Twelve years of running the blog. Thousands upon thousands of posts.

The time is now.

The scheme is nearly complete.

I’m ready to pitch Hollywood my new live action Scooby-Doo reboot.

Literally as I wrote this I looked over my shoulder, and what did I see?

Our next celebrity superstar, that’s what.

Just look at that face. You can’t deny Tiramisu yearns for the spotlight.

Her range is endless. You want comedy?

Easy. The lady’s a natural.

You want drama?

Effortless. Tell her she can’t sit on your computer, and she reaches previously-inconceivable heights of pitifulness.

You want horror?

She’s a living cryptid. Dogs aren’t supposed to be this size, let alone shaped like this.

Her services are also available for the next big children’s-mascot-horror franchise.

So. If any of you out there happen to be high-powered Hollywood executives, give us a call.

You know who you are. Put down that wad of cash and pick up the phone.

But just in case you’re somehow so coldhearted as to say no to that face…

…at least we’re also prototyping a Tiramisu Presents: Things I Can Hold In My Mouth Like A Weirdo TV series.

It’s gonna be great. Think The Reluctant Traveler, but you replace Eugene Levy with a great dane, new countries with chew toys, reluctance with enthusiasm, and huge eyebrows with huge everything.

–Colin

…for letting characters walk alllllll the way out of frame so we can appreciate the full background paintings.

Okay, sure, it’s probably just to keep re-using a walk cycle as long as possible, but I still love it.

Y'see, I was very explicit a couple years back, apparently.

Cover the eyes of any small children around! Head for the hills!

But, as Tumblr finally updated the system…

…it did mean I got to add corroborating information…

…and the single best sentence I’ve ever had to type.

–Colin

“Tweening, or inbetweening, is the process of filling in the fast-moving, less-important intermediate steps between two key frame positions.”

Or, even simpler… and just as effective…

“Tweening frames – you know them when you see them.”

Not pictured: all the preceding times Shaggy’s ear transforms into his hair and back again.

*while checking folder of post material*

“…huh? What’s the scene? I totally don’t remember saving this.”

“…”

“…okay, you get a pass, past Colin.”

“That is a mighty-great silhouette.”

Scooby-Doo media of the era is always this unpredictable 50-50 split between cheesy mediocrity and the best atmosphere you’ve ever seen.

-future Colin

Vehicle breaks down at the most random times…

…always in strange spots, during unlikely circumstances… I mean, c'mon.

And then I picked my brother up to go to a show.

And 10 seconds later, the tire died.

And I got it fixed.

Whole car inspected, too.

And I left work the next day.

And the entire car died 2 minutes later.

While driving in some spooky woods at night.

I was Fred all along.

–Colin

…when you’re bein’ pursued by the evil mirror version of your best bud…

…you might hope you’ll get to check out…

…that awesome, glowy purple staircase…

…but instead…

…you just pass by it…

…six times while fleeing in a straight line.

(insert Severence endless hallways joke here)

…but every time is liminal background art time.

i have no words

Sound on.

Wonder if Scooby ever got to do this after a muddy walk… or was half as graceful.

–Colin

“It’s okay to start the lil’ dragon guy a bit into the frame, right?”

Ted the Animator: “Analog TV overscan will hide him, sure. There’s some leeway.“

Carl the Animator: “Good, ‘cause I already started.”

Ted the Animator: “…"

Carl the Animator: “What?“

Ted the Animator: “…not THAT much leeway, Carl.”

Carl the Animator: “There’s a plant! He’ll be proper obfuscated.“

Ted the Animator: “…he… kinda looks like a cross between a pickle and a blimp”

Carl the Animator: “An obfuscated pickle blimp, thank you very much.“

Didn’t realize at first that this empty background I grabbed…

…for its lovely, spooky ambience…

…was identical to this forced perspective shot!

…which, um… allows for some other fun.

Scrappy’s expression transitioning to “existential uncertainty” is a nice bonus as well.

Carl the Animator: “Gladly!“

Ted the Animator: “Elsa stands by the perfectly-normal window.”

Carl the Animator: “Yup.“

Ted the Animator: “We cut to lightning strike. Electrical glow.”

Carl the Animator: “Yup.

Ted the Animator: “We cut back…

Ted the Animator: “…to the now-cavernous, gaping maw of a window stretching down to her ankles.

Carl the Animator: “Yup.“

Ted the Animator: “…yup?!”

Carl the Animator: “The lightning was so intense, the window’s jaw dropped in disbelief.“

Ted the Animator: “A+ for effort, Carl, but no.”

Because some things…

…were never meant to be seen.

Or never should have been seen. Or you regret having seen– y'know what, never mind, frame advancement is a villain.