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Das Boo
Jun 9, 2011

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Guy Mann posted:

Carl Barks was drawing :nws:duck tits:nws: long before the internet existed or there was even a term for that kind of thing.

There is just something so eerie about putting a duck bill on an otherwise normal human being. It's like those wartime photos of school children in gasmasks.

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Das Boo
Jun 9, 2011

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nine-gear crow posted:

Oh, so I guess Beakly was 100% serious when she said she's a spy. Neat.

For FOWL, hopefully meaning more Darkwing.

Das Boo
Jun 9, 2011

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I liked the episode, but did anyone else notice the uneven animation? Overly fluid in some places, jerky in others, then that weird shot in the lair where it begins static and the camera starts drifting about two seconds before it cuts to the next shot.

Das Boo
Jun 9, 2011

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Am I right in thinking that that's the Bigfoot from the Goof Troop opening?
I could look it up but I wanna posit the question first.

Das Boo
Jun 9, 2011

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Larryb posted:

Huh, I could have sworn I've seen that particular Bigfoot design from this episode somewhere before but I can't quite remember where.

Yeah, same. I thought it was Goof Troop. The hell was that?

Das Boo
Jun 9, 2011

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Acebuckeye13 posted:

Yeah, regardless of what anyone might think about the style (I personally like it), the actual animation is great-like you said it's very fluid, and there's a ton of extra details and flourishes that really help sell it as a high-quality production.

I thought you were talking about the dinosaurs at first and I just stared at my screen numbly for five seconds.

The short answer for the modern style is complex character design can over-complicate the things that really matter in animation, like movement, pose clarity and facial expressions. When you have a TV series, streamlined designs offer less opportunity for gently caress-ups. Complex design is best left to feature where you can dump more time and money into making it look good.

Think early Looney Tunes featurettes compared to their 70's TV counterparts.

Das Boo
Jun 9, 2011

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I think it's neat they ended up going with the South African background. It's tremendously touchy given the history of colonialism and exploitation and I'm interested to see how they work with it in the future. Not doing it at all would've been the safe route, so there must be a lot of consideration put into tackling it.

Or they could never address it again! :v:

Das Boo
Jun 9, 2011

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I know they wouldn't go deep into it, but I'd be interested into see how they'd work with/around it. I'm already a little surprised they brought up the diamond trade. Just stuff like that.

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Das Boo
Jun 9, 2011

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SlothfulCobra posted:

I thought that was the original point with making him a boer. While Scrooge made his money off of his own physical hard work before going into finance and investments, it's kind of implicit that a wealthy man out in South Africa is going to have made his fortune off of the suffering of others.

Either that or most big ways to become a wealthy industrialist back in the 19th century were implicitly immoral and while they worked out a way for Scrooge to have mostly clean hands, Glomgold didn't get the same treatment.

On the other hand, they could go draw parallels with America's current most famous wealthy South African industrialist involved in contests with other wealthy industrialists has a rivalry with do-gooders who creates half-baked over-elaborate schemes, and has a serious issue with bragging about his schemes. :v:

It was the original point, but the comics come from a place of commentary and maturity that had kinda been pushed out of animation for years. Even being able to include a glance of something with a deep and ugly history still surprises me. But I also work on a show where S&P has a problem with showing a kid use a sewing machine, I guess. :psyduck:

Also Ghost Leviathan nailed it, that last bit can easily fit Mark Beaks.

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