♡ Gonna be on Personal for a while ♡
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Lazarus Water is a special water to Ghosts. Not for drinking, but more for like...baptism.
Into servitude.
Anyone who has been dunked in Lazarus Water is bound by soul contracts to serve the Ghost King, whoever it is.
The more someone has been dunked, the more binding the contracts.
Jason and Bruce? They would have to be given a direct order.
Damian? A side-minded mention would force his body to comply with the Ghost King's wishes.
Ra's? Ra's is screwed.
Because the Ghost King is now a fourteen year old boy, and Ra's has been dunked so many times that all said boy has to do is think and the Demon Head is scrambling to comply.
Danny doesn't know what he did to have ninjas at his beck and call, but they're really taking the workload off of his shoulders by fighting his rogues when he has homework to do or sleep to catch, so he's very okay with all of it.
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One of the earliest examples of Leo’s “I’ll do my own thing to accomplish our goal without discussing it with my team first” is in episode one. It’s super, super quick, and ultimately inconsequential, but it subtly sets up a great precedent that I think is very interesting.
When the boys need to grab the medallion from Splinter without Splinter noticing, Raph, Mikey, and Donnie huddle together with Raph taking the lead in trying to devise a plan to get the mystic device. Meanwhile, Leo slinks away and grabs the device by clocking the situation (by knowing his father well enough to predict his actions - something he does with each family member multiple times in the series) and making a move on his own.
It works out perfectly fine, and is ultimately the best move, and it’s honestly okay that he didn’t consult everyone for something so small when it’s such a non issue to get it, but it nicely sets up how this tends to go in the series, including how it goes in the movie.
To be honest episode one is actually really good at setting up a lot of things for each character in the long run, this is just one example that caught my attention, as small and unassuming as it is.
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I like IPC's logic here. Let's send one of our top guys to scheme, manipulate and gamble in the name of our shady agenda. Let's also send Bob from engineering.
I mean, Dr Ratio showed that he's highly adept at scheming and advancing secret agendas. But they are sending him to this grand celebration as a technical consultant. I'm sure he's very excited about it.
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Very much love your take on the new looks for Orym and Ashton! I saw a bit of your post about how Liam and Tal give feedback... would you be willing to share any information about how the back-and-forth process works between you and the actors as you work on their stuff? (I just love hearing HOW the awesome happens, not just the end results.)
Yeah okay. Lemme think, here. Alright let's so this as a numbered list-
1- Actor sends description of character. This is pretty broadly interpreted, in my experience. It's something between a brief paragraph, an annotated pdf, and multiple pinterest boards.
2- I send back a Pitch. This has taken multiple forms in the past, but it's generally settled into a few pages, that kinda go-
a- Poses and Vibe Sketches- This includes little portraits, attitude poses, a couple sketches showing extreme dynamism or movement. I try to suggest outfits and weapons or accessories, here, but I don't spend a lot of time fleshing it out.
b- Outfit Poses- usually on a turnaround or one fairly lowkey pose. I try to include 3 or 4 serious attempts at outfits and maybe a couple of backs, if it's important.
c- Color- I usually just pick an outfit at random and try to give it a few different palettes. If the actor is absolutely sure what the palette is, or if it's a character I've worked with before, I might just make one palette and briefly color each of the outfit sketches from b in that palette
d- Accessories, Weapons, Other Important Stuff- if the character is carrying around like a book or a bird or a really specific weapon, I try to address that in its own space, though sketches for all of those things may exist on other pages. This has been known to be very pretty or a bit boring.
3- There is some form of back and forth between me and the actors (and a producer, who are all lovely and don't step in on creative things but are always working against a schedule and need to know how things are going. I just want to be clear that every producer at CR is a secret angel who eats deadlines and shits magic and every one of them totally Gets It. They are all One Of Us). The back and forth is always individual and based on the actor but it can be-
a- Actor picks from menu, usually via complex "circling" system (also all sketches are numbered, so they can just ref numbers).
b- Actor sort of picks from menu, while moderating and adding further references.
c- Actor just sends a bunch more shit and I narrow stuff down based upon what they seem to be getting at.
4- There's this bit of finding what the pose is gonna be, marking in all the necessary accessories, getting that last email about adding a scar, can we add a necklace? etc. What you are left with is something that the Producers call "pre-final." If it hasn't already been with the modelers and painters this whole time, this is when the modelers and painters get the design and start their magic.
5- I go away into a cave for a time period of quiet reflection with my Gods. I refer to this period as "rendering." I cannot be reached by the reason of man and spend a lot of time bitching to my friends while I try to figure out why shading a cape is suddenly the most difficult thing I've ever dealt with in my life.
6- Done!
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