Latest Posts by crowliker - Page 2

Vincent Price and Peter Lorre

The Raven (1963) director: Roger Corman

Last night I had a dream I woke up to find that my house had been turned into a Smart House with every wall being a digital screen including the roof so I could see it even laying on bed and the Siri voice said “Don’t worry. You are perfectly safe in your Apple Smart Home™️” knowing I have a BIG phobia of intruders especially at night and it continued with “Let’s explore the neighborhood from the comfort of your home” so it opened google maps and accidentally zoomed past a shitty jpeg of the girl from The Ring standing outside my house and it said “ignore that”. woke up laughing

cooking mama castlevania spinoff cancelled 2020 e3 leak

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

TIL in 1915, San Diego hired a “rain maker” who used a secret mix of chemicals to “attract rain” for $10,000, payable if he filled their reservoir. It rained for most of January, destroying bridges, dams, and causing 20 deaths.

via reddit.com

hhitting him moodboard

Animation Night 173: Takashi Nakamura

Hi everyone! It's that time of the week again~

The day that puppets bite their gloves off.

Tonight on Animation Night we'll be taking a look at the works of Takashi Nakamura (中村 たかし).

Nakamura is a director who flies under the radar a bit over here, but for those who know him, he's a unique director - one who we've actually encountered a couple of times before, actually! He directed one of my favourite shorts in Robot Carnival [Animation Night 158] Chicken Man and Red Neck, in which the machinery of a city comes alive to have a violently strange Bosch-like party led by a strange red-robed robot, witnessed only by one salaryman on a moped...

...and if you remember when we looked into the three adaptations of Project Itoh's novels [Animation Night 127], he co-directed Harmony with Michael Arias, a powerfully understated film about a high tech biopower future and people who reject its utopia through a suicide pact. We also saw him in the Japan Animator Expo, with the charming Bubu & Bubulina...

But let's give a fuller story...

As an animator, Nakamura entered the industry very young, signing on as a colourist and inbetweener at Tatsunoko in 1974 - at which point he was only 16, an aspiring mangaka newly arrived in Tokyo. Working in Tatsunoko's distinctive 'industry within an industry', he was introduced to Hirokazu Ishino's 'Anidō' association, in which he was introduced to not just many important animators but also had the chance to see animation from around the world, from Norm McLaren to Japanese independent animators like Kenzō Masaoka. The two films that got him most excited were Takahata's Horus, Prince of the Sun [AN41] and Disney's Fantasia [AN15], both of which contained incredible flexes of effects animation.

(Incidentally, it makes me happy that a lot of the films Watzky mentions showing at Anidō showed up on here! Following in the footsteps of giants and all that.)

Once Nakamura got the animation bug he put aside his manga aspirations and became a key animator, going freelance a couple years later. In 1979 he saw Galaxy Express 999, and got to witness the insane 'liquid fire' effects of Kanada, and he instantly became a devotee - soon enough getting a chance to work with Kanada directly.

And by the early 80s Nakamura was definitely making a name, already working in animation direction and solo-animating entire episodes of Gold Lightan for Tatsunoko. The next couple of years he'd end up working on Nausicaa, Macross DYRL and the with Rintaro [AN53, 134] on Genma Taisen. By now he was specialising hard in effects (not unlike Anno!), and his work had become terrifyingly elaborate, look at this building collapsing into every single element or the clothes coming to the life under the power of a psychic. His work also inspired another incredibly significant animator to enter the industry - Kōji Morimoto, future cofounder of Studio 4°C - and they ended up working together on Genma Taisen.

Meanwhile on Nausicaa, Morimoto handled some of its most memorable scenes like the opening sequence where Nausicaa is pursued by the giant Ohmu. Once again you see his fascination with effects and debris, like the shot where the Ohmu explodes out of the forest, sending stalks flying in every directions. In Macross DYRL he animated the scenes of the gravity flipping sideways and a street's worth of stuff tumbling down all at once, elaborating on a scene by Itano from the TV show.

In short, if there's lots of bits of stuff flying around in a mid-80s movie, there's a good chance that Nakamura was involved somehow.

Such a focus made him a perfect fit for the 'realist school' developing in the late 80s - whyat you might loosely call the Otomo circle. You see his work on both Manie-Manie/Neo Tokyo and Robot Carnival, and naturally enough he ended up part of the team for Akira. Given what he'd already accomplished, could he somehow step it up another notch? You bet.

Going by sakugabooru comments, Nakamura's role in Akira was mainly related to two things: explosions, and animation direction. Considering how iconic the explosions in Akira are, and how challenging it was to animate Otomo's very solid and 3D designs... the success of the film depended a lot on Nakamura's insane drawing skills. Further, he was a kind of 'teacher' to the rest of the staff, such as Morimoto. But this was apparently the 'limit' for Nakamura, and after Akira he turned from creating animation for others.

And this point marks a major stylistic turn in Nakamura's work. Starting with the World Masterpiece Theatre adaptation of Peter Pan, on which he worked as character designer, he adopted a highly stripped-down, simplified style. With all the Akira goodwill, he was able to pull in many of the new stars of the 'realist' school, from Okiura to Ohira. But his work became a lot less flashy, focusing more on a Disney-like approach where it's about creating a consistent sense of life rather than individual flashy sequences.

The Hakkenden [AN 122] was one of his first chances to experiment with the new style as a director, with Episode 4 really kicking off the series' trend of completely redesigning the characters according to the sensibilities of each director. He also worked on the kinda obscure but gorgeous realist-school film Junkers Come Here [AN 118] as his own film debut, Catnapped!, progressed.

So Catnapped! This is a weird movie. Many people see a Disney influence in its style, and it definitely broke the 90s trend with a younger target audience - but Disney could never make a movie filled with as much imaginative strange shit as this one. Watzky points out how much Otomo influence there is in the direction - dense environments and elaborate multiplane shots, in contrast to simple character designs which afford a lot of movement. These designs allow great animators like Okiura [AN139] (who animated most of the finale) to really go to town. There's a great para in Watzky's article on the different directions taken by the 'realist' animators.

Catnapped is a pretty short film at less that 80 minutes, a revel of visual imagination; Nakamura's next film A Tree of Palme is just as distinctive but in a different direction. It's another take on the Pinocchio story [c.f. AN138], but a very 'dark, metaphysical' one, with its biggest inspirations apparently being French - Moebius and René Laloux [AN71, 93], with Mutsuo Koseki coming up with art direction capable of comparing to Laloux. The three year megaproject pulled in animator legends from across the board - Inoue, Ohashi, Ando, Masuo, Matsutake, Umetsu! (Count how many directed part of Robot Carnival).

The character designs of Palme look simple in stills, but once you see them in motion, they're anything but - incredibly volumetric and full of life and movement.

In the 2000s and 2010s, Nakamura ended up working with Colorido and 4C a lot (naturally enough given the connection with Morimoto!), increasingly making effective use of CG in his projects. This led up to The Portrait Studio (写真館 Shashinkan) (c.f. AniObsessive) in 2015 - an almost solo short film, with Nakamura writing, storyboarding, designing characters and doing all the key animation, which is a kind of slice through Japanese history through the lens of a photographer who just wants to figure out a way to get his client to smile.

Much like Palme, The Portrait Studio combines simple character designs (in a stylised picture-book look) with very precise, realist animation on 2s and 1s to lend them a sense of density and 'existence'. Moreover, unlike most anime, it uses the raw pencils as finished lines instead of redrawing them clean on a computer. The style might call to mind Otomo's Cannon Fodder, and in fact the two films share a colour designer. 3D is integrated with an unusual degree of skill and subtlety. It makes for a fascinating combination, a very memorable and impactful film for all its apparent simplicity.

So, that's our focus for tonight! We'll be watching Catnapped!, A Tree of Palme and The Portrait Studio, and getting to find out what the deal is with Nakamura - one of the Very Important Guys in the history of anime, influential on so many of my faves... but all too often overlooked by people who aren't like, huge animation nerds.

If that sounds fun, come join me at twitch.tv/canmom - going live in just a minute! I've been wanting to do Nakamura for ages, and today I finally found energy for a writeup. See you there~

theyre adding the stinky meal to mcdonalds

I'd like to say a prayer, how does it go?

Weird little girl and her weird magic mirror

Hello! This is Pési, the Sphinx puppet doll, ready to take on the day! He was born with red and black yarn fur, fully posable but weak in the neck due to a broken wire, and cannot hold his jaw. He has a paper heart and no bottom teeth.

He is 75cm long from nose to tip of his tail and 30 cm tall from front claw to his top of the head (probably longer, if he stretched his neck out, but he prefers keeping it tucked :^) )

Pési is currently discovering who he is as a puppet, so far he is learning how to read words and enjoying going to the garden

A secret fact is he has a brother named Beta-Pési, made out of a bottle, an old watch band, wax and styrofoam. He also has a sister named Píla, who is a prototype :3 Hope you like him!

i first met her in a dream

adhd tip you can replace a “meal” with up to 3 hours of “the app” but watch out

when i have a crush i dont kick my feet or twirl my hair instead i am in my kitchen at 3am pacing in circles with my hands clasped behind my back like a middle-aged divorced detective haunted by a cold case he just cant crack

Love Rainy Weather....

"Why are there so many female archers in fiction?"

Please forgive the clickbait-y title! This is a super complex and interesting topic that I barely scratch the surface of here, but I hopefully will be able to do more justice to things like this in the future!

Also, it's not the point of the video, but I had fun with the outfits in this- do you have any faves?

As always, please consider supporting me on Patreon if you can, or watching on youtube if not!

i don’t think mordecai and rigby were ever gay for each other but i do think many times rigby would be like dude if i was a girl would you want to fuck me and mordecai is like dude that’s weird. no. and rigby is all bent out of shape about it and in the middle of the night when they’re both trying to sleep he’s like why wouldn’t you fuck me if i was a girl. i’m cute right? or am i ugly and that’s why i’m single… and mordecai is like fine whatever i’d fuck girl you. stop bringing it up now. & the next day rigby is like fuck off muscle man i’m not ugly mordecai said he’d fuck girl me & then a portal opens to an alternate dimension where they’re genderbent like that adventure time episode and the voice of god is like mordecai you must make good on your word. fuck girl rigby.

when she says she doesn’t send nudes

nothing has been more important to my being queer than when i went to my first pride parade, got seperated from my group, had a panic attack about it and was sitting on the side of the road holding a tiny genderfluid flag and freaking out. then this six foot five drag queen in four inch heels appeared from literally nowhere and sat down next to me. i, this scared-shitless trans bi kid at pride for the first time, very nervously told her she looked pretty and i told her my name and that i got lost and didn't feel like i should be at pride and she held my hand and said "oh, honey, everybody deserves to be here, especially you. pride is for everybody who's ever gotten lost, who's been scared of who they are or where they are. you think we never been scared before? pride's for you, honey, because you're scared. you don't have to be proud right now, but you're gonna be one day, honey, i'm sure of it."

i found my group soon after that and i never saw that queen again but to this day i am convinced i met an angel.

so yeah. pride is for you. pride is for all of us.

So, let me guess– you just started a new book, right? And you’re stumped. You have no idea how much an AK47 goes for nowadays. I get ya, cousin. Tough world we live in. A writer’s gotta know, but them NSA hounds are after ya 24/7. I know, cousin, I know. If there was only a way to find out all of this rather edgy information without getting yourself in trouble…

You’re in luck, cousin. I have just the thing for ya.

It’s called Havocscope. It’s got information and prices for all sorts of edgy information. Ever wondered how much cocaine costs by the gram, or how much a kidney sells for, or (worst of all) how much it costs to hire an assassin?

I got your back, cousin. Just head over to Havocscope.

((PS: In case you’re wondering, Havocscope is a database full of information regarding the criminal underworld. The information you will find there has been taken from newspapers and police reports. It’s perfectly legal, no need to worry about the NSA hounds, cousin ;p))

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Wait a second, am I tripping balls?

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