autism alert

amicus // 20 // they/them // autistic // special interests: animation, technology, drawing // reblog heavy but i draw occasionally

[amicus-19]

118 files and 6 subfolders

Proud to present the complete (sorta) Lazlo mega folder that I've been keeping! Includes the Amazon rips for seasons 1-5, the DVD ISOs for season 1 and a new DVD encode of Slugfest/Beans and Weenies.

Enjoy!

[amicus-19]

I also added a special folder with new versions for the eps 4, 13 and 18 with fixed audio (didn't fix the syncing with 19 and 20 since the DVD encode's better)

[shadow-banned-the-hedgehog]

[hydro-city-zone]

[lickingandsuckingchristmascoins]

cmon man, think like a , think like a chuuud, act like a woke *trying to corral a medium sized brown mammal into the corner*

[arienai]

[mochipuchi]

[catroidvania]

[asneakyfox]

the idea that restrooms, locker rooms, etc need to be single-sex spaces in order for women to be safe is patriarchy's way of signalling to men & boys that society doesn't expect them to behave themselves around women. it is directly antifeminist. it would be antifeminist even if trans people did not exist. a feminist society would demand that women should be safe in all spaces even when there are men there.

[asneakyfox]

btw this is maybe the single most key distinguishing feature of the terfy strains of radical feminism, the seed all the rest of it springs out of: they have absolutely no faith in the ability of feminism to actually destroy patriarchy. they do not think feminism can truly build a better world. they cannot really even imagine that possibility. they think patriarchy is an inevitable natural consequence of unchangeable biological facts, and therefore the goal of feminism can only be to mitigate the worst effects of patriarchy, not to get rid of it.

they can imagine a society where women get some designated safe spaces without men around. they cannot imagine a society where the presence of men is not inherently a danger to women.

[birdplushie]

"it's not that deep" START DIGGING!!

[magn-animously]

DIG

[14-opossums-in-a-trenchcoat]

DIG

[buriedunderyourmum]

DIG

[hannisconfused]

DIG

[kitsunesakii]

DIG

[yourlocalfandomfriendo]

DIG

[apple-notplural]

DIG

[vivitur-moritur]

DIG

[spacecat24-7]

DIG

[chub-froggy]

DIG

[thatghostthateatspeople]

DIG

[krowbreaker]

DIG

[spid-the-spider]

DIG

[annabelle--cane]

DIG

[yellow-faerie]

DIG

[vampiraptor]

[philosopherking1887]

OOPS TOO DEEP

[breaks-hetheon]

CLIMB

[artist-of-obsessions]

CLIMB

[fablegate]

CLIMB

[marzibird]

CLIMB

[the-luckyrabbit]

CLIMB

[staarbles]

CLIMB

[modmad]

[sebwritesstories]

[fakekojimo]

Persona openings are just so damn cool.

It's no secret that making anime openings is hard. For as much as anime fans clown on the usual "anime opening tropes" I want to believe that they have the self-awareness to know that successfully summarizing a 12/24 episode show in a 90 sequence is no easy feat.

Now I believe that trying to make a video game anime opening is even harder. The length can vary wildly: you could be working with a 20+ hour game at the minimum or maybe even 100+ hour at the absolute most. That's more material to adapt in such short time, making most of them feel even more overly bloated or aimless in comparison to TV.

Not the case with Persona though.

P3-5 have a generational run of phenomenal openings! All created by brilliant artists and each of them with their own specific perspective to the game's subject matter. Persona 3 has Yukio Takatsu creating the coolest minimalist melancholy imagery with very little animation-- and with barely any time!

Sayo Yamamoto's P5 OP is effortlessly cool and stylish without trying hard to be any of those things. Yamamoto herself is just a very stylish chick by nature-- but her ideas on coolness are more novel. The Phantom Thieves effortlessly skating throughout the city and turning it into their playground as an act of defiance is an idea that could only be born out of her brain.

Persona 4 OPs lacks a definitive throughline compared to the others. Takatsu truly etched his soul into P3, handling nearly all of the animated sequences for them too-- and even after his departure the P3R opening still tries to emulate his groundwork, P5 is similar as well. P4 varies things up from an opening to opening basis. While there are reoccurring themes and symbols: TVs, glasses, powerlines, that bright bold yellow.. But no two openings are alike! Susumu Nishizawa's first opening is great, but then Atsuko Ishizuka's take is so radically different, and still very much a one of a kind.

Bright, poppy, and joyfully surreal! Taking the idea of "the fun will never end" and pushing it to such creative extremes through having everything loop. The most obvious being the opening starting in the same place it ends, but also how the Investigation Team dances in their introductions. The way they neatly loop into each other like gifs, tying into that central idea of never-ending fun.

Persona 4 Dancing All Night's OP is another fav of mine, and one that deserves a ton more love! Storyboarded, directed, and solo animated by Norimitsu Suzuki; he's been soloing EDs for decades now-- and even for shows airing right now! Though he usually likes to go undercover as he's never credited for his work. The only reason why we know he solo'd the DAN op is because a composite director at Studio BONES ratted him out!

He's all about bringing characters to life with an uncanny approach to volume, you wouldn't be wrong for mistaking his animation for CG at times-- the perfect candidate for your game all about your cast busting some moves.

I'll admit the dancing at the start is pretty rough. The cycles are incredibly rough and don't flow well at all, and definitely not in purposeful way. But I still appreciate the variety in each character's style. The opening really starts to ramp up with Kanji's breakdancing, the most complex set of moves and Suzuki nails it flawlessly!

The climax where everyone comes together to get one last move in is the best piece of animation and is more indicative of Suzuki's usual traits. I don't doubt that the animation is referenced to some degree, he's no stranger to that in his works after all.

But an animator of his skill doesn't need to be overly reliant on it, and his three-dimensional style inherently lends well into this approach in the first place. The motion's very solid and precise with just the right amount of exaggeration and looseness-- Love those smears!

The P3D/P5D openings are also a fun time, but they're lacking in the variety and spontaneity Suzuki's opening is overflowing with. A big part part of that being the dancing overly literal with the referencing from CG models. Obviously it's not that referencing is bad thing, but I prefer when there's some level of subjectivity and interpretation rather than a full one-to-one, but we all can't be as cool as Norimitsu Suzuki!

Persona openings are great at capturing the essence of each game rather than trying to summarize it. Many other openings feel like they're going off a check-list: Introducing the characters, trying to cram in as many plotpoints as possible, and forcing in a big clash between random enemies or the main villain... but the franchise's fortunate enough to have artists who can execute that approach elegantly, or throw it out the window entirely to just do their own thing!

Though the cutscenes in the main game themselves still leaves much to be desired. Would kill for a more holistic approach like Takatsu for P3 with P6, but we'll see. I'm still very excited see what names pop up in P4R and in P6.

[fakekojimo]

Why are there no good rips for this show.

Started Mamotte Shugogetten the other day after finishing Fun Fun Pharmacy. Needed more of my Kaizawa fix + this was the project he started to work on right when Fun Fun was winding down. Certainly not expecting anything here to reach the same heights as his previous project, but I'm always down for his uniquely eerie touch-- and it is here in smaller doses!

Always crafting scenes with an underlying tension to them even if the mood rarely calls for it. That's what makes his work so damn cool.

Or taking that same tension or playing it up for the sake of a gag! Filtered through Kaizawa's ominous lens, Shao's disconnect from modern culture has her seeing school gates as prison bars and dissections as full-on executions!

Next two episodes don't carry that same energy unfortunately. While neither of them have Kaizawa explicitly credited I was hoping his worldview for the show would feel more holistic and all encompassing. Instead it's just straightforward harem romcom hijinks-- with the gimmick being his love interests are Chinese spirits who fight over him while destroying everything in their path. So that's fun.

With my expectations reigned in episode 4 sorta creeped up on me. Still no Kaizawa in sight, but Konosuke Uda stepped up to the plate instead, crafting an interesting little episode.

While the whole show is about the clash between the magical and the mundane and the literal explosive outcomes that come from it-- Uda finds a calming middle ground. The episode comes out swinging with the love interests blowing up the classroom not even three minutes into the episode! And the aftermath? The students casually cleaning up the mess.

Love how he boarded this scene with the mob characters taking center stage, a thoughtful choice that made the setting feel lived in for the first time. Toei is infamously known having incredibly harsh sheet limits-- as in every episode should have a limited amount of drawings-- but I respect having the most animated part of the episode going towards towards a mundane scene, making the setting feel tangible.

The newfound tangibility of the setting is brought out by the sound design, swapping out the usual BGM for a more diegetic approach: the drips from a faucet or the waves calmly crashing on the shore. A light pleasant touch.

It's also consistently well drawn too. The most appealing take on the characters by far: Great looking close-ups...

And still great animation too! Though in a more understated way, it's hard to describe but this cut feels subtly lavish. Even if it isn't the most flashy or eye-catching, it's still a treat to look at. The volume as Shoko drags Shao away is so good..

While the episode was produced at Toei, the animation was outsourced to Dogakobo (Key Animation/Inbetweens/Assuming clean-up too). Was a jumpscare seeing Juinichiro Taniguchi in the credits, best known for being the Character Design for Madoka post-tv series. And a young Takashi Mukouda credited for inbetweens! One of my all time favorite artists and a wonderfully weird animator! They've still got a ways off before exploding into the animation powerhouse they became in the early 10s. But it's nice to see that the seeds were always there.

There's also just alot of fun "organic weirdness" that I love with these kinds of settings. Shao casually flying around on her dragon in the middle of a connivence store, or using her spirit to help clear traffic... but stacking them on top each other like it's a game. And while it turns some heads and pisses people off-- they treat it all like some minor annoyance at the end of the day. That what makes it fun.

Some random chick's riding around on her dragon again? Just another Tuesday.

This was a nice treat. Crafting such a pleasant atmosphere in a show that's typically comedy first. If Kaizawa can't do his usual thing here, I'd like the show to retain this tone instead-- or at least something close to it. I'm somewhat familiar with Uda: Watched and enjoyed Majin Bone, love Rainbow Fireflies-- though I understand that's a special case-- and.. that's pretty much it! Can't say I'm in a hurry to check out any of his contemporary stuff given he's trapped in the Mappa mines. But I'm looking forward to discovering and learning more about him. And watching more of the show too, of course.

[asoi00]

[technoria]

collect my hugos

[jariten]

ご近所物語 (Gokinjo Monogatari), Ai Yazawa

[rickeytickey]

[someillust]

2025.11.24

[iiboharz]

Renowned game developer Shigeru Miyamoto broke down in tears after his self-financed movie "The Super Mario Galaxy Movie" opened to $48 at the worldwide box office: "Fuuuck dude this movie cost so much money I'm so fucked"

[starbeamtwinkle-remade]

[cosmikazie]

hey remember when people said we gotta keep talking about this and then two days passed and it just went quiet. anyways