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The main thing that interests me with Hazbin is that it is an impressive achievement for something produced independently, and I am very much in favour of indie, small scale and diy efforts. But at the same time I get the impression that it is the type of project that will never be fulfilled or cohere into an actual story without some sort of studio authority putting constraints on it, setting up an organised production process and generally cracking the whip. Mainly because its characters, general sense of humour and style give off a vibe I strongly associate with "deviantartist's cherished Original Character". The type young amateur artists create and post endless drawings and descriptions of without ever producing an actual work to contain, beyond what amounts to fan art of their own character. That association is strong enough that even while being impressed with what they managed to produce so far I still had some skepticism that it would ever become anything more than an unusually diligent and high effort version of the deviantart OC showcase: pushing the more typical 'drawing with annotations describing their personality' to the level of 'animation with a song describing their personality' but never developing beyond repeated iterations of that into an actual show. I was hoping that skepticism would be proved wrong though, and now that it has been picked up by an actual studio at least something will have to come of it.
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Aug 8, 2020 15:45
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Robindaybird posted:https://www.youtube.com/watch?time_continue=3&v=Bz8l935Bv0Y&feature=emb_title Seeing the Supergiant art style animated just reminds me of playing Pyre and thinking it would be wildly successful as an animated series, if only a western visual novel meets sports game would receive the same adaptation treatment Japanese visual novels often do.
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Aug 19, 2020 08:34
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Hedrigall posted:Now I’m seeing if don bluth can make penguins horny This lead me to rediscover that don bluth had a penguin movie, which in turn lead me to realize that the foreign language animated penguin movie from my childhood that I have been trying to find for years was actually a false memory mixing the intimidatingly large and aggressive leopard seal and killer whales from 'The Pebble and the Penguin' with 'The Adventures of Lolo the Penguin' to create a non-existent movie that is much better than either of those films. Both feature some surprisingly dark/kind of scary moments with those animals (and several other situations in Lolo's case), getting caught by humans, and befriending a penguin from one of the yellow crested breeds. The less annoying characters and comparatively mature/bleak story of Lolo but with the danger/action scenes animated like the predators from Pebble would have ruled. Ccs posted:the romance between the two protagonists felt like rather shallow puppy love An almost universal problem with romance in anime, possibly a consequence of the other almost universal problem with anime (age of the main characters).
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Oct 18, 2020 13:13
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I just got back from seeing the 4K remaster of Akira in IMAX (well...technically the knockoff brand 'VMAX'). I guess it goes without saying how great Akira is, but it had been long enough that I had forgotten. It doesn't just "hold up", it still kind of feels like it was made sometime in the future rather than 30 years ago. I can't imagine what it was like to experience it upon release. The pacing is about a million times more intense than what was normal for movies back then, and even now our movies might match the pace but definitely aren't rapidly delivering as many distinct visual moments one after the other. I can't tell how much 4K improves things, but it definitely makes for a great cinema experience. The remastered sound especially is something worth getting blasted into your eardrums by cinema speakers.
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Oct 27, 2020 15:30
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Both the movie and book were among my favourites as a child. Soothing-voiced spider lady sets a very high bar for friendship. Although her and Wilbur's relationship fits into the same thing as my interpretation (posted waaaaay upthread or maybe in the last one) of the Ralph/Vanellope relationship: that even though they call each other friend its thematic purpose is to replicate a parent/child dynamic. Charlotte's Web is probably the best execution of what a lot of children's media used to aim to do–introduce the concept of and get children comfortable with death. While most kid's movies focus on the "parent's sudden death while you are still young" angle (maybe intentionally targeted towards kids who have experienced that exact scenario), Charlotte casts a wider web: the passage of time and aging eventually means that death is not a tragic accident or injustice but rather an inevitability for everyone, even you. Its solutions to that existential terror also go beyond the norm: that there is beauty in impermanence, that change and growth involve losing treasured things but gaining new joys, that the death of one thing is necessary for the life of another, and that using your life to improve (or create/give) another's grants it meaning beyond its limited span. I think most modern childrens media isn't even really using its sudden tragic deaths to teach valuable lessons, mainly using parent's death as a way to make the protagonist more of an individual/special or fridging characters as motivation for the protagonist. Or in a lot of cases seems to be thematically purposeless–simply providing a cheap emotional hook, being to sadness as jump scares are to fear. Going back to what people were talking about earlier, I think that is probably a result of the increasingly commercial development process, true of all companies but especially obvious in the case of Disney–where any production is put under the commerical burden of pleasing the shareholders of a company with an economic value and impact larger than that of many nations (or for the other companies–staying viable in a market dominated by such an entity). Whereas Charlotte's Web illustrates that animation wasn't always as commercialised. Its story was created in book form and the movie presents it as is with no changes to increase its sales potential or appeal beyond adding songs. As a book first it had the benefit of a far smaller production cost to profit ratio, creating less pressure that could influence the creative choices, as well as shielding it from the demands and input of non-creative contributors. Finally, even when made into a movie it had no merchandising tie-ins or IP extension ambitions (although several decades later a different production company released a direct to video sequel and later on yet another released a live-action/cg remake and video game tie-in). Alternatively, rather than being a commercial change it is down to a cultural/psychological change. Teaching children to accept death requires adults who have themselves accepted death. There are less of those now, as well as less acceptance even of aging. Certainly, the "value other's lives so much you aren't consumed with fears about your own" message is less likely to be held or sell in an as individualised and self-centred culture as now exists. But that cultural shift in how death is viewed is better argued for in Barbara Ehrenreich's 'Natural Causes' than I can manage while wasting time purposelessly blabbering about a cartoon I liked as a kid. Moon Atari fucked around with this message at 13:34 on Oct 31, 2020 |
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Oct 31, 2020 13:32
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~Coxy posted:I really hope that Charlotte's Web 1973 gets a HD remaster for the 50th anniversary. It was produced by Hanna-Barbera and Sagittarius Productions so licensing/ownership issues might be complicated. Hanna-Barbera was absorbed by Time Warner and who knows what happened to Sagittarius. Paramount was original distributor and seems to still have some ownership of the property, releasing both the direct to dvd sequel and live action adaptation, but the 2006 live action version was made under the auspices of being an adaptation of the original book rather than a remake of the 1973 film (despite being far looser with the source material than the original movie). It is unclear whether they would have full control over or make enough of the profit from a re-release for them to give it the treatment it deserves. Their DVD release seems to be of the low effort clearance bin variety, with cover art looking like one of those off-brand knockoffs of more popular products used to trick people. My other Charlotte's Web related thought: George Miller wrote, produced and directed or co-directed both Babe and Happy Feet. Babe is based on its own book but definitely seems to take some inspiration from Charlotte's Web beyond just the animal it focuses on, including things like the pig demonstrating value to its owner through the actions of other animals it befriends and culminating in receiving an award that ensures it won't be killed. Happy Feet seems to take some degree of inspiration from another E.B White book 'The Trumpet of the Swan', about a swan born mute and as such unable to attract a mate until he learns to play the trumpet and use songs to compensate. I've never heard Miller acknowledging any inspiration from E.B White though, or even many people making this connection. Maybe just a coincidence, but I wonder if he would have made a Stuart Little inspired kid's movie if that hadn't already been covered.
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Nov 2, 2020 11:31
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Hedrigall posted:Here’s a Filipino furry movie coming to Netflix, it is not for kids It's going to be a real monkey's paw situation for me if in the future more adult-orientated animated movies are made, but only because they know there is a profitable furry market to be captured. That one looks like it might be okay though. It might be a borderline case but I still differentiate between 'has anthropomorphic animal characters' and 'furry'.
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Nov 6, 2020 09:45
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'I'm Thinking of Ending Things' has a nice little old school hand-drawn animated sequence produced by Rosa Tran, who also produced Anomalisa. Available here if you don't mind spoilers or have seen it already. It was inspired by this creepy old Dairy Queen ad that Kaufman was unable to licence, probably because Dairy Queen would surely not want to be used in the context their fictional stand-in is used throughout the film. The other animated thing (trying to avoid spoilers) that follows apparently also came about due to limitations, because the live action version could not perform. I wish they had chosen or had the budget for realistic CG since it would have been a hell of a lot more unsettling. Also, as someone who spent their teens working in a nursing home I really wish someone would develop decent old age CG to bring the true horrors of advanced aging to the screen. Makeup doesn't even come close and anyone who can still act doesn't look anywhere near that bad. Even in contexts that aren't meant to be upsetting it still sucks because it gives people very unrealistic expectations for how people look at the end stages. I imagine development in that area is aimed at making people look younger rather than older Pick posted:Doing a tiny theatrical release is probably way to try to sneak some awards A few of the more prestigious straight to Netflix movies have been pulling that trick, but the Academy and others like them are defensive enough to box them out anyway. It feels like they might ease up on things this year though, assuming they don't just cancel awards season. Robindaybird posted:Anyone going to the theaters at any point before vaccines are widely distributed is loving stupid. Depends on where you are located. Except even if you are somewhere safe the selection of new movies sucks since they won't release things to limited regions at the risk of piracy, spoilers or negative reviews reducing their audience when they do go global–especially if the initial regions aren't populous enough to be particularly profitable like where I am. I'm surprised they didn't release Mulan to cinemas here at the same time as it went up on Disney+ though. Maybe since there would be reduced turn out anyway they decided that it would ultimately be more profitable to use the straight to streaming release to ride corona coverage into a newsjacking advertising campaign for Disney+.
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Nov 26, 2020 23:54
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My pitch for a Space Jam 2 that unfortunately can never happen due to licensing issues would be 'Looney Tunes Vs Muppets'. Both groups are depicted as washed up and irrelevant, playing for a prize that amounts to the opportunity to revive their dying franchises (offered by aliens so the 'space' part makes sense). Both teams get their own sports star. The idea is that both have movies where they interact with real people and both have genuinely declined in relevancy with modern children. It might also work if they played a multi-sport competition best of three. Keep basketball, maybe add soccer since it is the most popular sport globally, and some third sport that is as different as possible from the other two. Ideally a team sport to include as many characters as possible but doubles tennis might be good to hone in on a few characters. Bugs and Lola vs Kermit and Miss Piggy. Or maybe the looney tunes mixed doubles team could be Daffy Duck and cross dressing Bugs for greater comedy value. Also allows for more sports stars. Two for each sport. Not much time spent with them but that works for people who can't act. Just say that they are involved because they have happy childhood memories of whatever team they are on.
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Dec 17, 2020 06:04
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You obviously can't have one team beat the other as it would upset fans. Instead you have each team win one of the first two games, which you would have to do anyway for the final act to have any stakes. But by the third they have bonded (show some fun inter-franchise pairings): both realise separately that it is wrong to be so hungry for fame that they are willing to destroy the other's chance so decide to draw the final game. Tension remains as either could betray the other and go for the last minute win (including individual more devious or greedy characters betraying the deal the rest of their team supports). Maybe keep the rest of the game exciting by making it about each team trying to convince their potential betrayers not to at the same time as they are feigning that they are still competing (with some putting on a good performance and others being very obvious). Both are denied the prize, but find renewed relevance with a new generation of children who watched their competition, getting meta with it as the movie achieves the same goal.
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Dec 17, 2020 06:28
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Pick posted:who smooches Gonzo and foghorn leghorn. -edit: Granny is seen on a date with both Statler and Waldorf, who continually flip between being flattered and blushing and heckling her romantic/flirting style, but she cannot hear this due to forgetting her "hearing aids" (revealed to be an ear horn). Towards the end of the movie Statler and Waldorf admit that their years of heckling has been motivated by being unable to face the vulnerability of admitting their true feelings and in a quick cut all three are seen departing in a vintage era car with 'just married' sign and decorations on the back. Moon Atari fucked around with this message at 07:08 on Dec 17, 2020 |
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Dec 17, 2020 06:32
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I forgot to mention the most important part is that I am there and both the muppet and loony tune teams think I'm cool and Lola and Miss Piggy fight for my affection, but out of respect for their partners I refuse their advances in favour of whatever female sports star is featured.
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Dec 18, 2020 01:30
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My opinion on SU flipped a whole bunch of times but I checked out a long time ago because I just could not stand to see (or rather hear) another conflict resolved or soothed through the awesome power of a little kid's pleading. Steven's "sincere empathetic whining" voice is somehow depicted as the ultimate tool of diplomacy and therapy, and once you become aware of the sound it is distinct enough that it could probably be distilled down into the equivalent of the brown note but for making people release their pent up emotions rather than their bowels.
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Dec 31, 2020 05:04
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Hedrigall posted:I’ve been meaning to ask about anime movies People have already mentioned them, but 'Night is Short, Walk on Girl' and 'In this Corner of the World' are my favourites of recent years. As far as Yuasa is concerned just about everything is great, except I don't really like 'Lu Over the Wall'–the story is a mess and I don't think it is deliberately so. Still has some great animation though. When it comes to Yuasa's series Kaiba, Ping Pong and Tatami Galaxy are great and all very different. DevilMan Crybaby also but only if you are in a specific mood. He also directed Episode 7, Season 6 of Adventure Time, which features one of my favourite Adventure Time songs. 'Patema Inverted' and 'A Letter to Momo' are good early 2010's movies that seem to slide under most people's radar, but both are worth checking out. Momo if you want a coming of age story that feels kind of halfway between Ghibli and Shinkai. Patema Inverted is just a fun adventure movie with a cool SciFi premise.
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Feb 9, 2021 09:52
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