Kitsuno's Art Space @kitsunoart - Tumblr Blog

🏳️‍🌈HAPPY PRIDE MONTH Y’ALL🏳️‍⚧️

In celebration of 2024 Pride, I’ll be opening 5 SLOTS for PRIDE YCHs!!!

I’ll be dropping a form down below, please fill out with a ref link and desired form of communication (email/discord/DMs) and I’ll reach out!

YCH CLOSES JUNE 30th!!!

Google Form:

TERMS OF SERVICE >>I REFUSE TO DRAW ANY ARTWORK DEPICTING MINORS IN QUESTIONABLE SITUATIONS, AS WELL AS REFUSE TO DRAW DEPICTIONS OF BEASTIA

#furry #furry art #pride 2024 #YCH #Pride YCH #kitsuno #kitsuno art #digital art #commissions #my art #commission open #PLEASE REBLOG FOR VISIBILITY

ljesak-deactivated20250626

fossbat-deactivated20240711

Old fosbat sketch

minmocat

friend chip….

citizenshipandsocialjustice

calystarose

Because treating people fairly often means treating them differently.

aloneindarknes7

This is something that I teach my students during the first week of school and they understand it. Eight year olds can understand this and all it costs is a box of band-aids.

I have each students pretend they got hurt and need a band-aid. Children love band-aids. I ask the first one where they are hurt. If he says his finger, I put the band-aid on his finger. Then I ask the second one where they are hurt. No matter what that child says, I put the band-aid on their finger exactly like the first child. I keep doing that through the whole class. No matter where they say their pretend injury is, I do the same thing I did with the first one.

After they all have band-aids in the same spot, I ask if that actually helped any of them other than the first child. I say, “Well, I helped all of you the same! You all have one band-aid!” And they’ll try to get me to understand that they were hurt somewhere else. I act like I’m just now understanding it. Then I explain, “There might be moments this year where some of you get different things because you need them differently, just like you needed a band-aid in a different spot.”

If at any time any of my students ask why one student has a different assignment, or gets taken out of the class for a subject, or gets another teacher to come in and help them throughout the year, I remind my students of the band-aids they got at the start of the school year and they stop complaining. That’s why eight year olds can understand equity.

momo-de-avis

I remember reading somewhere once “we should be speaking of equity instead of equality” and that is a principle that applies here me thinks

postcardsfromspace

I will reblog this every time it shows up on my dash, because, frankly, the world cannot get enough reminders.

bogleech

Whenever someone says - as praise OR as homophobic criticism - that Noelle Stevenson “made” She-Ra into an LGBT brand I think they should know that the lead character designer of the original was a lesbian who also said that the entire studio behind He-Man and She-Ra was “the gayest place in town.” And like, honestly, you look me in the eye and tell me a straight person drew a single one of these character’s outfits.

A SINGLE one.

bogleech

While I’m on about how people misunderstand these cartoons I’d also like to rant again about their intended tone. If you’ve never seen the original He-Man PLEASE find and watch some episodes (tons are on youtube) because I guarantee you have the wrong mental image of what He-Man is like. He is not a macho Conan the Barbarian ripoff. He’s a big goofball softie who hates hurting anybody and even talks to Skeletor with an absolutely bottomless patience. He won’t directly punch anybody or ever use his sword directly on a sapient being. And that’s NOT!!! Network mandate!!! Other cartoons at the time were in fact showing more direct violence! It was a deliberate creative decision to make He-Man a gentle and nonviolent hero!

Same goes for Bravestarr, the studio’s first all-original series that wasn’t commissioned by a toy company. Bravestarr is a Native American space sheriff who hates using guns and tries to handle “criminals” by talking things out first. Again, a deliberate decision and not some kind of parent-teacher mandate! That She-Ra designer who called the whole studio gay was also the daughter of the studio founder Lou Scheimer and together they had a specific goal of making cartoons for all ages and genders that showed forgiving, tolerant, compassionate heroes!!!

It is I N S U F F E R A B L E that some newer comics and reboots are so much more aggressive, that they’ll have Skeletor and He-Man roaring and screaming and threatening each other with murder and it’s presented like that’s how they were “meant” to be. No it isn’t! Authentic He-Man wishes Skeletor would calm down and join him for arts and crafts! Netflix She-Ra actually does capture She-Ra’s original personality pretty well and was not at all the softened or watered down series its detractors say it is. if anything Netflix She-Ra was still slightly edgier and darker than 80′s She-Ra! I have heard that the CG Netflix He-Man is cute and silly again because it’s aimed at kids, which is great. I haven’t really gotten into it but these franchises should always be for kids and they should always be nice. They were created to be nice!!!!!!! Fabulous Secret Powers isn’t funny because it twists who He-Man is but because it is EXACTLY who He-Man is!! You don’t GET it! Kevin Smith doesn’t get it! Most of the people complaining about Kevin Smith’s reboot don’t even get it either!!! NOBODY still complaining about the she-ra reboot gets it!!!

etherianamber-deactivated202211

i hate to barge in on a post like this (i rarely ever see anyone actually *defend* filmation, and we’re talking in the general world of animation discussion, not just reboots. and i hate getting into big discussions and debates) but i want to make a few comments:

Erika Scheimer was not the primary character designer at Filmation. I’m not sure what her major role at the studio besides voice direction was. I believe she may have been involved in series development though! Adora/She-Ra’s design was by a woman named Diane Keener. Another woman, Alice Hamm, designed Castaspella. (For what it’s worth, developmental design drawings were done by multiple artists and all played a part into the final designs of the characters.)

BraveStarr was co-developed with Mattel much like She-Ra was, but to a lesser extent. Mattel merely had toy rights while Filmation was the rightsholder of the show and characters. Mattel wasn’t kind to BraveStarr, they released the toy before the show (which Lou Scheimer specifically didn’t want) because their sales were hurting. Mattel made some bizarre requests and alterations, from as little as saying BraveStarr shouldn’t wear gold because it’s not a “masculine color” to bigger issues like downplaying, if not completely ignoring his Native American heritage.

BraveStarr was also not the first all-original series from the studio, nor was it the first not commissioned by a toy company. Filmation’s complete output of toy-related shows amounts to three total: He-Man, She-Ra, and BraveStarr. (Ghostbusters had a series of action figures, but was more or less the side effect of a floodgate He-Man had opened.) And even then, Filmation ultimately had complete creative control over all non-toy BraveStarr product.

I don’t think the idea of a serious, gritty He-Man is necessarily bad, granted the only MOTU content I digest is by Filmation. (I think the early pre-Filmation minicomics played it straight?) But, you are absolutely right that He-Man’s moral compass was NOT network mandate. Hell, He-Man was made for syndication, i.e. to be distributed to individual stations. There was no network! Lou Scheimer had previously done a lot of shows with pro-social values, to which one network head actually chewed him out for:

If you ever show me another one of those bullshit fucking shows with those fucking little moral things at the end that make them worthwhile, I will never buy a show from you again!

And yes, Filmation’s morals were woven into the stories. Do you want to know why shows like G.I. Joe had PSAs at the end? Because He-Man did it. But they didn’t understand it.

As for He-Man and She-Ra’s gay appeal, I think Erika said it best:

I’ve had some wonderful, wonderful experiences at Comic-Con [International]. Last summer, a She-Ra action figure came out. There was a wonderful guy—I think he was in his thirties, maybe—who came through our booth and told us how wonderful She-Ra was. It was wonderful for him to finally have had a character he could identify with. This guy was obviously gay, you know? I run into women—they’re usually between 25 and 30 years old—and they tell me they think She-Ra is great. I don’t know if they’re lesbians. I’m really bad at the gaydar thing.

I’ve been, at this point, a longtime Filmation fan. And back in late 2020 I was going through a horrible time in my life. In Spring 2021, I began thinking about Filmation’s product, and after jokingly swearing off their 80s shows for not being “obscure enough” for quite a while, I watched BraveStarr: The Movie. This inspired me to pick up He-Man and She-Ra.

And what happened was really beautiful. I was not only brought out of a slump, I was so incredibly happy. I was proud of myself. These shows made me feel a certain way, and She-Ra particularly really helped me feel good about my identity. It sounds so damn stupid and silly, but I had literally never felt better about myself in my life.

The rush kinda died off around the time Revelation was announced. There’s always some point where I find myself nose deep in the catacombs we call internet discussion. But goddamn, I still love these shows. I love Filmation. Lou Scheimer was the Animation Guild’s TV life support when these shows were being made, as all the other studios were sending work overseas to circumvent the union and not pay their artists. It cost around $300,000 to make an episode of BraveStarr, which was a very high amount at the time. Towards this point in Filmation’s life, their animation was getting better and better. Two shows in production that never aired didn’t even use their infamous stock animation system!

A French conglomerate forcibly shut down the studio after buying it in 1989, right after promising to keep the studio running, and I feel that was one of animation’s biggest losses, the opinions of animation buffs be damned. (I’ve seen honest-to-god one person say “I like the French now!” upon hearing this fact. Really?)

Tangent aside, I am very glad to see someone speaking the praises of these shows, because they really did wonders for kids. They can still do wonders, I think.

P.S. Netossa and Spinnerella are absolutely gay. There was a song cut from the episode they appeared together in.

bogleech

I know this post has gotten long now but I’m glad to get more accurate clarifications from (and to at all even see) a real filmation fan. Genuinely every little thing about filmation is so fun to learn and it’s sad that it’s mostly remembered for ostensibly making cheap and hokey cartoons.

dduane

I’m pretty sure I’m the only person around here who was actually working at/for Filmation during the general period being discussed. After a couple years of scriptwriting experience at Hanna-Barbera, Lou Scheimer hired me in 1981 to do series development work for him. I wound up with an office just down the hall from the initial He-Man/She-Ra team working under Art Nadel.

I can confirm that Lou was absolutely committed to creating animation that was as good as it could possibly be. The whole place resonated to that sense of needing to get what they were doing right. Lou was a fabulous and congenial boss who made the rounds of the studio every day to see if there was anything he could do to help you produce the result you were after: the kind of boss you were never afraid to see turning up at your office door.

And yeah—for whatever it’s worth, in my experience Filmation was unquestionably (in terms of the employee base) pretty gay. 😄

endjfcar

Aco 🔧💛

He'll service your starship in no time!🚀

tyronepowerbottom

oh wow the next gen Pokemon games just leaked

Trick

weird ass woman

big fox lady waking up :3

itshardtoactnormal-blog

That’s dope

itshardtoactnormal-blog

A History Of Black Cowboys And The Myth That The West Was White

Brad Trent, “Ellis ‘Mountain Man’ Harris from ‘The Federation of Black Cowboys’” series for The Village Voice, 2016

A quick internet search of “American cowboy” yields a predictable crop of images. Husky men with weathered expressions can be seen galloping on horseback. They’re often dressed in denim or plaid, with a bandana tied ‘round their neck and a cowboy hat perched atop their head. Lassos are likely being swung overhead. And yes, they’re all white.

Contrary to what the homogenous imagery depicted by Hollywood and history books would lead you to believe, cowboys of color have had a substantial presence on the Western frontier since the 1500s. In fact, the word “cowboy” is believed by some to have emerged as a derogatory term used to describe Black cowhands.

An ongoing photography exhibition at the Studio Museum in Harlem celebrates the legacy of the “Black Cowboy” while chronicling the unlikely places around the country where cowboy culture thrives today. Through their photographs, artists like Brad Trent, Deanna Lawson and Ron Tarver work to retire the persistent myth that equates cowboys with whiteness.

Deana Lawson, “Cowboys,” 2014, inkjet print mounted on Sintra, courtesy the artist and Rhona Hoffman Gallery

In the 1870s and ’80s, the Village Voice reports, approximately 25 percent of the 35,000 cowboys on the Western Frontier were black. And yet the majority of their legacy has been whitewashed and written over.

One notable example of this erasure manifests in the story of Bass Reeves, a slave in Arkansas in the 19th century who later became a deputy U.S. marshal, known for his ace detective skills and bombastic style. (He often disguised himself in costume to fool felons and passed out silver dollars as a calling card.) Some have speculated that Reeves was the inspiration for the fictional Lone Ranger character.

Most people remain unaware of the black cowboy’s storied, and fundamentally patriotic, past. “When I moved to the East Coast, I was amazed that people had never heard of or didn’t know there were black cowboys,” photographer Ron Tarver said in an interview with The Duncan Banner. “It was a story I wanted to tell for a long time.”

Ron Tarver. “Legends,” 1993

In 2013 Tarver set out to document black cowboy culture, in part as a tribute to his grandfather, a cowboy in Oklahoma in the 1940s. “He worked on a ranch and drove cattle from near Braggs to Catoosa.” Another artist, Brad Trent, shot striking black-and-white portraits of members of the Federation of Black Cowboys in Queens, New York, an organization devoted to telling the true story of black cowboys’ heritage while providing educational opportunities for local youth to learn from the values and traditions of cowboy life.

Kesha Morse, the FBC president, described their mission as using “the uniqueness of horses as a way to reach inner-city children and expose them to more than what they are exposed to in their communities.”

Trent’s images capture how much has changed for black cowboys, who now dwell not only on the Western Front but on the city streets of New York and in rodeos held in state prisons. Yet certain values of cowboy culture remain intact. For Morse, it’s the importance of patience, kindness and tolerance.