Tilly when i arrived home
Jasper, an hour later
Tilly when i arrived home
Jasper, an hour later
so, some of the new X & Y Pokemon have been released and another 5 years are added to Ash’s quest. i have some issues.
now, of course the main reason i like the ~~original 150~~ the most is because they’re the Pokemon i grew up with and was thoroughly obsessed with until the age of i’m still thoroughly obsessed with them. they’re far from the best designs in the world and are totally guilty of what i’m gonna talk about (Clefable, Mewtwo, and so on), as well as a bunch of other issues.
to be clear: this is my personal issue and could totally just be to do with my imagination sucking, however i wanted to write this to work out what the issue i have is.
as an unresearched blanket statement, since generation IV the designs have done this and it really bothers me.
what are those. what is that stuff. are those spikes. is it fur. are they horns. what is it? how heavy is it. how does it move? is it functional? where is the muscle mass?
is it a leaf?
outside of the turnaround of the pokemon being able to function as a 3d model, it really doesn’t feel as though much thought has been put into the pokemon as a creature. a mobile, independent creature, with defined limbs and bodily structures.
they are designed to be made into resin models, and not much else.
with Chespin… what are those? ears, leaves? lumps? do they move?
the things in Fennekin’s ears… they just look like big solid masses, i can’t see anything else. probably very heavy, heavier than those thin ears. are those attacking spikes on its back legs? or are they fluff?
Froakie’s ruff. is it a ruff? is it solid, or cloudlike? (also, why are its reproductive organs are in the centre of its face? actually please don’t answer that)
Nu Shooz, I Can’t Wait (1985)
Nu Shooz’s scarily accurate predictions of the internet in the year 2012
Womack & Womack, Teardrops (1988)
Linda Womack is a fox. The video doesn’t do much, but then nor does the song, and that’s the point! It’s one moment turned into a killer song.
David Bowie, China Girl (1983)
I think they wanted that very first shot to look something like Nicki Minaj’s Your Love opening shot (which is a wonderfully made video!) but it looks more like a windows 95 game crashing. I love that this is filmed like a cheesy karaoke video. Well, up until about the 1:35 mark. Then I’m not sure what they were going for.
Peter Gabriel, Sledgehammer (1986)
Oddly enough this is a music video I saw countless times as a child. We had a video of Aardman Studio animations I would regularly watch. I’d hate to think how it’s influenced me as an adult.
For some reason, the most disturbing part for me was always the fruit. Even recently, watching Gremlins 2 for the first time, the vegetable Gremlin gave me a cold chill.
photo by Conor Rogers
So, our pop-up shop! Knack/One Day We Could Be Famous/the shop/hallam art pop up shop/shop hallam shop what art no/whatever
As the class was split into two groups, technically there was two shops, however, in the end it doesn’t even matterrrr name-wise as the shops were pretty much merged. “My” groups shop was called Knack on account of nothing in particular. I designed the flyer (that ended up never getting flyered, but there ya go) and the website, as well as adding people’s info and writing the text about it all.
At some point during my childhood, my parents videoed a bunch of animated shorts. Lately I’ve been revisiting a few, and it’s strange watch many of them for the first time since… well, videos.
Richard Condie, The Big Snit, 1985. 10 minutes.
This short is a really great example of somebody making something that is them: everything about this is clearly the mind of one guy, thrown onto the screen. (And this is a great quality you find in animated shorts in general.) If wikipedia is to be trusted, Condie studied as a sociologist for two years before coming to animation, and I think it really shows in his work. Initially only wild, humorous, goofy, The Big Snit, Getting Started, even The Cat Came Back, are secretly subtle, intimate and sensitive portrayals of human emotions as well.
Cordell Barker, Strange Invaders, 2001. 8 minutes.
Another Canadian animation, I love this! It’s so cute! Can’t even put my finger on why I like this one so much at the moment, I just do.
Aardman, Next, 1989. 5 minutes.
”William Shakespeare, without saying a word, gives a quick run through of all his plays in a very special audition.” (IMDB’s description.)
This is one I remember being particularly obsessed with - and, honestly, that’s still true. I’ve watched this (at very least) five times since I rediscovered it about three weeks ago. I honestly don’t know how they did it, it only gets more exciting and fascinating as it progresses. Each shot leads perfectly on to the next, it feels like the natural and correct order, though of course there’s no such thing. There’s an indefinite amount of ways they could’ve ordered this and an infinite number of ways they could’ve represented each story. And this is coming from somebody with no knowledge and no real interest in any of Shakespeare’s works.
I’d love to see a high definition version of this, sad to think that mustn’t exist considering the year it was made.
Aardman, Loves Me, Loves Me Not, 1993. 7 minutes.
I actually kind of hate this, it’s so naf! The gunshot when he picks up the flower… Really, now? The beginning part with him playing with the flower is way too long. But when it does finally get into it it unfolds into a really dark place (well, it is on the aardmansdarkside channel) and delivers the message wonderfully.
Aardman, Stage Fright, 1997. 11 minutes.
A contained drama told in flashbacks, this is again something that totally is what it is. I don’t think it could’ve worked as well in any other medium, particularly not live action. There’s something both creepy and charming about the claymation style which ties perfectly into this story. This is some of Aardman Studio’s best word in my opinion!