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Animation and Anime
The Anime Masters Demonstrate Their Best in Genius Party
Genius Party by Studio 4°C Available with English subtitles on Region 4 DVD via Siren Visual
Studio 4°C
American anime watchers are not out of line when they rattle off "Ghibli" and "Hayao Miyazaki" as the first names in a list of revered figures and institutions in anime. The same gravitation governs nearly every watcher of the medium. You don't, or shouldn't need to drill too much further into the prestige list to get to the name Studio 4°C. Formed in 1986 by Eiko Tanaka (producer on My Neighbor Totoro), Koji Morimoto (animator in Animatrix: Beyond, with a history going back to Ashita no Joe) and Yoshiharu Sato (animation director on My Neighbor Totoro, key animator on Kiki's Delivery Service) the Ghibli connection is unavoidable. Roland Kelt's Japanamerica quotes Tanaka as saying "five years from now, we would like to have accomplished as much as Miyazaki and Ghibli have, and reach to the rest of the world as he does." Yet, there are stark differences, exemplified by the raised eyebrows reaction to Studio Ghibli's recent announcement that a director who had not previously directed a Ghibli film will be helming an upcoming project. Ghibli produces Hayao Miyazaki movies, Isao Takahata movies, and movies in the style of Miyazaki and Takahata movies. Even then, evidence suggests institutional conservatism, especially in the light of box office under performance. Works that veer off too far, like Takahata's comic strip adaptation/family study My Neighbors the Yamadas (1999) and Hiroyuki Morita's distinctively animated fairy tale the Cat Return (2002) don't seem like territory Ghibli is eager to revisit. The production of Spirit Away (2001) is a story of possible deviations from the Hayao Miyazaki standard turned back into a classic implementation of his vision. Tanaka said of said of Studio 4°C "I wanted to make a place where creators who wanted to make interesting work would naturally gather." Studio 4°C has become known as one of the least hidebound institution in anime. In a male dominated industry, Tanaka's position in and of itself sets the studio apart. Under her stewardship, Studio 4°C has gained a reputation for their independent spirit, their digital work in movies like Spriggan and Steamboy, as a go to for anime incarnations of large IPs of western origin or interest, as in Animatrix, Batman: Gothman Knight, Halo Legends and Street Fighter IV, and bringing unexpected voices into anime, such as American digital effects artist ( The Abyss, Fat Man and Little Boy) turned director Michael Arias' role as director of TekkonKinkreet.
Shorts and Genius Party
Studio 4°C has a history of anime shorts that's evident from the Matrix and Batman collections, and, if you stretch definitions a bit, ads like Nike's Chamber of Fear (and the Honda Edix kiro spot and music videos for artists including Linkin Park ("Breaking the Habit"), Ayumi Hamasaki ("Connected"), Hikaru Utada ("Passion") Back in the 90's, when anime was taking off in North America, there was a rudimental of schema outlined for how to understand the industry. In order of per minute animation budget, there was TV series, original video animation (OVAs) and movies. OVAs looked better than TV. Movies looked better than OVAs. A significant reason for why this is no longer reiterated very often is that it is no longer very useful. Largely due to economics, OVAs have lost their role as a home for trying out ideas that don't fit elsewhere and for bringing manga or novels to new audiences. The few that are still produced are often packaged with limited editions of manga. Apart from the annual movies connected to Pokemon, One Piece and like franchises, there has never been a tremendous amount of anime movies produced. Still, it has become an occasion when a Paprika (2006) or a Girl Who Leapt Through Time (2006) is released. Beyond being out of date, that model of anime overlooks the role of shorts. As discussed in this columns Astonishing Works of Tezuka Osamu feature, anime shorts represents a alternate course for animation, apart from one in which it is a product shaped by the dictates of sponsors and audience appeal and more about artistic experimentation and expression. For the sake of taxonomy, I'm going to group shorts produced to stand alone, perhaps shown at festivals and shorts produced to be shown in anthologies. Prior to laying out the template for how to produce anime for TV with Astro Boy in 1963, Osamu Tezuka stepped out from the industrial production process by which studios like Toei Doga were make anime movies and created his own artistic statement. 1962's Tales of the Street Corner was Osamu Tezuka declaring himself as an animator willing and able to define his own process. He founded Tezuka Osamu Production, soon renamed Mushi Productions, with the intended business model of producing commercial anime to fund experimental works. Mushi's 1973 bankruptcy illustrates the financial precariousness of the idea, but what has remained is the notion that TV anime is the domain of fighting with budgets and sponsors while shorts are the closest arena that anime might have to auteur works. Studio 4°C has made their mark in the field of anime shorts with their anthology collections. Of these, the triptych of Akira creator Katsuhiro Otomo manga adaptations, Memories (1995) is available in North America, and actually schedule to be available through Netflix streaming starting November 6th. It's entries include Magnetic Rose - Solaris meets Madame Butterfly, directed by Koji Matsumoto, with a script anime-director-to-be Satoshi Kon (Paprika, Paranoia Agent, Perfect Blue), and music by fan favorite composer Yoko Kanno (Cowboy Bebop) Stink Bomb - Akira meets practical joke, directed by Tensai Okamura (Wolf's Rain, Darker Than Black, Project Blue Earth SOS) from an Otomo script with music by Jun Miyake Cannon Fodder - 1984 meets Kafka, written and directed by Otomo, with music by Hiroyuki Nagashima Other collections, not available here, include Digital Juice - featuring Lords of the Sword by Hidekazu Ohara, Chicken's Insurance by Hiroaki Ando, Kin Jin Kitto by Tatsuyuki Tanaka, In the Evening of a Moonlit Night by Kazuyoshi Yaginuma and Table and Fisherman by Osamu Kobayashi of Beck, Paradise Kiss and Gurren Lagann flame war controversy fame Sweat Punch - featuring Professor Dan Petory's Blues by Hidekazu Ohara End of the World by Osamu Kobayashi, Comedy by Kazuto Nakazawa, Beyond by Yasushi Muraki and "Junk Town" by Nobutaka Ito Amazing Nuts! features Global Astroliner, Glass Eyes, Kung Fu Love - Even If You Become the Enemy of the World and Joe and Marilyn For Genius Party, Studio 4°C's unifying themes were energy, freedom, and creative license. The project catchphrase was "seiyaku zero" - zero restrictions. The result is collection of work that broadcasts passion for creation. Part of the legacy of Astro Boy is "Tezuka's Curse." When Tezuka signed a TV deal for the series, he underbid the production, hoping to block competitors from entering the field. As such, making money off anime has always been dicey and generally required the involvement of sponsors. While fans might wish to think of it as the domain of daring, revolutionary work, it has intrinsic proclivities towards banking on easy marks... producing titles for kids and already dedicated fans... redefining and reiterating past successes. The danger of static predictability is a looming one. As such, works like Genius Party constitute a much needed exercise for the medium. It's not an "eat your broccoli" for the viewer, but watching its yoga stretches isn't always brilliantly fun. Some of its entertaining, some of it is worthy and some is both, but it's all an interesting demonstration of what could be done in the medium.
"Genius Party"
The title sequence features the work of Atsuko Fukushima, another veteran of Ghibli, and anime in general. Entering the field from a textile background , her earl work includes key animation on Kiki's Delivery Service, graphic and key animation on Akira, Dagger of Kamui, and Golgo 13: The Professional. Fukushima previously worked with Studio 4°C on the Magnetic Rose segment of Memories, the Beyond segment of AniMatrix and the studio's Utada Hikaru music videos. As wrongheaded as it may be to identify female creators by association with their spouses (see Moyocco Anno), it is interesting to note that Fukushima is married to Studio 4C cofounder and anime shorts maestro Koji Morimoto.
Relevant to Genius Party, her previous shorts work includes the fantastic opening sequence of the Robot Carnival (1987) anthology. In that marvel, a boy in Tatooine meets cartoon quasi-Mexico environment catches a flyer blowing in the wind. Terror crosses over his face as he sprints towards his village. A titanic machine, shaped as the words "Robot Carnival" plows through the desert. Panels open up and the music by frequent Hayao Miyazaki collaborator Joe Hisaishi swells. As the robot strike up their orchestra and pirouette, they unleashed a holocaust of missiles and bombs that level the scared town. Though Robot Carnival was a Sci-Fi channel mainstay back in the 90's it has sadly never made its appearance on DVD in North America. The eponymous work of Genius Party is similarly set in a strange desert-ish landscape. It's a simple story, presenting a clear metaphor. Smiling stone skull/brain/eggs litter the sand, occasionally burbling fluorescent hearts or sparking neuron shapes into the air. A sort of bird/birdman/costumed thing dances over to one of the stone minds, cracks its beak in and pulls out a heart as if the cartooned essence was a worm. Consuming it, the bird ignites in inspiration, taking to the sky and setting off a chain reaction that brings the mindscape to life. The short evokes Burning Man more than it does "anime." With a sky that looks pasteled onto a canvas, the tableau feels like dreamed artifice. Despite its naturalistic movements, the subject creature has the look of some unique construction between its asymmetry and string and boards texture. Weighed by these impressions, in recording the process of consuming and igniting, the short seems to be spying on a display, both animalistic and performance. This wonderful looking piece sets the right opening notes for the collection. Even as thunder clouds roll in, its mix of imagination and excitement stand in stark contrast to the trepidation (or abject terror) presented by Robot Carnival. Fukushima is representative of the group working in Genius Party: fresh and innovative, but not really a new voice. Rather than a rampaging experimentation, it's sparks of inspiration from skill creators with track records.
"Shanghai Dragon"
Shanghai Dragon was directed by Shoji Kawamori, who is both a prominent and an interesting figure in anime. Kawamori studied mechanical engineering at Keio University before becoming a mech designer for Captain Harlock (1978) and Takara's Diaclone (1980) toys, the basis for many of the original Transformers. He made a name for himself by designing the transforming jet/humanoid robot Variable Fighter and other mecha on Super Dimension Fortress Macross (1982), the first part of localized amalgamation Robotech (1985). In what's supposedly a "one for me, one for them" arrangement, he went on to envision and supervise Macross' OVA project Macross Plus (1994) and tv series Macross 7 (1994). Plus was a four episode OVA, later re-edited/partially reanimated and rework into a movie, that took a more mature look Macross' key ingredients: war, music and a love triangle - feature the unhappy, adult reunion of three troubled, childhood friends. The work featured Cowboy Bebop's Shinichiro Watanabe co-directing and Yoko Kanno on music. Macross 7 was a zanier, more pop next generation continuation (the title refers to the name of the flagship in a space colonization fleet, it's not the seventh Macross series) He'd continue this leadership position on prequel Macross Zero (2002) and the recent Macross Frontier (2007). He also had a similar creator/supervisor role for Vision of Escaflowne (1996) - a key entry in the 90's North American fan canon. The TV anime series started with a girl from our world with interests in track and tarot. Thinking that she sees a boy with whom she's infatuated, she stumbles into a confrontation between a wild haired young man with a sword attacking a dragon. Whisked into the fight, she's transported to the world of Gaia, where Earth can be seen as a "mystic moon" in the night's sky. That boy proves to be the prince of a kingdom about to be overrun by knight's armor-like giant robots. The girl not only becomes romantically entangled with the prince, but also with a debonair vassal knight who resembles her school crush. With Romantic Nobuteru Yuki character design, soaring Yoko Kanno music and animation that established an original place for the anime's events, it grabbed the attention of anime watchers. With that attention it proved to many that anime can constitute complex mix of ingredients, appealing to both genders; comparable to Final Fantasy VII, before Final Fantasy VII. It wasn't simply for male viewers or female viewers. It could engage everyone. The less said about the debacle of trying to edit the series for a Fox Saturday morning cartoon run the better. The other noteworthy element of Escaflowne was its ending. Escaflowne was inspired by Kawamori's ideas for reworking the fundamentals of Macross as shaded by his ruminations on fate and divination during a trip to Nepal. This dominated the late part of the series, which proved to be a bewildering venture into natural philosophy, the Heisenberg uncertainty principle and mysticism. Popularity begets freedom, and what anime fans soon got a chance to learn was a) Kawamori is a spiritual guy. B) A social and ecological consciousness stem form that spirituality. ) He's not afraid to share these beliefs.
As much as Kawamori's imprint on anime has been as the mecha designer and banner carrier of Macross, he's also become the macrobiotic eating, spiritualist director, whose interest in those subjects doesn't always stop short of alienating the audience. (hence the irony when he gets involved in the Macross machine, promoting branded creampuffs and the like). This mix of tech and mysticism has become his brand. As executive director of Satelight, he's been part of a studio that has produced works like Noein (2006), underrated quantum physics, sci-fi anime that might be the greatest Kawamori anime not directed or written by Kawamori and Aquarion (2005) a Getter Robo combining robot tribute with reincarnation and pilots who orgasm when their planes link into a humanoid machine 2001 in particular saw the premieres of The Daichis - Earth Defense Family - a comedy about a dysfunctional atomic family given the roles of global protectors, with weapons/ammunition charges in excess of their pay, and unambiguous social commentary, and there was Earth Girl Arjuna, a sort of Hindu magical girl action series with provocative suggestions for environmental action. Even the lighter Daichis raised eyebrow, and marked Kawamori as an incendiary anime creator. Arjuna's spiritual world view, combined with ecological alarmism provoked some vehemently negative reactions, but that provocation distinguishes it in the field of popular anime. More often, when anime seeks to disturb its audience, it takes approaches that the audience welcomes and seeks. For example, Higurashi-When They Cry or Elfen Lied - anime that draw the viewer into anticipating psychologically or physically grotesque scenes. There's plenty of anime that are potentially offensive, but few look to confront and possibly affront the audience the way that Arjuna did. Given what Kawamori has come to represent, it is slightly surprising that he eschewed risk and turned in the most explicit and approachable entry in Genius Party. Shanghai Dragon is set in Shanghai, with Mandarin language dialog. A literally snot nosed kid is bullied by his classmates. They steal his chalk and scuff off his drawings. Generally he marks himself as the likely, unlikely hero for a work of anime. And, in fact, he's the one that finds a crystal implement in a collision crater. This proves to be a "substantiation of wishes system." It synchs with his brain with a bit of neural network CGI, calling to mind the synapses of the opening Genius Party short, but also a mainstream anime series Code Geass. With brain and crystal aligned (written like that, it does sounds a bit Kawamori New Age), the boy's drawings materialize. At first he brings food into existence. Then, cyborgs arrive with the AI space invaders hot on their heels. After valiantly and flamboyantly gunning away the AIs, the cigar chomping cyborgs scan into the boys head, they see a chaotic maelstrom of super heroes, cars and random shiny objects; prompting the proclamation that the boy could be the "legendary child". The battle's tide turns against the cyborgs and in order to save the day, the child unleashes his imagination... transforming into a sort of snot rocket propelled "Rider" sentai hero. The power of imagination, and specifically, a child's unrestrained imagination is hailed. This fundamental sci-fi tribute is not Kawamori firebombing the scene with holy Peace and Love and "What are you doing to the planet!" as might be expected given the parameters of the project. While it's hard to be sour on the joy of creativity, the original Macross' notion of culture as an effecting force was meatier. Still, the exercise of imagination is bold and colorful. Shanghai looks great as a live environment, built up and inhabited rather than marked out in short hand. Watching the short pan through the city calls the breathtaking Tekkon Kinkreet to mind. Though animation fans aren't going to complain, with nice revolver fu, high speed blaster-behind the back shots and Macross Missile Massacre, most of the it is thoroughly conventional. This is a quality example of modern, digital animation. It doesn't have the studied motion of works like Mamoru Hosoda's Girl Who Leapt Through Time. One cut that stood in my minds featured a crowd classmates absolutely still in the backgrounds as the lead moved in the foreground. While there is figure animation, more often, attention is mainly paid to effects. Of course it isn't simple to give motion to the bursts of light, explosion and blurs as a cyborg guns down mecha-raptors. But, it'd be more interesting to see him aiming, firing and moving than it is light show of effects. Lev Grossman's The Magicians compares trying to understand the roots of magic to the cosmology in which the world rests on the back of a turtle with further "turtles going all the way down." The further you go through the infinite sequence, the more the turtles start looking like dragons. Sometimes thinking through anime shorts seems like a similar exercise. Given the provocative nature of prior Kawamori works, I started wondering it there were implicit messages being forwarded in Shanghai Dragon along wiith the explicit praise of the power of imagination. Given that this is a short, I also had to wonder if I was drawing too many conclusions from too little evidence. The equipment and posturing of the run and gun cyborgs from the future look like unambiguous evocation of first person shooter video games. Is their need to travel back and time to borrow a child with imagination a criticism of video games/gamers? What about the fact that their AI adversaries are reminiscent of mecha anime and Kawamori;s own Macross in particular? Does the boy love's for tokusatsu shows in which a guy in a colorful suit martial art kicks colorfully dressed baddies translate into Shanghai Dragon being a tribute to that genre of shows? For that matter, if the boy really is imaginative, why is it only in the post battle celebration that his drawing turn creative? Prior to the finale, he's hungry and draws blobs of food-stuff. He sees danger and is inspired to recreate the TV shows that fascinate him...Not exactly genius originality from the kid.
"Deathtic 4"
Deathtic is the first of Genius Party's entries to put a non-traditional director at the helm. Shinji Kimura provided illustrations for Katsuhiro Otomo's picture book Hipira: The Little Vampire. He was an art director on classic anime parody Project A-ko (1986), Victorian/steamtech Steamboy (2004) and Studio 4C's Batman: Gothman Knight ("Have I Got a Story for You"), and TekkonKikreet. However, Kimura is primarily known as a background artist, with classics like Akira and Oshii's Angel's Egg (1985), as well as. other distinctive works like Tezuka's Heavy Metal-esque A Time Slip of 10000 Years: Prime Rose (1983) and Masaki Yuasa/Tatsuo Sato's Cat Soup (more on that later) Not an unbendable rule but one of the fundamental frameworks for the look of anime and manga is to put stylized, abstracted character design against a more concrete background. In this template, the viewer reads the characters as symbols, with what the character represents mentally register. The characters connect as real or at least understandable, and their images are what's remembered. You pick up the concept of Astro Boy as a child robot from his image without the need for a realistically rendered form. Yet, even if they are too complex to be remembered as explicitly as the characters, if done well, the backgrounds can be just as important for the context they provide.
Kimura brings an understanding of both classic art techniques and technological tools to crafting the look of anime. From the deeply granular creation of Neo-Tokyo in Akira to the organic, lived in jumble of overbuilt, rundown sprawl of residences and commercial outlets in TekkonKinkreet's Treasure down, Kimura creates environments both studied and imaginative. Deathtic 4 is set in an animated dead alternate-verse, with pseudo Swedish language dialog. A corpsely child lies in his death bed, gasping as a heavy set monster stalks towards the room. What seemed macabre and strange proves to be anything but. The thumping beast proves to be mom, waking up Rått to get his dead body out of bed and to school. Rått has a few issues weighing his adolescent mind. Not only is he the new kid in town, he's somehow managed to find a living frog, a verboten intruder in the land of the dead. In keeping with this sort of boy's adventure, Rått finds some help from the local outcasts. In this case it's his would-be superhero classmates - spark sputtering kid " Ashe controls fire," Blaze is wrapped in a patchwork wetsuit, with a snorkel affixed to his mouth and he "manipulates water" or at least spits it, and Posse becomes a "super zombie" when he removes the paper bag from his head. This is as silly as it sounds and the short find fun ways to frame the credibility of these characters. Specifically, the class' pair of popular girls dress up in US and USSR singlets and bully the wannabes. Yet, despite being scarred and bewildered, the group decides to defy the tricycle mounted inquisition, who communicate through those cans that "moo" when turn over, as the Deathtic team helps Rått return his frog to the land of the living. In slight of hand, there are some tricks that the audience might interpret as simple that actually take a great amount of effort, skill and preparation to perform. Deathtic 4 seems like it might conform to that model. If there's any non-obvious subtext here, I haven't spotted it. Like Shanghai Dragon, the mini-adventure is entirely approachable and enjoyable. Moving as fast as it does, it's a diverting, quick experience. If you're interested in the medium, the imagery is cause to be engaged. Tim Burton is an obvious point of comparison, but there is enough spooky-world architecture and design densely packed into the short to afford Kimura an abundance of opportunity to express his original ideas. By inspecting textures and attempting to mentally reverse engineer how the images may have been constructed, there's plenty of material to think about and appreciate in the short.
Doorbell is the second of the two cases in which the anthology passes its party hat to a non-anime director. This time, it was a creator who made their name in anime's sibling medium, manga. Yoji Fukuyama's work is almost completely unavailable in North America. His Mademoiselle Mozart was recognized with the Yomiuri Drama Awards Excellence Prize in 1997 and was adapted into a stage musical. His adaptation of Don Giovanni (1992) and horror Gamura-Khan (2003), a strange mystery about a lawyer sent to look into a slimy apartment, was serialized in Morning, an anthology that has been well represented in North American manga licenses (Gon, Vagabond, Planetes). His risqué comedy Tales of the Town Uroshima told the story of an honest traveler might find himself in a village all of whose inhabitants (headless women included) make gleeful love to all comers
Relevant to Doorbell, his only work available in North America is a bit of Yukiko's Spinach (2000), Frédéric Boilet's Nouvelle Manga, available via the publisher of that movement in English, Fanfare/Ponent Mon From the Nouvelle Manga manifesto At least half of Japanese comics tell stories of men and women and their everyday lives. This attachment to daily life as a theme is for me the principal reason of manga's success with a broad range of readers broad range of readers. While the universes of Franco-Belgian and American Sci-Fi or action comics almost exclusively target male teenagers, in Japan, manga's daily-life stories touch men as well as women, teenagers as well as adults. This allows the format to attract a readership larger than just otaku ; many Japanese readers are not otaku (meaning fan of manga, as one can be a stamp collector, a Formula 1 buff or a Smap groupie ) but simply curious, open-minded people who read comics as they would read novels or go to the cinema... Several other Fukuyama works available in French in that vein include Okami ga Detetika Hi (2004), released as Le Jour Du Loup by Casterman and Mister F Considered a throwback creator who worked in the gekiga mode ("dramatic pictures," as opposed to manga's "irresponsible pictures") Fukuyama's unconventional approach to manga production is described in Sharon Kinsella's Adult Manga as the work of "one of the minority of professional adult manga artists who preferred not to use assistants, but to produce their manga entirely by their own hand. In that way Fukuyama tried to maintain the strength of his artist vision and cohesion of its execution. Fukumaya's slow drawing technique and unusual graphic style were indulged by Morning editorial: 'we have no problem with his strange pictures. In no sense would Morning attempt to restrain his creativity." Doorbell is set in urban Japan, with Japanese dialog. This might be a very specific spot, but my urban recognition is poor. I once thought that an explicitly New York based movie was based in Boston... Chuck Klosterman has a bit in Killing Yourself to Live where he dialogs with an Olive Garden (or maybe another eatery franchise) waitress about time compression in dreams. It's her assertion that everyone has dreams in which years or lifetimes might pass, and that this subconscious phenomenon is learned behavior, trained by TV, movies and other forms of storytelling. Would metaphorical stories be an inverse case or did they too creep into the gray matter gears. Clearly tales in which some mental state is realized are nothing new... Twilight Zone, Buffy the Vampire Slayer, Jojo's Bizarre Adventure... nobody notices me, therefore I am invisible. The concept of Doorbell is nothing new, but I'm not inclined to hold that against it. A young man goes through the circuit of his mundane life, only to find that he's been supplanted by simulacra. Except for a small girl, nobody notices him because these other selfs are in his place. This isn't Kafka or Kon. It's not Gamura-Khan or Tales of the Town Uroshima (2001). There's nothing starting or amazing in the young man's journey. The demonstration of what's happening is a function of reaction or lack thereof. Instead, the short is an exercise in manga projected onto anime. Which is to say, it's a concept work for people who like concept works; a piece for students of anime and manga to deconstruct. While it is not comprised of still images, few ideas are conveyed as anime might convey them. The bits that do fit natively into anime are subtle. At the short's conclusion, white lights strung into the tree around an apartment blink on. That's not a typical manga transition. That it stands out should be an indication of the small lines that dissect this work. The way in which Doorbell tells a story through framed expressions, the way that it cuts from bodies in motion to those faces, going back to the Kimura discussion, its abstract people in a more literal context, the anime is built around techniques that map onto an Understanding Comics breakdown of comics/manga. Like Deathtic, whether you find this interesting to look at is dependent on your fascination with the media involved.
"Limit Cycle"
Genius Party returns to the guidance of animators with Hideki Futamura's Limit Cycle. Futamura served as a key animator on Junkers Come Here (1995), a kid's movie released in North America by Bandai Entertainment, Satoshi Kon's psycho-thriller Perfect Blue (1997) and Vampire Hunter D: Bloodlust (2000). He had a major role in the AnimMatric, directing the prologue and epilogue of Koji Morimoto's Beyond, in addition to providing key animation, key animation again on Shinichiro Watanabe's Detective Story segment, and he assistant in character design, provided art design and served as assistant animation director on Mahiro Maeda's Second Renaissance.
He also directed cult favorite Jojo's Bizarre Adventure (two sets of episodes in 1993 and 2001), a horror, travelogue in which colorful, basically super-heroes and villains, match wits and brutality on route to Cairo. Not specifically Futamura related, but to tie together a few threads of this discussion, Jojo's was a prominent bit of output from Studio A.P.P.P. - who worked on Project A-ko, see Shinji Kimura, who worked on Aquarion, see Shoji Kawamori, and who produced Robot Carnival, featuring Atsuko Fukushima and Studio 4C co-founder Koji Morimoto. A.P.P.P.'s North American label, Super Techno Arts indicated plans to release Sci-Fi Harry, Shadow, and the sought after Robot Carnival on DVD. However, after a very criticizable release of Jojo's Bizarre Adventure, the Super Techno Arts enterprise folded (their web presence domain is currently being forward to a slots internet gambling site). Limit Cycle proved to be the live round in the chamber of Genius Party's creative freedom. What happens when you put no limits on artists? Someone is going to produce something profoundly obtuse. Recursion is a concept in mathematics and computer science in which a function calls itself. The joke is "in order to define recursion, you must first define recursion." As that indicates, you need a based case to know when to stop. For example, the Fibonacci sequence, which is the sum of the prior two Fibonacci sequences: Fib(n) is (Fib(n-1) + Fib(n-2)). Zero and one are base cases, so when you hit them, you don't go back any further. So ... 0, 1,1,2,3,5,8,13... Without that base case, recursion is a trap that isn't escaped. Limit Cycle features pseudo-James Dean interpreting... In his monolog, he goes through associative images, symbolic interpretation, the nature of divinity and so on. I thought of Tezuka's discussion of Memories from his experimental works. And, I thought of Mel Brook's The Critic, which didn't help. I don't think that the Rebel Without a Cause's mind trip is a valid base case for a recursive short that relies on your willingness to interpret its own pondering interpretations. Narrative could supply that foundation by providing something that could be accepted without question or active consideration. If that exists here, it is an exercise in and of itself to discern. With nothing to affix to, the viewing mind is simply pulled into a sink hole. I don't have the vitriol towards Limit Cycle that some have expressed, but most who watch this short will be able to see why it's been criticized in many quarters as the most patience trying of the Genius Party collection. A little of this sort of symbolic interrogation goes a long way, see Serial Experiments Lain (1998), and Limit Cycle's 15 minutes is a lot more than a lot of viewers will have wanted to see. Without some plot or character to attach to, it doesn't invite the work required to decode what's going on. As subject as anime is to the necessities of funding and coordinated production, there are few works that are truly difficult. I neither think that Limit Cycle is inapproachable for the sake of being inapproachable nor that Futamura aimed to place his work outside the pedestrian reaches of his Jojo's Bizarre Adventures audience. It's more a stab in the direction than it is an anime equivalent of poetry or literary prose. Even if the intension isn't original and the attempt is not entirely successful, he does demonstrate that the idea is not at odds with the medium. With its jumble, juxtaposition and merger of symbols, the possibilities for imagery afforded by animation is a powerful canvas for an exploration of Limit Cycle's scope.
"Happy Machine"
Though Masaaki Yuasa's 45, if a new guard versus old guard distinction could be made for Genius Party's contributors, and it probably can't, Yuasa would fall on the "new guard" side, with anime work dating back to 1990 rather than the 70's or 80's. (No one on this anthology is terribly young. Shinichiro Watanabe is also 45. Shoji Kawamori is 50. Yoji Fukuyama is 60.) Poll American anime fans about innovative animators, and the names to come up would likely include Mamoru Hosoda (The Girl Who Leapt Through Time), Akiyuki Shinbo (Soul Taker, Le Portrait de Petit Cossette, Starship Girl Yamamoto Yohko, Negima!?, Sayonara Zetsubo Sensei, Bakemonogatari) - whose flare is as much about the trapping and imagery as it is the animation and Masaaki Yuasa. Yuasa names Hayao Miyazaki's Castle Of Cagliostro as an anime film that inspired him in his youth. The statement has a ring of how musician might sound mentioning their first exposure to The Who or the Doors. It's evident how the energy of the not-so-gentlemanly gentleman thief roof top leaps and clock tower dives affected the animator to be. With startling abstract forms and immediately discernable freedom of motion, Yuasa brings a vibrancy to the art form, even when dealing with dire subjects.
His work that North American anime watchers are mostly likely to have seen is the pot scene in episode nine of Samurai Champloo (2004). Of this noteworthy Crayon Shinchan work through the 90's, the piece that North American watchers would best recognize is the "Reggae" end credits. Ironically, the director's most notable work available in North America wasn't actually directed by Yuasa. 2001, J.C. Staff produced original video animation (OVA) adaptation of Nekojiru's (a creator with a disquiting story unto herself) manga Cat Soup was directed by Tatsuo Sato, who has done some very nice work on some forgotten sci-fi anime, including kitchen sink Evangelion period space opera Martian Successor Nadesico (1996), school dramedy meets galactic politics Shingu: Secret of the Stellar Wars (2001) and surprisingly endearing space academy series Stellvia (2003). He also has some less than sterling series to his directorial credits (the Ninja Scroll TV series). Yet, serving as scenario writer, storyboarder and animation producer, Yuasa's vision marks Cat Soup. The 34 minute odyssey is An Occurrence at Owl Creek Bridge meets Sanrio. Both its surreal and its mundane imagery of the jarring, creating a resonantly disturbing piece. Lamentably defunct anime distributor Central Park Media may have branded themselves with a title synonymous with terribly anime (MD Geist), but with releases like Cat Soup, they also offered anime that pushed the boundaries of the form. For other work available in North America... he did layout work on episode three of Ruin Explorers: Fam & Ihrie (1995), a largely forgotten fantasy release, key animation on episode five of infamous panty flashing OVA Aika (1997) and key animation on Isao Takahata/Studio Ghibli's water color style comic strip adaptation My Neighbors the Yamadas. OVA series Hakkenden took the like named epic novel Nanso Satomi Hakkenden and turned it into a animator showcase. Yuasa made his mark as animation director on the fourth episode of the second series (1993). Neither of his TV series have been licensed, but Kemonozume (2006) has a monstrous kissing scene that made internet rounds. (The other Yuasa TV series is 2008's Kaiba, at once a tribute to early, black and white televised anime and an abstract work that has little of the aesthetic or trappings generally associated with anime, concerning a world in which the memories of the dead are store and transfers to new bodies.) His signature piece may be Studio 4C's 2004 movie Mind Game. Directed by Masaaki Yuasa, Mind Game adapts Robin Nishi's manga of his pseudo-origin story. It receives some attention for its artistically integrated live action footage and deserves more for its fluid approach to animation. Nothing is static. From its tributes to the history of anime and relationships with pop culture to its interior avant-garde art, the shifts and vision are absolutely beautiful. Beyond the visual expression, with a very human carpe diem story that's emotionally involving, it's difficult to imagine someone not enjoying Mind Game. Mind Game has screened in North America, but never been licensed for DVD release. Its Japanese DVD featured English subtitles. Parties in the know (TekkonKinkreet director Michael Arias) have said that the subtitles were produced to promote the film for licensing, then accidentally put onto the DVD. This subtitled on the movie was posted on YouTube and reportedly the YouTube posting scuttled a deal. Happy Machine is set in some Yuasa imagined system, with pre-verbal dialog. . In college I was friends with a couple who were about to have their first kid. The woman was a psychology major, and if you were a psych major, you could get bonus points/preferential treatment if you could press gang friends and family into participating in experiments. It was my contention that when the baby was born, it would be "volunteered" for psyche experiments and that the psych experiments would be along the lines of what's presented in Happy Machine. An infant calls to his mother for milk, only to find that the provider wilts and collapses upon embrace. Shocked, the infants explores/is dropped out of its collapsing falling inhabitation and into an alien landscape populated by fire creatures, spheres of water and strange bugs. Like the Genius Party short, there's primalness in its testing of a desert landscape and search for substantial in realm of complete uncertainty. Seeing it, Happy Machine is wholly new. The description "the strange motion of strange creatures in a strange environment" sounds very Yuasa. Yet, even if you're a Yuasa watcher, it is transfixingly original. The short gets to the heart of what abstract and stylized animation is all about. While it does not look real, it evokes reality. Because of Yuasa's studied movements and expressions, there's a tactile sense to how the subject of the story feels his way through this world, and similarly a sympathy is establish with his feeling. The oddity likewise enhances the short work. A child is thrust into an environment that neither he nor you can't fully comprehend or predict. Unlike Limit Cycles, there is this child to attach to. Thinking about him, provokes an interest in interpreting the strange adventure, and because the short is engaging rather than unapproachable, it's actively perplexing. You're left wondering what it all means, and consequently, Happy Machine is the least predictable and most moving of the Genius Party shorts.
"Baby Blue"
From a North American perspective Shinichiro Watanabe is the most recognized, most anticipated name on the card. Surprisingly still occasionally mixed up with Excel Saga's (1999) comedy focused director Shinichi Watanabe, Shinichiro Watanabe carved his name into the story of anime in North America with Cowboy Bebop... a show that hit Adult Swim at the right time to be viewed by audiences from teens to forty somethings, maybe of whom watch little anime before or since.. Watanabe joined production house Sunrise where he worked on OVAs such as Ryosuke Takahashi's Armor Hunter Mellowlink (1988), Johji Manabe's Capricorn (1991) and Mobile Suit Gundam 0083: Stardust Memory (1991) as well as some TV episode supervision work on 4 panel manga adaptation Obatarian (1990) and super robot show Genki Bakuhatsu Ganbaruger (1992).
In 1992, Big West commemorated the 10th anniversary of Macross with six episode OVA The Super Dimension Fortress Macross II: Lovers, Again, a sequel set 300 years in the future. The anime featured few staff members from the original Haruhiko Mikimoto (character designer), Sukehiro Tomita (scripter) and Yasunori Honda (sound director). Shoji Kawamori was among the parties who weren't interested. This not a well remembered work prompted a change in course. Studio Nue came back with their own, sequel via 1994's four episode OVA Macross PLus. Shoji Kawamori was back. As was father of the Macross' dazzling aerial combat, Ichiro Itano - namesake of the Itano Circus. Koji Morimoto, a name that's connected all over Genius Party, whose own work doesn't show up until follow-up Genius Party Beyond, animated the neon psychodelic concerts, performed by the story's virtual idol Sharon Apple. And, Macross Plus featured Watanabe stepping up to co-direct. With its adult characters and integration with the music of Yoko Kanno (her second anime work, following Please Save My Earth, also released in 1994) the OVA laid out the pattern of Watanabe's work going forwards. In 1996, he worked under Kawamori in Sunrise's Vision of Escaflowne, where he storyboarded four episodes. He was back at Sunrise in 1998 for Cowboy Bebop. Again set to Kanno's music, the jazz and noir story of gangsters, ex-cops and feme fatales in the closing days of a sci-fi wild west era found a receptive audience in North America. If you were hoping for "the same, but different" you had to wait a while, but you were in luck with his next work. This time, it was at Manglobe, a studio formed in 2002 by Sunrise producers Shinichiro Kobayashi and Takashi Kochiyama. 2004's Samurai Champloo took its name from an Okinawan stir fry dish that literally translates to "something mixed." This time, Edo period chambara sword fighting genre work was mashed up with hip-hop music and anachronism. He worked with Studio 4°C on the AniMatrix anthology directing the Detective Story and Kid's Story segments. And it was at Studio 4°C that he launched what seems to be the latest phase of his career, producing the music for Mind Game. He took on the music producer role again for Manglobe's Michiko to Hatchin, a Brazilian set caper, directed by Sayo Yamamoto, whose previous directorial experience was the ending of Texhnolyze. Though Michiko to Hatchin has been called a "next Cowboy Bebop", the anime has not been licensed for release in North America. To throw out another bit of trivia, he was have to directed the opening of T.A.T.u. Paragate, featuring the anime incarnation of the defunct Russian pop duo. Baby Blue is set on a trip to Enoshima Island, with Japanese language dialog. If you were expecting something as frenetic as Bebop was, with like audio visual impact, you're out of luck. If you went into Genius Party expecting the unexpected, maybe you'd expect the guy behind "'The Work Which Becomes a New Genre Itself' to produce something genre-free. Something liable to attract the infuriating label "slice of life." Shou (voiced by live action actor Yuuya Yagira, Nobody Knows) is about to move out of town with his mother. Not wanting to give up on what he cares about, he decides to give up on everything. The self described good kid convinces Hazuki (live action actress Rinko Kikuchi, Brothers Bloom, Babel) to cut class with him. As he says "let's forget about tomorrow or the future." They "go somewhere..." A walk goes further and a trip to see fireworks at the beach. As the characters note "talk about clichés." There is a bit of the medium is the message here. Mark Schilling has pointed out that Baby Blue closely adheres to the tenants of seishun eiga ("youth film") - see Schilling's article on the genre here - then again, while label the label is applicable, I think it is forgivable to say that this is a not a genre story. Were it prose, it wouldn't be shelved in a special category of the book shop. It'd simply be fiction/literature. Yet, you shouldn't have to explain "guess what, anime isn't just giant robots and magical girls" to fit Baby Blue into a tradition of teen stories. Someone who watches a bit of anime and reads a bit of manga is liable to say "oh, it's this." Plenty of manga across the audience demarcations come to mind. As do the works of Matako Shinkai (Voices of a Distant Star, Place Promised in Our Earlier Days, 5cm Per Second). What I found it most reminiscent of is regrettably not available in North America, namely Studio Ghibli's Tomomi Mochizuki directed TV anime movie adaptation of Saeko Himuro's novel I Can Hear Ocean Waves, particularly due to protagonist worry of being out of sight, out of mind. It fits into that niche as a well produced instance, remarkable mostly for the people involved - Watanabe, the voice actors, Yoko Kanno. Again on the Kimura point, it effectively uses abstract character design against solidly realistic backgrounds. Given Shinkai's work on this type of story and his use of gorgeously realized backgrounds, comparisons to that animators work crop up. Baby Blue finds its place with its understanding of the tight control that an animator has on its subject. The tonal coloring, the realism of the place and its people, the nuance, it all allows the story to credibly emote. Yet, there's a major misstep. Something happens. It's no more critical to the development of the characters than any other moment, but it is very showy and it robs Baby Blue of its naturalism. It's not accidental. The short built to it all along. However, once the work begins running down hill, it may have committed itself towards sprinting into folly. I have to wonder if the experience had a Girl Who Leapt Through Time re-do, whether it would have reworked that bit.
Genius Party Beyond, also available from Siren Visual features "Gala" by Mahiro Maeda (Gankutsuou: The Count of Monte Cristo) "Moondrive" by Kazuto Nakazawa (Kill Bill) "'Wanwa' the Puppy" by Shinya Ohira (key animation on Howl's Moving Castle, Samurai 7, episode 7) "Tojin Kit" by Tatsuyuki Tanaka (Akira CGI, Batman: Gothman Knight - Working Through Pain ) "Dimension Bomb" Koji Morimoto
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Nov. 1, 2009, 1:35 a.m. CST
I tried entering the contest last time...
by Johnno
Tried to get a bunch of guys together to animate a short film, but we couldn't finish on time and it fell apart... I was so disappointed, my one chance to have these phenomenal directors look at something I made and I felt we had a pretty good chance of being one of the winners too if we completed it... le sigh...<br><br>Anyway Genius Party has some amazing stuff and some "eh?" head scratching stuff. But it's worth it! Genius Party Beyond also had some really awesome and trippy things! Hopefully some US distributor will pick up both Genius Party And Genius Party Beyond and combine it into one package for a local release on blu-ray. I'd buy that in a second!<br><br>The opening title, Shangai Dragon, and Baby Blue are my favourites from the first Genius Party! Anyone saying the Japanese can't animate is out of their fucking minds. Disney and Pixar wish they could pull of that shit! And even if they could, they won't or they'd be too stuck into their old school ways of doing it while the Japanese are experimenting and reaching for the stars. I believe a reviewer for Paprika said it best...
Nov. 1, 2009, 1:50 a.m. CST
"I wanted to make a place where creators who wanted to make inte
by CodeName
This is why Sam Raimi should hire these guys to direct JUST the action scenes for Spiderman 4. Please, Raimi, outsource all the Spidey action to anime directors! I bet you that the first American studio to collborate with Japanese anime directors... will be the next Renaissance Man.
Nov. 1, 2009, 1:51 a.m. CST
I meant that Raimi should hire Studio 4
by CodeName
Nov. 1, 2009, 1:52 a.m. CST
by CodeName
Why can't you let Sony animators starve for ONE day to just let the Japanese artist shine? Why?
Nov. 1, 2009, 1:54 a.m. CST
As in Sony Imageworks
by CodeName
Abba was right. Take a chance on me.
Nov. 1, 2009, 1:58 a.m. CST
I will bet with ALL of Hollywood that if they..
by CodeName
Nov. 1, 2009, 1 a.m. CST
don't hire anime directors for their
by CodeName
Superhero action films... they will not revolutionize the "scene". If I was some rich producer... I'd be all over Hideo Kojima (Metal Gear Solid) for ideas on how to make the NEXT superhero move. Come on!
Nov. 1, 2009, 1:04 a.m. CST
Let's watch Spidey..
by CodeName
hop and move on a MILLION broken glass shrapnel pieces while thinking about conceiving and passing his bloodline with Mary Jane.
Nov. 1, 2009, 1:05 a.m. CST
Okay, I'm done.
by CodeName
Nov. 1, 2009, 1:08 a.m. CST
Spiderman needs to go on a trip while he fights badguys
by CodeName
Nov. 1, 2009, 1:08 a.m. CST
Okay, bye
by CodeName
Nov. 1, 2009, 3:22 a.m. CST
Ghibli conservatism
by andrew_osmond
Scott wrote: 'Even then, evidence suggests institutional conservatism, especially in the light of box office under performance. Works that veer off too far, like Takahata's comic strip adaptation/family study My Neighbors the Yamadas (1999) and Hiroyuki Morita's distinctively animated fairy tale the Cat Return (2002) don't seem like territory Ghibli is eager to revisit.' Well, there's no question that 4C is more stylistically adventurous than Ghibli! But my impression was that Yamadas was a serious underperformer, maybe even flop, in Japan, so you can't really blane Ghibli for 'steering away.' (A few flops like that, and it would be dead.) As for Cat Returns, I agree the design was a _bit_ different from the Ghibli norm, more comedic, but it didn't strike me as _that_ distinctive (and its story was squarely Miyazaki-esque). Wasn't Miyazaki's own Ponyo more of a break with the studio's established style?
Nov. 1, 2009, 8:14 a.m. CST
re: Ghibli Convertism
by ScottGreen
To my mind, Hiroyuki Morita's animation sets Cat Returns apart. The story was light and forgettable. I wouldn't call it great anime movie, but a fun one. It moved and behaved in manner that was outside the typical Ghibli brand. Ponyo told a story about five year olds, which is unconventional in and of itself. The movie is as deeply admirable as the rest of Ghibli output, but, for the most part, it's the movie you'd it to be. Not a criticism of quality or artistic merit, but as a studio, Ghibli appears to have a narrow focus. Especially has compared to other anime movie producers of international interest (Production I. G or Madhouse for example)
Nov. 1, 2009, 9:17 a.m. CST
"other anime movie producers of international interest"
by Toilet_Terror
I think you're exaggerating.
Nov. 1, 2009, 10:14 a.m. CST
I tried watching that MONSTER series on Monday...
by FlickaPoo
...nights. Disappointed to not be able to get into it.<P>The animation is uninspired and workmanlike at best, and after five episodes I still wasn't sure why it's animated at all. Shouldn't the material help dictate the medium? Half hour after half hour of animated people talking doesn't make sense to me.<P>I'm sure fans will talk about character development and unusual depth of plot for an animated series etc... If I'm after those things I'll watch THE WIRE or read the new John Irving. Animation is a visual medium, and visuals are more than half the point. If you aren't going to be interesting or beautiful to look at and show something that isn't better or more easily filmed live action then what's the point?
Nov. 1, 2009, 10:34 a.m. CST
...suggestions Mr. Green? Anyone?...
by FlickaPoo
...been having a hard time finding good new anime to watch. I suppose I'm a casual but lifelong fan. Grew up in the 70' and 80's loving GOLDRAKE, MAZINGER, HARLOCK, FUTURE BOY CONAN, LUPIN III etc...<P>More recently I've mostly only enjoyed the usual greats...anything Ghibli or Miyazaki, COWBOY BEBOP, MUSHI, TEKKONKINKREET was very cool.<P>There must be more to life...what am I missing?
Nov. 1, 2009, 10:53 a.m. CST
The closest modern cousin to Future Boy Conan and Lupin III
by seppukudkurosawa
I can think of is Wolfs Rain, which I really dug and had a similar vibe to that really early Miyazaki work. But if you really want the hard stuff, there are a few other series out there that are fucked up windows into the crazy heart of Nippon, things like Serial Experiments: Lain, Elfin Lied and Paranoia Agent (though, like Monster, this might be another one of those which could have easily been shot in live action). What's that, three hundred hours of entertainment? <p> I grok you on your spiel, Flicka. I guess the Japanese see animation as more a different type of lens than a whole other medium, with its own advantages and setbacks. That being said, Monster does get a lot more actiony after the first few episodes, so it might be worth gritting your teeth and seeing where it goes. It's your call.<p> Anyway, I'm sure Scott'll be back any minute now with an infinitely more informed opinion. In fact, I could do with a few new recommendations myself. I don't reckon I've seen an anime in months. I need my fix, dude!
Nov. 1, 2009, 11:23 a.m. CST
seppuku...thanks, updating my queue...
by FlickaPoo
...now that you mention it I saw and mostly liked ELFIN LIED...the best part were those Klimt-esque opening credits.<P>I'm afraid I've given up on MONSTER. The animation is just too dull. A series like MUSHI can show two people talking and you still feel compelled to go back and pause from time to time just to admire the drawing...
Nov. 1, 2009, 11:30 a.m. CST
...and I get the point of a MONSTER manga...
by FlickaPoo
...one person drawing and writing in their kitchen can produce an entire epic...that sort of freedom and control is unique and irreplaceable.<P>I guess it's the next step of animating the damn thing that I don't get...unless you have some unusually nifty visuals to make it worth the effort.
Nov. 1, 2009, 12:21 p.m. CST
by Naboo_the_Enigma
One of my favorites in recent years was Planetes. The setting might seem a little boring, essentially futuristic garbage collectors, but the characters and plot were really good. Even compelling toward the end.
Nov. 1, 2009, 12:32 p.m. CST
"Simulacra"; I hope that's what they refer to it in the anime
by crayotic
Because otherwise you're just showing off your vocabulary for the sake of it, and not for the sake of your audience. The spotlight should be on the anime, not on your academic writing ability.
Nov. 1, 2009, 12:51 p.m. CST
Wish Superman had this treatment.
by Se7en
The crappy Batman/Superman is selling like hot cakes. Imagine Superman getting this treatment.
Nov. 1, 2009, 12:55 p.m. CST
by crayotic
I have no idea if its up your ally, but whenever someone opens themselves up to anime suggestions I feel compelled to point them towards Akagi, Kaiji, and One Outs. All three are based on gambling and feature a lot of psychological back-and-forth, and a bunch of "Oh shi-" moments if you're so inclined. <br><br> Akagi is all about illegal mahjong. It's got really, um, "unique" character designs to it, and despite being mostly about dudes sitting around a table placing tiles it manages to keep things interesting with metaphorical imagery and a cold and calculating anti-hero as the protagonist. <br><br> Kaiji has the same art style but is more about the underdog, as a born loser tries to get his way out of debt by jumping through a series of different high stakes, and increasingly more dangerous, gambles. Its got a scene with a bunch of naked dudes brawling and lots of manly tears in it, if that resonates with you. <br><br> And One Outs is essentially Akagi, but with a more traditional looking art style (i.e. their noses aren't ten feet long), and based around baseball and a pitcher who is may as well be Akagi but throwing balls instead of placing tiles. The gambling comes in through a contract he signs where he gets a million dollars per out, but can lose untold for every run that is given up. The psychological part of it is how he tries to figure out how to beat the other team which always has the upper hand coming into the games.
Nov. 1, 2009, 12:59 p.m. CST
re: FlickaPoo
by ScottGreen
If you're a Harlock fan, the Endless Odyssey OVA, released in North American as "Captain Herlock" is good - kindof Harlock versus Cthluhlu. If you're a Future Boy Conan fan, check out Now and Then, Here and There, a very potent anime about child soldiers in a a post apocalyptic world. Mushishi, a moving an beautiful series. If you don't mind strong violence, Shigurui is a good, overlooked anime series. A favorite action anime is Air Master, streaming various places online.
Nov. 1, 2009, 1:38 p.m. CST
Genius Party is an awesome title
by Sardonic
And that's all I've got.
Nov. 1, 2009, 2:56 p.m. CST
So when is Watanabe gonna bust another series out?
by TheWaqman
Cowboy Bebop and Samurai Champloo are infinitely better than all the other anime shite I see out there.
Nov. 1, 2009, 3:33 p.m. CST
Cowboy Bebop is, hands down, my ALL TIME FAVE.
by ScaryWaitress
Effing LOVE that series. EVERYTHING about it, perfectly done, especially the soundtrack. The American voices were pretty damn good in the dubbed version, too, which is so often not the case in dubbed anime. <P> I was hugely disappointed in Samurai Champloo. The female character was just the typical whiny anime female... so over that. I was SO looking forward to it after Bebop, dammit. The Big O seemed pretty decent to me, despite the fact that the world really didn't need another ginormous robot series...
Nov. 1, 2009, 4 p.m. CST
For something different I recommend Eden of the East
by Johnno
Great animation and a quality series! Kinda gets very 'Japanese' towards the end, in that the story and context is something only someone immersed in Japanese culture and stuff would really get. Anyway the series ends on a cliffhanger and there are two movies coming out soon that'll finish the story. But that show's one of the freshest coolest ones out now. I recommend checking it out!
Nov. 1, 2009, 4:02 p.m. CST
Also if you're an old school fan, Casshern Sins
by Johnno
It's quite different and very engaging in a dark depressing sort of way.
Nov. 1, 2009, 4:06 p.m. CST
My favourites from Genius Party Beyond
by Johnno
Gala, Dimension Bomb, Toujin Kit! Moondrive is also kinda cool.
Nov. 1, 2009, 4:14 p.m. CST
Here are some Youtube links, some vids are in 2 parts
by Johnno
Intro<br> tinyurl.com/yj4fo6v<br> Shangai Dragon<br> tinyurl.com/yktmxo4<br> Toujin Kit<br> tinyurl.com/d5zfkk<br> Dimension Bomb<br> tinyurl.com/yhxhms3<br> Gala<br> tinyurl.com/yfej874<br> Moondrive<br> tinyurl.com/yjvcrse<br> Baby Blue<br> tinyurl.com/ykaed37
Nov. 1, 2009, 4:17 p.m. CST
^ Though honestly...
by Johnno
The shitty quality of Youtube doesn't do this stuff justice.
Nov. 1, 2009, 4:27 p.m. CST
...thanks all, I will image search these...
by FlickaPoo
...(the first elimination round)when toddler FlickaPoo goes to bed and stops using my chair as a diving board.<P>I see several promising leads already...<P>And an entire detailed post dedicated to gambling themed series...gotta love anime and anime fans.
Nov. 1, 2009, 4:30 p.m. CST
...I always assumed "HERLOCK" was just a spelling...
by FlickaPoo
...mistake or variation on "HARLOCK"...
Nov. 1, 2009, 5:07 p.m. CST
4 Minute Avatar Featurette
by Orionsangels
Nov. 1, 2009, 8:32 p.m. CST
by The_Crimson_King
Studio 4°C also produced an anime movie from the mid 90's called Memories that was a collection of 3 vignettes and it's absolutely amazing, would love to have it on blu ray!
Nov. 1, 2009, 9:19 p.m. CST
Need your help with Cowboy Bebop
by coyrhino
Cowboy Bebop is the best. Looking for something like it. Adult characters with adult themes. Liked Samurai Champaloo and Plantes to give examples... Any ideas?
Nov. 1, 2009, 9:25 p.m. CST
re: coyrhino
by ScottGreen
Check out Macross Plus. quick and from some of the same people. A one-off from a space opera with haunted, adult characters. Baccano's lighter, but it has some style and maturity. Paranoia Agent if you haven't seen it. Less fun, but very interesting. Black Lagoon goes a movie-style action, but has some depth too.
Nov. 2, 2009, 12:07 a.m. CST
Japanese Cartoons forget one thing
by Undead03
the audience. Do not confuse good storytelling with the terms "adult themes" or that kind of lame bullshit. These Japanese cartoons are fun to look at (well, a few of them) but one out of a thousand can tell a compelling story worth watching. Most of them are midding mumbo-jumbo posing as importance. Sound and fury, nothing more. And MOST of them are UGLY.
Nov. 2, 2009, 2:14 a.m. CST
FlickaPoo, don't knock it till ya try it
by crayotic
Legions of rabid anime fanboys can't be wrong... Course, they also convinced me that Princess Tutu will fuck my eyeballs out with guitar dueling ninjas, and I'm yet to see anything more than a girl saving people with ballet. <br><br> Maybe they can't always be trusted.
Nov. 2, 2009, 2:52 a.m. CST
to coyrhino
by Naboo_the_Enigma
I'd recommend Ghost in the Shell: Stand Alone Complex if you haven't seen it already. Really good hard Sci-fi.
Nov. 2, 2009, 4:40 a.m. CST
genius party is amazing better than most single features.
by Damien Chowder
Nov. 2, 2009, 4:49 a.m. CST
Sounds like a Japanese PIXAR wanna-be...
by The Dreaded Rear Admiral
Which doesn't sound bad at all. Loved Cowboy Bebop, confused at Lain, WORSHIP Haibane Renmei (look that one up sometime, you won't be disappointed), and enjoyed the hell out of FMA. Ghost in the Shell I watched, but honestly can't remember a lot of. Shamploo was okay at best. Ghibli comprises most of my anime collection. Avatar (Nickelodeon version, not the overhyped Cameron movie that will be fucking (with)my eyeballs soon). Genius Party sounds like a must-get
Nov. 2, 2009, 8:49 a.m. CST
Not really Undead03
by Johnno
There's good, there's bad etc. etc. I'd say it's ratio is on par with any other medium whether TV or film made in the USA. Then again anime tends to take more risks and attempts to deal with more quirky stuff than a live action or an American cartoon would. So there is plenty of experimental stuff, and unless you're into that sort of thing, some audiences will be uncomfortable with that. But that's why I like it.
Nov. 2, 2009, 8:51 a.m. CST
Memories is amazing!
by Johnno
I've got it on DVD! Love it! There's also another more obscure collection of short films that features Otomo and other directors of that time. I don't believe you can get it on DVD. I think it released only on VHS awhile ago. But you can probably download it from somewhere online. It's called 'Robot Carnival' Very old school, but they pulled off some great traditional animation back then too! I seriously recommend hunting it down!
Nov. 2, 2009, 8:54 a.m. CST
by Johnno
Haibane Renmei was really great. The Music from the show was also awesome! If you like Abe's stuff, also check out Texhnolyze, though it slides more into Lain territory than Renmei. AICN had a Lain essay contest awhile back. There were two winning ones. One of which was mine. Search it out if you wish.
Nov. 2, 2009, 11:12 a.m. CST
Robot Carnival
by Naboo_the_Enigma
Agreed on that one Johnno! Robot Carnival is wonderful! I'd love a good DVD of that, if they ever release one. Really great early '80s anime.
Nov. 2, 2009, 11:19 a.m. CST
Here's the trailer for Robot Carnival
by Johnno
tinyurl.com/yf4wav7<br><br>You can find some of the shorts up on youtube as well. Just search for 'Robot Carnival.'
Nov. 2, 2009, 11:21 a.m. CST
I forgot to mention as Scott did 'Amazing Nuts'
by Johnno
A cool collection of music videos. Don't quite like the last CG one though. But the first 3 are killer! Apparently I heard they were also pitched as internal projects for full series/films. I hope they come about, especially in that style! Studio 4C is the one to watch for!
Nov. 2, 2009, 12:42 p.m. CST
Amazing Nuts
by crayotic
I wonder if that's what was responsible for the music clip that was floating around the anime blogs earlier this year (or late last year) with a floating whale or something similar. I remember everyone saying that it was going to be a series and thinking HOLY CRAP YES. But nothing came of it.
Nov. 3, 2009, 3:10 a.m. CST
Robot Carnival...
by The_Crimson_King
man oh man would I love to have that on dvd
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text:
Categories > Celebrities > My Chemical Romance > She's Not Breathing
Drafted1 Reviews
When all else fails...cry.
"Violet," I said quietly, touching her arm slightly. She was still frozen on my lap.
"I'm going to die soon." Her voice was barely above a whisper. "This has never happened before. Will has never lost them. Never. H-He lost them. They are out there somewhere. Probably near us."
"Don't say that." I told her. "They are probably miles away."
She stood up slowly and walked over to the window. Her long hair slowly falling out of her ponytail as she went.
There was nothing but silence. It was giving me goose bumps.
"I doubt that they are." She whispered. "Will is a good tracker. Better than any other out there. But, they are better than he will ever hope to be. They could find us in three seconds if they really wanted to."
"I bet Will is going to start tracking them again." I did my best to provide comforting words. I got up and walked behind her.
"I-I… I'm speechless." She mumbled, lowering her head. "They are going to find us. Rory and I are going to be no more." She placed her hands on the windowsill. "I bet that they are running. They are probably running as fast as they can towards our house right at this very moment." Her voice was getting close to hysteria, she gripped the windowsill tighter.
"Please, Vi, please calm down. Take a breath." I said, placing my hand on her shoulder.
She slammed the window shut.
"They are going to burst through the window." She yelled, pulling the curtains closed. One of them ripped from the force. "They are going to rip my arms off and my legs. Then they are going to take my lifeless body back to their whatever they live in and tear me open. Then, they are going to take my heart."
I gasped as she collapsed to the floor. Her head in her hands, sobbing.
"My h-heart, Frank. They'll take it. They'll take my b-brain. Th-they'll take everything. Every s-single p-part of me. I-I-I'll be all over the p-place."
I was unsure what to do. Here was this beautiful half human, half vampire girl sitting in front of me. She had the heart of the human. She was a free spirit. At the same time, she could probably break me in half with the strength in her tiny body.
"Violet." I knelt down beside her. "I'm here for you."
"That's," she started, "That's what I'm afraid of the most. Maybe you shouldn't be here at all."
"Don't tell me that." I slowly sat down. "I'm going to be here for you. We are both in trouble now. We are going to get through this together."
"Vampires hide alone." She mumbled.
"You aren't full vampire, though." I reminded her. "You are half, if that. And as of right now, I promise I'll do whatever it takes to protect you. Even though they could tear me limb from limb."
"Don't promise me. Don't promise me." She still wouldn't look at me.
"I'm going to."
"DON'T!" She snapped at me, jerking her head up quickly. Her hair fell wildly into her face. "Don't fucking promise me anything at all. I don't want you to get hurt." She was yelling extremely loudly now. "They will hurt you. They will do it to hurt me!"
I stared at her, wondering if she was actually listening to what she was saying.
"Of course I'm listening to myself! You just need to get out of my life!" She mumbled. "Get out of my life!"
The words hit me. They hit me hard. I pulled back from her slightly, hoping she wasn't serious. It had only been a few days, but I had really started to like her. A lot.
"Do you mean it?" I managed to spit out. I fought back the urge to cry. I never claimed to be made of steel. "You want me to leave?"
"N-N-No!" She fell onto me, sobbing, nearly making both of us fall over. "I didn't mean it."
It took me a while to realize what was going on. She didn't know what she was saying the whole time. I wrapped my arms around her, rocking her back and forth. She was still a seventeen year old at heart.
"I'm so scared." She whispered.
"It's okay." I told her. "Don't cry."
"Violet." We both looked up at the sound of Rory's voice.
He was standing in the doorway of the living room. His semi long hair was pulled back into a ponytail. He was dressed in all black.
"Dry your tears." He told her, walking over to us. He reached one hand under one of my underarms and the other under Violet's.
"Don't do anything foolish, Rory." She threatened him.
"I'm not." He yanked the both of us up.
"Then what are you doing?"
"Getting ready." He clasped her shoulder. "If they attack, we are going to be ready. It's going to be a war."

subset: commoncrawl


text:
Results 1 to 3 of 3
- CrackBerry Genius
11-02-2012, 04:25 PM Thread Author #1
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rroyy making me jealous for the next release :)
- CrackBerry Genius
11-02-2012, 07:41 PM Thread Author #2
- Posts
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Re: rroyy making me jealous for the next release :)
Rr_yy just replied on twitter, guess he saw it in his site logs but he doesn't have any more info so I'll just have to be patient and see what we get.
Thanks for the clarification Sir Roy A,
- CrackBerry Genius
- Posts
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- PINned to The Shepherd!
Re: rroyy making me jealous for the next release :)More thoughts at Bill's Spiritual Musings. http://www.bills-musings.com
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text:
main index
My Boyfriend is a Monster is a series of stand-alone graphic novels united by a premise that is Exactly What It Says on the Tin. Each novel centers around a heroine who finds romance with a handsome otherworldly being. The writers and artists vary with each story, apart from Janina G�rrissen, who handled the art in both the first and fifth books, and Dan Jolley, who wrote the third and sixth.
Examples from #1 "I Love Him to Pieces":
Examples from #2 "Made For Each Other":
Examples from #3 "My Boyfriend Bites":
Examples from #4 "Under His Spell":
Examples from #5 "I Date Dead People":


text:
So, you're thinking about buying a home...
Paying rent month after month is getting old, and you realize you have nothing to show for those large monthly payments. The problem is that it's so hard to save enough for the down payment and closing costs...where do I start?
It could be that you qualify for down payment assistance. This "assistance" could come in the form of a no interest loan, an interest bearing loan, a forgivable loan, or even a grant or gift.
If you haven't been pre-approved for a loan yet, that will be one of the first things you're going to want to do.
Now, WAIT! Don't go calling a lender just yet...you don't want just any lender. You are going to want to find a lender who works with First Time Homebuyers regularly. You are going to want a lender who knows how to find low down payment programs - maybe even a first time homebuyer grant. While not everyone will qualify for a down payment assistance program, some could get up to $15,000 or more!


text:
How do you solve a problem like trying to interest an audience raised on "American Idol" to like an old fashioned Broadway musical? Well, for one thing, if you are producing "The Sound of Music," you cast an "American Idol" superstar like Carrie Underwood. After all, Carrie Underwood is one of country music's "favorite things"; she's sold more than 15 million albums worldwide, with 16 number one singles (seven of which were co-written by Underwood) and five Grammys.
NBC's live three-hour broadcast of "The Sound of Music," starring Carrie Underwood as Maria von Trapp, will air in December. The classic Rodgers and Hammerstein musical will be broadcast Dec. 5th. If she learn not to take a breath between the words "sound" and "of" (see video below), perhaps the production will establish Carrie Underwood as a Maria von Trapp for a new generation. Mary Martin created the role in the original 1959 Broadway production and Julie Andrews starred in the 1965 film (which won the Oscar for best picture.) In People magazine, Underwood said that the television version of the musical will be quite different than the iconic movie, stating "I think once people tune in and realize that [our version] is not a remake, they won't compare it to the movie."
"Speaking for everyone at NBC, we couldn't be happier to have the gifted Carrie Underwood take up the mantle of the great Maria von Trapp," said NBC Entertainment chairman Robert Greenblatt in a statement. "She was an iconic woman who will now be played by an iconic artist." "We're thrilled to be presenting the Broadway version of The Sound of Music live," added Zadan and Meron, "and having Carrie Underwood as the star brings it to a new generation who will fall in love with it for the first time as many millions of people already have. It's a particular joy to us as producers to see this amazing artist stretch into new territory with this classic musical."
"To have a star like Carrie Underwood perform Maria in "The Sound of Music" – and in such a very special and unique production — is exciting beyond words," said Ted Chapin, president of the Rodgers & Hammerstein Organization. "Part of the magic of Rodgers and Hammerstein is how their work has adapted itself to so many different incarnations, and I am certain the fresh spirit Underwood brings to her own songs will transition into exciting versions of the classic songs we all know and love."
"The Sound of Music," set in pre-WWII Austria, is based on the true story of Maria von Trapp, "an aspiring nun who leaves the abbey to become a governess for the widower Captain von Trapp's seven children and finds herself falling in love with her employer and questioning her religious calling," according to NBC. The Sound of Music features a libretto by Howard Lindsay & Russel Crouse and a score by Richard Rodgers (music) and Oscar Hammerstein II (lyrics) that includes "My Favorite Things," "Sixteen Going On Seventeen," "Do-Re-Mi" and "Edelweiss."
Maybe NBC really cares about Broadway. They had the good sense to cancel the dreadful series, "Smash," which tried and failed to be to Broadway what "Nashville" is to the country music world. Here's hoping that "The Sound of Music" surpasses all expectations, even though NBC is partnering with the "Smash" producing team (Craig Zadan & Neil Meron) on the project. If not, it could be "so long, farewell" to the idea of putting classic musicals on television.
"Carrie Underwood sings "Sound of Music" on the CBS special Movies Rock!"…


text:
What does OSRR stand for?
What does OSRR mean? This page is about the various possible meanings of the acronym, abbreviation, shorthand or slang term: OSRR.
We've found a total of 2 definitions for OSRR:
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The other day when I did my catching up post I told you it was Mum's birthday, but completely forgot to show you a picture of her opening her vintage sheet quilt.
Thursday, 6 March 2014
Vintage Sheetery
The other day when I did my catching up post I told you it was Mum's birthday, but completely forgot to show you a picture of her opening her vintage sheet quilt.
11 comments:
- memmens said...
Love the photo of your mum.
You must never stop looking for sheets!
- 6 March 2014 05:38
- Lucy @ Charm About You said...
What a great picture and glad it was still a surprise for her! Nice swaps :)
- 6 March 2014 05:43
- Rachael said...
Oh what a lovely picture and a lovely quilt!
- 6 March 2014 07:38
- Charlotte said...
awwww! glad she loved it!
- 6 March 2014 07:41
- Katy Cameron said...
Ha, so satisfying to make things under people's noses without them realising ;o)
- 6 March 2014 13:31
- Helenjean said...
Your mum looks delighted. The front right orange flower in your swap pic is the sheet I had in my student days!
- 7 March 2014 00:53
- Archie the wonder dog said...
Is she still wondering how she raised a daughter that's so good at hiding something in plain sight?!!
- 7 March 2014 01:12
- Kay said...
Congrats on making a wonderful present for your mum, and so glad she liked it. Sheetery is a perfectly adequate word for what you are describing!
- 7 March 2014 01:39
- Annabella said...
So glad she loved it!!
- 10 March 2014 04:10
- Nicky said...
You tricky thing - now every quilt could be hers?
- 11 March 2014 21:08
- CATHY DANIEL said...
Your mum is a lucky lady! That quilt will keep her so snug and will have all the memories of you attached to it. It is lovely! xCathy
- 2 April 2014 04:20


text:
Maybe there really is no accounting for taste. Despite the healthy heaping of critical accolades for Amerie's fourth album In Love & War—not to mention Idolator's own five very legit reasons you should pick the record up (there's still time!)—the sales figures just don't lie.
That Grape Juice notes that while In Love & War is set to debut within the lower end of the Top 10 of Billboard's Top 200 Albums chart, it'll do so with a final tally of less than 20,000 copies sold. By comparison, Billboard is reporting Carrie Underwood's Play On will top the chart with around 300,000 copies sold.
If only the Def Jam powerhouse had put half the media push behind Amerie as it did Rihanna in the past week. Actually, make that a quarter of the media push. One-seventh? Sigh.
Oh, well. At least some Amerie posters and album samplers were given away at the album release party thrown at San Francisco's Gus Presents Social Club the other night, right?
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text: Bad Gastein Gallery: Player Party Photos Dinner, dresses and the hat dance were all on the menu at the player party in Bad Hofgastein. Published July 14, 2011 12:00 The player party took place at the Kursaal concert hall in nearby Bad Hofgastein on Tuesday. Alicja Rosolska was among the many players who enjoyed the dinner and traditional dancers. Four WTA stars took part in a hat dance, passing their hats around as the music gets faster. Sybille Bammer and Patricia Mayr-Achleitner, two of Austria's very best, at the hat dance. Yvonne Meusburger, Jarmila Gajdosova, Sybille Bammer and Patricia Mayr-Achleitner's hand. A selection of treats were on offer at the Nurnberger Gastein Ladies official player party. Yvonne Meusburger and Kristina Barrois were among the many WTA players who attended Tuesday. Tournament Director Sandra Reichel and Patricia Mayr-Achleitner at Tuesday night's party. Sybille Bammer, who is playing the last tournament of her career, with her daughter Tina. Julia Goerges, who won her first career WTA title in Bad Gastein a year ago, at the party. Jarmila Gajdosova, who is making her tournament debut in Bad Gastein, at the player party. Sandra Klemenschits, who has an amazing 35 doubles titles on the ITF Circuit, at the party. Klaudia Jans-Ignacik, who got married 10 days earlier, at Tuesday evening's player party. Klaudia Jans-Ignacik's doubles partner, Alicja Rosolska, in traditional dress on Tuesday. Frenchwoman Alize Cornet, who has been ranked as high as No.11 in the world, at the party. Topics: 2011, gastein ladies, tournaments, news, photos or videos, sandra klemenschits, alize cornet, julia goerges, kristina barrois, jarmila gajdosova, yvonne meusburger, patricia mayr-achleitner, sybille bammer, alicja rosolska, klaudia jans-ignacik, bad gastein [+] More Share this page! Print Email Related photos Bad Gastein Gallery: A Week To Remember July 13, 2014 From hard-hitting WTA stars to breathtaking mountain views, it was a week to remember at the NÜRNBERGER Gastein Ladies this year. Here are 15 of the very best pics. Bad Gastein Gallery: Famous Faces July 12, 2014 From current WTA stars like Sara Errani to former players like Jana Novotna and Barbara Schett-Eagle and even a pro soccer player, famous faces have been gracing Bad Gastein all week. Bad Gastein Gallery: Helicopter Petko July 11, 2014 Andrea Petkovic, a former NÜRNBERGER Gastein Ladies champion, has been very much in demand this week off the court in Bad Gastein - and off the ground... To The Top 3


text:
Group Tickets
Discounts on La Jolla Music Society performances:
- 10% for groups of 10-14 people
- 20% for groups of 15 or more people
Reservation and payment flexibility
Personalized attention and service
How far in advance
can I make group reservations?
Group reservations can generally be made months in advance of a given
performance by calling (858) 459-3724 ext. 212. We recommend reserving your
tickets early to ensure best seating. A credit card number must be provided to
hold your reservation. This number will be used for reservation holding
purposes only. A contract for your reservation will be mailed to you shortly
When is payment due?
Upon placing an order, groups must pay a non-refundable deposit equal to 50% of
the order. Balance is due no later than two (2) weeks prior to the
performance date. Sales occurring within two (2) weeks of performance
must be paid in full upon date of order. Payments must be made using a
credit card or a single check payable to La Jolla Music Society.
Are there any senior, student, or military discounts when I reserve my group?
We do not offer additional discounts to seniors, students, or military
personnel when making a group reservation. By combining existing group
discounts with the convenience of reservation and payment flexibility, group
discounts are a great value. We can help you to calculate how you could get the
best ticket price based on your particular needs.
When will I receive
my tickets?
After final payment has been made, tickets will be mailed to you at no
additional charge no later than seven (7) days prior to the performance. If the
group is arranged within seven (7) days before a performance, tickets can then
be picked up at the box office or at will call the night of the performance.
There are no refunds or exchanges once final payment has been made.


text:
Delta Flight Aborts Takeoff At MSP After Smoke In Cabin
A Delta Air Lines plane at Minneapolis-St. Paul International Airport had to abort takeoff Wednesday afternoon after smoke was discovered in the cabin.
Metropolitan Airports Commission Spokesman Patrick Hogan tells KARE 11 that Delta flight 4086 was bound for Wichita, Kan., just before 2:30 p.m. with a crew of three and 43 passengers, but it had to be aborted due to smoke.
Hogan says a smoke detector went off just before takeoff. The plane was evacuated with the use of fire stairs, which are stairs on the back of a truck. The evacuation slides were not activated.
KARE 11 also reports that the plane's passengers and crew were taken to a nearby airport fire station. Hogan says there were no injuries, and Delta Air Lines is looking into what caused the smoke.


text:
|CoPS SPY
Jeffery Camplin, CSP, CPEA
Northeastern Illinois Chapter
President; Camplin Environmental Services Inc.
Mundelein, IL
Michael Behm, CSP
Eastern Carolina Chapter
Assistant Professor; East Carolina University
Winterville, NC
Neil Webster, CSP, OHST
Greater Boston Chapter
Safety Director; Columbia Construction Co.
Braintree, MA
Debby Shewitz, CSP
Northern Ohio Chapter
Safety Consultant; Shewitz Consulting LLC
Cleveland Heights, OH
Joel Haight, Ph.D., P.E.
Central Pennsylvania Chapter
Associate Professor; Pennsylvania State University
University Park, PA
|Fire Protection Branch
(Engineering Practice Specialty)
Walt Beattie, CSP, CFPS
Philadelphia Chapter
Senior Consulting Engineer; Martrix Risk Consulting Inc.
Pottstown, PA
James Evans, CSP, CHMM
NOVA Chapter
HSE Manager; Kellogg Brown & Root
Arlington, VA
Mary Vorndran, CSP
Northwest Chapter
Occupational Safety Manager; Mayo Clinic
Rochester, MN
|Industrial Hygiene
Jeremy Chingo-Harris, CSP
Northeastern Illinois Chapter
Health & Safety Specialist; GE Healthcare
Barrington, IL
|Ergonomics Branch
(Industrial Hygiene Practice Specialty)
Cynthia Roth, COHN
Metropolitan Chapter
CEO; Ergonomic Technologies Corp.
Syosett, NY
Norm Keith, CRSP
International Chapter
Partner; Gowling Lafleur Henderson LLP
Toronto, Ontario
D. Michael Parker, CSP
Greater Baton Rouge Chapter
Regional Safety and Technical Training Manager, South Central Region; NRG Energy Inc.
Baton Rouge, LA
|Hospitality Branch
(Management Practice Specialty)
David Natalizia
Colorado Chapter
Principal; Dynamic Safety Inc.
Castle Rock, CO
|Manufacturing Branch
(Management Practice Specialty)
David Gelpke, CSP, CPEA
Connecticut Valley Chapter
Safety & Environmental Manager; Canberra Industries Inc.
Meriden, CT
Adele Abrams, REA
National Capital Chapter
President; Law Office of Adele L. Abrams
Beltsville, MD
|Public Sector
Amy Stewart, CSP
Central Ohio Chapter
Project Director; Safety Schools/Healthy Students, Highland Local Schools
Mt. Vernon, OH
|Risk Management/Insurance
Christine Sullivan, CSP, ARM
Colorado Chapter
Department Manager, Risk Control Services; Lockton Cos.LLC
Littleton, CO
|Training & Communications Branch
(Risk Management/Insurance Practice Specialty)
Cindy Lewis
Gulf Coast Chapter
Principal; Creative Safety Solutions
Santa Fe, TX
Gerry Eaker
Georgia Chapter
Corporate Fleet Safety Manager; United Parcel Service of America Inc.
Atlanta, GA
|Oil & Gas Branch
(Transportation Practice Specialty)
Steven Gregory, CSP
Gulf Coast Chapter
HES; Chevron
Houston, TX


text:
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- Daily Feature December 14, 2005
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Featuring 100% original graphics and music, it's Nicholas' first-ever adventure game! Help Nicholas find the DVD he wants and get out of the mall. Featuring giant witch-doctor things, otakus, magic potions and dead squirrels (okay, only one of each), this RPG will hopefully entertain everyone. If anyone gets stuck or encounters a glitch, please tell me in your review and I'll respond as soon as I can.
Special thanks to Ramon Osborn for the music and to Lesser Raven for giving me help on starting to program the engine.
Rated 5 / 5 stars August 3, 2014
Walrusguy in the pre youtube poop era huh? Gotta say I almost didnt notice you there for a second
As for the game itself it's a fun and wacky game as I would expect from you. Maybe make another 2-3 one of these dayys?
Rated 5 / 5 stars July 1, 2014
Oh man it's been so long since I've played this, one of the first flash games I ever played, and I just received a slap in the face by the realization that it all could have been avoided if he would have just walked up the damn escalator... Best. Plot. Ever.
Rated 5 / 5 stars May 30, 2014
wow... just wow that should NOT be rated "e" for everyone because its too messed up
Rated 5 / 5 stars May 9, 2014
i'm like him, i don't like going up stairs XD
Rated 5 / 5 stars February 9, 2014


text:
One proposal is a 1-cent sales tax that would go toward infrastructure and maintenance costs for local governments. If passed, Park County residents and tourists will start paying 5 cents on every dollar of taxable goods.
The other measure is to renew the county's 4 percent lodging tax that's been in place since the 1980s. The tax is only paid by visitors who stay in local lodging establishments, like hotels and dude ranches. Since that applies to few residents who live here, the tax is almost entirely paid for by travelers, not locals.
We ask voters to consider each of the measures on their own merits — which is exactly what voters have done in past years.
Citizens overwhelmingly rejected the last proposal for an additional 1-cent tax. That was two years ago, when 63 percent of voters across the county rejected a special purpose tax for West Park Hospital.
But by stark contrast, Park County voters recognized the importance of a lodging tax, passing the measure by 73 percent four years ago. That's substantial support for a tax here, and we hope voters again see the value of the lodging tax when they head to the polls next week.
We understand voters' anxiety over taxes — especially in this economy — and historic reluctance to approve them. But keep in mind that the lodging tax is far more narrow than a general sales tax. Unless you stay in a local hotel, you'll never pay it. Many locals are likely oblivious to the fact we even have a lodging tax.
"It's been going for 26 years; you didn't even know it, did you?"quipped Sherry Long of Meeteetse, secretary of the Park County Travel Council, at a meeting last week.
Money from the lodging tax helps bolster Park County's economy, drawing more tourists to our beautiful area with marketing and promotions. Those are tourists who broaden our tax base through the other purchases they make while enjoying Yellowstone National Park and all we have to offer in Park County. In short, the already bleak economic outlook for local governments would only worsen if the lodging tax fails.
You likely don't pay the lodging tax firsthand, but we all reap its benefits.


text:
St Louis could be the gateway to middle-relievers
February 11 2007
This article says that the Cardinals may be interested in trading for starting pitching if Braden Looper, Ryan Franklin and Brad Thompson don't look good this spring. It also mentions Lieber as a possibility and points out that the Cards have one right-handed reliever too many.
There's an interview with Charlie Manuel here.
You can view the Phillies spring training roster here.