The Coon & Mysterion: "The Coon" is the second episode of the thirteenth season of the American animated television series South Park. In the episode, Cartman poses as a superhero vigilante named "The Coon", who grows increasingly jealous of the popularity and success of a rival superhero named "Mysterion".Donning a disguise modeled after a raccoon, Cartman becomes a vigilante dubbed "The Coon", who attempts to wipe out crime in South Park. Though Cartman tries to raise awareness about The Coon through word of mouth, nobody pays much attention to the Coon's efforts. When he reports "crimes" (such as mistaking a man innocently trying to kiss his date for a rapist) to the police department, he is threatened with jail time and snubbed off. During class, Cartman tries to hype up an appearance from the Coon, saying he will be on roof of a Walgreens later that evening. Cartman (as the Coon) shows up to the spot to find another child superhero named "Mysterion", who is far more successful in garnering appreciation as a crime stopping icon from the police and South Park citizens who want to know just "Who is Mysterion?" Cartman is angered by his lack of popularity and the attention Mysterion is receiving. The Coon tries to discover the identity of Mysterion, but only finds more questions when Wendy suggests that it may not necessarily be a boy. To which Carthen says "Fuckin bitch" after gasping.
Coon decides to rid the town of Mysterion, enlisting the help of Professor Chaos (Butters) and his sidekick General Disarray (Dougie). Unlike the Coon, Professor Chaos and General Disarray have become as familiar to the residents of South Park as Mysterion. Butters also wants to know the identity of Mysterion but can only narrow the list of suspects to the boys from Mr. Garrison's 4th grade class whose shapes do not differ greatly from that of others. In contrast, he has nearly pinned down Coon's identity to a few fat celebrities, and Cartman. In a scheme to uncover Mysterion's identity, the Coon convinces Professor Chaos to threaten the destruction of a hospital unless Mysterion reveals his identity. After the Coon plants the TNT and leaves to buy detonators, Mysterion unexpectedly arrives. He points out that this is not Professor Chaos' usual style, and fights Professor Chaos and General Disarray on top of the building. A crowd forms below and cheers on Mysterion as the police take no actions, believing that their bullets are no match for Professor Chaos' aluminum foil armor. Dramatically, the Coon appears to fight on the side of Mysterion, with the hopes that he too will be hailed as a hero. At that point, Professor Chaos and General Disarray run off in defeat. After their victory, the Coon convinces Mysterion to unmask himself by claiming such threats to public safety will continue until Mysterion's secret is revealed.
Despite the threat of imprisonment, Mysterion unmasks himself, showing the television viewers only the portion of his face that looks similar to almost all of Mr. Garrison's 4th grade class. The crowd, however, is shocked to learn Mysterion's identity and, much to the regret of all except Coon, who says that he knew who Mysterion was, even calling him out on it at one point (though this helps the audience little as Cartman claimed that practically everyone in his class was Mysterion at times), Mysterion is hauled to prison. With Professor Chaos, General Disarray and Mysterion defeated, Cartman now perceives that he is the superhero in South Park and that every town should have a Coon like him.
Hannah Yata: The pictures forming in my head are ones of domination over nature, the struggle of animals in a changing world, and the effects of a changing world on the animals and humans. Women became the metaphor for mother nature as wild and sexual thing exploited and explored in my work, and animals became the subjects of examining abnormalities and evolution. Taking ideas that I had learned from ideas on feminism, I began to draw parallels in our ways of controlling and objectifying women to how we also think about the earth and its resources therein.
Jean Pierre Arboleda: The love for animals and nature inspires me to make work the addresses issues of war, environmental toxicity, and evolutionary change. the subjects on the canvases mutate and morph, suffering from destruction and chaos. amidst the chaos, i tie in societal issues and and re-contextualize them with animals as a critique against humanity: my animals build bombs and machines to gear up for a war in efforts to exterminate one another, other animals start to become one with the very machinery they build- sprouting wires and mechanical parts. it is my concern, in my work, that i address our practices of amassing weapons, the extermination of each other, and the real value of the science behind it.
New York Times
Toronto Blue Jays/Jays Care Foundation
Case Western Reserve University
University of Dayton
The Day I Hit a Home Run Enterprise
Idea Center at Playhouse Square
Design By Humans
_Kent State University (KSU)
School of Visual Communication Design
Bachelor of Science + Master of Fine Arts
Graduated Summa Cum Laude
Major: Visual Communication Design
Thesis:Painting heroes: using illustration to improve the standing of baseball in the inner city - Worked with Reviving Baseball in Inner Cities (RBI), Major League Baseball (MLB) and the Boys & Girls Club to develop a series of conceptual portraits designed to increase interest in baseball, among inner-city children, by highlighting the personal narratives of contemporary African-American baseball players.
Virginia Commonwealth University, VA (Summer 2003 + 2004)
_Illustration Master Class 2013
Amherst College, MA
Mighty Mouse is an American animated anthropomorphic superhero mouse character created by the Terrytoons studio for 20th Century Fox. The character made its first appearance in 1942 (originally named Super Mouse), and subsequently appeared in 80 theatrical films produced between 1942 and 1961. These films later appeared on American television from 1955 through 1967 on the CBS television network on Saturday mornings. The character went through two later revivals, once by Filmation Studios in 1979, and again in 1987, by animation director Ralph Bakshi, who had worked at the Terrytoons studio during his early career.
Mighty Mouse has also appeared in comics and other media.
Born in Fairfax Virginia, Henry Schreiber spent his childhood in the suburbs of Washington DC, the mountains of West Virginia, and the gulf coast of Florida. After receiving his MFA from the University of Central Florida, Schreiber established a studio on a family farm in the Appalachian Mountains. Following his two years of learning the ways of the groundhog, he packed up his studio and moved to Charlotte, NC.
Born and raised in Buffalo, New York, Craig LaRotonda received his BFA in 1992 at the State University of New York at Buffalo, where he studied with the internationally renowned illustrator Alan Cober. Currently working as a professional painter, illustrator, and sculptor, Craig divides his time between each endeavor.
LaRotonda's richly layered paintings are provocative; his signature iconic style is reminiscent of Renaissance and Byzantine art while remaining boldly contemporary. His work possesses a dark narrative and grotesque elegance. These distorted creatures are captured in a timeless space — surviving the brutality and beauty of existence. Craig's ability to make deformities and oddities become aesthetically magnificent is what makes his art so unique.
His paintings and sculptures incorporate mixed media and aging techniques, ultimately creating surreal figurative works. LaRotonda's artwork graces the walls of famous homes including collectors in France, Germany, Norway, Mexico, Canada, and the United States.
Through his relationship with Film Art LA, his acclaimed art appears prominently in television and five feature-length motion pictures - including the Academy Award winning film "Traffic" directed by Steven Soderbergh, and "The Other Guys" with Will Ferrell and Mark Wahlberg.
LaRotonda's striking and unique art has been featured in Time Magazine, The Washington Post, The Village Voice, Juxtapoz, The New York Times and numerous other publications. This commercial work has received awards from the Society of Illustrators (in New York and Los Angeles), Communication Arts and Print Magazine.
Exhibitions include solo shows in San Francisco, Los Angeles, New York City, and Paris. Craig also exhibits regularly in group shows nationally and abroad.