Colorful sweater – a man in a colorful sweater
Pixel art for today based on videogame Spider Man vs Kingpin for game console Sega Master System. It is arcade about a spiderman! Sing a song Spiderman, spiderman! Something is doing. I do not remember what is next.
And this is my drawing about the same theme. Man in a colorful sweater. He saves you from the bandits of the streets. If you are in a trouble – then make a call to a man in a colorful sweater. He, of course, is not a batman or superman, but he can do something. By nights he runs at the streets and make put everything in order, clean the streets from the bandits. He has a website in the internet. And all the citizens give him a requests.
Some bandit hires lots of mercenaries to get colorful sweater out of game. And now colorful sweater has lots of things to do by nights. First of all it is good to punish all the bandits at the streets. And get who is main bandit here. And beat him. Like Michael Jackson does. So, this is a plan for a colorful sweater.
He can moves a little like Michael Jackson. He can do a disco. Firm kick in style of disco. And he has a tube with him. And with it he can do a heavy metal to the enemies. Everyone knows that colorful sweater all the time is listening g to the music. Every night – a new record. He is also a blogger and talks about music new releases.
9 notes
·
View notes
For your new AU, I’d love to hear what you have planned for the Fenton and Mads interactions bc it sounds really interesting! Always up for listening to your ideas :D
Kudos! Hope you can find the right name for the AU!
YAAAAAYY I GET TO TALK ABOUT THEMMMMMM
Okay so FIRST OFF one of my favorite things about this is how obsessed Mads is with the hero/villain dynamic between them. This guy absolutely upholds that to the best of their ability. It’s a game to them and it’s one they love.
TO THE POINT WHERE I was thinking the opening scene to this story is Mads kidnapping Gyro SOLELY for the purpose of attracting Gizmoduck (and that this happens regularly sldlflgk). Like to the point where it’s obvious Mads couldn’t care less what happens to Gyro once he’s kidnapped, Gyro could escape and Mads wouldn’t even notice he’d be too busy fighting Gizmoduck sldlflglg They do have a very Megamind/Metroman thing going on
ANOTHER THING IS Fenton’s the first person to notice that Mads is slowly acting differently. Everyone else is stressing out like ‘oh how do we stop them!!!!’ and it’s Fenton who takes a minute to be like ‘okay but did you notice how much more subdued they are now? What’s up with that??’
Because of that Fenton’s the one that goes to them first about it, and pesters them enough about it to get them to open up. Idk if I want to spoil toooooo much but it gets to the point where despite still being their enemy, Fenton’s also Mads’ caretaker (and Mads does reject him at first because they’re trying so hard to keep that hero/villain standard). Which!!! Is why I’m having a hard time with this because some of this isn’t supposed to be noticeable at first so the story’s supposed to be from Gyro’s pov (because as much as Mads doesn’t care about him he cares about them even less, so he’s not going to be too closely following their emotions and personality), but again all of the good parts happen between Mads and Fenton 😔😔😔 I’d either have to break that and therefore the suspense/mystery or have a million retrospective moments from Fenton’s pov
14 notes
·
View notes
Prince Planet, aka Planet Boy Papi, was the star of a 52-episode anime series that ran between 1965 and 1966 in Japan. A dubbed version was released in the United States, but I never recall seeing it.
He is not to be confused with Planet Prince, who was one of the first live-action tokusatsu superheroes in Japan, with a television series (1958) and two feature films released a week apart (1959). Those films, which featured a different actor, costume, and powers for the hero, were edited together and released in the States as the film Prince of Space (1962).
The Prince Planet anime series featured a super-powered boy from outer space who, as a member of the Universal Peace Corps, comes to Earth to protect its people from various menaces. At the same time he is also studying Earth to see if the planet is eligible for membership in the Galactic Union of Worlds.
The anime was very popular, but ran into a couple of problems that combined to end its run prematurely.
First, Prince Planet was very violent for a children’s show, and the hero on more than one occasion killed his enemies. This, of course, had parents more than a little concerned, and they made those concerns known!
Second, the anime was black-and-white at a time when color televisions were becoming popular and accessible throughout Japan. Broadcasters and TV viewers were no longer interested in watching boring, monochrome images.
22 notes
·
View notes
Reread The Brave and the Bold (2007) #32 again and god. It’s so fucking good. Like yeah yeah the bitch with the ‘aquaman is an eldritch horror’ blog title loves the aquaman is an eldritch horror comic what else is new but PLEASE it’s SO good!!!
TBatB #32 is a stand alone team-up between Aquaman and Etrigan the Demon, and it’s a lovecraftian horror story. Straight up. The narrator is a fisherman who was nearly drowned at sea, and proceeded to accompany Aquaman and Etrigan as they stop an eldritch horror from invading this dimension. And if that hasn’t sold you on this comic idk what to tell you please read it it’s very good.
The comic is an absolute banger that I consider to be easily one of the best Aquaman comics of all time, and I think one of the main reasons it works so well is that the real eldritch horror isn’t the monster Aquaman and Etrigan are trying to stop. “Superheroes stop Cthulu” isn’t necessarily a bad story premise, but it’s really easy to lose that eldritch horror aspect with it, since if Cthulu can be beat, it’s not really Cthulu, now is it? The horror in lovecraftian horror stories comes not from the fact that the monster is big and powerful; it comes from the fact that it is unknowable, operating on a level that is fundamentally incomprehensible, and when you are forced to comprehend it, you have no way to cope with it. And that’s really hard to do if Etrigan can just. Set it on fire.
No, the eldritch horror isn’t the big squid monster rising up from the depths. It’s Aquaman.
Sure, the monsters from another dimension are also eldritch horrors, and the narration describes them as such, using all the eldritch horror clichés; beings that do not belong in this world, twisted, distorted, etc. And don’t get me wrong, it works, the visuals of the Big Monster specifically are stunning. But that’s not really the scary part of the comic. Sure, a being from another dimension raising an army of the drowned, bringing another army of humans crossed with monsters, is scary. But you know what’s terrifying?
The thing that can beat it.
Ultimately, it is Etrigan who deals the killing blow, but he’s not the one the narration focuses on. It’s Aquaman.
The point of view of the story is a fisherman, who had already known to respect the sea, but who hadn’t truly understood what it meant to command it. And although he is terrified of the eldritch being from another dimension, horrified at his friend being resurrected to fight for it - he is just as, if not more, terrified of Aquaman.
[Image: text box with the text: “But when the master of the seas tells you a thing, you believe it. Because you don’t want him to have to tell you twice.” Twice is emphasized. End description.]
This is at the beginning of the story, before he even witnesses anything, and the fear grows as the story progresses and he gains knowledge. He witnesses Aquaman control one of the eldritch monsters, willfully start a fight with the entire army.
And that’s, arguably, the turning point of the whole comic, where the realization hits. As Aquaman summons all the ocean creatures from a mile wide, we get this internal monologue:
[Images: first image is a series of text boxes that, together, read: “Like I said, he could control every creature that lives in the sea. But I don’t think either of you get what that really means. Do you know, do you understand, do you have any idea how much life there is in just one single square mile of ocean? I don’t think you do. Because I didn’t either. And if you multiply that by lots of miles in every direction...”
Here the next image appears, a full-page spread showing Aquaman with his arms spread wide, wearing a confident grin, and every square millimeter behind him packed with ocean creatures, fish, whales, dolphin, all swimming towards him. The narration ends: “I’d never seen anything like it in my whole life... and God as my witness, I hope to never see it again.” End description.]
As the battle escalates and the narrator gets confronted with more horrors, ultimately culminating and Not Cthulu coming through the portal we get this scene:
[Images: two comic panels. The first shows our narrator fisherman looking at Aquaman in horror. The narration states: “And I could hear its [the eldritch horror’s] thoughts, could hear it talking to Aquaman.” The monster’s speech to Aquaman is shown, as he listens to it: “...You may have all you wish... Join us, and we may conquer all... I offer you every land, every nation, the whole of the world above.” For the second panel, there is a close-up of Aquaman’s disdainful expression, as he says: “The sea covers seventy percent of the Earth’s surface... the land, only thirty percent. Why would I ever wish to settle for less? It’s all yours, Demon.” End description.]
Which clearly establishes which of the two horrors we should truly be afraid of. Not Cthulu is left bargaining, begging for Aquaman to join it, but it cannot offer Aquaman anything. His power is already too great.
As the comic closes, there is one final scene with Aquaman, which is, in my opinion, the scariest scene in the comic:
[Image: three panels. The first shows Aquaman talking to Etrigan, his back turned to the viewer, saying: “If the rest of the world had any idea how close they come every year to destruction... if they knew that we were the only thing standing between them and the night gods, they’d -- what’re you looking at?” Etrigan is looking past Aquaman to the viewer. Aquaman turns, looks, and says: “Ah, yes. It seems I’ve forgotten someone.” There is a close-up of his face, with an intense expression, as he thinks, telepathically: “None of this happened. Do you understand? This was all just a very bad dream.” The narration says: “And then everything went black.” End description.]
When the narrator wakes up, he is surrounded by people who believe he’s crazy, and he’s left desperate, desperate to prove it happened, desperate to prove it didn’t, desperate enough to dig up his friend’s corpse. And Aquaman was the one that caused that, not our dearest Discount Cthulu. Yes, that was the catalyst; yes, that was horrifying. But Aquaman was the one who made the narrator doubt, who dropped him off on a beach, in an effort to make him believe all that he saw was a dream. That’s where the desperation comes from: in the not knowing, in the uncertainty.
In the end, the beast can almost be understood. It can at least be defeated; there will be two people who can drive it back, stop it from taking over everything.
But the story is very conscious that this will diminish the horror, so it replaces that with another one, one who can’t be beat, who has enough power that Cthulu’s whisperings of power are a downgrade, who looks at a traumatized man and sees a lose end in need of cutting, and it’s our favourite talks-to-fish man. And that’s a truly fantastic narrative choice.
14 notes
·
View notes