#paranorman spoilers

[sleepnoises]

okay i love this child's tale of antifascism where a lil gal gets to turn into a creepy beast the size of an apartment complex

[fish-champ16]

just came to the startling realization how similar leola and agatha's ends/deaths were

both were young, scared girls who were put on an unfair trial without any understanding for what they've done (agatha practicing her magic and leola sharing hers)

they were separated from their parents (agatha was with her mom and leola was outside of her and her father's home)

they were both KILLED in a horrific way and vengeance was sought out after their deaths. (agatha got her own revenge while aaravos currently commits crimes to avenge his daughter)

all im saying is that i never expected a cartoon from netflix to have a similar storyline to a movie from laika studios but hey im not complaining.

[of-monsters-and-werewolves]

If I had a nickel for every time a horror-based stop motion animated kids film unexpectedly included casual but unambiguous queer representation before most other mainstream kids films and a significant portion of films overall, I'd only have two nickels but it's weird that it's happened twice.

[its-kapi-wara]

Spoiler - The Dragon Prince Season 6, Episode 9

Okay, I was trying so hard to remember what Leola's story reminded me of, then it clicked:

Her story is similar to what happened to Agatha Prenderghast in Paranorman. At the age of 11, the poor girl was accused of practicing witchcraft by the townsfolks, taken from her mother and executed...

I may just get two nickels. Wich isn't much, but is strange (and also sad) that happened twice 🥲

[foggyjune]

Couldn't help but remember a certain movie when watching Leola's "trial"

"I was only playing" 😭

[theserlingbucket]

The Owl House, King’s Tide (2022) // Evil Dead II (1987)

The Owl House, Thanks to Them (2022) // Evil Dead II (1987)

The Owl House, Thanks to Them (2022) // Evil Dead II (1987)

The Owl House, Thanks to Them (2022) // Hellraiser VII: Deader (2005)

The Owl House, Thanks to Them (2022) // Paranorman (2012)

The Owl House, Thanks to Them (2022) // SAW (2004)

[scalproie]

[Jin's voice] Is this... a positive grandpaternal influence?

[toon-rp-finder]

Regarding Parapines Day

Hello!

I just dropped by to let everyone know that, with Parapines Day happening one week from now (August 20th), if anyone wishes to send here any RP requests involving Gravity Falls or/and ParaNorman, you are free to do so immediately or forever hold your peace, whether you want to do a crossover with both works or otherwise. But with The Book of Bill now in stores, all I ask is that you keep spoilers from that book and the show to a minimum, and likewise, avoid mentioning any ParaNorman spoilers in your ads, so as to not ruin anything to those few who haven't seen the movie yet.

And that's about it. Best of luck to anyone looking to RP from both fandoms, and (an early) Happy Parapines Day to everyone 🤗

📢 Over and out!

[smg4andbeetlejuicefanatic]

So I saw Beetlejuice 2 in Theaters

‼️SPOILERS AHEAD, DON’T READ IF YOU HAVEN’T SEEN IT‼️

It was pretty good. I really liked the double plot twist of Jeremy being not only a ghost, but a murderer that killed his parents.

Also the whole seeing ghosts thing reminds me of Paranorman, which I also really like.

And Beetlejuice, of course, was fun to see in all his horrid awesomeness. And we got a BACKSTORY for him! I didn’t expect his death to be due to poisoning. And I was kinda sad to see Delia die, but at least she got to be with Charles in the end.

One thing I didn’t really like tho was how anticlimactic the ending felt. They made Beetlejuice’s ex wife seem like she was super powerful and would be hard to defeat, and there was so much buildup with her going around sucking souls out of people, and then she finally shows up to see Beetlejuice…and immediately gets eaten by a sandworm? She didn’t even do anything, just stood there and got eaten.

Another thing I’m sad about is that they didn’t include the “Jump In the Line” song that was in the first movie. That was a missed opportunity in my opinion.

On another note, I actually thought Lydia was gonna marry Beetlejuice for a hot minute and I’m…not quite sure how to feel about the fact that she didn’t. Is it weird that part of me wanted them to be together?

And I’m so glad the Maitlands at least got mentioned. I wish we could’ve seen them again, but I’ll gladly accept the mention.

It was also fun to play the guessing game of how each dead character that was shown died.

Overall, it was a pretty awesome movie. :)

Also, RIP Bob (again) lmao

[strabius-berry]

Tumblr needs to blow up over Paranorman right now cuz that film was so much better than i remembered, and also it qualifies as a "healing of generational trauma" film when you look into Norman's maternal family heritage. [no spoilers tho]

It opens to a raw look into turbulent relationship between norman and his family, and by the end they learn to appreciate him for his gift and begin to try and understand him, the atmosphere in his home improving from rejection to acceptance.

Norman can be easily read as neurodivergent for viewers (like myself) who have ever felt outcasted by our family, our peers, our society. Heck, I'd wager queer kids and teens could also probably relate to his home life and struggles, even if queer rep in the film itself is only reserved for one end-of-film joke [no spoilers tho].

What i'm getting at tho is this film definitely needs to be shared over tumblr, gushed about, discussed about, critiqued over how it could be improved on, drawn more fanart, acknowledged as a piece of art.

[laikaspotlight]

One Frame At A Time

An Article about LAIKA's upcoming film, Wildwood, from Empire Magazine. Transcript by Rampage for visibility.

"THIS MONTH I found myself in a staring contest with an owl. (Spoiler: I lost.) It's not every issue this happens, but then again, it's not every Issue you get to go to Portland, Oregon for a visit to the stop-motion magic factory that is Laika. Portland itself may have been a bit of a let-down, in that I didn't encounter a single Carrie Brownstein or Fred Armisen (if you haven't watched Portlandia, do so immediately), but there was nothing disappointing about the place behind Kubo and the Two Strings and the upcoming Wildwood, the movie that will feature said bird. It was a total treat to get a glimpse of their new animated epic coming together (though the box of tiny puppet eyeballs might haunt me for a while). Head to page 66 for our report.

Wildwood isn't out until 2025 (there's no rushing a puppet owl), but this issue also dives deep into more imminent excitement…"

"Laika isn't just a studio, it's a way of life. As the masters of stop-motion animation painstakingly put together their biggest project yet, we visit their Portland HQ to discover their slow-moving secrets."

"The Dogfight was going to look awesome. The boy was sure of it. Buzzing from the movies he had sat through, enthralled, on Saturday-morning TV or at cinema matinées in his farm town outside of Portland, Oregon- stop-motion classics such as Ray Harryhausen-enhanced The 7th Voyage of Sinbad and Rankin/Bass' Rudolph The Red-Nosed Reindeer- he had already attempted to inject life into Star Wars action figures. Now, it was time for something a little more spectacular. He marched to his X-Wing toy, like a titchy Wedge Antilles, grasped it in his eager hands and proceeded to film it, frame by frame, soaring through the sky, little explosions created using balls of cotton. His mind boggled at how incredible it was going to look when he unveiled his final cut. "Well, it looked like garbage." laughs Travis Knight now. "I was like, 'I'm going to have this amazing aerial battle here!' It was so fun to imagine what it could be. And then you see the end result, and it wasn't what you imagined. So that was heartbreaking."

Flash-forward some 40-odd years, and Knight is still tinkering with his toys. He's still just outside Portland, Oregon except now those toys are no longer purchased from the nearest Walmart. And, rather than his parent's basement, all alone, he's in a giant warehouse complex, assisted by roughly 400 ridiculously talented people. This is Laika, the studio behind the likes of Coraline, ParaNorman, and Kubo and the Two Strings; 964 miles up the coast from Hollywood but light years away in terms of how things are done. No sequels, no chatter about "IP". Productions that are not rushed through the system like fast food, but baked like gourmet dishes in a clay oven. Their new stop-motion epic, Wildwood, has been in development for 12 years; it's finally due out in 2025.

It's not always been smooth sailing here, but this is still a place where dreams come true.

Very, very slowly.

"I have a big aerial scene in this movie, with a giant bird," smiles Knight. "So, you know, good things come to pass.""

"There's a go-kart track around the corner from Laika, called K1 Speed. Every now and again, somebody from the studio will head there, clamber inside a buggy and hit the throttle, hard. Whizzing around a circuit at high velocity is a form of recalibration. Because at Laika, despite the presence of an in-studio coffee shop called Dripster's (named after a location in Wildwood). things move at, well, puppet pace.

When Empire visits the studio in early April, it proves to be the quietest set visit, by far, that we've ever experienced. The usual sounds of a busy shoot- walkie-talkies, clapperboards, Michael Bay yelling at a grip - are absent. In fact, it's hard to detect any activity at all. But as we stroll around the hushed, 400,000 square-foot warehouse complex, we find incredible things happening behind curtains. A massive eagle, wings outspread. A study, complete with marble fireplace and grand piano, the dwelling of an oversized owl. Forest tableaux with tangled trees and creeping ivy. All in miniature, and precisely put together by hand or using nifty tech: even the tiny leaves for the foliage have been laser-cut. And rather than a bustling crew gathered around the camera at each micro-set, there's just a single, hyperfocused person. "Until we shout action, you'll have set dressers, cameramen, motion control, lighting, gaffer, and somebody from puppets doing final checks," says Laika's Dan Pascall. "But as soon as we get launched, everyone's out and then the animator's in there. I mean, for a 20- or 30-second shot they can be in here for months on their own. It's a pretty solitary thing."

Wildwood is a fantasy epic directed by Knight, based on a book by Colin Meloy, frontman of the band The Decemberists, it's a sprawling tale that's actually set in and around Portland, in which a young woman, Prue McKeel, finds herself in an enchanted forest world. On the day of Empire's visit, there are 25 animators working on the project. But those animators are hidden away and silent, like monks in prayer, rapt in focus over the tiniest of details. When we encounter Jason Stalman, who's worked on Laika productions since 2012's ParaNorman, he's attending a throne room the size of Prince George, concentrating on the puppet of a female character who is reacting to something in the scene.

"She's doing very little, but you have to keep the character alive" he explains. "She's trying to be alluring, so she's doing all these little movements and body adjustments, which is really hard to do." Another challenge is her dress, which has to move independently too. The solution: tiny foam pads beneath the dress, to which the fabric can be pinned to, creating- eventually- the illusion of a swishing, real-looking costume.

Creating a performance frame by frame requires an enormous amount of mental energy. 

"It's Strange; it takes you a minute to come back to the normal world after you've done a day of this," admits Stalman. "People could think, 'how the hell do you do it? it's so boring.' But I like it, because the world is so crazy and fast. This feels nice, to do this little, delicate thing."

One animator at Laika is likely to, in a week, create three-and-a-half [3 ½] seconds of screentime. That's the kind of stat that might prompt some studio executives to kick over a watercooler in frustration. But Knight knows from experience that you can't rush these things.

Puppets move at their own tempo. "You could take shortcuts," he says. "But to me, the film requires whatever it requires. I do think making a movie like this is stupid. It's the stupidest way to make a movie. It's harder, there's more pain. But I also think there's more joy as well. I'm aware of the ticking of the clock and the mortal coil and everything else. I do want to tell as many stories as I can before my time is done. But when this group of people come together to create something, it's the most satisfying thing I've ever been a part of.""

"Back in 2009, stop-motion was on life-support (quite possibly hooked up to a tiny, hand-crafted IV). Tim Burton's Corpse Bride had barely made its money back a few years earlier, but nobody in Hollywood was baying for more. And advances in CG animation had led to studios looking for the next Shrek, not the next Nightmare Before Christmas. "Stop-motion has always been the red-headed stepchild of animation" says Knight. "And CG could effectively do everything we do in stop-motion, but better. There was certainly a moment where I think any of us who were practitioners of the craft were asking ourselves, 'Is there a future here?'"

But he, and others were deeply in love with both the process and the vibe of stop-motion. Knight, whose father is Nike magnate Phil Knight (as played recently in Air by Ben Affleck), had abandoned plans for a career in finance, deciding to follow that passion, wherever it might lead him. And it led him (after a brief stint as rapper ‘Chilly Tee’) to Laika- formerly Will Vinton studios which Phil Knight acquired in 2002, Travis becoming CEO. Laika is the name of a dog sent into space by the soviet union in the 1950's; Knight's career choice seemed as daunting an odyssey as that of the cosmic pooch. Especially when the studio embarked on its first feature film, Coraline, directed by The Nightmare Before Christmas' Henry Selick and on which Knight worked as lead animator. Not only were financers reluctant to back a stop-motion animation, but they proved unenthusiastic about the lead character being female- and not a Disney princess, but a regular teenage girl. Despite it being based on a book by Neil Gaiman, despite Selick's pedigree, despite the stunning visuals that Laika was orchestrating, the mood was grim. "There was a lot of anxiety," remembers Knight. "When we were trying to find partners who understood what we were trying to do, we were getting nothing but rejection. It was like high school all over again."

Then, at the premiere the weekend before it came out, a studio executive approached him. "According to the data it was going to bomb tremendously. And I remember an exec put his hand on my shoulder and said, 'I'm sorry. You gave it your best shot.' In this moment where we're trying to have this big celebration of what the crew had created, it was just tainted by this fact that it didn't work, and we were going to fail."

But it did work: after a surprisingly strong opening weekend, Coraline found legs, going to make $125 million. "Fast-forward a couple of months from the premiere, and that same executive team was asking me to make 'Coraline 2'," Knight recalls, "I was like, 'No, we're not gonna make Coraline 2. We're gonna tell a different story.'" Laika were off and running. Their follow-up, 2012's ParaNorman, was a zesty zombie comedy. 2014's The Boxtrolls was a raucous romp featuring mischievous creatures and industrious quantities of cheese. 2016's Kubo and the Two Strings, Knight's directorial debut, was an elegiac stop motion samurai epic. And 2019's Missing Link was a massively fun riff on Around The World In 80 Days, with a male Sasquatch named Susan. The studio's fare has remained artisanal, original and eccentric. And while the box-office figures have not been astronomical, those who do see their films tend to treasure them. In fact, some viewers became so inspired that they've ended up as employees at Laika themselves. "There are people who saw ParaNorman who work here now." Says the studio's head of production, Arianne Sutner, "Same thing with Coraline. You know, we don't make tons and tons of stuff, but what we have has a special impact. People love it for all its unusualness.""

"In Laika's 'Story room', where Empire meets Knight, bookshelves teem with thick volumes: subjects include P.T. Barnum, Art Deco, Cape Cod houses and fashions of the Victorian age. In a cabinet, meanwhile, are DVDs, many of which seem like unusual references for an animated adventure: the documentary Fires of Kuwait, The Lord of The Rings, The Birds, Micheal Clayton, Wong Kar-wai's The Grandmaster. "The Grandmaster is a beautiful film." Knight enthuses. "That was a huge inspiration when I was working on Kubo, because of how gorgeously it was shot. Micheal Clayton is more to do with lighting and composition, that sort of thing. But yeah, we pluck inspiration from a variety of sources." The stop-motion process is intrinsically difficult and time-consuming: boxes of replacement faces (each bearing a unique code) are trolleyed to set to create every smile, smirk and splutter. Nine 3D printers work overtime to make moulds of characters, which are then dressed with bespoke costumes, fitted with wigs and prepared for their moment in the spotlight. The quantities required are mind-boggling: Missing Link called for 106,000 unique faces; Wildwood will have far more, while also boasting 120 sets, double the number built for Kubo. But Laika is determined to keep crashing through the technical obstacles encountered, in a quest to become ever more cinematic. For Kubo, the studio tackled water, a giant skeleton and origami animation. For Wildwood, Knight is thinking bigger. He has the benefit of being fresh off his first live-action venture as director, 2018's Bumblebee, the best film in the Transformers franchise to date. And he's brought on cinematographer Caleb Deschanel, veteran of such non-puppetry epics such as The Right Stuff and The Patriot. With the rest of the team, they're making innovations both large and small. They've cracked a way to put muscles into puppets' arms ("We've never done that before," says Knight, "it looks amazing when I see it on-screen") and to create a fully articulated rat puppet so miniscule that it can rest on your pinkie ("The joints are so small - if you drop it, it looks like a human hair"). Most dauntingly, they are orchestrating a vast battle sequence, which would make Jason and the Argonauts' skeleton brawl look like a pub barney. "It's the single most difficult thing we're tackling on this movie." Says Knight. "We're starting to chip away and tentatively stepping into, like, 'Oh God, oh God, oh God, how are we gonna do this?' But I think it's going to work. And you'll tell me when the film's done if it did. Stop-motion films tend to look like they're shot on a table-top, because they are. Moving a physical object one frame at a time and trying to give it life, that's its own challenge. And then you bring all the kineticism you would have in a live action movie... it's so hard." 

Spectacle is one thing, but Laika's filmmakers are equally focused on their characters. Hailed for their progressiveness and inclusivity, they have brought the world Coraline Jones, a female animated hero like no other. ParaNorman's Mitch (voiced by Casey Affleck) was mainstream cinema's first openly gay character, leading to Laika being nominated for a GLAAD award. And they're determined for Wildwood's characters, including Prue, another young female hero, to connect powerfully with viewers.

To create nuanced puppet performances, Laika animators study live-action ones. "There's a moment in Dangerous Liaisons with Glenn Close on a sofa, and John Malkovich is asking her, 'What's your story?'" says Jason Stalman of a touchstone for the scene he's animating today. "The way she delivers her lines- I'm getting the shivers - I'm reacting so much to that that I thought if I could get even one tiny piece of stardust from that and put it into this, I'm going to try. It's nice to show a thought process happening in a two-inch piece of plastic head."

The animators also study themselves. Study their colleagues. And even their own families. "The design of the little baby in Wildwood is actually based on my nine-year-old son. That's how long we've been developing this damn thing," reveals Knight. "But he's voiced by my two-year-old son. It's a really strange thing to hear that little guy's voice come out of my older guy's puppet body. There's a scene in the film that's incredibly intense and the baby's screaming and crying and people go, 'Oh my God, how did you get that baby to do that?' I'm like, 'Well, I changed his diaper.'""

"2023 marks the 125th anniversary of the very first stop-motion film ever created: 1898's The Humpty Dumpty Circus, in which dolls of circus acrobats, elephants and donkeys came to life. That historical artifact has been lost forever, but the artform itself has refused to follow suit. Last year saw Guillermo Del Toro venture into Stop-motion with Pinocchio and Henry Selick return with Wendell & Wild. Aardman recently teamed up with Lucasfilm for a stop-motion Star Wars: Visions short (like Travis Knight's childhood film, it features an X-wing, plus actual Wedge Antilles), while a Chicken Run sequel is clucking its way to Netflix. Much of the credit for the reanimation of stop-motion must go to Laika. They've kept on ploughing forward, dedicated to the medium. The studio is expanding and transforming, with Laika set to move into the live-action realm. The first of those projects will be Seventeen, based on a John Brownlow book about the world's most lethal hitman. "It's a thriller with soul," says Knight. "Whatever we're developing, be it animation or live-action, it's going to be something that's emotionally resonant, that blends darkness and light and humor and heart."

But at the core of the studio, despite the fact they've incorporated elements of CG into their films since the start, will remain those patient-testing puppets.

While Wildwood is their biggest, most ambitious project yet, they're rolling other dice even before that's out. Including The Night Gardener, a stop-motion movie based on a script by Bill Dubuque, creator of Ozark, and described as "A neo-noir folk tale.", which is Laika's first that's not for kids. "This film is not a family film, at all," Knight says. "There's never been a film made like this in our medium. And that really excites me. It's a beautiful story, it scares me, And it's going to be an extraordinary piece of cinema, I think. Or at least has the potential to be."

The Laika philosophy is an admirable one: keep pushing in new directions, never repeat yourself. But one thing remains consistent for these pioneers in the drizzly Pacific Northwest. The pain of making one of these damn films, and the pleasure of -finally- watching the results.

"You know, these things are like little vampires," Knight reflects of the puppets that fill his warehouse. "They suck the life out of the people that touch them. At times it's really frustrating - they won't do what you want them to do. But when I see a puppet that's been imbued with life, because an animator on stage has had an emotional connection with an intimate thing, an assemblage of silicon and steel... Well, it's the closest thing to magic I've ever witnessed.""

[randomartz]

My notes on mutant mayhem !!!

If ur inclined (hopefully I tagged it well to avoid spoilers for folks who don’t want them )

XxxxxxxX

Everyone was characterized very well

Particularly Leo and Splinter

Thought it was interesting they made Leo have a crush instead of Donnie. Fresh take!

Love the brother razzing

They relied a lot on modern day references for dialogue which will date it BUT it is how kids talk and it didn’t feel as forced as it could have AND if they’ve only experienced dialogue through their phones/TikTok it makes perfect sense

Love that they share a room and have their own lil pods 🥹

Loved Paul Rudd

I also loved all the character design!!! The organic shapes reminded me a lot of Paranorman which you know I Love

Lovedddd Leatherhead is a Ladyyyyo

I was truly just soaking in the animation!!!! I will forever be indebted to Sony Animation who changed the game after spiderverse thank you so MUCH FOR THE FOOD YUM YUM YUM

Their longing looks when they were watching the movie KILT ME

Dr Utrom was a good nod and a potential plot pointttt

The Laird and Eastman High were excellent Easter eggs

Glad they didn’t make Leo a stick in the mud; very much a kid struggling with responsibility and also being a kid

and they were so GIDDY after they met April and were walking home omg

Splinter was a hoot love him sm he loves his boys !!!!! I also think they maybe did a nod to a couple of live Jackie Chan action moves in his fight but I could be wrong

When he broke his leg I think that was a missed opportunity to introduce his Iconic Cane

Love love love when Splinter fights

They were so excited when they won the fight in the garage!!!!

I’m also low key pleased April puked Just a Bit on the news to show that she’s still nervous lol

Bittersweet they lost their masks when they went to school

Liked the set up for the Shredder. I wonder what the Foot will look/act like

When will my man Agent Bishop get the theatrical debut he deserves !!!!!!

[loveaetingkids]

Missing Link(2019):movie review 

(Contains minor spoilers)

As a big fan of Laika films I was excited to see their recent stop-motion work.But after finishing it I felt kinda…let down?To understand as to why I was dissatisfied with Missing Link I decided to divide my impression of this movie into pros and cons.

Pros:

Animation

Is anyone surprised that Missing Link has one of the most pleasing color palette to look at?Pacific Northwest,California,the boat,Himalayas-every new location has its own theme with it.This film also emphasizes the space of each place the mains go to, so the audience does not get the impression that everything happens in one room, but in the existing terrain.In other words the design here looks convincing and artistic.As for the characters-we can easily depict their personalities from the geometric shapes that they’re based upon,like triangles for the main character-who comes off as bold and charming,or circles for the Sasquatch-good-hearted and a bit oblivious .So yes,they rightfully won the Golden Globe Award for their animation alone.

Action scenes

Inspired by the adventures of Indiana Jones and Sherlock Homes,it would only make sense if this movie would include well-written fights and escapes.And they sure did!Keeping in mind that the cartoon is made in stop-motion,the ship chase or the ice bridge battle looks even more impressive.The choreography (I don't know if this term can be used for the non-human objects tho) is excellent, so instead of static shots, we see various dangerous situations the characters find themselves in,which glues the viewers to the screen.

Cons:

Jokes

Missing Link presents itself as an adventure comedy,but the jokes in it come off as iffy.The reason for it is that gags about blowing raspberries and making noises don't fit well with the story, which takes itself quite seriously. There is a dissonance: the funny insertions seem to be intended for a younger audience, while the story itself is for an older one.It looks like the film crew wanted to add some funny phases here and there to lighten up the mood,but it didn’t work out as planned.

The main character 

Despite Mr Link being the symbol of this cartoon,Sir Lionel Frost is the protagonist,since the conflict revolves around his want to be part of “Society of Great Men”.Based on James Bond and similar heroes,Frost fits into the “self-sophisticated but nonetheless good” trope. However, for the majority of the running time he is simply rude and changes his views at the end of the film just because his companion Adelina gave him a talk.The audience rarely sees Lionels positive side,instead we witness his disrespect for Susan and his numerous advances towards Adeline, who might I remind you,is the widow of his deceased friend, and who responded to his flirtations with a no until the boat chase.It would’ve been a good opportunity to condemn or humor his bad actions,but even through Sasquatch and Ms Fortnight point it out a few times,most of the things the main characters says either gets brushed off or is shown in the neutral light.It felt as though Frosts problematic behavior was ignored before making him suddenly compassionate to progress the plot.

Overall,this movie felt like the weakest among the Laika stop-motion works to me.It’s not exactly bad,but it can’t be compared to ParaNorman or Coraline.Missing Link is alright to watch a few times just for the animation and overall aesthetic of an old explorer films,but that’s it.

(What was your impression of the movie?Feel free to write in the comments section!)

[unlocked-doors-verse]

Introducing the Crossed Realms Blog

Good timezone, everybody~

To introduce myself, my name is Danny but you can also call me other names as well- once I link my hoard of names (/lh). I am the owner of this blog, 23 years old and use they/them pronouns!

To start us off, the Crossed Realms blog is a multi-fandom project featuring some of my favorite medias from the 2000's which includes Laika films, superhero cartoons, and more where they will cross-over in my fanfictions! One such AU is Unlocked Doors, which has become a spinoff to the Mystery Kids universe ft. Danny Phantom, Coraline, Paranorman, and Gravity Falls (#unlockeddoors will be the name I give it!)

As for the second project, it follows the Secret Trio - in other words, Danny Phantom, American Dragon: Jake Long, and Randy Cunningham: 9th Grade Ninja. As of right now, this AU does not have a name and little is known about it!

Now, anyone who stumbles across this blog will expect some of the following;

~ Posting might be sporadic but I will do my best to not abandon this blog! This will mostly be dependent on what I have to do during the day and then some

~ Most of the characters will be aged-up in order to have the storyline fit a little better, as there is going to be an emphasis on serious and mature themes

~ LGBTQIA+ and neurodivergency subjects will be breached- as well as disorders in general. Most are ones that I personally have, so any intolerance, disrespect, or bigotry will not be tolerated on the blog!

~ Most of the storylines will take place after the end of the selected medias (with some exceptions, depending on my plans); full knowledge of the series and/or movies isn't necessary, but this will be a spoilers zone!

~ Headcanons will be used a lot

~ These are independent projects I have created out of love for the medias. They are in no way, meant to be taken fully seriously- (other than the fact I do make most of them a lot more realistic)

[Information regarding each of the crossovers will be posted separately!]

✧ Mod Danny

[niconebula]

💔 💤 collector

💔 An angsty headcanon

This is kind of related to the second prompt too, but I believe due to their pyjama-like outfit and the whole horror of the solitary confinement thing especially at his age... the Titan intended to send them into a coma when they were trapped. I always thought of this, and then I watched Paranorman again after people were talking about it (spoilers but the little witch girl Agatha was put back to sleep every year with a bedtime story) and now I definitely headcanon / theorize it.

💤 A headcanon about their sleep

He doesn’t physically need to sleep - but after a week of pure hyperactivity from finally being freed, he crashes hard for a good day and The Collector sleeping is very endearingly cute. So much so that King is like "aw.. maybe he's not so bad after all" until he wakes up again and the chaos continues. Also, when he sleeps ocasionally his dreams will affect near reality. Gotta be careful.

[furryprovocateur]

i finished paranorman paranormasight: the legend of the seven stars. i wrote a review. it even has no spoilers!