#original gif by

[bugsinthebayou]

cunty sukuna

[fluffffpillow]

Bug lady

[cthulhubert]

A news site called WindowsCentral just posted a headline: "57% of all content on the web is AI-generated."

They're misquoting a Forbes article that said, "57% of all text-based content on the web is AI-generated."

Which itself was also a misquote of a study saying "57% of all text translations on the web are machine generated."

Figured I should give everyone a heads up

for all the "OMG dead Internet theory is real!" posting coming up.

[lagomoz]

[caffstrink]

Prince Lyre and his beloved ferret Milord

[fruitzapple]

You've Got Mail

I made this as an artfight attack for @stabberghost It was really fun I adore their character so silly cute and so fun to draw GAAAHHHH it was a blast to make this

[edwardbonnets]

how to ask the demon you've been smitten over for 6000 years to dance: an angel's guide

bonus:

[trektown]

Holy shit I found THE gif

[junkfoodcinemas]

X-Men Origins: Wolverine (2009) dir. Gavin Hood

[neurovarious]

[tapiocats]

You’re a star, Claudia

[lowpolyparrot]

me on the puter

[cozyhoodies]

[ashleyloob]

woaow (sorry for the super compression tumblr's gif limits are 😭)

[in-kyblogs]

I love when people talk internet slang at Sam Reid and he takes those words in an extremely literal way <3 Also girl, same tbh

[swampjawn]

Time to talk an unnecessary amount about floors!

Episode 6 of Dungeon Meshi was produced in collaboration with a smaller studio, Enishiya - and it went way harder than I expected, for being made up of two relatively simple and self contained stories focusing on one character each.

And you can really see how those extra resources meant the animators could give full focus to both halves of the episode. Let's take a look at one piece that stole the show.

The first half was handled primarily by episode director/storyboard artist Keita Nagahara and co-animation director Hirotoshi (or Hiroaki? [1]) Arai. It's actually kinda insane how much of this section can be attributed to these two.

But the real star of the show is the second half, Chilchuck vs the mimic, led by co-animation director Toya Ooshima in his first animation director role for TV anime!

And the biggest aspect that knocked my dang boots off was something that's very consistent with Ooshima's style: background animation!

By animating the backgrounds rather than using painted still images, Ooshima and the team of other similarly skilled animators are able to create these beautiful dynamic camera movements that wouldn't be possible otherwise. Like these cuts by Takeshi Maenami where the camera becomes an expressive part of the scene, zipping forward and backward, and tilting to emphasize the speed of this murderous hermit crab. (Maenami's style is also very recognizable here - snappy timing and quick camera movements)

Or this cut by the incredible Kaito Tomioka which cleverly combines a traditional background for the walls with a fully animated floor. The level of detail in these tiles is just completely insane, and used to great effect with this wide, diagonal angle, and the way the camera tentatively drifts forward before reversing direction, and the tiles blur out as it speeds up.

I don't think I'm the only one caught off guard by how much they full-assed this little side story, but it was a pleasant surprise!

I broke down the entire episode in this video here. A lot of research went into this one, and I think it's the best one of these videos I've made so far, so if you're at all interested in more of this type of analysis in video form, I would really appreciate it if you checked it out, or re-blogged this post! Thanks

[1] It's listed as Hirotoshi on Anime News Network, but Hiroaki on a key frame that Studio Trigger shared on Twitter, so I'm not sure which one is wrong.