Cookie Monster asks the important questions. (x)
i dont know what’s funnier, the fact this is a thing that happened or that sesame street as a vine account
oh my god why
business as usual for the folks behind sesame street tbh
Today’s drawing, a.k.a. an excuse to post the kind of lengthy ramble that is the proper introduction to my ongoing humanized Bionicle project.
The idea here is this: take the concept of Bionicle and translate it directly to a human world. Tribal society, on an island somewhere in the south Pacific, elemental powers and magic masks and great spirits and all, everything the same except that the characters are human (or animal) instead of biomechanical. This is, for some reason, an approach to human!Bionicle that I have never seen anyone take in more than one or two isolated drawings. I’ve seen larger-scale projects in anime style, medieval-style fantasy, steam- or cyberpunk, sci-fi, modern-day, pretty much you name it, but never actually as if they were a real tribe living on a tropical island in the Pacific ocean.
A related point: in this project, none of the characters are white. That’s a thing that bothers me a lot about most humanized interpretations of Bionicle: everyone always seems to end up being fair-skinned and often platinum blonde as well. (There have been a few glorious exceptions to this, thankfully.) They all live on an island in the sunny tropical Pacific: if they were human, how about let’s show them as Polynesians, folks. Who have brown skin.
Anyway. So we’ve got our six tribes, no modern technology around, like on Mata Nui. The villages would have to be bigger than the tiny size they are in the real storyline, and obviously there’s about an equal gender ratio in every village, I’m thinking probably in the ~150ish people per village range. (Ga-Koro does have an unusually high percentage of women, and Ta-Koro of men, though.) Not everyone lives only in the six main villages, of course; there are small outposts and settlements throughout the island, as well as hermits like Kopeke and some of the Priests and Priestesses who tend elemental temples deep in the jungles and mountains and deserts.
However, scattered throughout the island are a few fairly primitive machines based on gears and levers and such, because the Tohunga keep finding and digging up metal gears and other parts buried in the earth. Over the years, they’ve built devices like the cable car to Ko-Wahi and the elevators in the mines of Onu-Wahi out of these. No one knows where they come from or why they’re there.
(That’s what the drawing in this post is about. Obviously.)
Now, the Kanohi. Masks are incredibly important to Tohunga culture, but not everyone even has one, and certainly no one wears them 24/7. Kanohi are ceremonial or worn by the various defense forces of the villages, like the Ta-Koro Guard and the Ussalry and the Kahu Force. Tohunga masks are hugely oversized with exaggerated features for the sake of frightening enemies and Rahi in battle. (This was an idea I had to preserve the big-head-vs.-small-body/limbs proportions of the original Tohunga sets.) The Turaga and Toa, when they arrive, wear normal head-sized masks. I’ve always hated the Bionicle canon thing where Matoran live for thousands and thousands of years, so that’s out the window — oftentimes, a family will keep a Kanohi that belonged to a venerated ancestor as the centerpiece of their household. Jala, for instance, does indeed wear the Hau originally worn by Lhii, the ancestor of his clan and a former Captain of the Guard himself.
The villages used to be in frequent contact with each other to trade and take advantage of each other’s skilled laborers, but in the decades since Makuta began to enslave the largest of the Rahi and raid the villages, travel between them has almost stopped. Even marriage between members of two different villages, which used to be not uncommon, has become something of a taboo. Onu-Koro and Po-Koro are the only two that have regular contact with one another, hence the frequent mixing of their peoples. (These are two of the reasons Takua is an outcast—not only is he the bastard son of a Ta-Koronan and a Ga-Koronan, but everyone thinks he’s insane to want to travel the island, and travel alone at that.)
I think that’s probably enough to start with. As I draw other characters (and post the Toa I’ve already drawn) I’ll elaborate more on other aspects of this version of the story! Hope you all keep following along, because I’m super psyched to finally put all these ideas out there and illustrate them. :D
[edit because a point worth mentioning: you might know me as ToM Dracone / ToaTiome from BZP and deviantArt and other sites. I haven’t said that here yet.]
Potential Homestuck ending #231: the full Dorothy.
I JUST GOT TO THE END OF THIS CASE AND
AT THIS PART I READ “DON’T GO TWERKING OFF JUST YET”
If we learned anything from the Mayans, it’s that if you don’t finish something, it’s not the end of the world.
blockbuster went out of business, which shocked everyone because we all thought they already did three years ago
A short comic about a girl, her mother and their different Black clothes.
I made this in late August this year for Seriefrämjandets yearly contest. The topic was comics for young people… and guess what, I actually won!
En serie med otroligt bra känsla för karaktärer, med god känsla för hur utseende och subkulturer betyder i ungdomens sökande efter en identitet. En serie som man ser på första anblick har hjärta, och som subtilt pekar på ämnen som andra skulle göra till huvudpoängen i historien. Som en liten bonus får vi en tjej i huvudrollen som känns levande och som man känner starkt inför.
I’m incredibly surprised, happy and grateful to have won. Since it got so much praise, I figured I should post it here. Thanks to Keetande for helping me with the tricky translation!