They are happy to believe I forgot how they maimed me.

🙑 riona 🙑 chicana 🙑 she/ella/ela 🙑 transfeminista 🙑 marxistaleninista

si alguna vez les late enviarme preguntas sobre mis obras artísticas por favor échenle :3

la neta uno no acostumbra a bloquear gente salvo por opiniones bien reaccionarios pero si me haces bromas o referencias diciendo que mis lecturas son delirios te bloqueo al instante

marz' green lantern was the last bastion of abstracted art decisions before the semireal serpent devoured the creative direction at dc comics. my bolder ideas for the color palettes and backgrounds and textures for a hypothetical green lantern adaptation (my mutuals all know of the high concept lantern adaptation that will never be made).

like look at this shit!! even if the figures aren't the best like. look!!

kirby crackle in the big 94?

screen tones??

gradiant backgrounds and solid color background objects???

color paint splat stars????

USAMERICAN COMICS doing a COLOR PALETTE SWAP for DRAMATIC EFFECT????? they said it couldn't be fucking done!!

these are all things modern comics don't do because why would you work in an illustrated medium and do stupid gay shit like "draw from a vast history of art movements to communicate a narrative" when you can just be a temporarily embarrassed live action adaptation writer!! like, granted, who knows how much of that was marz, but it's consistent enough across color artists that it defines the work to me (and is noticeably less absent after winick takes over)

okay this is a good one i literally squeezed my eyes shut and exasperatedly blew out air seeing this one LMAO.

johns' strongest qualities as a comic scripter is his pacing. the creeping dread that accompanies the cosmic wrongness of hal's return is apportioned well across the first several issues of the mini. the comic opening with kyle crashing onto earth in a spaceship that just pierced the sun and saying to the onlookers "do not be afraid" suits the art-quoting reality-bending kyle that came into being in the 00s while convincingly sets up the premise of the comic.

the introduction of the color spectrum, the emotions associated with each color and the symmetry they create with green genuinely adds so much to the lantern mythos. it's genuinely so fun to take 40 years of "there's green and then there's yellow" and be like, "hey, green is the middle of the visible light spectrum! what if it was the center of a serious of opposites?" i love that the yellow and blue lanterns represent these exaggerated takes on the fanatic aspects of the green lantern corps, the former the martial, the latter the religious, i love that the far ends of the spectrum counteract each other by trying to destabilize it by incorporating more into their ranks, and that this works because of the ideological conviction by the wronged people brought into these folds, like. part of what makes green lantern fun as a setting is 'explosions of light as character studies' and adding eight new flavors to that adds a lot to the visual toolbox of the work

*anthony bourdain voice* fascinated with motoko kusanagi's struggles with transmisogyny.

jokes aside i obviously have a stated disinterest in dissecting the ‘intended’ reading of a character or text which a character inhabits, but it's always been so immensely compelling to me that, particularly outside of oshii's works (which portrays the question of her humanity less through her moments of heightened emotion and more through their subdued presentation), the central conflict of the cast dissecting motoko's humanity always manifests itself in terms of ‘everyone talks about how manly she is when she disagrees with them, how creepy she is when she shows concern for a child, how sensitive she is when something gets under her skin.’ obviously, stand alone complex does this the most straightforwardly, especially thanks to batou in the first season, but it was funny to start the new show with my best friend and have someone call her a manly ape and have us both go WOOOOO LET'S GOOO! (it's also interesting to me that the people who are angriest about '26 motoko's personality are those who think oshii's depiction of her is the best. really makes you think!)

my mutuals are handing me such softballs it's making me insecure. anyway i've already praised enough its subtextual treatment of sexual violence and the way the voice and texture of the prose shifts to suit the discourse of the text between and within each work (harrow and nona demonstrating this most exceptionally) but i think i haven't talked about how inspiring its aesthetic sensibilities are, even if i think description is one of muir's weaker points*. the blend of soft science fiction and fantastical elements borrowed from gothic revival and other neoclassical 19th century styles is like, idk, it very clearly eludes the majority of the fanartists but it's so clear to me and it's genuinely part of why i've been teaching myself to draw, becuase i love this series enough that i want to bring it to life in that respect. also, although i can't prove that this was her inspiration, there are enough works of 80s and 90s anime that go, 'what if there was a derelict quasi late baroque setting in space' that it's at least easy for me to imagine what's going on.

*i feel the need to clarify i don't subscribe to the 'prose should function like a movie camera' mentality to which the devotees of the neo-formalist schools of prose subscribe; rather, i mean sometimes muir will describe something and it looks worse than the way i imagine it. to use a safe example, absolutely nobody draws ianthe in an ugly yellow dress, even though i understand what she was trying to do with making ianthe wear the clothes of a predecessor that are too big for her and don't flatter her.

stylistically impeccable down to the last detail. the animation, the compositing, the title cards, the episode breaks, the non-diegetic elements. the non-sequitur shots, bold streaking inks in moments of high action, the sudden lighting changes, the comedic surreality. it's a close enough adaptation of the manga i feel confident saying that stand alone complex will remain my favorite adaptation narratively but in terms of pure style it represents a meaningfully bold shift for such a thoroughly established work, especially one that's lived in the shadow of oshii's adaptations. not to mention how much it's leaning into motoko's relationship with her two girlfriends: you already know that my whole thing is that an adaptation should be shaped to fit the medium and abandon the fear of stylistic orthodoxy with the source material, and the changes it makes in that regard are like. okay can all animated adaptations be like this now. it takes such mediatic risks i feel like my zaniest animation ideas are safe! animation can literally be used to complement the narrative. it's literally possible.