#just realized ive never drawn tango

[hottubsandwiches]

hermits got the dungeon master working a 9/5

[liloinkoink]

a few weeks ago i went thru the “where is your rider” 3L animatic by @aroaceacacia​ frame by frame in DMs to a friend to explain what i liked about, uh, nearly every image in the animatic, so just for fun ive collected and cleaned up my comments on it. i expanded on a bunch of the stuff i said previously and made it all sound more coherent. that said, this is a mix of analyzing the actual content (by someone who is not an artist) and just. pointing at frames i liked. 

we’ll start with these opening red frames! i am not fast enough to grab individual screenshots w how quickly they change (i just hit screenshot randomly and this was the one i got), but i think theyre all super pretty and i love the way the images changing is set so neatly to the song itself. plus. the red fading into black vignette and the slight smoky texture of the overlay is rlly nice. one day ill slow the video the hell down to see what the individual ones are, but the tnt minecart’s a favorite of mine, personally 

...i immediately went back and slowed the video down to minimum speed to look at the frames. here are some favorites

the tnt minecart! i mentioned it before but i am such a fan. for all i love the red army this IS still my favorite kill, sorry ren. this is a fun angle on it, too. it looks so small like this. i also think its really fun this is the frame which first gets the title 

i had never noticed this one before slowing this down but i love the inclusion of tango’s minigame! and the no pearl rule martyn got added, lmao

cleo beloved. this one is just looks nice. shes so pretty....also just fun considering this bit seems to include a bunch of significant moments from the beginning-to-middle of the series, inciting incidents for the red king to rise. cleo asking ren to keep this secret is definitely one of the bigger parts of that, so this is a neat one

when this one zipped by i’d assumed that it was cleo taking pizza, but looking at it now im realizing this is probably scar’s hand, isnt it? there arent stitches like cleo’s hand has, but there’s a scar more reminiscent of, well, scar. love when you can tell someone thru smth like that kinf of small detail 

this is the first panel of the entire animatic, which, fitting enough. ren gets his bloody crown. love the way the blood looks on this frame. (also, bc i was just talking abt minor details to identify hands, love ren’s watch)

i really love the way fire is drawn in this whole video. i dont have important commentary here i just Love fire. 

the brush texture for a lot of this whole video is rlly nice, i love the splotchy texture a lot of the backgrounds have / the fire here has. i dunno what its actually called but it reminds me of like, a sponge (i remind you i am NOT an artist)

obsessed w this frame. disembodied hands comin out of the grey. the & placed nicely in the middle of the handle of the axe. simple and very nice. also i love the edges getting lighter. this is just a real fun frame to me

now that pale white horse is our and we know this video is like, very much supposed to take place right after the trap set by the desert... like i know i knew this lyric was abt ren’s now-yellow eyes, but i dont think it really stood out to me till seeing it Right After pale white horse

MARTYN IN THE REFLECTION OF RENS GLASSES. scream. 

something im always fond of in writing is imagery about smiles when relating to a person’s identity... got a whole tma oneshot with a dozen and a half lines about smiles from a monster wearing the face of a friend. so i love this line, and i love the smile paired with ren’s glasses covering ren’s now-changed eyes. his eyes are different, but his smile’s the same...

love this frame also for obvious reasons (Guy Who Is Obsessed With Ren’s Execution) but god i just love the red mist on the axe. looks cool and is So effective in conveying how actively malicious this axe and the obligations attached to it feel. 

plus like. i know this animatic uses a limited color palette so blue isn’t in it. but it almost feels like the mist is so tangible it’s drained the blue color out of the diamond axe. which. Nice. 

also the angle is so fuckin nice for this too like. also, a down-below angle like this is one which i’ve heard in the past be referred to as the "hero's angle" (least when ive used it in photography?) and thats just. a fun detail to me, personally, for this shot

god. the axe looks so fuckin BIG when you do it from this angle. absolutely lovely shot its a favorite of mine probably (if i say that a lot dont call me on it)

i think me calling out this shot was definitely predictable Considering My Writing but [screaming and cheering] THIS IS SO GOOD. BOTH HOW ITS SET TO THE MUSIC PICKING UP AND ALSO THE FACT THAT THE CUT AND BLOOD SPRAY ARE SO CLEAN. THATS A CLEAN ONE HIT SHOT CONVEYED WITHOUT SHOWING THE ACTION AT ALL. I LOVE IT. another absolute favorite frame for sure

also love the red hair tie and streaks of red in his hair. but god. what a damn powerful hit this would have to be

i dunno what it is about this shot in particular but i love it. maybe the hair over his face? his posture? not sure but i am a really big fan. it looks like, idk, creepy? in a way the other ones of ren immediately following it arent (tho theyre also quite good) also the red lines on the crown make me think his crown is full of blood like. a cup. which is fun [since writing this i have set this frame as my icon on twitter] [i have also since realized that the red lines do indicate the crown is, in fact, full of blood]

i love him your honor

also the smoke coming in darker/thicker with ren as ren gets closer. ren’s face as Just The Teeth (wicked shape to your smile...).

the gesture he’s doing is also really fun like. very showy. its one i see in... a lot of scar fanart, honestly? which i think is fun. it feels really showy, absolutely screams arrogance/bravado. 

ive written before how i think a lot of the red king act ren put on was fear-fuelled theater, like. the red king was a defensive measure, a prey animal fluffing itself up to look bigger and scarier to fend off something that might devour it. a banner for a bunch of terrified people to band together under to be less afraid. that’s what this gesture is in my mind

JUST REALLY NICE. love ren as a red silhouette and martyn as a green one.

i reference this a lot later one so ill just say as much here: i love this animatic’s commitment to this limited color palette of red/yellow/green + monochromes. lends to some really clever stuff, especiallt when the colors are used to denote what life a player is on

OKAY. THIS SHOT...

AND THIS ONE

love the red mist/smoke at the edges. im so fuckin obsessed w that, it looks cool and ive made my opinion on this texture/effect very clear already, i love it. but also, i love the way martyn appears to be clearing it all away with his hand

like. this is the mist from the axe at the start. this is Red Life Bloodlust. this is ren hitting martyn and saying “go ahead, kill me again, you have the ability.” this is red name bloodlust encroaching in on martyn and ren. in the first of those two frames it’s closing in and then the second one hes waving it away 

none of that can make him hurt ren again

(...also i like that martyn’s hair is lined with red. looks nice)

and then the next frame its all gone. there’s not really any red at all.

...also this is such a good frame. look at ren's face ill fucking cry. the lighting in this is so good. i love it. i love the bright white moon, i love the shadows on ren and martyn, i love that one of the brightest points is ren’s dumb fond face, i love his hand on martyn’s cheek and martyn holding it there...

also im just realizing that those are phantoms and not clouds.

AND RENS CROWN. it IS full of blood [see. i got there eventually]

anyway love that the next two frames after this really nice calm one are the sandcastle fucking exploding

LOVE THE WAY FIRE AND EXPLOSIONS LOOK

I SAID THIS W THE FIRST FIRE FRAME BUT I LOVE IT. ITS SO NICE. feels like you dipped a sponge in paint and smushed it onto the canvas, which is a very wet and not-at-all firey way of making fire look, which makes it super interesting and very enjoyable

youd think with the writing ive done that id have a high stomach for injuries but i actually dont have any stomach for it at all, so, every time i see this arrow thru the head sequence it makes me gasp. love it. esp the blood coming out of the eyes, WHAT a detail. simple yet Very visceral to me. esp since it starts w them both looking like, pretty bored? it just GUTS you despite being relatively clean. same with his hand up in the air there as he falls

love this frame. martyn's run looks slightly goofy to me which ALSO makes the next frame of him being shot a gut punch. also the looming trees and brush textures are So Good. this is also another really fun example of the limited color palette being used to show lives. usually martyn’s drawn with his hair colored blond, but here, as he’s about to lose his green life, the only color available to him is green. also, not coloring his hair makes the fact his eyes are green stand out way more. this is the first frame ive really noticed it

also i like that martyn gets shot on the line “rested while living.” its funny

ABSOLUTELY ADORE THIS FRAME ITS SO FUCKIN GOOD

just. cleo’s eye being red and yellow. the harsh red line in the center bisecting the frame. everything about the skull half. i love this. ive got no analysis for this one its just sick

love the eye coming into the moon obsessed. also it took me till now to notice like... i keep pointing out how much i like how this animatic only uses green/yellow/red plus monochromes, yeah? something i think is fun is cleo’s frame prior to this doesn’t use green, even tho cleo’s green-tinted. there’s just yellow and red. but this one w the zombies does. 

this frame’s always been a little jarring to me and i think its just... this might be one of, if not The, most green frames in the animatic. the entire lower half of this one’s green! i dont have anything super analytical to say about that i just think it’s neat

i love this one too the dogs are so cool. i love joel’s red stripe and his fuckin... red mist. return of the mist! 

i also like that the mist-wisps dog shapes in the bg have red eyes. it could easily be the same sort of vignette background that this animatic has plenty of (which is what i think i processed the white edges behind joel as the first time i watched this) but instead they have eyes. theyre dogs, hinting Many More Dogs. all very good.

IN LOVE WITH THIS FIRE ASPECT SWORD

i just. my favorite color is red. my second favorite color is gold. my favorite palette is red/gold/black/white. this is a very me-bait frame. also the angle of the sword just feels like someone’s walking with it held out to the side/down. while that makes the epee fencer in me want to yell (put your point on target buddy....) it does look sick as hell

this frame is perfect no fuckin notes 10/10. fantastic and recognizable scar silhouette. fucking evil looking scar. i just love the super simple but super fuckin evil eyes/mouth. he looks unreasonably threatening

...and grian in the bg the frame after grinning just as evilly despite having yellow eyes. love it. love his hands on his hips its just fun. also the rings of grey behind them are so neat. 

also i love grian so every time he shows up i am like [points] <3

my favorite color is red so any very red frames will have my approval. love this. 

im also just realizing it sorta copies the fire aspect sword frame. sword’s helf at the same angle, but now we’re not preparing for war, there’s not fire ready to burn. we’ve had war and we’ve won it

the dead joel frame. he looks so fuckin small. hes got no dogs. hes on his own, hunted down in the desert, no help and no one hes even really gonna miss him. top tier. very sad

also... smth abt the dogs being white wisps before and there’s just grey lines away. very neat. im also realizing right now as im looking at this, is it the crater in the desert? the lines feel like he’s in a hole, the slightly sandy edges giving way to a grey dip feels like a burned-away hole/crater... fun 

...forgot to get the scott frame but i love how its green yellow and red. its a really pretty frame

GOING TO CRY. LOOK AT THEM..... LOOK AT MARTYN AND HIS FLAG..... ABSOLUTELY LOVELY.

fuckin. whats the word im looking for. starts w a v. valorent? v... VALIENT. ...valiant. i spelled it wrong [this was sent as like 6 texts and i condensed it into one line. just wanted everyone to see me spell this word so very wrong]

also like that ren's crown is noticeably bloodier

the bright yellow sunlight coming in from the side... the color/angle its at feels reminiscent to me of golden hour, which is my favorite hour to take photos at and also, on occasion, makes me emotional simply by Happening. i have teared up just by standing outside somewhere pretty during golden hour on more than one occasion in my life. so i like this frame a lot

the few seconds of the flag swaying in the wind. very clean animation. very nicely timed to the music. really nice to look at. feels vaguely lonely bc of the music its set to being so forlorn. rlly effective tone switch

gen is very good at using very simple visuals to effectively do and convey very complex and interesting and emotional things and also kill me dead

such as this.

i think so much abt them leaving dogwarts empty at the end bc they simply couldnt defend it anymore (and how coming to try to reclaim it is what kills them) and all those feelings are conjured up right here. it looks so small man. that’s their home and they left it

forgot this was the next frame. double what i just said.

every shot of the red army makes me [sobs] look at ren... look at him face...........

also i like that ren's crown is no longer gold, JUST red. everyone only gets the colors of their name, now, and the lack of gold makes the blood in ren’s crown stand out SO much more now that its the only color. even when his head is tilted back and thus his crown is harder to see, the blood stands out. 

plus. yknow. the yellow is for bigb, while the other red names get little red details (we have once again confiscated martyn’s blondness). plus the vibrant red banner next to them

also i. rlly love the stringy look of everyone's hair? and the fluff on ren's cloak. texture... esp etho’s hair i love etho’s hair so much

and ren. i said look at him face already but Look at him. ill cry. look how fond he is. i love him. how could we ever let anything bad happen to him

also as always love the background. i know its kind of minimal but its very fun. Texture......

i know this is the thumbnail but im in love w it. props for putting the red army to the line about armies

martyn's face... i love him look at him look at his SMILE. the little blush on his face. the golden buttons on his coat. AND his hair. love the swoopy bangs

and etho. etho my beletho. look at him..... going to hold his face in my hands. i love his little red dot eye and his hair

and bigb!! he looks so proud. i love the halo the moon gives him w the bit of green and the little blushes. this is a zero analysis panel i just love the red army 

ALSO LOVE THE BG HERE. REALLY NICE. the vibrancy of the moon and the shading on the trees are both rlly fun, same w the bright moonlight catching on the water

skizz. crying

ETHO MY BELETHO. I JUST LOVE THIS FRAME A LOT

...ive got to stop saying etho my beletho im Absolutely incoherent

anyway. god i just love this frame. the clean, strong red is so good against the whites and greys. its just so nice to look at

also etho's expression like i know theres not a lot there but also i really like the quiet fondness as he looks at his flags. and his hair. ive pointed it out three times now but i really like his hair

RETURN OF BIGB’S GREEN HALO... not the moon this time! just how to indicate hes a green life when his skin doesnt have any green in it! really clever

also the blond hair and gold crown!

...and now its time for pain speedrun

MARTYN BEING CLEAN AND THEN BLOOD SPLATTERING ONTO HIS FACE IS SO. WAHHH REALLY NICE I LOVE IT. visceral without even showing whichever death it is that happened. So fuckin good. 

also like... this frame following the frames before it its really fucking jarring. this right after the bigb frame? the red army frames? and then just immediately martyn, covered in blood? they didnt get to win! they didnt get to spend like any time together! they gathered together and they died!

i think another thing that makes this frame so jarring (and thus effective) is like. martyn’s core colors are green and yellow. blond hair and green clothing. both in his skin and primarily in this animatic. this is basically the first time we see him (not as a silhouette) without them (the only other one is the golden hour one, so. he doesnt have yellow inherent to him, but hes still got some yellow), which makes it even like. worse. subtle and devastating!

wrote all that and have much less to say abt this frame except like. bye etho </3 the way gen draws fire is still pretty

the music video being mostly static, even when fire is shown, until now, this fire burning and moving as it does. rlly adds smth. makes it all more real. also Real Nice

i also like the arrow in the middle is still visible. you can make out the shape of it, just vaguely. sick as hell

WAILS

also god the fact that as far as i can remember to this point all the blood in the mv has been CLEAN and fully opaque. that ren's blood on his clothes (and martyn’s on his clothes the frame before) is like, not fully opaque? its the spongey texture, not clean red pen. this isn’t paint. this is soaking into and staining his shirt. its really fucking nice

images that cause me immense pain. ive got no analysis here. tho i do like that the “will” that should be red is black bc its written over blood

IMAGES I THINK ABOUT EVERY DAY OF MY GODAMN LIFE IMAGES THAT REWIRE MY BRAIN CHEMISTRY IMAGES THAT RUIN MY DAY IMAGES I AM IN LOVE WITH AND WANT TO PLASTER EVERYWHERE ON EVERYTHING

THEY WERE SO CLOSE. THEY WERE SO CLOSE.

THEY DIED SO CLOSE. THEY DIED IN THEIR HOME. THEY DIED TOGETHER BUT NOT TOGETHER AND THEY WERE SO CLOSE TO WINNING AND THEY DIDNT

AND AGAIN. THE SMUDGIER BRUSH/SPONGE BLOOD. I LOVE IT. suddenly its not paint its THEIRS and its REAL and its. augh

everything i find compelling about renchanting duo is contained succinctly and wordlessly in this specific frame and it means everything to me ever

also its just really pretty to look at. harsh red/black/white/grey is the ideal color palette and i love how its used here. same w the gradient there at the edge of the altar

artistically and symbolically flawless

i Would eat this image given the opportunity

[aion-rsa]

The Timeless Yet Underappreciated Allure of Eva Green

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It’s 2006. James Bond, as rendered in this particular iteration by franchise newcomer Daniel Craig, is on a train to Montenegro as he prepares for his upcoming mission: a poker tournament, where he will compete against the notorious private banker and criminal mastermind known as Le Chiffre (Mads Mikkelsen). However, there’s one factor Bond hasn’t taken into account, and it’s the well-dressed woman in a business suit who elegantly sits herself across from him in the train car. But Vesper Lynd (Eva Green) isn’t merely the agent to the British Treasury that she asserts herself to be — over the course of the story she’ll become the first woman that Bond truly, deeply gives his heart to, as well as the first one to subsequently break said heart. Hers is a role that demands assertiveness and vulnerability, a captivating beauty with a keen mind, and someone audiences would absolutely believe capable of being The One Who Got Away, the woman all of Bond’s future romantic entanglements or physical diversions can never quite measure up to. With all of that in mind, it’s no wonder that producing team Michael G. Wilson and Barbara Broccoli, as well as casting director Debbie McWilliams, were drawn to a French actress who had only starred in a handful of films before Casino Royale.

For Eva Green, Vesper Lynd was the part that would cement her status as a name on the rise, but her acting career had begun just three years prior. With The Dreamers, in 2003, Green starred opposite fellow French actor Louis Garrel as artistically inclined siblings who become entwined with an American exchange student, played by Michael Pitt. The film was helmed by controversial director Bernardo Bertolucci, and in an interview with The Guardian after the release of Casino Royale, Green spoke about how both her agent and her own parents attempted to discourage her from taking the part considering Bertolucci’s reputation for not allegedly securing his actors’ consent (most notoriously with Maria Schneider on the movie Last Tango in Paris). Ultimately, Green stated there were no issues between herself and Bertolucci during production, and the end result is a film that unflinchingly speaks to her talents as an actress. She gives the character of Isabelle depth that indicates a sort of ageless wisdom in certain scenes, but other moments have her displaying naivety that reveals just how young and inexperienced she truly is. It was this performance that soon led to director Ridley Scott casting Green as Sibylla in his 2005 movie Kingdom of Heaven, a role she accepted only a week before production.

When it came to potentially playing a Bond girl, however, Green had reservations; she turned down the role when it was first extended to her, but reportedly came around to the idea after she had an opportunity to read the script and saw that the character was being written with more complexity than a mere sexual object. Now, 15 years later, it’s almost impossible to envision anyone else bringing the alluring and guarded character from Ian Fleming’s original novels to life on-screen. Vesper is the first woman James Bond truly develops romantic feelings for, and, st simultaneously, she is the one most easily poised to completely destroy any chance he has at finding love again. This potential is realized after her cutting betrayal and subsequent death. Green won several awards for her portrayal, and it was arguably this role that catapulted her into recognition. It seemed that, in spite of Green’s initial fears that she would be typecast post-Bond, only the sky was the limit when it came to future projects.

However, Green’s career since has largely consisted of smaller, independent films interspersed with the occasional big-name property. She has led movies like the simmering psychological thriller Cracks (which was directed by Ridley Scott’s daughter Jordan) and sci-fi drama Womb, enjoyed a short-lived stint in the role of Morgan le Fay on Starz’s Arthurian-set series Camelot, and was the first actress to inhabit the role of the witch Serafina Pekkala in the film adaptation of Philip Pullman’s The Golden Compass. She has also starred in a total of three Tim Burton films to date, beginning with Dark Shadows in 2012 (based on the famous soap opera), Miss Peregrine’s Home for Peculiar Children in 2016, and Disney’s Dumbo in 2019. All three premiered to mixed critical reviews. These days, most genre fans likely remember her best from her appearances in the sequels to two action-packed franchises which both released in 2014 — 300: Rise of an Empire and Sin City: A Dame to Kill For. Later that same year, the premiere of a show known as Penny Dreadful would allow Green the chance to demonstrate the full scope of her acting abilities, as she stepped into the Victorian-era show to inhabit the powerful medium and clairvoyant known as Vanessa Ives.

Penny Dreadful ran for a total of three seasons on Showtime, and Green was inarguably its lodestar, despite sharing the screen with other acting luminaries such as Timothy Dalton, Helen McCrory, Patti LuPone, Rory Kinnear and Harry Treadaway. Her breakout television role neatly intersected with the path of another actor’s return to the small screen, Josh Hartnett, and amidst such supernatural threats as witches, undead creations and ancient vampires, the chemistry between Hartnett’s Ethan Chandler, himself a secret werewolf, and Green’s Vanessa made up for a significant part of what kept audiences tuning back in every single week right up until the show was unexpectedly concluded on June 19, 2016. Vanessa Ives is a tragic figure from the start, a woman whose power has made her both desirable to evil forces and the product of scorn, not to mention a target for those who believe a woman should not be able to possess that much capability. Watching the series now, it’s difficult to fathom an end result in which there is any happiness for her, but that makes Green’s performance all the more captivating, as well as all the more heartbreaking.

As hypnotic as Green is on screen, and in spite of the seemingly effortless gravitas she brings to any fictional part she occupies, her biggest and most consistent struggle is finding the next project that is worthy of her talents. Understandably, she has made attempts to avoid being pigeonholed into any one type of character, but since the conclusion of Penny Dreadful, most of her filmography has not quite replicated the conditions that made her such a dynamic presence on that series. Recently, she was cast in another Starz TV show, a miniseries adaptation of Eleanor Catton’s novel The Luminaries, and while her depiction of Lydia Wells, another role steeped in mysticism, has garnered her positive reviews, the common critique appears to be that she simply does not appear enough — which, in fairness, could be said about most of her post-Penny Dreadful work. 

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Green is hands down one of the greatest screen presences of our time, and more people should be familiar with her filmography. Looking to the future, the hope is that she’ll be given a role that isn’t merely another quirky witch or femme fatale or supporting cast or in a project that is quietly released direct-to-video. Her wealth of talent means that she should have her pick of anything she wants. Perhaps with the announcement dropping earlier this month that she’s been cast as Milady in a big-budget movie adaptation of The Three Musketeers (reuniting her with her Dreamers co-star Garrel), she’s already taking the steps she needs to cement her growing legacy as an actress.

Do you have a favorite Eva Green role? What would you like to see the actress do next? Let us know in the comments below.

The post The Timeless Yet Underappreciated Allure of Eva Green appeared first on Den of Geek.

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