The mythical notions of "Writing" in Animation
King Candy, loser men seeking control of great animation, Walt Disney's uncorrupted Design, the meaning of Lord of the Rings, and other topics as the animation status quo is hammered again
Richard williams, the lackadaisy short film, spumco cartoons, hazbin hotel, Genndy's work and more: what they all have in common is that these days weird loser men will write screeds about how the good animation goes to waste and there's a need for better writing. They never have more to say. I suppose they think it would be arrogant to go into detail, as the whole idea revolves around gaining control of the work of people who can actually draw. these are people with communist inclinations, and so they want to leave it up to the group how the “writing” process will go, if it ever does happen.
They used to go into more detail. Back before the 2010s, there was a meme in the animation community of “But it's the STORY that matters!” In fact this was a form of racist abuse against people whose black nature had been awakened by Ren and Stimpy and related cartoons of the 90s and early 00s like Dexter's Lab. The black side of every individual person which includes such things as the subconscious and notions of archetypes, the most entry level examples for people of the time. The parts of their person they were aware of like the subconscious were becoming revitalized, and the parts they were not previously aware of were coming into awareness. This explains things like The Matrix being produced by a big fan of Ren and stimpy, coming out of enthusiasm for being awakened to the true nature of reality.
This prior animation culture dissipated around 2011 because of the disaster they had created: the decade of the beginning of the second millennium is set in place as the one of the Black Renaissance, and it is up to the people of an individual timeline to decide what they do to support or harm it, from their free will. The animation field is a major player multiversally in the black Renaissance, as cartoons are inherently linked to Black Culture. Alongside other things like, of course, rap music.
The animation regime which formed after the death of Walt Disney wishes to deny the powers of visuals, seeing a union with the artwork and the dialogue/”story” they cannot actually explain. They minimize every contribution of the artwork, justifying shows with the most basically functional animation devoid of almost all art; and yet they do not simply make radio plays and books and text posts. They form an uneasy allegiance with the power of the artwork they don't want anybody to know anything about.
They also evade all philosophy and understanding, as even the most basic rational thought arises notions like that they are practicing slavery: they demand artists even when they are very successful at their art to give up on their creative visions and give them control. The artists doing all of the work and random entitled people making all of the decisions. One reason for this relates to the power of the interjection: through a single utterance in a review of Uncle Tom, the racial narrative of the United States was changed after that, with relation to Christianity. Thing is that when they sought such power with their corrupt and unactivated black nature, they had no idea whatsoever of the source of that power to change the world: which is a webcomic, which also features in the black narrative of the Bible. This was a 5th dimensional sequence weaving through our history, which they ignorantly thought was arbitrary power through speaking arbitrary words. They simply needed to seek that power however that can be found, like by searching for “good writing”.
I myself seek a sense that my writing is good, but not as they do, wanting it to be good for no reason and blustering about it on the basis of their egos. Instead of an expansion of personalness that provides interconnection with the world as is associated with my Revolution, they wanted a reupholstering of their persons to be like gods and anything they say is true, with much precedent in corrupt spiritual traditions.
When I depicted Psalm 23 in my planned comic book I did not know that the Underrealm plays all the psalms, but all the related facts fit together. First I established some things through writing in my mind, then those things I established were fleshed out. Such a process is greatly benefited by John K's philosophy.
Rather than things that come out of black events coming out of “nothing”, they come out of a meritorious process that resonates across time. In addition to other factors like glimpsing the Cosmos, which is itself the world being influenced by the bigger picture instead of the world being influenced by things randomly happening.
John K as part of the setup he did in the 00s symbolized all this, which is why the Protestant kids despised him and set up the industry to revolve around hating merit and the movements of their social connections and trends. Expressing extreme obstinance, as prior generations bred in them.
They began to see their error in their tangled, malformed black sides as the 2010s progressed. They began to see the power of the wish: something Walt Disney put in place in his famous earthly kingdom, which the Protestants surrounding it could not understand as they do not believe in people influencing things in a meaningful way.
King Candy and Tamatoa came directly out of my teenage efforts, the first being a Horrorterror and the second representing a monster of the Deep associated with the blue domain who can symbolize an Underbeast. This is why the industry deluded themselves they were experiencing a Renaissance, and they repeated this delusion many times as they tried to skirt the black presence of their errors.
Although constructing their work in animation cliches, they manifested these monsters and my main work I was planning revolved around monsters. Conclusive evidence that they knew what I was setting up as a teenager, but rejected it out of spite and fear.
And now that they have put in these two monsters, I have the power of “writing” for them to flesh them out to their true meaning. People cannot feel the true meaning of these characters as my teenage Revolution was rejected, and so their minds are disrupted and impeded from coming to the proper artistic experience which proceeds into the cosmos through the emotional centers of turtles and other things.
Previously I've declared King Candy (I wrote Pennywise at first) to be one of my God cards: special moves I can play which can be leveled up into an exodia effect to destroy the animation industry. As I do so, I am leveling up all the way to the last becoming first and the first becoming last. Instead of waiting for it to happen, I cause it to happen consciously and subconsciously.
There are other creators as well whose ‘writing’ can be established in greater and greater detail over time (almost as if that's part of the meaning of being a great creative.) Tolkien invoked a Catholic truth in Lord of the Rings that evil cannot create. Decades later, my own work reveals that Sauron did not even create his own identity and his own plan to forge the Rings and to create the machinery of Mordor and other things like the Balrog. All this was an imitation of the creation of the Underrealm from a prior age, after a controversy about what the Underrealm represents that proceeded into the cosmos happened in a still earlier age that produced the Cancer prophecy. Everything Sauron had will be taken away in the course of the Truth, which motivates robbing the pious of the things they have, which even the Lord of the Rings TV show does. What Sauron’s evil represents is what makes it cool.
And so the power of writing they seek the most is the power to recontextualize the art of the world for their own interest and their own selfish desires. But the only thing that stopped me from rewriting the context of Sauron earlier than this was my own careful artistic plan to introduce the truths of the Thirteen Rings in the right artistic way. Everything people said about my own work, and dishonest things people said about Tolkien, was just meaningless noise. I have revealed the reason why they said the Orcs were racist, and it is fucking laughable.
The truth does not change, only the way it is arranged by people who acknowledge it and show it in their work. Tolkien is objectively great, and everything wokes say about his work, animation, and many other topics is objectively wrong. People who believed in writing refused to see my own approach to artwork because they knew it would destroy their own, and their fanaticism for the golden calf of “writing” fades away as they lose the ability to explain what they thought was there. But through the power of the Underrealm, a lasting record exists.
Meanwhile people like this artist on American Pokemon just feel like they're doing professional fan art to me, they're not recontextualizing anything besides why the detective Pikachu designs were so unchildfriendly, unappealing, ugly and overly realistic. He cannot make passage through the domains of the trickster. Most likely his ability to be truly creative has been lost forever already
