Things I Like About This Drawing
This is an idea someone had
Oda decided to draw said idea
Luffy got a monkey to go along with this plan
Law used his fruit on the monkey
Luffy appears to be in Gear 2, meaning he was incredibly determined to accomplish this task
The intense looks on both Law and Luffy's faces
Law felt the need to draw his sword and use his devil fruit powers to defend against Luffy's antics
Luffy's shirt says "PAN!" which is "bread" in Japanese (パン)
In general, the lineart is nice
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"Babe you better of not invited that fucking killer sans around, you know i fucking hate him-"
The killer sands in my livng room:
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no you dont get it you dont UNDERSTAND this scene at the end of wall-e is so aburpt and emotional. especially in the context. the whole movie it's all been up in the character's faces, filling the frame. but the camera steps back and you see how small they are. so insignificant. massive towering monoliths all around them but at the end of it all.. they're just robots.. two tiny little robots. they're in the shadow and wall-e is *gone*. The bright spark of life has quietly been whispered away. that spark, so small, so bright. the framing gives you the eerie sense of emptiness [emphasised by the previour shot - showing wall-e's lifeless eyes.
there's no emotion there. it's empty. he's gone. not just gone, but the lights aren't on. sure you rebuilt the house but you look inside and nobody's there. the echo of your love doesn't return. it's hollow. it's so sad. i could cry about this for years and years and years. so much is being told. EVE was lifting his eyes and they dropped back down in the most robotic way possible. no swagger or humanity or personality. just back to inhuman efficency. compared to the swift, sweeping, emotive movement throughout the movie - this feels not just bad, but wrong. there's only about 2:30 from wall-e "reanimating" until he comes back completely. but that 2 and a half minutes. its some of the most heart-tugging animated movie i've ever seen.
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