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I don't really have a story for my fursona, but as far as I know it would be fairly original. I am not sure on all the details and I would probably have to work with an artist to get a better idea of what I was looking for. The basis is like a minotaur with wolverine accents. Like a bull head with wolverine teeth and mane. Not sure about colors or patterns yet, let alone a standard outfit he would wear.

Are there examples of people describing their fursonas for ref sheets anywhere so I could get a better idea of what I should be supplying when I finally do find an artist I want to work with that is doing commissions? Frankly my artistic talents are beyond lacking, but would it help to try and make some sketches to give some very rough ideas? Considering this is fairly different I want to make it as easy as I can on the artist to get my idea correct and detailed so all they would have to do is draw. Any advice welcome.

submitted by Ralanost
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So there is this series called “Swat Katz” which was produced in 1994-1995 and yeah I watched it. But, it seems lots of other furries did too.Recently I was contacted to post about this fandom site. Many furries want the series to get rebooted and I agree. I think it might come out like “thunder cats” and have a good out come. Check out the facebook page and join for support to the cause. If they get enough peeps then it’s possible the creator will start it up again.

My boyfriend is a vector artist. I was just trying to see who would be interested in these. He's thinking about opening up for commissions. Here's an icon he did for me: http://www.furaffinity.net/view/9281572/

submitted by Sasukesis247
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So if you DO care about the art shows winners for MFF 2012, just so you can see who made top of the line. Of course this does not mean that there are still some amazing artists out there who deserve a special thanks. I find some artists just do not want to be as big, but do an AMAZING job at their work. But , without further delay MFF2012 winner’s list: Midwest FurFest and the staff of the Art Show would like to thank all of the artists who displayed their work with us and all of the attendees who bid on the art in the show. And a special thanks goes out to those of you who took the time to vote on your favorite art piece. The Art Show Award winners this year are: Amber Hill/Vantid – Her piece “Sea Wolves” won the “Best In Show” award chosen by you guys, the attendees.
Our Guest of Honor, Jennifer Miller/Nambroth won the “Artists’ Choice” award (which was voted on by the artists themselves) with the piece “A Special Kind of Blue”.
Kellic Lamphere/Plaguedog’s piece “Silver Fox” won the “Chairman’s Choice” award.
And Jeff Beedon /D.Bruin won the “Director’s Choice” award for his charcoal “Lion Portrait”.

All 4 award winners received a plaque for their accomplishment and will also have a rollover basic membership for Midwest FurFest 2013!

In addition, the Art Show Staff also awarded ribbons for “Staff Picks” — each staff member chose one piece that they felt deserved some special recognition. The winners of the “Staff Picks” were:
Amber Hill/Vantid
Chris Dame
Stephanie Lynn
Ruben Avila
Sandra SanTara
Sarah Clemens
Foxfeather Zenkova
and Rebecca Frey/BushyCat

Congratulations to all of the winners, and thanks once again to all of the artists!

So I’ve been gone for MFF2012 and now I’m back so, I’m sorry for the late postings but I did needed to do it. Here is the famous furry animation of  Krispy Animations with this one featuring an e-mail scam. Not much for the sexual side in this one like may others before. Again, it’s quick and to the point just like everyone wanted for those with the short attention span.

hey everyone. so how many of you were at MFF this last weekend?

submitted by sissypaw
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Today we take a chance to go over some ideas that weren’t exactly reviewed very well in our past weekend episodes on bible study. If you liked the last two weekend podcasts, you’ll definitely enjoy this.

Hosts: Levi, Wolfin
Leap of faith picture by: Paracaidismo Chile

Daily Show: November 20, 2012 - Today we take a chance to go over some ideas that weren't exactly reviewed very well in our past weekend episodes on bible study. If you liked the last two weekend podcasts, you'll definitely enjoy this. - Hosts: Levi, Wolfin

Text goes here.

Some wise words from the very talented Nym who makes a good living off of what she does. Definitely worth taking into consideration. Even if you arent an artist its still worth giving a read. The more you know!

http://eskiworks.tumblr.com/post/24598694135

Also, in the slim chance you dont know who she is you check out her work, shes pretty amazing:D

submitted by Lucaloo
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Well guys I'm relatively new to the furry community but I have always seemed to have a connection to anthropomorphism. I'd like to say I'm really happy with how welcoming and friendly this community is. I've never met a group of individuals as nice as you guys. I am looking forward to interact more with you guys. :) Have a nice day guys and if you want to get to know me more don't be afraid to message me or add me on Facebook. :)

submitted by Awesomefrancis
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Hey r/furry, my girlfriend decided to do super-cheap commissions during the holiday break, to help pay for school and keep herself occupied. Now's your chance to get your character drawn, for pretty incredibly low prices. She primarily does feral, but has done plenty of anthro as well.

Please keep requests SFW for this round (If nsfw is your thing, let me know and perhaps that can be arranged, but not in this batch)

Here's a link to the journal containing the information

submitted by zaelyx
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Shirokuma Cafe literally translates from Japanese as Polar Bear Cafe. It’s a manga series created by Aloha Higa, following the story of a little coffee house in Japan — run by a polar bear, and frequented by any number of zoo animals. The three main characters are Polar Bear, lazy young Panda, and lovesick Penguin. (Most of the animal characters in the series are simply naked after their species.) The manga has been running since 2008, but just this year a new anime series based on it came to TV thanks to Studio Pierrot. You can find out more at Anime News Network, or check out an actual episode at Crunchyroll.

image c. 2012 Studio Pierrot

Well, that didn't go too badly...  I think.  A last minute change meant that all the jingles and sound effects were powered from a second PlayStation Portable (which belongs to Felis, but is on extended loan to TK).  So that's all non-cast audio provided by PSP consoles.  This episode features TK, Xavier, Felis, and Hedgie.  Backing music by Sanxion7.

For Done and Dusted:
Hedgie gives us his opinion of Sonic and All Stars Racing: Transformed.
TK talks about Tetrisphere.
Xavier and Felis waffle on about Borderlands 2.

Television Talk:
Merlin
Doctor Who segments of Children in Need

Question of the Week:
What game from the past would you like to bring back?

 

Download the podcast - Watch the TubeCast

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Season 7 Episode 01 Podcast Uploaded

TigerTails Radio - Season 7 Episode 01
Well, that didn't go too badly... I think. A last minute change meant that all the jingles and sound effects were powered from a second PlayStation Portable (which belongs to Felis, but is on extended loan to TK). So that's all non-cast audio provided by PSP consoles. This episode features TK, Xavier, Felis, and Hedgie. Backing music by Sanxion7. From: TigerTails Radio Views: 0 1 ratings Time: 02:10:13 More in People & Blogs

If old-school Disney gets you all tingly (in whatever part of your body, no judging), then Epic Mickey 2: The Power of Two is likely on your radar, or even in your possession already. It’s a fun little platformer that never quite hits greatness due to some technical hiccups and design stumbles. But to make sure you don’t make it worse for yourself, here are a few helpful tips to getting the most out of Epic Mickey 2.

Don’t go back and play Epic Mickey 1.
“But I need to know the mythos!” you cry. But honestly, if you missed the first game, oh well. It’s really not a game that is worth going back for. Besides that everything that made the first game unique and interesting is in Epic Mickey 2, along with a story recap, so there’s nothing you’ll actually miss.

Play Epic Mickey 2 on the Wii, or with a PlayStation Move, but NOT on the Xbox 360.
Epic Mickey 2 is a Wii game, pure and simple. It was developed for the Wii remote, and the port to dual analog controls is shoddy. Bluntly, the 360 (and PS3 Dualshock) controls play like garbage. The reticule resets or bugs out, and controlling the camera is slower and less intuitive.

Get a friend.
There’s a reason it’s called Epic Mickey 2: The Power of Two. The redundant sounding title emphasizes the co-op gameplay, which is in every second of the game. Oswald is a helpful and necessary member of the team, and the game is most fun when another person is controlling him. Combos are easier, exploring is more thorough, and the experience is more satisfying.

Frankly, Epic Mickey 2 is not a great game, but it has it’s share of fun and charming moments. And for a Disney fan the amount of detail and nostalgia inducing references will add an extra level of enjoyment. Just follow these tips to make sure you make it as fun as possible.

Tweet This Post

We are live, so check out the Listen page for the aduio (like a real radio) or check our YouTube account (www.youtube.com/tigertailsradio) to watch the show live!

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The Black Stallion, Carroll Ballard’s 1979 debut feature, is a great film.

It’s based on a series of children’s books but isn’t simplistic or pandering. It’s meditative, beautiful, engaging and – of course – great for any furs with an affinity for our equine friends.

The movie opens with a young boy, travelling on a foreign ship with his father. The ship is carrying the titular black stallion, a beast with a questionable temperament and unquestionable power.

There is a storm. The boy frees the horse from its restraints before both are thrown overboard. The ship sinks. They find themselves on a deserted island as the only apparent survivors, marking the end of the prologue and the beginning of the movie proper.

The first half of the film is a nearly wordless tale of survival. The weathered pastels of the island and the primary blue of the ocean are stunning. This landscape acts as an ancient canvas for the emerging relationship between boy and horse.

Ballard allows the story to develop naturally, with long scenes showing the boy adjusting to his wild surroundings. Such unhurried minimalism is comparable to the quiet, tense scenes of exploration in 2001: A Space Odyssey (1968): the boy’s quest for survival has parallels in Kubrick’s apes discovery of tools, or Floyd’s moonwalk to the excavated monolith, or Bowman’s slow discovery of Hal’s treachery. Like Kubrick, Ballard simultaneously evokes tension and wonder with The Black Stallion, although never with the thematic reach or artistic pretension of 2001.

The second half of the film, following the rescue of the boy and the horse, is less effective. But more on that in a moment.

The relationship between the boy and the horse is one of codependence. The boy is saved from probable death twice by the stallion. Firstly, after being thrown overboard from the ship, the boy grabs the horse’s restraints and is carried to the safety of the island. Secondly, on the island, the horse tramples an aggressive snake.

The boy saves the stallion from probable death twice. He frees the horse from its restraints on the ship and again on the island, where the horse becomes trapped in a rocky outcrop.

The growing trust between the two leads to The Black Stallion‘s best scene, where the boy attempts to feed the horse by hand. If I can anthropomorphize the horse for a moment (and I’m sure readers of [adjective][species] won’t mind), I’d argue that this scene shows the greatest acting performance ever by a horse. It is certainly a triumph of animal handling. The horse is clearly nervous as he approaches the boy, pushed and pulled by the competing emotions of anxiety and hunger. His slow approach to the boy’s offering is filmed from a distance: a long single shot. The scene is amazing and natural and joyful.

The boy and the horse, doomed to early death alone, combine to thrive on the island. The horse’s power provides a blunt instrument against the forces of nature, protecting them both from danger. The boy’s resourcefulness helps them survive day-to-day, providing food and shelter. The boy is rightfully fearful of the highly-strung stallion initially but, as the two help one another, respect grows into trust which grows into a tight bond.

The scenes showing the friendship between the boy and the horse are my favourite in the whole film. The two, agents of one another’s needs, start to find island life easy. They play: they swim together and the boy (eventually) learns to ride the stallion. These scenes – the stallion’s enthusiasm and the boy’s laughter – wordlessly depict the joyfulness of their bond.

From a less life-affirming perspective, it’s possible to interpret the stallion as an agent of death. In the film’s chronology, he seems to be the arbiter of who lives and who dies. Ballard’s films often starkly depict death, and this is the case in The Black Stallion, which opens with the death of the boy’s father and presumably the rest of the ship’s passengers and crew.

The boy survives the shipwreck because his obsession with the horse draws him to deck to cut the stallion’s restraints. As the horse jumps overboard, the boy is tossed over by the storm, saving him from the boat’s subsequent explosion. Later, after the boy frees the horse from his tangle in the island’s rocks, the horse saves the boy from the snake. In both cases, the boy’s survival is directly associated with – and arguably caused by – his selflessness towards the stallion. The horse, as Death, shows mercy towards those that show mercy to him.

The same events could, of course, be interpreted as a representation of the power of friendship. However I prefer the horse-as-manifestation-of-Death theory, and I point towards the stallion’s black coat as evidence.

It might be a stretch to suggest that The Black Stallion is an exercise in karmic vengeance, but the horse is shown to be wild, powerful, and dangerous. In an early scene on the boat, the horse is shown fighting against his handlers as they corral him into his stall. The boy is fascinated by the stallion’s power and becomes drawn to him, firstly by supplying illicit sugarcubes, and ultimately cutting him to freedom in the storm.

On the island, the horse is still dangerously flighty. However the boy’s obsession means he does not see the horse as a threat, and his persevering kindness is rewarded. Their friendship endures when the boy is eventually rescued: the horse swims out to the boat, convincing the rescuers to bring the horse on board as well.

Back at home, the boy is reunited with his grieving mother, and the movie becomes a different beast. The stallion escapes from their yard; the boy meets possibly the most egregious magical negro in cinematic history (who comes with magical and totally gay horses); the horse is found in the barn of a retired jockey; they enter into a horse race for no obvious reason other than to give the film a convenient, and clichéd, climax.

The retired jockey is played by Mickey Rooney, who is most famous for hamming it up as a cherub-faced child actor in the 1920s and 30s. His brand of ham has aged poorly, and his scenes in the The Black Stallion are the worst of the film. (Kelly Reno, as the boy, comfortably out-acts one of the most celebrated child actors of all time.) While researching this article, I was shocked to learn that Rooney was nominated for an Academy Award for The Black Stallion. It must have been a sympathy vote. He did not win.

For all the lameness of the second half of The Black Stallion‘s plot, it is still a beautiful film. The small town in which the boy lives is a perfect slice of rural America. And there is a racetrack scene – a reporter is invited to see the stallion go through his paces – set in a night-time cloudburst that stands alongside the best moments of the film.

In this way, the cinematography of The Black Stallion is comparable to the craptactular films of Michael Bay (Bad Boys, Pearl Harbour, Transformers). Bay’s films may be irredeemable nonsense, but they are beautifully shot. A Bay film, randomly paused, will often be composed and striking. (It’s a pity Bay and his team don’t put as much effort into the plot, direction, continuity, or assessment of his audience’s intelligence.) The Black Stallion, even in it’s lowest Rooney-filled moments, is always pretty.

The climactic race scene of The Black Stallion is almost Bay-worthy in its preposterousness. However the horseback scenes, shot largely in close range around the boy and the horse, are vivid and moving in their depiction of the stallion’s speed and power. A similar technique is used in The Club, a 1980 film that follows an Australian Rules team. By filming close to the players and bringing their footfalls to the front of the sound mix, the viewer gets a visceral sense of the footballer (or horse) testing himself to his thoroughbred limits. These scenes, in The Black Stallion and in The Club, share the athlete’s perspective with the viewer like no other.

Notably, and laudably, The Black Stallion is not a coming-of-age story. The boy is shown to be self-reliant from the beginning of the film but is very much a child throughout. His journey, starting with the death of his father and ending in a horse race, is defined by his relationship with the horse.

Both boy and horse are juvenile. They complement one another and help one another survive, thrive, and succeed. The boy is creative and the horse is powerful: they are, each, half a man. Together they are a match for the world.

The Black Stallion, then, is a celebration of childhood. One day the boy will grow and become strong and powerful himself, and he will no longer need his other half, the horse. However this is not the subject of the film. In The Black Stallion, both boy and horse are free to enjoy and explore their childhood, through their friendship.

This is the first of four posts on the films of Carroll Ballard. The other three articles will come irregularly, as I write them. All four movies are great. Choose your species and join us:

- The Black Stallion (horse)
- Never Cry Wolf (wolf): coming soon
- Fly Away Home (goose): coming soon
- Duma (cheetah): coming soon

submitted by xandertheblue
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submitted by ThePiachu
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