“filling the void” is a webcomic i’ve been making since 2017 about some of the villains from paper mario. you don’t have to have played the games to understand the story. it’s a road trip story about managing depression and the complicated relationships between a found family.
otherwise you’ll probably find me hanging out in the outer wilds fandom, though my reblogs here are a grab bag of stuff i like. i don’t tag very well, but i can make more of an effort if you ask for anything.
And talking about how the new frizz her is her niece, allow me to do a direct side by side instead
These are STILL not the same woman. Where is the icon fashion, the earrings (the chameleon, which might be in the new show idk I haven’t watched it), the prominent hooked nose, the broader shoulders, the volume to her hair, the LIFE IN HER EYES
This frizzle looks like she’s been called into the school board for inappropriate behavior and dress one too many times and has been broken.
Also others have said it before me but I couldn’t find it in the scroll backs but they whitewashed all the kids too. They same face syndromed everyone to either be easier to draw or be more ambiguous so as not to offend or both or something, and it just makes me sad
Fuck it I did the digging cause I’m still mad
And that’s not even to mention what they did to the bus itself.
The old bus had a personality and life and fun and now it’s just… a bus.
HOW DO Y’ALL WHITEWASH A BUS?!
It’s gives “anti abortion Jehova’s Witness cartoon” now
Vector puppet animation and a shocking drop off in investment in kidvid is largely at fault, but international marketing is also to blame.
What’s important to remember is that the whitewashy approach to character design in kidvid is a backslide.
Representation in cartoons had generally been on an upswing since the 1980s, even though efforts were often minimal, clumsy, or badly executed. Diversity helped sell action figures in the lucrative US/Canadian market and it was recognized as a prosocial value on the production side.
“Prosocial messages” are a major part of kidvid TV pitches and development, nearly every show has specific prosocial lessons the narrative themes are intended to work around, even if its an action-figure ad. These range from sincere expressions of the creator’s intent (Gargoyles, OG Magic Schoolbus, OG He-Man (no, for real)) to the entertainment equivalent of carbon credits.
Slight aside. Actual ink-and-paint animation tended to lock characters down into more distinct tones because there were only so many standard paint colors. Which is why Kwame from Captain Planet, Roadblock from GI-Joe, and Tim from OG magic schoolbus all use essentially the same pantone.
Ralphie gets skinny because not only fatphobia, but I suspect because he would need slightly different rigging and would add just a teensy bit to the budget adjusting his animations when they could just copy-paste from one of the other identically built kids. If they need to put them all in spacesuits or diving suits or whatever, they just make the one body and slap the heads on, eazy-pezy.
Decals on the schoolbus mean they have to be tracked, they have to use different versions of the bus in flipped shots, same with Mrs. Frizzle’s clothing patterns. Wouldn’t want to spend time flipping Ralphie’s “R’ around.
And with the marketing for everything now being global, there’s an impulse to average everything down to appeal to all markets to a general degree. Making stories oversimple makes them easy to translate. Humor varies culture to culture, keep it slapstick or quick quips that can be localized easily. Everything that makes the Chinese censor boards happy also makes US reactionaries less likely to kick up a protest, the incentive is to keep everything:
ALSO:These characters have the same face. They probably use the same eye and mouth parts for character animations.
It’s all to do it as cheap and broadly appealing as possible, as determined by business weirdos who know nothing about art and care nothing about kids, and they’re more than willing to leverage racism (or just ignore that its happening) for the promise of a tenth of a percent more profit.
And what’s galling is that this kind of animation software doesn’t have to make crap. It can be used to make amazing stuff and still be vastly cheaper than traditional hand-drawn, but the same quality at 60% of the cost is never going to beat ½ the quality at 5% of the cost for the money-men.
The path of least resistance rolls over a lot of people.
Reblogging for "the path of least resistance rolls over a lot of people”
All of this, but I want to highlight @therobotmonster’s point extra hard because I see people watch media from the 90s and get confused on the difference they see now. There was a massive, intentional push to diversify children’s media to connect to specific communities that has been watered down in order to sell to an international market. Chasing after more money has robbed us of richer storytelling, and you can see it in not just children’s media, but in what movies Hollywood decides to make.
And yet, when art is able to speak to and about those communities, it’s very successful. Kamala Khan has been a breakout star of Marvel comics because of her Pakistani-American background, her connection to her community, and being a Muslim American. Sinners was one of the best movies of last year. Most of the best graphic novels I read last year (Big Jim and The White Boy, Hello Sunshine) were about specific challenges faced by specific communities and how to navigate them.
When you’re creating art, an essential question you should ask is “who needs this the most” instead of how to make it appealing to the most people. If it is genuine, the audience will be there.
hi guys! discord is doing a survey on how people would like ai to be integrated into discord. take it and say fuck no to every question. when you get to “in general, how do you feel about discord inegrating ai features?”, respond that you would actively get everyone you know off of discord and wouldn’t pay for nitro or other shop items if they added ai features.
