Ash Grak Durbatulûk @edgybluerat - Tumblr Blog

decentralize and clean up your life!!!

use overdrive, libby, hoopla, cloudlibrary, and kanopy instead of amazon and audible.

use firefox instead of chrome or opera (both are made with chromium, which blocks functionality for ad-blockers. firefox isn't based on chromium).

use mega or proton drive instead of google drive.

get rid of bloatware

use libreoffice instead of microsoft office suite

use vetted sites on r/FREEMEDIAHECKYEAH for free movies, books, games, etc.

use trakt or letterboxd instead of imdb.

use storygraph instead of goodreads.

use darkpatterns to find mobile game with no ads or microtransactions

use ground news to read unbiased news and find blind spots in news stories.

use mediahuman or cobalt to download music, or support your favorite artists directly through bandcamp

make youtube bearable by using mtube, newpipe, or the unhook extension on chrome, firefox, or microsoft edge

use search for a cause or ecosia to support the environment instead of google

use thriftbooks to buy new or used books (they also have manga, textbooks, home goods, CDs, DVDs, and blurays)

use flashpoint to play archived online flash games

find books, movies, games, etc. on the internet archive! for starters, here's a bunch of David Attenborough documentaries and all of the Animorphs books

burn your music onto cds

use pdf24 (available online or as a desktop app) instead of adobe

use unroll.me to clean your email inboxes

use thunderbird, mailfence, countermail, edison mail, tuta, or proton mail instead of gmail

remove bloatware on windows PC, macOS, and iOS X

remove bloatware on samsung X

use pixelfed instead of instagram or meta

use NCH suite for free software like a file converter, image editor, video editors, pdf editor, etc.

feel free to add more alternatives, resources or advice in the reblogs or replies, and i'll add them to the main post <3

last updated: march 18th 2025

teacupballerina

edgybluerat

Aw hell yeah!

#aku #akubloss #too much aura

teacupballerina

Happy Mother's Day LMFAO

decreare

I’m not surprised Blossom actually went to jail and spend some nights in the local police station like buttercup but I’m more horrified that the powerpuff girls are prepositioned too triplets

teacupballerina

It's a reference to "A Very Special Blossom"

#ppg

vampkittty

some more characters and heights

#ppg

adonischildsupportcase

#evangelion

ckret2

sometimes you do a really loose rough sketch and you already know theres no chance in hell the final lines could ever be half as funny

#aku #relatable #literally me

teacupballerina

Grading papers on a Saturday night sounds like a date

edgybluerat

They're adorable together... but what did Buttercup write?

#ppg #powerpuff girls #ms keane #mr green #id like to see girls twisted imagination of this moment #i can see horrid monster green in black and white grabbin keane #and forcing her to give bad grades to everyone #i need to try my hand at that style someday

recvachka

#fanart #Aku #samurai jack

s0s0chan-artblog

(not my dialogue btw)

Various Pokey Day entries

#ppg

AWOOOOO!!!

#razor #genshin impact #genshin memes #meme #I don't care that he's below the meta #he's my lupical

maxwellatoms

Do you think were any kind of specific aspects of the culture, industry, economy, etc that made making cartoons in 90s / 2000s better or worse than trying to make them today?

They're literally different worlds.

As a 22 year old neurodivergent, I was able to pitch show ideas directly to executives. Part of that was because TV Animation wasn't a glamorous profession (quite yet), so the higher-ups were genuinely passionate about the medium. I earned good money for the time and was generally trusted to run my show and tend to the crew. I would periodically be handed portfolios, which I would personally review and pass on to other show runners. For the networks it was always corporate, cutthroat, and ultimately about the money, but as an artist you could still have a voice and make art while being paid a living wage.

The pay for a freelance storyboard in 2005 is almost exactly what it is today, but now you're likely to have less time and be required to do an animatic on top of it. Portfolios are online, and (beyond metrics) you'll probably never know if anyone looks at it or not.

Animation got big. Too big. The executives got "glamorous", then the talent got "glamorous". By then you probably wouldn't get a pitch meeting unless you were a celebrity or knew one willing to be connected to your project. Animation eventually got so big that it popped. And that's where we are now.

Most of the people I know from Kid's TV Animation are currently unemployed. I have been off Jellystone for over a year, and I'm starting to get genuinely worried. Like, "move away to save money" worried. Most of the employed artists I do know are on long-running legacy series, and they're concerned about their futures when/if those series end. Right now is not a fantastic time for "animation as a money-making profession". The "glamorous" part popped years ago.

That being said, there are still opportunities out there. If you're just starting out, apparently there's a planned surge in adult and pre-school animation. It's also a great time (as long as YouTube remains sane) to be crafting your own content. But I think that the time of Big Studio Patronage is over for most of the industry. It's up to the individual artist now more than ever, not only to make but to promote their own content.

Back at the height of Billy & Mandy, we mostly pulled fours and fives in the Neilsen ratings, but we occasionally got a seven. For reference, E.R. consistently got eights. It's difficult to say exactly how many people that actually was due to how those ratings work, but it was a big deal for the time. Millions. Enough people that if I had a dollar for each person that just watched that one episode, I would have been set for life. Now, nobody gets a seven. A four is huge. Back then there were maybe fifteen or twenty channels of programmed content as opposed to the streaming smorgasbord we were all just enjoying (and which now also seems to have popped). Point being, even though I wasn't paid-per-view, I was able to use those views as justification for an eventual raise. In modern times, streaming numbers are seemingly deliberately kept secret. You'll never really know how well your show was doing until it's over. Or maybe never.

In modern times, a million views on YouTube is enough to get you noticed online. It's a lower bar for entry in a way, but you've got to get there all by yourself. Once you're there (hello Hazbin) a network may indeed come and scoop you up. Even if they don't, you can probably make a decent living with numbers like that if you're savvy and willing to take the time.

I feel like I could go on all day, shaking my fist at the sky, gray-ass beard blowing in the wind. Was it better or easier making cartoons in the past? It seemed that way to me, but that was a world I knew. There was no AI to sell you out to, and the media was more of a "Wild West" than it is today. I do think that AI is going to continue to displace artists (and soon others), making it even more difficult to get anyone's eyes on anything at all.

Culturally, we lack the common cultural touchpoints that bonded our society in the 20th Century. I suspect that the media landscape will continue to become more "bubbly" and disjointed unless some powerful force swoops in to mandate a common viewpoint. Those are two very divergent, uniquely tiring futures, each presenting a different challenge for an artist's survival.

Outside of whatever our modern world is, animation was made for a century by photographing drawings. If Émile Cohl could do it in 1908, you can do it now. It's a lot of labor, but maybe that's part of what makes it special.

#maxwell atoms #animation industry