#no stripes for this one.. easy to draw and animation friendly.. i think..

[picklesplitz]

Do you ever just get so bored you make a whole Alt design on the spot ...

I drew her nakey too so I could reference her markings if I ever needed. She got the pants built into her bro

[rohad93]

Werewolf in the hospital

As far as Halloween’s go, this one could have been better for her. It wasn’t often she ended an evening sitting in the ER, dressed as a werewolf, with a broken nose, but she couldn’t say now that it didn’t ever not happen!

The night had started fun enough. She’d been out with Gus and Willow at a party being thrown at one of their college’s many fraternity houses. One that was affectionately referred to as the ‘Illusion coven’ around campus because of its many resident students that were known for their penchant for pranks and being able to disappear without a trace when the heat was turned up in response, as well as a large handful of their students that were also members of the school’s ‘magic appreciation club’.

They of course, always threw the best parties, especially at Halloween.

This one had been no different. The music and lights could be seen from about two blocks away. There was a long line of students waiting to get in the front door, but luckily for her and Willow, Gus was a member, which got them through the door instantly.

The place was jammed packed when they finally arrived and Luz could barely hear herself think over the music that was trying to vibrate her teeth right out of her skull, but that didn’t stop her from making a beeline straight for the dancefloor with her friends in tow for the first hour. Excessive amounts of energy made dancing the perfect activity for her, even if she generally lacked any grace or coordination.

It was weird to finally be at one of these raging school parties after all the ones she had been purposely excluded from in high school.

After four years of being an outcast in high school and spending most Saturday night’s alone, watching anime or writing fanfiction to fill her spare time, she hadn’t expected her social life to really take off in college, though ‘take-off’ might have been a strong word for it. She still only had a handful of friends, but it was still a far cry from how she’d been a loner in high school.

Leaving to go to college out of state had given her an opportunity to start new, though she was still the same old Luz she had been her senior year, there were so many more people at her college with varying interests and backgrounds than her small-town high school where everyone had known each other since grade school and pretty much stuck together from the first grade on.

You release one nest of spiders at nap time and suddenly you’re branded for life as ‘that weird kid’. She didn’t like to admit how much that had really bothered her when she was a kid, but it just became the norm as she got older. It didn’t stop her enjoying life as much as she could, even if she had gotten thrown out of prom her senior year for wearing an otter onesie.

It was still nice to actually have friends now, one’s she could study with in the library or just have lunch with and not blink an eye when she said something totally bizarre, or at least bizarre by most people’s standards.

Meeting Willow, her dorm mate, and then Gus through her, had been a lifesaver and through them, she had met other student’s, some of which she shared classes with, like Viney, who despite being an upperclassman was only now taking her English comp basics so they worked together on group assignments, she was funny and easy to get along with. It didn’t take long for Luz to count her, along with Gus and Willow as her closest friends.

Viney was also dating Emira Blight, one of the infamous Blight twins, who were also members of the ‘Illusion Coven’, so she knew Viney was probably somewhere here among the many bodies packed into the large house, though the chances of running into her were slim.

She wasn’t at all surprised to see the copious amounts of alcohol that was everywhere either, that was one thing about college that TV had gotten right. College students drank; a lot.”

She watched three students doing a keg stand till beer squirted out of the guy on the kegs’ nose.

She snorted, grinning to herself and showing off the mouthful of sharp canines she had spent a good hour in the bathroom getting molded to fit too her teeth. She was, of course, the definition of a broke college student, attending entirely on a full scholarship, cause when you don’t have anyone to hang out with, you might as well study, and it was finally paying off, but she still had little in the way of personal spending money given her measly paycheck from working part-time at ‘The Owl House’ An owl themed diner just off campus owned by the most eccentric woman Luz had ever met, did not make for the most extravagant costume. But she made do with an old red flannel, ripped jeans, and some dollar store pointed ears and face paint. She had splurged a little on the fake teeth, she’d reuse them next year, werewolf was a classic after all.

Despite her less than ideal paycheck, Edalyn Clawthorne, or Eda ‘The Owl Lady’ as she was known around town, was good to her, letting her eat and drink for free or study there when she wasn’t working, and honestly, Luz kind of wanted to be Eda when she grew up. She was self-assured and didn’t care what anyone thought about her, not to mention surprisingly foxy for her age.

“You guys want something to drink?” Gus yelled at her and Willow to be heard over the pounding music and voices.

“Is there anything without an octane rating?” Willow questioned, as she watched an upperclassman drinking something straight out of the bottle at maximum speed.

After all, she and Willow were only nineteen, and Gus seventeen, he was crazy smart and had skipped a couple of grades. Luz had never had much interest in drinking, despite Eda sometimes offering her a drink from her flask with the Owl etched into the side.

She didn’t even know what was in it, only that Eda referred to it as “Mama’s magic Elixir’. She always said no and Eda would shrug and tip it back till it was empty.

“There’s punch, but I’d still be careful. Chances are good it’s already been spiked.” He shrugged.

“No thanks,” Willow shook her head and turned to look at something, the glitter on the wings of her fairy costume catching the bright colored lights overhead. She still hadn’t figured out what Gus was supposed to be. He was wearing a long red tube with a smiley face on it and long sleeves that went down to the ground that he flung about in excitement.  

“I might take my chances on those snacks!” Luz shouted, eyeing the array of treats laid out on the table for the taking. She was willing to bet no one had spiked the cake and it looked really good from here. Gus grinned and Willow rolled her eyes, smiling. Anyone who knew Luz for any amount of time knew she had a voracious appetite and an even bigger sweet tooth.

“Yeah, okay, just don’t eat everything.” Gus laughed at her.

“No promises!” She grinned back before moving across the room, trying to slide between the bodies that packed every square inch of the place and get to the refreshment table. People were moving in every direction around her as the music blared and the lights flashed, it was a little disorienting actually, but she had her eyes on the prize.

She had just made it to the table when the crowd surged and sent her careening into someone else standing there, slamming into their back and making them spill their drink.

“Watch it, nitwit! A voice growled at her before stopping. “Oh, hi, Luz.”

Luz blinked, realizing who exactly she had just slammed into, and swallowed thickly.

Amity Blight, who she did not exactly start off on the best foot with when classes had started a few months ago but now had a much more friendly relationship with.

Amity Blight, the smart and talented girl she shared creative writing and literature appreciation with. Amity Blight, who Luz had a teeny, tiny, minuscule... huge, crush on.

Amity Blight, who was dressed prettily as a witch, complete with black and green striped leggings and a pointed black hat and, who she had just slammed into and spilled her drink on.

“Ah, I’m sorry, Amity!” Luz grimaced at the wet spot now in the middle of Amity’s black blouse.

“Oh, it’s okay, really, no big deal!” Amity waved a hand, snatching a napkin off the table and dabbing at the spot.

“You sure? I could go...get you something or…,” she started, unsure.

“NO, no it’s fine, really…,” she insisted and Luz frowned. She must have embarrassed the other girl, her face was tinged red as she wiped at the spot, and was trying not to look Luz in the eyes.

‘Mierda’ Luz cursed under her breath.

Clearly, Amity did not want to talk about the spill anymore, so Luz cleared her throat, drawing the young woman’s gaze.

“What are you doing here? You don’t strike me as the… party type,” she asked and Amity rolled her eyes and Luz’s chest seized up, wondering if she’d insulted her until Amity spoke again.

“I’m not, but my brother and sister are members here and all but forced me to come tonight,” she huffed. “I’d much rather be back in my dorm, studying for our quiz in lit appreciation Monday and not getting a headache from this music.” she frowned and Luz blinked.

“Oh, Mierda! I forgot about the quiz!” Luz slapped her hands to her cheeks and Amity blinked at her before laughing.

“It was written on the board yesterday and the professor sent out an email reminder this morning.”

“Ugh, I didn’t check my email today,” she groaned, squishing her cheeks.

“Well, you still have tomorrow to study,” Amity offered.

“There was so much material to cover though…” Luz groaned. “I’m not gonna sleep all weekend, I’m going to have to cram till I push out every memory of the third grade just to make room for it all.” She frowned, already thinking about all the coffee she was going to have to drink before Monday morning, and on Monday morning.

Amity was biting her lip, thinking, but decided to take the chance.

“You can come study with me. Only if you want that is!” she quickly finished, pushing a stray strand of dyed, half mint, green, half auburn hair behind one of her ears.

“Really?” Luz asked.

“Yeah, I was just about to get out of here anyway, I’ve had enough of the party…” she said, looking around at all the people crowded into the room.

“Yeah, I’d love to!” Luz jumps on the opportunity, cause why wouldn’t she. “Oh, I came with Gus and Willow…” she remembers her friends somewhere in the house.

“Oh…” Amity seems to deflate a little at that. “Maybe another time?”

“No, it’s all good! I’m just gonna go tell them I’m headed out. You, uh, wanna meet outside?” she asks and Amity is smiling at her again and Luz just wants to melt into a puddle on the floor as those amber eyes stare back at her

“Yeah, I’ll wait for you.”    

“Great! I’ll be quick,” she promises as she runs back out into the crowd, looking for her friends. It takes her about ten minutes to find them in the living room.

“Hye guys, is it cool with you if I head out?”

“Where are you going?” Willow questions her.

“I ran into Amity, who reminded me we have a quiz in lit appreciation Monday and I really need to study and she offered to study with me, so…” she trails off, seeing the look Willow is giving her. The horticulture student is very aware of Luz’s crush, despite her never really saying anything about it. She does not count gushing to the shorter girl about how smart and pretty Amity is as ‘saying anything about it’.

“Why would you wanna leave a party to study?” Gus makes a face and Willow smirks.

“I think it’s more about who she’s studying with…” she says knowingly and Luz blushes as Gus blinks at her, confused.

“It’s cool, Luz. Go study with Amity.”

Luz does not care for the knowing way Willow says the other woman’s names, with a teasing lilt, but she’s not concerning herself with that for now.

“Thanks, guys, I’ll see you later,” She calls, already running toward the front door.  

She doesn’t immediately see Amity, in fact, the yard in front of the house is empty, everyone inside.

Luz frowns, looking around. Did she get tired of waiting?

Her chest aches a little at the thought, shoulders slumping, and is just about to turn around and go back in the house when she hears something that does not match the thumping bass of the music inside, voices. She walks quietly around to the side of the house and peeks around the wall curiously, if college has taught her anything it’s that there are students making out anywhere at any given time and not to look too closely into dark corners where sounds are coming from.  

Her eyes widen as she spots Amity right away, her back is pressed against the wall and a guy dressed in a toga is standing in front of her, leaning down over her. He’s not particularly big, but he’s standing uncomfortably close with his hands wrapped around both of her wrists, hands fisted, Amity is scowling angrily up at him. Luz’s brows furrow between her eyes and she frowns, walking over quickly.

“I said let go!” Amity snaps, trying to rip her hands free from his grip and he’s so close she can smell the alcohol on his breath.

“Come on, just a little kiss, it’s Halloween…” He leans forward and Amity turns her head away,  sneering.

“I don’t care if it’s fucking Christmas!” she snarled. “I said no!”

“Hey!” Luz shouts standing just a few feet away now. “She said no!” she growled, lips pulled back over her fangs.

“Luz!” Amity stares at her wide-eyed.

“This is none of your business bitch, go howl at the moon,” he slurred before turning back to Amity and yanking on one of her hands. She yelps in pain as he jerks her and Luz is moving forward before she even knows it and her fist is connecting with the side of his face.

He goes fumbling backward, releasing Amity as he stumbles to his butt in the grass.

“Santa mierda, eso duele!” she hissed, shaking out her screaming hand.

“Come on!” Amity grabs her other hand and starts to pull her away but then the guy is scrambling to his feet and coming at her with a strangled yell and Luz does the first thing she can think of, she uses their joined hands to yank Amity behind her and then the guy’s fist connects with her face and her world an explosion of pain and crunching noises.

She’s only vaguely aware of Amity screaming her name as her back hits the grass and everything goes black for a second but then she’s quickly pulled back to consciousness by his hand fisted into the front of her shirt and her fight or flight instincts kick in and she’s swinging wildly at his ugly mug as quickly as she can.

Her hands protest every hit that connects with his stone-hard face but she doesn’t stop and he’s swinging back, but she can hardly feel it over the constant pain radiating from her nose through her whole body.

She just clenches her eyes shut and keeps swinging, punching him as hard as she can, but then there are more voices and two large burly guys have him in a stranglehold, pulling him off her.

Amity had dashed back inside to grab the houses ‘bouncers’ standing just inside the door.

“Oh my god, Luz!” Amity holds her hands over her mouth as she kneels onto the ground next to her, looking over her face in horror.

“Ugh…” is all she can manage and then Amity is grabbing her hand and helping to her feet and dragging her across the yard, fumbling, panicked through her purse before finally pulling out her keys. She unlocks the passenger side door of a small black sedan and carefully pushes Luz into the passenger seat.

“Keep your head tilted back,” she says before closing the door and hurrying around to the other side, and jumping in the driver’s seat.

It’s only now that Luz realizes she can taste blood and reaches up to touch her top lip and pulls her hand back to see her fingers covered in the crimson liquid.

‘Well, that’s not good,’ she thinks, but it definitely explains why her face hurts so bad.

She tilts her head back but can feel it dribbling down her chin and neck as Amity pulls away from the curb, much faster than the speed limit, Luz is sure as the tires squeal.

She runs her tongue across her teeth and feels a distinct lack of a point and groans, making Amity glance at her.

“I think I swallowed one of my teeth…,” she mumbles more to herself but Amity’s pained expression turns into a grimace as they speed down the road.

Which was how she found herself sitting next to her crush in the ER with her head tilted back and the front of her once white shirt stained crimson as her nose continues to bleed.

Halloween is apparently a very popular time for injury because it’s crowded and takes two hours for someone to see her, while they wait Amity fills out her paperwork for her.

“Birthday?” she asks glumly, and Luz tells her. She hasn’t said much since they left the party, she looks miserable, and that’s coming from someone who is doing their best impression of a fountain with her nose. She can’t stand that face Amity is making. “Allergies?”

“Lactose intolerant, so no milk IV’s,” she jokes, despite the incredible pain in her face. Amity starts to write but then stops, blinking, before turning to look at her grin.

“How can you joke? You just got beat up… because of me.” she frowns.

“No, I got my block busted because some guy was being a pendejo.” Luz frowns. “It wasn’t your fault, and I wasn’t just going to stand there and let him….do whatever he wanted!” she scowled, throwing up a hand.

Amity is looking at her with an unreadable expression, but before she can say anything they are calling her back.

“Oh goody, my turn.”

It takes forty-five minutes for them to tell her that her nose is broken, which she could have told them when she caught sight of herself in a mirror, a bloody mess and her nose pushed to the side at an odd angle. No wonder Amity had been so panicked and run all those red lights.

Putting it back in place is… not fun, and then the doctor stuffs gauze in her nose and splints the outside, telling her she needs to keep the gauze in for a week and then sends her on her way with a prescription for antibiotics and some mild painkillers.

Amity is waiting for her when she comes out.

“What did he say?” she stands as Luz walks back out into the waiting room and frowns at the splint on her face.

“It’s broke.” she shrugs and Amity grimaces as they walk out back to the parking lot.

“I am so sorry, Luz.” Amity frowned. “If I’d just…”

“Hey,” Luz cut her off, she wasn’t having any of that. “I told you, it’s not your fault, technically, I started that fight… didn’t win it, but I started it,” she laughed to herself.

“You are surprisingly chipper for someone who just got their nose broken…” Amity can’t help but smile a little at the other woman’s cheery disposition.

“It’s not the first time I’ve broken something you know. The first time someone helped me along, but hey! Besides, I helped you, and that’s good enough for me.” She smiled as they stopped next to Amity’s car. Amity has a small smile on her face as she unlocks the car. “I hope this is healed up by thanksgiving or my mom is going to have a cow…,” she mumbled as an afterthought. Amity giggled to herself.

“Come on, I’ll take you home.”

The drive is mostly quiet until they pull up into the parking lot in front of Luz’s dorm building. Willow is probably already back in their room.

“Do you think this will get me out of the quiz Monday?” Luz wonders aloud as she unbuckles and Amity laughs.

“Doubtful... but…, if you’re up for it, I feel like I should at least treat you to breakfast or something for what you did… we could study after?” she offers.

Luz blinks at her, finally realizing what exactly is going on. She was certain before when Amity had asked her to study that she was just being nice, but the way she looks now, fingers tapping anxiously on the steering wheel and glancing at Luz out of the corner of her eye, she finally catches on and curses how oblivious she is at times.

“Like… a date?” she asks uncertainly and Amity flinches.

‘Y-Yeah.” she jerks her head in a nod and Luz is silent for a few seconds too long it seems. “If you don’t want to…!”

“No! No I do, want to go on a date with you, yes!” Luz nods, too fast, it makes her nose throb.  

“Really?” now Amity is turned to look at her, eyes wide, with a hopeful glint.

“Yes, absolutely.” Does she sound too eager? Probably, but she does not care, especially when Amity’s face lights up with that adorable little smile she’s seen on her face once or twice before in class when they talked and now she feels even dumber for not catching on quicker.

They plan for Amity to pick her up here at nine tomorrow morning and then Luz opens the door, but Amity stops her.

“Thank you, Luz… I don’t know what might have happened if you hadn’t shown up...” Amity says finally.

“Amity Blight, I will be your fearless champion anytime you need me too!” she declares, a fist on her chest. The bandages and bloodstains, as well as her nasally stuffed up voice, diminishes the gesture some, but Amity smiles adoringly at her none the less.

She hesitates a second before reaching across the console to lay a hand gently on Luz’s cheek before leaning forward to quickly kiss the other. Luz’s face erupts in red as her heart hammers in her chest.

“My fearless champion,” she agrees, cheeks a bright pink.

Luz’s face erupts in a grin.

Maybe the evening started poorly, but she can’t find it in herself to mind one bit.

[animatewarriorcats]

Do you have any tips for making animation-friendly designs? My designs are intentionally accurate to real-life cats, and I love them, but I know they would be super tedious to animate, or even use in a comic! How do you make such simple designs that are still so amazing and beautiful?

Well, it just takes practice and iterations I think! Mostly. But I have a few tips that I fall back on frequently I could share so Here’s my quick hot take on making animation designs:

Simplicity is your friend. I had a professor that used a term “simplexity” to describe the balance needed in order to make a character unique and easily recognizable, but also not hell to render out in a full animation. This is going to mean different things for different productions, for example something on the scale of Disney can have a character like John silver with a multi faceted robot arm whereas if we’re trying to do something low budget (*COUGHforfreeCOUGH*) you’re going to want to minimize the headache people have when drawing your character by leaning into the simple side of this term, so that they don’t want to murder you and will still be your friend after the project is over. (more under the cut!)

So what does this mean exactly? You’ll want to keep the line mileage to a minimum. For cats, this means limit the amount of detail and rendering you give the fur in your linework. I’ve seen Artists who break this rule magnificiently (like Raevi goddaMN GIRL) but for a design it is much easier on artists to streamline down to core body shapes and key character Accents in the fur (like tail shapes, cheek floofs ect). This can be pretty diverse, but I’d minimize it as much as possible (if possible down to three accents, more on this later).

For examples, On lionblazes design (line art only at this point) his Character traits are his tail shape, Mane, and Scribbly eyebrows, all aspects that mean more strokes are being taken and work done, but that are easily recognizable between frames, and artists. I also have brought up Dovewing’s design because it’s more complex in it’s line art, but I could simplify it down even more to just her butt shoulder and ear floofs and still recognize her character silhouette. In fact, paring it down even further would strengthen her recognizability.

The amount of strokes you have people draw in cleanup will drastically change the amount of time it takes to render a character. Between Firestar and Bramblepaw in this shot Bramble easily took twice as long to line (or more!) thanks to his beautiful luscious curls.

Next! Principle I use in simplexity is the rule of three. For whatever reason, the number three is your best friend.  It’s not as weirdly symmetrical as two or four, and maintains a unique organic-ness to it without getting carried away by five or seven. Now what am I even talking about? Pretty much everything. This is the secret of markings. This is the secret of character accents. This is the secret of color picking. The Rule of three is your best friend.  

Take Brambleclaw for example.  I gave him three stripes/markings on his face, and three on his side. It feels nice and natural and organic, without being overwhelming. I also gave him three specific fur accents in his line art, his ear tips/eyebrows, Belly floof, and shoulder puff. I used the rule of three in picking his colors, three main pelt colors, and three accent colors (eyes are always gonna be more complex if desired, people love rendering the shit out of eyes) and even so, three colors for the eyes. I used his lightest pelt color in only three places, and his Pink color in only three places, and his darkest color in only three places (eyebrows, Tail tip, and if I had thought to write it down, his paw pads). Even his forehead marking has three parts to it. You do it enough and it becomes really natural and subconscious. Of course, like all rules, you can still break it if you need to, but It has been one of my best friends.

Alright last thing to think about for now, (see what I did there? There are more things, but it helps people remember better to learn Three at a Time), are Shapes. Specifically using Simple identifiable shapes when constructing the body or face of your character. This is going to sound similar to the line mileage point, because they are related, but they are different. This is focusing on the macro details of a silhouette whereas Accents are about Micro details. This point also has the added benefit of helping characters look and feel related to each other if you use it potently!

Let’s take Hawkfrost and Mothwing for example. Specifically their faces. Hawk I designed first, and I wanted him to feel dangerous, and maybe a little twisted. So I decided to integrate a lot of triangles into his design because, a triangle’s shape language reads as dangerous. They’re pointy, and sharp, like teeth claws, and knives. We can’t in good conscious put an especially triangular object next to a baby because it inherently feels dangerous. They’ll poke their eye out with that tall prism. Other shapes have their meanings as well, Rectangles (cubes) are sturdy, and circular objects are the opposite of triangles, they’re the shape of eggs, fluffy pillowy things, and babies. They’re inherently safe, and soft.

Pull back from digression. Look at hawkfrost and his triangles. They have sharp claw like tips, which are emphasized even with a noticeable downward curving to their points. This motif is repeated multiple times, in his cheeks, his ears, his eyes, his chin, his nose. This becomes unifying, and inherently feels dangerous and curved, or twisted.

Now look at moth. She has triangles too, but I deliberately went through the effort to make them rounder, softer, inverting the angles of her eyes to feel sad and not cruel. Yet she remains similar in enough ways that she feels related. Her nose curves in a similar downward manner, her ears retain the out down curve without the dangerous point to them. The fur accents of her cheeks add to the roundness, making her feel softer while sharing hawks cheekwings.

Let’s take another example, Bluestar and Snowfur.  They are proof that similarities do not have to be reserved to face shapes alone to give that strong feeling of relatedness. In some ways I think theirs is the strongest sibling bond I’ve read in the books, and that obviously translated to how I designed them haha! The idea behind their design was ‘curvy sturdy’ which is reflected in their circular based hourglass figures emphasizing Bluestar’s ���broad shoulders’. I tried to make their heads more of a squashed circular shape, to give it more sturdy strength while feeling soft and maternal. Her ears are very rounded at the tips, and the particular downward turn is easy to identify and reflect in both cats. Lastly, their square “pants” because let’s be honest, both these she cats wore the pants in their families. There are also enough differences that in pure silhouette you would still be able to tell Snowfurs bushy tail apart from Bluestar’s thinning fur, and snows’ cheekfluffs from blues wide round jaws.

Of course I am not perfect at all of these elements, and there are even more things I could say that make designs unique and easily animatable while also identifiable.  If you are looking for more or different suggestions, I liked Tenielle Flowers’ Video she released on the subject: https://www.youtube.com/watch?v=lO-kNlyHn8A .

And good luck!

[pianoperson]

Cradlesona

I have worked on this for two days but I am finally done with my Cradlesona!!

@lovingsiriusoswald Thank you for starting this trend!

Now, introducing my Cradlesona: Angel Burnham! (or is it really her name...)

This is my first digital drawing so it looks wack shhhhhhh

A brief warning, though: Personality might confuse you because of the way I wrote it. I’ll make a much better version of this, however.

Basic Info:

Name: Angel Burnham (It is not her real name, however.)

Nickname: Angel

Birthday: December 12

Age: 22

Height: 150cm

Blood Type: O+

Physical:

Eyes: Her right eye is a natural brown color. Her left eye, however, is akin to a galaxy. It became like so when her magical abilities decided to show themselves while playing the piano one day. Nobody knows how the galaxy pattern was made permanent on her eye (nor do they know why her eyes become the colors of space when she uses magic instead of the typical red).

Hair: Dark brown hair, which can look black in some angles, while in other angles, it looks more brown (the image shows it brown however).

Accessories: She has two rosary bracelets on her left wrist and a St. Benedict ring on her left middle finger.

Features: Other than her left eye, there isn’t anything about her that stands out.

Illnesses: Aside from allergies to most seafood except fish, none

Social:

Affiliation: Neutral at first, Red Army later on

Occupations: Originally worked as a waitress in a cafe, but sometime after the day she found out about her magic, she was recruited by the Red Army to help them in the war.

Relationships:

Blanc: He and Angel are friends. Blanc let her stay in his house, gave her a place to stay when she wanted to move out, and was the one who helped her find a job in Cradle. He does this as an apology for accidentally bringing her to Cradle. Blanc, alongside Oliver, are the only ones who really know where Angel is from.

Oliver: At first, Angel was intimidated by him due to his less than friendly first impression. But within the time she spent living with him and Blanc, they were able to get to know each other and become friends through ranting.

Fenrir: When he stops by to pick up something from Oliver, he would occasionally chat with Angel. He gave her a tour around Cradle as well.

Edgar: Edgar may be kind to her, but something about his smile was sketchy to her. She doesn’t pry, however, mostly because she doesn’t have much concrete reason as to why he felt sketchy to her. Edgar would occasionally tease Angel about her crush, however, much to her annoyance.

Kyle: Angel loves his chill self and admires his dedication as a doctor. They’re friends and sometimes, if she feels like going out, Angel would accompany Kyle to the bar. She never drinks, however, so she’s stuck with bringing Kyle home.

Lancelot: She was intimidated by him, but after learning what Lancelot means to the army through Kyle and Jonah, she realized that the King of Hearts is actually nicer than he lets on. 

Zero: They don’t talk much but Angel thinks he’s great company.

Jonah: Angel has a crush on him. She found him attractive when she first saw him, but after Blanc’s brief descriptions of the Queen of Hearts and seeing him looking happy while eating a strawberry mille-feuille one day, she found herself crushing on him.  

Personality:

Race/Ethnicity: Half Filipino-Cradle blood

Type of clothes/How they wear it: When she first fell into Cradle, Angel wore a long-sleeved dark blue-and-white striped shirt, with dark blue jeans and black sandals. Due to 19th century customs for women, she had to wear a couple of dresses. She has three favorite dresses that she wears nearly every day: the premium dresses from Jonah, Sirius, and Lancelot. 

Mannerisms: She mostly doesn’t care and likes to act as how she wants to act. She can behave and be formal if necessary, but otherwise, she definitely does not have the manners of Lancelot, Jonah, and Edgar. When it comes to taking care of herself, she tries but it’s not enough. She brushes her hair and takes a bath every day, but her hair can still look like it hasn’t been brushed. 

Favorite subject: Math because there is something about the numbers that captivates her and she feels pride over the fact that she can do math while her other classmates struggle.

How do they want to be seen by others: Angel hopes that people see her as a decent human being and not someone who seems to be bad-mannered or mean to others.

How people see them: Angel isn’t really sure on that aspect, but she did get a few comments from people who say that they were initially intimidated by her due to her serious expression. It’s most likely that she’s too serious for people to feel like they can easily approach her.

Introverted or extroverted: Angel is an introvert. She likes to hang around with friends, but that would mean staying in her place or being alone the next day to recharge. She isn’t the type to initiate conversation, but she would gladly engage in one if she feels like it.

What makes them laugh out loud: A lot of things actually. Snarky comments, roast comments, someone’s rather enthusiastic way of telling a story, dissing other friends, and the list goes on.

Do they make snap judgements or take time to consider: Angel doesn’t judge people, especially if they’re strangers because she is aware that they both come from different places. However, she will judge if someone makes a stupid move, including herself.

How do they react to praise: Angel’s reactions can vary. If she is proud of what she did, she’ll say thank you, but if she does not find a reason to deserve the compliment, she gets bashful. Either way, her day will feel better, knowing she did something right.

“” criticism: Angel accepts it with grace. She does not want to make a fuss, nor does she want to reveal any negative feelings towards said criticism. 

How do they treat anyone: If Angel is with a close person, she’s much louder and more carefree. She looks more cheerful. If Angel is with a person who dislikes her or she dislikes, she still acts polite, even if she is tempted to show her irritation.

What is their view on lying: Angel absolutely hates lying. It’s not to say she’s above it, but in the moments she doesn’t say the exact truth, she feels guilty. This extends to her friendships; she strives to not lie to her friends about anything and will always try to keep her word. This honesty, however, can sometimes cause her to say an off-handed comment, which she’ll regret saying later on.

Favorite animal: Her dog from the Land of Reason. When he pops into her head, she hopes that he is still alive.

Music, art, or reading: This is a hard choice for Angel, since she likes all three, but she’ll choose music. All three keep her entertained, especially when she can barely do anything without WiFi for her phone.

Favorite color: Darker hues of blue and gold

Favorite day of the week: Wednesday, because that day tends to be her most relaxing day

Most beautiful thing they’ve ever seen: Angel tends to find so many things beautiful. She can find beauty in even the way the stones on a cobblestone pathway are arranged. Deep down, however, she will say Jonah Clemence (lmao).

Political views: In the context of the conflict within Cradle, Angel is neutral. As someone who lives in the Philippines, she can’t help but note the disadvantages of the dictatorship that the Red Army advocates for. On the other hand, democracy can be somehow difficult to manage. Therefore, she prefers to not think about it.

How do they deal with conflict: She doesn’t. Angel tries to avoid arguments most of the time. However, she will speak up if she feels there is something wrong. When she does argue with someone, she tries to keep her inner peace without blowing up. However, when faced with conflicts regarding personal problems, she can get stressed easily and lose it.

Are they more likely to fight with their fists or their tongue: Angel prefers to speak. She is doubtful that she can fight, even with magic and the resistance to it in her arsenal.

How do they deal with stress: Angel will rant to herself when she’s completely alone. Sometimes, she’ll also rant to Oliver. If what is stressing her is sadness, however, she will keep it in and not tell anyone. 

What is their biggest regret: Angel is the type to regret a lot of things and when she least expects it, the things she regrets will enter her head and she will clench her fist and shut her eyes tight to make it go away. Her biggest regret, however, is when she played Sonata Pathetique mvm. 3 in a restaurant, the day she found out her magical abilities.

What is their greatest fear: Angel is secretly scared of one thing: being unwanted and consequently alone. She’s scared that she won’t get a man who would love her unconditionally because she’s not good enough or she’s scared that her friends gossip behind her back or love each other more than her because she’s not good enough. This fear worsens after she found out about her magic.

When was the last time they cried: Angel hates crying, more so in front of others. She doesn’t know why she even does; it was a thing she knew ever since she was a child. Because of this, she doesn’t normally cry, even if she bottles up depressing thoughts. She does cry, however, when the guilt from the day she found out her magic and the fear of not being loved by anyone ate her up.

What is their philosophy of life: Angel likes to go with the flow but she has to establish a few things she wants in life to make it easier.

What will they stand up for: Angel doesn’t have much she particularly feels passionate about, as she’s the type who would rather chill and not be caught in conflict. But if there’s one thing that would irk her, it’s people being mean. She doesn’t get why people would betray their friends nor would she understand why people are jerks. Therefore, she tries to be nice to everyone she meets.

Is it easy to admit their mistake: Yes. Angel will know if it was her mistake or not. 

Is it easy to forgive others: Definitely. Angel can’t hold a grudge.

Weak traits: Angel can be lazy and won’t complete a project she started on. Angel also has some level of arrogance, born out of the fear that she isn’t good enough and that no one would want her.

Strong traits: Angel will always try to be a trustworthy person and someone who tries her best. 

Family and History:

Angel is actually from the 21st century who recently graduated from college with a degree in music. While walking back to a condo her family owns, Blanc bumps into her and drops his pocket watch, which she picked up. She chased him and called him but he was too fast. Eventually, he disappears, confusing Angel, and standing on the spot where he was, she ended up falling to 19th century Cradle.

Angel’s family is actually a mix of two worlds. Her mother was a Cradle citizen, born into a family of magic users, while her father was from the Land of Reason. Her mother, for some reason, entered the Garden on the full moon and accidentally ended up being transported to 21st century Earth, where she met Angel’s father and fell in love. They hid this from Angel and her other siblings and she only found out during a chance encounter with her mother’s parents. Because of the magic and resistance to it being passed down, she inherited both abilities, which are most powerful in music.

Skills and Special Abilities:

Magic: Angel can cast magic like typical magic users. When she uses magic normally, it’s far from the power of magic users such as Lancelot and Harr. However, when she plays piano or flute, her magic becomes much stronger, possibly stronger than the aforementioned two. Using it, however, can cause fatigue, fever, and even fainting.

Magic Resistance: Due to her roots in the Land of Reason, she also has the ability to nullify magic, making her one of the most powerful people in Cradle– and a target. Strangely, when she makes TwoSetViolin references, her magic nullification ability is more powerful. (It was how she even found out about her magic resistance. She remarked “iNtErEsTiNg” once and the nearby lights went off. The crystals in the light bulbs were newly installed.)

Pianist: She has a decade and a half worth of experience.

Flutist: While not as experienced with the flute (only having played it for around 5 years), she can still play it.

Paired with: Currently no one, but she has a crush on Jonah

Life in Cradle:

Angel just recently graduated from college when she first encountered Blanc, who bumped into her. Blanc seemed very antsy and, after apologizing to her, ran off. He dropped his pocket watch, however. The same thing that happened to Alice the Second occurred, except Blanc actually was nearby when Angel was falling to 19th century Cradle.

The portal closed immediately after Blanc caught Angel, so she was trapped in the unknown world.

On the first days staying in Cradle, Angel was nervous, even with Blanc and Oliver helping her. Often, she was reminded of how tense she was.

During one of the days Blanc showed her around, Angel saw a troop of Red Army soldiers, being led by Jonah. Angel found him attractive and kept glancing at him. 

Eventually, Angel asked Blanc if she can get a job and her own living space, since she didn’t want to burden him. Blanc helped her find a job as a waitress in a cafe and got her an apartment to stay in.

She found out about her magic nullification abilities when she moved in to her apartment.

For two months, she carried a rather mundane life as a worker in a cafe. There was a day when, during break, she ate in another cafe at the same time as Jonah (and found him cute as he ate his mille-fueille).

A few days after the news of the former King of Hearts being assassinated was announced, Angel was eating out with some friends from work. The restaurant had a piano, so she decided to play Sonata Pathetique mvm. 3. Midway through the piece, she heard screams and shouts of pain. That was when she found out that she was unleashing magical attacks through her playing and started to panic when she realized her hands were moving on their own. That was when an explosion occurred.

She was brought to Kyle thanks to Oliver. She was the only one who survived the fiasco, which was dubbed Perish Song Night. She also found out her left eye changed color.

Because of the fiasco, she was fired from her job. 

A week later, Red Army declared war on the Black Army. The next day, they faced off. Angel was nearby when it happened and was praying in her head for nothing bad to happen. That was when she accidentally repelled Lancelot’s magic, confusing everyone. It was enough for Blanc and Oliver to arrive and stop the conflict.

Two days after the face-off, Edgar finds Angel in her apartment, taking her to the Red Army HQ. There, Angel is made to serve the Red Army by using her magical abilities against the Black Army.

[takigawachrxsyuu]

Daiya no Ace characters with non-baseball jobs (pt. 1)

Eijun as a barista:

- he is That Barista that smiles at you, and your day instantly becomes 100 times better

- he’s always super friendly at work and will go out of his way to be nice to customers

- “here’s your dark roast, i love your shirt!” “one caramel frappuccino? nice hair!”

- writes nice messages on people’s cups, or will just draw a smiley face if it’s too crowded

- tries his hardest to remember his regulars’ orders, and is immensely pleased when he does

- he gives free refills to students around exam times because they always look so stressed

- he once took, like, three days off and half the customers stopped coming to the cafe. the management freaked out

Miyuki as a model:

- seriously, he’s so pretty. there was virtually no other option

- he does high fashion shoots for, like, the biggest brands

- definitely one of those models that becomes the face of a brand two months into the job. everyone else hates him for it

- old friends think about him like “oh, remember kazuya from school? i wonder what happened to-” *sees a big billboard with his face on it* “oh”

- someone tell him life is not a photoshoot

- despite being a model, he will probably still wear the same shirt/sweater every single day

- it’s impossible to make him look bad in a photo. he looks good in every photo, without exception

- one of the models that unnecessarily flirts with the photographer while working

Haruichi as a florist:

- his flower shop is the most aesthetic place on this planet

- he’s very well-versed in flower meanings and will lowkey throw shade 

- “oh, you’re buying striped carnations for your daughter’s graduation?” (after customers leave) “i hope their daughter knows that those flowers mean disappointment” *sips tea*

- gets the weirdest customers and always has the funniest stories to tell

- somehow convinces his customers that yes, they need all twenty of these roses and all ten of those daisies and exactly six daffodils

- you truly don’t know what you need in life until you enter haruichi’s flower shop

Kuramochi as a cop:

- will chase you the fuck down, don’t even try it

- does NOT fuck with his job. if you do anything even remotely illegal near him, he will stop and call you out on it

- that said, he will 100% use his siren to speed down to a restaurant to pick up his takeout before the place closes

- he will also 100% change his cop car license plate to ‘OMW2FYB’

- “the donut cop stereotype is so fucking stupid, like, where did it even start?” “Officer u are literally eating a donut RIGHT NOW”

- looks like a SNACK in his uniform

- is the baddest bitch on the block

- he would honestly rather die than do any sort of paperwork. he always puts it off or gives it to someone else

- he is the absolute MASTER at interrogations

Chris as a psychiatrist:

- so soothing. so kind. so soft. so nice.

- he will cure all your depresso

- he has the nicest office. it has a comfy sofa, stuff to fiddle with, a great view, lots of tissues

- always has water, tea, and coffee, and will offer it to all of his patients

- he’s so gentle with his patients, he never pushes them, he always lets them take their time to say stuff

- he LOVES hearing about people’s days, and will ask for any details

- “how many dogs did you see today?” “how many streets did you cross? did you cross safely?”

- he has the best advice ever

- whenever his patients are done, he gives them a big, warm hug

- he will talk to his patient’s parents if they are too afraid to

Ryousuke as a food critic:

- HE’S AS FEARED AS THAT MEAN GUY FROM RATATOUILLE SEND TWEET

- he has like 20 shows on tv, and he literally rips people to shreds in every single one of them

- like, for real, people leave with their hopes and dreams crushed

- “you tried to feed me this? bitch, please” “did you sprinkle salt on these fries or did you sprinkle fries in this salt?” “it looks like you tried really hard this time. well, try harder”

- he looks like he’ll be nice but no, no he is not

- haruichi has a tv in his shop that only ever plays ryousuke’s shows and he always proudly tells his customers “that’s my brother!”

- the only person whose food ryousuke will eat without completely roasting them is haruichi’s

- has never complimented anyone’s cooking, ever

Tetsu as an IKEA assembler:

- he pulls up at your house looking like an absolute SNACK and says “i’m here to build your Nordli” with a completely straight face

- always insists on saying those weird names for the furniture

- The Furniture Whisperer TM 

- he doesn’t even need the building plans unless the furniture is somehow customized. he’s memorized how to build every single piece of IKEA furniture

- he once built a closet on his own in, like, thirty minutes

- works in absolute silence

- “do you have the right screws for this Kopardal?” “I’m sorry for the what” “Kopardal”

- you scroll down, like, ten posts on Instagram and BOOM, he’s done building your bed

- if you have a pet he will stop and play with it before he leaves

Nori as a pet store owner

- he’s mildly allergic to all the animals in his store but it’s fine, it’s fine, it’s absolutely fine (it’s really not)

- dogs absolutely love him

- cats also love him

- ALL ANIMALS LOVE HIM OK

- is super quiet and won’t bother you when you’re shopping unless you ask him a question first

- his store is always really clean and organized, it’s super easy to find anything you need

- invites kids to volunteer to play with the animals and teaches them how to wash them, groom them, teach them tricks, etc.

- likes it when people come in to hang out with the animals

Shirasu as a vet:

- his office is right above Nori’s pet shop, it’s very convenient for both of them

- is super gentle with all the animals that he takes care of

- even animals that are shy or unfriendly like him

- very skilled at calming animals down, especially if they’re afraid or overexcited

- always gives his customers coupons to Nori’s store, and Nori gives his customers a discount for Shirasu’s office

- he deals with literally any animals: dogs, cats, snakes, birds, ferrets, guinea pigs, hamsters, fish, etc.

- doesn’t really have fixed hours so if a customer needs to come in at, like, 11pm, he can schedule for that

- has a bunch of candy that he gives people when they’re scared about their pet’s health

- also always has something to drink, whether it’s water, tea, coffee, or juice

Daiya shiposts here

[erictmason]

Top 10 Disney Cartoon Shows

Turns out that last list didn't quite get all the Disney out of my system, so I'm at it again.  Only this time, it's about Disney's efforts on the small screen. It's actually kind of hard to overstate the significance of Disney's choice to get into the television animation game back in the 80's.  Before then, whatever else one could say about its merits, animation on TV meant one thing: cheap (well, OK, that and "short films imported from a radically different era", but let's not split hairs here).  That isn't to say quality animation could not be found on television pre-Disney, but rather that said quality (both in the visual and writing departments) was rarely if ever the priority.  But when Disney came along, with a mission statement of bringing with it the level of craft that had defined their theatrical films (though naturally they were never really aiming that high), that changed, and animation studios of all stripes suddenly had a reason to pour a lot more effort into their animated TV shows.  I don't think it's unfair to say we're still living in the world Disney helped create, in fact, whether it's the overt influence many of Disney's shows have had on the newest generation of animators or else by virtue of the space they helped to make where such shows can exist and thrive.  So, with the reboot of "Ducktales", the Disney TV animation studio's first breakout success, having recently launched, I thought it would be an appropriate time to look back at that vast, storied history of Disney TV cartoons and pick out my personal picks for the best of the bunch. As usual, there are a few provisos, a couple of quid pro quos if you will.   1.) It has to be a show made by a division of Disney Television Animation, not just airing on a Disney-owned channel.  That means no Lucasfilms, no Marvel, and no imports from, say, Canada or Japan. 2.) TV shows only, no shorts or compilation shows.  So much as I adore them, the current run of "Mickey Mouse" shorts will not be on here, sorry. 3.) It has to have aired in its entirety.  I feel like it's unfair to judge a TV show on a list like this without being able to see it as a whole, so as intriguing as, say, "Star VS. The Forces of Evil" is, it isn't eligible since it's still producing new episodes. With the rules established?  Let's make some magic!

10.) Aladdin: The Series (1994-1995): Here's a bit of irony for you: half the reason Disney ventured into television animation in the first place is that, at the time, the future of their theatrical animation division seemed in doubt.  Not long after, however, along came "The Little Mermaid" and the Disney Renaissance, and suddenly it was the television side looking to the theatrical side for source material.  Quite a few Renaissance pics got the TV show treatment as a result, but for my money the best of the bunch remains "Aladdin: The Series", mainly because it's the one that feels most of a piece with the original movie.  Part of that, of course, is that "Aladdin" was already a bit more suited to the adventure-a-week formula, since that's kind of where the roots of the original story already run.  But part of it is also that the ways in which the show expanded on the original's world were genuinely clever.  Pulling not only from Arabian mythology, but Greco-Roman, Aztec, Egyptian, and beyond, the show managed to deliver remarkably-solid adventure stories, few of which ever continued from the other but all of which worked surprisingly well together to create a world that felt remarkably alive and vibrant.  Sure, Aladdin himself remains a fairly uninteresting protagonist, Dan Castellanata can't hope to replace Robin Williams as The Genie, and Iago is a lot less fun when he's asked to be a constant lead presence rather than a humorous diversion.  But even so, "Aladdin: The Series" succeeded at taking the original's lead, running with it, and in the process delivering a show that felt exciting and interesting to watch week from week just to see what new corner of its world it would uncover.

9.) Phineas and Ferb (2007-2015): OK, confession time?  I actually don't like this show very much.  I hardly dislike it or anything, but I was never able to really get into it the same way I could other entries in the remarkably-specific sub-genre of "TV Cartoons Aimed At Kids Which Manage To Also Garner A Sizable Teen/Adult Audience" like, say, "Steven Universe" or another show that's probably on this list.  Nonetheless, I can't deny this thing is maybe the success story of modern-day Disney television animation, lasting longer by far than any other show on the list.  Nor am I unaware of what made it so popular: the strong, heavily-geometric character designs, the charming musical numbers, and the mad-cap, self-aware comedy.  It's that last piece I find most interesting, because I think it speaks most strongly to what helped "Phineas and Ferb" stand out from the pack: it's kind of like the kid-friendly version of "Family Guy", at least in the sense that it derives its humor less from the story or characters, who are deliberately archetypal, and more from its ability to use those archetypal characters as delivery machines for rapid-fire punchlines predicated on equal parts dry wit and pop-cultural reference.  In other words, it never becomes itself an "adult" series, indeed its whole perspective is an exaggerated version of childhood, but it does use an "adult"-oriented style of comedy most other kid's shows didn't really utilize back when it started.  That kind of unique creative choice can often do a lot of help a show stand out from the crowd, and, with four seasons, seven years, and over 200 episodes (to say nothing of TV specials and movies), I think it's safe to say that's exactly what this show did.

8.) Fillmore! (2002-2004): Man, why don't more people remember this show?  Following up on the renewed popularity of crime procedurals thanks to both the "Law and Order" and "CSI" franchises being at their peak, it takes the structure and tone of a 70's/80's-style crime drama and refits it into the world of Middle School.  Cops become Hallway Monitors, overzealous politicians become overbearing teachers, and Grand Theft Auto becomes bicycle theft.  It's that last part that proves the most amusing; since murder is pretty obviously not going to fly on a kid's show, the crimes they do come up with display a remarkable breadth of creativity.  Trying to chase down a graffiti vandal turns into a "Silence of the Lambs"-style criminal vs. criminal scenario, fandom obsession leads to dangerous sabotage, smuggling food into school is treated like something akin to drug-running, that sort of thing.  And best of all, while the show is entirely aware of its own absurdity, its sense of humor is 100% deadpan, and the result is that it really does play like a "straight" Cop Drama despite its setting.  It's a unique tone that is equal parts engaging and funny, and it creates this really interesting one-of-a-kind style that no other show has ever really tapped into, either before or since. Top it off with a great pair of lead characters-the titular Fillmore himself, a Good Guy With A Past played with a crisp cool to match the show's tone by Orlando Brown, and his reformed-ex-con partner Ingrid Third, another notch in veteran VA Tara Strong's belt, and you've got a great kid's show that's every bit as gripping as the shows it parodies, even as it also gets some solid laughs along the way too.

7.) TaleSpin (1990-1991): For the most part, it's easy to draw the lines that connect the Disney Afternoon's initial shows to the pre-existing Disney properties they're based on.  "Goof Troop" is really just those old-school Goofy shorts about domestic life updated to match with 90's-style family sitcoms, "Chip 'n' Dale: Rescue Rangers" plugs the titular duo into kid-friendly adventure romps, and so on and so forth.  But "TaleSpin" is just so weird in that respect: it may borrow three of its key characters from there, but it can't really be said to be based on Disney's 1967 version of "The Jungle Book".  Instead, those characters-or rather heavily modified versions of those characters re-conceived to fit in to the show's new setting-are placed into an entirely new world, which itself is something like a steampunk fantasy version of 1920's America, guided by the spirit of old-school Adventure Serials.  But the very oddity of its construction allows "TaleSpin" to feel at once familiar and new, able to ground itself by way of those "Jungle Book" characters you know and love (with the twists it puts on them being endearingly clever, like making Shere Khan a Lex Luthor-style corporate mogul) while also spring-boarding out into a wide variety of classic adventure stories.  Daring duels with pirates, high-stakes air races, and even the occasional flight of overtly-magical fancy...there's a lot of Tales to Spin here, and the show consistently does so with an admirably clear-eyed sense of its own genre and how to best play with it.  And again, it's all connected to a charming cast of characters.  "TaleSpin" is a tricky little thing to pin down, then, but for that very reason it's way too memorable to overlook or ever forget.

6.) The New Adventures of Winnie the Pooh (1988-1991): "Winnie the Pooh" stories are a tricky thing to do right.  They'd been around for close to half-a-century even back when Disney first adapted the property into a trilogy of animated short films during the mid-to-late 60's, and that history, combined with the stories' enduring popularity, means we all have a fairly solid idea of what they "feel" like.  Moreover, by their very nature, the best "Pooh" stories are short, simple things with only the barest hint of narrative intent or moral center.  Which means trying to expand on them in any significant way runs the risk of stuffing them with more familiar story-telling tropes and styles that simply do not belong there.  So "The New Adventures of Winnie the Pooh" deserves a lot of credit, if not for dodging that fact entirely (as was increasingly common in kid's TV shows of the time, it made sure to center a lot of its stories around "lessons" in a fashion much louder and more overt than the source material), then at least for managing to make a show that consistently felt like it captured and exemplified the right spirit even so.  A lot of that, it should be said, comes down to the voice actors; not only did Paul Winchell (Tigger) and John Fiedler (Piglet) return to reprise their iconic roles after having sat out the previous "Pooh" TV show, "Welcome to Pooh Corner", but this also marks the first "Pooh" project where the title character is voiced by Jim Cummings, who has played the role in every other "Pooh" production to come out of Disney in the nearly-three decades since.  Their performances aren't just consistently entertaining, they also lend a sense of spiritual continuity that benefits the show greatly.  More to the point, though, the animation has an intriguing physicality to it that recognizes the stuffed-animal nature of its core cast, as well as a delightfully-poppy color scheme.  The writing, meanwhile, uses a particular blend of sweetness and humor that feels at once akin to the original Disney short films, but also distinct and enjoyable unto itself.  Wordplay, slapstick, and gentle philosophizing, hallmarks of a good "Pooh" story since the very beginning, all show up in "The New Adventures of Winnie the Pooh", but the show always puts a just-so slightly-modern touch on each one.  To be sure, "New Adventures" plays in the same ballpark as more typical Saturday Morning cartoon fare, but it does so with the invaluable lessons of Pooh himself pretty clearly having been taken to heart in the process, and the resulting show is simply delightful.

5.) Adventures of the Gummi Bears (1985-1991): Technically speaking, the first Disney Television series is the short-lived plush-toy spin-off "The Wuzzles".  Meanwhile, the first real breakout hit for the studio was unquestionably 1987's "Ducktales".  But the one that first really established the studio, granting it the foothold from which it would build its future successes, is "The Adventures of the Gummi Bears".  On paper, it sounds very much like a "Smurfs" wanna-be, centered as it is on a tribe of small, magically-inclined creatures with matching names set in a vaguely-Medieval England fantasy world.  But in execution, it winds up weaving a remarkably-compelling tale with a surprisingly-dense internal mythology which it treats with an impressive degree of respect and earnestness.  That isn't to say it's some Super Serious Epic (we'll need to go a bit up the list for that show), but even as it keeps things primarily centered on kid-friendly slapstick and gentle goofing off (and does a fine version of it in both cases too), there is nonetheless an underlying spine of genuinely weighty world-building to it that adds just the right amount of extra heft to even the lighter aspects of the series.  The way our main characters, the Gummi Bears of the title, slowly but surely discover more and more aspects of their history and culture (much of it tangled up in an ugly war stemming from prejudice and distrust), all the while hoping for the day they'll be able to reunite with their own people, underlines almost every episode, pulling you in and often taking you by surprise.  As well, while all clearly archetypal (in the old Seven Dwarves tradition of being named for their defining traits, even), those characters are all delightful to spend time with, again thanks to a strong cast of voice-acting veterans like Paul Winchell, June Foray, and Bill Scott, and a dynamic that feels warm and lived-in.  Moreover, this is the show that Disney's TV animation really used to show off its skills, with some of the most fluid, engaging use of motion in any cartoon of the era; some episode are naturally stronger than others, but the best of them are genuinely gorgeous stuff.  It is, in other words, a show with an intriguing story that feels very much like the best sort of Bed-Time Story, inviting and friendly on one level but with a deeper center just beneath the surface to pull you in and keep you coming back, and realized with a strong, compelling craft.  So it's really no wonder that these "Gummi Bears" were, in their way, the ones to start the long-lived legacy of Disney's TV cartoons.

4.) Recess (1997-2003): There came an interesting point of transition for Disney's TV animation studios toward the end of the 90's.  The Disney Afternoon block, long the most visible home for their shows, was finally shutting down after a solid seven-year run, and a new once-a-week block, fittingly named "1 Saturday Morning", was rising up to take its place.  The block managed to last a decent five years, but very few of its shows managed to make much of an impact.  But among the ones that did, the clear front-runner, to my mind at least, is "Recess", a love letter aimed not only at the nostalgia of the playground but also to the iconic TV comedy "Hogan's Heroes" (compare the theme songs to both shows, and then look at the mix of archetypes that comprises the core cast for each one).  That mixture allows the show to present a vision of childhood that is simultaneously deliberately hyperbolic-the age-old notion of schoolyard hierarchies is here portrayed as a rich, thriving society unto itself, complete with its own king and economy-while still grounded in relatable ideas and characters, especially as regards the oftentimes contentious relationship between the students and teachers.  That latter aspect especially speaks to why "Recess" is probably my pick for the best overall show of the "1 Saturday Morning" era, too; yes, as is typical of a show aimed at kids, it plays to their own feelings by painting the teachers as alternatively cruel and inept for the most part (while quite a few episodes focus on the difficulties the kids have with their parents, too), but it never forgets their own humanity in the process, and some of the show's best moments stem from that fact.  Still, at the end of the day, it does really come down to that "Hogan's Heroes" influence I mentioned.  No real kid has ever assembled the complex schemes and adventures that are "Recess"' primary source of stories, but I promise you every last kid has dreamed of it, and by placing those scenarios in the world it does, where the audience can at once recognize how much this is an exaggeration but still grasp what reality it draws from, it makes this really intriguing atmosphere that sparkles at once with a kid's sense of wonder and an adult's sense of humor (a lot of the best jokes stem from sharp wit that connects a young adult's perspective to adult concepts like a full-time job or balancing responsibilities).  It's a style quite a few shows, cartoon or otherwise, have tried out over the years, but "Recess" is one of the very best examples of the form.

3a.) Gravity Falls (2012-2016): If you were paying close enough attention, you may have noticed something about the opening credits of animated television shows around the beginning of the '00's: series creators were being prominently credited.  It was indicative of a larger amount of trust and control being placed in distinct creative voices as the industry slowly eased out (or tried to, anyway) of the merchandise-driven business model that had defined it for most of the 80's and 90's, and across the board it led to some very distinct visions making their way onto screens.  For Disney, the example du jour is Alex Hirsch's "Gravity Falls", a show whose existence is all the more surprising when you consider just how very Not Disney its premise-kid-oriented "Twin Peaks" riff by way of "The X-Files"-really sounds.  And yet here we are, with a show that is at once a razor-sharp comedy, a poignant examination of what it means to grow up and what we do and do not have to leave behind in the process, and a veritable parade of some of the most off-the-wall horror-sci-if-fantasy mash-ups of all time.  And the thing of it is, the glue holding all of that together and keeping it coherent, allowing the show to build effortlessly both towards fantastic punchlines and deeply emotional culminations, stems from Hirsch: in interviews, he talked about how much of the show's premise stemmed from reflecting on the tourist-trap vacations he himself took as a child, and indeed, a lot of the series' best moments (an early episode centered on a haunted convenience store springs to mind in particular for me) succeed by tapping into that particular vein of childhood, where the simple change in environment that comes with vacation lends even the most mundane things an air of mystery.  By the same token, so too do the characters feel keenly drawn from reality (even as they do still possess a cartoon's foibles and exaggerations); Dipper and Mabel are two of the most believable pre-teens I've ever seen on TV, both in their own way smart enough to no longer be children but struggling with the greater maturity necessary to really become grown-up, Grunkle Stan feels like every huckster you've ever seen on TV right down to the niggling sense that there is a tremendous amount more to him than what we see, and the change in perspective the show gives us on Wendy, initially kept at arm's length because of Dipper's crush on her only to emerge more fully as a person once he recognizes her own feelings on the matter.  And then on top of all that, it's connected to a genuinely-compelling mystery that the show gradually teases out more and more, and those who are paying attention really do have an honest shot of piecing the puzzle together before the characters do, adding a new layer of visceral excitement to the experience.  But the real strength of the show is that those twists and turns, as much as they might pull us deeper into the puzzle box, are really more about exploring and growing the characters first and foremost.  That's the key to "Gravity Falls" above all, to my mind: yes, its internal mythology is uniquely well built, and yes, pushing the envelope on how genuinely scary/dangerous it's allowed to get is fascinating, but it never loses sight of how much its characters are the real heart of the story, and how much that fact helps this weird, wild mixture really come together.  

3b.) Darkwing Duck (1991-1992): Yes, the #3 slot is a draw, because when it came right down to it I simply could not pick between the two shows I was considering for it.  Leaving "Gravity Falls" off felt simply unacceptable to be, but neither could I find it in my heart to axe this, maybe my personal favorite of the entire Disney Afternoon era, from the list.  Because the thing of it is, when you really think about it, "Darkwing Duck" shouldn't work at all.  Superhero parodies were old hat even by the early 90's (indeed, at that point they probably outnumbered actual superhero shows), while spin-offs had long ago developed a reputation for being cheap-and-easy cash-ins (though the extent to which "Darkwing Duck" is, in fact, a spin-off of "Ducktales" is a touch debatable, I suppose, even as they share a handful of characters).  But despite the odds against it, "Darkwing Duck" does indeed prove to be a consistently entertaining piece of work, and a lot of why boils down to the remarkably-multilayered construction of its title character.  That isn't to say Darkwing is the only good thing about his own show; his rogue's gallery is an amusing assortment of pastiches of classic Villain archetypes-the plant-master, the crazy clown, the evil double, and so on-while the supporting cast, including "Ducktales" veteran Launchpad McQuack and excitable youngster Gosalyn Mallard (a character who, by rights, should be insufferable, but is instead genuinely endearing thanks in no small part to her voice actor, the late, great Christine Cavanaugh), is equally enjoyable.  As well, the show's sense of humor has an ahead-of-its-time sardonic edge to it that was nowhere near as commonplace in kid's cartoons by that point, but which here provides just the right level of sharpness to the comedy.  And the animation is fascinating, too, with a far more "Looney Tunes"-style sensibility to a lot of its best moments (which in turn informs the characters a lot; there's more than a touch of Daffy to Darkwing, but we'll get to that in a minute), while also showing just how far the iconic Disney "duck" design could be stretched while still being recognizable.  But it really is Darkwing himself who makes the show, because despite the core conceit being fairly simple-poking fun at the inherent egomania of the superhero by portraying one as a glory hound interested more in publicity than actual heroism-there actually prove to be quite a few layers to him when you really get into it.  For one thing, he's actually quite good at his job; for as many times as his inadequacy is the butt of the joke, "let's get dangerous" is more than just a catchphrase; it's a sign he's about to show you what he's really capable of.  For another, his sincere affection for and protectiveness of Gosalyn shows there really is a heart underneath all that bluster, and that if he could just get out of his own way, Darkwing might well be capable of true greatness.  But all too often he is, in fact, his own worst enemy (there's that Daffy Duck influence again).  It's all played mostly for laughs, sure, but, especially thanks to Darkwing's VA Jim Cummings, who navigates each of those layers coherently and effectively, it comes through clearly even so.  And it elevates the entire show to this unique, interesting place that has helped it stand the test of time. 

2.) Gargoyles (1994-1997): As established during our introduction, the entry of Disney into the world of television animation in the mid-80's was a real paradigm shift in the industry.  But a few years later, in 1992, came another, arguably even more profound game-changer: "Batman: The Animated Series".  Every last element of that show-its writing, its visual style, and especially its revolutionary craft-proved profoundly popular, not only with viewers but people inside the industry.  Soon enough, almost every TV animation studio around mounted a response: for Marvel Television, it was the "X-Men" cartoon, for Hanna Barbera it was "SWAT Kats".  But far and away the best answer came from Disney, in the form of Greg Weisman's fantasy epic, "Gargoyles".  From stem to stern, this is maybe one of the richest, most satisfying stories Disney TV ever crafted, and in stark contrast to just about every other show on this list, that doesn't come with a "but it's not as serious as all that" caveat.  There's comic relief, to be sure, but still, this is nonetheless an entirely-earnest Modern Fantasy Epic, comprised of equal parts deep-cut cultural/mythological references-everything from Shakespeare to Arthurian Lore to the tales of Anansi the Spider, all realized with a remarkable degree of understanding and specificity-and exceptionally well-structured characters.  Stoic Goliath, striving at once to protect what little remains of his kind while also seeking to do good in a world he struggles to understand; Elisa Maza, a sharp-minded detective who is always determined to stay on top of the situation no matter how crazy it becomes; Demona, a tragic figure consumed with anger and grief who seeks greater and greater means of destruction; Xanatos, one of the greatest masterminds of all time, always one step ahead, always a new scheme at the ready.  "Gargoyles", in other words, weaves an impressively intricate tale that inhabits a sprawling, detailed world with rich, compelling players, by way of some of the most impressively-intricate long-term story arcs I've ever seen in a cartoon show.  Whether it's the gradual transformation of Xanatos from inscrutable antagonist to complex Family Man (even as the extent to which he can ever really be trusted remains in question) or the slow-burn, exceptionally rewarding progression of Goliath and Elisa's relationship, or even things like the young, impetuous Brooklyn slowly growing up into a possible leader, "Gargoyles" hones in with perfect precision on how best to expand these characters over time.  Likewise, watching as the scope of the world, and our own understanding of it, expands to include concepts like aliens and mutants amongst its gods and monsters is impressive and fascinating.  And the series paces itself equally perfectly.  There is a genuinely organic quality to "Gargoyles"' arcs, both character and plot; it never feels static or overly obsessed with the Status Quo, but it also does not rush through anything.  Each plot twist, each character epiphany, feels earned, and all the more powerful as a result.  And, cherry on top, the animation is top-tier stuff; it is perhaps not as overtly stylized as "Batman: The Animated Series" (though its focus on night-time settings and a darker color palette feels evocative of that show), but the combination of a Disney-esque sense of character design with the show's strong narrative backbone leads to exceptional results even so.  "Gargoyles" may have been made in "Batman"'s image, but it wound up being a one-of-a-kind classic in its own right. 

1.) Ducktales (1987-1990): There are a number of reasons "Ducktales" more or less has to top this list.  Its pedigree, for one thing; drawing a lot of its premise (and directly adapting several of its best episodes and story lines) from the famed Carl Barks "Uncle Scrooge" comics (though notoriously, Barks' most famous successor, Don Rosa, has a less-than-sunny attitude toward the show) provides the show an exceptionally well-built and endearing structure.  Whether it's outer-space epics or intercontinental treasure hunts, espionage action or magical mayhem, there's no breed of adventure "Ducktales" cannot comfortably tap into.  Another thing to consider is its place in history; almost every other show on this list owes its existence to one degree or another to this show, which proved to be exactly the sort of powerhouse success story the Disney TV studio needed in order to prove its chops, and that means "Ducktales" holds a special place in animation history too, given how much Disney TV has played a part in it as a whole.  And naturally, there's the animation to consider too; it may seem a touch standard-issue today, but compare "Ducktales" to just about any other contemporary cartoon of its era, and you'll realize just how much care goes into keeping characters on model and letting them movie not just fluidly, but also in a way that's enjoyable to watch.  And last but hardly least, there's the stellar cast of characters (and voice actors); Huey, Dewey, and Louie may all be interchangeable, but their dynamic is lively and enjoyable anyway.  Webby, meanwhile, is a fantastic foil, not only for them, but for Uncle Scrooge.  And naturally, Scrooge himself (given an iconic performance by the late, great Alan Young) is just fantastic, a multi-layered, larger-than-life character who is nonetheless so much fun to simply spend time with you never want to stop.  But the thing of it is, "Ducktales"' real claim to #1 is a bit harder to quantify than all that, because even as it excels on just about every level, it doesn't have, say, the same depth of theme and character as "Gravity Falls", or "Gargoyles"' tapestry of plot lines and character arcs.  Its animation is certainly high quality, especially for the time, but it's not that much better than "Adventures of the Gummi Bears".  And yet, even so, "Ducktales" is the one everyone remembers, and I feel like that comes down to it adding up to something more than just the sum of its parts.  There really is this unique, ineffable energy to "Ducktales" that is equal parts charming, endearing, exciting, and thrilling, and it enhances each and every one of the things the show already does so well to a special level all its own.  Some of that can be chalked up to nostalgia, sure, but a lot of it, I think, can also be ascribed to the sheer sense of discovery innate to the show.  Not simply in the various people and places our heroes encounter (though there's that too, naturally), but in the fact that this new effort on Disney's part was hitting its stride, and in so doing opening up a whole new world of possibilities, for the show itself and for the future.  Which is maybe being a touch too grandiose about it, but even so, "Ducktales" has endured enough to make me think there may be something to it.  And hey, if literally nothing else, it really does have one humdinger of a theme song.  

[arse-blathanna]

Some uber not at all angsty Locus centric fic for you guys.

Major spoilerinos for 15x17 you've been warned. I'm not kidding.

The shot isn't necessarily an easy one to take, but its there and its clear enough that he could take it, drop the gunner, and make all of their lives just a little bit easier.

Once it would have been easy. Locus knew that. Turn his mind off to it. Inhale through the nose and exhale through the mouth. Don't dare do it the other way for fear of the stink of war flooding his mouth. Ignore his surroundings and focus his entire universe in the scope of his rifle.

Apply pressure using right pointer finger and try not to jolt too much when the gun fires. Force the rifle back down into position and keep the recoil from overtaking him. Let Felix hiss his orders and taunts in his ear.

This isn't like that.

The shot is there, but things are different. Locus can't take it. He can't sacrifice those morals that he's spent the last ten months fighting so hard to establish. Don't kill. Do good because its good. Money goes to people that need it- it isn't like he uses his money anyways.

Once, Locus would have absolutely taken that shot and let the man die and he wouldn't have let himself think twice about it.

(It always caught up to him. Always, somewhere in the dead of night when there was nothing that could be done to fight it off. Always, Felix would be there to reassure him. They need each other. Its necessary. Its part of the mission. Orders are orders. Its a droning mantra that enables years of monstrous behavior.)

Felix isn't the one barking orders. It's Lavernius Tucker. Lavernius Tucker, who might be the closest thing he has left to a brother on account of their shared sidearm. Lavernius Tucker, who had enraged Felix so badly that he had gone ahead and blown the mission.

("Hey, just 'cuz you saved us doesn't mean you can leave, asshole. You killed innocent people!" Tucker's words echo in his mind constantly, droning alongside Washington's and the AI's. He killed innocent monster. Not a soldier, just a killer. Your partner is afraid of you.)

Locus had said that he would make things right and he'd meant it. This is where he can do that, even if his first attempt had failed. He has to do what he can, try not to think about the refugees or the village.

(Don't think about the bodies. Don't think about the deaths. Men, face down in the streets. Women dead in their beds. Children, broken and curled into themselves in pain. Animals scattered everywhere.)

He can't take the shot. He'd meant it when he'd said that he wouldn't kill again. He was a good shot, when he wanted a bullet to land it would always be on target. He'd destroyed plenty of kneecaps already that day.

But all that Locus gets when he stares down his scope is head, neck, shoudlers, and a bit of elbow. All too risky to land, and the elbow wouldn't do much of anything to incapacitate. Not enough, at the very least.

He can't take the shot. He announces it, activates his cloaking decide and lets himself disappear into the chaos. The opposing simulation troopers probably aren't used to what he can do. They aren't used to people that can disappear into nothing.

(They haven't seen real war, Locus thinks to himself, and immediately feels bad for it. They've been victims themselves. They may not have set foot in a battle against an alien, but they were at wars of their own. It was just different. Locus isn't even confident on that, considering what he knows about the Reds and Blues. They're soldiers, just like him. Their suffering is real. It matters. They've just chosen a bad path.)

(He tries not to draw the comparisons to himself over that.)

Locus forces himself deeper and deeper into the battle. Does his best to drown everything out that isn't coming from the radio in his helmet. All that he has to do is find a relatively safe position, take the gunner out by the knee, and reposition before they get a chance to track his vapor trail. He won't fall for that trick again.

Locus finds his new position. Crouches in place and raises his rifle. He's out of the way of friendly fire and is safe from enemy fire as long as nothing goes seriously out of the way. If that happens, if there is anything that Locus is confident is his armor.

(Second skin. New face. New identity. Stronger than himself. A shield from the world. "All you are is a suit of armor and a gun.)

Locus lines up the shot. He has it. The shot might go a little high, but shattering a man's femur can be just as effective as taking out their kneecaps. Either way they won't be able to walk, and the pain should take them out of the fight entirely. That's all that Locus needs.

Time seems to slow down to a standstill. Its not real, Locus knows that. Its a mental illusion born out of too much familiarity with his weapon of choice, built from a long career specializing in war. Sometimes the rifle feels more like a lover than a weapon. A constant companion, always there to keep him safe.

Locus knows this logic is flawed, but a rifle is better than his partner. The rifle is cold and obedient. When he orders it to fire, it will always fire. It can't argue back against him and that's a relief (in more ways than one. Locus has enough familiarity with the entity known as Freckles to know that he wouldn't want a gun that could talk back.)

What's important is that Locus can rely on the gun. It almost feels like a part of him, an extension that was as dangerous as it was important. Locus will only use that power wisely and with the greatest possible discretion.

Locus remembers his trianing so well that its nearly second nature. He'd been young when it had been instilled in him, and it had never failed him. Locus was always more comfortable behind a rifle than he was up close.

Inhale through the nose and stare down the scope. Map out the shot and trace the trajectory in his mind's eye. There, just above the man's knee. As long as the gunner doesn't move, the bullet will land exactly where Locus wants it.

He concentrates, and tries to keep his jaw slack so that he won't fall back into the habit of gritting his teeth when he fired. A dark shadow moves through Locus' view. An ally maybe? Nobody had said anything about moving after he had.

The others are screaming in his radio, but Locus can't focus on anything over his own concentration.

The shadow is out of his way, and that's all that Locus needs. The trajectory is there, one straight line. His bullet will cut through the man's leg and he'll drop right then and there. That's all that Locus needs.

He's confident in one thing, and its his own ability behind that rifle.

Locus finally does it. Applies pressure with his pointer finger and tries to ignore the bang going off next to his head when the rifle fires.

At the last possible second, that shadow flits back into his vision and Locus' heart stops. The shot has already gone off, and when Locus pulls his vision away from the scope its barely in time for him to be able to process what is happening.

He should be there. He shouldn't be there, stanidng in the middle of battle or crumpling like a potato sack the same way that Locus had seen so many times before. Grey armor. Yellow stripes and details.

Agent Washington, David falls to the ground, blood spraying out one side of his neck and his head having snapped to the side with the impact.

It takes absolutely no time to understand what had happened.

Locus knows the trajectory of his shot. He can still see it in his mind's eye.

Locus sees the line that his bullet cut through Washington's neck. Washington, who was still delirious and confused. Washington, who was starving and dehydrated and in severe need of sleep. Washington who had once played the game of mental chess that Locus had needed back on Chorus. Washington who had managed to instill some reminder of humanity in him.

Locus has shot him before. Last time it had been with intent. Shoot to kill. The fact that it hadn't done the job had been a miracle but this isn't like that because he's different now and Locus knows his rifle better than he knows himself.

The world is still in standstill. The screaming doesn't matter. The gunfire doesn't matter. The pounding of his own heart echoing in his ears, and the way that it shakes his body, and his breathing getting labored and panicked because he just did that doesn't matter. He feels sick. He needs to do something. Run in. Scream, fight, kill, do something.

In that moment Locus is sure. He'd broken his oath. He'd broken his oath on an accident and his won hubris and now Agent Washington is surely dead and how will he ever forgive himself? How could the others ever forgive him? They'll find out he did it and then Locus will be forced to run for the sake of self preservation and-

Is it even worth it? The despair settles deep in his chest. He just killed one of the few people left that he cares about. Washington doesn't know that he cares. How could he? One rescue isn't enough to say that.

One rescue doesn't speak for gratitude, for admiration. It doesn't speak for anything. Even if it did, Washington wouldn't have been able to understand it.

Washington died in poor health and hallucinating and it was his fault.

Locus silently swore a new oath to himself, since he couldn't keep his first.

Once he's out of this, and the Reds and Blues are safe and cared for, Locus will never pick the sniper rifle up again.

Clearly, he can't fix things. Not when the sins continue to pile up no matter how hard he tries. Not when no matter how hard he tries he'll fall back on old habits. The only way to stop is to declaw himself entirely.

It won't bring Washington back. It won't save Chorus. It won't save the village of refugees. It won't fix his past failures.

But at least without claws he can't go forward and cause more (it won't matter, a voice whispers in his mind. He'll still kill somehow, he'll still manage to fail.)

The only thing that never processes is that this was an accident, completely out of his control.

[tomaiartstudio]

Zodiac Mermaid Descriptions

As I mentioned in my last post, I had found a post here on tumblr that held descriptions of the Zodiac signs as mermaids. I will be editing this and reblogging it as I post new pictures

The Signs as Mermaids

Aries- Much like Sirens, Aries’ mermaids are alluring. Though they don’t share the same genetics as the fabled Sirens, whom were part human part bird, they have similar characteristics. They have a ruby red tail that has a fan-like fin, and have many jewels adorning them. They like lavish things, and their suitors will normally try to win their favor by giving them gifts. They are the most hot-headed of the mermaid’s, causing some quarrels here and there. They are seen around South America, near the coasts of Venezuela. Aries’ usually have blonde or white hair, but tan skin. They get along well with predatory fish, but aren’t opposed to chatting with any other marine life that happens by. They are the most social of the group and are very passionate about their ideas. They like to tell stories about their adventures or of their families. When they transform their legs have a permanent stain of red.

Taurus- Seen around Europe, people think they might be related to Merrows. They have flexible tails that vary from dark greens to olive in color, and they have a extra fin on either flank of their tail. It’s translucent and is used to help them glide smoothly through the water. Taurus’ are connected to nature and often will possess great abilities to make plants grow. They use the mud from the banks to draw designs on their skin and are usually in groups of two or three. They have webbed fingers and slightly sharper nails for hunting. They don’t waste any part of their prey, and bones are used to fashion into jewelry or other accessories. They don’t like being in crowd of humans, and will venture onto land at night by themselves if they desire it. When they change, they are distinguished by their fingers.

Gemini- A love affair, these mermaids are always born in sets of two. They are from the mating of a mermaid and human, and due to this it causes a defect in one of the twins. Only one is able to grow a tail, while the other is merely human with merfolk blood in their veins. They are separated at birth, mermaid going with mermaid, and the human going home with its parent. They are raised differently, and only on their first full moon of their 18th birthday will they meet. The mermaids from this affair are varied in colors, but have never been seen with a black or white tail. They believe that is because of a force similar to yin and yang, light and dark. These mermaids are known to have powers relating to wind manipulation. Gemini’s are forbidden from going on land unless they are willing to give up their tail forever. When they change, their hybrid blood snaps into play and they are unable to return to the water, therefore stranded as a human.

Cancer- Mermaids who lives in tropical climates, like Brazil or places alike. Prefers warmer waters to cold ones, and likes playing in waves.. They are often spotted near coasts but haven’t  been caught on camera, and they seem to be more curious than anything about people. Their tails are normally white or silver, and sometimes they have foam green fins.Cancer’s tails are sleek, and up close the scales are hard and sharp for protection. These particular mermaid’s fins are smaller, but transparent towards the end and are in the shape of a crescent. They seem to bond more with animals that are on the ocean floor, such as crabs and starfish. They like to collect lost trinkets from the sandy reefs. Their gills are located underneath their jaw, and have a pink tinge to them. They don’t like going on the shore, and so they don’t transform unless they have to. Their giveaway is that their legs will have splotches of white or silver.

Leo- Similar to Sirena Chilota, they are generous mermaids. Found in various oceans, they are a peaceseeker to the inhabitants. Usually they are seen with a long golden tail, broad but beautiful that gets darker towards the fins. Their scales shine in light and always seem to be like polished gold. Leo’s are a gorgeous mermaid without doubt, and are often viewed as a beacon of self-confidence and luck when spotted. They are friendly to everyone as long as they haven’t threatened their safety, and do not fear humans. They are known to save children from drowning and bring them to the shore. When they dry, their tails turn into legs. The telltale sign of them being mermaids is that on their legs they will have small patches of shiny scales. These mermaids tend to be reasonably tall and lithe. They like pearls and will commonly use strings of them as hair accessories. Their gills are just below their third ribs.

Virgo- The most calm of the bunch, Virgo’s are freshwater mermaids. Their scales have no set color and are opal-like, showing just the reflections of light around them. These mermaids have short tails with long fins, and scales around their eyes. They have a love for flowers and will decorate themselves with any they can get their hands on. Virgo’s also have serrated teeth, used for easily eating their prey. These mermaids are the most common ones to have humans fall in love with them, and will often allow children to find their bodies of water and let them play with them or weave items into necklaces. They have an attraction to shiny objects, like bottle caps or rings. They do not change into humans, but will often put themselves on shores, rocks, or grass for the enjoyment of the sun on their skin. They are always near a water source though, and if they stay out too long they will become weak, and eventually die if not able to return to their water.

Libra- This species of mermaid is not particular about their homes, and are seen pretty much everywhere. Their tails are average size, and are various shades of blue, usually leaning towards lighter blues. Their fins are in the shape of a horseshoe, and have a clear webbing between the ends of them. Libra’s are not afraid of humans, and will swim alongside them so long as they deem it safe. They often will be heard singing around 5 in the evening, though no one is sure why they choose that time. These mermaids like to stay together, and are rarely seen alone. They’re similar to dolphins, and happen to get along well with the aquatic creatures. Libra’s aren’t the biggest fan of leaving the water, but when they do their giveaway is the clear webbing between their toes. They’re the strongest swimmers and are able to push their way through tsunami’s and other rough water.

Scorpio- These mermaids live in cold waters and often will not go to warm climates. They dwell in caverns and are seen as often transformed as they aren’t. Scorpio’s tails are dark purples, sometimes indigo, with a black stripes just above their fins, which are flowy and sometimes iridescent. This is also how they are distinguished on land, as around their ankles they will have a dark stripe on their skin. These mermaids have thin gills on their necks. They have an odd fascination with the moon, and will usually come together in groups to view a full moon and celebrate a new beginning. They like to carry a bag with them around their waist, usually tied with a reed or string of shells. They use this to grab anything that catches their eye. They are gifted with a great memory and long lifespan, taking on one lover at a time and are assumed to have at least one child. Their communication with other marine life is unknown.

Sagittarius- Sagittarius’ are the faster swimmers; they use their long tail and broad fins to streak through the water like a arrow. Their tails vary between a series of greens and yellows, and have thick scales that hunters aren’t able to penetrate with their weapons. They are wild, but still smart enough to ensure their own safety. They like hot climates best, but some have adapted to arctic waters. They have sharpened nails for protection, and their brow bones and temples are covered in scales. Sagittarius’ are normally patrolling for any signs of trouble, and are quick to ward off any predators from other merfolk. They’re quick problem solvers. They pride themselves in their ability to sustain and protect their family, and are easily one of the easiest mermaids to get along with. They enjoy looking for any items that are clunky and outrageous looking, finding them interesting to study. These mermaids will sometimes go on land, and there is no distinguishing features.

Capricorn- These deep-sea mermaids like to keep to themselves, and are said to be an omen of fortune when they are spotted. Their tails are darker, varying between black and shades of brown, and come in multiple shapes. Their bodies have evolved to their surroundings of darkness, and down the flanks of their tails they have rings that are bioluminescent. This attracts their prey, making it easy for them to acquire. Capricorn’s eyes have adjusted, and have a nightvision-like effect, but when they do go to the surface they’re close to blind. They can comfortably go to the mid of the ocean, but the closer they get to the sun the worse off they are. Many believe that these mermaids are considered one of the most dangerous if caught since they have a higher level of testosterone than others. Capricorn’s will sabotage any man-made equipment if it is uncomfortably close to them, biting through cables and scratching important devices.

Aquarius- Aquarius’ have duo-toned tails, usually between teal and pink with a flexible bottom fin. Their gills are down their ribs, and are protected by a cluster of scales. They’re the most mischievous of the mermaids, and are known to mess with anyone who is swimming near them. These prankster’s like to pinch and poke, but are pretty much harmless. Because of this as well, they will sometimes steal valuables for their own use, even if they don’t really have a use for it. But, they’re very friendly despite this. They just like to hoard things. Aquarius’ spend a lot of time out of water, and have no problem blending in with humans. Their mermaid mark when they transform is a discoloration of the skin in the shape of various seashells. They enjoy listening to music, whether it’s some radio on the beach or the singing of merfolk, it’s a pastime of theirs, though few dabble in it themselves.

Pisces- Mermaids who populate the oceans near South Asia, these ones are typically timid. They are the most fish-like of the signs, and have white and orange dappled tails, like a koi fish. Their fins are much more loose than others, making them more flimsy and dainty. Pisces’ have gills on their necks, and have little whiskers that protrude from their cheeks. They travel in groups and are thought of as a beacon of youth and beauty, and though they stray from older humans, they like to play with children. It’s said that if one of these creatures is seen on the morning after a harvest moon, the person who saw them will be given a blessing. They like to collect stones and gems, making them into accessories. To propose a lifelong partnership to another mermaid, Pisces’ will search for the biggest gem in their collection and present it to their partner. When they go on land, its brief and only for a specific reason. Their telltale mark is the whiskers on their face.

Reblog and tag your zodiac sign or your favorite description of these, and if anyone knows the original owner of the post, please let me know! I want to credit them but I can’t find the post for the life of me. .-. Send me a message for the next sign you want to see. Until I get messages I’ll be posting the signs in order. I hope you all like the pictures!

[hollyhawthorne]

INVESTIC CAPE TOWN ART FAIR 2019 QUESTIONS

1. Find each gallery booths for the three galleries that we visited on Thursday 14 Feb. What do you notice about each of these booths that are similar and different to the actual gallery (do you recognize the gallerists, the style of work/ artists and ways the work is hanging, a “vibe” etc.).

-  At BLANC GALLERY in Woodstock, we saw a solo show by Bronwyn Katz, which consisted only of three-dimensional works. The works were few and took up two spacious rooms. At the fair, Blanc exhibited a number of artists’ three-dimensional and two-dimensional works, obviously resulting in a more condensed and claustraphobic style of curation. I recognized that the same gallerist had been looking after the works at both events.

- Woodstock’s GOODMAN GALLERY hosted a solo show by Nolan Oswald Dennis. There were both two and three-dimensional works there, with some expanding straight onto the surface of the walls. A few of these walls had been painted grey. All of the works were presented along the perimeter of the room, with no sculptural works moving out into the middle of the space. At the fair, however, there were sculptural works for people to navigate their way around. None of the walls there were grey, but there were some yellow stripes on the floor that existed prior to the fair. There was a seperate room for the photography and video work of Tabita Rezaire, which was quite a tight squeeze, adding to the theme of confrontation that I felt her work explored.

- STEVENSON GALLERY in Woodstock is currently presenting Simphiwe Ndzube’s work, most of which is sculptural, or two dimensional with attatched objects jutting out of the frames. The walls were painted in light pink and blue, there were also handprints of smeared paint, reminding one of the human behind the final product. None of this evidence of labour was included in the curation of the fair. Here; Kemang,Botha, Cohen and Grose exhibited a variety of works.

2. Over the course of the day, decide on THREE works you absolutely love and THREE you most dislike or find frustrating. Make note of these with full details, and why you like/dislike them.

WORKS THAT I LIKED

- B. Wurts, Untitled, 2001, acrylic paint, paper

I really enjoyed Wurts’ comic or diary-like language that was created through the use of quick scribbles of random phrases and chaotic drawings, as well as the interesting variety of tone and line. The artist used scrap papers, reminiscent of post-it notes, arranged in layers that were itching to be paged through. This created an interesting paradox, where one needs to touch the work in order to see all of the drawings, but is not allowed to, given the formal gallery setting. I love the themes of horror paired with humour, as well as child-like drawings used within the professional realm of a gallery.

- Pino Deodato, Untitled

These were the only details of the work, written lightly on the wall in pencil. The sculptures appeared to be made from clay, though. This work was quite strange. While I didn’t immedietely love the look of it, I loved the strange and eerie feeling which I got from it, as well as the evidence of the human hand and its imperfection. By this, i mean that there were visable finger marks on the sculptures. The figures reminded me of childrens’ dolls, which was creepy but also quite mundane at the same time, due to the subdude colour pallette and absense of any wild brush strokes or obvious symbols of horror. I quite enjoyed the scale of the work, because as the viewer, you had to go really close to it and get involved in order to see the details.

- Ed Young, balloon performance and installation piece

I thought that Young was really clever with this piece. By having his assistant hand out balloons, people were bound to take photos with them. Even I posed for an instagram picture with mine. Those balloons followed viewers around into every corner of the fair, making their way into almost all of the press photos. Later, when I thought about how redundant these ‘balloon selfies’ were, i realised that people were literally posing underneath labels such as ‘scumbag’ and ‘moron’, highlighting how people will literally do anything to be trendy. I’m not sure if this was intensional, but I thought that that the use of humour was inspirational to my own practice.

WORKS THAT I DISLIKED

- Mr, While Walking, 2017, Acrylic and silkscreen print on canvas.

This work frustrated me. I assumed that it was a nod to pop culture, and more specifically to the sub-cultures that exist around anime. This work looked to me like a poster than any kid would have in his/her bedroom, giving a nod to mass-production. I felt like this was a really  tired and overdone theme... however whilst I was typing this i realized that this print was the only one of its kind that was made, which is quite interesting...

- Ley Mboromwe, Mokonzi aza mutema made, 2019, acrylic on canvas

Borrowing ideas and drawing inspiration from other artists is inevitable. However, there is a fine line between influence and blatant copying, and this piece is literally a knovk-off Basquiat. The only explaination that I can think of is perhaps a reimagining of Basquiat in an African context? This peice just confused me.

- DD Trans, Untitled

Whilst I liked the idea of the brightly coloured balloon ties being juxtaposed to the oldstyle painting, I found it to be quite random and was left wondering if there was any contextual meaning behind it? I just feel like the placement of the balloons could have been more considerred.

3. What are the predominant mediums and processes that dominate the majority of works at the fair this year?

I noticed a lot of painting, as well as the use of found objects. I enjoyed the fact that I saw a lot more “quick, spontaneous, loose” work in comparrsion to last year. But im not sure if thats just because I was looking out for those qualities...

4. What are the most obvious differences between the way different booths are curated?  Look at spacing/ size/ hanging/ booth furniture and so on.

Some booths are more interactive (viewer can walk between sculptures/installations), while some are curated very traditionally, with uniform framing. Some booths were very spacious, placing emphasis on the chosen works, while more claustraphobic booths displayed lots of works. Some booths had little office type spaces where gallerists could sit and discuss the art with buyers/veiwers.

5. How do the various booths differ in terms of signage, text, labeling/ titles: note the different ways.

Some artists have the imperical data for their work displayed tradditionally on printed labels, while some data has been drawn onto the walls. Some have no titles at all. Some artists included descriptions/analysis with the work, while some did not.

6. What is the general layout of the fair? Why do you think it is laid out this way?

The walkways between the booths was made wider this year. This is undoubtably because in 2018 the pathways were very tight, making one gallery space indistinguishable from the next. Besides this, the layout of the fair is still maze-like, with no particular path mapped out for viewers. This encourages the viewer to gravitate towards and away from certain works according to their intrests, forging their own path through the room. The divisions which were clear though, were that the commercial galleries dominated the central spaces, whilst smaller local galleries fell to the sides. Very old modern art galleries exhibited on the far left side of the room, probably the least viewed area.

7. What is the lighting like at the fair? Describe.

Not good. The bright white lights were quite clinical and also caused glares to appear across most of the works. 

8. What do you notice about the way people dress at an art fair? Look carefully at how the people working in the booths present themselves ,as well as other people at the fair and make observational notes.

There were lots of kids in school uniforms. Other than that, amoungst the adults, the fashion that I saw was quite strange. Other than a few posh art buyers, dressed in designer, people appeared to be dressed very casually. This was quite a let down, as last year we saw many flamboyant and expressive outfits.

9. Who or what are the various “markets” at this fair? What are the different types of “products” being sold and promoted here? Who is the fair aimed at?

The art fair is aimed at buyers, a very specific target market consisting of wealthy art collectors. It also caters to the public who are interested in art.. You had to pay for a ticket which means their target market is people who have money to spend on entertainment. (middle to upper class). Products aimed at the general public include books, food, drinks and psoters, whilst the aim of the fair is to sell art to the rich.

10. Find a work that you think exemplifies the spectacle of wealth. Note why you think so.

For me, the most obvious example was Athi-Patra Ruga’s The ever promised erection I. This is simply due to the materiality - or rather how it appears. The piece seems to ooze of expense, dripping in gold and jewels. Also, the symol of a bust signifies royalty or significant importance.

11. Find a work that feels like it doesn’t “fit” in this art fair context. Note why you think so.

12. How easy is it to ask about prices? Take turns with your fellow CA students to enquire about the cost of works at various galleries and take note of prices across the fair, as well as the way gallerists may treat you or react to you asking for these details. Do it at least TWICE yourself  in two different places.

I didn’t find it easy at all to find prices, mostly out of my own fear of talking to fancy gallerists. However, I did speak to one or two friendly faces who were more than happy to discuss the prices and process of buying pieces.

 13. What do you notice about sponsorship and branding at the fair? What brands are visible and who is the clientele / target market of these brands? Why would they choose a fair to push their product?

The whole fair is obviously sponsored by Investic,  whose branding is visable on all of the art fair parafenalia. Another big brand was moet champagne, which is appealing to a target market of wealthy people, like art buyers. Fairs are great for advertising because a large volume of people come through every day that the work is up.

14. Why do you think this fair takes place at the Cape Town International Convention Centre? What other commercial events take place here? (look up examples)

The venue is large enough to fit in lots of booths and many people. The venue is also in central Cape Town, so quite accessible. Other events here include gift fairs, jazz festivals, comic con, business conferences etc.

15.What are the oldest artworks you can find at the fair? (made the furthest back in time)

The whole section dedicated to the “greats” in South African art history. E.g. William Kentridge, Irma Stern.

 16. Who are the youngest artists you can see represented at the fair? 

Smith Gallery exhibited a number of works by freshly graduated Michaela’s students such as Michaela Younge and Talia Ramkilawan.

 17. How do the SOLO booths differ from the other booths?

Naturally, there would be more cohesion in the look and curation of the booth of a solo artist. There is more of a focus on that particular artist. Shared booths are trickier to curate I think, in regards to allowing a good flow of work.

 18. Who are the big names that keep popping up this year? Note why you think this is so.

I heard a lot of buzz around Roger Ballen appearing at the fair. I think this was because he’s such an oddball and his work fascinates people. The fact that his name popped up a lot for me could, however, be because I follow his work quite closely and actively look for news on him.

19.What kind of trends in subject matter do you notice this year? What kind of trends in materials do you notice this year? Note why you think this is so.

I noticed a lot of mixed media works, as well as found objects. In terms of subject matter, I saw a lot of figures, and subject matter relating personally to the background or current situation of the artist. I think this is because artists commonly use art as a means to express themselves.

20. If you could be represented by any of these galleries, whom would you LOVE to show or be represented by?

Smith, because I liked how young emerging artists were all alongside one another.

21. If you could work FOR any of these galleries, whom would you LOVE to work for?  And in what capacity?

Smac Gallery, as a curator. Or anything that allowed me to handle Georgina Gratrix’s paintings!

22.What other questions came up for you while wandering around the fair?

How could one possibly give attention to all of the works here? What would the best route be to walk, because I kept walking in circles.

 23. If you were to start a gallery or art institute, would you (hypothetically) want to show at the fair? And if so, how would your stall look and differ or be similar to what you have seen today? (you can make a sketch below) 

I would possibly show, but I’d love to have a solo booth to create somekind of installation work, seperate from the rest of the booths (almost like a resting spot for viewers).