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Category Archives: Furries

(Fandom) Afrofuturism and Furry

Fandom 150Over the weekend I attended Further Confusion 2018 with over 3,400 other furries in San Jose, CA and let me tell you, it was a pretty great time. I got to catch up with a lot of friends from all over the country and meet a few new ones, including folks I’ve had an internet crush on for a good little while now. Nice seeing all of you, and I hope you folks come back next year!

The highlight of the convention for me was getting to run my very first “Afrofuturism and Furry” panel on Sunday. I had a good little group come in to listen to me jaw on about the Afrofuturist movement, its history and purpose, and why it actually makes a good fit for furry fiction. Whenever I talk about race in furry circles, I worry about the pushback — it can be a surprisingly touchy subject for those of us who pretend to be talking animals, especially in this political climate. Everyone was awesome, though, and I appreciate the openness and respect from the audience as they asked questions and related some of their hesitations about tackling things. When the panel was over, I promised the folks in attendance that I’d write up a follow-up here so they could grab additional resources if they wanted.

First, here are a few good places to go if you want to learn more about just what Afrofuturism is:

Now that you’ve got a primer, here are a couple of places you can go to sample Afrofuturist music:

If you’re interested in a few essential Afrofuturist stories, don’t worry man — I’ve got you covered:

And finally, a few furry-specific Afrofuturist stories:

  • Elephantmen! (Image Comics) – I included this here because of the many parallels between the titular genetically-engineered chimera and the historical experience of black Americans; brought to a strange country for a specific purpose that has now ended, with a history forged by the theft and ruination of black bodies and a present that alienates and disrespects them.
  • The Pack (Midas Monkee) – This is a comic about a pack of Egyptian werewolves, which is LIT AS FUCK
  • Yohance (Midas Monkee) – Space opera with a purely African aesthetic and absolutely amazing art.

Afrofuturism deals with the alienation of belonging to a group that has been historically segregated; the reclamation of an identity that was lost long ago; the water that both erased our cultural connection and serves as a fertile environment to uncover new life; and how being who you are disgusts or angers people who have nothing to do with you. It is longing and sorrow, hope and determination, anger and defiance, provocation and self-reflection. It asks us to know who we are, know how we work within a culture that is hostile but promising, what values we want to take with us into the future. It challenges us to question so many of the assumptions we’ve made about science-fiction and storytelling in general. There’s so much that can contribute to furry writing and deepen the themes we deal with in our fiction. I highly recommend checking out a few of the links above; there’s bound to be something for just about anyone!

 

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(Fandom) Further Confusion 2018

Fandom 150Further Confusion 2018 is just around the corner! The first major convention of the year will be held at the San Jose McEnery Convention Center starting this Thursday, January 11th and closing down on Monday, January 15th after five days of furry fun. I really love this con; it’s super close to me, and I get to show so many friends from out of town the best parts of the city! Not only that, but I’m usually on a few panels about writing and/or spirituality where I get to chat a bunch about things that really interest me. Good times all around!

If you’re planning to go to the convention, please let me know — I’d love to meet you! Chances are you can find me bumming around the Dealer’s Den, chilling out in one of the many hang-out spots around the convention center, or attending a boatload of panels (that I’m not on). If you’re interested in attending a panel I’ll be hosting, here are the four I’ll be working with.

Adult Furry Writing (18+ Only)

Saturday, January 13th @ 10:00 PM (Salon V-VI / Marriott)

Writing adult scenes in furry fiction are a bit more complicated than ‘just add sex’. How can you make sure adult themes are woven into stories in ways that not only engage your readers but also enhances the work? I’ll be on this panel with my husband (The Pen Drake) and Kyell Gold for the first time this year to talk about how to handle the more graphic aspects of our fiction.

Developing A Writing Practice

Sunday, January 14th @ 11:00 AM (Almaden / Marriott)

One of the biggest pieces of writing advice for the neophyte is making sure you write on a regular basis. But in an age where so many things compete for our attention, how in the world do we manage that? I’ll go over strategies that have worked for me and answer questions about specific stumbling blocks to the best of my ability along with prolific writer Kyell Gold!

Afrofuturism and Furry

Sunday, January 14th @ 5:00 PM (Guadalupe / Marriott)

Just what IS Afrofuturism and what does it have to do with furry fiction? I’m very excited to offer this panel for the very first time — I’ll explain just what Afrofuturism is, detail its history in brief, and show how the themes, aesthetic and values of the movement are more at home in furry fiction than you think. I’m on this panel solo, so expect a more conversational panel.

And here are a few panels that I think are so cool they need to be promoted!

Titanium Tea XXIX

Friday, January 12th @ 1:00 PM (Los Gatos Suite / Marriott 4th Floor)

Watcher Tigersen has been running this tea-based social at Further Confusion for years now, and it’s always a fun time. He even brews an exclusive tea just for each year, and this meet-up will be no exception! If you’re a tea afficianado and you’d like to meet other furries who love a good cup and a sit-down as much as you do, you should definitely check this out!

Native American Cultures

Friday, January 12th @ 3:00 PM (Almaden / Marriott)

Julzz, Yasuno and Tonya Song are bringing back this panel from last year, exploring various aspects of Native American culture including art, stories, music, philosophy, history and more. It’s really exciting to get more of this kind of panel in furry; more insight into the beliefs of Native Americans is sorely needed so we can approach aspects of it with more care and sensitivity.

Reveille and the Swingin’ Tails

Saturday, January 13th @ 1:00 PM (Second Stage / Marriott)

This is low-key one of the best live performances at Further Confusion, featuring a six-piece band playing jazz, funk and blues! Scheduling conflicts mean I don’t make the concerts as often as I’d like, but I always try to see the Swingin’ Tails if I get the chance. You should too!

Let’s Talk About RAWR: the Furry Residential Writing Workshop

Saturday, January 13th @ 4:30 PM (Guadalupe / Marriott)

Did you know that there is a one-week intensive residential workshop dedicated to helping furry writers refine their craft? WELL THERE IS! Alkani Serval, Kyell Gold and Ryan Campbell will be hosting this panel about RAWR (the Regional Anthropomorphic Writers Retreat) — they’ll be talking about what previous years were like, and what you can do to apply if you’re interested!

Mindfulness and Meditation Workshop

Sunday, January 14th @ 1:00 PM (Santa Clara / Hilton)

Kannik will be hosting this panel all about the benefits of building a regular meditation practice and how it can lead to being more mindful in all aspects of your life! He’s an engaging and down-to-earth teacher who’s been doing this for years. The panel has been wonderfully informative and enriching for years, so if you’re curious about the transformative aspects of meditation and mindfulness I highly recommend spending a bit of time with him on Sunday afternoon!

Unsheathed Live! (18+ Only)

Sunday, January 14th @ 10:00 PM (Guadalupe / Marriott)

Unsheathed began life as one of the very first furry writing podcasts, and it continues on as a live panel at various conventions. It is a BLAST. Last year, Carrizo Kitfox outfitted 3D models for presenters Kyell Gold, K.M. Hirosaki and The Pen Drake for extra hilarity and immersion. Kyell, KM and Pen will discuss what they’ve been reading and writing, then take questions from the audience in a lively, loose event that’s consistently one of the highlights of my con!

So those are the panels I’ll be trying to make this year, but there’s a ton of other stuff to do. In addition to the Dealer’s Den during the day and dances at night, there are charity auctions; a gamer’s lounge for board games, tabletop RPGs and video games; poker tournaments; late-night Jackbox games; and all kinds of meet-ups for furries of all kinds of interests. Around San Jose, there are amazing restaurants, art installations, nightclubs, museums and events as well. FC 2018 is going to be really, really fun — I can’t wait to see some of you there!

 
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Posted by on January 8, 2018 in Furries, Writing

 

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(Fiction Friday) Veniamin Kovalenko: Werebear Detective

Writing 150For Fiction Friday this year, I’d like to play around with a new setting or character every month. Chances are this will settle in to a rotating band of settings that I’ll return to again and again, just to play around with various aspects of writing. One of the things that have been setting me back is a reluctance to just play around, to write for the sheer joy of it. So that’s what I’ll be doing here.

This month I’m going to dig into Veniamin Kovalenko, a character I played in my husband’s Dresden Files game. Veniamin is a Californian of Russian descent (obviously), but with deep ties to the Golden State as well as Alaska. His family’s birthright is the ability to change into a bear pretty much at will, something that serves most of them pretty well. His mother and father own a little hotel in the forests just a little way south of Silicon Valley; other family have installed themselves as park rangers and workers in various state parks.

Veniamin, however, has chosen the path of the private detective to the supernatural creatures in and around the San Francisco Bay. He’s seen too many good monsters do stupid things and meet their end because of it; he wants to protect folks with too much power and too little sense from making bad choices, and make sure ‘regular folks’ aren’t victimized by those they have no defense against if he can help it.

I rarely write in first person because I’m just not good at plugging in to a drastically different voice from my own, so that’s my challenge this month: try on a writing style that’s distinctive and alien.

 

#1: Bearbaiting

San Francisco didn’t even have the decency to be sweltering when that demon from Hell walked through my door. If this were Sacramento, he would have slipped in all covered with flop sweat, dark stains on his shirt where perspiration soaked through, panting and stinking of whatever garbage he could afford from the vending machine on his salary. But the City By The Bay barely cracked 80 in a heat wave, so all I had to announce his presence was the faint whiff of sulphur and subway piss.

He wasn’t an actual demon, but he might as well have been — maybe something worse, like one of those parasites that feasts on souls or a Kardashian. He stood in front of my desk with his hands clutching his hat, his shabby uniform neatly pressed and creased. The six-pointed star caught the little bit of morning light that made it into the room and glinted right into my eye, making me squint. Almost like he was mocking me, he squinted too — at the tumbler of whiskey I had in my hand.

“Isn’t it a little early for that?” He said, frowning at the smell.

“Ain’t it none of your business?” I splashed back the three fingers in the glass, slammed it down, swiped the bottle and refilled it so I could take another sip. “I don’t go to your box outside of Hayward Station and judge you for your life choices.”

The man sighed and looked around the room. I couldn’t lie, my office had seen better days — the couch on one side of the room had been mangled a few nights ago after a particularly epic bender when I blacked out and shifted, and there were claw marks all over the wall and floor there. The trash bins were full of empty alcohol bottles, my desk was buried under empty pizza boxes, and the air was full of stale food, drink, and bear. It hadn’t been a good time these past few weeks, but that was just part of the deal in my line of work. If this prim little asshole had been through what I had, he’d drown his sorrows in extra cheese and Johnnie Walker too.

“Can I help you?” I leaned forward and put my tumbler down. He didn’t look like he wanted to be here, and I sure as hell didn’t want him here. So the sooner we got done with…whatever this was, the better it would be for both of us.

“Oh…uh…” He stopped trying to work out what had happened to the couch and looked back at me. Then he looked down. Then he fiddled with his hat. “I…uh…I hope so.”

Something wasn’t right here. The BART police officer in front of me was a lot of things, but hesitant wasn’t one of them. I tried to clear the fatigue and booze out of my head so I could put my finger on it, but when I did that all I got was a headache. Still, I could tell even then that he looked pretty shaken. Maybe he had seen something. Maybe he was in over his head.

“All right then, Mr. Nunes, sit down and tell me what’s on your mind. Though if it has anything to do with BART I’m afraid I’m not your guy. Still banned for two more months, remember?” I straightened my tie and smiled to take the edge off that last bit. If he was coming to me, he had to be three shades of desperate and it’s not in my nature to be that tough on a desperate man.

“Well…yes.” Nunes sat down across from me and stared down at his stupid hat for a while, gathering his courage. If it weren’t nine in the morning — and he weren’t a police officer — I might have offered him a shot. But he came around eventually. “I might be able to do something about that.”

“Yeah? Why?” It had been ten months since I’d been busted trying to sneak into the BART tunnels, on the trail of some wild fae who had been doing who knows what in there. Nunes was the officer who caught me and, when I couldn’t talk my way out of trouble, got me banned. I had my own car anyway, so it wasn’t too big of a deal, but it was the principle of the thing. It really sticks in my craw when I get punished by the people I’m trying to protect just for doing the right thing. What’s the point of having the law when it doesn’t actually help?

“Because I think you know there’s something in the BART tunnels, and I need you to find out what it is.” It took a lot of effort for him to look me in the eye when he said that, I could tell.

I gave Nunes a good, long look. It really doesn’t do anyone any good to know what’s really out there; it’s more trouble than it’s worth for people like me. Even if you’re just trying to live your life, people get really afraid, and that fear makes them do all kinds of stupid, destructive things. But he clearly saw something that spooked him, enough to come to the last person he should expect help from.

Still, keeping up the cover is important. I leaned back in my chair and shook my head. “I really don’t know what you mean, Officer. I was chasing a lead for a client when I was sniffing around there. Turned out to be a dead end, though. Given all the trouble that came my way the last time, I’m not inclined to go back down there.”

“Please, I…I don’t know what you know, but I know it’s more than I do, OK? Something in those tunnels have been taking the homeless. I don’t know what it’s doing, but…but it’s…” Nunes stopped then, looking down into his lap, clutching his hat. Goddamnit. I was going to have to help this asshole.

I took a deep breath and tried not to let my shoulders slump too much while I grabbed a notepad and pen. “All right, Nunes. Just start at the beginning. Tell me what you saw.”

I fished a (sort of) clean tumbler out of a draw, poured some whiskey into it, and slid the glass towards him. To my surprise, he took it. Then he began to talk.

 

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(Fandom) Goodbye, DNA

Fandom 150Over the weekend, the macrophile artist known around the internet as DNA closed up his FurAffinity page. This all but completes his steady withdrawal from the furry fandom, which was announced a few months ago. The announcement came suddenly, and ever since then I’ve been trying to sort through my feelings on that. Now that the last link he had to the fandom is effectively gone, I wanted to write a few words about what he meant to me and how I’ll honor my time with him moving forward.

I considered myself a fairly close friend to DNA, even though we didn’t talk often. He was the kind of companion you could pick up with after months of radio silence without skipping a beat. No matter how long it had been since we last spoke or what had happened during that time, he always made sure that he was glad to see you. He is one of the most generous, positive, hard-working people I know, and I will genuinely miss him. I know he’s not dead, but the grief I feel is somewhat similar; my relationship with him as I know it is dead and gone, and that’s why I’ve had to bury over these last few months.

I don’t know why he felt the need to bow out of the fandom this way, and I won’t submit to speculation here. Doing so wouldn’t honor my time with him. I do know that I wish I could have been able to say goodbye to him knowing that it would be the last time we spoke. I don’t remember the last conversation we had, to be honest; I had taken it for granted that I would be able to pick up with him again sometime later, just like always.

The thing I’ll remember most about DNA isn’t the art he gave to the fandom, though his comics are wonderful, silly, exuberant stories that I’ll cherish. The thing that I’ll take with me is his natural and immediate good nature. I don’t think I’ve ever known someone who was so effortlessly nice and considerate; he was free with his affection, and if you knew him you were sure that you were loved by him. It wasn’t the desperate casting about for connection that can often come with folks who make easy friends, and it wasn’t some weird spell that was cast on you where you felt close while you had his attention, but ignored when you didn’t. He is an incredibly loving person, and he didn’t expect to be loved in return. It was just who he was, and almost everything he did was an expression of that.

That comes through in so much of his work. One of my favorite things about his particular “brand” of macrophilia was that most of his characters weren’t malicious, even the power-mad ones. Growth, for him, was almost always this incredibly positive experience, and when it ran away from his characters it wasn’t necessarily a selfish thing — it was a feedback loop of positive energy, a virtuous cycle that exploded again and again into this other order of magnitude. Most of his protagonists were humble, gentle souls who loved doing the right thing; protecting, helping, connecting with others in a way that spread joy. Somehow DNA managed to combine the best things about macro — that overwhelming power fantasy, incredible size difference, runaway growth — without including some of the most tiresome aspects of it, like small and brittle egos, actual carelessness, or violence and death. It’s really hard to thread that needle, and he was one of the best at it. He made it look easy.

I know that he was incredibly loved in the fandom, and there were a lot of times that love was expressed as more a demand for his time, his talent, or his attention. As a community we have a tendency to make our artists feel more like a commodity than an actual person; we crave what someone can do for us so much that we see them only as a means to that end. A drawing or comic from DNA was a measure of social validation, a sign that our characters and the stories featuring them were interesting, a symbol of our status in the little community we share. Because he was so generous with his time but guarded about his personal life, it was easy to overlook pressures or responsibilities that he might not have talked about.

There’s no way of knowing if I contributed to the decision of his leaving the fandom. I really hope not. But for me, honoring him means making sure that I remember that artists are people first and foremost and to always treat them as such — no matter how star-struck I might be by them. Even the most popular folks who share our interest in giants have full lives; day jobs, relationships, hopes, fears, responsibilities, worries, personalities, pet peeves, a limited ability to manage everything on their plate. It’s so easy to take things personally when someone who is being hounded for attention doesn’t pay attention to me; it’s important to remember that it might not be personal but even if it is it’s their right as people to choose who they befriend.

I don’t have the naturally positive temperament that DNA did, but even still I want to be as positive influence on the community as he was during his time here. I want to put that positivity into the stories I write and share here, and I want to help provide a balance to the spectrum of macrophilia on the Internet. It doesn’t all have to be violent, humiliating, or crude (though hey, if that’s what you’re into there’s nothing wrong with that — you do you!). It can be joyous, silly, loving, and fun, too.

DNA unquestionably made my life better by being a part of it, and I appreciate the love he showed to me while he was. I’m really sorry that I never got a final chance to tell him what he meant to me, and I sincerely hope I’ll get to one of these days. For now, it’s enough to know how he’s made me a better person and to act on the lessons I learned through him.

I know that a lot of us are going through a sort of grieving process for him as well. I think it’s important to recognize and honor that. It’s OK to be sad that a friend (or favorite artist, or community fixture) is gone, and it’s OK to admit being bewildered or lost about the way they left. But please don’t let that feeling curdle into anger or a sense of entitlement; he doesn’t owe us anything, especially after he’s given us so much. Let’s appreciate what an awesome person he was, and hope that someday we’ll get to tell him so properly.

 

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(Writing) A Future With Me In It

Myth 150It’s getting harder for me to look at the news these days without feeling like I’m staring into the void of our own self-destruction. The current US administration seems obsessed with assuaging the bruised ego of the President, making the lives of the poor and working class as difficult as possible, and letting the rich and powerful get away with whatever they want. It’s times like these where I need an escape more than ever, and science-fiction/fantasy provides a wonderful avenue for that — up to a point. It’s also getting harder for me to ignore that most characters in science-fiction and fantasy stories don’t look like me or even share a lot of my same experiences. That’s why I need to read and write Afrofuturism stories more than ever; I want to have characters like me going on adventures, and I want to imagine a future where people like me can thrive — but most importantly, I want to be comfortable in my own skin and tell stories from my particular perspective.

There aren’t a lot of characters of color in modern science-fiction and fantasy, even though there are a lot more than there were. The biggest thing going in the genre right now is arguably Blade Runner 2049, the incredible sequel to Ridley Scott’s seminal cyberpunk masterpiece. While it’s wonderful to be sure, you see more Asian writing on the screen than actual Asian characters; there are only a few black characters who are never seen beyond a single scene; and Hispanic characters are limited to a cameo appearance or two. Like so many movies in the space today, people of color are used to fill out crowd scenes and give the appearance of diversity, but the characters you spend the most time with are overwhelmingly white — with a few exceptions. American Gods and The Expanse, I’m looking at you.

We never get to read a portal fantasy where the protagonist pulled into a strange new world is a person of color, or how their race and background experience would influence their reaction to such an incredible event. We don’t often get to see people of color doing their thing in some far-off future, especially in stories where we extrapolate the history of their culture into that distant imagining. When people of color are stripped out of these stories by casting directors, the pushback against the outcry revolves around not making everything about race; whenever people of color are added to these retellings, people often complain by posing the hypothetical question of taking one of “our” characters to illustrate how silly that is. “When do we get a movie with a white Black Panther?” “I can’t relate to Rue as much now that you made her black.” Boosting our visibility is always decried as political correctness run amok; erasing us from a possible future or an imaginary past is never a big deal, though.

The #OwnVoices movement has been in full swing for a little while now, at least, and we’re starting to see stories told about people of color, queer and transgender people, people with disabilities, and all kinds of other minorities, written by members of those groups themselves. The space is changing, and these stories are getting recognition for introducing us to different ways of thinking and being — not only in different times and places, but right here and now. That’s tremendously exciting to me, and I want to be a part of that. I want to read and promote stories that center on non-white experiences; I want to write stories with non-white, LGBQTIA protagonists, or characters with disabilities. I want to promote worlds in my fiction that has a place at the table for all of these people, that present the world not as we wish it to be, but as it IS — a diverse and wonderful place filled with folks from different backgrounds. Poor, inner-city black geeks deserve to go to Narnia too.

We also deserve to go into space. We deserve to have the lands of our ancestors share in future advancements, have their economies explode in ways they never thought possible, reach the stars and explore the galaxy on their own terms. There are so many futures written where black people are all gone, or alluded to as poor sods worse off than the protagonist for some reason. There are so many books where Africa has been left out of the unified government taking humanity into its next phase as a multi-planet species, or where African scientists are simply along for the ride as exceptional examples of a culture that still hasn’t ‘caught up’ to the rest of the world. Even those stories that feature Africa as a technological power — like Black Panther, for instance — finds ways to skirt around spotlighting the culture and history of the continent, or the astonishing variety of civilizations that flourished before being stamped out or forever changed by European colonialism. One of the only SFF movies I can think of set in Africa, District 9, used aliens as a metaphor for the actual treatment of people of color in South Africa and refugees of color all around the world.

There aren’t many stories that spotlight African culture without exploiting the problems or historical bloodshed that has taken place on the continent. Where are the stories that feature a healthy, confident African diaspora honoring their culture and traditions while also embracing the future? Does every story that centers on blackness have to be about slavery, rape, poverty, or war? Where are the hopeful stories about what Africa could be? About what her many children all around the globe could aspire to?

We desperately need these stories. All around us, there are these markers that point to how little progress we’ve made overcoming the historical disadvantages forced upon our ancestors. The natural resources of Africa are being plundered to increase the wealth of foreign corporations; the many African-descended people who live elsewhere around the world are forced to suffer continued institutional racism that others refuse to even acknowledge; in America, so many of us live and die in hopeless poverty, unable to believe in the possibility of getting a fair shake. We need to be able to envision a world where that’s true if we hope to make it so. Stories give us that power, a signpost to work towards. We have to conjure hope for the people who have none.

This deeply matters to me, personally. I grew up in inner-city Baltimore as one of Jehovah’s Witnesses, and I never felt accepted by the culture I was raised in. At school, my religion and my geekiness made me an easy target for the students who fit in more easily to the black experience; at the Kingdom Hall, my family situation and lack of social skills made it impossible for me to be accepted by my peer group. I grew up thinking that my own culture was hostile and dangerous, that there was nothing there for me, that my only choice was to leave and never look back.

Now I see that’s not true. There are a ton of black geeks out there with varying experiences and relationships with black American culture. It’s been a revelation to me, the idea that I could be myself — a gay black Buddhist furry — and still embrace my culture and background at the same time. Now that I know it’s possible, I can’t stop until I make it real.

That means learning how to absorb my personal history and accept what happened, putting it in the context of the societal pressures that drive that behavior, and teasing out the lessons that I can take from that to improve myself — but also talk about how black American culture can be improved. We limit ourselves by adopting the limited historical perspective of the past; we dishonor our own values by denying our brothers and sisters the right to self-determination; we keep ourselves down by continuing to dismiss and demean those who think and believe differently. We are so much more than what we have been; we could be so much more than what we are now. Wild, imaginative, authentic stories could show us how.

Afro-futurism is more than a genre to me; it’s a lifeline. It feels like the thing I’ve been moving towards all my life, the thing that will give me hope at a time where that’s been so hard to come by. It’s a framework I can use to understand my past and imagine my future; it’s what I need to have a complete sense of myself. It’s a beautiful, complicated, contradictory thing. That suits me perfectly.

 

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(List) A Definitive But Thoroughly Subjective Ranking of the Disney Animated Canon, #20 – #1

Disney Animation

Over its 93-year history, Walt Disney Animation Studios has produced 56 feature-length animated films. Its partner, Pixar Animation, has produced another 18 for a grand total of 74; that’s a lot of movies! However, out of all those wonderful films only 20 of them can be the 20 greatest films in all of the Disney/Pixar Animated Canon! Which ones are they? Well, let me tell you!

A couple of caveats first. This is a full ranking of all 74 movies released by Disney and Pixar except for Cars 3 and with the addition of the live-action/animation hybrid Song of the South (not considered part of the Canon officially). Also, this is a totally subjective list; these aren’t actually the greatest Disney and Pixar films of all time — they’re just my favorite. Feel free to register your agreement or disapproval in the comments, or tell me which movies are your personal favorites!

If you’d like to know where all of the other movies landed, no worries; I’ve got you covered! The other 54 films are all here:

Day One: #74 – #57
Day Two: #56 – #38
Day Three: #37 – #21

Now, my favorite 20!

#20. Big Hero 6 (2014)
People seem to have cooled on this movie since its premiere a few years ago, and I could see why in the age of Superhero Fatigue. Still, this tale of a boy and his helper robot is one I love quite a bit; it manages to combine an examination of grief and loss with a straightforward superhero team origin story. Baymax is such a wonderful character, a robot unlike any other in all of Hollywood. The best feature of Big Hero 6, however, is its mash-up setting of San Fransokyo. Seeing distinctly San Franciscan neighborhoods infused with Japanese aesthetic is a delight and perfectly reflects Hiro’s own comfortable Asian-American background. The other members of the team are aching to have their stories told, so it’s a good thing we’ll be getting a follow-up series soon.

#19. Ratatouille (2007)
Wait, this movie is ten years old? Where does the time go! Brad Bird’s second feature for Pixar takes a high concept (a rat who wants to be a chef) and fuses it with another (said rat can control a friendly human by pulling his hair) to create something weird and wonderful. Bird’s consistent themes — of frustrated genius, self-discovery, and a hostile, unapproving world — combine here for a beautiful, funny, and ultimately satisfying film. Remy, the rat at the heart of the film, is a little snobbish but his earnest passion makes him a protagonist to root for.

Up

This bird is too ridiculous for this old man

#18. Up (2009)
The second of Pete Docter’s Pixar films is a true wonder — and not just for the eight-minute prologue that the rest of the story tries to live up to. Carl Fredricksen is that perfect blend of lovable and caustic, and Russell — the Wilderness Scout who stows away with him on his one-way trip — is the perfect companion to get him to come back to the world. Kevin, a giant exotic bird, and Dug, the dim but loyal talking dog, round out the troupe as they get way more adventure than they bargain for. Carl’s quest is as much internal as it is globe-trotting, and seeing him learn to re-engage with a world he left behind is heartwarming.

#17. Moana (2016)
Disney’s latest film also happens to be one of its best. The team of Musker and Clements strike gold again with this story based on Pacific Islander folktales through crisp and beautiful animation, a brilliant heroine, and one of the catchiest soundtracks ever. While the studio continues to balance commercial demands with its desire to serve the cultures it mines for its stories, Moana gets a lot more right than it gets wrong — its spirit of adventure and sense of heart make it a truly excellent movie.

#16. Monsters, Inc. (2001)
Pete Docter’s first of three films for Pixar is technically brilliant and emotionally stirring, with a perfect sense of comedic timing and cracking dialogue. John Goodman and Billy Crystal star as Sulley (swoon!) and Mike, an all-star monster team that end up turning their world upside-down just by trying to do the right thing. The climactic chase in and out of the closet doors of children’s rooms leaves me breathless, and that final shot of Sulley reuniting with Boo is enough to bring tears to my eyes. Docter is a master of carefully constructing truly emotional moments.

#15. Finding Nemo (2003)
Finding Nemo had a seven-year run as the highest-grossing animated film of all-time, which is just bonkers to think about; but it’s a truly excellent movie that deserves the wild success it received. Marlin is the ultimate helicopter parent, but his quest to get his son back after Nemo is taken by divers teaches him just how capable he is — and how almost everyone in this big, scary world finds a way to not just survive, but thrive despite their own issues. Technically, the movie is astonishing when you think about where Pixar was just eight years prior in Toy Story. The design of a bewildering array of sea life is impressive in its own right, but the aquatic environments are simply masterful. This movie is beautiful, in just about every sense of the word.

#14. Inside Out (2015)
Pete Docter’s latest film is his best; fourteen years after Monsters, Inc., he constructs a meta exploration of our inner lives, the painful process of growing up, and the difficulty of honoring our most difficult emotions. Amy Poelher is an inspired choice to play Joy, especially as the film gradually leads us to an appreciation of Sadness and how the pursuit of happiness above all else can actually stunt out emotional growth. Still, watching Riley’s personality anchors crumble, one by one, is hard to watch — and the representation of depression as it spreads through the central console is truly terrifying. But it’s all in service to a roller-coaster ride that presents a mature and sympathetic look at just how hard it is to deal with change. Not only entertaining, but elevating as well.

Pinocchio Cricket

Hey Jiminy, nice spats!

#13. Pinocchio (1940)
This is Disney’s best film out of his Golden Age, hands down. The animation pushed the boundaries of what people believed possible at the time, and the scene with Monstro the whale is particularly intense and impressive. I think this also established the time-honored Disney tradition of retooling a fairy tale or story to soften the roughest edges and add touches to make it more commercially palatable. It’s hard to argue with the results here — Pinocchio is strange and sublime, a true masterpiece in the craft of storytelling.

#12. Beauty and the Beast (1991)
The first animated film to ever be nominated for a Best Picture Oscar, Beauty and the Beast deserves its place as a crown jewel in the Canon. The songs of the Disney Renaissance are some of the best in movie history, and the songs here are some of the best in the Renaissance. What I love most about the movie, obviously, is Beast — he’s one of the most crush-worthy animated characters ever made, but his arc is also a revelation and rehabilitation of the fairy tale. Belle serves more as the catalyst for his internal transformation, a beacon that brings him back to the highest of human ideals, love and compassion. Gaston, the selfish and egotistical brute that he is, highlights how self-love can be just as destructive as self-hatred.

#11. Toy Story 3 (2010)
A perfect cap to the trilogy, Toy Story 3 takes Woody, Buzz and the gang through a kind of death and rebirth. I love how the film never shies away from the difficulty of moving through the end of a relationship but also cautions against letting that loss harden your heart. Lots-O-Huggin’ Bear is underrated as one of the most evil villains ever, in my opinion; I think the comeuppance he got didn’t even go far enough. The scene at the junkyard stopped my heart, and when the gang reaches for each other to accept their fate it gets me every time. The payoff of that scene — fourteen years in the making — is one of the most delightful examples of emotional whiplash ever. It’s just too bad they milked the ending a little too hard; it breaks the spell the rest of the story weaved so well.

lilo-stitch

Ohana.

#10. Lilo & Stitch (2002)
I didn’t realize how many of my favorite movies deal with struggling through loss and tragedy, but here’s another one. Lilo & Stitch is one of the absolute best films about the act of emotional kintsukoroi ever made — the titular pair find each other when they need something to help heal them so badly. Another Disney film that’s quietly revolutionary, Lilo & Stitch features native Hawaiians, a broken home, and emotional trauma without feeling exploitative of any of it. The character design is so distinctive and wonderful, and all of the character and comedic beats land with assured precision. Also, Captain Gantu? Whew. WHEW.

#9. Tangled (2010)
Released the same year as Toy Story 3, Tangled gets buried a bit under the avalanche of Frozen. But it’s so much better than the later film; Rapunzel is an exceptional heroine, her spirit irrepressible under the manipulative thumb of Mother Gothel. Gothel is a terrifying villain, not because of any external power, but because of the precise method of emotional control she uses to keep her ward in check. The romantic journey between Rapunzel and Flynn is expertly crafted, with standout song “I See The Light” bringing the plot and personal arcs together in one sublime moment. Also, I’m not sure I’ve seen another film that makes such tremendous use of each and every side character. Maximus the horse is the best Disney horse, and you can fight me on that.

#8. The Hunchback of Notre Dame (1996)
Quasimodo is one of my favorite Disney heroes ever: I have a true soft spot for people who remain hopeful and upbeat despite difficult circumstances, and the hunchback is one of the purest souls ever. There are so many scenes in this movie that function like emotional body-blows, from the opening song “The Bells of Notre Dame” to Frollo’s shocking “Hellfire” to Esmerelda’s bitter, plaintive “God Help The Outcasts”. The lyrics to the musical numbers of this film are some of the absolute best, and it might be one of Disney’s most nakedly-political movies ever. I understand how fans of Victor Hugo’s novel might dismiss it, but I think this is the most underrated entry in all of the Disney canon.

#7. The Little Mermaid (1989)
The Little Mermaid has the most killer soundtrack of all the Disney Renaissance films, with that tiny little crab Sebastian doing most of the heavy lifting with “Under The Sea” and “Kiss The Girl”. Still, “Le Poisson” and “Poor Unfortunate Souls” are genuine five-star classics, and Ursula is a delightfully fierce villain — modeled after Divine, the muse of John Waters. The music is enough to overlook the truly problematic implications of Ariel’s romantic choices, though an argument could be made that she really gave up her voice to be part of a world she had dreamed about for so long.

#6. The Incredibles (2004)
I’m a sucker for superheroes, and this Brad Bird-directed homage to Golden Age capes is just about pitch-perfect. Imagining a world where litigation actually spelled the end of costumed vigilantism, The Incredibles makes a pretty strong case for the idea of people being far more capable than most would give them credit for. The relationship of the Incredible family is the glue that keeps the story so tight, and Helen is an unsung hero for her quick thinking, incredible patience, and wise counsel to her children in life-threatening circumstances. Honestly, I think she steals the show.

Dory Wilderness

Alone with thoughts

#5. Finding Dory (2016)
A lot of people give Pixar flak for its shifting stance on sequels, but if the animation studio can keep producing follow-ups of this quality I’m all for it. Finding Dory is the rare continuation that not only justifies its own existence but elevates what came before it, reinforcing and deepening the themes of Finding Nemo. This might be one of the most insightful and sensitive stories about disability I’ve ever seen, showing us how much even small gestures of support or criticism can be the difference between someone’s success or failure. Hilarious, uplifting, instructive, and thoughtful — all of things that make a Pixar film so special.

Lion King

Best cast ever.

#4. The Lion King (1994)
There are an awful lot of folks who are sick to death of The Lion King, and I kind of get it. Among furries, it’s been lauded so much that even the most die-hard fans are at risk of burnout. But have you seen it recently? Because it is the best movie to come out of the Renaissance period. The animation is just stunning, the songs are great, and each character is just about perfectly cast. The pacing and tone are almost exactly where it needs to be at any given moment. It really is one of those movies where everything comes together. I almost hate to say it, but The Lion King lives up to the hype. It’s the real deal.

toy story 2

The full set!

#3. Toy Story 2 (1999)
This is Pixar’s best sequel — a film that reinforces and deepens the world it created in its first entry. Woody has to choose between his ego, which will see him shipped off to a museum where he’ll be forever separated from anyone close to him, and the difficult but more rewarding prospect of living amongst the toys in Andy’s room. The choice between alienation and appeasement is an interesting one, and what’s best is that the story makes a compelling case for both of them before making its choice. “When She Loved Me”, though, is forever one of those songs that reduces me to a blubbering mess.

zootopia streets

Can I live here for a minute?

#2. Zootopia (2016)
I know that this is really, really high for a relatively brand-new cartoon, but come ON. Judy Hopps is literally my spirit animal, a little grey rabbit whose enthusiasm for making the world a better place knows no bounds. She makes a perfect partner for the street hustler Nick Wilde, a fox who gave up on the world because the world gave up on him. Zootopia is perhaps the best-realized furry universe ever created, with an astonishing variety of wildlife all doing their best to live together harmoniously. There’s no skirting around how difficult that is; even Judy herself makes a mistake with terrible consequences. But ultimately the film asserts that we must continue to try, and that doing our best is always going to be the right thing to do. The character designs are amazing, the world on the screen is unique and immersive, and the social consciousness of its story is perfectly topical and timeless as well. Zootopia is everything I hoped it would be and that much more. I can’t stop gushing about it, but I’ll have to because…

walle

Beauty everywhere you look

#1. WALL-E (2008)
I know, I’m surprised too. But WALL-E is perhaps the most ambitious and beautiful animated film of all time. The first sequence, which establishes the ruined Earth our robotagonist is tasked with fixing, is haunting, melancholy, and almost wistful in the way it gives WALL-E a powerful longing for the culture that designed him. When EVE arrives and they head off to the generation ship Axiom, the disruption is enough to shake humanity out of its helpless torpor. WALL-E can’t help but change everyone he comes into contact with. His interest and willingness to engage and help triggers a cascade effect and brings people back to more immediate engagement. It is such a beautiful thing to watch; WALL-E is such a pure and earnest character, and the way he helps humanity find its way back to its home is incredibly inspiring. I love it, wholeheartedly, unabashedly. This is my absolute favorite Disney/Pixar film, even though the only other animal in it is a cockroach.

 
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Posted by on August 11, 2017 in DisneyFest, Furries, Movies, Reviews

 

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(List) The Definitive But Thoroughly Subjective Ranking of the Disney Animated Canon, #37 – #21

Disney Animation

Walt Disney Animation Studios is a venerable institution that still produces amazing feature-length animated films even to this day. It’s amazing that a movie studio can be so dominant for so long — since their first release in 1937, they’ve been the standard bearer for animation. Along with Pixar Animation, they’ve produced 74 traditionally-animated and CGI films, and since I’ve seen just about every single one (excepting for Cars 3, of course) I thought it would be fun to present a definitive and subjective ranking! Welcome to day three!

The criteria for my ranking is fairly simple; which movie would I rather see? I did that with every release until I had the full list of films from most to least watchable. Chicken Little is at the bottom of the list, but what’s at the top? All will be revealed on Friday! For now, here are the movies that are better than average but still just outside of the top 20.

If you’d like to see which movies are ranked in the bottom half of the Canon, follow these links here:

Day One: #74 – #57
Day Two: #56 – #38

Rescuers DU Jake

Hiiiii Jake ❤

#37. The Rescuers Down Under (1990)
This is the only animated Disney film set in Australia, and the entire Canon is poorer for it. Jake is just the bee’s knees, all smooth and confident and action-adventury! He makes a great foil for Bernard, who after years of pining after his sophisticated partner Bianca is ready to make a move. The subplot plays out while they’re rescuing a human child and giant eagle from the clutches of an evil poacher, and it ties together rather nicely. Jake doesn’t even mind losing out on Bianca’s affections! What a champ. The production values and character designs are wonderful, and the animators really make the most of the setting. It’s a shame the film underperformed as badly as it did; I think the Rescuers would make a nifty film or TV series.

#36. The Great Mouse Detective (1986)
One of the things that I’ve learned through this project is which names to pay attention to in the director’s credits. John Musker and Ron Clements have been consistently excellent, and that’s no exception here. Based on a book series I’m upset I didn’t know about before, The Great Mouse Detective shrinks a Sherlock Holmes story down to mouse size and gives him an outsized foil in Ratigan, a mouse on steroids who hates being called a rat. The film is more actiony than a typical Holmes caper, but that’s all right. The characters are engaging, and the world of murine London is simply entrancing. The climactic battle within the gears of Big Ben is surprisingly intense, especially considering how young the movie skewed up until then.

#35. The Rescuers (1977)
Even though the sequel has Jake, I have to give the edge to the original recipe Rescuers; the world-building is that much more delightful and the peril it places its human child in is that much darker. Penny is a precocious child who ends up in a terrible situation, and it’s impressive that no punches are pulled to get across the dire nature of her predicament. As great as it was to be down under, there’s something about the understated warmth of this version of the hidden world of mice that I love that much more.

#34. The Princess and the Frog (2009)
Disney’s first feature with a black Princess is a solid addition to its Canon, though it has a few story problems that are too persistent to ignore. Tiana’s problem — that she focuses on work too much at the expense of forming the relationships to make it worthwhile — is not the issue; it’s the social forces that push her into thinking that way and how they’re ignored. Still, this love letter to the music and culture of New Orleans is pretty great and Doctor Facilier is such a wonderful villain; Mama Odie makes an excellent foil for him, too. And even though he’s dead-stupid, Ray’s ballad to his Evangeline is unexpectedly sweet.

Headless Horseman

Well this is terrifying

#33. The Adventures of Ichabod and Mr. Toad (1949)
Disney’s last package film is its best — possibly because it’s less a scattershot of shorts and more two great stories not quite long enough to be feature-length. I’m a die-hard fan of The Wind in the Willows, and while it’s slightly disappointing that Disney chose to focus on Mr. Toad instead of, say, “The Piper at the Gates of Dawn”, the adventure of Toad and his motorcar is really fun. The tale of Ichabod Crane and the Headless Horseman is a standout though; Ichabod is a character I’ll never get tired of watching as he tries to woo ladies and gets lost in the woods. The animation has such spirit and distinctive personality. It really is a joy to watch.

#32. One Hundred and One Dalmatians (1961)
Cruella De Vil is an all-time great villain, but there’s so much more about this movie to love. I’m a sucker for “shadow world” stories, magical realities that exist just inside the peripheries of our own, and Disney has a lot of them around this time in their history. One Hundred and One Dalmatians is a bit darker than I expected, with the puppies all spirited away and forced to hike the English countryside in the dead of winter to make their way back home. But the characters take the edge off with sparkling, lively personalities — the trio of Colonel (a sheepdog), Captain (a horse) and Sergeant Tibbs (a housecat) are great helpers. Overall, it’s a really fun movie whose stakes give it an unexpected weight.

#31. Aladdin (1992)
Credit where its due: the animation, character design, and music of Aladdin is all excellent. Jafar and Iago are a dynamite villainous duo, and Jasmine is actually a really great Princess with agency and a distinctive personality. But man, Robin Williams almost single-handedly tanks this film. Every time some genuine emotion is about to sink in, his Genie comes in and chases it away with anachronistic mania. What’s frustrating is that Genie isn’t a bad character — he works well when he’s acting as Aladdin’s big blue Jiminy Cricket. But I really wish he had been reined in a little more. There’s WAY too much pepper in the soup.

#30. Fantasia (1940)
Walt Disney had high ideas for Fantasia, and it’s a shame they were never realized. I really love the idea of releasing a “concert film” every so often that marries beautiful music with boundary-pushing animation. Most of the vignettes are really enjoyable, with standouts being (of course) “Night on Bald Mountain” and “The Sorcerer’s Apprentice”. However, the less said about the rather uncomfortable history of “The Pastoral Symphony”, the better.

Robin and John

Just two bros hanging out in the woods with no pants

#29. Robin Hood (1973)
Ooh de lally, what an enjoyable mess this movie is! The fact that this movie is so low doesn’t mean I don’t love it; like most of you, I grew up fascinated with the vulpine Robin of Loxley and his ursine companion Little John. I even have a special place in my heart for those tiny church mice who help Friar Tuck! But there’s denying the thinness of the story and the shoddy animation; while I love the warmth and imperfection in the lines, there are so many mistakes and obviously cut corners that you can’t help but notice them. This isn’t a good movie, but I love it just the same.

#28. Wreck-It Ralph (2012)
Fun fact: this is the movie I always bring up when trying to relate what psychological triggers really are. Calhoun is tough-as-nails but emotionally traumatized, and the way her small subplot is handled is a slice of perfection. The rest of the movie is great, too, with countless background gags stuffing a wonderful story about carving out your own self-image when the rest of the world refuses to see you for who you really are. The voice talent is so good, the characters are funny, the setting is inventive, and this might be the first real artistic commentary on video games for a mass audience. This is a gem of a film, and I can’t wait for the sequel.

#27. Dumbo (1941)
Timothy Q. Mouse was one of my first crushes, with his smart little uniform and his willingness to help an orphan elephant in dire straits. Dumbo was made to recover from the failure of Fantasia, made on the cheap but with Disney’s trademark emotional punch. The cruelty of the world almost breaks this little guy again and again, but he’s lifted up with support from the most unlikely places — like a tiny mouse and a troupe of jive-talking crows. It’s a heartbreaking but ultimately hopeful story, the perfect mix of bittersweet. My heart feels full every time I think about it.

#26. Tarzan (1999)
This is the film that marked the end of the Disney Renaissance, and I think people sleep on it a little bit for that. But the action scenes are some of the absolute best in all of the Canon, with Tarzan swinging and surfing through a fully-rendered jungle that’s breathtaking to behold. His position between the world of his youth and the world he “belongs to” drives his personal arc, and it’s something I sympathize with a lot. Jane is awesome as his guide back towards human contact, and the ultimate resolution is great. His triumphant trademark yell feels earned right at the end.

#25. Fantasia 2000 (1999)
Sixty years after the original, Roy Disney tried again to fulfill Walt’s vision. Unfortunately, this one was a commercial failure, too. Still, it’s a creative improvement! “Rhapsody in Blue” alone justifies the existence of the sequence, and “Pomp and Circumstance” (which casts Donald Duck as one of Noah’s helpers aboard the ark) takes it over the top. Disney’s animators used a variety of techniques in various sequences, playing around with computer animation to get a better feel for the tech. There’s only one or two vignettes that don’t quite work, but for the most part this concert film is killer.

#24. Sleeping Beauty (1959)
It’s weird to learn that this film didn’t do very well at the box office, pushing the animation studio away from fairy tale adaptations for 30 years — the next one would be 1989’s The Little Mermaid. But the sheer style of this film is awesome in and of itself; the character design is a mixture of early Disney models and touches of Medieval and Renaissance art, encouraged by the distinctive background art of Eyvind Earle. Maleficent is a gorgeous villain, and it’s hard not to appreciate just how goofy and heroic Prince Phillip is.

#23. Toy Story (1995)
Pixar’s first feature holds up well even after twenty years of technological advancement, and that’s all due to the wonderful characters that were created in Toy Story. Woody and Buzz Lightyear are a mismatched buddy duo for the ages, and Andy’s room is populated with a whole gaggle of iconic and engaging characters. What I appreciate more now that I’m older is just how creepy this movie can be — both intentionally and not — and how Sid’s toys influence the sequels both in theme and design. What’s off-putting initially isn’t necessarily bad; it really is worth getting to know people you might find scary or awful at first sometimes.

#22. Mulan (1998)
I have a confession to make: I’m not that big a fan of Eddie Murphy. He’s done good work, though, and his talents are used well in Mulan. The story itself is based on the Chinese legend of Hua Mulan, and I love that Disney took great pains to serve the culture in which it’s based. There are so many things in this movie that are quietly progressive, and I think that Mulan herself tends to be overlooked as a great role model in the Disney canon. Her motivation is at once dutiful and personal, and the fact that the film takes great pains to show the work involved in her success is something I really appreciate. Also, the romantic subplot — if you can even call it that — is such a slow burn that it only becomes a possibility at the end of the film.

Jim_and_Silver

Almost perfect

#21. Treasure Planet (2002)
I cannot tell you how much I love this movie. The world building is truly special, with its mixture of storybook warmth and sci-fi elements that make it unlike almost anything else I’ve seen. Having an old-school schooner as a spaceship makes for an entrancing visual, and the wide range of aliens — with touches of recognizably animal traits — allows even the background characters to be distinctive and engrossing. But it’s the bond formed between young Jim Hawkins and the cyborg Long John Silver that makes this film so special; the montage of Jim learning how to be a sailor, set to “I’m Still Here” by the Goo Goo Dolls, is one of my favorite sequences ever. So…why is this film so low? B.E.N., the ‘zany’ robot played by Martin Short, single-handedly keeps this film out of the top 20. He is THAT annoying, and there is legitimately no reason for him to be included in the story. He serves no purpose beyond making everything worse. It’s so frustrating, because if it weren’t for him, I’m fairly sure Treasure Planet would have made my top five.

Tomorrow: the top 20 Disney movies of all time! The best film of Disney’s Golden Age! The best film of the Renaissance! The best of Pixar!! And the best films in the Disney Revival era! All leading up to my absolute favorite! Woo!!

 
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Posted by on August 10, 2017 in DisneyFest, Furries, Movies, Reviews

 

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