GLITCH Productions - From the guys that brought you the Super Mario 64 bloopers

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saddest thing is you're probably right on the money given that industry people do browse on there
I know they do because Rebecca Sugar used to drop in /co/ during the first season of Steven Universe and would answer questions and post doodles (Which was a massive event because this is when the rabid tumblr/sjw crowd was at its peak and the idea of her talking to the chud 4channers was sacrilegious)

/co/ are the most retarded glazers of cartoons. It’s full of autistic gooners who will praise ANYTHING and simp over ANYTHING.
 
As long as we’re debating mechanics of this shitshow of worldbuilding, how the fuck does a game with a sequel work?

Sonic beats Scrap Brain, saves South Island, everything is horrifically destroyed…

…then it all comes back in Sonic 2 and they all act like it didn’t happen despite literally dying?

None of this is thought out at all.
 
I came here to basically post this.

I watched the whole director's commentary, and it's essentially just Ross explaining in autistic detail all of the references he put in and the hypothetical game mechanics the flipper game would have if it were actually real. Honestly? It's a noble thought to try and have that level of attention to detail... but unfortunately, that came at the expense of the main plot and characters so it just falls completely flat and unnoticed.

Also yeah, his little soapbox at the end was annoying as fuck. He basically just sucks himself and Glitch off for being the bestest most independent studio ever that is going to kill Walt Disney and Hollywood.

Watching ross hype up his obscure references is like

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And the audacity to shit on marvel/disney when your writing is insincere and full of shallow references.

Something that pisses me off and what others have said is that one of this show's biggest selling points is that "Ross pitched this for 13 YEARS(!), and NO ONE would give him the greenlight, it was only US, THE WHOLESOME CHUNGUS GLITCH PRODUCTIONS, that would make his creative dreams come TRUE!!!" When based off that cringe Q&A it seems like he hardly had anything planned or thoughout beforehand and instead Glitch just came up to him and asked "hey you have any shows or ideas you'd like to pitch to us?" And he drudged up Gameoverse as a repurposed idea.

This shit does NOT scream like he was trying to get his show off the ground for years. To give a more succulent example of "pitching a show to execs and getting turned down at every opportunity until I finally had my break", Phineas and Ferb was initally concieved near the beginning of the 90s, and it was only up until 2005/06 did Dan and Jeff get it greenlit to Disney after failing to pitch it to other networks for them to make their first episode and season, and the rest is history.
https://youtube.com/watch?v=ADzmZaJQZIIThat there is dedicating your time to pitching your ideas to something you believe is worth sharing to a wider audience, Gameoverse feels like Ross had a few scant ideas for what it should've been but ultimately didn't expand further beyond redesigned characters.
I did mention Kit's oficcial designs being from 2015 and 2023 implies Ross very likely wanted to get into the web series boom of 2015-16 (especially with rooster teeth growth) and he failed, gave up on it and tried again in 2023-24 when when tadc and hazbin started popping off. Found this interview with the alleged timeline.


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2009 gameoverse was "just a stupid joke".

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"Why havent you started?"

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But Ross never really started it. He did nothing with it for 10 years.

You can say it would be impossible to "just start it" but that's not true. When monty wanted to do something he went there and did it. Everyone said he was a work freak.

If he's an unfair comparison have another one. Vivziepop might be a lolcow but she actually got her pilot out there. Then she got a second pilot. Then she started making a spinoff cartoon. She is not indie anymore but neither is glitch.

It's clear Ross didn't care THAT much about it. He has artistic skill. He has money. He has connections. He had +10 years. People without those things managed to produce their own cartoon pilots. a kickstarter. Or find a producer. Or start a webcomic. Or do literally anything for the thing they love. Cause they wanted.

When Glitch posted that note of Ross saying "This project was rejected by major studios for over 10 years but i never quit. This is a testament to creative perseverance and truly believing in something you're passionate about!" it rings kinda hollow.
 
I'm wondering which "Major studios" did Ross pitch his show to and exactly what kind of pitch did he give them. The statement of "It's about this catgirl who lives in a video game inspired world losing her home after she beats the bad guy, so now she has to go around and make sure other video game heroes don't beat their bad guys so their worlds don't end" probably wouldn't be enough. You'd need concept art, an explanation of the major characters, the world and setting, and much more. Most importantly, you'd need to present these in a way that impresses the executives, after all, a good idea is only as good as its execution.

Considering Ross initially made GameOverse as a joke, and the interview made it clear that even though the show will go on to try and have emotional moments, Ross himself is only really passionate about the references and the lighter aspects of the show. It reads to me that Ross briefly brought up the trauma junk during his pitch meetings, which communicated that the show was going to have these, but because he spent more time yapping about all the crazy adventures the cast will have and all the easter eggs he's going to put in them, executives felt the show would be too unfocused and the emotional aspects too shallow, so they rejected him.

Lots of folks have made it clear that the only reason Glitch brought him on is because he's a popular guy, the whole sentiment of "He worked for years to make his show a reality and was turned down by the big guys" is great publicity and would help them with their whole indie supremacy push, and having Kit change costumes each world would do wonders for merch.

Ironically, if you think about it like that, Glitch sounds like the exact kind of greedy company that only cares about money that Ross was complaining about. Glitch didn't take any risks because Ross' idea wasn't what they were betting on, rather they were betting on internet and fandom culture to carry and build the show's popularity. Considering the show has a busty catgirl and takes place in video game inspired worlds, it's not exactly a risky bet that the internet would latch on to it.

Edit: I randomly remembered an interview posted on the Digital Circus thread about the upcoming movie, where Kevin said this
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So yes, Glitch was absolutely betting on fandom culture, not Ross' own merits.
 
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I'm wondering which "Major studios" did Ross pitch his show to and exactly what kind of pitch did he give them
Yeah wait wtf good question. Obviously the general premise is good for a childrens cartoon but im pretty sure catgirl boobies and other more adult stuff were a main part even back in 2017, so the only major networks he couldve pitched it to are, what, adult swim and netflix? Who are already considered as being far more lenient creative-wise anyway. Unless he was trying to pitch this shit to the family guy network for some reason he was hardly being 'cruelly rejected' by evil big corpos for being too creative or whatever.
 
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The Glitch Inn Files

Part 1: The Amazing Digital Circus

As I promised, I searched through over 2.4 GiB of TADC-related content from Glitch Inn and compiled the most interesting findings I had. You can find the full collection in the attached archives.

TADC was one of 3 different shows that were pitched to Glitch at the same time. The pitches for the other 2 shows weren't disclosed. Glitch required the show to be 3D, and this is why Cooper chose an aesthetic inspired by 3D edutainment games. The pitch mentions that the show has taken inspirations from IHNMAIMS and that the characters will have to deal with their personal traumas.

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The character design process was just Cooper making various sketches first, then making up their personalities afterwards based on these sketches. The character designs, personalities, and dynamics in the show don't differ that much from what can be seen in the pitch. One notable exception is Jax being concerned about there being too many girls in the concept art.

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TADC was made by animating it in Maya and then importing it into Unreal Engine for rendering.

Early Renders:

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The logo went through a few different iterations.

The earliest version:
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V2 versions:
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Final:
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Early version of the main theme:


Early version of the credits theme:


Unused song:
The tent used to look different. Parts of the art bible were also shown.

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Early Pomni with A10 eyes:
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Pomni with T50 eyes:
One of the shown storyboards has Pomni swearing uncensored:
The angel has a full body, not just a head:


Concept art for the angel:
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Concept art for Martha Mildenhall:
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Her 3D model got eyebrows added to her:


Concept art for Ghostly:
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3D model for comparison:
Episode 1 thumbnail moodboard:
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The making of the greenlight video's thumbnail:
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Episode 2 thumbnail mockups:
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Episode 3 thumbnail sketch:
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Some of Jax's unused lines are about him being antagonistic towards Kaufmo:



There were different ideas for what the episode's thumbnail should look like:
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"Jax was inspired by Popee from Popee the Performer and Raggedy Andy." - Cooper "Gooseworx" Smith Goodwin

"I wanted Michael to voice him pretty early on." - Cooper "Gooseworx" Smith Goodwin

Early sketches of Jax:
1 - JaxDoodle.png2 - JaxLash.png3 - JaxHeads.png4 - JaxKillYa.png
Both Jax and Cyn/Tessa were originally rigged by the same person, Marc Humphreys. The same technique was used for rigging him as for Cyn/Tessa and the other drones. Because 3D Glitch animations use Unreal Engine for rendering and Maya for animating, rigging them was a pain in the ass, as importing from Maya to UE tended to break things, and UE's limitations required workarounds.

The animation team calls Jax without his face as Lemon Jax.

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AND HIS NAME IS HOUSE M. D.

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There are official character concepts for this segment of episode 5:
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Gangle concept art:
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No concept art for Kaufmo was included here.
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Animators sometimes use themselves as references for the animation:
3.webp6.webp1 - Slug-Pomni-2.0.png2 - Elegant-Jax.png10.png20.png24.png25.png28.png29.png11 - Biblically-accurate-Pomni.png1 - JaxSmile-MarcWM.jpg8 - MurderDrone-GangleWM.jpg9 - DarkGangle-MarcWM.jpg10 - Creepomni-ArmanWM.jpg22 - bustaMoveRagathaWM.jpg9 - Jaxmaidsmile_AustanWM.png4 - JaxImpressions.png12 - AntlionPomni.png6 - Gangax.png9 - TryNotToLaugh-1.png





And that's it, folks! These are everything I thought was worth highlighting from 60 different blog posts, but feel free to explore the rest of it by yourselves! It's mainly storyboards, WIP animations, and showcases of various rooms and models. There wasn't that much concept art or cut content shown for TADC.

If the watermarks annoy you, they can be removed easily; we have the technology (AI).

Part 2 will be dedicated to Murder Drones.
 

Archivos adjuntos

The character design process was just Cooper making various sketches first, then making up their personalities afterwards based on these sketches.
No, Cooper, that's not how it fucking works. Did every modern animator go to the Ass-Backwards School of Storytelling?

Edit: "Pomni is always trying to look for a way back to the real world." Yeah I'm sure that's why she pretty much stops trying after a few episodes.
 
And that's it, folks! These are everything I thought was worth highlighting from 60 different blog posts, but feel free to explore the rest of it by yourselves! It's mainly storyboards, WIP animations, and showcases of various rooms and models. There wasn't that much concept art or cut content shown for TADC.

If the watermarks annoy you, they can be removed easily; we have the technology (AI).

Part 2 will be dedicated to Murder Drones.
Just looked though the spoilered text, there was barely anything related to the writing which is disappointing, it's mostly designs, pre-rendered animations, some cut content, technical BTS production stuff like that, I assume you have access to the Murder Drones files by now, is it really the same?

And looking at more of the design concepts just makes me a little sad, its the same story as MD as well, both Gooseworx and the Glitch staff are clearly talented at creating nice visuals and you can see the care and effort they made to it, too bad it all had to be wasted on an underwhelming story.

Edit: also lmao at the House inclusion, he would have saved this show
 
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Just looked though the spoilered text, there was barely anything related to the writing which is disappointing, it's mostly designs, pre-rendered animations, some cut content, technical BTS production stuff like that, I assume you have access to the Murder Drones files by now, is it really the same?
Despite the total number of blog posts being over a hundred, there are none where the writing would be the main topic. I do have to agree that this is rather disappointing. Murder Drones is basically the only show there that has anything related to the writing mentioned. Based on what I've seen so far, Murder Drones also has gone through most changes when we compare all the various concepts shown there to the final product.
 
After watching GameOverse and reading all of Ross's whining about how his show was rejected, it becomes very clear that the reason why multiple execs rejected the show was never that it was some "misunderstood masterpiece."

No, the real reason GameOverse kept getting rejected by everyone is simply that Ross's writing ability is just shit.
The entire premise of this show is that Kit and friends must prevent the game world's protagonist from beating it.
Otherwise, the planet will explode.
Here's the problem. They don't explain why the catastrophe happens by beating the game in the first place, and, worse, they don't really offer a solution for preventing this world-ending event.
How do they prevent the protagonist from beating the final boss forever? Why does beating the game cause the end of the world? How long can they keep this up? Especially considering there are other forces that need the game to be completed to achieve their own goals.
The show never really answers these questions, and yet it overrelied on mystery boxes to hook in the audience.
But looking back at Ross' interview questions, it painfully shows he doesn't know, or worse, doesn't care about the answers either.

It doesn't make any sense, even in terms of gameplay logic, since most gamers don't stop playing once they complete a game.
They go back to play it to try new things, either speedrunning to see how much better they can complete it or screw around to have fun.
They can't exactly do that if said game explodes for some reason.
It just comes off as Ross being one of those "gamers" who will play something once and then drop it forever. Which makes it come off as a tourist who pretends to be an expert in said field but quickly becomes obvious that he barely knows what he is talking about.

Hell, this is someone who works at GamesGrumps, a let's-play channel run by one of the biggest sell-outs, Arin Hanson, whose main claim to fame was calling Orcaina Time for being terrible, only for it to be revealed he was so shit at the game, he kept wearing the float boots the moment he acquired them, making his playthrough much harder for himself.


There's a good reason GameOverse is being compared to OK KO Let's be Heroes, Ready Player One, and even Mixtape.
They all share the same problem.
Their premise and story do not define them. They're defined by how many products the creator has consumed.
The reason most people talk more about the references in these shows than about the plot and characters is that, without those references, the shows end up being completely hollow. They don't have anything else to offer but references.
They pretend to be anti-cooperation when in reality they perfectly embody everything corporations want from their audience.
A mindless sheep that devours everything that big corp will shill out any product no matter how poor the quality is and buy it with pure glee.

They're the living embodiment of this very meme.


Since we were talking about games being a threat to the world, Reboot handled this premise much better and much more reasonably.

For starters, Reboot actually shows how the games function in that world.
They result from the User wanting to play a game, and whenever this happens, a voice sounds an alarm with the phrase "WARNING, INCOMING GAME." The sky turns dark purple, and a giant purple game cube (yeah, I know) comes down to a random area in Mainframe.


Whenever this happens, the Formats, basically the people of that world, need to beat the game before the player does.
You're essentially seeing the NPCs vs the player.

When the Formats win, everything returns to normal, but if the User wins the area, the game cube cover is warped and nullified. The Formats are transformed into slug-like creatures that are essentially parasites as they suck life out of any Format they come in contact with. It's a fate worse than death.

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Even the reason they perform the titular reboot in said game is to adapt themselves to the nature of said game so they can properly play it.
It's not just a cosmetic for a cheap excuse for tits and ass.

In comparison, GameOverse tries to up the stakes by having the planet explode, but because we're not given enough time to learn about the world or really know how to prevent its destruction, it ends up being far too much, and the audience ultimately doesn't care.
Even then, these planets mostly consist of one small village.

The reason GameOverse feels like an astroturf is that Ross wanted to cash in on the Indie hype train.
But he did so at the point when we're starting to see everyone question Glitch Productions' credibility, especially as a company that still claims to be indie, even though all the evidence proves otherwise.


And the only reason people are still defending Glitch so hard is that they want a chance to exploit that hype train.
They're just parasites.
 
Considering Ross initially made GameOverse as a joke, and the interview made it clear that even though the show will go on to try and have emotional moments, Ross himself is only really passionate about the references and the lighter aspects of the show. It reads to me that Ross briefly brought up the trauma junk during his pitch meetings, which communicated that the show was going to have these, but because he spent more time yapping about all the crazy adventures the cast will have and all the easter eggs he's going to put in them, executives felt the show would be too unfocused and the emotional aspects too shallow, so they rejected him.

Assuming Ross is actually being honest, the "execs don't want to gamble on creative ideas" is most likely copespeak for "they told me it was bad and i wasn't willing to comply".

Producers don't like to invest in vague shit, they want you to tell exactly what's the goal here. Ages, gender, number of episodes, merch, etc. Gameoverse as it's stands does not make for good screen material. I genuinely don't know who is it for.

Like i said, Glitch doesn't care either, they only wanted a semi popular internet guy with connections, but yeah, the strong underdog indie artist background for marketing but it's weird that it's seemingly it's ONLY marketing campaign.

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>fiercely independent
>netflix and prime video

Somehow Kevin and Luke are gaslighting us and pretending they totally loved gameoverse back in 2017 yet ross insists say no one loved him for 13 years?

The irony is that they make it sound like the only reason glitch bothered to take gameoverse was for the "wholesomeness of supporting a failed artist" and nothing of value.

Yeah wait wtf good question. Obviously the general premise is good for a childrens cartoon but im pretty sure catgirl boobies and other more adult stuff were a main part even back in 2017, so the only major networks he couldve pitched it to are, what, adult swim and netflix? Who are already considered as being far more lenient creative-wise anyway. Unless he was trying to pitch this shit to the family guy network for some reason he was hardly being 'cruelly rejected' by evil big corpos for being too creative or whatever.

The premise sounds good for a children cartoon show sure but it's clear from execution that ross didn't want this to be a children cartoon. It lacks basic marketing things that boys or girls like and isn't a good family show. Rwby for example invented Jaune so the show had a relatable attractive young boy and wasn't just waifus. Even murder drones had N. Gameoverse heroes are 3 male plushies and a cat girl.

I would like to say they target teen boys and young adults but it kinda fails at it. Modern teens are watching anime, safe-edgy comedies (hazbin, rick morty), dramas, high rated cinematic story/action shows (invincible), etc.

Gameoverse tone is nonsensical. It starts with Kit's villains eating each other with ROBO GORE (remember that?) but the heaviest swear it can muck up is dickhead. It looks cute and kiddy but is a little too openly horny. It makes fun of gobbles but overly plays kit's ptsd. It wants to be cool as anime but also wants youtubers with bad microphones and newgrounds parody tier voice acting. The only funny and clever joke in the entire pilot was Miss information bad tip. It became a forced meme but it's only forced meme in this souless fandom that feels organic.

Adult swim, crunchyroll, netflix,etc i can't think of anybody who would want to build the Gameoverse ship, especially if the capitain is a bitch and won't cooperate with you.
 
By the sound of it Glitch has been lucky with some of their shows.

But even if they don't literally accept every pitch, their standards are still too low. They are just getting leftovers from the other major networks.

"Indie" and creative freedom don't mean you have to lower your standards compared to everyone else.
 
Producers don't like to invest in vague shit, they want you to tell exactly what's the goal here. Ages, gender, number of episodes, merch, etc. Gameoverse as it's stands does not make for good screen material. I genuinely don't know who is it for.
People really don't consider this enough. There are actually companies that will take a shot on you, but not if you come to them with some vauge, half-baked bullshit like Gameoverse clearly is.

For some actual experience, I was working on a pitch for Image Comics at one time and I was digging into their guidelines. They will happily look at your pitch for consideration as a publisher; they have it all publicly on their website, but that also includes very specific details, including:
>Bio and portfolio of yourself (the writer)
>A permanent series artist and his portfolio (with the clause that if there is an additional artist, he must also be submitted with the main artist).
>An elevator pitch version of the story.
>A Detailed outline of the story in its entirety, including the plot, themes, and major character arcs.
>A rough estimate of the # of issues
>Issue 1 completely finished
>Line art of Issue 2

This is the standard for them to look at your pitch, if its not complete like this or lacking in some way, they'll send you notes or tell you best of luck. The problem with glitch which I can highlight with this...
By the sound of it Glitch has been lucky with some of their shows.

But even if they don't literally accept every pitch, their standards are still too low. They are just getting leftovers from the other major networks.

"Indie" and creative freedom don't mean you have to lower your standards compared to everyone else.
Is they're not in it for love of the game, they're in it for money. Which isn't nessicarily bad, but if its not tempered by genuine passion... you get Gameoverse. The quality of the pitch was probably near the bottom of the interest for why this show got a pilot and is getting greenlit. It was easily toolable into the glitch template of a traumized, female protagonist, hit every goonerbait box down the checklist, had a built-in audience from Game Grumps, and was built to be merchandised. (All of these listed reasons is why Gaslight district is being taken out behind the woodshed as we speak).

As much as I can't stand the show, at least TADC was one of three pilots pitched from different creatives, which they were genuinely looking at to make another show. It was far more risky back then compared to how Gameoverse is being handled.
 
I like hot cartoon women as much as the next guy, but there's a difference between a fully-developed (heh-heh) character who just so happens to be a smokin' hot woman, and goonerbait.
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Nobody got attached to Nani solely because she was attractive, they got attached to her because she's a hard-working, tenacious woman who literally put her life on hold to support the only family she has left (until the remake fucking butchered her character, but that's neither here nor there).
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Nobody got attached to Chel solely because she was attractive, they got attached to her because she's a skilled, charming con artist who can be as acidic in her wit as the two main leads of The Road to El Dorado.
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Helen Parr? A devoted wife/mother who just so happens to be an ass-kicking superhero (until the sequel pushed her into girlboss territory but again, I digress).
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Jessica Rabbit isn't just a bundle of tits and ass, she genuinely loves her husband, because he was one of the only people to treat her with kindness and respect.'

You see where I'm going with this? All of the above were characters first, eye candy second. Kit, on the other hand, feels like she was made to be eye candy first. Hence, why she spends literally 75% of the PILOT episode in a fucking bikini. For someone like Chel, at least you could make the argument that her clothing is more practical for living in the Central American rainforest.
 
By the sound of it Glitch has been lucky with some of their shows.

But even if they don't literally accept every pitch, their standards are still too low. They are just getting leftovers from the other major networks.

"Indie" and creative freedom don't mean you have to lower your standards compared to everyone else.

Glitch was very lucky with two shows, Murder Drones and TADC. I don't know if Luke and Kevin have low standards or they're lazy and have zero quality control so they blindly trusted those creators. Despite the huge sucess, both shows went off rails and will not be remembered fondly.

They're are not concerned with quality at this point, they already got the brainrot fuel, now they want they want pre-existing fanbase of consumers (like amazon with hazbin) combined with their own pre-existing fanbase that is easily sustained by bringing the indie badge.

The problem is: The moment the first dud appears, the big corporation will reveal itself and cull the herd, so the indie badge doesn't work anymore.

Rooster Teeth got really lucky with Rwby + Funhaus so they got too cocky with new projects, producing too many expensive failures. Especially games.

You see where I'm going with this? All of the above were characters first, eye candy second. Kit, on the other hand, feels like she was made to be eye candy first. Hence, why she spends literally 75% of the PILOT episode in a fucking bikini. For someone like Chel, at least you could make the argument that her clothing is more practical for living in the Central American rainforest.

I do not think Kit was made for eye candy first, her original design was pretty goofy, but the hornyness within her presentation is obvious and comes across as contrived.

Chel and Jessica were obviously meant to be sexy but this ingrained to their perosnality in a way that enhances her their character and the world. They evoke the Cat Burglar and Femme fatale archetypes and those require being sexy. They are also the only female characters like that in their work.

People can tell IF and HOW much horny horny something is and they can decide for themselves wether that's crossing the line or not. If having one sexy woman is a problem then different women. Or make the design elegant too. Or make some guys. There are many ways to get away with it.

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(one of these is more sexy than the others and thats okay because they all exist)

Kit and Miss Info don't exist in a vaacum in either. Without context their bikinis are not offensive but the fact they're

-the only 2 important female characters
-only they change to bikinis and spend most of episode on it
-Their perosnality doesnt relate to this at all and it's irrelevant to the episode. They don't even comment about it.
-They have the same wide hip build and so does every other female character (at least 5 more counting concept art)
-The only exception is one ugly retarded crab treated as a joke character and voiced by a man (what did ross mean by this?)
-The male characters are all wacky and incredibly different in builds

And gameoverse earns this meme unironically

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I like hot cartoon women as much as the next guy, but there's a difference between a fully-developed (heh-heh) character who just so happens to be a smokin' hot woman, and goonerbait.'

You see where I'm going with this? All of the above were characters first, eye candy second. Kit, on the other hand, feels like she was made to be eye candy first. Hence, why she spends literally 75% of the PILOT episode in a fucking bikini. For someone like Chel, at least you could make the argument that her clothing is more practical for living in the Central American rainforest.
I don't really think that's a fitting comparison.
There are plenty of female characters in media with their sexual nature as a key feature and pull it off. Bayonetta is a great example.

Kit reminds me a lot of the cast of Freedom Planet or a WayForward game like Mighty Switch Force where she's presented more as a DeviantArt user's OC. It doesn't commit enough to the sex appeal to be funny and comes off as self-indulgent to the artist who is still embarrassed of presenting it to the class.
It feels more like sexualizing something from your childhood that you never grew out of, like a lot of Sonic OCs.
There is definitely a nuance that separates openly sexy characters and goonslop that holds back just enough for "suspension of disbelief", the latter usually being more popular on Xitter because these autists only consume childrens' media
 
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