#2023 giants season | Explore Tumblr Posts and Blogs

formulaorange · 1 year

Text

Winter 2023 Anime Review

This has got to be the longest season ever. I swear I stopped watching anime for a good few months and came back and the season's still going. I definitely cut down the amount of shows I watched this season since I burnt out but the upcoming Spring season should be a banger. My top 3 for this season: Buddy Daddies Sugar Apple Fairy Tail The Vampire Dies in No Time Season 2 Here's this seasons final reviews:

Giant Beasts of Ars - 12 Episodes Definitely one of the better anime originals I've seen in a while. This is a new sci-fi fantasy concept that felt a little reminiscent of Ghibli content. I was satisfied with the story but was a little disappointed they didn't end it off with 1 season. 8/10- Very Good

Trigun Stampede - 12 Episodes I honestly loved this. Studio Orange killed it with the 3d animations (they did Beastars) and the story is well rounded. I think the series is definitely underated and many people skipped it due to the animation style but it's 100% worth a watch. 8/10 - Very Good

Vinland Saga Season 2 - (Still airing - 12/24 Episodes) Who knew we'd see Facebook's farmville be animated in such detail. But honestly, the first half of this season is absolutely brutal. I know they're keeping it real and the slow pace makes the rest of the season stand out all that much more but damn. Doesn't pick up until episode 9 but somehow I still have high hopes for the rest of the season. (Side note - Mappa is killing it as usual with this take-over) 7/10 - Good

Blue Lock - Part 2 (Episodes 13-24) This is definitely still one of the best sports anime I've seen in the last few years. All the characters are unique and enjoyable to watch, the art style is solid and well executed and the story progresses at a decent rate. I honestly don't have many complaints about this series. (of course other than the usual butchering of english in the last 2 episodes) If you like sports anime, soccer or just want to watcha battle royal, this is one to check out. 8/10 - Very Good Endo and Kobayashi Live! - 12 Episodes This honestly didn't feel like a novel concept but I had a lot of fun. It's 2 romance stories in 1 but with all the fun of shitty otome game intervention animes. (I can't believe this is a genre now). Just overall wholesome fun. 7/10 - Good Revenger - 12 Episodes I really thought this series could've been better. While I did enjoy it to some extent, the story ended up feeling very superficial and didn't feel like it really went in depth on any of the characters and just floated along the surface story for the whole season. 5/10 - Average Tomo-Chan is a Girl - 13 Episodes I nearly stopped at the first episode. I'm still not 100% sold on the concept where this strong girl just wants to be seen as a romantic interest and a lot of the gender stuff was really on the edge but I think they managed to walk around it. The story did end up being cute without it stepping all over tomboys. Was fun to watch but not as good as the hype behind the manga. 6/10 - Fine Campfire Cooking in Another World with my Absurd Skill - 12 Episodes I really enjoyed the manga for this series and I was stoked that Mappa picked it up. I found that as long as you don't try to look for a serious story from this series it's a fun lighthearted watch. Definitely made me hungry while watching. 7/10 - Good The Eminence In Shadow - Second Half I think this show was actually pretty fun. Definitely more of a fantasy than isekai since it has nothing to do with his previous life. I had fun with Shadow's character but found that it got boring for a few episodes until the end. If it continues I'll likely still check it out. 7/10 - Good

The Ice Guy and His Cool Female Colleague - 12 Episodes This was really cute and I liked the change of pace from other romance series where they're all workforce adults, like in Wotakoi. Still felt that it didn't really go anywhere. Enjoyed it but likely won't continue to watch if there's a second season. 6/10 - Fine

9 notes · View notes

nflhighlights4u · 3 months

Text

Dallas Cowboys vs. New York Giants, NFL Highlights 2023 week 1

NFL Football Highlights

To watch Highlights click here

#nfl football highlights #nfl highlights #nfl today #2023 nfl season #nfl imagine #nfl players #nfl picks #nfl videos #nfldraft #nfledit #nfl lb #nfl football #nfl playoffs #nfl #superbowl #dallas cowboys #new york giants #nfl football highlights week 1

0 notes

daminouspurity · 4 months

Text

youtube

Philadelphia Eagles vs. New York Giants | 2023 NFL Season Week 18 | Predictions Madden NFL 24

0 notes

fans4wga · 9 months

Text

26 July update from WGA's Chris Keyser

youtube

From the WGA: With SAG-AFTRA now on strike and new levels of solidarity across all Hollywood unions, we are witnessing the spectacular failure of the AMPTP’s negotiating strategy. In this video, WGA Negotiating Committee Co-Chair Chris Keyser lays out what this moment means and how we move forward. To learn more about the WGA strike, visit https://www.wgastrike.org.

FULL TRANSCRIPT:

Fellow members of the WGA East and West. It's been a while since our last video and quite a bit has happened in the meantime. So on behalf of the negotiating committee and leadership, I wanted to give you an update on where we are and what the near future at least is likely to bring.

We've been walking side by side on picket lines in New York and Los Angeles for a little over 12 weeks now. Only now we're joined by thousands upon thousands of members of SAG-AFTRA who, like us, have finally had enough.

This is the endpoint and the fruit of the AMPTP’s game plan. For 11 weeks, they negotiated with everyone but us. They claimed it was just practicality, that they could only do one thing at a time, which is not normally a point of pride. But events have made clear what we knew from the start: that not only was it a strategy, it was their only strategy. Negotiate a deal with a single guild and impose that deal on every other guild and union in Hollywood, whether it addresses the needs of those unions or not, all with the implicit threat: if you want more, strike for it.

Wow. It’s their 2007-8 playbook applied to 2023 as if nothing has changed, as if the accumulation of economic insults and injuries inflicted on us over the past decade would be borne in perpetual silence, as if the giant of labor had not awakened. But it has. And you only need to look as far as the front gates of every studio in LA and New York to see the evidence.

Two unions on strike willing to exercise their power, despite the pain, to ensure their members get the contract they deserve. For us, that means addressing the relentless mistreatment of screenwriters, which has only been exacerbated by the move to streaming; the continued denial of full MBA protection to comedy variety and other appendix A writers when they work in streaming; and the self-destructive unsustainable dismantling of the process by which episodic television is made and episodic television writers are paid.

It means addressing the existential threat of AI and the insufficiency of streaming residual formulas, including the need for transparency and a success-based component. All of these will need to be addressed for there to be a deal because in this strike it is our power and not their pattern that matters, not their strategy. Their strategy has failed them. Now they're in the midst of a streaming war with each other, an admittedly difficult transition. And as they face the future, their interests and business models could not be more different from Disney to Sony to Netflix to Amazon.

We root for their success, all of them. They root for each other's failure. We are the creative ammunition through which they will succeed. They are each other's apex predators. And yet, in a singular shared dedication to denying labor, they have shackled themselves together in what increasingly seems like a mutual suicide pact, as the 2023-24 broadcast season and the 2024-25 movie schedule and its streaming shows disappear, melt away week by week.

So what does this mean? What does it mean going forward? How do you play chess against an opponent who insists on screaming checkmate at every move regardless of how the board looks and the game is going?

You stay firm, you stay resolved, because our cause is no less existential than when we started and our leverage is increasing every day. Alone we withheld our labor with the support of our union siblings and the Teamsters and IATSE and the Crafts, we were able to delay the vast majority of production. Now with SAG-AFTRA on strike, those few studio projects that remained have also shut down. And it's not just the obvious delays. If this strike drags on, it's the actors with conflicting obligations and the directors and the double-booked studio facilities and release date chaos that the companies must now also contend with. Some of their most valuable product could well be delayed for years.

Add to that, no promotion of movies or television shows and famous faces on the picket lines and social media speaking directly to their customers. For the tech companies and the mega corporations, that should be their nightmare scenario: WGA and SAG-AFTRA side by side. Our bargaining agenda may not be identical, but our cause is the same. Our army of labor, defending labor has increased 17-fold in the past two weeks alone.

Even so, even with all this wind at our backs this negotiation won't happen overnight. It's not because the negotiations themselves are so complex. Once the companies fully engage, it could go very quickly, but because their strategy of many decades has just fallen apart and they didn't see it coming, and it's going to take them a minute to regroup, 'cause the companies have things to work out internally, and saying no to labor in unison is a lot easier than saying yes. So either together or separately, as their divergent interests might suggest, they will come back to us, despite their understandable concern about how they've navigated this transition to streaming, which is on their heads and not ours; and their worries about costs and their worries about Wall Street; despite this being a season of doom and gloom, none of them are walking away from the riches of this business, and certainly not over the equitable minimum compensation to writers.

They didn't get the deal they wanted; that's fine, it happens all the time. They're not taking their ball and going home over it. And since we know they come from union families themselves, and since they've denied that “even-in-Hollywood-you-have-got-to-be-kidding-me” ugliness of threatening to starve us out and leave us homeless (which we assume they understand also means making our children homeless,) they will come back to us. Although I will say they took a long time to deny that statement, longer than I would have had it been ascribed to me.

But what does it matter? You can starve a labor force slowly or quickly. The effect is the same. It's not like day rates for comedy variety writers and endless free drafts for screenwriters in exchange for a single paid one in four-week mini-rooms isn't cruelty. It's just cruelty written in contract language instead of a press quote.

So what can we expect from the companies as all of this plays itself out? They will try to convince Wall Street that taking a strike, prolonging it unnecessarily, losing their content stream in the process—that all of that is just smart business and no reason for investor concern. We will be talking to Wall Street too, and reminding them that for all these companies, all of 'em including Netflix, the bill, the price for making nothing, will eventually come due. And Wall Street is listening already. Here's Michael Pachter, managing director of equity research at Wedbush on Yahoo Finance the other day: “I think the studios are completely wrong on this one. Content is their lifeblood. They're feeling really foolish about this."

Wall Street isn't the only one listening. We've been talking to union pension funds too about the risks the companies are taking. We talked to CalPERS, the largest public pension plan in the country, talked about the loss of programming and the cost to the industry, and we heard strong support from its board for our struggle and the promise that the companies will be hearing from them, from CalPERS, and demanding answers on behalf of its 2 million members.

To us, of course, they will continue to plead temporary poverty, but we know the drill. These companies support billions into the streaming wars and taken short-term losses these past three years, because they know that to the winner will go the spoils. We're patient, will they share that with us when the time comes? What are the chances?

Since 2017, the last time the studios negotiated with us outside of COVID, the big six companies alone have made $150 billion in profits off our work, while they slashed our pay and degraded our working conditions. Maybe if they had shared a tiny piece of that then, made $1 billion or so less, this year wouldn't seem so costly. As it is, there is no iron law that these companies are entitled to record profits every year, and it isn't some great travesty if their shareholders or their CEOs get a slightly smaller slice of the massive profits we helped create if some balance is restored.

Look, no one denies that corporations exist to make a profit and no one wants our employers to be profitable more than we do, but the singular pursuit of corporate profits to the exclusion of their social and human cost is a real problem in this country—it’s a real problem. A corporation's bottom line is not the same as the world’s, and there is nothing in our studio's bottom lines today that accounts for the quality of our lives or for our dignity, for the comfort of our retirement or the security of our families. Their numbers have no conscience, but the people who report them as victories ought to.

In their refusal to recognize that, these companies have also extracted an awful price, which is laid at their feet and for which they are responsible. Losses to the economies of New York and Los Angeles and everywhere that film and television are made, terrible losses that mount every day, thousands of people out of work; not just us, all the crews, the crafts, the janitors, the drivers, the businesses that thrive when Hollywood thrives, the restaurants, the stores—for what? For nothing. So they could avoid coming to the table to negotiate the deal they will one day give us. Measured today that is the painfully mixed legacy of our employers, weighed against every beautiful piece of work we have made with them.

And if history is a guide, they have only temporary stewardship over a kind of national trust, which is Hollywood. Our story, our sometimes conscience, our public conversation, our diversion of the worst and best of times, our greatest export, the repository of our imagination. They have some obligation to more than just their shareholders to behave accordingly.

Unfortunately, it seems big tech, mega corporations, and some of the people who run them, as the saying goes know the price of everything and the value of nothing. So they have built a business model that no longer works for human beings who cannot be paid minimum for 10 to 20 weeks a year and make a career out of that, be paid for one draft of a screenplay that demands a year of labor, be paid a few episodic fees for a show about which to take years to decide be paid a daily rate.

And now we have a first glimpse of what they offered our actor colleagues. We are not 170,000 Willy Lomans to be used and then discarded. We know what the companies believe they have the power to do. We know what they think machines can do and do without any of us. Oh yeah, we've seen the writing on the wall and it's plagiarized.

The thing is this: the difference between what you CAN do and what you SHOULD do is the greatest single difference in the world. Knowing that is the only real protection we have against a dystopian future. And if the companies sometimes forget that, writers will do it for them.

I can't know exactly how long it will take this revolutionary moment, and you've heard again and again what is happening today has not happened in 63 years, but I know that's not always how it feels, revolutionary and defining, even though we celebrate that on picket lines together, which is the right thing to do. That's not always how it feels when you go home at night. I know how tough this is: to strike, to hold the line. I know it gets tougher every day even with SAG-AFTRA marching beside us, how hard it is to face the uncertainty of when it will end, when we'll get back to work, how we'll pay the bills. I know it's hardest for those who've just gotten started, for those for whom the world opens doors more reluctantly, battled their whole life just to get here; but hard too for those struggling to maintain their long careers, who find work tougher and tougher to come by, or those with families with children or parents to take care of.

These companies understand the cruelty of what they're doing. It's their plan to starve us just a little, to exact as much pain as they can so that we wish more for the pain to end than for the better life we dreamed up. That we're more afraid of the uncertainty of the present than the certain devastation of the future. It's societally acceptable economic torture inflicted by management on labor every day, then blamed on labor for daring to fight back, for refusing to be complicit in its own mistreatment.

Here's how I know that's not going to work. Not with us, not with the writers, because we haven't come all this way, fought to have these careers in the first place, all the adversity, and marched together for all these months, only to let it slip away on our watch—because there is no point in rushing back to jobs that may not be there in a year or two anyway. Because the business, as the companies have twisted it, is now untenable, unsurvivable for so many of us, because even success is not enough to keep going, because this guild is younger than it's ever been and more diverse. And this young diverse membership knows from hard personal experience the system is broken and that it will not be fixed unless they fix it. And those of us who came before them will not let them down, because we and the writer's guild are the beneficiaries of all those who came before us who gave up everything for us.

Like the writers of 1960, the year I was born, who struck for 22 weeks and who gave away all the TV residuals for all the movies they had ever written so that we could have a health insurance and pension plan and residuals from that date forward. $15 billion flowed to writers and their benefit plans because of that sacrifice. Because writers are brave, because now it's our turn.

So what's our job? Even as we welcome SAG-AFTRA to our side, we are still responsible for our own deal, and so we must remain focused and diligent. We must continue to march, picket signs in hand. But we should also remember this and with pride, that before there was SAG-AFTRA, before even the Teamsters and IATSE and the laborers and the electrical workers and the musicians and the plasterers came to our side, there was the writers. Alone then, we looked at the blank page and began to imagine the future. With no net but each other we typed the words, what if?

And then we took a step into the darkness and found that it was light. And then we were joined by the crews and the drivers and the actors. The actors got a bit more fanfare when they showed up, but that's okay, we wrote the script. The WGA, still small, not alone anymore after all these decades. Hollywood labor has finally linked arms and found its voice, and that voice says enough. There is no road to longterm prosperity that burns a path through your own workforce. We are not your enemies. We are not merely a cost to be borne. We are your partners and your greatest asset. And we are, as you acknowledge yourselves, irreplaceable, but by accident or design and it doesn't really matter anymore, the business you are running no longer works for those who work for you.

What is the point in continuing to deny that? Why deny it when everyone else in the business to a person tells you it's true? Do you think it's a coincidence that two unions are on strike against you for the first time since Eisenhower was president? You can't exactly accuse us of being quick on the trigger. The effect has a cause, it has a cause. And there is no profit in insisting on the answers to the past for the questions of the future.

But if you want instead to invest in something that will reap you fortunes, I have a tip. And if you are visionaries, envision a solution, not a stalemate. Because this isn't a war we're in, it's a negotiation, it's just a negotiation. There is no face-saving here for either side, because there is no winner or loser. It's just a deal. And when you come to remember that again we will be here as we have been here all along.

And at this point with 170,000 writers and actors aligned against your intransigence, that is as generous as I can be, as close to an olive branch as I can offer. But if you insist instead on the same threatening rhetoric, on saying you would rather starve us than pay us, I would remind you of this: You are fighting for a dollar, we are fighting for survival. We are fighting for our home: writing is where we live, and we will defend that home with a bravery and stamina and ferocity that you will come to understand someday, which is why you cannot break us. You cannot outlast us, you cannot.

And not just because we have the will, because we have power. Nothing in this business happens until we start to write. And we will not start to write until we are paid.

Union now. Union forever.

#sag-aftra strike #sag strike #actors strike #union solidarity #i stand with the wga #wga strong #wga solidarity #fans4wga #Youtube #wga strike #writers strike

3K notes · View notes

tenpintsof-sundrop · 1 month

Note

Hii !! From the smut prompts (stop rolling your eyes, I know Im predicatable!) could I request "Accidentally Sending Nudes", "Sexting" and... a secret third thing (the choice is yours, go hogwild) for Jason x Fat Fem Reader? I'm leaning more towards sub!reader but shes def a little shit about it :3

Thank you in advance if you write it !! 🌼

See, this is why it pays to send in a request with me, because even if I don't answer it right away, I keep requests in my inbox for months and come back to them later!!! (This is from December 2023)

(Also this request is just plain fun) (because Star knows exactly what buttons to push to get me lmao)

DC Titans Requests - OPEN

How would Jason react to you accidentally sending him a nude?

(Jason Todd x Fem!Thick!Reader)

Warnings: set specifically in the Titans!verse - set during season 3/mentions of season 3 plot points; spoilers for major plot points of Titans (including character deaths on the show); this is kind of enemies to lovers? (enemies to fwb, I guess); the reader uses she/her pronouns and has a vagina; the reader is described as being fat/plus sized; passing mentions of Gar x reader (I couldn't help myself); dubious consent - because of the nature of the trope, Jason sees the reader naked without her explicit consent, and he decides to keep the picture without her consent - but it does spark a consensual sexual relationship between them; passing mention of using nudes for blackmail (that does not happen); this isn't really proofread; (generally, I consider this post to be a fucking mess because it was written in Tumblr but I was still trying to have fun with it lmao.)

...

Jason is minding his own business when it happens.

(For once in life, he is fully, completely, minding his own business.)

He's back in Gotham and he hasn't seen you in months - and if asked, he would say that he hasn't thought about you. He doesn't have time to think about you because he's been too busy with this therapy bullshit, training, trying to get back his title of Robin. Trying to get back in the cape. (And trying to get back in Bruce's good graces.)

But that's not exactly true. He's thought about you a lot.

(Most of those times have been with his hand around his cock, but again - he won't admit that.)

There is an occasional time that you cross his mind and it's because he's wondering genuinely how you're doing - wondering if you're well, how your training is going, wondering if you're doing okay under the Dickhead's reign. But he can't ever pluck up the courage to text you and simply ask. Because that would be admitting that he cares, and that would make him look like a weak little prick.

And that's why he's so damn surprised when you text him first.

He hasn't heard from you since he left the Tower (well, since he stormed away from Donna's funeral in what you called a 'toddler fit' - something that ended in a rather vicious text argument between the two of you). In fact, the last thing in the text history between the two of you is you calling him a 'giant, petty, whiny baby who can't deal with his own emotions'.

(You had no clue what had happened between him and Rose, so that did inform a lot of your opinion on the matter.) (And that was probably the reason why Rose still had all of her teeth after you had seen her at the funeral.)

But all of that was aside from the point.

The point being - Jason found himself smiling when your contact name popped up on his phone.

He has you in his phone as 'Pretty Girl' - along with a contact picture of you sticking your tongue out at him in response to having his phone shoved in your face with the knowledge that he was taking a picture of you. (That tongue always makes him think certain things, so even though you intended for it to be some rude thing to ruin the picture, it makes it so much better for him.)

(1) new photo

That instantly catches Jason's attention.

Perhaps you were sending him a picture just to flip him off, or sending him a picture of a dumpster to ask him if it reminded him of home - a common joke you used to make when he still lived at the Tower.

Jason grabbed his phone and opened the message, expecting another tired joke, and-

Holy fuck.

The last thing he was expecting - your naked body. Your gorgeous naked body.

(He likely would have expected a nuclear blast or for the Joker to clean up his act and actually become a decent, sane citizen before he expected this to happen.)

Jason brought his phone closer to his face, making the picture full screen in order to examine it better - he needed to make sure that he wasn't hallucinating, or that this wasn't some weird dream. But fuck, he definitely wouldn't be able to dream up this.

You were so perfect - so fucking perfect in a way that was so very real.

The picture was a fucking stunning side profile of your body - rolling curves, lacy underwear that could clearly barely contain your impressive hips with sweet little stretch marks jutting out from the fabric (jagged little marks across the softness of your skin that made Jason want to act up) - soft fat for him to grab onto, and the perfect teardrop shape of your breast, now bared to his eye in a way that he had only dreamt of before. Something that he had stared at through the oversized tee shirts you wore to bed without a bra, just wondering what you looked like underneath.

And fuck, this was so much better than anything he could have dreamt up.

Jason's cock began to harden almost instantly, and laying in bed, he reached over to his nightstand for some lube, ready to milk that picture for all it was worth, when-

His phone buzzed again.

Pretty Girl: 'Delete that.'

Jason hadn't even considered that you had sent it to him by mistake. He had been far too busy enjoying to even consider the intention or the psychology behind it.

So, he took his hand off the waistband of his sweats and texted back the first thing that came to mind.

'No.'

(He didn't hear your annoyed growl on the other end, frustrated at his downright typical Jason behaviour.)

'It's not my fault you made a dumbass mistake. Besides, it's the least I get after all the nagging from you.'

Then, something else came to mind as the bubbles popped up, meaning you were busy formulating a reply - an annoyed one, no doubt.

'Who did you mean to send it to anyway? Who are you fucking whose name starts with J that's not me?'

(You hesitated.)

Pretty Girl: 'I didn't type in J.'

'???'

Pretty Girl: 'I typed in G. And it turns out the first contact that popped up was Giant Baby. That's you.'

Jason felt annoyed and insulted on all levels. The fact that you were going to Tiger Boy for dick instead of him, and the fact that you had used such a mocking contact name for him. But when he realised that such a pathetic string of events had caused him to accidentally see you naked, he couldn't be too upset.

'I'm still keeping the picture 😈'

Pretty Girl: 'You're such an asshole' Pretty Girl: ... Pretty Girl: 'You owe me one'

'Fine, I'll owe you one'

Jason shrugged it off, thinking he had won, until -

Pretty Girl: 'No, you owe me a cock.'

This made Jason's stomach jump. You couldn't possibly mean-?

Pretty Girl: ... Pretty Girl: 'You owe me a picture of your dick. You know - an eye for an eye type stuff.'

Jason wanted to ask questions - what did you plan to do with the picture? Should he shave his balls first? Did you want more than one?

But his cock got even harder at you asking for a picture, at you demanding to see his cock, and he couldn't properly think - he couldn't even reason that you might later blackmail him with the picture.

No, instead, he found himself ripping down his pants and turning on the bedside lamp for good lighting, pumping himself up to peak rigid hardness and grasping the base of his cock in hand. And then, without hesitation, he snapped a picture for you. He made sure to get his abs in the photo - a collection of his best assets, with his pants pulled down to mid-thigh, showing off his tight stomach, the deep V leading down to his dick, and his thick seven inch cock in hand surrounded by some well-kept dark pubic hair.

(He was proud of it - and that ego was one of the things that annoyed you most about him.)

He sent it without hesitation and then you began typing several times and stopped once again. Jason's stomach churned with nerves until -

Pretty Girl: 'Fuck you' Pretty Girl: 'I thought it would be smaller'

Jason had no clue how to respond to that, and he was busy racking his brain for some clever reply, when -

Oh. Oh fuck.

(1) new photo

You had sent him another picture. And this time it was definitely on purpose.

It was a view between the plump, beautiful thickness of your thighs - your hand was inside the pretty lace of those panties, and your fingers were visible working on your clit while your needy hole dripped wetness onto the fabric.

So you had liked what you had seen.

Pretty Girl: 'What would you do if you were here right now?'

Jason's brain short-circuited then. He thought of so many things - eating your pussy until you screamed, flipping you onto your stomach and fucking you until you begged him to stop, gripping onto those gorgeous thighs, pinning them to your chest and pounding into your cunt until you finally surrendered and said that you had liked him all along, fucking your smart little mouth to finally shut you up-

Pretty Girl: 'Come on, Jay. Don't disappoint me.'

Oh, he won't.

(Another thing Jason won't admit - he came back to the Tower just for you.)

...

DC Titans Masterlist

#star-mum #my lovely moots #requests #requested #sundrop writes #jason todd #jason todd x reader #jason todd x you #jason todd x plus sized reader #jason todd x y/n #jason todd smut #red hood x reader #red hood x you #red hood x y/n #dc titans #titans #dc titans fanfiction #titans fanfiction #titans x reader

429 notes · View notes

buzzterposey · 11 months

Text

SF @ MIL 05/25/2023 (x)

#sf giants #baseball #2023 giants season #mike yastrzemski #mustache may #steal a homer from former teammate and your best friend Ruf

27 notes · View notes

fuckyeahgoodomens · 3 months

Text

SFX Magazine Issue 368, August 2023

THEY’RE BACK – AND THIS TIME THEY’RE IN ALL-NEW TERRITORY. NEIL GAIMAN TALKS RETURNING FOR SEASON TWO OF GOOD OMENS

THE RASCALLY DEMON Crowley (David Tennant) and the neurotic angel Aziraphale (Michael Sheen) put aside their differences to pull off one doozy of a Hail Mary and prevent an impending Apocalypse in Good Omens’ first season. The task cemented the pair’s unconventional friendship. So what are divine beings, who have fallen out of grace with both Heaven and Hell, to do for an encore?

The answer lies with archangel Gabriel (Jon Hamm), who shows up unannounced on the doorstep of Aziraphale’s London bookshop. Suddenly, Aziraphale and Crowley are caught up in a caper of biblical proportions – but also a more intimate tale.

“It’s a mystery,” showrunner Neil Gaiman tells SFX. “It kicks off a story that doesn’t have giant consequences for the universe, even if it does have consequences for Aziraphale and Crowley. We have a lot of the marvellous Jon Hamm, who is the angel Gabriel and turns up at the beginning stark naked, carrying a cardboard box with no memory of who he is. In the same way, it is about Aziraphale and Crowley having to get involved with humanity in a way that they haven’t before.

“They get dragged in slightly against their will to try to sort out the love life of Aziraphale’s tenant,” he continues. “Her name is Maggie [Maggie Service] and she runs the record shop next to the bookshop. You’ll see the coffee shop over the road, which is Nina’s [Nina Sosanya]. The relationship between Maggie and Nina is one that Crowley and Aziraphale try to fix, and mess up, because they are not good at human relationships, even if they can do miracles.”

Truth be told, Gaiman never originally intended this arc to serve as Good Omens’ second instalment. The TV series was based on Gaiman and Terry Pratchett’s 1990 novel. The two collaborators had partially hashed out the details for a sequel to the fantasy comedy, late one night in a hotel room. This, however, is not it. Gaiman instead plotted a new narrative that could provide the connective tissue between the first season and a theoretical season three, if it happens.

“Because the hypothetical season three exists, there is a story that is there, and I didn’t feel that we could drive straight from season one into that,” Gaiman explains. “I knew what the stakes were. I knew what the parameters were. I also knew that I had David and Michael. I had the angels from plot number one.

I had demons from plot number one. And with anybody that I wanted to bring back, but didn’t have room for right now, I did not have to bring them back as themselves. “I had absolutely nothing for Madame Tracy to do in this plot, but I would be damned if Miranda Richardson wasn’t going to be in this. She is one of my favourite people in the world. She is hilarious and is so good. And I knew I was going to have a new demon replacing Crowley as Hell’s representative in London/ the UK. Miranda’s demon Shax is the best demon you could want.”

It’s late February 2022 and SFX is in Edinburgh for a set visit. A soundstage in Pyramids Studios has been transformed into a street in Soho. The visible local stores include the aforementioned book, coffee and record shops, as well as a magic establishment. In the middle of them all stand Aziraphale and Crowley, the latter in close proximity to his classic Bentley. It’s close to the end of the six-episode season, so exactly what the duo is discussing constitutes a spoiler. We can say, however, that Aziraphale has picked up the pace. Time is of the essence as Shax marshals her forces to descend on Aziraphale’s store and retrieve Gabriel.

“This is really Shax’s first time out on Earth,” Gaiman explains. “She is working very diligently and very hard in Hell for a long time. Now she is on Earth, trying to figure it all out. She’s just discovering what Crowley has known for 6,000 years, which is that if you’re a demon and come up with a brilliant plan to screw up the lives of humanity, people will get there first and do worse than anything you could have imagined! She’s coming to terms with that.

“She is having to deal with the first crisis on her watch, as well, which is the disappearance of the archangel Gabriel from Heaven. It would be fair to say that by the end of the story, she is leading as much as she can get from Hell’s requisition department – a legion of Hell – in an attack on a Soho bookshop.”

When audiences catch up with Aziraphale again, he’s enjoying his time among humans. He owns most of the block in a Soho neighbourhood, and he’s meddling in Nina’s love life. Meanwhile, Crowley has been living in his car, with his plants sitting on the back seat. He’s grumpy about his current status quo, but frequently hangs out at Aziraphale’s. The duo began as antagonists, but their history and blossoming relationship will be fleshed out in flashbacks.

“One of the enormously fun things I came up with is the idea of minisodes,” Gaiman explains. “They are 25-minute-long episodes within the episode. We have three of them over our six episodes. Each of them is like one of those chunks of episode three [in season one]. Whereas the longest one of those was four or five minutes, if that, these are full stories.

“You get to have the story of [put-upon Biblical figure] Job, and you learn Aziraphale and Crowley’s part in the story. Then writer Cat Clarke takes us to Edinburgh in the 1820s for a tale of body-snatching and attempted murder that the boys get involved in,” he adds.

“Finally, Jeremy Dyson and Andy Nyman reunite the League Of Gentlemen in a Nazi-period story that takes place very shortly after the episode in the church. That one was the only one I said had to be there, because I fell in love with our Nazi spies in the church. I kept thinking, ‘What would happen if they essentially came back as zombies, with a mission from Hell to try and investigate whether or not Crowley and Aziraphale were actually fraternising?’”

Gaiman admits that one of the greatest challenges has been filming Good Omens simultaneously with his upcoming show Anansi Boys. The two shoot within throwing distance of each other, but are both timeconsuming endeavours.

“If I could go back in time, I would go back to 16 September 2020, when Douglas Mackinnon [co-producer] and I got the phone call from the Amazon bigwigs to say, ‘We have good news for you and interesting news for you,’” Gaiman recalls. “‘The good news is we are greenlighting both Good Omens and Anansi Boys. The interesting news is you are going to have to do them both at the same time.’

“I would go back to then and I would throw myself on the call and say, ‘Neil, don’t! This is unwise.’ That we are doing them both together is great. The amount of sleep I am not getting is monumental and monstrous.

“It’s a little bit like childbirth, in that I managed to forget all the things that drove me nuts about the first one. Having said that, I managed to fix all the things that really drove me nuts making season one, which is great. We just have a whole new set of problems making season two…”

The Odd Couple - David Tennant and Michael Sheen talk character and sets for season two

Crowley and Aziraphale come off as the best of frenemies at times. Where do they stand with one other now?

DT: They are indeed. What’s different in season two is because of what happened at the end of season one, they no longer have head offices that they have to report to. They are in a very different position. Whereas before they were trying to get away with things, now they are kind of free agents.

MS: Although sort of fugitives as well. They are sort of in-between. But this amazing life they have created over a millennia, they are now able to enjoy in a slightly different way. They are not having to put on a front for their respective teams. There is a different kind of freedom.

DT: While at the same time being cut off, so they are also strangers in a strange land.

MS: That kind of connects them in a slightly different way. They have always been the only two beings who could understand each other’s position. Now they are pushed even closer together.

Now that they have the run of the place with no obligations, does that bring its own set of problems, being cut off?

DT: They have this sort of uneasy relationship. They are not entirely cut off from their head offices. Indeed, their head offices are quite keen to exploit that sort of adjacent connection, as we will see as the story unfolds. They exist in this grey area, neither the supernatural nor of the Earth.

MS: By the time we pick up their story in this series, they have appeared in time where they were kind of let alone a bit more. When we pick the story up, they are being bothered again.

The depth and the richness and the detail of what we are seeing on set here in Edinburgh is mind-blowing. How is it for you having it all in one place now, rather than having filming scattered around the UK?

MS: It’s completely changed the experience of doing it. Just being indoors… The Soho set on the first season was freezing cold.

DT: I was in a car park. Even inside the bookshop I was exposed to the elements! There’s a greater percentage of the show set here. There was a practical imperative to making it a manageable environment. If we had been in a car park, the elements might have impinged our ability to film.

Hellraiser - David Tennant is Crowley

You and Michael know these characters inside out. Do you have a shorthand?

It’s a hard thing to be objective about. Although I didn’t know Michael that well before we shot season one, it was always easy and exciting working together. It’s well-oiled now, for sure. It’s certainly fun to come to work. We enjoy bouncing off each other.

How comfortable are they about becoming involved with Gabriel?

I suppose Aziraphale is a much more enthusiastic detective. We are very much voting for the spin-off called The Azirafiles, which will follow this! As with most things, Crowley is reluctant to get involved or to exhibit any kind of energy or enthusiasm about very much. He is dragged kicking and screaming into this. Necessity forces him to get involved, whereas Aziraphale rather likes it.

Where does Crowley hang out these days?

He spends a lot of time in the book shop. He only has one friend. He can only have one friend. That is the great liberation, and also the great prison, that they find themselves in. They have no one else. They have come to rely on each other more than they ever did. And more than they care to admit.

Crowley is a rock star, in a way. Were there any particular musicians that inspired you?

Not consciously, no. The look was assembled accidentally during the first costume sessions. The Crowley of the book is of the mode when the book was written. He is more kind of Wall Street, the way he is described. We just decided that Crowley should always be of the moment he’s in. We were just trying to find a look that we felt fitted.

Divine Being - Michael Sheen is Aziraphale

How has knowing your characters better informed this series?

The first series was the first time we really properly worked together. It feels like we haven’t stopped working together since. Everything that has happened in-between plays into coming back to these characters. I am sure it is all feeding into it. It’s very difficult for us to know how that is informing the characters and their relationships.

With the flashbacks to various points in Earth’s history, is there a period of time Aziraphale enjoys the most?

One of the most enjoyable things for the audience and us is moving through different historical periods. It’s a great source of joy, and people thoroughly enjoyed that episode in the first series, so that has been expanded on in season two. But in terms of which Aziraphale enjoys the most, I think it’s not actually a period of time that we’ve seen him in on this series.

He would have been happiest at the end of the 19th century, in the Victorian era, which is considered the golden age of magic. He would have loved being with the greats like Harry Houdini. He loved the Victorian period. It was a great period of time for philanthropy and doing good works in a municipal way.

How has it been going from something dark like The Prodigal Son to a more whimsical show?

That’s the nature of an actor’s job. You go from one thing to another. In some ways, it’s even more useful to have big differences between the characters. What tends to happen, and I think most actors feel this way, is if you are playing one character for a long time, part of you yearns to play the bits the character doesn’t have. There’s a naivety and an innocence about Aziraphale. But at the same time, underneath that, there is eons of knowledge and experience.

640 notes · View notes

sunshine-theseus · 6 months

Text

Pequeña | Kyra Cooney-Cross x Reader

Word count: 1.8k

Summary: you make stupid decisions but you got your girl in the end.

Warning: fluff, horrible self-care, fainting

My parents and I moved from Spain to England when I was 5.

I was a quiet kid with no friends, who spent most of her time reading or listening to music. At seven years old my parents decided to sign me up for my local football kids club to try and get me to ‘open my wings’, their code for ‘stop being a fucking loner we value popularity over smarts’. I haven’t seen them in 8 years.

Turns out I was fucking great at football and by 12 I was in the Arsenal Football Academy. At 15 I was playing for their Women’s team in the WSL and was debuting for England’s national team. I spent most of that time on the bench of course, but by 17 I had a large ‘1’ on my back and was starting 90% of games at Arsenal. I didn’t have many friends though, especially when I knew most would either leave to bigger leagues or transfer teams. I preferred it though because that meant I had plenty of time between training and games to study and read and play music.

Another 6 years later and I’m playing for England in the Semi-finals of the 2023 World Cup against Australia. I wasn’t our main goalie, but Mary had gotten a concussion so that left me and like hell I would let us lose this close to the finals. I’d nearly managed to keep a clean sheet until Sam Kerr came running up from halfway, past Millie and chipped it behind me into the goal. Despite the goal, we won.

As I’m walking toward the girls, I tripped over something, or someone, sitting on the sidelines near the tunnel. One of the Aussie girls, clearly tired and upset, curled up to their goalkeeper. If there was one thing I could do, it was recognise a phenomenal goalkeeper when I see one, and Mackenzie Arnold was just that.

“I’m sorry.” I whisper to her as I pat her shoulder and copy the gesture for the girl next to her.

I didn’t know much about her, but I’d seen her play. Her footwork was incredible, and she was clearly underrated and underestimated, something Arsenal could benefit from.

“Wanna swap jerseys?” it comes out soft, I almost miss it as I turn away. When I turn back around, I expect to see Mac offering her’s, but instead I see the younger girl looking up at me questioningly and I smile. I’d already swapped with Mac in a friendly earlier this year, and I love collecting jerseys from different players.

“Fuck yeah.” and within seconds she has my jersey pulled over her head, and it hangs loosely, clearly a few too many sizes too big for her.

I then pull on her’s, for a moment fearful it would be too small, but I’m thankful for her clear preference for baggy clothes as it slips over my torso. Mackenzie beckons over their photographer, and I pose with the still nameless girl. She’s small in comparison to my 5’11 stature and I giggle at the difference before offering her a piggyback for a silly photo.

As she jumps up, I notice shocked stares of my teammates from the corner of my eye but shake it off as she wraps her arm around my neck as if to choke me.

“Has anyone told you how small you are?” I ask her as I drop her back to the ground.

“They don’t shut up about it.”

“I think I’ll call you Pequeña.” I chuckle at her confused look.

“It means small in Spanish.”

“What the fuck!? Fine I’m calling you fucking Giant or something.”

I don’t get her actual name that night, but I look it up when I get back to my hotel room, Lotte missing from the space.

Kyra Cooney-Cross. An unexpected star.

I watch one of her games instead of doing my uni work and fall asleep to one her interviews playing.

~~~~~

I don’t expect to see Kyra until whatever friendly we have with Australia before the Olympics. In the time after the World Cup and before pre-season, I’ve hung her jersey in my hallway, along with all the others. I put her’s at the entrance with others like Mapi León and Christine Sinclair, people I consider special.

We also begin talking. A lot. I spend most of my spare time calling or texting her, but I don’t tell anyone.

The shock I get when the final minute of the pre-season transfer window approaches, and I get a notification from the Arsenal Women twitter account.

‘KYRA COONEY-CROSS IS A GUNNER✍️’

~~~~~

We’d been knocked out of the qualifiers for the Championship League and yet I walk into training on Monday with a slight spring in my step and excitement buzzing through me. I wave to all the staff and greet everyone, asking how the girls are when I walk into the locker room.

It’s Katie who asks.

“What the fuck is up with you Ms Dark and Broody?”

“Whatever do you mean?” I giggle.

She gives me and incredulous look before turning to the rest of the locker room who share similar expressions.

“W- wh- wh-” she continues to babble as Steph pulls her back to her cubby and pats her shoulder as a way of reassurance.

“You just… you’re never so smiley or talkative. At all. Like ever. Like in the past 8 years you’ve said maybe 100 words per season to me.” Lotte speaks up.

“Not true!”

“I’ve only seen you without a book off the pitch 13 times. I started counting after the 1st.” My jaw drops.

“She’s not wrong Y/n. You’re pretty reserved and stoic. Which there’s nothing wrong with! But it’s just odd to see you, well like this.” Manu points at me as if that’s explanation enough.

“Wow thanks gu-” I’m cut off by someone jumping on my back and screaming.

“BEANSTALK!” and I’m smiling all over again as I turn my head to see the young Australian I’ve been missing.

“PEQUEÑA!”

“I can’t believe I had to put up with your nerdy shit in person every day now.” She jumps off my back and moves to greet the other girls except for Steph and Caitlin who she obviously knows.

We don’t get much time to talk before Jonas calls us into the meeting room. He introduces all our new players like Kyra and Lessi and announces the return of Vivianne and Beth to our playing squad, before going over how we need to improve after our defeat in the Champions League.

“L/n, I know you just came 2nd in the World Cup but you cannot be slacking like you did in the game against Pairs. You’ve got to be doing more.” I don’t get to reply before he’s ushering us out onto the pitch.

I’m left in a sour mood the rest of training, once again avoiding everyone, including Kyra who seemingly found a close friend in Alessia. I had given my all in that game against Paris, but they were good, and I’d stayed up until 2am the night before completing one of my assignments for my uni degree, something Jonas had encouraged me to do.

I was more mad that he didn’t allow me to tell him why but either way, I’d decided I would be staying after training to practice until I couldn’t any longer. So I did. And I came in an hour early the next morning to get more training in. I continued to do this for a while, studying once I got home until I couldn’t keep my eyes open now that my usual study time was booked. Eventually the girls stopped inviting me for coffee or team bonding and Kyra stopped trying to talk.

We were playing against Man United when I began to sway side to side, and my eyes began to droop. I think Kyra noticed first while on the sideline, and whispered something to Katie as she passed by the bench, but nothing came of it until United got a corner. They didn’t even get to kick the ball before I crumpled to the ground beside a clueless Lotte and Katie Zelem.

I don’t feel myself get carried off the pitch or get transferred to an ambulance. I don’t think I recognise anything happening around me until hours later. The clock on the wall says 9:21 and I think I’ve only slept for a few hours, but then I notice the sun streaming through the curtains and realise the few might actually be a lot.

I then recognise the limp bodies spread across the room. The awfully sterile white room which is nothing like the warmth of my olive-green bedroom. I don’t think I’d been so slow to figure out what was going on in my life.

“Beanstalk! You’re awake!” I look to the small brunette who has been hunched over asleep next to me for god knows how long and smile.

“Hey pequeña.”

“You are so stupid!” Kyra slaps my arm and sends me a sharp glare.

“What the fuck is going on. You’ve been exhausted 24/7 and no one sees you outside of training.” I then decide to explain my rather stupid schedule and reasoning to her.

She stares blankly at me for a while.

“You are genuinely so fucking dumb. I was so worried about you.” She whispers.

“Why?”

“Because I love you.” Her eyes drop to her lap.

“Te amo.” I’m not sure she understands it but she smiles either way and leans in.

Just as our lips meet, Katie abruptly wakes up in her corner of the room and shrieks.

“What the fuck!” and we’re left to quickly pull away as she tries to wake everyone else up to tell them what she saw.

“Katie don’t be fucking ridiculous! They’re both sound asleep.” I hear Kim whisper shout, followed by more of Katie’s babbling about how we’re just pretending as they trail out of the room, assumedly getting coffee.

As the door clicks shut, I open one eye to glance around the now empty room. It seems everyone needed some coffee. Except a certain Australian, whose eyes also peak open.

“Kiss me.” And then her lips are on mine again.

~~~~~

I don’t play again until our game against Bristol for the Conti Cup. Jonas apologised for pushing me too hard but made it clear I was to properly rest before I get to do anything and makes Sarina Weigman promise not to play me during our international break.

Kyra also gets her first starting debut.

It’s a tough game, and in the 84th minute, Kyra drops to the ground. I nearly run to check on her, but she gets back up, and within another minute she gets subbed off for Vic.

The whistle blows, signalling the end of the game, we win 3-1.

I meet Kyra in the middle of the field, pick her up and swing her around. Our first proper game playing together seems like an obvious thing to celebrate. And before I can think, I’m leaning down and kissing her, something I’m not sure if I’ll regret later.

She smiles that smile, brighter than the sun, and I melt.

“Te amo pequeña.”

#woso #woso x reader #the matildas x reader #wwc 2023 #kyra cooney cross #kyra cooney-cross #kyra cooney-cross x reader #kyra cooney cross x reader #the matildas

419 notes · View notes

thepastisalreadywritten · 10 months

Text

With the addition of Saturn, the James Webb Space Telescope has finally captured all four of our Solar System's giant worlds.

JWST's observations of the ringed planet, taken on 25 June 2023, have been cleaned up and processed, giving us a spectacular view of Saturn's glorious rings, shining golden in the darkness.

By contrast, the disk of Saturn is quite dark in the new image, lacking its characteristic bands of cloud, appearing a relatively featureless dim brown.

This is because of the wavelengths in which JWST sees the Universe – near- and mid-infrared.

These wavelengths of light are usually invisible to the naked human eye, but they can reveal a lot.

For example, thermal emission – associated with heat – is dominated by infrared wavelengths.

When you're trying to learn about what's going on inside a planet wrapped in thick, opaque clouds, studying its temperature is a valuable way to go about it.

Some elements and chemical processes emit infrared light, too. Seeing the planets of the Solar System in wavelengths outside the narrow range admitted by our vision can tell us a lot more about what they have going on.

Saturn

As we saw last week, when we clapped eyes on the raw JWST Saturn images, the observations involved filters that dimmed the light of the planet, while allowing light from the rings and moons to shine brightly.

This is so a team led by planetary scientist Leigh Fletcher of the University of Leicester in the UK can study the rings and moons of Saturn in more detail.

They hope to identify new ring structures and, potentially, even new moons orbiting the gas giant.

The image above shows three of Saturn's moons, Dione, Enceladus and Tethys, to the left of the planet.

Although dim, the disk of the planet also reveals information about Saturn's seasonal changes.

The northern hemisphere is reaching the end of its 7-year summer, but the polar region is dark. An unknown aerosol process could be responsible.

Meanwhile, the atmosphere around the edges of the disk appears bright, which could be the result of methane fluorescence, or the glow of trihydrogen, or both. Further analysis could tell us which.

Jupiter

Jupiter was the first of the giant planets to get the JWST treatment, with images dropping in August of last year – and boy howdy were they stunning.

The spectacular detail seen in the planet's turbulent clouds and storms was perhaps not entirely surprising.

However, we also got treated to some rarely seen features: the permanent aurorae that shimmer at Jupiter's poles, invisible in optical wavelengths, and Jupiter's tenuous rings.

We also saw two of the planet's smaller, lesser-known moons, Amalthea and Adrastea, with fuzzy blobs of distant galaxies in the background.

"This one image sums up the science of our Jupiter system program, which studies the dynamics and chemistry of Jupiter itself, its rings, and its satellite system," said astronomer Thierry Fouchet of Paris Observatory in France, who co-led the observations.

Neptune

Observations of Neptune arrived in the latter half of September 2022.

Because Neptune is so very far away, it tends to get a little neglected; you're probably used to seeing, if anything, the images taken by Voyager 2 when it flew past in 1989.

JWST's observations gave us, for the first time in more than 30 years, a new look at the ice giant's dainty rings – and the first ever in infrared.

It also revealed seven of Neptune's 14 known moons, and bright spots in its atmosphere.

Most of those are storm activity, but if you look closely, you'll see a bright band circling the planet's equator.

This had never been seen before and could be, scientists say, a signature of Neptune's global atmospheric circulation.

Uranus

Uranus is also pretty far away, but it's also a huge weirdo. Although very similar to Neptune, the two planets are slightly different hues, which is something of a mystery.

Uranus is also tipped sideways, which is challenging to explain too.

JWST's observations, released in April 2023, aren't solving these conundrums.

However, they have revealed 11 of the 13 structures of the incredible Uranian ring system and an unexplained atmospheric brightening over the planet's polar cap.

JWST has a lot to say about the early Universe; but it's opening up space science close to home, too.

As its first year of operations comes to an end, we can't help but speculate what new wonders will be to come in the years ahead.

Top: Jupiter - Neptune / Bottom: Uranus - Saturn

Credit: NASA

#James Webb Space Telescope #Solar System #Saturn #Jupiter #Uranus #Neptune #planets #space #universe #infrared wavelengths #wavelengths #JWST #Leigh Fletcher #planetary science #Thierry Fouchet #moons #Voyager 2 #giant planets #astronomy

1K notes · View notes

hybridreviews · 1 year

Text

TIME of the SEASON Winter 2023 Edition: GIANT Beasts of ARS

ARS! Get it? Because it's almost ARSE. Wow, that was stupid.

OK the title almost sounds suspect because it’s one letter away from sounding like the way British people curse or at least how they say ‘ass’ like ‘arse’. Yes, I’m a high schooler (No, I’m not, you knew that already.) This is Giant Beasts of Ars. Director: Akira Oguro Series Composition: Norimitsu Kaihō Script: Norimitsu Kaihō Music: Akinari Suzuki Shūji Katayama Original Character Design:…

View On WordPress

#action #adventure #Anime #Asahi Production #dark fantasy #first impression #Giant Beasts of Ars #HiDive #Sentai Filmworks #Time of the Season #Winter 2023

0 notes

purplealmonds · 4 months

Text

Continuing to fire on all cylinders to make this Sky 🤝Mononoke collab a reality! 🐲⚖️🌊

Process GIFs and artist commentary below the cut. ⬇️

Left: Process GIF Middle: Just the background, cos I really like how it looks! Right: Illustration without the collab logo

And here are my notes on my inspirations and references. There's a lot of 'em, so instead of embedding relevant images one by one I put them in a callout sheet! For accessibility, I also included transcript (with bonus ramblings) below each sheet.

Ofuda circle modeled in Google Sketchup 2017, then lightly transformed in Photoshop to flare out. I tried my best to hand-draw these, but it the results came out really clunky and stiff. I figured if Mononoke shamelessly utilizes 3D in their show, I can too!

Krill and sky kid composition roughly inspired by the Ayakashi DVD cover illustration. On the surface level, the krill's black-and-red color scheme mirrored that of the bake-neko. Not to mention, in the world of Sky, the krill would be the best fit of a mononoke-like entity. The red background is also a nod to the red skies seen during a shard eruption in Sky.

Sky kid gesture based on the Festival Spin Dancer's Tier 3 poses and the Medicine Seller's iconic pose in the Zakishiwarahi episode as inspiration. This was the idea which springboarded this illustration into existence. I wanted to do my take of the Medicine Seller's pose, but in a more dynamic manner: rotate the pose to a profile position and set the ofuda in a diagonal, flared out arrangement.

Cape inspired by tenbin design featured in the 2024 Mononoke movie. This one's an interesting one - I wanted the cape to be a stiff material that doesn't "flap" when in flight - similar to the Aurora wing capes. It ended up looking like a kite of sorts, which I'm not entirely opposed to! I haven't had the opportunity to showcase the back view of this cape design, but I envision it having some mechanical aspects to it - the "wing" which are flared out in this illustration fold in like moth wings, and a little bell is attached to the "tail" part and it jingles a little whenever the sky kid flaps!

Bandana is based on the Scaredy Cadet's hairstyle from the Season of Assembly. Mask design utilizes the 2023 Days of Style mask and the Nintendo Pack mask as bases. Pretty self-explanatory. I basically went onto the Sky wiki and found the cosmetics that most closely matched what I was looking for. Then if necessary, I went to the Office space to do photoshoots to get the appropriate camera angles for them all.

Seasonal pendant inspired by the classic Medicine Seller's necklace and the eye motif featured in the 2024 Mononoke movie. Possibly the only one-to-one homage to the classic Medicine Seller design here, but his garnet necklace was too good of a match to the seasonal pendant. A side tangent: does the new Medicine Seller possess a necklace, let alone a mirror? So far all the shots of him don't feature it. Fascinating.

Dark dragon krill anatomy references a custom figurine crafted by @/escaflowne_n07 on Twitter. Until I found this, I was honestly at a loss finding reference for this - be it on the internet or during in-game photoshoots. The lighting on the krill in-game focused on its menacing silhouette rather than its structure. And not to mention, getting a close-up shot almost always set off the dark creature's aggro. I have no idea how this guy found the references to put this model together - well done!

Mantas, elder constellations, and sun dog references murals in the Cave of Prophecy. Krill aside, the overall illustration was leaning a little too much towards Mononoke so I tried finding opportunities to insert more Sky into it. Added bonus is that now there's storytelling in the background: during a shard eruption, a giant krill rises from the frothing waves of dark water to hunt down a flock of mantas.

Clouds behind the sun dog reference the ones featuring heavily in the Umibozu episode. This illustration has a lot of ocean theming, so I figured this would be appropriate.

Rendering style of the background is lightly inspired by the 2007 Mononoke illustration. Mainly having a 2D inked style to contrast with the more polished render of the sky kid. Funnily enough, this was a tertiary inspiration, which lead to the discovery in the next point!

Dark water waves and sun dog composition heavily references Hokusai's "The Great Wave". The waves were modified to be bottle-green of the Golden Wasteland's dark waters. The sun dog is in the spot where Mt. Fuji is in the original composition. these were all hand-drawn by the way! I merely emulated the style of the source material. As a side note, I also borrowed the spotted sea spray rendering for the krill's red spotlight.

Background pattern taken from the ofuda design featured in the 2024 Mononoke movie poster. Mainly to add some gritty texture to the sky. I worked pretty hard to replicate this ofuda design as a high-res asset so I wanted to use it more!

#モノノ怪 #mononoke 2024 #mononoke 2007 #kusuriuri #medicine seller #thatskygame #sky cotl #sky children of the light #thatgamecompany #thatskygame fanart #sky cotl fanart #crossover #purplealmonds #2023

322 notes · View notes