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Got a weird treats for you all,

For years, whenever I've been intensively drawing a comic project I often felt the need the write myself some music. I've found out multiplying my creative output mysteriously benefit them all. There is, usually, no link bridging my Comic and musical world. Some fugues and some String Quartet sketches have been paired with Batman Incorporated for instance.

This time, being so enthusiast for swamp thing, I went and wrote the scored for issue 7 & 8.  OK, not really, but I've tried to cover their thematic stuff in a 3:16 of Full Orchestral Music.

Here a breakdown of the cues:
00:00 The timeless mystery of the Green
00:49 Growth and fate of the Green Warrior
1:36 The Rot
2:00 A bit of actionny big battle for those who got bored until now.

May you enjoy this roughs mix.
At reverbnation:…
Or on Facebook:…
Also Dowload :…

Better experiences with headphone while reading Swamp thing.
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Typo Feature - Food And Drink

Sat Nov 26, 2011, 8:11 AM
Bi-Monthly article featuring Typographic Artworks by theme.
You can suggest a theme for the next featured article by commenting on this article :)

And today I present you…

Food and Drink!

09.04.10 by tistwas ChoColaTe by 123zion456 Chocolate by Takunaaa
ice lolly by taylorz11 ME NEEDS ICE CREAM by timmens In Space No-one Can.... by Garfcore
The Acidic Cupcake by mgoeclipse Lust by BadlyDrawnMike SAVE_THE_CUPCAKES by xTwentyOnex
Stulle Font by m1ckeyyy Dust by calmyafarm The story of bread by xiruxiru
SUSHi by flamingpegasus Sushi by jedrekkostecki  :thumb168387134:
Fruits of Education by Crumies cherry typograhy by mashita Embrace Thy Bananeth by RGC3
Le Soup by Tsun3 Haters Gonna Hate by grungebunnay only for champions by CHIN2OFF
Drink Me Now Forget Me Later by michaelspitz :thumb127453674: It's five o'clock somewhere... by DrewDahlman
Milk by RGC3 Milkshake Typography by Luftherz Never Drinking Again by JayRoeder
hot cup of COFFEE by CHIN2OFF Vanilla, Coffee and Lime by mypthe13th Coffee Stain Typeface by markhossain
Tea Parties Are For Little Girls by ExclusiveApe :thumb269423598: London. by vliea

Interested to find out more about Text and Typography? Read Text Art and Typography!

You want to suggest a DD to me? Read my Daily Deviation Guidelines!

Foster Creative Genius

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Star Wars: Battle Pod

Tue Mar 3, 2015, 4:23 PM
Img-00 by techgnotic

“Star Wars: Battle Pod” has been released in arcades across America. An international release of the game is imminent.

The game is about the size of a moderately–large photo booth, and it weighs around 1,000 pounds. To enter, you open a small door and take a seat inside the compartment. In front of you rests an almost impossibly large curved screen, as well as the left– and right–hand controls. This is the type of chamber you may enter during daylight hours and exit only to find that it has become night.

by Bandai Namco

The game offers five simulations, all recreations of scenes and battles from the original films — Yavin, Hoth, Endor, The Death Star II — except for one. In the last mission, which is the most difficult, you play as Darth Vader in the wake of the rebel attack on the Death Star. Your object is to prevent the rebels from stealing the Death Star’s super laser, while piloting Vader’s TIE Advanced Fighter. If you’re a good shot, you get to kill Han Solo (George Lucas relented only after long resisting his heroes being killed in Star Wars games). If you’re a good gamer in general, write in and tell us what happens if you complete the mission — this reviewer failed to do so on an embarrassing number of occasions.

by Bandai Namco

by Bandai Namco

by Bandai Namco

The actual controls of the game are intuitive and fun.

You aren’t so much piloting the crafts in the missions as much as piloting the weapons and choosing to go fast or slow. Just for fun, during one flight I alternated sporadically between accelerating and braking and, frankly, couldn’t perceive much of a difference. Odds are you could leave the thrust control alone the entire game and not have a significantly different experience. But otherwise the developers have done a great job of making the game feel like the inside of a cockpit. The immersive nature of the contraption combined with the huge display, vibration, and surround-sound all add to this experience. There is also a wind effect — some sort of fan that blows harder or softer on your face depending, ostensibly, on how fast you’re going. For better or worse, it reminded this reviewer of the built-in fans on modern exercise bikes at the gym.

by Bandai Namco

by Bandai Namco

by Bandai Namco

What the game does not include are any scenarios from Star Wars Episodes I-III, which seems somewhat strange given the platform's potential for podracing levels. The developers have hinted that new levels could be added in the future, but haven’t given any indication of if or when these would be released.

Meanwhile rumors have surfaced recently that the new Star Wars: Battlefront game, which will possibly be released this coming winter, will feature battle sequences from the upcoming film The Force Awakens. Additionally, it seems that some characters from the new film will be playable in the game. Otherwise, it’s being hinted that the vast majority of the game’s levels will be derived from the era of the original film trilogy. A few battles from the prequels will be included as well, but the developers seem to be emphasizing the classic films especially, if the rumors are to be believed.

by Bandai Namco

It is worth noting that both Battle Pod and Battlefront are going light on prequel references.

It’s conceivable that this was a calculated move in anticipation of the upcoming film. While Episodes I, II, and III were not extremely well-received, the original trilogy is what drew multiple generations of Star Wars fans to the franchise to begin with. With that in mind, it stands to reason that developers across platforms would prefer to reignite the flames of fandom for the classics, and avoid referencing the prequels altogether.

Either way, Battle Pod is worth a play for any Star Wars fan, Battlefront looks enticing, and we are on the verge of peeing our pants with excitement for The Force Awakens.

Your Thoughts

  1. Would you like more events from the prequels to be used as backgrounds for the games, or do you prefer everything to be centered on the classic originals?
  2. Of all the Star Wars video games out there, which one provided you with the most immersive and authentic experience in your desire to be transported into the Star Wars universe?
  3. Do you think the arcade games should be transformed into “rides” with an emphasis on mind–blowing special effects, as opposed to simply being the games played in a booth rather than on your computer?

Star Wars: Battle Pod was released just last month in arcades across America. The game is about the size of a moderately-large photo booth, and it weighs around 1,000 pounds. To enter, you open a small door and take a seat inside the compartment. In front of you rests an almost impossibly large curved screen, as well as the left- and right-hand controls. This is the type of chamber you may enter during daylight hours and exit only to find that it has become night.

Author: eawood
Curator: ellenherbert

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Dedication to a New Year

Mon Dec 31, 2012, 4:39 PM



Nuances of an Annual Ritual

Which brings us to each year’s communal celebration of the passing of our lifetimes:

New Year’s Eve

So what did you “actually get done” in the past year? How closer are you to a grand goal in life? An assessment is made and then the inevitable Step 2 of the yearly process is engaged, which is often a word for word repeat of last year’s Step 2:

The New Year’s Resolution

There seem to be two main strategies that emerge at this point of facing the New Year, a “brand new morning.”  The lone wolf quietly acknowledges goals not yet reached, and is even more secretive in the “new plan.”  “I’ll show them,” becomes the new private mantra.  It works for some people, but my experience has been that I’m splurging on Star Wars memorabilia by Valentine’s Day.

I’ve found that rather than making secret contracts with myself, a much higher success rate is always achieved as a combination of two other elements.

Pablo Picasso

To a truly worthy vision, maybe even one that cannot be achieved in a year, but in a lifetime, is just the sort of quest that engages the starving soul so much more than the common shaving a few digits off of the weight scale. (I personally implemented the "no cookie left behind" program this holiday season so I might want to think about that one too.) But the truth is, New Year’s comes but once a year. It would seem better to me to go big or not at all. Pick projects of real importance in your life – ones that require the more personal attention and dedication to the better.

Should not be a dirty word in the strategies of personal achievement. It has been my experience that the more genuinely useful support I’ve received from the like-minded (as well as the merely curious) has always gone a long way to keeping my Big Picture from faltering. When the potholes in the road forward begin to resemble archeological digs, as it seems they usually do, there’s nothing more heartening in being able to take it all in stride than a word of admiration, advice or encouragement from a fellow dA community member.

In his book "Outliers" Malcolm Gladwell outlines the 10,000-Hour Rule, the thought being that spending ten thousand hours practicing a particular discipline is necessary for mastery of that skill. He also brings up the importance of support in the from family, friends, and mentors in the ultimates success of an individual. No one achieves the highest summit's of success alone. No one. Even the most unique vision requires the nurture of human camaraderie if it is to be developed to it's fullest potential and efficacy.

I find myself thinking about recent achievements as well as a grand vision currently in formation here at deviantART, and how much the atmosphere of this community – how much dedication to art and artists, and how much they are supported and support each other – and I can’t wait to see where life will take all of us in this new year.  A tough statement to put out there, considering the unbearable horrors that have recently rained down in our world from weather catastrophes, classroom atrocities, civil wars and the violence related to a radically altered political landscape around the world.  But it’s true.  I am still hopeful.  I am still ready to rededicate my dreams on New Year’s Eve. I’m not sure I’d be making that statement were I not now ensconced and engaged in the deviantART community.  But as Kurt Vonnegut used to say, “So it goes.”

























For the Reader


Do you make New Year’s resolutions? If not, why not?


Does a goal achieved with the help and support of friends in any way diminish the power of that achievement, or does it become something made all the more memorable and special because of the participation?


What’s the most farfetched resolution you’ve ever declared?


What is your yearly resolution that has still never been achieved?


Do you think it helps to rededicate oneself to a cause, no matter how large or small, regardless of how many times the attempt has failed?


Can you share with us the personal discipline system that works for you as an artist in bringing your work to a next level?


More specifically do you have any tips for those of us balancing multiple responsibilities along with our creative endeavors?

New Year's resolutions are often secret and private -- a contract made with yourself. But what if you could increase the chance of your resolution becoming a success by incorporating a combination of two other important elements: discipline and success.
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The talented digital artist Jon-Lock illustrates personifications of social networks and web browsers. While he's only been on deviantART for less than 6 months, he's brought in nearly 128,000 pageviews, 17,600+ watchers, and his newer deviations almost always hit the front page. 

deviantART Personified

Facebook Personified

Facebook by Jon-Lock

YouTube Personified

You Tube by Jon-Lock

Twitter Personified

Twitter by Jon-Lock

Tumblr Personified

Tumblr by Jon-Lock

Instagram Personified

Instagram by Jon-Lock

Pinterest Personified

Pinterest by Jon-Lock

Google Chrome Personified

Chrome by Jon-Lock

Google Chrome's "Chrome Cycle"

Chrome cycle by Jon-Lock

deviantART and YouTube Personified

Deviantart vs.Youtube by Jon-Lock

Pixiv and deviantART Personified

Pixiv vs DA by Jon-Lock

Twitter and Facebook Personified

Facebook or Twitter by Jon-Lock

deviantART Personified

Deviantart by Jon-Lock

Firefox Personified

FireFox (Oriental Version) by Jon-Lock

Chrome and Tumblr Personified

Chrome and Tumblr by Jon-Lock

deviantART and Pinterest Personified

DA and Pinterest by Jon-Lock

Chrome and Firefox Personified

Chrome vs FireFox by Jon-Lock

deviantART and YouTube

Internet Explorer by Jon-Lock

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I've been noticing a trend lately where people seem to deliberately be missing the point behind stuff in order to complain. I used to think it was just me, as I watched people write up lengthy articles nitpicking and "debunking" a comic I made because they simply missed the point, but I've started seeing it happening to other people too.

Recently over on The Oatmeal, artist Matthew Inman made a joke about guy gamers vs girl gamers. The joke was pretty simple: A guy gamer makes a mistake and gets bitched out by his fellow teammates online. Contrast to that, a girl gamer makes a mistake and her fellow teammates try to comfort her, tell her she's doing great, and make suggestive comments about hooking up. To me the joke was clear, guys treat girls differently online. However, that's not how the rest of the internet saw it...

From what I've read of the whole Oatmeal flare up, the reasons for the hate seem grounded in the fact he depicted the girl as blond and bubbly (ie: stupid) and not as "realistic" as most girl gamers actually are. Obviously for a simple comic strip like this, drawing the overly simplified (almost stick figure like) characters via established stereotypes is a good strategy to get your point across. I'm curious as to why no one is complaining that the guy is both fat and brown haired, which could be perceived as negative gender stereotype of male geeks?

Matthew was accused of being sexist and discouraging towards women, and the internet blew up over his post. He tried to apologize and stem the onslaught of hate, but it didn't do much good. He wrote a post trying to clarify his position and explaining his reasons, but still the hate kept coming. Finally he ended up donating $1,000 to a Women's Abuse Prevention Organization to prove that he's not the bad guy.

I've had people miss the point of a comic of mine before, so I know how frustrating this can be. It's even worse when people use the social media outlets at their disposal to spread their ignorance across the internet before you have a chance to try and explain. I get a lot of heat for sometimes adding "edits" in my descriptions where I have to clarify a position i've taken, but it's because of things like this that I do it. It's just easier to edit the description and tell everyone all at once your reasons than it is to try and have a discussion with each individual who deliberately misses the point.

Worse thing about this is that it seems like most of the people who miss the point are people who WANT to find fault with your work. They're looking for reasons to hate you, or to nitpick your stuff, and they can't see past their biases and frustrations. I've had to turn off comments on a number of my works because people missed a point and started flaming and attacking them and generally accusing me of stuff that, if they just listened to what I had to say, was basically the exact same thing they were telling me.

Here's the thing though... it was just an opinion. Matthew had an opinion, based on experiences he had, and he made a joke about it. He didn't actually hurt anyone, he didn't even really say anything controversial at all, so why all the hate? Why is having an opinion so deplorable these days and why does it seem like there's this "universally accepted internet opinion" that you must not contradict? Also, why is someone who's accused of such negative things not "allowed" to try and defend themselves from the wrongful convictions?

I've never subscribed to the notion that just because an artist posts something on the internet they're not "allowed" to defend themselves if their art or beliefs come under attack. Having free speech doesn't guarantee that you're right if you disagree with an opinion and both parties should be allowed to have their say. If you're going to criticize someone, let them explain their reasons and actions so you have a better understanding of where they're coming from. Mass flooding an artist with hate and bile does no one good.

This sort of all at once complaining has been steadily increasing. People react swiftly without thinking, spread their disgust via tumblr and facebook, and before you know it you've got an army of people all complaining and whining over something really insignificant and trivial. I'm sorry but this amount of hate over a COMIC STRIP is pretty uncalled for and unbecoming. Maybe we should be focusing that anger and disgust on things that can actually hurt us, like politicians, political activists, and corporate greed rather than focusing it on if a cartoonist drew a blond instead of a brunette.

Like I said, this isn't an isolated incident. It's happened to me, it's happened to some of my artist friends, and it's happening more and more violently as time goes on. What's the solution? How do we stop this madness? What are your thoughts? Do you think the hate on Matthew's post is justified? Do you think people need to get a life? Do you think we can continue to have online social interactions without increasing the disagreements?

IMO: The joke was funny. It didn't offend me. I didn't feel it was a gender insult to display the girl as thin and blond. And I don't think the hate surrounding this incident is justified or right.
  • Playing: Kid Icarus: Uprising - Light VS Dark
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I was going to make this into a youtube video, but I just don't have the motivation to actually complete it. After doing a documentary on the history of Cel animation I thought it would be neat to tackle the death of 2-D animation in America, since I know a lot of people don't really understand how or why it all happened. This is a very condensed version of the past 20 years, most facts taken directly from Roy Disney's "Save Disney" website and the "Art of Animation" by Bob Thomas. I did my best to make sure all the facts listed below are as accurate as I can make them. This is a LONG post, but I think it's worth reading. I had to change a few words here and there to make it sound more like a journal instead of text being read for a video. It should also be noted that it primarily concerns ONLY mainstream American animation. ENJOY!


I keep hearing people talking about Disney's role in the death of 2-D animation, but few seem to be clear on details. So for the purposes of this journal I wanted to give you guys all a back stage look at the rebirth of 2-D films and the eventual slow agonizing death of them at the hands of Disney CEO Michael Eisner. But before we can talk about him, I need to give you all some context on what bad shape the Disney studio was in originally...

After the death of Walt Disney, the studio synonymous with Mickey Mouse and animation quickly began to lose it's focus. As TV shows, live action movies, and two giant theme parks continually made money, devoting time and attention on the animated films which had originally created the studio started to seem like an unprofitable idea. Budgets were slashed and the film teams were forced to recycle animations, voice actors, and story ideas in a vain effort to keep their movies in production while management kept wondering why they were spending so much money on movies which weren't yielding them much in return.

During this time the Disney Studio started to become associated with children's fodder. In an effort to combat this negative perception, the Disney studio tried to win back teens and adults with a PG rated film called "The Black Cauldron." Looking back in hindsight it's quite obvious why it failed at the box office. The lengthy production, the elaborate and complicated animation, the enormous budget, the lackluster story, and the unnecessary violence and dark themes of the film all helped cement it's doom.

As a direct result of The Black Cauldron's epic failure, many fresh young artists who were hired to replace the older artists of Disney's bygone golden age, began to leave the studio. Among them were Tim Burton and Don Bluth. Their defection hurt the company a lot and moral was at an all time low with uncertainties that another animated film would ever be produced.

By 1984, the Disney studio had narrowly survived several hostile takeover attempts by corporate raiders, and Roy Disney, grandson to Walt Disney's brother, was eager to set things right. He began a grass-roots campaign called "Save Disney" which led to the appointment of former Paramount executive Michael Eisner as CEO. Eisner brought with him Warner Bros Chief Frank Wells and Jeffrey Katzenberg, and they quickly began retooling the company to be more profitable.

Under Michael Eisner's management, the Disney studio underwent a radical change, mostly resulting in acquiring profitable companies like ABC to help stabilize the flow of income to the studio. While many credit the success of The Little Mermaid as the beginning of the new golden age of Disney animation, I would argue that the The Great Mouse Detective and Oliver and Company were true beginning. Both films were relatively cheap, appealed to a more modern audience, and featured a ton of talented young animators who breathed a lot of energy and life into these productions making them feel fresh and new to the public.

Each successive film became more and more profitable with The Little Mermaid being the first big break-out success, soon followed by Rescuers Down Under, Beauty and the Beast, Aladdin, and the Lion King. Once again, Disney was back on top of their game, and Michael Eisner wasn't taking any chances.

Eisner sought out more ways to make money from their properties, which led to the studio going overboard with merchandising. TV shows were created off of hit movies like Little Mermaid and Aladdin, unnecessary direct to video sequels were green lit to movies made 50 years ago, and toys were manufactured like crazy. This overzealous behavior didn't go unnoticed by the general public, and many people began to see the Disney studio as greedy and evil rather than a benevolent buddy the way Walt had conceived the company so many years ago.

One of the first signs of this backlash occurred when southern ministers began accusing the Disney studio of inserting sexual and subliminal messages into their movies to corrupt children. While all of these claims have been debunked over time, the resulting negative stigma still lingers to this day.

Pixar had been acquired in the early 90's to help finance and produce Toy Story, the worlds first entirely computer animated feature film. Initially Pixar had a contract with Disney to make 5 feature films, but as each of their films became more and more profitable, Eisner became worried about losing such a valuable asset to the company and negotiations to extend their contract began.

Meanwhile, Disney's own 2-D animated films weren't turning a profit. Bloated budgets, mediocre stories, and their inability to tap into the teen and adult audiences the way 3-D films of the 90's had, kept hurting their reputation. Blame started being put on the medium itself rather than on the content or storytelling. Big budget productions like Atlantis and Treasure Planet kept getting beaten out by smaller productions like Lilo and Stitch, which began to cement the idea to Michael Eisner that 2-D films were simply a dying breed.

Pixar, noticing all the financial troubles Disney was having, wanted to break free from their contract early and Eisner didn't want to let them go. He used the property rights Disney owned to Pixar franchises like Toy Story as a bargaining chip to keep Pixar in negotiations. As a contingency plan incase he ever did loose Pixar, he created a new 3-D animation studio specifically for the purpose of competing directly with them.

While Disney was basically fighting with themselves, other studios were also struggling. Warner Bros had re-opened their animation department after the runaway success of Disney's Lion King, in hopes of competing with their own 2-D films. However, Warner Bros continually failed to manage and market their properties well, earning very little for their ambitious efforts. Brad Bird's Iron Giant was a great film praised by critics all over, but wasn't seen because the general public didn't even know it existed. Dreamworks was also experiencing similar problems. While 3-D movies like Shrek did phenomenal at the box office, 2-D films like Sinbad and Road to Eldorado did poorly. What's worse was that these 2-D films were filled with big budget 3-D effects which were costly and expensive, making the poor receptions of the films even more painful to the studios. Time and time again as 2-D films failed while 3-D ones succeeded, the blame was put on the fact these were 2-D films rather than admitting that management had simply messed up marketing or that the filmmakers weren't trying hard enough to tell good stories. This continual disappointment at the box office signaled to the industry as a whole that 2-D was just dead.

In 2002 after several disagreements about how Disney was being managed, Michael Eisner forced Roy Disney to step down from the central executive board, loosely citing a mandatory retirement claus as his excuse. In 2003, Roy resigned from his position of chairman of Disney features, denouncing Eisner and the micromanaging business practices he felt were ruining the company. 19 years after his initial "Save Disney" campaign had succeeded in instating Eisner as CEO, Roy Disney began a NEW "Save Disney" campaign with the sole intent of removing Eisner from power.

One of the main issues that Roy and Eisner clashed was on the poor reception of their 2-D feature films. Eisner was convinced it was the medium's fault and on March 25th 2002, he announced plans to gradually dismantle the 2-D department. This announcement from one of the founding institutions of 2-D animation signaled to the rest of the world that 2-D was dead, and in the wake of this announcement other big companies like Dreamworks closed their 2-D studios as well, outsourcing all their future 2-D productions overseas.

Impatient with the lackluster reception of their recent films, Eisner gave the 2-D studio one last chance to redeem themselves with the condition that if this last film failed, he would shut down the studio for good. Through a series of juggled release dates and production delays, the last film in production ended up being Home on the Range, which was a box office disaster. To give you an idea of how bad it was, the movie cost 110 million to make, but only made back 78 million worldwide, which was nowhere near enough to cover it's production. In 2005, Michael Eisner made good on his threat and closed the 2-D animation department.

Negotiations with Pixar continued to break down and Pixar's CEO Steve Jobs announce plans to find another business partner once their contract expired. But after 21 years of being in charge, Roy's grassroots "Save Disney" campaign finally succeeded in removing the power hungry Michael Eisner from his reign as CEO of Disney. While he was no longer in charge, Eisner still had a lot of say in the business workings at Disney, but his unfavorable reputation forced him to resign 1 year earlier than expected. On March 13th 2005, Eisner left the Disney Studio for good.

And almost immediately the company began to fix everything Eisner had fouled up. In 2006 negotiations with Pixar resumed and were resolved, with the result that Pixar founder John Lassiter was put in charge of their animation department. John immediately began production on a series of 2-D animated films the first of which was The Princess and the Frog, followed by a Winnie The Pooh sequel.

It should also be noted that while all of this was going on, most of the general public had no idea about it. Much like how the video game crash of the early 80's wasn't well known to consumers, with all of the direct to video 2-D sequels flooding the market, people simply didn't understand that they were being done overseas, leaving all the original american artists who worked on the great Disney movies of the past out of work.

And that's the story of the life and death of 2-D animation during Disney's second golden age. It's almost comedically tragic that Michael Eisner, the man who saved 2-D animation from being destroyed in the mid 80's, was directly responsible for it's death 20 years later. Currently the Disney studio plans to continue to release 2-D films, but one of the lasting results of this whole ordeal is that the medium OF 2-D just doesn't have much support anymore. Most animators today are being trained only in 3-D animation, and there really aren't any big corporations in American which are equipped to produce 2-D animated films on a regular basis aside from Disney. Companies like Dreamworks and Warner Bros were burned during the 90's and are unwilling to take the risk again, and as 3-D TV's and displays become more prominent, 2-D movies have a harder time standing out to grabbing people's attention.

Of course there's a desire among the general public for the nostalgic qualities 2-D animation can achieve, but for the present moment 2-D has been likened to a experimental medium choice, like claymation or black and white film. While there's no doubt that 2-D animated films will continue to be made, the likelihood of them ever reaching the same recognition they had in the early 90's is almost unfathomable.
  • Mood: Bemused
  • Listening to: Bit.Trip Runner Soundtrack
  • Reading: The Great Gatsby
  • Watching: Movie Magic
  • Playing: Cut the Rope
  • Drinking: Water. I love Water!
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Check out the trailer croonstreet made to promote "Sarah Faire"! It's amazing!

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Hey creeps!

It's been hectic as usual around here, getting ready to move, and trying to keep up with projects. Yay!

First, I have to thank all of you for voting for my "Bride of Frankenstein" in the Universal Monster Re-design contest! I won, thanks to you! You all rock!

Also, many of you are probably familiar with the glorious Wicked Faire:


BUT! did you know that the insanely handsome - er - I mean talented Voltaire also has a convention going on at the same time right next door? Oh yes. And I'll be there! If you're in the area, you have to come by! Click the banner for details!


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Disney Buys Star Trek

Tue Mar 31, 2015, 3:00 PM
Img-00 by techgnotic


DeviantArt Today’s Page News Desk


“Gary Seven” (Reporter Without Portfolio)

I just received a call from “Gary Seven.”

DeviantArt has many surprisingly well-connected members and one of them, a top Paramount executive, contacted us two days ago with a rumor so powerful that we wanted to be 100% certain before publishing it. We now know: Disney just bought all television rights to Star Trek.

Bob Iger, the current chairman and CEO of Disney, bought Star Trek from CBS Television, which had acquired the television rights when it split off from Paramount. Paramount has kept the motion picture rights.

Our contact, who wants to be known as “Gary Seven,” found out about this purchase — needless to say one of the biggest secrets imaginable — when Iger visited Paramount two days ago to let them know what Disney planned to do with their new franchise. Because Paramount is still making Star Trek movies, we guess there must be some sort of clause in the contracts that requires some kind of cooperation between television and motion picture versions.

Gary is on the Paramount Star Trek motion picture team and their heads started spinning when Iger laid out his plans.

What we know from that meeting is this:

  • Disney is rebooting the television series Star Trek as a fast track project. JJ Abrams had been in talks with Disney before it closed on Star Trek. Iger asked Abrams to secretly set the reboot of Star Trek in the Star Wars universe and in return he would be rewarded by directing the first of the Star Wars movies.
  • Star Wars 7: The Force Awakens, now being edited for December release, will plant suggestions that the Federation, Klingons and Romulans were connected to the Star Wars universe. They are dubbing references along those lines into the dialogue now. (Tribbles?) This will set up additional storylines in the television reboot of Star Trek. But Iger assured the meeting that the Star Trek characters would not actually appear in the Star Wars films unless Paramount agreed.
  • Disney will blend Star Trek into their Marvel Universe by placing Marvel characters like Iron Man and a future version of The Guardians of the Galaxy into worlds visited by the Starship Enterprise and its crew in the reboot. Disney also wants a unified backstory that Stark Industries designed the Starship Enterprise and is the go-to contractor for Starships to the Federation. Iger said he would consider licensing the same characters to Paramount for its Star Trek films if the scripts are made compatible.
  • The Disney Channel will be producing an entire series in which the Star Trek characters and more importantly the moral lessons and “humanistic” messages of the franchise will be directed at pre-school and K-6 children. Iger said this was a “passion project” for him because he has learned so much to guide his own life from Star Trek.
  • Disney’s Imagineering division has started plans for the Starship Enterprise Holodeck attraction for all its theme parks as part of TomorrowLand and will easter egg the attraction in the TomorrowLand film coming this summer.
  • Iger showed mock ups of Star Trek merchandise that will start selling at all Disney outlets this summer. In a dramatic gesture he ended his talk by opening up his shirt to display a T-shirt that read “Disney’s Star Trek Coming Soon!”

We are told by Gary that the response was icy while Iger and his team were making their presentation.

As soon as they left the room on the Paramount lot in Hollywood, Brad Grey, the Chairman of Paramount, turned to his executives and said: “Don’t worry. We’ve sued Disney before and we will do it again. They will not f**kup Star Trek like they did with so many other cherished properties. Not on my watch.”

We learned from another source that Paramount’s law firm took over a whole floor in its Century City offices as a “war room” and is pulling in copyright lawyers from all over the country (we guess that includes the one who works here at HQ because he’s been gone for three days and used to be General Counsel at Paramount).

We also learned that Paramount is furiously negotiating with 20th Century Fox Chairman, Jim Gianopulous (who used to work at Paramount on the Star Trek franchise), to use the X-Men or Aliens or Predator characters in the next Star Trek movie.

It’s all great stuff for the press and the critics. But watching this war will be a sad coda and will close the door on the legacy of Gene Rodenberry. At least cyberspace holds the original series intact even if Disney tries to withdraw it and only release it every seven years, as they have done in the past with animation titles.

We may have reached the Final Frontier.

Your Thoughts

  1. Do you think Disney will eventually own and control a single universal science-fiction narrative based on Star Wars, with all the characters from Star Trek as well as the Marvel and DC Universes fully subsumed and utilized per relative timeline?
  2. Do you think the world’s leaders should get involved to protect the integrity of franchises like Star Trek and Star Wars?
  3. Do you foresee the possibility of a lethal conflict arising between the Vulcans and Jedis different philosophies?  Will the undying spirits of Spock and Obi-Wan Kenobi become the political and religious leaders of the two “unified” but contentious factions?
  4. Is it now possible that Gary Mitchell actually tapped into the Dark Side of the Force in “Where No Man Has Gone Before”?
  5. Do you think Scotty and Tony Stark could get along together in the Enterprise’s engine room?

DeviantArt has many surprisingly well-connected members and one of them, a top Paramount executive, contacted us two days ago with a rumor so powerful that we wanted to be 100% certain before publishing it. We now know: Disney just bought all television rights to Star Trek.

Author: DeevElliott, makepictures
Curator: DeevElliott
Designer: seoul-child

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