something i think not enough people talk about is how netflix is just a bunch of fraud wrapped up in an ever-growing web of lies. but so long as the appropriate few people make money on those lies then we'll continue being haunted by this vacuous approach to art and distribution

that article that discussing films briefly quotes about netflix being run by lying artless idiots is really good you should read it

www.nplusonemag.com/issue-49/ess...

sango deserves 100x better but she and miroku still make me laugh

fellow manga enjoyers, a question:

why is it so common to have these moments between older characters and much much younger ones? ive been parsing this shit for decades now but as i grow older it's become a real uncomfortable deal breaker

the icing on the ghibli run cake is the relatively small amount of up/down on the center of gravity (around the hips). this makes the character feel like theyre running so goddamn fast that very little weight transfer is needed to maintain speed, sheer inertia has taken over to maintain speed

mechanically, a typical ghibli run is *very* quick. here, between 2 contact poses (where the foot makes contact with the ground), there is only the "down" pose (the lowest point) and the "up" (the highest point)

omitting the other common poses between suggests the run is so quick you cant see them

the quintessential ghibli run generally constitutes two things, the character needs to get somewhere ASAP and some very particular frames in the cycle. both mechanics and performance is key

a common element is the aforementioned pitch forward. these characters need to be somewhere yesterday!

anyone up for some #AnimationAnalysis?

awhile i back examined the legendary ghibli run and how much it does. not. fuck around. characters tilt forward, put their head down, and just give 'er. but how do they work?

let's take a quick look at satsuki's run from totoro for the very basics