, I never made long curse filled rants on Youtube or called for the creators to be shot or anything crazy like that.)  Some people say that reboots are "lazy and easy" because you get a built in audience with zero effort. But I believe the total opposite. Making a reboot sounds like a nightmare. People are much more unforgiving when it's an i.p they love and often times will hate you for the littlest things and won't give you a chance. Just look up how many Powerpuff Girl 2016 rants there were BEFORE any footage of the show was even released. People who are in these positions have it rough, and deserve more appreciation. I can't imagine the amount of hate the two show runners must get on a daily basis, which is probably why they don't seem to have social media accounts.    HOWEVER this is where we get into what I think is one of the biggest problems in society today, and that's strawmaning. And I feel like I shouldn't have to say this, but here I go. And this can apply for anything. JUST BECAUSE SOME PEOPLE WITH AN OPINION ARE ASSHOLES DOESN'T MEAN THAT EVERYBODY WITH SAID OPINION ARE ASSHOLES!  I'm not going to act like there aren't people out there who take Teen Titans Go! WAY to frickin' seriously. That's just factually wrong. But not EVERYONE who has issues with the show are loud obnoxious neck beards who are mad that there "childhood was ruined." And that's how the show and some of the more hostile defenders of the show try to paint "all the haters." Some people just have legit criticisms that they want to get out into the world. When most people write a review of Teen Titans Go!, I don't think there doing so expecting the creators to see it and change the show for them. (I know some do, but again, don't mix the rude jerks in with the rest of us.) They're doing it because they feel passionately, and want to share there opinions with others. Or because they see wasted potential. There's a difference between criticism and hating.

https://www.youtube.com/watch?v=v4Ai4G6ccfA

 And the thing is...and this is something that I think I'm in the minority opinion on, but I don't think you HAVE to listen to every piece of criticism you get. I've noticed this trend as of late, where people expect that if they criticize something, the author or creator is obligated to change it. And if they don't then there just "not taking the criticism." But that's not how it works though.  For example, if someone where to tell me "You're reviews are too long." I would definitely take that into consideration, and I would appreciate the input. However, I like overly long analytical reviews, and that's what I'm going to keep doing because that's the type of reviews I wanna make. I might try to shorten them a LITTLE bit, but I would never just start writing few hundred word reviews, cause that's not the art I wanna create.   In the same vain, if Teen Titans Go! doesn't wanna except any of there criticism, that's fine. If the show wants to just go about doing it's own thing, more power to it. But when it does these criticism tackling episodes it's breaking the first rule of the internet. Never let people know when something bothers you. And yeah, I think if a TV show goes out of it's way to tell the critics "you suck" than the critics have the right to say it back. And I know you could say that the show has the right because they started that. But I don't know, there's just some part of me that believes that as the content creator, you have a responsibility to be the bigger person. If that makes sense?  This show basically is "Dab On The Haters: The Animated Series." Really, all the criticism tackling episodes can be summed up like this.

https://www.youtube.com/watch?v=Rnd6WLi3TWk

 And the thing is, Teen Titans Go! really doesn't need to defend itself so hard. Because the show is a huge hit! It's clearly super popular with a large group of kids and adults alike. Why be so fixated on pleasing the people who you know your not going to please, when you can focus on the people who love you just the way you are? You don't see shows like Powerpuff Girls or Ben 10 reboots attacking the "haters" like this, and those shows don't even have the added advantage of being that popular.  As it stands, Teen Titans Go! is a show that reeks of insecurity. And as much as I shit on the show last time, it shouldn't be. Clearly the show is doing something right if it lasted this long. Teen Titans Go! the show that taught me how NOT to handle criticism. And honestly, I thank the show for this. I'm a sensitive guy, and I can be very harsh on myself. Without Teen Titans Go! acting as an example of what NOT to do, I could see myself becoming that kinda guy, who mask his insecurities with a faux ego.

Hey...did you see the way I just casually used the word "faux." Oh, I'm great and anyone who think otherwise is dumb...  However, I will give Teen Titans Go! this. I do think that when the humor goes "meta" it's when the shows comedy is at it's best. Because the people behind this show clearly know what this show is. They know it's reputation and it's status among other works of superhero fiction. Plus, as I said, the conversation around the show is far more interesting than the show itself. So when the show tacking these more interesting aspects the episodes tend to be more interesting as well. It's rare to find a show as self-aware of it's own status, and they take advantage of every opportunity that this presents.  I just wish it could do so without insulting me is all.  But do I even have the right to be criticizing this show though? I mean it's for kids, and kids clearly like it. Who right do I, a fully grown adult, have to stop kids from enjoying what they like. Why do I have to stand here and push my radical pro-Steven Universe agenda?!  That has been an argument I have been seeing a lot lately. And honestly, there are some aspects I actually do agree with. If you are reviewing a show with the hope of convincing someone to hate something that they previously liked, just because you hate the show, than in my personal opinion you are reviewing the show for the wrong reason. If you like Teen Titans Go! and somehow made it this far in the review, I want to be clear, you have the right to like whatever you want to like. Whenever I do a negative review of something, it's never with the intent of trying to stop someone from enjoying something they like. I just want to express why I don't like it.    As for the kid show argument, in some instances I agree with that argument too. Kids and adults are different. They have different taste and different things that they relate to. And shows are, from a business standpoint, targeted at a specific age demographics. I don't know why it's okay to call a show an "adult cartoon." but if you call a show a "kids show" it's deemed as an insult to the medium. Why is it wrong to say that I enjoy things aimed at kids? But getting back to the point, adults and kids look for different things in a show. Like, a kid obviously wouldn't be able to relate to the theme's presented in Bojack Horseman, and an adult would likely be board to tears by something like Peppa Pig.  However, the difference here is that Teen Titans Go! airs on Cartoon Network. And thus, it should be held to the same standard as other Cartoon Network shows are held to, since all CN shows are pretty much aimed at the same general age range. Not only that, but the show is rated TV-PG! i.e.) The same rating as Adventure Time, Steven Universe, Regular Show, and Over the Garden Wall. Technically speaking, kids aren't even suppose to watch this show without an adult. So I think it's fair to say that this show SHOULD be made with kids and adults in mind.  If this show was truly intended only for kids, and adults shouldn't watch it, than why are there so many 80's references and scenes that feel very...um....

Totally Spies...If you know what I mean.  Basically, my point here is that it is, in my opinion, completely reasonable to cirque this show. And it's weird because the whole "It's for kids" and "Don't like, don't watch." arguments are usually seen as a joke argument. (even though I personally feel like both arguments do apply in certain situations.) But with this show, I see people using these arguments a lot. And to each there own, I'm not going to stand her and say your argument is "invalid." But I think it is odd that this show seems to be the only show where these arguments is deemed "acceptable."  Also, if you watch Cartoon Networks live feed on a regular basis, it's hard to follow the "Don't like, don't watch." rule because the show is on so frickin' much!

https://www.youtube.com/watch?v=NyxX3ix2jp8

What makes this ad worse is how much this kid looks like Logan Paul...  Cartoon Network spams this show. And while I'm sure that this show would still very much be hated regardless of the scheduling, I think the scheduling is a major factor in how this show manged to stay a relevant topic of conversation in the cartoon community for over five years at this point. Humans, in case you haven't realized this by now, are very stubborn and spiteful creature by nature. If you shove something down someone's throat, or in this case tell that that it's there new favorite show, there bound to have an adverse reaction. Regardless of the actually quality of the product. Also, the show wasn't even "new" when that ad campaign started!  However, I do want to point out that it isn't Teen Titans Go's! fault that it's being spammed so much. It's Cartoon Networks scheduling departments. Traditional television is dying, and channels need to air what gives them ratings. Cartoon Network has always been in last place rating wise, when compared to there rivals Nickelodeon and Disney. They need to air what gives them ratings. And Teen Titans Go! is that. I get it.  However, and keep in mind I'm not an expert on any of this and have no idea what I'm really talking about, I feel like eventually this will come back to bite them. EVENTUALLY Teen Titans Go! is going to end. Even if it's after we're all long dead and buried, the show will die. It's already been running for five years, which is an eternity in kid cartoon time. And when this show does end, CN is going to need something else to keep people coming back. Because as of now, this show and Gumball (which is ending soon.) are the channels only main draws with the ratings. CN, as of it stands now, needs this show. And when this show does end, they'll need some kind of back up series if they hope to survive in this modern, cord cutting climate. This cash cow can't be milked forever.  R-right? P-Please God, tell me it can't last forever!

...Again with the Totally Spies.  But while I'm on the topic of Teen Titans Go! success, I have to ask the question of why? Why do kids gravitate more towards this show, in particular? Because as I stated in the last part, the idea taking an establish i.p and making a more comedic slice of life reboot may have been fresh back in 2013, but now of days we are over saturated with shows just like that. Show's like Powerpuff Girls 2016, Ben 10, and to a lesser extent Justice League Action and Be Cool Scooby-Doo are all more comedic versions of there respected brands, but none of those shows are nearly as successful. (And this isn't me saying those shows are bad because they follow TTG's mold. It's all about execution and I'm trying to make a point.) What does Teen Titans Go! have that these other shows don't?  The way I see it, the reason why Teen Titans Go! is popular while those other "Teen Titans Go-esq shows" (Even the really good ones like Justice League Action.) aren't has to do with intent and execution. Those other shows only chose to become more comedic because it was deemed "more marketable." And while I'm sure that was a factor in why Teen Titans Go! was pitched as a comedy, I feel the difference is how the shows chose to treat itself. Those other shows are made to be safe and marketable. They want fans new and old to like the show, so people will be more likely to buy the merch, which in turn will fund more seasons. Teen Titans Go! on the other hand, doesn't care about playing it "safe." It'll do whatever crazy and messed up things it wants to. The show revels in it's inaccuracy to the original.  A marketing team and a bunch of executives think Teen Titans Go! is successful because it's a comedy based on a beloved brand. But the reason I think it's popular is because it doesn't give a fu*k! To people who like this show, that's why they like it. And that's why the show is so interesting to talk about.  Also there a lot of elements in Teen Titans Go! appeals to kids. It's full wish fulfillment. Who doesn't want all the power and none of the responsibility. Who doesn't want to not have to worry about school or work, and just sit on a couch eating food all day. The show is loud, crazy, and colorful. It appeals to kids, and some adults, on a base level. It appeals to our more lazy and selfish aspects of our personalities that we all have, but chose to keep buried inside out of fear of social consequence. And while all that may sound harsh, I really don't mean that as an insult. There's nothing wrong with a show appealing to those aspects of our subconscious, because it can allow us to express those feelings without acting upon them. It's the same reason why people like characters like Bender from Futurama, or Rick from Rick and Morty. Teen Titans Go! is that for kids, and there's nothing wrong with that. Especially in a time where so many other kids shows are so nice and non-cynical. -------------------------------------------------------------------------------------------------------------------------------------------------------------  So, to wrap everything up, Teen Titans Go! might just be one of the most fascinating and influential shows of the 2010's? But do I recommend it? Well, despite EVERYTHING I ranted about in part one, from the lackluster comedy, horrendous writing, lazy reusing of voice acting and animation, and the lack of basic understanding when it comes to telling a story...I surprisingly actually do highly recommend it. 

 Listen, just hear me out here. While this show in all technical aspects is a frickin' train wreck. But sometimes, you just want to watch a train wreck unfold. It's fascinating to see just what this show is going to do next. What crazy, half backed decision it'll do. And honestly, it's hard not to admire how much the show just goes for it, even if "it" isn't something that you should go for. The show has this element of "watch-ability" even if I know the show itself isn't technically "good." It's a show worth watching, if for no other reason than to have an opinion on it. I think it's pretty obvious who will love this show, who will hate this show, and who will ironically love it. Maybe it's just Stockholm syndrome, but I will be genuinely sad when this show does come to an end.  But I want to end on this note. If you hate this show with a fire-y passion, feel free to do so. You have the right to like or not like whatever you want. Don't be afraid of giving your opinion just because your worried that people will think that your a "hater" or that it's "cringy to still be talking about Teen Titans Go! in 2018." Value your thoughts and share them with the masses. Just don't be a jerk about it. Don't assume that "everyone who likes Teen Titans Go! are mindless sheeple." or complain that this show "ruined your childhood." Because forcing your opinion down other peoples throats will get you nowhere. And remember that no show last forever. In ten years from now this show will most likely be forgotten about. Think about how many people HATED Johnny Test just a few years ago, and complained about how much CN spammed that show. When was the last time anyone talked about that show? Meanwhile the original Teen Titans, a show that originally aired fifteen years ago, is still getting prime time reruns on Cartoon Network as recently as early 2018. And honestly, without Teen Titans Go!, there's a good chance that the interest in the original Teen Titans wouldn't have risen to the point where it is today. So you should thank TTG for that.  And to the people who defend Teen Titans Go!, I get it. It can be rough loving something when EVERYBODY online hates it. I went threw a similar thing when the Powerpuff Girls reboot came out. It sucks feeling like you're in the minority opinion, but remember that just because something is hated online, that doesn't translate to actually results. There's a reason this show is on it's fifth seasons and got a theatrical film. And if you love this show, if it really is your new favorite show, enjoy that fact that a show you love is as popular and influential as it is. But don't be a jerk about your opinion either. Don't belittle people for feeling passionately about a series and remember that not EVERY person who hates the show isn't some kinda "hater." Never assume that the worse people in a group represents the whole group. And never let other people force you to hate something you love. You're taste make you the individual you are, and never forget that.  I want to end this review with a line from Teen Titans Go! A line that I believe the show sadly forgot about, but is a message that I think is very important. Especially given the current climate of the cartoon community.

 This applies to all sides.  Hopefully this review was able to add something new to the table.  What do you think of Teen Titans Go? Leave any thoughts you may have in the comments down bellow. I love love to hear all opinions from both sides of the aisle, and start some conversations. Maybe help people gain some new perspectives. Also what did you think of the format of this review? Would you like more deep dive retrospects in the future? Please fav, follow, and comment if you liked this review and have a great day.

https://www.deviantart.com/joyofcrimeart/journal/Teen-Titans-Go-REVIEW-Part-2-755898579 DA Link

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Flash Gordon’s Original Ending Revealed

https://ift.tt/eA8V8J

Following our enlightening Flash Gordon 40th anniversary interview with the film’s director, Mike Hodges, we got to have an in-depth conversation with author John Walsh. Titan Books published Walsh’s exhaustive coffee table book Flash Gordon: The Official Story of the Film last November. It was a labor of love for Walsh that delves into the making of the movie and celebrates its enduring appeal.

Walsh is a Trustee of the Ray and Diana Harryhausen Foundation, and was also behind the BBC’s critically acclaimed documentary series Sofa Surfers, which explored childhood homelessness, and the BAFTA-nominated film My Life: Karate Kids, which tackled issues of bullying among disabled children.

Den of Geek: You’ve been involved with preserving the legacy of the late Ray Harryhausen, and your first book through Titan was about some of his work. You first met him at film school in the 80s?

John Walsh: That’s right. I was BBC Young Filmmaker of the Year when I was 15. I was offered a place in London Film School when I was doing my A-levels and they sort of scooped me up. At the end of your first year you do a 16mm documentary film. I found Ray Harryhausen‘s name in the London telephone directory. I asked my parents for permission to use the phone, as you did in those days. My mom said “Ring after six when it’s cheaper.” So I rang him up and said “I’m making a film about your life and work” and he was very gracious about it. 

I went to see him. I’d done some very basic animation as a youngster but was fascinated by all his creatures and everything else. We stayed in touch over the years. He asked me to become a trustee of his foundation, so I’ve been helping to look after the vast collection, which is the largest of its kind outside of the Walt Disney Company. His daughter, Vanessa Harryhausen, and I run it with one member of paid staff. Then I did the book – Harryhausen: The Lost Movies.

At what point did you decide that Flash Gordon was next for the John Walsh treatment?

The Lost Movies was stories about films that we think we know but hadn’t been told. Titan are very good at making books on our favorite films – like Dark Crystal and Labyrinth – and those films which maybe we liked on VHS but weren’t successful when they came out theatrically. I was just thinking, gosh, no one has done a Flash Gordon book yet.

It took about eight months to get Universal Pictures and King Features, who were the rights holders for the Flash Gordon character, and Studio Canal, who now own the physical asset of that 1980 film, to come together and put a deal together. 

What happened after the deal was done?

I thought “they’ll give me all their photos because there’ll be a gazillion photos in the archive” – I got the shock of my life when there were no photos or any assets worth putting into a book! I was like “oh no, what have I done?” I drank from the poison chalice to some extent, because I thought that the work had finished when we got the rights, and it had really just started. 

Universal Pictures had some of the publicity photos, but not enough to put into a book like this. Nothing ‘behind the scenes’. I went begging around the world asking fans and different people, “please may I have your pictures if I credit you in the book?” A big part of the introduction of the book ended up being the story of how the assets had been dispersed or thrown away. The film cost three times what Star Wars cost. It cost somewhere in the region of $35 million. The idea that nobody kept any of the assets from it, the original artworks for the paintings, for the posters – gone. The models, gone. The costumes were mostly gone. 

A rare behind the scenes look at the making of Flash Gordon

It kept me up at night. I was genuinely quite worried about whether we’d get enough high quality images that would be good enough, but ultimately I got everything I wanted. I even managed to get a high quality unpublished image of Queen from 1980 for a publicity round they did in Japan. Virtually every page has something unseen, never before published, recently found.

It was around the clock. Sometimes it took 20 or 30 hours just to get one image. It was pretty all labor intensive. The easiest part was speaking to the people like the actors, but another problem existed there as well. If you take the Star Wars universe as a comparison, the various actors and filmmakers speak so regularly that you can pretty much find a consensus on how things happened and where they happened. But on this, [lead actor] Sam Jones – naughty, naughty Sam Jones! –  lovely Sam Jones, and Brian Blessed…

Brian tends to be quite creative, doesn’t he? Every time he tells a story there’s a new spin on it.

Mike [Hodges, director], told me “It’s not true what Brian says in your book that he directed one of the fight sequences.” He said “I love Brian dearly but there’s no way he directed one of the fight sequences. I was there every day and I never would have allowed him to do that. It’s just not what happened.” So between Brian and Sam, they’ve kind of filled in the gaps. As actors often do, they will inflate their parts! 

Some other bits are true. Sam did get stitches, and Dino [De Laurentiis, producer] was ready to kill someone. Two days before principal photography, there’s the lead actor getting stitches in his face. 

When I was researching the film for our piece, I couldn’t really establish how much of Sam’s audio had been replaced in post-production.

Some of Sam’s dialogue is in there! Some has been voiced on top of his voice, and some is a completely different actor in different places. If you were to cut together the different sounds and hear them all together, they sound higher and then lower.

There isn’t actually a record of who the actors are, not because anyone is trying to create conspiracy around it all, it’s just that’s one of the many assets of the film that were tossed aside. It’s more than one [other voice] Mike told me.

That’s new information to me. I knew that there was one other; I didn’t know there was more than one!

It’s more than one, and it’s Sam as well. There are at least three voices that make up Sam’s dialogue. There’s kind of a little Frankenstein’s Monster of dialogue in most places for Sam.

Do you remember the first time you watched Flash Gordon? 

Yes, it was a good movie at the time. I loved anything with science fiction! I’ll tell you what I was disappointed by: there were no robots. To me, if it had a robot in it I was like, “that’s it, I’m there, I want to buy the robot from that film.” So, I was kind of disappointed. There are no robots. 

I was obsessed with the Superman movie and how the flying sequences were created at the time. When this film came out, I thought “this is going to be better than Superman, it’s got hundreds of people flying.” But the flying sequences aren’t as sophisticated in this as they are in Superman, so my first time seeing Flash Gordon was tinged with a kind of geek boy technical disappointment about some of those aspects, and no robots. I haven’t told anyone that.

When researching the book, what ended up being the most surprising revelation?

There were two big moments. The first was when I discovered there had been an entirely different film planned – and we got the artwork, it’s in the book. Then, I found out that the film was supposed to have an entirely different ending. 

Where the film ends now, at the wedding crashing, that was the start of a new major sequence that was going to involve Ming turning into fabulous creatures and fighting Flash, the Hawkmen and the Arboria Tree Men. It all had to be cut. Literally, the pages were pulled. They were like “no time for that, haven’t got time for that.” They had the money for it, but no time.

At the back of my book are all of those scenes, and in some cases photos of scenes they shot that were cut because they couldn’t complete the effects for them, and then comprehensive storyboards with major characters like Lion Man, who was going to accompany Flash Gordon throughout the film like a Chewbacca character.

Wasn’t Lion Man in the cartoons as well as the serial? 

Yes. We got the original artwork from when Dino was going to make the film for Paramount Pictures. It shows Lion Man as part of this fantasy concept poster.

Flash Gordon concept art featuring Lion Man

When I talked to Mike last year, he still seemed somewhat baffled that he was the one who was chosen to take over from Nicolas Roeg as director. Do you think that Nic’s original vision would have worked on screen if Dino had just gone along with it?

No. For tax purposes it was very difficult to get a director in from America to do a picture, particularly in the late 70s. It was a big tax kerfuffle. British directors who’ve done major Hollywood films would have included Alan Parker, maybe John Boorman, Ridley Scott. Nic Roeg and Mike Hodges were the right fit, even though they hadn’t done special effects films.

Roeg’s version couldn’t have worked because the content was adult in tone, and also he came up with some concepts that were outside of the comic strip that would have made it much more adult-themed as well. For an audience to have followed it and enjoyed it and for the film to have had a chance to make back it’s $35 million, I think he was right to pull the plug on the Nic Roeg version. It needed to be a film that had a much broader base to make that money back. There were two sequels planned!

And Mike was originally brought in as an option for the second film.

Yes, that’s right. It was Roeg who suggested him, because he knew Mike and thought Mike would be a good fit. Mike had just been sacked from Omen II so he was suddenly available at the point when Dino parted company with Nic. It wasn’t a marriage of convenience, he was the right fit. 

Dino did this thing where if he liked your face, then you got the part or you got the work. It wasn’t about having a pretty face or anything, it was if he thought your face was sympathetic. It’s kind of an Italian superstition that you can kind of trust a man by his face. Dino wouldn’t get on an airplane if he looked at the pilot and didn’t like their face.

Wow.

Your natural instincts are often right. Dino’s were often right. He said to Mike, “I like-a your face Mike, and that’s why I chose you for this-a film.” Doing a very credible Italian accent there! I interviewed [Dino’s wife] Martha extensively for the book – she said Dino would have liked my face.

We’ve heard so many myths and legends about the Flash Gordon sequels. It seems like everyone you talk to has heard a rumor about what the story would have been. Has your own research revealed any new sequel information? 

Dino had great, great plans. Dino’s plan was to buy Pinewood Studios and to film three Flash Gordons back to back. That’s ambitious by any movie standard, isn’t it? 

Brian Blessed first put me on the trail of what the second film would have been about – it was going to be Flash Gordon’s Trip to Mars – based on the second cinema serial. In that, Flash Gordon meets the Clay Men and other people on Mars where Ming has set up base. 

Flash Gordon storyboards

40 years on, what do you think the enduring appeal of the movie is?

Flash Gordon has survived the critique of not having state of the art special effects. It’s a much more fun film to get into than Empire Strikes Back and Star Trek: The Motion Picture – two comparable big budget films of the era – as they’re kind of heavy going. 

This film was also perceived to be a Christmas film, it premiered at Christmas and received it’s TV premiere in 1983 on the BBC at Christmas. So for most people, it has a special Christmas vibe and a happy vibe about it. It looks like a Christmas ornament. 

It’s separate from other science fiction films of the time, it went in the opposite direction: rock score, kind of camp humor, brighter lit with more colors. There isn’t another film you could compare it with, except Barbarella from the 60s.

Recently, it’s come into criticism for its racial stereotyping – Ming playing effectively as a Chinese Fu Manchu character.

Yes, the BBFC has added a warning to the film now. Has the problematic nature of Ming’s portrayal changed the way you view the film?

For me it hasn’t, because when Max von Sydow played the part he didn’t have a darkening of his skin. That’s his natural facial pallor. The accent he chose is English – he decided to speak it as an English officer or an English monarch. There’s quite a kind of clash of cultures there. The facial makeup and the costume itself is definitely Red China from 1936, as Alex Raymond had envisaged. 

But I think it’s quite right the film should have a warning. I don’t think the film should be stopped, or that he should be pixelated out. I think Dino and Mike Hodges chose the best actors from the time to play these roles. You needed people who had played hard roles in films before. If they remake Flash Gordon, then I’ll be quite happy to see someone of Southeast Asian origin in the role of Ming. I think that would be spectacular.

There are levels to which this works and doesn’t work. The more extreme argument is “you wouldn’t cast a serial killer as a killer would you?” Well no, because if you’re casting for Dennis Nielsen you cast a good actor. David Tennant happens to be Scottish. I’m sorry he’s not a serial killer in real life.

That we know of, John.

That we know of. You can never trust actors, you know? Never leave them on their own in a room. But yes, I think where it’s possible and where it’s practical, it’s respectful.

Have you made any decisions about what you would like to do next, now we’ve had your take on Harryhausen, and Flash Gordon?

I’m literally in the process of delivering a manuscript for my next book. It comes out in September!

I will definitely check it out. Thank you, you’ve been brilliant.

Flash Gordon: The Official Story of the Film is available now from Titan Books. You can check out John’s The Official Story of the Film Podcast right here.

This interview has been edited for clarity.

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[recentanimenews]

10 Journeys Further Than the Universe

Today we bid farewell to A Place Further Than the Universe, perhaps the most emotionally poignant anime of the season, showing us a group of young girls embarking upon a tremendous undertaking together. Whether Antarctica represented an adventure, a job, an escape, or a reunion, their common destination, and the trials they underwent to reach it, brought them closer together and allowed them to learn something about themselves. Whether you enjoyed the anime because of its coming of age themes, its long journey, or its ensemble cast of friends, rest assured there are more destinations out there for you to discover. If you don’t want your journey to end just yet, here are 10 more anime of adventures, undertakings, and friendship!

SHIROBAKO

The story of 5 women who formed the animation club in their high school and each go on to work in the anime industry from different directions. Aoi works as a producer in an anime studio, introducing us to the ins and outs of how anime is made as she navigates the challenges of modern animation production. Like Space Brothers, Shirobako tackles both sides of the animation industry, introducing the aspirational elements of creating a work of art together along with the realities of budgets, demands from production committees, and time constraints that influence the final product. We’re also treated with multiple perspectives as her friends find work as traditional and CG artists, a voice actress, and a writer. Although their work doesn’t always bring them together, they share and support one another in their common dream to make anime.

Sound! Euphonium

The Kitauji high school concert band decided together that they would do their best to win a gold medal at the national championship. Not quite traveling to the bottom of the globe, but no less ambitious, especially since their school hasn’t even reached the qualifying tournament in recent years. Although the club only embark upon journeys to training camps and competitions, Sound! Euphonium is just a great exploration of its characters and their drive toward a common goal as A Place Further Than the Universe. Through the perspective of its nosy first-year Kumiko, we’re introduced to the unique personalities and motivations and its many members as they come into conflict and ultimately learn to work together. Sound! Euphonium takes a deep dive into the technical aspects of concert bands, from instruments to harmonization and we learn what goes into winning is more than many individually skilled players.

Space Brothers

Antarctica may be further from Japan than space, but what about the moon? Mars? Space Brothers tells the story not only of the Nanba’s brothers, but an extended cast of individuals whose dreams rest among the stars. This anime of space travel may have its head in the clouds, but is firmly rooted in scientific fact. Just as we were informed of the unique challenges of attempting to reach and reside in Antarctica, Space Brothers takes a deep dive into the application and training process for aspiring NASA astronauts, navigating politics and its meritocratic system to be chosen for a mission. The characters are diverse and charming and the content is fascinating, buoyed by their starry-eyed fascination with space travel. At its core, Space Brothers is every bit as aspirational as A Place Further Than the Universe, communicating the indescribable desire to venture into the great unknown.

March Comes in Like a Lion

Rei Kiriyama is on a long a lonesome journey to a distant island happiness. He doesn’t know where it is or how to reach it, but he’s sought it out for years through the dark, suffocating waters of depression. Rei is a kindred spirit with Shirase, a social misfit traumatized by the loss of his family early in his life. Although he tries to make it on his own, he encounters other characters along the way who help lighten the load. His self-proclaimed rival Nikaido and the Kawamoto sisters become emotional refuge that help keep his head above water and bring light into his life and he tries to discover his happy place in the world. Rei’s growth comes in learning to let other people in and, eventually, finding satisfaction in returning the compassion of others to find a new family for himself. Although his journey is introspective, it’s just as fraught as a quest to Antarctica and made easier by the support of friends.

Princess Nine

Ryo Hayakawa, daughter of one of Japan’s most famous ace pitchers, inherited her father's arm and is a local menace as the relief pitcher for all-men Wildcats sandlot team. Although she plans to dropout of high school to support her family shop, but she’s scouted by Keiko Himuro, chairwoman of the Kisaragi Girls High School, for an athletic scholarship. Keiko is assembling an all-woman baseball team that will be meant to compete in and win the male-dominated National High School Baseball Championship. The anime follows the formation of the team, called Princess Nine, and its ensuing competition with Ryo as the pitcher and team captain. This is a longer series where each member of the team has their own story, personal dramas, and ambitions to prove themselves by seeing Princess Nine win the championship.

FLIP FLAPPERS

A coming of age tale in magical girl form, Flip Flappers follows Cocona, a studious girl who has lived her life meeting the expectations of adults, who now faces the end of high school and a decision. How to live her life for herself. Suddenly, she’s spirited away by the rambunctious Papika, who wants Cocona to become her partner going on adventures in Pure Illusion, an ever-shifting imaginary world. Although initially resistant, she finds herself drawn Papika and her strange journey and starts playing along. As they explore unknown worlds, Cocona begins to discover more about herself and begins grasping her own desires for the future. Like A Place Further Than the Universe, Flip Flappers is about a wild, unreasonable adventure helps a high school girl overcome her fear of getting older and, in this case, finding love along the way.

One Piece

Although superficially similar in that they’re stories about a boat and a crew, One Piece is similar to A Place Further Than the Universe in its themes of pursuing one's dreams and coming together under a common cause. Where the girls seek to reach Antarctica, the Straw Hats aim to circumnavigate the globe. Each member of the crew has a wildly different dream that points them in a common direction, the Grand Line and the New World beyond it. With a crew of heavy hitters, One Piece is unique among shonen for making one of the primary elements of its power scaling simply their crew's ability to organize and function as a unit. The challenges they face take on the form of actual enemies in rival pirates and the world government, but the crew overcome them all by working together and believing in one another. The world of One Piece is populated by big dreamers and the villains are often who try to stop others from reaching them.

Love Live! Sunshine!!

The second part of the Love Live! franchise, Sunshine!! takes place in Uranohoshi Girls' Academy, a school that is soon to close its doors and merge with nearby Numazu High School due to lack of funding. Inspired by μ's, Chika Takami decides to put together her own idol group to compete in the Love Live school idol contest to support her school. The eventual group calls itself Aqours and soon discovers that competing on a national scale requires personality, inspiration, and hard work. The drama has a bit more candy coating than most of the other shows on the list, but it’s present and accounted for, including a disastrous previous attempt to develop an idol group for the school. It shares the same atmosphere of girls with different personalities sharing a dream and supporting one another.

Eureka Seven

Renton thinks he’s boarding the Gekko chasing after the love of his life, Eureka, but embarks on a journey into adulthood. Like Mari, he needed the presence of another to take that final step into the youthful adventure he had felt was beginning to slip from his grasp. Unfortunately, his journey is considerably more painful. Where Mari finds a core of support in her companions, Renton struggles to connect with anyone in the lonely world beyond the hole where he grew up. He fails to connect with Eureka and is hazed by the crew and its captain who resents him. The connections he forms with others often become twisted or break just as he comes to rely upon them. Eureka Seven is the story of a child pursuing a dream he doesn’t quite understand and learning to stand upon his own two feet before he finds the connection he seeks.

Love, Chunibyo, and Other Delusions

Like A Place Further Than the Universe, Chunibyo is a story about misfits and a coming of age story, but with a lighter and considerably more awkward take on the formula. Yuta, a former chuni, moves to a new school intent on starting over as a normal student, but is discovered by Rikka, who possesses “The Wicked Eye” and wants Yuta to unleash his hidden “Dark Flame Master” and help her discover “The Ethereal Horizon” to be reunited with her deceased father. This imaginary place becomes a metaphor for overcoming her grief and discovering a shared place of happiness somewhere between their personal eccentricities and the expectations of polite society. Their introspective journey is to find themselves and each other in a series that seeks to show us it’s ok to be a little strange. They’re also joined along the way by a few more weirdos.

Whether it's traveling the world, making it to nationals, creating something that is truly your own, or just growing up, each of these anime take us along on a wild ride of personal discovery made with the help of some good friends. Hopefully, these shows will keep the fire of discovery alive in your heart and spur you forward to even greater adventures. Are there any adventures you’ve taken that you’d like to share? Did any of these journeys inspire you? Let us know in the comments below!

---

Peter Fobian is an Associate Features Editor for Crunchyroll, author of Monthly Mangaka Spotlight, writer for Anime Academy, and contributor at Anime Feminist. You can follow him on Twitter @PeterFobian.

By: news+feed@crunchyroll.com

[shirlleycoyle]

How Uber Turned a Promising Bikeshare Company Into Literal Garbage

One morning at the end of May, Mark Miretsky awoke in his San Francisco apartment and groggily browsed his phone. There was no rush to get up. Just a few weeks earlier, he had been laid off from his job at the bikeshare company JUMP, which was owned by Uber, along with hundreds of other people.

While still lazing in bed, he opened the Slack with more than 400 of JUMP’s laid off staff, and he saw something that hurt him even more than the layoffs. The JUMP bikes were being destroyed by the thousands and someone was posting videos of it on Twitter.

At first, Miretsky couldn’t bring himself to watch. He spent eight years of his life, often working 100-hour weeks to the point of nauseous exhaustion, to get people to ride those bikes. He did this because he believed in bicycles, and that they are worth riding.

Miretsky's family left the Soviet Union while his mother was pregnant with him. They briefly lived in Italy but couldn’t afford any mode of transportation other than a single bike. His dad pedaled, his mom rode side saddle on the rear rack, and his brother, just a toddler at the time, sat in the basket. Miretsky grew up hearing these stories, and even if he didn’t realize it at the time, he said it taught him bicycles are the cheapest, most efficient, and equitable way to get around. He would end up spending most of his adult life working with bicycles, caring about them so much he can’t even bring himself to get rid of any of his seven bikes.

In one of the videos, viewers can hear the claw crunching the frames and baskets while lifting the JUMP bikes. That was enough. Miretsky didn’t need to watch a second time.

“It kind of crushes one’s heart,” Miretsky said. He had difficulty putting into words exactly how he felt, but repeated what one of his former coworkers told him. To the die-hard bike enthusiasts who worked at JUMP, destroying bikes is like burning books. “To me, and to many of us [who worked at JUMP] the bike is not an object to a means of a business. It has a soul.”

Few, if any, of JUMP’s former employees were shocked by the videos. To some, it even felt a fitting, if upsetting, coda to a troubled two years under Uber’s stewardship.

Motherboard spoke to a dozen former JUMP employees about their time at the company, most under the condition of anonymity because they signed non-disclosure agreements in order to receive severance and extended health care during a global pandemic. Former JUMP employees who agreed to speak on the record did so under the condition they not talk about the time the company was owned by Uber. They described remarkably similar experiences, in which JUMP, a previously thrifty company, with a culture that had a deep commitment to a shared sense of purpose gave way to Uber’s scale-obsessed model. The early promises of bikeshare for the world and replacing ridehail trips with bike journeys only partially materialized, but it came with unsustainable inefficiencies and waste. Uber bought JUMP in 2018 and two years later sold it to Lime, a changed and broken company. To these employees, the literal destruction of the bikes was a metaphor for the destruction of the operation they’d worked so hard to build.

Uber’s unrelenting pursuit of scale created all sorts of problems for those working on the bikeshare systems on the ground. In cities with high rates of theft or vandalism, the same people hired to retrieve, charge, and fix bikes were also responsible for recovering stolen ones, an occasionally dicey proposition. To address this, Uber hired private security teams, which three employees referred to as “hired goons,” to assist in getting the stolen bikes back. One employee from Providence, Rhode Island described a scene in which one “hired goon” wearing a bulletproof vest and carrying handcuffs and pepper spray “tackled” a black teenage girl riding a JUMP bike. The employee said it was something he would “never forget” and that “the optics didn’t look good, as people would say.” An Uber spokesperson said the company has no records of such an incident taking place and this account is “wholly inaccurate” because JUMP technicians and the security teams accompanying them were instructed not to forcibly remove anyone from the bikes or “engage in aggressive behavior.”

While hardly typical of JUMP’s operations, the incident—which occurred last year during a rash of thefts enabled by a faulty bike lock design—exemplifies just how far the company strayed from its original mission of getting people of all walks of life onto bikes. JUMP used to be a company that held countless community meetings in low-income neighborhoods prior to launching in a new city to make sure they were addressing everyone’s needs and offered low-income residents virtually unlimited biking for just a few dollars per month.

But JUMP’s rise and fall is not just about Uber—which only owned the company for two out of its 10 years of existence—or even just about bikeshare. It's about the role cities play in determining their futures, how much of that role has been usurped by a handful of people with a lot of money, and the perils of trying to be the good guy.

Even with everything that’s happened, many former JUMP employees still think selling the company to Uber was the right decision. Had it not, one former employee told Motherboard, “the company might have saved its soul, but died much younger.”

*

Ryan Rzepecki became a cycling evangelist when he borrowed his roommate’s bike one summer day in 2005 while living in New York City's East Village. It made getting around the city so much easier and more pleasant, even though at the time New York didn’t have anything resembling safe bike infrastructure.

On a trip to Paris, Rzepecki came across the Velib bikeshare system. Although Velib has had its problems, to Rzepecki’s eyes it was a marvel: tens of thousands of bikes for Parisians to use for a very small fee. No worrying about locking the bike, storing it, maintenance, or repairs. Just unlock it, ride it, dock it, and be on your way.

But Rzepecki had an idea for a different kind of bikeshare system. He wanted one without docks, where people could begin and end their rides anywhere they like. He thought this would be the key to unlocking cycling for the masses. In 2010, he started Social Bicycles.

The original business model of Social Bicycles (SoBi) was different from the one it would adopt after re-branding as JUMP eight years later. Instead of going directly to people, it sold its proprietary bikes and docking stations to cities, who would then contract with another third party to operate the bikeshare system.

The key to this model was SoBi’s quasi-docked model, in which every bike had a GPS unit and a built-in lock. Riders had to lock the bike to something, and were encouraged to lock the bikes to SoBi’s docking stations, but could use regular bike racks if they wanted.

“It’s probably good I didn’t have a technical background,” Rzepecki told Motherboard, “because if I knew how hard it would be I probably never would have attempted it.” It was not a simple or easy business. Back then, cities would put out Requests for Proposals (RFPs) that announced they were interested in a bikeshare system, triggering a two-year process that, if all went well, resulted in a bikeshare system. The RFP process ensured a deep partnership with the city that would minimize long-term uncertainty or community outrage over bike rack locations. For both SoBi and the cities in which they worked, this trade-off was worth it, because they were in it for the long haul.

SoBi hired urban planners to help cities with the expense of figuring out where new bike racks should go. This involved not only painstakingly drawing architectural renderings for hundreds of bike racks, but presenting those drawings to local community groups to hear their feedback. As a general rule, they drew up plans for about three times as many racks as they would ultimately install, knowing local community groups tended to reject about two-thirds of them.

While this approach to a bikeshare system was complicated, time-consuming, and expensive, Rzepecki and his early team thought it was the best way to forge the kind of relationships between the city government, local bike advocates, and casual riders to allow bikesharing to thrive in the long run.

Likewise, Rzepecki wanted SoBi’s bikes to be comfortable and fun to ride. They debated the merits of certain bolts over others, the size of the baskets, and the best distance between the handlebars for the most comfortable ride for the most people. SoBi’s designer, Nick Foley, and the other designers not only took into account the rider experience, but also that of the mechanics charged with fixing and maintaining the bikes. They standardized parts, reduced the number of different bolts and screws as much as possible, and put thought into how to make flat tires easy to replace. The bikes were not to be disposable objects, but permanent, rideable street art.

“Ryan’s goal was the bicycle comes first,” another former employee told Motherboard. “He brings that kind of attitude, that I want to make my city better.”

All that attention to detail notwithstanding, in the early days SoBi’s technology barely worked. One of its first clients in 2012, the San Francisco International Airport, wanted a bikeshare program for employees to use during their lunch breaks. But the bikes barely worked. Miretsky remembers having to run around the airport to reboot the bikes’ onboard computers, which he described as “super 1.0 early beta technology that wasn’t working” in which the GPS and computer unit was attached to the bike with velcro.

There wasn’t very much money in the bikeshare world then. The company was operating hand-to-mouth, people were forgoing paychecks some weeks, and everyone was working on shoestring budgets. One employee recalled the “SoBi flop houses” where six of them would live in a two-bedroom Airbnb to save on costs. The unlucky ones who didn’t get a bedroom would sleep on the floor; more than one former SoBi employee recommended if I ever find myself in a similar situation, I snag the space under the dining room table so that anyone getting up in the middle of the night doesn’t step on me.

With this shared sacrifice came shared responsibility. The company structure was remarkably flat. Once a month, everyone would get on a call and make decisions together by consensus. People’s titles only vaguely aligned with their actual jobs. “Things got done because everyone wanted them to get done, not because someone was assigning them or there were super-clear expectations,” one employee described it. “You just went to wherever you could supply the most-needed help.”

Over time, SoBi worked out the kinks, and each contract got slightly bigger than the last. Its big breakout came in 2016, when 1,000 of its bikes launched in Portland’s Biketown program, sponsored by Nike. It was the company's biggest launch to date and also its most successful. It was also the first year SoBi was profitable. Things were looking up, until the people at SoBi started hearing about these bikeshare companies out of China.

“Here’s where the story changes,” Rzepecki said. “Just as we were figuring out how to do bikeshare and make it work, the entire landscape changed.”

*

Up to that point, the bikeshare world was a small one, an industry of government contractors and their suppliers. Companies couldn’t be neatly divided between partners and competitors. Social Bicycles sold its hardware to Motivate, which operates the biggest docked bikeshare systems around the country, to operate Biketown, even though SoBi and Motivate would compete for contracts elsewhere (to complicate the dynamic, Motivate was purchased by Lyft around the same time JUMP was bought by Uber). It was a small world, in part because it had to be; there wasn’t enough money in bikeshare to make it any bigger.

Which is why when two Beijing-based bikeshare firms, Ofo and Mobike, expanded to the United States right around the same time Biketown launched, it blew up everything the bikeshare world had known.

Rather than work closely with cities over years, Ofo and Mobike parachuted in, got permission to launch a bike share by shoveling money at cities, and then did it. They also introduced a fully dockless model known as “free lock,” in which riders didn’t have to lock their bikes to anything after finishing a ride. They could leave them wherever they wanted, including in the middle of sidewalks and strewn across lawns.

“At least initially, there was this hint of hope that this big dumb app company was actually helping push us towards a more sustainable transportation ecosystem.”

This went against everything SoBi believed in. It not only was a short-sighted strategy that was sure to create conflict with city officials and communities—the very people SoBi felt were integral to any bikeshare systems’s success—but it sent the wrong message about the bikes themselves.

“Freelocking turns the vehicles into trash and blocks the sidewalk,” one former JUMP employee said, “which is both bad for business and bad for cities.” It turns bikes into obstacles for people with mobility issues, the exact opposite of what bikes are supposed to be. And it sends the message that the bikes are disposable, have little value, and belong to no one.

But it was not the free lock element of the Ofo and MoBike model that changed everything, at least not directly. Without the need to go through the lengthy RFP process or site docks, Ofo, Mobike, and their countless imitators could grow as quickly as their bank accounts permitted. It was catnip for the type of venture capital investors who love exponential growth charts.

Suddenly, dockless bikeshare became the trendy investment. From October 2016 through July 2017, Ofo raised $1.28 billion in two funding rounds, according to Crunchbase. Mobike raised more than $800 million. In October 2017, the newly-founded Lime (then called LimeBike) raised $50 million. To Social Bicycles, this was an unimaginable amount of money. Up to 2016, SoBi had raised only a few million dollars.

“It became a feeling of there is no way we can succeed anymore,” Miretsky said. “We were playing checkers and it suddenly became chess.”

“They would go into markets we were just in with RFPs and said ‘we’ll pay you. How many bikes do you need? We’ll give you more,’” Miretsky recalled. “Cities said well great, this is no longer a problem for us to solve, the business community has solved it.”

Almost overnight, Rzepecki said SoBi lost 25 percent of its revenue. For sexy startups like Mobike and Ofo, a 25 percent revenue drop would be a tough pill to swallow. For SoBi, it was poison. Thanks to overseas investors flooding the market with cheap bikes, the time of working closely with cities to build a sustainable bikeshare system was over. The RFP approach, everything SoBi had built its business around, was dead.

SoBi pivoted to be a permit-based dockless bikeshare company like the others. But it resisted what it viewed as an ideological non-starter and it did not succumb to the free lock model. Just as in the SoBi days, riders would still have to end the ride by locking the bike to something.

Moreover, SoBi didn’t need to compromise on its deeper philosophy because Rzepecki had an ace up his sleeve. For two years, SoBi had been secretly developing an electric bike, where a battery-powered motor helps the rider pedal, making bike riding an effortless endeavor even up the steepest of hills and longest of distances. Former employees credited Rzepecki and Foley for having the foresight to know the entire industry would eventually shift to e-bikes, and the only way JUMP could survive was to get there first. And it did.

In the summer of 2017, as JUMP was looking for investors to stay afloat, Uber invited two JUMP employees in to demonstrate the e-bike, sparking conflicted feelings among the JUMP staff. This was right at the height of an Uber public relations disaster, as its co-founder Travis Kalanick floundered in the days leading up to his resignation. At this stage, Uber was virtually synonymous with spoiled rich kids flouting laws and operating solely according to their own internal code. Among the JUMP staff, Uber was regarded as wasteful and environmentally irresponsible at best and downright evil at worst.

Some former employees believe JUMP ultimately took the meeting as an intelligence-gathering operation, others as an implicit admission of JUMP’s precarious condition despite the distasteful prospect of working with the company so many of them loathed.

In any case, two JUMP employees rode the e-bikes to Uber’s headquarters on Market Street, where Dmitry Shevelenko and Jahan Khanna, the duo behind Uber’s micromobility and transit expansion, took them for a test ride.

“This was like the first time using an iPhone.” Shevelenko told Motherboard. “It just feels magical.” He had demo’d other bikeshare e-bikes in recent months, but the JUMP bike was far superior. Instead of having a motor that kicked into gear providing an unwanted jolt, JUMP’s e-bikes sensed how hard a rider pedaled and increased the motor power to match what the rider is doing. It felt like a partnership between human and bike, not a human ceding total control to a machine. “It was almost like a superpower,” Shevelenko recalled, “like this bike is connected to your body.”

Shevelenko and Khanna viewed the e-bike as a perfect complement to Uber’s ridehailing business. Insofar as it would cannibalize Uber trips, it would be shorter city trips that weren’t profitable anyways. The e-bike would not only be cheaper for riders, but also quicker during rush hours in the dense urban areas where Uber is most popular. And Uber wanted JUMP’s superior product. Shevelenko figured JUMP had a year’s head start on every other dockless e-bike. Paired with Uber’s resources, they thought it would be hard for anyone else to catch up.

Image: CHESNOT/GETTY IMAGES

After some brief negotiating, the companies initially formed a partnership and Uber connected JUMP with the venture capital firm Menlo Ventures to keep the company afloat. Starting in January 2018, SoBi officially rebranded as JUMP and its bikes would be shown as a rental option in the Uber app. Four months later, Uber acquired JUMP for close to $200 million.

It was, undoubtedly, an odd pair, not just in mission but in corporate culture. Many of JUMP’s staff were self-described hippies, a far cry from Uber’s bro culture and no-holds-barred approach to business. But, the acquisition made sense as one between two companies struggling to figure out what they were doing at a time when the old way was no longer going to cut it. Uber had to clean up its act and put on a good face for investors in a run up to a public offering, while JUMP had to find a model that worked in the dockless world of VC capital.

On a personal level, eight years of bikeshare startup life had taken its toll on Rzepecki and the original SoBi crew. To illustrate the point, Miretsky said that when he visited the New York office where Rzepecki was based, he had stopped buying breakfast, because he knew Rzepecki would take two bites of a breakfast sandwich, vomit it up from nerves, and then give Miretsky the rest of the sandwich.

When asked about this, Rzepecki confirmed his stress manifested with various physical symptoms around that time, and that “2017 was particularly hard.”

“I think it’s really on the right course now and [Uber’s then-new CEO Dara Khosrowshahi] believes the way we approach working with cities and our vision for partnering with cities” aligns with Uber’s mission, Rzepecki told TechCrunch when the acquisition was announced. “That was important for me and his desire to do things the right way. This is a great outcome and gives me a chance to bring my entire vision to the entire world.”

“At least initially, there was this hint of hope that this big dumb app company was actually helping push us towards a more sustainable transportation ecosystem,” a former JUMP employee said. “And then they fucked it up.”

*

Accounts differ on precisely how long it took Uber to undermine everything JUMP had previously been about. Some former employees said it happened virtually immediately. Others described a more gradual process that took a few weeks. But they unanimously agreed it didn’t take long at all for JUMP to stop being JUMP.

Not only were JUMP employees no longer working on a shoestring budget, they barely had any budgets at all. Sleeping under the dining room table gave way to $400 per night hotel rooms. Like the Ofos and MoBikes they long decried, JUMP was now buying as many bikes it could get its hands on.

For a split second, JUMP was “the hot new thing” at Uber, as one former employee put it. Khosrowshahi talked it up during company all-hands meetings and in the press. He came to the warehouse where JUMP built new prototypes.

"During rush hour, it is very inefficient for a one-ton hulk of metal to take one person 10 blocks," Khosrowshahi said at the time. With JUMP, "we're able to shape behavior in a way that's a win for the user. It's a win for the city. Short-term financially, maybe it's not a win for us, but strategically, long term we think that is exactly where we want to head."

One of the first signs that the acquisition was not going as planned came just two months after the acquisition when Uber put longtime employee Rachael Holt in charge of the New Mobility unit. In one of her first meetings with the JUMP team, Holt made it very clear that she was in charge, as multiple employees recalled. This directly undermined what Rzepecki had publicly said when the acquisition was announced, that JUMP would remain independent of Uber. Now, the employees were being told that wasn’t the case. When asked about this reversal, an Uber spokesperson described Holt as “a longtime Uber executive with experience growing a mobility business.” Holt did not respond to a list of questions sent by Motherboard.

"There was also an awareness that this was no longer some private company, that it was fucking Uber now."

Holt brought an Uber 1.0 approach to bikeshare, one that mimicked what companies like MoBike and Ofo were doing (MoBike co-founder Wang Xiaofeng had previously been general manager of Uber’s Shanghai operations). They flooded the streets with bikes under the philosophy that any second a bike is not on the street, it's losing money. They expanded to new markets and hired so many people so fast some employees spent half their time in hiring meetings and prospective employee interviews. Teams doubled or tripled in size within months, only to find they were now overstaffed. Bike mechanics at the main warehouse would have thousands of bikes to build that were just delivered from China, but local mechanics in the cities where JUMP operated didn’t have spare parts to fix the bikes on the street.

In other words, JUMP employees felt Uber was applying a software business mentality to bikeshare. It was, to JUMP’s longtime employees, a fundamental misunderstanding of what kind of business they were in. Uber was running JUMP with the mindset that anything that’s broken can be patched, but, as one employee put it, “a firmware update can’t fix a bike chain.”

“Like any startup (whether inside of Uber or out), JUMP’s early days can be characterized as scrappy,” an Uber spokesperson said. “JUMP was scaling very quickly. When we bought JUMP they were a very small company with a fleet of only 500 e-bikes in San Francisco. When we merged with Lime a few weeks ago, we had tens of thousands of e-bikes and scooters in 30 cities around the world.”

Otherwise an impressive feat of engineering, the bikes JUMP released in early 2019 under Uber had one critical flaw. JUMP replaced the sturdy if bulky U-lock with a cable lock in order to make the bikes easier to secure. But the cable lock wasn’t robust. It was a critical oversight, one that highlighted how far JUMP had strayed from its roots, since any New York City bicyclist knows a cable lock is an open invitation for theft. All someone had to do was flip the 75-pound bike over and the cable would snap under its own momentum (there was also a method using a hammer that took more finesse). With a few well-placed blows, thieves could easily disable the GPS unit and be on their way with a (very heavy) bike.

While every city experienced some degree of theft, Providence, Rhode Island experienced among the most because, for whatever reason, stealing JUMP bikes became a form of sport for the city’s teens.

“We didn’t understand the magnitude of the problem until it was too late,” one former JUMP employee familiar with the situation told Motherboard. “Hundreds and hundreds of bikes were getting stolen.”

In emails obtained by the Providence Journal, JUMP’s operations manager in Providence, Alex Kreuger, told the city that, in one weekend in July 2019, 150-200 bikes were vandalized out of a fleet of about 1,000 bikes.

“Someone brandished a gun on a field tech, kids tried to steal bikes directly from our warehouse, riders reported attempts by people to steal the bike as they were riding them,” Kreuger wrote.

In another instance, according to a source, an employee trying to retrieve a bike reportedly had to wield a broken kickstand to fend off some kids swinging a 2×4 at him.

In the fall, Uber hired a private security firm to ride along with the field technicians in order to retrieve the stolen bikes. This didn’t strike any of the employees as especially odd, since none of them had signed up to be fighting kids in the streets. One field tech who spoke to Motherboard estimated that "five to 10" instances resulted in private security workers physically restraining people while the bikes were being recovered, as was the case with the bulletproof vest-clad rent-a-cop tackling a kid riding a bike.

Among other things, the vandalism made it impossible for JUMP to have 90 percent of its bikes on the street at all times, as its contract with the city required. Sometimes, one former employee said, they’d have fewer than 300 bikes, or less than 30 percent of the fleet, on the street.

In August, JUMP pulled its bikes off the streets of Providence for what it claimed was a temporary period, but the bikes never returned. In October, the field technicians, who had ridden around with the security guys for weeks, received an email at the end of their shift telling them not to bother coming in anymore; they were all fired. The security guys got an email at the end of the shift, too; their new job was to take over bike retrieval, but their first order of business was to escort the field technicians out of the building.

At least one former Providence employee thinks the vandalism could not be disconnected from the Uber acquisition.

“There was also an awareness that this was no longer some private company, that it was fucking Uber now,” they told Motherboard. “This is owned by a corporation that doesn’t care about bettering anyone’s fucking community or whatever, so people saw an opportunity there.”

Whether or not that was the case, JUMP had bigger problems than just Providence, and Uber had bigger problems than just JUMP. After breakneck growth and an IPO in the spring of 2019, Uber was under more pressure than ever to show it could be profitable. And thanks to its growth-at-all costs approach to bikeshare, JUMP was leaking cash.

But it wasn’t the financial losses that bothered JUMP employees the most. It was the gradual erosion of everything that got them to sacrifice so much for the company in the first place. Morale tanked as people slowly noticed they were busting their asses to hit growth metrics. The joy of cycling and creating a community good was not only secondary to that, it was becoming a memory.

“We went from putting 45-pound steel plates with 35-pound racks down on street corners where we had paid surveyors to stand and count people riding and locking bikes and working very closely with municipal transportation services, universities, and community groups, to, from what I understand, basically offering cities as much money as they needed to launch as quickly as possible and putting as many bikes on the curb as quickly as possible wherever we could,” one former employee said. “That’s the same approach that Bird used for scooters, that Lime used for their bikes, and Ofo used for their bikes in Texas and got in so much trouble for. And that’s why they’re trash. And that’s why JUMP became trash.”

In September 2019, JUMP employees were transferred to a new entity called Sobi LLC, which some employees took as an indication they were being broken off for a sale. An Uber spokesperson said it was because “As JUMP grew its footprint, so did the need for more focused business support for day-to-day operations.”

Four months later, at the beginning of 2020, Rzepecki and a handful of other original Social Bicycle employees left. The following months would result in a cascading series of layoffs in which Uber let 25 percent of its staff go.

At the beginning of last month, The Information reported that Uber was leading a $170 million funding round in Lime in a deal that would involve transferring JUMP to them. This was news to the JUMP staff. In an all-hands call that day, Khosrowshahi refused to directly answer a question about JUMP’s future, which both irked and worried its employees. An Uber spokesperson said, as a public company, Khosrowshahi could not discuss the transaction before it finalized. The next day, Uber laid off nearly everyone at JUMP. Because it was in the middle of the pandemic, the laid off had one hour to say goodbye to their friends over Slack. Then their computers turned off.

*

Whatever comes of JUMP under Lime’s stewardship, it will be without the people who made JUMP what it was. Lime was founded in 2017 by two former venture capital executives who quickly bailed on bikes to hop onto the scooter fad. It even experimented with a carsharing service. Lime obtained the intellectual property rights for the newest versions of the JUMP bikes and scooters, but, as of now, none of the people who designed or built them.

The big question facing the bikeshare industry���and its scooter-share offshoots—is whether the business can ever be profitable. To date, the answer is no. Lime lost some $300 million last year while its major competitor, Bird—founded by a former Lyft and Uber executive—isn't faring much better. While 2020 doesn’t look poised to turn industry fortunes around due to the global pandemic, it is a testament to how poorly managed the micromobility industry has been that ceasing operations may, in fact, be a blessing in disguise for companies that haven’t figured out how to run a service without bleeding cash.

Unlike software, transportation is a deliberate business, sometimes painfully so. To tech executives, this appears to be a flaw, an inefficiency to disrupt. No doubt the RFP process and other regulations around the transportation industry can be improved, but there’s a reason transportation businesses move slowly. It costs too much to screw up, both in money and in reputation. Useful mass transportation doesn’t suddenly appear. It is carefully nurtured from a tiny seedling of a good idea to a fully-formed organism that breathes life into a city. It is a process that takes time and effort and patience as well as money.

For all their shortcomings, this is something the SoBi people knew well. It is also something Uber could never understand, because it has always rejected the premise that it’s in the transportation business. It’s been telling itself and regulators since its inception it is merely a business-to-business software application so it can skirt employment regulations that would force it to make all of its drivers employees. But that deception became so ingrained in company culture that it conducted itself as a software company even when it was purchasing and fixing bicycles by the tens of thousands. On the most basic level, it’s impossible to succeed when you don’t know what line of work you’re in.

On top of that, transportation companies have to work with the cities in which they operate whether they like it or not. To several of the employees Motherboard spoke to, this was the single biggest and most consequential culture shift after the acquisition. Whenever there was a problem with a city, Uber postured for a fight, which went against every instinct JUMP had.

“We wanted to work with [the cities] and build trust,” one former employee summarized. “Uber wanted to steamroll them.”

(“We disagree,” an Uber spokesman said. “JUMP worked diligently to address sidewalk riding and parking clutter through both operational changes and investing in innovative technology.”)

And the whole scheme was built on a faulty premise, that putting more and more bikes on the road in more and more cities would eventually result in profits, even though the company lost money on each ride. They imitated the strategy that MoBike and Ofo used to blow up the bikeshare industry—which itself imitated the strategy Uber used to become a global behemoth—because that’s what investors wanted to see.

But by the end of 2018, the very strategy JUMP would later imitate was clearly not working. MoBike was sold to Chinese neighborhood services company Meituan-Dianping and retreated from foreign markets (its European operations were spun off, so some MoBikes are still on the road there). In June of last year, a Chinese court found Ofo “has basically no assets,” according to Quartz, and couldn’t pay off its debts. Photos of mass bike graves of the erstwhile bikeshare boom went viral.

But the damage was done, because the perception of what bikeshare should be had been irrevocably altered. It was no longer a transportation business; it was a tech business, and everything that brought along with it.

Even at the time Ofo and MoBike were getting handed billions in cash, the JUMP people didn’t know what to think, because they were still thinking like bike people. “We didn't believe the unit economics worked,” Miretsky recalled, “Then we heard the companies said the unit economics worked, and we thought well they couldn't be lying, we wouldn't lie. And then it turned out later they were probably lying.”

*

After the videos of the bikes getting destroyed surfaced, several former JUMP employees wondered if there was something they could do to save as many bikes as they could. They asked that I not disclose who they were so as not to jeopardize the NDA they signed with Uber.

With some help from current Uber employees, they were able to save some. They will get donated to various groups and organizations. The Bike Share Museum in Florida got five, but an Uber spokesperson did not say who got the rest. But multiple sources told Motherboard that, in total, they saved 5,298 bikes. They each knew the exact number.

How Uber Turned a Promising Bikeshare Company Into Literal Garbage syndicated from https://triviaqaweb.wordpress.com/feed/

[vod19]

Day 6. ‘Dogtooth’ (2009), dir. Yorgos Lanthimos

On the relation of a part to the whole in film

***

Numerous writings in film theory, philosophy of film and art history tackle the difference between film and other artistic media, for instance, between film and photography, from which it allegedly evolved; film and theatre, with whom it allegedly competed, among other comparisons. If we imagine all differences and similarities between various historically established artistic media, they could hypothetically be organised into a complex Venn diagram in which theatre, music and film share temporality, or duration; photography, sculpture and painting share fixedness; photography and painting share two-dimensionality; film and photography share mechanical or digital material basis, film and literature share the editing element, that is, the juxtaposition of elements from temporally or spatially discontinuous events, and so on. I am in no interest or position to assess which of these differences or similarities are of definitive importance. That is, for example, I would not argue that the mechanicity that film and photography share is of more significance to their potentialities or their relation to reality than the temporality that film, theatre and music share.

The choice of one such characteristic, which has been fundamental to various theories of media, from Hugo Müstenberg and Sergei Eisenstein to André Bazin and Erwin Panofsky, appears to me to be arbitrary, merely a matter of personal prioritising. Thus, I am now focusing on the temporal aspect of film not to prove that film realises the potentialities of temporality better than theatre and music do, but because film’s duration (possibly, just like that of theatre and music) renders my mode of analysis of it different to that of, say, painting and therefore flags up something about the cinematic meaning. 

Hypothetically, I perceive a painting in its entirety in a moment. That is not to say that it happens immediately, but that I can technically imagine an instant at which my reflections on various elements of a painting condense. Somewhat idealistically Michael Fried claims that “at every moment the work itself is wholly manifest”. I would say that it is not wholly manifest at every moment, but at least at some point at which the work is also wholly before me.

When it comes to film, I perceive one nucleus of image and sound per moment and attempt to determine their comprehensive meaning, yet I also need to constantly update my assessment in accordance to every new nucleus of that film appearing, be it a frame, or a scene, or a sequence, and develop my inner verdict only at the very end of the film. Thus, a film must be perceived in its totality at its very end. In a way, my opinion about a film is akin to a negative of a photograph that gradually develops in a dark room and then suddenly manifests itself wholly. (Once again, that does not render film either definitively different or superior to the other arts — a novel, too, must be read in its totality to be ‘understood’, and so is a play, but not a painting.) I am writing out these seemingly self-evident observations in order to discuss absurdist cinema, as what bothers me in it is how the absurd manifests itself both within the filmic nucleus and the filmic totality.

***

Guided by the irresolvable contradictions of current existence — do nothing in order to save lives — I decided to hold a week of absurdist cinema. It started yesterday with a classic — The Discreet Charm of the Bourgeoisie (1972), my reflection on which was violently interrupted by a bottle of Malbec — and is continued today with Yorgos Lanthimos’ Dogtooth. Dogtooth portrays a family in which three siblings live in a complete isolation from the outside world. Well into their 20s, they are treated as and manifest characteristics of small children, being continuously misinformed about the outside reality. Unaware of their ignorance, they are in what may seem like a trusting and even tender relationship with their parents, who provide basic necessities for them — food and at first outsourced sex. Intuitively, Dogtooth is located somewhere in between Lucile Hadzihalilovic’s Evolution (to avoid assumptions about influence, Evolution was released sever years after Dogtooth came out, in 2016) and Michael Haneke’s Funny Games (1997). With Evolution it shares the same themes of control and despotism via isolation and misinformation and an interest towards the bodily. With Funny Games, and I know that this is not an obvious or well-informed comparison, it shares a similarly cruel ridicule of the petty joys of the middle class with their rotten values, their nice living rooms, their invidious wine on the dinner table. Thus, the three siblings are told that the children are ready to leave the house when their dogtooth falls. They are also told that a zombie is a yellow flower. And that cats are dangerous beasts who feed on people.

Dogtooth is an example of Lanthimos’ exploration of the bodily and the linguistic — which is also manifest in The Lobster (2015) and The Killing of a Sacred Deer (2017) — and of their relation to making sense, with its characters barking on their fours and having mechanistic sex. Assigning the roles of children to young adults and making a claim that the mother, who seems to be well above child-bearing age, will bear two children and a dog, produces an effect of ostranenie, of making something strange and consequently revealing the constructed nature of any role-assigning procedures in the society. Pushing this logic further, it allows sexual experiment between the siblings, which doesn’t even appear unnatural due to the already-so-artificial-character of their social roles.

Dogtooth also tackles the ‘eye for an eye…’ (‘…dogtooth for a dogtooth’) logic, which is later expanded in and rendered central to The Killing of a Sacred Deer. Thus, characters exchange sexual favours for goods, such as a VHS with Hollywood films. These barters, too, make no sense, exposing the dodgy logic of justice.

I avoid writing directly on film, but prefer to write around it because I don’t think that any work of art can be exhaustively translated into words without loss. However, if I try to condense at least an element of Dogtooth in an intelligible thought, I would argue that the absurd here functions as both a means of control and a means of surviving control, but most importantly Dogtooth portrays absurd behaviours and situations in order to demonstrate that nonsense is the only reaction to control that makes sense. Coming full circle to the initial discussion of duration of film and of the need to assess it in its totality, it can be said that what is absurd in a shot, or a scene, or a sequence of Dogtooth makes perfect sense in the totality of the reality that it depicts.

[lizardswithoutlegs]

HOOOOOWOWOAH BOY

ART ASKS

when i walk into a building i get to eat everybodys pencils and they cant say no

do it 

( also thanks for asking ! ) 

itd bother me a lot less if everybody came to my apartment and took one of these beautiful eggs

YEAH UNFORTUNATELY IM STILL..... WORKING THROUGH THE SAME WAITLIST but im comparatively REAL CLOSE to being done with it and i should be opening up sometime later in...... the Year

Boy Have I

theres This messy thing from a while back and then also

THIS, from even FURTHER back, when i didnt realize how fucking RED all the outlines on my things were because of the monitor i was using, two for the price of one

why not both

i do Not but it you ever see me walking on the street please throw handfuls of teeth at me theyre the only things my wretched body can digest and im always hungry

OH MAN ok so, an art telephone game is based on, of course, the game telephone, where one person says a phrase and then whispers it to the next person, and so on and on until the person at the very end says whatever they heard and if its done right the final sentence is wildly different than what you started with

an ART telephone game is the same kind of concept, except one person draws out a scene or character, and then other artists draw THEIR interpretation of whats going on, and so forth until the last person can end up with something COMPLETELY different than what the first scene was

youd think thered be less room for error with drawings, but as each person ONLY sees what the person ahead of them has made, they can get PRETTY OUT THERE - im gonna be a part of pythosarts game, and theyve done a couple of em before - for example one round started with THESE as the first two drawings

and then fourteen interpretations later, ended up with these as the final two

its good its real good

I Cant Control Where Bigfoot Goes, I Can Only Take Note Of Where Hes Been

YEAH, sort of ! on the main, iguanamouth, i have a bunch of different tags for art depending on what they are but not really a catchall one, BUT i do have an art only blog where everything gets tossed over ! 

HONESTLY THE ADVICE i got is basically what all art advice is gonna boil down to eventually - you gotta just. do it. you gotta DO it

absolutely nobody you know who draws things well started out at the level theyre currently at, and putting down the things youre visualizing onto paper is a combination of getting the the technical aspects down as much as getting the idea in your head

and that goes with figuring out anatomy and how bodies are put together ! ive got to use references for a Million things,. especially the dragon hoards - theres absolutely nothing wrong with using references for your drawings ! and being able to create accurate representations of things without looking is something that comes more with drawing something over and over and memorizing the body shape more than just, feeling like you should KNOW how to do something

so dont beat yourself up for needing references. if youre trying to shy away from them a little bit but still cant make something look nice without em, try using several different reference photos to put together an entirely different pose ? 

theres ALSO the SHRIMP METHOD, which is great for practicing and getting good at one particular thing - this probably isnt SUPER HELPFUL but good luck ! 

god i tried. exactly ONCE maybe fourish years ago but it wasnt art, i was trying to stream the lion king movie and i had no idea what i was doing, i didnt realize i needed to wear headphones so the sound wouldnt snowball into a feedback loop of my own voice that never ended but i kept laughing and it kept distorting worse and worse, like the audio version of saving and resaving something as a jpeg

it was just me and my friend ronni in the stream and ONE other person who never left and never said anything and i kept addressing them out loud like WHO ARE YOU and that only compounded the noise problem and eventually i gave up

anyway i havent tried since

i uhhhhh dont think i COULD, really - fear especially is something thats kind of subjective and one persons Big Terror could be neutral or even cute to another person

like for me i used to have a lot of childhood fears about the ocean, and how deep and dark and vast it was, to the point where i couldnt play a lot of water levels in video games, even ( but i had almost drowned several times when i was Very young which probably had, a little somethin to do with that )

maybe sometime ill try to explore things IM afraid of, but its hard to encompass a psychological response in an image !! could be a fun experiment, though ! !

a few PLANT ANIMAL AZKZ, HUH, DONT HAVE A WORKING Z KEY

SHIT DUDE THESE ARE... SO GOOD thats the official name EVEN IF i didnt use. a daffodil as the flower base. it doesnt matter 

yes

i got A BUNCH of flower and plant themed suggestions and theyre all REALLY GOOD ( way more than these ) but straight up im taking a break from em for a while - if anybody is else is reading this though you should definitely tackle one of em

WASABI ASKS

Do Not Feed Animals The Paste

i keep going back to read this ask because you could replace wasabi with my name and its the exact same. its the same. i feel like i have to hide somewhere

this was real and this is the award they gave us

there were other awards but the judges refused to give them out. they burned them in front of the other dogs. we won

it depends on the age ! wasabis pretty much an adult, so her sheds are pretty infrequent ( usually once every 7-8 months ) BUT when she was still growing back like 6 years ago, she would do a full-body shed every other month !

wasabi accepts tokens of appreciation in the form of : fruit, green beans. No Exceptions

i would never seperate wasabi from her hands

absolutely..... not. not even a little bit h h hh a this isnt a disney animal companion, i dont even know what “kind of like a dog” means with , a lizard who cant make any vocalizations or get up on their hind legs or NOTHIN sometimes if i hold a piece of fruit on my hand and she reaches for it she gets confused on whats what and tries to bite my fingers instead

ONCE WHEN SHE was attacking her reflection in a mirror i put my hand in front of her face to break eye contact and she SUNK HER TEETH RIGHT IN THERE but immediately let go like “oh whoops”

lissten . . .  wasabi is so sharp, just absolutely everywhere, and these are the sharpest. the grabbers

heres a lil battle damage from earlier today actually

this is pretty tame BUT the long long lines are from claws, and the thinner, closer together ones are from holding her and her scales scraping against the skin. so not even just the Body is completely safe ! this is not an animal youre gonna wanna get your face real close to if theyre in a walkin mood

she doesnt even MEAN to scratch the shit outta me, its just kind of a byproduct of being a big tree lizard. her tail is absolutely the worst thing to get hit by though. the WORST. lucky me she doesnt attack anything that isnt a dog or a vacuum cleaner or her own reflection

ahhh i got her when i was 16 ! and i dont know her exact age but she was somewhere between 3-6 months when i get her - SHES probably closer to 9 years, but ive had her for about 8

LENGTH THOUGH...... the last time i measured her she was just barely under four and a half feet, but that was a few months ago and its possible shes. Just Slightly larger. shes currently sleeping as i type this so i guess we will never know

duel me

too late for coats..... its all tail action now

ROCK ASKS AND ALSO ASKS ABOUT PUTTING ROCKS IN YOUR MOUTH

oh MAN i feel you . . . . . . . . . . i dont think i could actually Bear To Eat any for real but some of em. just. they. i gotta. just. bite on em a LITTLE just a little bit, a tiny bit, a nibble

when i was real young i used to tap things against my teeth to tell what kind of substance they were made of based on the feeling/hardness/density WHATEVER and i still sometimes do it when im checking stuff out and. it uhhhhh sure is interesting finding out not a lot of people did that

a handful of these delicious raw agates, just for you

please stop spying on me

i DO NOT but you may eat this piece of bornite

meet me at the airport and ill cover your bus fair

theres a lotta different ways to figure out what kind of rocks you got but when you have absolutely no clue on where to start your best bet is to search for the biggest distinctive features of it, and try to narrow it down based on the results

like for something like these pieces of chalcedony, you could try “waxy green translucent mineral”, and from the search results find a few candidates that might be what you have on hand, and then look into each one to see if you can get a definite answer 

ive got a handful of rock and mineral guide books that i always pick through whenever i snag something im not sure of, and if youre REAL into it those are always something you could start keeping an eye out for 

now this is a REAL superficial way to telling what something is and wont be useful for a good chunk of minerals ( as a lot of samples can look really close to something else ) and THIS is a much more in depth way of telling something apart, but its also a lot more time consuming ! so good luck. and good eating.

Just Try And Fucking Stop Me

ANIMAL ASKS THAT ARENT............ ABOUT MY LIZARD

im married to this one actually

fuck. ok. heres. a secret. a In the ask Post secret. wasabi goes through a period that lasts a month every single year where she carries eggs in her gut, and spends that month not eating and digging around in everything, trying to find the right spot to lay these eggs. and. when it happens i never know what to do with them, and i dont want to just THROW THEM AWAY so i. eat them. i eat the eggs. i fuckin eat the eggs dude

Theyre All Goddesses

unless you plan on having your lizard roam around outside whenever they want, the outside environment doesnt really matter much for most reptiles as long as you set their habitat up right ! BUT i do know that australia has bans on certain reptiles ( iguanas are one of them ) and so youre gonna have to look up whats actually available in that area 

 bearded dragons are native and those are always a good option, but so are a lot of geckos - its really gonna depend on what youre into ( but i dont really recommend anoles if thats an option, because theyre fast as Hell and dont like being handled )

what the fuck is a bee

oh geez im sorry ! i remember going through this with spiders a lot when i was younger to the point where looking at photos of em used to be a fuckin, TRIAL 

you could try a really gradual exposure deal, where you start off with getting comfortable with just images, and slowly working your way to dealing with one in a controlled setting ( like a petstore, maybe ? not HANDLING em or anything, but just being near one in a way where its absolutely impossible for them to touch you )

the shitty thing about this kind of phobia is that even if you KNOW its irrational theres sometimes not a lot you can do about it, but if you can stand looking at photos of them you could try learning up about them, and finding out the types of species youre likely to encounter around your house, and seeing how many ( if any ) are ones you should avoid ?

i know some people that have major problems with snakes are because theyre unsure if the ones they find are poisonous or not, and it might go a long way to confirm that the reptiles you meet wont be able to harm you even if they TRIED ( which is gonna be the case with a lotta house geckos, they cant do SHIT youre a GIANT )

very VERY few lizards have venomous bites, and the worst most of em can do is give you a bloody finger if theyre large enough, and even then its usually not much worse than a cat scratch !

still though, if youre really serious about trying to get past this, dont force yourself too quick into what you think you SHOULD be, and take tiny steps outta your comfort level when you can

this probably isnt uhhh SUPER helpful hh hhah but good luck !  shit im going through this post and its like ALL reptile photos. im sorry

i feel about them, with my hands

MMM it shouldnt HURT them unless theres something Really wrong, considering its a natural procession of growth, BUT its definitely itchy as hell, to the point where reptiles trying to remove it will drag their bodies over stones or walls tryin to get it off

sometimes wasabi drags her whole hind foot over her head like a dog to get it off and it is. a Sight

ahhh honestly there arent a lotta reptiles thatre gonna do much more than TOLERATE the touch and not really, enjoy it, like a dog or cat or bird

but speaking from experience with wasabi, youll probably want to avoid most the head and stick with the top of the back near the sides - wasabi doesnt enjoy having her tail messed with much either, but shes ok with her dewlap and feet being touched

the most important thing to keep an eye out for when youre touching one is their body language, because  THATS gonna be a dead giveaway for whether you need to back off or not

closing their eyes is a sign of stress, not enjoyment ! same with tilting the head back, but if thats ALL theyre doing then youre probably not gonna face any retaliation

B U T if theyve got an extended dewlap with a raised body or tail off the ground, not a good idea to interact with em ! thats a defensive posture, and you risk getting hit with a tail or even bitten if your hand gets too close

youve got more to risk with males, who are way more territorial and generally larger, but if they seem pretty chill when you approach and dont stand up and stare at you, youre probably in the clear

COCK of the ROCK

I HAVE im so jealous of anybody whos got to see one in person - actually handling one is a level beyond that which i could even comprehend

OTHER THINGS.....

no but i was bit by a pigeon once

this is the only joke i know

i fuckin WISH !!!!!!!!!!!!!!!!!!!!!!!!

ayy im into it - honestly i havent been following the band so much as just kinda, picking up whatever anybody else mentions and so my knowledge on Gorillaz Lore is pretty uhhhh h hh h scattered but im definitely interested in seeing where this goes

i remember watching the first and second season and it being pretty good - some of the episodes and jokes are hit and miss but you absolutely got me with the creature and alien design

havent seen any of the third season yet though !

i mean the fruit ones could be pretty up there 

how bout. an abstract concept. who cares about physical forms wheres the dragon of melancholy 

why come theres nothing to eat in my apartment but bread. im good otherwise but its all just bread

i havent watched either of em in YEARS and YEARS but i distinctly remember. these lil dancing mushrooms

oh wait FUCK 

FUCK !!!!!!!!!

no... NO.... she is not allowed to eat ANYTHING from the plan shelf, try as she MIGHT

im a little mad that this sill isnt bigger because the only other one that gets sun is in my room and wasabi WIll... absolutely eat those. no doubt. a convenient and expensive salad, for my awful gremlin 

god im looking at these and its all jade plants isnt it

little golden books taste the best but they can make you sick if you have too many at once. my favorite genre for snacking is sci fi fantasy but anything over 300 pages tends to get a little tough if you dont break it up with smaller chunks. non fictions always a gamble because the taste is wildly different each time but you can usually tell how ripe it is by the cover color

ayy im already a big fan of some of their stuff, ive got a couple songs from them in my music tag - im especially into i miss you and their shut up and bring it here remix

TOP FIVE THINGS

1

2

3

4

5

this is barely related but once i filled up a bathtub with water and then dumped about ten bags worth of mint tea into it and then just. soaked around in the tea. listen it was really nice. id try the cheese

i dont have any ships but i was on one of those model pirate boats once for a school trip. our boat was named naruto and the other one was named sasuke and the captains shouted “make them kiss” and ran them into each other. everybody on board drowned

youre trying to trick me into googling yoshi without shoes and its not going to work

me reading this message from the safety of my apartment :

nice try, but wrong again ! : )

THIS IS GOOD info, thank you

oh SHIT the other side of paradise, take a slice, life itself, and season 2 episode 3 are all my Big Faves

the way you phrased this makes me think you already have a strong opinion on it

hey uh. coming from a person who was absolutely CONVINCED that theyd be dead in the future when they were 12, a not insignificant part of that was me feeling that there was something irreversibly wrong with me for not behaving or acting in certain ways based on what was going downstairs

and obviously im still HERE but it means i can understand how devastatingly terrible it can feel when youre that young and it seems like the way you behave and feel are flawed, or dirty, and anything that can lessen that feeling and make you comfortable in your own body is huge, can save your life

not that im saying its always a LIFE OR DEATH decision !

i guess if youre viewing it as adults forcing a child into making decisions that you dont think theyre capable of understanding its easy to be hesitant about getting behind it, but nobody is forcing a child to be trans. nobody has tricked them into feeling this way. you cant just walk in and get started on treatment on an immediate whim - some programs require 2 YEARS of concrete evidence before theyll even consider it

i feel like you should try speaking to the parents of trans children before you really put down a concrete opinion on whether this is a good or bad thing, and seeing the difference ( if any ) its made in their lives 

people whove detransitioned, or found they had ultimately a different identity than the one they were exploring could also be an avenue to look intto ! i have several acquaintances who, after a period of years, found they werent trans but wouldnt take back the time where they were figuring out if they were, and i know this doesnt invalidate the friends i have who ARE 

ultimately this is what it boils down to for me : Its Sure Gotta Beat Being Dead

i WILL give you that ive definitely seen a lot of overreactions to seemingly innocuous topics on this website

but youve also got to keep in mind that everybody who is saying these things MEANS them, and to them theres a completely reasonable explanation to why they feel that way

im not saying you should blindly accept any criticism you get, but to instead try to get a grasp on WHY theyre responding the way they are instead of immediately dismissing it

its because i cant drive and they wont let me sit in the front on account of the smell

NICE THINGS

AHHHH I GOT.. a bunch of other really sweet messages to the point where id feel weird about putting em ALL UP BUT... IF YOU SENT ME SOMETHING i can promise i absolutely saw it and it made my day better and just, holy shit, thank you for taking time out of your life to say anything to me at all

because you didnt have to, even a little bit

youre all beautiful and im kissing you on the mouths all at once. no take backs

[nevillwallace97]

Does Delay Premature Ejaculation Pills Work Astonishing Useful Ideas

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Can Gonorrhoea Cause Premature Ejaculation

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[elnino-slo]

Embracing the improvement psychology

What would you do if you could do it all the time?

Everybody is the happiest when they are doing what they want to be doing. When you get to do what you want to do, you’ve won. That is seductive nature of human beings in 21st century. To be more precise, in the era of Information Society.

I’ve been very fortunate to collaborate with high competent people in my early teenage days. At that time I had a lot of ideas. But we all know that ideas without execution are worthless. Some of the ideas became great projects, some of the ideas were just not ready for the world at that time and a lot of ideas failed on the first steep.

One of the first projects was building of my own brand “elnino.si” which was and still is my number one incubator for ideas. It’s funny when people say... “hey elnino!” While this was strange for me at the start it was also a solid proof that my work is recognized locally and much more globally thanks to the power of Open Web. Last year Janino Organization was born as a result of “too much” projects coming to elnino.si brand. In that year Janino has become an umbrella organization with a small team behind, few successful projects and still some ongoing projects.

The wishes are really “blue sky vision”, but still we have more demand for our services than we can handle and this is a proof we are doing a good job at Janino Organization.

One of the fields that really gave me a lot is also Open Source and culture around this phenomena. I was and still am supporter of this movement that is changing the world. When I started exploring Open Source world it was still being labeled as “hobbyist playground”. After educating myself on this field for a few year I was determined to prove that that was wrong and undervalued label.

Today Open Source is one of the leading streams of Information Technology and innovation in general. While most people disagreed I was determined to prove that Open Source is the next big thing and is here to stay. Numerous projects on this field brought me to numerous great opportunities that I am really pleased I was part of.

Bottom line: It’s all starts and ends with hard work and commitment. Even though people often doubted in me I made all my decisions predicated on the long term. I wanted to learn and gradually improve.

I was always driven to do more. It’s just my nature, I’m never satisfied with average.

Last two years were also challenging. I had to make some important decisions regarding my professional and also private life. On the career path I had three options. One was to continue my path on the field of Mobile. Second one was to continue in the field of Open Web and the third one was to try something tottaly new in the IT field. As you may guessed it I decided to broaden my horizons and went to a totally new field in IT connected with Life Sciences. Currently I work for Amplexor. I have probably chosen the hardest way. I really like challenges, this is the fuel that keep me going forward to improve.

Amplexor Life Sciences is the leading provider of end-to-end solutions. It enables life sciences companies replace manual work or obsolete siloed applications with automated single authoritative software product that helps users effectively tackle industry-specific challenges and problems.

Don’t get my wrong I don’t accept all challenges.

Steve Jobs was one of the people who followed path with set boundaries. He has been practicing the technic of saying “No” more often.

It might sound crazy at the start but according to the human psychology people are used to say “Yes” more often in the life.

The problem is that by saying “Yes” more often in life you will at some point get in the status where you will be stuck in the middle of nowhere and later on you will realize that you have made a mistake.

Because of saying “No” more often Apple has become one of the leading and  also well known companies with top-notch products.

Steve Jobs had a set frame of mind of what he wanted the product to look like. If something was not polished or did not fit within his boundaries he would simply cut it out by saying no to it.

Pre-empting might be the most difficult part about a decision, but it is the most effective means of letting other people know that you already have something on your plate. Saying “No” is a subtle art.

One of the most challenging parts my past year was an opportunity to publish a book with German publishing company.

They found me based on my research that I have done and were fascinated about my work. My academic research in 2016 highlighted how mobile devices operating with specific OS, in this case Firefox OS, are a perfect devices for performing illegal activities of organized crime. Why? Simply because commercial forensic tolls worth multi-thousand dollars do not fully capture all the data from this niche mobile operating system.

I open sourced 70% of the source code publicly (as much as I could) and also released a set of tools for free. At the time of writing this blog post none of the commercial “big money” forensic companies still don’t cover most of what this tools can do for a niche mobile operating system - Firefox OS.

While writing a book sounded exciting I said “No” I was not interested in making money out of my work or becoming a “famous hacker writer”. My work is already public and would not fit in my set of boundaries. Releasing tools and source code publicly was what I wanted to do and share it as a public good, this was in my set of boundaries.

One thing that was really hard to say “No” was the opportunity to act in a role of professor in the field of IT on the faculty. While I have wish to one day do that I could simply not give all passion and dedication into this opportunity, therefore the boundaries were out of my limits, for now. Hard to say it... but I had to do it - No.

Information Society and Web offers unlimited opportunities. If you do a good job opportunities will come. I did get a few jobs offers that I would not like to publicly disclose. I would like to say thank you for expressing an interest to all the people I shaked hands and offered me job or project. Who knows, maybe in few months/years our paths will cross...

This is, kind of, traditional recap that I usually post at the end of the year. But as we know being more available equates to having less time to focus on other things... like this blog post.

“As we become more mature and enlightened adults, we come to realize that if an opportunity is presented to us and it does not gain a near 100-percent enthusiasm and commitment from us, then the reply must be a 100-percent no.”  - Brendon Burchard

What I learned is that we are either being navigated by the flow of life which means we are becoming stagnant, hence going into “parked state” or pursuing to resonate our deepest self. I’m keen to keep pushing and exceeding the (yet) unknown limits.

Till next time ...

Cheers,

Nino Vranešič