#western fantasia

[ariel-seagull-wings]

@themousefromfantasyland @the-blue-fairie @princesssarisa @thealmightyemprex

Premiere of Fantasia in Brazil (1941)

President Getúlio Vargas waited in the door of the Cine Pathé, in Rio, to receive Walt Disney, who watched the premiere of the movie in Brazil with the President and his wife, First Lady Darci Vargas, who was a huge Disney fan.

#brazil #disney #walt disney #classic cinema #fantasia #western animation

[acepalindrome]

WILD ARMS IS GETTING A SPIRITUAL SUCCESSOR GAME AND NO ONE TOLD ME???

I absolutely love this. Please revive all the great but long dead video game series through Kickstarter. Oh, the big AAA company won’t fund our game? Fuck you, we’ll crowdfund that shit. They did it with Suikoden and now they’re doing it with Wild Arms and I’m DELIGHTED. Do Dark Cloud next.

#and the world needs more scifi westerns always #wild arms #armed fantasia

[grisellgch]

Seguimos con las ideas para Sugar skulls, el concepto es muy diferente de lo que había pensado originalmente para este proyecto, pero me gusta mucho este nuevo giro 💀 #sugarskulls #proximamente #sagrario #western #fantasia #fantasy #araña #spider #insects #bugs #insectos #zoey #cindy #hopperville #roger #ideas https://www.instagram.com/p/ChLSLoZlOZV/?igshid=NGJjMDIxMWI=

#sugarskulls #proximamente #sagrario #western #fantasia #fantasy #araña #spider #insects #bugs #insectos #zoey #cindy #hopperville #roger #ideas

[the-lonelybarricade]

LB my dear dear! I have devoured all yours and MB's ao3 works till date ❤️🤌 and I am feeling pathetically ravenous for more 🫠. Although my question is- since I have seen people asking you for suggestions as to which blog and which writer to look to for more feysand/elucien content I would like to request the same only and only if you are comfortable and have the time for this pressing request. And thank you even if you couldn't for some reason im only scared since you are busy and wouldnt want to burden you with such an exigent task. . I'm sorry to bother you That would be it 🥺 👉👈

You want blog suggestions for Elucien/Feysand authors? And you think you're bothering me??? Anon, this happens to be my exact area of exertise and there is nothing love more than hyping up my friends!

To kick us off my lovely friend @velidewrites is an extraordinarily talented writer and artist, and also just an all-around ray of sunshine whose blog I cannot recommend enough.

There's also @writtenonreceipts who's every work is literal potery. Pick any of her stroies and you will come undone.

@belabellissima has a beautiful Feysand/Elucien series called the State of Grace and is also one of my favorite people 🥺💝

@azrielshadowssing also regularly feeds us with delciioiusly sinful Feysand and Elucien stories 🥰 hehehe definitely read the tags though!

Among a host of other incredible fics, @damedechance has an onlyfans series that will make you feral - Playgirl (Elucien) and darling.exe (Feysand) 👀👀 Come back to me once you finish losing your mind

@xtaketwox and @itsthedoodle come as Feysand/Elucien pair hehe. @xtaketwox has treated us to lots of goodies, but I wanted to highlight her modern soulmate AU which has a dedicated work for Feysand, Elucien, and Nessian! @itsthedoodle has written so many beautiful feysand oneshots and is the sweetest, most unhinged person you'll ever have the pleasure of knowing.

@asnowfern is so talented and writes for a lot of different pairings, including Feysand and Elucien! Right now she's working on a stunning Feysand AU inspired by a chinese legend called Till Forever Falls Apart

if you're a fan of next-gen, @areyoudreaminof has lots of adorable fics and headcanons centering around Elucien and Feysand as parents!

@witch-and-her-witcher again writes for many couples, including Feysand and Elucien! She recently wrote a Feysand and Nyx oneshot, The Little Tiger, that completely fractured my heart and put it back together.

@thegloweringcastle is another extremely talented writer who has a wealth of feysand and elucien fics! One I really love is the The Law of the Land which is a Feysand western AU with background Elucien 🤠

@darling-archeron has been in this fandom since 2016 and in that time has blessed us with so much wonderful Feysand and Elucien content!! (One day you really need to sit us all down and tell us the fandom lore we all missed out on from the acomaf/acowar releases 👀)

@iambutmortal has a lot of delicious Feysand and Elucien stories! For Elucienweek last year she wrote a really addicting story called The Honeymooners

@labellefleur-sauvage has written so many incredible Elucien fics! As well as a very delicious monster!Feyre fic called Meet Me In the Woods hehehe 👀

@foundress0fnothing always blows me away with her writing. For Elucienweek last year she wrote an Elucien sex cult fic titled Both Forever and Rather Die that lives in my head rent free.

@howlingcaptaincommando is working on a really amazing pirate AU, Never Shall I Die, centering around Elucien, Nessian, and Feysand!

@vulpes-fennec has so many lovely stories, including her Prythian Fantasia WIP which centers on the Archeron sisters and their mates 😍

@popjunkie42 has yet to dip her toes into writing Elucien but maybe one day we can convince her 👀👀 That said she has so many amazing Feysand works such as Hate Me Instead and her current WIP Blossoming In Winter.

Likewise my dearest friend @wilde-knight has only written Elucien and Nessian, but I can't recommend her works and blog enough!! She's working on an amazing Princess Bride AU called Burnished Gold

@captain-of-the-gwynriel-ship is a die-hard Feysand, Elucien, Gwynriel, and Nessian! Currently they're working on a Feysand fic Five Minutes to Midnight which also features background Elucien!

@octobers-veryown creates so many wonderful moodboards for variuos ships and characters! I cannot recommend following them enough💕

And finally @rosanna-writer, @reverie-tales, @thesistersarcheron, and @starfall-spirit are my multishipping queens 🥰 On their blogs you'll find wonderful content for Feysand, Elriel, Elucien, and other ships as well!

#Oh god if I'm missing someone I'm so sorry #I got distracted so many times while making this #And now I'm just ready to yeet this task into the sun lmaooo #fic recs #elucien fic #feysand fic #elucien #feysand

[uldahstreetrat]

14 associations - Q'ihnn Tia

1. Animal: lions 2. Color: blue 3. Song: Shy Away by twenty one pilots 4. Number: 7 5. Day or Night: night 6. Plant: basil 7. Smell: honey & nutmeg 8. Gemstone: emerald 9. Season: spring 10. Place: Western Thanalan 11. Food: pancakes & blueberries 12. Astrological Sign: leo 13. Element(s): ice 14. Drink: sweet iced tea

tagged by: @alannah-corvaine @sealrock, @foxlin-fantasia, @xmimiteh

tagging: @humblemooncat, @snakemoltsiren, @allyennah, @littlelordalphinaud, @tarynistic, and anyone else who would like to use me as an excuse to do this, please tag me <3

#a lot of these i already had answers for but a couple of them really made me think lmao #kinda surprised by that ngl #had to go back in and edit this cause I hadn't actually gotten everyone who had tagged me in this aha

[burlveneer-music]

Mort Garson - Journey to the Moon and Beyond - Sacred Bones' new collection of the synth pioneer's odds and ends

Like a perennial that returns with each new spring, the Mort Garson archives (Plantasia, Ataraxia, Lucifer) have brought to bear yet another awe-inspiring bloom. Journey to the Moon and Beyond finds even more new facets to the man’s sound. There’s the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson), some previously unreleased and newly unearthed music for advertising. Just as regal is “Zoos of the World,” where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name. The mind reels at just what project would have yielded a scintillating title like “Western Dragon,” but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson’s soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That’s one small step for man, one giant leap for Moogkind. For decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive. So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort’s many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

#mort garson #electronic #synthesizer #sacred bones #2023 #70s #Bandcamp

[cainluvr69]

Fantasia of the Bookstore Following Footsteps into the Future ~Central Country & Western Country~ (Complete)

Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10

#.mhyktl #.eventtl #.central fantasia #mahoyaku #arthur granvelle #oz (mhyk) #cain knightley #it's my translation account and i can make the banner cain on every single post if i want

[kylesvariouslistsandstuff]

The Weird History of Western Animated Movie Sequels

This is a rewrite of sorts of a history post I did on theatrical animated movie sequels in the West (largely the U.S.) a few years ago, and how weird it is... How we went from a handful of sequels over the course of three decades to an *explosion* in them... I'll collect all this fun stuff in a timeline of sorts.

(This list will mainly focus on traditional sequels, not so much films sharing similar themes and FANTASIA being planned as an ever-updating anthology w/ every re-release had it done well initially. And also, theatrical sequels. With the exception of movies re-routed to streaming because of COVID-19. That sorta thing, ya know?)

Late 1930s-Mid 1940s: Walt Disney and his studio entertain the idea of sequels to SNOW WHITE AND THE SEVEN DWARFS and BAMBI, titled SNOW WHITE RETURNS and BAMBI'S CHILDREN. Nothing comes of them. If FANTASIA is to be successful, Walt's plan for the film is to update it every couple of years, taking some segments out and replacing them with new ones. And repeating that once more. FANTASIA bombs at the box office upon general wide release in early 1942, so the plans fall through. A feature film BONGO is developed at the beginning of the decade, and at one point it is suggested to be set in the same universe as DUMBO and would feature characters from that film. BONGO eventually became a much pared-down segment of the package film FUN & FANCY FREE in 1947.

1942-1944: Disney and their distributor RKO Radio Pictures release two anthology "package" features, SALUDOS AMIGOS and THE THREE CABALLEROS. During World War II, Nazi influence began to take shape in Central and South America. American filmmakers, including Walt Disney and a select team of his artists, traveled south in part of a larger government strategy to strengthen goodwill between the U.S. and Central/South America. SALUDOS and CABALLEROS are thus "goodwill" pictures, formed up of multiple segments themed around those territories. Both of them feature Donald Duck and Jose Carioca. Because of this, CABALLEROS could be viewed as a "sequel" of sorts to SALUDOS.

April 1946: Disney and their distributor RKO premiere MAKE MINE MUSIC, an anthology of musical segments not dissimilar to FANTASIA. The picture goes into general release in August.

May 1948: Disney and RKO release MELODY TIME, another musical anthology film. The film notably features both Donald Duck and Jose Carioca in a segment called 'Blame It On the Samba', reprising their roles from SALUDOS AMIGOS and THE THREE CABALLEROS. The Aracuan Bird from CABALLEROS also appears during this segment. Like MAKE MINE MUSIC, these two films can be seen as an extension of the FANTASIA concept, and MELODY TIME could be seen as a sequel of sorts of MAKE MINE MUSIC. The Disney company never considered any of these films to be "sequels", at least in a more traditional sense.

We have a long gap here because Walt Disney Productions was the only animation studio in America that was making feature films, and there were plenty of times where they could've ceased doing just that. Couple that with Walt's general hesitance to make sequels, and thus there weren't any animated feature sequels made from the 1950s to the end of the 1960s... Other animation studios in America had attempted to make features, but never got past a small number of them. The Fleischer studio made both GULLIVER'S TRAVELS and MR. BUG GOES TO TOWN in 1939 and 1941 respectively, and their studio was shuttered shortly after BUG's quiet and brief general release rollout in early 1942. The UPA tried their hand at animated features, but only got around to making two, 1001 ARABIAN NIGHTS and GAY PURR-EE.

By the 1960s, more animation studios were making feature-length productions, such as Hanna-Barbera and Rankin/Bass. By 1970, there was at least one new movie from an American house every two-or-so years. A good chunk of them were also based on hit TV shows or well-known properties. Hanna-Barbera did features based on THE YOGI BEAR SHOW and THE FLINTSTONES, there was also a PEANUTS-based movie called A BOY NAMED CHARLIE BROWN. Ralph Bakshi shook up the animation world with his adult independent feature FRITZ THE CAT in early 1972.

A BOY NAMED CHARLIE BROWN and FRITZ THE CAT would be the first American animated movie sequels to get theatrical sequels...

August 1972: PEANUTS movie SNOOPY COME HOME!, a follow-up to A BOY NAMED CHARLIE BROWN involving much of the same key crew (such as director Bill Melendez and producer Lee Mendelson), is released by National General Pictures to poor box office.

June 1974: THE NINE LIVES OF FRITZ THE CAT, a sequel to Ralph Bakshi's FRITZ THE CAT that didn't involve Bakshi, is released by American International Pictures and doesn't repeat the success of the first movie.

August 1977: RACE FOR YOUR LIFE, CHARLIE BROWN is released by Paramount, and doesn't make much of a mark at the box office.

Late 1970s: Despite the success of Ralph Bakshi's rotoscoped THE LORD OF THE RINGS in the fall of 1978, a follow-up is considered but does not materialize due to funding issues.

May 1980: BON VOYAGE, CHARLIE BROWN (AND DON'T COME BACK!!) is released by Paramount to weak box office.

1984-86: After much turmoil, the Disney enterprise sees a major corporate shakeup. Outsider executives Michael Eisner and Frank Wells become CEO and President of the newly-christened The Walt Disney Company, respectively. Upending the old tradition of not making feature sequels, Michael Eisner and the new executives ask the staff of the animation studio what their highest grossing feature was to date. When revealed that it was THE RESCUERS, a sequel to the film is greenlit.

March 1986: A fast-tracked sequel to 1985's THE CARE BEARS MOVIE is released, and only makes a fraction of what the first film - a minor hit in its own right - took in.

August 1987: A third Care Bears movie, THE CARE BEARS ADVENTURES IN WONDERLAND, is released to equally unremarkable box office.

1988-89: Following the record-breaking, game-changing success of ex-Disney animator Don Bluth's Steven Spielberg-produced AN AMERICAN TAIL in 1986, a sequel is put in development, with Bluth initially tapped to helm. Bluth later broke ties with Spielberg over creative differences, and following the runaway success of WHO FRAMED ROGER RABBIT, Steven Spielberg would set up a new animation studio called Amblimation. They took over the film.

November 1990: THE RESCUERS DOWN UNDER is released to mixed critical reception and weak box office. Within weeks of release, Disney chairman Jeffrey Katzenberg has all the marketing for the film pulled.

May 1991: Computer animation studio Pixar enters a feature film deal with The Walt Disney Company. This three-picture deal, which would later be expanded, stipulates that NO sequels be pitched. Every film pitched by Pixar for this contract is to be an ORIGINAL film, for the sole purpose of introducing new worlds/characters for the company's theme parks and consumer products divisions.

November 1991: Universal releases AN AMERICAN TAIL: FIEVEL GOES WEST, the same weekend as Disney's BEAUTY AND THE BEAST. The film flops at the box office.

Mid 1991-Early 1992: Walt Disney Home Video initially refuses, at Roy E. Disney's behest, to release FANTASIA on video formats following its 1990 theatrical re-release. Michael Eisner makes a deal with Roy: Release FANTASIA on video, and a follow-up to FANTASIA will be greenlit. FANTASIA is released in November and pulled by January 1992, selling a record-breaking 14 million units. FANTASIA CONTINUED is greenlit.

Mid 1994: Following the success of THE RETURN OF JAFAR, which was essentially an hour-long direct-to-video pilot for the ALADDIN TV series, Disney Feature Animation does not pursue making sequels to their animated features. The only exception being FANTASIA CONTINUED, which is Roy E. Disney's pet project. All other sequels are to be outsourced productions, and are produced exclusively for the home video market.

March 1996: A sequel to Don Bluth's ALL DOGS GO TO HEAVEN, which didn't involve Bluth much like FIEVEL GOES WEST didn't, is released to poor box office.

Early-Mid 1996: Following the success of Pixar's debut feature, TOY STORY, Disney immediately commissions a direct-to-video sequel that is to be made by "B-team" of sorts at a satellite studio, while work on A BUG'S LIFE takes place at Pixar's main building in Point Richmond. (This was before they moved to Emeryville.)

July 1997: Legacy Releasing released a sequel to THE SWAN PRINCESS, titled THE SWAN PRINCESS: ESCAPE FROM CASTLE MOUNTAIN, to virtually nonexistent box office grosses.

February 1998: TOY STORY 2 is changed from direct-to-video project to theatrical feature film, though it will not count as part of Pixar's then extended film deal with The Walt Disney Company. That very contract mandated that all of Pixar's productions be original features, or else they wll NOT count as part of the deal. Pixar and the Disney company also enter a gentleman's agreement, in that Disney will not push sequels to Pixar films *without* Pixar's permission.

Early 1999: TOY STORY 2 is taken over by the staff at the main Pixar building due to concerns over the quality of the story. The film is significantly revised, with the release date mere months away.

November 1999: TOY STORY 2 is released, and becomes the first animated movie sequel to outgross its predecessor at the box office. Despite the film's success, and despite the considerable stress the production was, Michael Eisner refuses to count it as part of the deal. Pixar owner Steve Jobs strongly feels that TOY STORY 2 should count.

January 2000: On New Year's Day of the new millennium, Roy E. Disney's FANTASIA follow-up FANTASIA 2000 goes into IMAX-exclusive release after a world premiere the previous month.

February 2000: Disney makes the unorthodox decision to release THE TIGGER MOVIE in theaters, a production made by the satellite units that otherwise would've gone straight to video. The film is a financial success.

June 2000: FANTASIA 2000 goes into general release. The film does not recoup its costs at the box office, and is generally a dud with audiences.

Around Early-To-Mid 2000: Despite the contractual agita over TOY STORY 2, Pixar is keen to do a TOY STORY 3. However, it is not greenlit by Disney.

November 2000: Paramount releases a sequel to their Nickelodeon-based hit from 1998, THE RUGRATS MOVIE. While RUGRATS IN PARIS does not make as much money as the first movie, it is still a financial success.

Early-To-Mid 2001: DreamWorks, who are about to release SHREK, are already at work on a sequel. When SHREK defies its pre-release odds and becomes a box office smash upon its May release, the sequel goes full-steam ahead. Unlike Disney Animation, whose sequels are farmed-out straight-to-video endeavors, and unlike Pixar who can't make another sequel per their contract with Disney, DreamWorks has none of this baggage and goes right ahead with a SHREK sequel.

February 2002: Disney releases another satellite production, PETER PAN sequel RETURN TO NEVER LAND, theatrically. The film is a box office success.

June 2002: Following the success of the Blue Sky production ICE AGE, released by 20th Century Fox, work is already underway on a sequel. Much like DreamWorks, they too don't have the baggage Disney Animation and Pixar have concerning sequels.

February 2003: Disney releases satellite production THE JUNGLE BOOK 2 theatrically, another financial success.

March 2003: Disney releases satellite production PIGLET'S BIG MOVIE to theaters. Costing double that of RETURN TO NEVER LAND and JUNGLE BOOK 2, the film is a box office flop.

July 2003: RUGRATS GO WILD, the third RUGRATS movie and something of a sequel to THE WILD THORNBERRYS MOVIE, is released by Paramount to poor box office.

Early-To-Mid 2004: Friction develops between The Walt Disney Company and Pixar, making a split between the two seem likely. Per the contract, Disney has first rights to the studio's animated movies that made up the extended film deal. (Everything from TOY STORY to a then-forthcoming THE INCREDIBLES and CARS) If Pixar were to break off from the Disney company, Disney could feasibly make sequels to their films without them involved... And Michael Eisner took full advantage, going back on the gentleman's agreement between the two parties. Disney launches Circle 7 Animation, a CG studio meant to make these Pixar-less sequels. Work commences on TOY STORY 3, MONSTERS, INC. 2: LOST IN SCARADISE, and FINDING NEMO 2. It's largely a hardball tactic to get Pixar to renegotiate and extend their film deal.

May 2004: DreamWorks releases SHREK 2 to record-breaking box office... This is where the game is truly changed... DreamWorks has three more SHREK movies lined up (the first of which aiming for a summer 2006 release), in addition to a direct-to-video prequel about the film's breakout character Puss In Boots.

February 2005: Disney releases one last satellite production to theaters, POOH'S HEFFALUMP MOVIE. Costing half of what PIGLET'S BIG MOVIE cost, it does alright at the box office.

Mid-To-Late 2005: DreamWorks sees another box office success in MADAGASCAR, and greenlights a sequel. This makes it the second ever DreamWorks movie to get a theatrical sequel. (Oddly, SHARK TALE from the year before, despite being a box office success and Oscar nominee, doesn't get a sequel.)

September 2005: After a campaign ran from the outside by Roy E. Disney, Michael Eisner resigns as the CEO of The Walt Disney Company. His successor, Bob Iger, seeks to renegotiate fairly with Pixar. Pixar's final film for the original contract, CARS, is less than a year away from release.

January 2006: In a historic move, The Walt Disney Company announces a $7.4 billion acquisition of Pixar.

March 2006: 20th Century Fox releases ICE AGE: THE MELTDOWN to great box office. Another film is on the way.

Early-To-Mid 2006: Following the announcement of Disney's purchase of Pixar, Pixar regains control of sequel production. Circle 7 Animation is shut down, and Pixar immediately begins work on *their* TOY STORY 3 for a 2009 release. Since a MONSTERS, INC. sequel and a FINDING NEMO sequel got to the script stage, Pixar eventually has to make their sequels to override those. A MONSTERS, INC. follow-up quietly begins development around this time as well. In addition to all of this, Pixar head John Lasseter takes over Disneytoon Studios and shuts down all traditionally-animated direct-to-video Disney sequels. This indicates that a future Walt Disney Feature Animation production, now named Walt Disney Animation Studios, will get a theatrical sequel if it's a box office success.

November 2006: HAPPY FEET, released by Warner Bros., is the biggest of the non-Disney/Pixar/DreamWorks/Blue Sky movies of the year and up until that point. Makes a big splash. Sequel likely.

May 2007: SHREK THE THIRD opens and is another blockbuster for DreamWorks.

January 2008: A rather unorthodox development, Big Idea makes a theatrical sequel to JONAH: A VEGGIETALES MOVIE, with THE PIRATES WHO DON'T DO ANYTHING. Universal distributes. It flops upon release.

April 2008: Two years into The Walt Disney Company's ownership of Pixar, a massive movie slate with Disney Animation, Pixar, and Disneytoon productions is unveiled. The game plan is the first announcement of a CARS sequel. This makes CARS the second-ever Pixar film to get a sequel. At the time, this movie is penciled in for a summer 2012 debut. TOY STORY 3 has also moved back a year, to 2010.

Mid-To-Late 2008: DreamWorks sees a new breakout hit with KUNG FU PANDA in the summer, and a sequel success with MADAGASCAR: ESCAPE 2 AFRICA.

July 2009: ICE AGE: DAWN OF THE DINOSAURS is released by 20th Century Fox, and scores excellently at the box office.

September 2009: Three features in, relative newcomer Sony Pictures Animation scores a good-sized hit with CLOUDY WITH A CHANCE OF MEATBALLS. A sequel is planned thereafter...

So now... We see where it all waxes... With that, we'll just look at things year by year...

2010: TOY STORY 3 is released and becomes the highest grossing animated feature of all-time. Earlier in the year, Pixar confirms that they are in production of a MONSTERS, INC. follow-up. DreamWorks sees another breakout hit with HOW TO TRAIN YOUR DRAGON, a sequel is also imminent. Newcomer Illumination scores big with DESPICABLE ME, a sequel is also inevitable. DreamWorks scores another hit with SHREK FOREVER AFTER.

2011: It's a sequel/franchise film explosion, kinda unprecedented in feature animation up until this point... KUNG FU PANDA 2, CARS 2, and PUSS IN BOOTS all come out this year and make big money. Disney Animation makes a 2D animated WINNIE THE POOH, but it is sadly a box office bomb. HAPPY FEET TWO, from Warner Bros., also bombs. HOODWINKED TOO! HOOD VS. EVIL is belatedly released this year, it is also a money-loser. New films make a splash and are to get sequels.

2012: Two sequels this year, the highly successful MADAGASCAR 3: EUROPE'S MOST WANTED and ICE AGE: CONTINENTAL DRIFT. Disney Animation, after years of misses and mulligans (TANGLED didn't really make much of a profit theatrically, but was a very popular film), notably scores a profitable hit with WRECK-IT RALPH, a sequel slowly begins development.

2013: Plenty of follow-ups here, with MONSTERS UNIVERSITY, DESPICABLE ME 2, THE SMURFS 2, CLOUDY WITH A CHANCE OF MEATBALLS 2, and CARS spin-off PLANES (produced at Disneytoon and not Pixar). The majority of them do pretty good at the box office, some of them *very* good. DESPICABLE ME 2 is named by Universal as their most profitable film ever released, to date.

2014: This year saw the releases of RIO 2, HOW TO TRAIN YOUR DRAGON 2 and PLANES: FIRE & RESCUE. MADAGASCAR spin-off PENGUINS OF MADAGASCAR is deemed a disappointment by DreamWorks, leading to company-wide ramifications.

2015: DESPICABLE ME spin-off MINIONS debuts and is a rare animated feature to cross a billion worldwide, with only TOY STORY 3 and FROZEN having previously done that. Elsewhere, HOTEL TRANSYLVANIA 2 and THE SPONGEBOB MOVIE: SPONGE OUT OF WATER - a belated sequel to THE SPONGEBOB SQUAREPANTS MOVIE from 2004 - are released and also do well. Notably, Disney Animation announces FROZEN II this year. The first of the post-Eisner animated features to get a follow-up announced, though the WRECK-IT RALPH sequel - announced a year later - opened before it.

2016: KUNG FU PANDA 3, FINDING DORY, and ICE AGE: COLLISION COURSE are released this year. The fifth ICE AGE movie does fine, but not well enough to lead to a sixth film. A CG remake of Disney's 1967 THE JUNGLE BOOK - with a single real-life actor - is released this year to massive box office.

2017: THE LEGO BATMAN MOVIE, spin-off of 2014's THE LEGO MOVIE, debuts this year and does well. The other LEGO spin-off, THE LEGO NINJAGO MOVIE, doesn't. Elsewhere, CARS 3 does okay at the box office, DESPICABLE ME 3 breaks the billion, and Sony reboots the Smurfs movies with an all-animated film SMURFS: THE LOST VILLAGE. They deem the film a box office disappointment. THE NUT JOB 2: NUTTY BY NATURE, a sequel to the 2014 ToonBox-produced movie, debuts to muted numbers.

2018: Big year for sequels: Billion-dollar smash INCREDIBLES 2, big hits HOTEL TRANSYLVANIA 3 and RALPH BREAKS THE INTERNET, and... Belated flop sequel to 2011's GNOMEO & JULIET, SHERLOCK GNOMES.

2019: Two Disney smashes in TOY STORY 4, the 99.99% CGI LION KING remake, and FROZEN II, though Universal's THE SECRET LIFE OF PETS 2 doesn't make half of what the breakout 2016 original made. HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD does fine, while THE ANGRY BIRDS MOVIE 2 and THE LEGO MOVIE 2: THE SECOND PART underperform.

2020: COVID-19 impacts the theatrical market, re-routing many films to streaming. TROLLS WORLD TOUR and THE CROODS: A NEW AGE debut this year, ditto a U.S. release of Aardman's first-ever movie sequel, FARMAGEDDON: A SHAUN THE SHEEP MOVIE. A third SPONGEBOB movie, SPONGE ON THE RUN, rolls out internationally before a quiet U.S. debut in the next year.

2021: The theatrical market slowly crawls back upon the unrolling of COVID-19 vaccines. Sequels this year include THE BOSS BABY: FAMILY BUSINESS, THE ADDAMS FAMILY 2, SING 2, and the unusual SPIRIT: UNTAMED: A follow-up to a TV series that was a follow-up to a flop DreamWorks movie.

2022: HOTEL TRANSYLVANIA: TRANSFORMANIA, TOY STORY spin-off LIGHTYEAR, MINIONS: THE RISE OF GRU, and PUSS IN BOOTS: THE LAST WISH make up this year, as we all know.

Last year: SPIDER-MAN: ACROSS THE SPIDER-VERSE, PAW PATROL: THE MIGHTY MOVIE, TROLLS BAND TOGETHER, and - notably - straight-to-streaming Aardman sequel CHICKEN RUN: DAWN OF THE NUGGET that still was theatrical-caliber.

This year: KUNG FU PANDA 4, INSIDE OUT 2, DESPICABLE ME 4, MOANA 2, and MUFASA: THE LION KING incoming...

On the horizon: SPIDER-MAN: BEYOND THE SPIDER-VERSE, A new WALLACE & GROMIT feature, ZOOTOPIA 2, THE SPONGEBOB MOVIE: THE SEARCH FOR SQUAREPANTS, TOY STORY 5, FROZEN III, THE BOSS BABY 3, SHREK 5, a third LEGO MOVIE, THE SEA BEAST 2, SECRET LIFE OF PETS 3, SING 3, a PEANUTS MOVIE sequel, a MUTANT MAYHEM sequel, and probably many more I'm forgetting at the moment...

Basically, the major cracks in the dam were TOY STORY 2, SHREK 2, and ICE AGE 2... Making sequels to animated movies was for a long time not ideal, getting an animated feature out period was at one point a gamble. (Still is, but not like it was many decades ago.) But yeah, a lot was at play for a while and then after it all blew up... Yeah, that's why there are so many of them.

[synergysilhouette]

The animation style I think renaissance to revival era films should've been in

(Note: When I say "3D," I'm referring to Disney's modern CGI style as of 2024)

My reasoning:

Post-renaissance 2D seemed to have a dip in quality, so modern 3D animation would've made me more engaged.

Certain 2D films (TLK, Atlantis, L&S, and TP) just felt like the narrative would've been better served in 3D.

3D supports realism, and the colors, clothes, hair/fur, and environments in certain films (Moana, Zootopia, and Encanto) felt wisely used.

"Chicken Little" was full of cliches and nothing to challenge 3D (even modern 3D), and neither did "Meet the Robinsons," while BH6 and Raya's narrative would've been better as 2D films, imo--particularly Raya, since 3D is very western and you can take more SEA influences as a 2D.

Most of the renaissance films could go either way for me; their 2D was great, but I imagine Atlantica, Agrabah, nature, the Olympians, Paris, the Beast, the war on the Huns, nature, etc. would've looked great with modern 3D and wonder what their entire movie would've looked like. Same with "The Princess and the Frog."

The fairy tale films with Disney during the revival era could've been in 2D and have been just as good; while I LOVE 3D, the high points of it in "Tangled" and the "Frozen" films are Rapunzel's hair and Elsa's magic; anything else doesn't wow me enough to say it had to be in 3D. And "Wish" was not the film to do hybrid animation on; do 2D or 3D.

IDK why, but "Wreck It Ralph" and it's sequel felt like the perfect films to do hybrid animation for, and "Strange World" needed to be made in that style to avoid being generic. And "Fantasia" was great as-is.

#disney #disney animation #disney renaissance #disney princess #the little mermaid #beauty and the beast #aladdin #hercules #mulan #the hunchback of notre #pocahontas #zootopia #the lion king #tangled #encanto #frozen #frozen 2 #wish #the princess and the frog #atlantis #brother bear #the emperor's new groove #chicken little #lilo and stitch #treasure planet #moana #big hero 6 #raya and the last dragon #strange world #fantasia

[ackee]

deuce rly likes westerns, and while he doesnt share that easily with people its not a guilty pleasure per say. fantasia is though and he will go to the grave with the knowledge he loves 'when i see you' blasting in his headphones while hes on a walk

#oc talk #about: deuce #txt #about: traversion

[soratayuya]

Something I just thought of, but one of the most important things from my childhood that I learned in school was how to visualize music. Which is funny, because the day I was taught the lesson I had no idea what to do, did super badly, and only incrementally figured it out 10yrs later as I listened to more diverse music and read more.

Basically in elementary school music class, the teacher puts on a lyric-less song, maybe classical maybe not, and tells you to close your eyes and imagine the story based on the music alone. No context is given.

I remember struggling to figure out what to do, if I was going about it wrong or something, and of course peeking to see if the other kids were screwing off or into it.

Then, I had a thought.

The swell of the music and the rhythm made me think of someone hurriedly ascending or descending a circular staircase, like in a western-medieval stone tower. From there I thought about wizards, and from that I imagined Fantasia’s The Sorcerer’s Apprentice.

I was really proud of myself bc I couldn’t hold the image for long but I came up with /something/, and as I began listening to new music in middle and high school, I slowly began to be able to think of scenes and stories that flowed with the music.

There isn’t a point to this it’s just really cool

#nostalgia #childhood #school #learning #music #song #personal

[ariel-seagull-wings]

Brazilian Poster of Fantasia from 1969

@themousefromfantasyland @princesssarisa @the-blue-fairie @thealmightyemprex

#fantasia #disney #classic cinema #western animation #brazil

[bellincurl]

thoughts on current dragula season?

The way I scrambled to answer this.

anyway LOVE. I'm enjoying this season immensely. I'm glad the murder skits are back, I missed them after Titans. I think the cast is really strong, Nio, Cynthia and Fantasia are my favourites. I was only following Nio prior to the season and she's phenomenal. I'm a huge fan of the kind of body distortion, glamour monster kinda drag and she does it sooooooooooooooooo good, same with fantasia. Cynthia doll i think is just insanelyyyy fucking funny she's such a blast to watch on screen and I do love how grimed up her looks feel. I'm glad there were 2 drag kingssss, even if Jarvis and Throb didn't end up being particular favourites for me.

Erm. I do like that this show has such a clear vibe difference between seasons, both from noteable budget jumps and the Boulet's generally just playing around with the format, but I dooooo miss the energy from some of the earlier seasons. I particularly miss how they edited the floorshow's, with the backing screens to add a bit more cinema ect. Also miss the on location challenges, though I assume they had more of those in earlier seasons to accommodate for the small filming space. I think they were just really unique and fun.

I feel like Titans and this both feel just a tiny bit quiet in comparison. And there's starting to be a nit picking of branding / outfit quality which irks me. And I mean that in the most micro of micro ways I just really like the mentality Dragula has towards art and taking its monsters on their individual strengths instead of trying to squash them into a Winners mold. I don't want to see that energy dwindle you know. But it's also a really common idea on drag shows that your idea and concept needs to be immediately understood to be a good outfit. If it needs to be explained then it's failed its communication. Which I loatheeeee bc what is able to be recognized depends on the judges, who r usually running off western symbolism, association and iconography. Like that being said obviously ppl miss the mark, explain the outfit all you want if you showed up as a shark to a dog challenge then something's gone awry yknow but LMAO. It's like oh ur a crusty white dog what are you doing vs. like. you came dressed up as one of those pouch shark eggs or a loan shark and it doesn't READ as shark but it is related to a shark yk yk. I think about this a lot irt to drag and character design in general. Can you tell I'm a design student who's slightly annoyed with course work. I think about this a lot haha.

anyway that aside. Season rules. I really like the floorshow themes, I loved the 2 parter for monsters of rock. I'm hoping and assuming we'll get a dnd ep since that's another one of their constants. I'm an ep behind but I know this next one is a kaiju floorshow which I'm soooooooooo excited for.

Umm I think Matthew Lillard being a guest judge and seeming like he was bewildered to be there was fuckign awesome. Saying, you know when you say drag the first thing that comes to mind is Matthew Lillard is one of the funniesttttt guest judge lines in the show to meeee

ALSO THE AMOUNT OF TIMES THAT KOCO HAS ROCKED UP AS A SPECIAL GUEST. I LOVE YOUUUUUUUU. MOTHERRRRR. she's litearlly a third boulet to me

#I'M ALSO SLIHGTLY SOUR THAT THEY CANCELLED THE NZ TOUR AGAIN BC THEY WERE FILMING THIS SEASON #which is the 2nd time in a row for nz if they have another world tour id probably hesitate to buy tickets for it </3 #they never even gave me or my friend an official refund we both had to go thru our banks after a several month slog #tried not 2 be too spoilery with this #there's not muhc to say about eliminations anyway i think this show's quite good at being fair about who's out in what ep or not

[grisellgch]

Ideas para Sugar Skulls 💀 #sugarskulls #proximamente #sagrario #araña #spider #insects #bugs #insectos #espadaropera #craneo #skull #trenantiguo #oldtrain #western #fantasia #fantasy #ideas #dailyprogress https://www.instagram.com/p/ChGR7_ZlbIH/?igshid=NGJjMDIxMWI=

#sugarskulls #proximamente #sagrario #araña #spider #insects #bugs #insectos #espadaropera #craneo #skull #trenantiguo #oldtrain #western #fantasia #fantasy #ideas #dailyprogress

[starrysnowdrop]

The Twelve are an important part of the Western side of Eorzea, with select gods/goddesses taking priority over others in each of the city-states. When making your character, was their patron deity a factor in creation? Has the lore around the twelve through the new raid series changed how your character might see the gods/what god you selected for them to begin with?

Yume ☀️🔥

When I created Yume, I already knew that I wanted her to be a samurai from Hingashi, and as such, the Twelve weren’t ever really a factor in Yume’s lore for a long time. I did decide to have Azeyma be her patron deity in game however, as Azeyma is the Goddess of the Sun and Yume was a Raen, descended from Azim, or the Sun.

After playing through Aglaia and I delved more into the Twelve lore, I actually used a Fantasia to change Yume’s patron from Azeyma to Nald’thal, and I ultimately changed it for thematic purposes. The themes of judgement of your deeds in life at the moment of your death seemed to fit with Yume’s story way more than Azeyma did, with Yume’s themes of redemption and finding the strength to live after facing her death.

So now Yume’s patron is Nald’thal in game and is her favorite of the Twelve, and though she still doesn’t believe in the Twelve in the way Eorzeans do, she appreciates the religion more than she ever had before.

Oh and fun fact: Both Azeyma and Nald’thal are in the Heaven of Fire, and fire has always been and still is Yume’s element.

Hali ✨🌊

For Hali, because she is born and raised in Sharlayan, specifically Labyrinthos, I initially chose her patron deity to be Thaliak, same as her home city-state. Thaliak is also in the Heaven of Water and holds the Ewer which the waters of wisdom flow forth from, so he just fits with Hali’s element of water.

But as I grew to develop Hali, I realized that Thaliak didn’t fit her as much as I had thought, because even though Hali is Sharlayan, she’s not exactly a scholarly type. Her first canon job is an Astrologian, and the one who fits with the AST and water theme was Nymeia. I had thought about changing her patron from Thaliak to Nymeia, but then I realized that it would not work with Nymeia either.

Though Hali has known about the Twelve her entire life, she never truly believed in them, and only knew about religion in an academic sense. She knew that people truly believed in them and there were many myths and religious practices that surrounded the Twelve, but Hali didn’t have that connection to them in the way that one of the faithful would.

This all changed when Hali spent more than a year’s time in Ishgard, and experienced the fervent faith in Halone. More importantly, Hali fell in love with Aymeric, and though he is much more pragmatic than a lot of the Ishgardian populace, he taught Hali all about the Ishgardian Orthodox Church, and his steadfast belief in the Fury left a lasting impression on her. I also absolutely plan on Hali marrying Aymeric at some point in the future, and Halone in turn becomes Hali’s patron deity as well. So I have recently used a Fantasia to officially change Hali’s deity from Thaliak to Halone to reflect the development of Hali’s story.

Thank you so much for the well thought out ask @gatheredfates!! I appreciate it greatly! 🥰💖

#asks and replies

[nonotranslates]

West Fantasia - Login Story 3 (220626) ft. Faust, Heathcliff, Bradley

Feat. Heathcliff, Faust, and Bradley.

Do you want to see Faust go on a rampage?

====== Fantasia of the Dream-Protecting Acrobats - Short Story (3) ======

Heathcliff: Thank you for your help today, Master Faust. I'm so glad the mission ended without a hitch.  

Faust: Yeah. That’s because it was a simple mission. More importantly, Heathcliff…… 

Heathcliff: Hmm? 

Faust: Are you really fine with not going to the Town of Circus? The Western Wizards invited you to join them earlier, didn’t they? 

Faust: You could have just left the mission to me and joined them, you know. As you can see, it was a mission that could be resolved this quickly. 

Heathcliff: How could I. There’s no way I'd just let you shoulder it on your own. 

Heathcliff: While it’s true that I was a little interested in the Comos Circus, our missions are no less important and I found it to be a good experience too. 

Faust: I see. That's good then……

Bradley: Comos Circus, huh.

Heathcliff: B-Bradley……

Bradley: That stuff ain’t bad, but there’s plenty of stuff in this world that’s much more interesting, y’know. 

Bradley: Shall I tell y’all about some of ‘em? 

Faust: Why did you pop up all of a sudden for? Did you need something from us? 

Bradley: It's just like what I mentioned. I was saying I’d tell y’all about a show that Northern Country preps for. 

Bradley: I was forced to do nothing but tons of boring crap lately—all those missions, community service and all—so I’ve been feeling real bored. 

Faust: No thanks. I have nothing but bad feelings about this. 

Bradley: Well, the Eastern Young Master over there seems pretty interested though. 

Heathcliff: Ah, Sorry…… But really, it’s just a teeny bit…… 

Faust: ……Can’t be helped. Let’s just hear what he has to say. 

Bradley: Shoulda been a good kid like this right from the start. Adnopotensum! 

(Beast growling sound)

???: Kshaaaaaaa!!!

Faust: What!? 

Heathcliff: A ferocious-looking magical beast appeared……! 

Bradley: This thing here is a magical beast that lives in the North, one that relishes in the taste of flesh and blood. 

Bradley: Hey, Maledictor. Go fight this thing with yer bare fists. 

Faust: What for!? 

Heathcliff: Why!? 

Bradley: There ain't much entertainment at Northern Country. That’s why there's times where we view death matches with no petty tricks to 'em like these as peak entertainment for our enjoyment. 

Faust: What’s remotely fun about that!? 

Heathcliff: That sounds nothing but scary! 

Bradley: Hey hey. I'm getting tired of y’all shut-in wizards and yer narrowmindedness. 

Bradley: Just give it a try first, Maledictor. We can talk after that. Or could it be that you got scared? 

Faust: ……

Heathcliff: Huh, Master Faust, what are you d……? 

Faust: Satillquinart Mulcreed! 

Bradley: Ah, you made it disappear with magic. 

Faust: Hmph. Did you think I’d be fooled by an illusion like that? 

Bradley: Haha, what a boring guy. Even if it was a mere illusion, if it could get our maledictor here to go on a rampage, it would have been a fun show to kill my boredom. 

Faust: ……This is all my fault, for listening seriously to what a Northern Wizard has to say. 

Faust: Heathcliff, forget what he said just now. You should return to your room and get some rest. 

Heathcliff: Ah, yes. 

Heathcliff: (Thank goodness. For a moment there, I thought Master Faust was really going to fistfight the beast, my heart was pounding so hard from it……)

#mhyktl #faust lavinia #heathcliff blanchett #bradley bain #mahoyaku #mhyk #promise of wizard #a good trio #all i can hear as the bgm for this is the bradfau duet from mahosute ch 1 #heath being faust no 1 fanboy always gets me