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Reviewed by The Foywonder
Starring Zachery Bryan, Daz Crawford, Alexis Peters, Mac Brandt, Melissa Leigh
Directed by Todor Chapkanov
Thor: Hammer of the Gods is pure cookie cutter Sci-Fi Channel movie-making and cookie cutter is not an expression one should have to use to describe a fantasy horror flick involving Vikings battling werewolves. I can't even bring myself to fault the two screenwriters because I've heard too many stories over the years from various Sci-Fi original movie authors about how stifling they tend to make the creative process and watching this film it is quite evident that the creative process did not allow for much by way of creativity. I can fault them for the stilted dialogue and I can also fault the actors for believing that just because they are appearing in a Viking movie that means they have to speak every stilted line as a bad Shakespearean actor would. The rest is an assembly line of clichéd plotting, visual effects hampered by the usual budgetary restraints, and a lead actor so absurdly miscast it should have been obvious to everyone long before the cameras began rolling.
Honestly now, who the hell thought it was a good idea to cast the eldest son from "Home Improvement" as the legendary Thor? When I first heard about Zachery Bryan (his middle name "Ty" nowhere to be found in the opening credits) being cast in the role of Thor I thought it was an odd bordering on laughable choice. Actually seeing him with his puffy babyface and fledgling beard, neither capable of carrying himself or sounding like a credible Viking warrior… I don't care if the argument is that this is the Captain America-ish tale of how a mild-mannered Viking – "mild-mannered" being another word no one should ever be using in discussion of a Viking movie – gained the "hammer of the gods" by defeating Fenris to become the mightiest Viking warrior of legend; Bryan is no Thor and never will be. Every single time his Thor has a vision that looks remarkably like the Marvel Comics' Thor fighting monsters or posing with his giant hammer amid a stormy lighting-filled night sky (looking very much like one of those Marines recruitment commercials) I kept wishing that Viking was the star of the film instead of Bryan. Then when the movie tries to convince us that Viking from the visions is Zachery Bryan, puh-leaze.
Were there no pro wrestlers or MMA fighters or bodybuilders available for casting? I refuse to believe the casting of Zachery Bryan was done for his name value.
Far more convincing is Blade II's Daz Crawford as Ulfrich, the great warrior leading his fellow Norsemen (and Norsewomen) to this cursed island in search of the "hammer of the gods" that he believes is destined for his grasp. The only problem is that while Crawford carries himself with the proper amount of Berserker swagger, the guy is just far too dark-skinned to be playing a Viking. A Greek hero, a Spartan warrior, or even a Moor – yes. But a Viking? The word "swarthy" generally doesn't spring to mind when you think of Scandinavians.
The questing Vikings are immediately besieged on this island by lycans that look like skinny Minotaurs with wolf heads instead of bulls. I'm not entirely sure if they were always full-bodied CGI creations or human actors with wolf heads digitized onto them or a mixture of both, but it makes for some rather awkward action scenes; actors flail away aimlessly with their swords at wolfmen that appear to have been added into the scenes later. All of the film's swordplay looks very stagey but none more so than these moments.
The werewolf visuals still fair better than their master, the wolf god Fenris, which appeared to me to be the cheaply animated lovechild of He-man's Cringer and Skeletor's Panthor. Endowing it with a Darth Vader-esque voice does not help matters. Fenris is just a bigger, blacker version of the poorly rendered creatures seen in every Sci-Fi Channel saber-toothed tiger movie that'll leave you longing for some good old fashioned Ray Harryhausen stop-motion.
All of which could be forgiven if Thor: Hammer of the Gods proved genuinely thrilling or even laughably campy instead of leaving me with a feeling of complete indifference. Director Todor Chapkanov's last foray into Sci-Fi filmmaking, Copperhead (also penned by Rafael Jordan, a co-writer of this outing), was one of the more entertaining Sci-Fi offerings in recent memory. What here should have been a fantastical melding of The 13th Warrior and Dog Soldiers ends up being yet another predictably shopworn Sci-Fi Channel experience.
When Thor and Ulfrich, who gets seduced by the dark side, have their big confrontation, Ulfrich unleashes his newfound powers bestowed upon him by Fenris by flexing his muscles and letting out a primal roar as if he were a violently constipated Hulk Hogan. All that bluster for what? Does he too develop a wolf's head? Does he turn into something even more feral and ferocious? Nope. Daz Crawford's facial features turn slightly darker and he develops a butthead. I mean his cranium literally grows butt cheeks. This is his ultimate power that he sold his soul for? And yet as stupid as the visual is, somehow it manages to remain every bit as ho-hum as the rest of Thor: Hammer of the Gods.
1 1/2 out of 5
Discuss Thor: Hammer of the Gods in our Dread Central forums!
AHS: Cult Review – Clowns, Cults, Politics, and Peters
Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill
Created by Ryan Murphy and Brad Falchuk
It's here. We've reached the end. The newest season of "American Horror Story" has ended and now we are here to provide you guys with our season review of AHS: Cult.
Spoiler free.
To start things off let me say I'm not the world's biggest fan of "American Horror Story". It breaks down like this: I enjoyed the absolute hell out of the first season of the series ("Murder House"), couldn't get through "Asylum" (I know, I know, I've tried), dug "Coven" for what it was, really enjoyed "Freak Show", and again I couldn't get into "Hotel" or "Roanoke".
That's the story of me and "American Horror Story". Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let's find out.
Back when the seventh season of AHS was first announced (then going by the title "AHS: Election") I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, "Freak Show".
Now I'm a fan of ghosts and weird creature-men with drills for d*cks, don't get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than "Freak Show") so this major change of pace was again welcomed by this guy.
Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.
Oh, and clowns. Like a lot of clowns.
But just because this new season didn't include anything supernatural, that doesn't mean the 11-episode season wasn't filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn't be out of place in a Rob Zombie flick. It was all good.
But let's backtrack a bit here.
Allow me to rundown the season's plot for those who may be unaware. "AHS: Cult" tells the tale of a world post-election night. The literal dawn of Trump's America. In one corner we have Sarah Paulson's soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).
And in the other corner, we have Evan Peter's angry, white (blue-haired) male, looking to seize Trump's new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I'm just going to say the dude's got big plans.
Like Manson-size plans. Let's leave it at that.
With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.
Overall "AHS: Cult" belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy's horror show and this season was no different. Peters' turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.
I can only hope he doesn't pull a Jessica Lange and opt-out of more AHS next year.
Speaking of top performances, "AHS: Cult " showcases some other chilling and memorable turns with Alison Pill's strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!
Along with Pill, actress Billie Lourd killed it time and time again. The "Scream Queens" breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.
Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch's return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?
On the sour side of the season, I didn't dig Sarah Paulson's character. At all. But I'm sure that was the point. Right? I'm still not sure. But, boy, I wouldn't even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season's 11-hours with her and her whiny bullshite. Urgh.
That said, she pulled it out by the finale. That's all I'll say.
In the end, I enjoyed this season as much as – if not more – than any other of the series. "Murder House" will still no doubt go on as my favorite season of the series, but "AHS: Cult" will rank third after season one and "Freak Show".
While I was on the fence about the season after three episodes, the show ended up ditching Paulson's character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.
Not a bad way to spend my Tuesday night for the past 11 weeks.
Bring on season 12.
The seventh season of Ryan Murphy's American Horror Story was Evan Peters' show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.
The Axiom Review – A Stylish and Clever Slice of Independent Horror
Starring Hattie Smith, Zac Titus, Nicole Dambro
Directed by Nicholas Woods
The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).
The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.
The second thing you'll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It's not often that an independent horror film has so many good performances that it makes it hard to pick the movie's acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.
The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the 'Missing 411' books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It's also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it's surprising how many films fail to do this. The Axiom rewards the viewer's attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It's not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.
The film's score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie's tone, but does quite a bit to help set that tone as well.
The only thing that I don't feel the movie quite pulls off – and I'm trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it's still a bit of a shame when they don't quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.
- Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
- Give back Mia Sara's DNA, Hattie Smith!
- If you're going to put your female lead in shorts this small, I hope you're not sensitive to viewers unleashing a nonstop parade of "Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!" jokes.
- "You just pop this here 'Blair Witch Stick Person / Anarchy sign' sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won't bother you none, no sir." Hmmmmm…
- The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
- As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
- "I'll make a run for it and get help," says the female lead, and I'm like "Yeah, let her go – she has no pants to weigh her down."
- The gore effects in the movie are both realized and utilized very well.
- Welcome back to horror movies, "I'll be right back" dialogue spoken unironically by and/or to ill-fated characters.
In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired "Don't Go in the Woods" horror subgenre not seen since 2012's Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film's flaws from dragging it down.
The Dollmaker Short Film Review – Welcome to Heebie Jeebie City!
Starring Perri Lauren, Sean Meehan, Dan Berkey
Directed by Alan Lougher
The loss of a young child drives a mother to take a set of unusual measures to preserve his memory, and all it takes is one call to The Dollmaker.
When the short film by Alan Lougher opens up, we see a rather disturbing image of a little boy inside a casket, and the sound of a grieving mom speaking with an unidentified man in the background – he's requesting something personal of the child to help "finish" his product, and it's not before long that mom has her little boy back…well, kind of. What remains of the child is the representation of his former self, although it's contained within the frame of a not-so-attractive doll, and the boy's father isn't a believer in this type of hocus-pocus (or the price to have this constructed, either). The doll comes with a specific set of instructions, but most importantly, you cannot spend more than one hour a day with the doll, or else you'll go mad thinking that the soul inside of it is actually the person that you lost – sounds reasonable, doesn't it?
Well this is just too good to be true for Mommy, and as the short film progresses, we'll just have to wait and see what happens to her mind – it's ultimately a depressing scenario, but Lougher gives it that creepy feel, almost like visiting a relative's home and seeing their dearly departed pet stuffed and staring at you over the fireplace – HEEBIE-JEEBIE CITY, if you ask me. All in all, the quickie is gloomy, but ultimately chilling in nature, and is most definitely worth a watch, and if I might use a quote from one of my favorite films to apply to this subject matter: "Sometimes…dead is better."
Ultimately chilling in nature!
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The Axiom Review – A Stylish and Clever Slice of Independent Horror
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@audipenny: A snake is what happens when a string goes "what if I was alive and had a weird mad looking head"


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Top Paul Stanley Quotes
Browse top 19 most favorite famous quotes and sayings by Paul Stanley.
Favorite Paul Stanley Quotes
1. "When you start fooling around with drugs, you're hurting your creativity, you're hurting your health. Drugs are death, in one form or another. If they don't kill you, they kill your soul. And if your soul's dead, you've got nothing to offer, anyway." ~ Paul Stanley
2. "The financial reward is great and I love the life I have, but all money makes possible is for you to stop worrying about money. Then you have freedom to live your life." ~ Paul Stanley
3. "Tooting my own horn is of no interest to me... it takes you away from real life. It's a waste, and I don't find a need to sing my own praises." ~ Paul Stanley
4. "Nothing could ever stop Kiss. I've seen the band in down times where critics were like vultures circling overhead saying things like, 'Well, you know it's the end of your career.'" ~ Paul Stanley
5. "I think KISS has always been about celebrating self-empowerment. Celebrating the idea that anything is possible with determination and hard work." ~ Paul Stanley
6. "Whenever anybody comes to me with a way that I can give something back, it would be ungrateful at this point in my life to not say yes." ~ Paul Stanley
7. "The whole idea of rock and roll lifestyle is a cartoon. It's a caricature. And at times, it's made up of people emulating others; a few who actually live that lifestyle and many who claim to live that lifestyle." ~ Paul Stanley
9. "Autobiographies, for the most part, to me, are like writing a love letter to yourself." ~ Paul Stanley
10. "It's absurd for anybody to look around and hear the acts and artists who cite us as an inspiration, and then tell me that we're not in the Rock and Roll Hall of Fame." ~ Paul Stanley
12. "When you're in a position to have gotten so much, the gift at this point is giving back." ~ Paul Stanley
14. "A Kiss concert experience is like sex or anything else that's done with more that one person. It's the give and take that makes it so great. When the audience takes it to the next level, we can kick it up another notch." ~ Paul Stanley
15. "Core strengthening is key to everything. It's not just about the way I look, but about stabilizing my body so I can perform better on stage." ~ Paul Stanley
16. "Don't kid yourself; the guy who's onstage in ripped-up jeans is wearing as much a costume as I am." ~ Paul Stanley
19. "I was a chubby boy. My pants used to wear out in the middle, and it was because my legs used to rub together. I wasn't obese, just chunky." ~ Paul Stanley
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text:
1968 RELIANT REGAL Ex- 'Only Fools and Horses' - £Auction 0
This Reliant Regal 3-wheeler was used in the trailer to the original TV series Only Fools and Horses in 2002. 'BWC 94F' can clearly be seen in the trailer to the episode of 'If they could only see us now' where the car was driven in Monaco-no less, by Del and Rodney. It also features extensively in the Only Fools and Horses 'Hookie Street' book. Letters in the history file to the then owner, John Mansfield, from the BBC also confirm its use by them.The car, acquired from a Bonhams auction in 2008, has a reconditioned engine, a full synchromesh gearbox, a remote control key start (which can be operated from up to 50 metres away), a DVD player and cassette radio, a smoke machine which emits smoke from the exhaust when a valve is opened on the dashboard, a 'Tiger Skin' print interior, rubber mats with 'Del Boy' on the drivers side and 'Rodney' on the passenger side, inflatable dolls fitted which show up in the back window(!), a suitcase on the roof, and air horns. Disregarding its TV provenance, it'sprobably that most reliable example of this 'marque' that you will find and has even participated in the London to Brighton rally in 2001 and 2004!With 71,778 miles recorded, an MOT until 9th June 2018, and even an original owners handbook, what's not to like Rodney?!Cushtie, you know it makes sense!
- 0 Miles
- Manual
- RefCode: TA1096321


text:
cherry-ism asked:
I have a theory concerning Ky's name. I've studied Latin for years and his name "Luc" comes from the Latin word "Lux" which means "Light". As I am French, when we say that someone is a "light", that means this person is really smart. And focusing on the last chapters, Ky shew how smart he is. That's why I linked his name with its Latin origin and Ky's smartness. I don't know if Kagami did it on purpose to give Ky this name but it could be an interesting theory. Besides, Luc is a French name. ~
Mun here~
This is a nice theory I approve of!
I believe his first name is of Celtic origin so maybe he spent a great portion of his vampiric life in France and added Luc to his name? Of course he could also be a Frenchman, that depends on his real age and Kagami's decisionmaking. Either way, I'm happy with any outcome for our sweet little Cinnamon Progenitor.~
Let's hope that he does get a backstory reveal together with all of Shi's children because Owari no Seraph is so much more than just Mika and Yuichiro.


text:
Fabulous Novel Action Plan
Spoiler alert: There is no road map to your novel. Any and all writing advice is just that, advice for you to adjust to fit you. I am currently developing my process and learning more about how I write. One thing I like to have is a plan. I can … Continue reading →


text:
|Publication number
|Publication type
|Application number
|Publication date
|19 Jan 2010
|Filing date
|20 Jul 2005
|Priority date
|7 Jun 1995
|Fee status
|Also published as
|Publication number
|Philip S. Green, Joel F. Jensen
|Original Assignee
|Sri International
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (152), Non-Patent Citations (10), Referenced by (37), Classifications (33), Legal Events (3)
|External Links: USPTO, USPTO Assignment, Espacenet
This application is a divisional of and claims priority from U.S. patent application Ser. No. 10/629,345 filed Jul. 28, 2003, which is a continuation of U.S. patent application Ser. No. 10/124,573 filed Apr. 16, 2002 (now U.S. Pat. No. 6,620,174), which is a divisional of U.S. patent application Ser. No. 09/104,935 filed Jun. 25, 1998 (now U.S. Pat. No. 6,413,264); which is a continuation of U.S. patent application Ser. No. 08/824,977, field Mar. 27, 1997 (now U.S. Pat. No. 5,814,038); which is a continuation of U.S. patent application Ser. No. 08/487,020 filed Jun. 7, 1995 (abandoned), the full disclosures of which are incorporated herein by reference.
The invention was made with Government support un Grant Number 5R01 GM44902-2 awarded by the National Institutes of Health. The Government has certain rights in this invention.
This invention relates to surgical manipulators and more particularly to robotically-assisted apparatus for use in surgery.
In standard laparoscopic surgery, a patient's abdomen is insufflated with gas, and trocar sleeves are passed through small (approximately � inch) incisions to provide entry ports for laparoscopic surgical instruments. The laparoscopic surgical instruments generally include a laparoscope for viewing the surgical field, and working tools such as clamps, graspers, scissors, staplers, and needle holders. The working tools are similar to those used in conventional (open) surgery, except that the working end of each tool is separated from its handle by an approximately 12-inch long extension tube. To perform surgical procedures, the surgeon passes instruments through the trocar sleeves and manipulates them inside the abdomen by sliding them in and out through the sleeves, rotating them in the sleeves, levering (i.e., pivoting) the sleeves in the abdominal wall and actuating end effectors on the distal end of the instruments.
In robotically-assisted and telerobotic surgery (both open and endoscopic procedures), the position of the surgical instruments is controlled by servo motors rather than directly by hand or with fixed clamps. The servo motors follow the motions of a surgeon's hands as he/she manipulates input control devices and views the operation via a displayed image from a location that may be remote from the patient. The servo motors are typically part of an electromechanical device or surgical manipulator that supports and controls the surgical instruments that have been introduced directly into an open surgical site or through trocar sleeves into a body cavity, such as the patient's abdomen. During the operation, the surgical manipulator provides mechanical actuation and control of a variety of surgical instruments, such as tissue graspers, needle drivers, etc, that each perform various functions for the surgeon, i.e., holding or driving a needle, grasping a blood vessel or dissecting tissue.
This new method of performing telesurgery through remote manipulation will create many new challenges. One such challenge is transmitting position, force, and tactile sensations from the surgical instrument back to the surgeon's hands as he/she operates the telerobotic system. Unlike other techniques of remote manipulation, telesurgery can give the surgeon the feeling that he/she is manipulating the surgical instruments directly by hand. For example, when the instrument engages a tissue structure or organ within the patient, the system should be capable of detecting the reaction force against the instrument and transmitting this force to the input control devices. In this manner, the surgeon can see the instrument contacting the tissue structure on the displayed image and directly feel the pressure from this contact on the input control devices. Providing the appropriate feedback, however, can be problematic because of other forces acting on the system, such as friction within the telerobotic mechanisms, gravity and inertial forces acting on the surgical manipulator or forces exerted on a trocar sleeve by the surgical incision.
In addition, to enable effective telesurgery, the manipulator must be highly responsive and must be able to accurately follow even the most rapid hand motions that a surgeon frequently uses in performing surgical procedures. To achieve this rapid and responsive performance, a telerobotic servo system must be designed to have an appropriately high servo bandwidth which requires that the manipulator be designed to have low inertia and to employ drive motors with relatively low ratio gear or pulley couplings.
Another challenge with telesurgery results from the fact that a portion of the electromechanical surgical manipulator will be in direct contact with the surgical instruments, and will also be positioned adjacent the operation site. Accordingly, the surgical manipulator may become contaminated during surgery and is typically disposed of or sterilized between operations. Of course, from a cost perspective, it would be preferable to sterilize the device. However, the servo motors, sensors and electrical connections that are necessary to robotically control the motors typically cannot be sterilized using conventional methods, e.g., steam, heat and pressure or chemicals, because they would be damaged or destroyed in the sterilization process.
What is needed, therefore, is a robotically-assisted apparatus for holding and manipulating surgical instruments by remote control. The apparatus should be configured for easy sterilization so that it can be reused after it has been contaminated during an operation. The apparatus should be further capable of providing the surgeon with the appropriate feedback from forces transmitted to and from the surgical instrument during the telerobotic operation and it should be configured to compensate for gravitational forces acting on the apparatus so that these forces are not felt by the surgeon. In addition, the apparatus must be highly responsive and must be able to accurately follow even the most rapid hand motions that a surgeon frequently uses in performing surgical procedures.
According to the invention, an apparatus is provided for holding and manipulating a surgical instrument during conventional open surgery or endoscopic procedures, such as laparoscopy. The apparatus comprises a support base fixable by means of various passive or power driven positioning devices to a surface, such as an operating table, and an instrument holder movably mounted on the base. The instrument holder comprises a body and an instrument support movably coupled to the body and having an interface engageable with the surgical instrument to releasably mount the instrument to the instrument holder. A drive assembly is operatively coupled to the instrument holder for providing the instrument with at least two degrees of freedom. The drive assembly includes a first drive for moving the instrument support and a second drive for moving the instrument holder relative to the support base. The apparatus includes means for removably coupling the instrument holder from the base and the drive assembly so that the holder can be separated from the rest of the device and sterilized after a surgical procedure.
In a specific configuration, the support base includes a frame with distal and proximal support members and a pair of shafts rotatably mounted within the support members. The instrument holder is slidably mounted on the support shafts for axial movement of the instrument. In addition, the shafts are each coupled to a drive motor for providing the instrument with second and third degrees of freedom, e.g., rotation and end effector actuation. The drive motors are coupled to the proximal support member so that they will not be contaminated during surgery. The rotatable shafts can be removed by sliding them upward and out of engagement with their lower bearings and the instrument holder so that the instrument holder can be easily removed from the support base for sterilization. The lower portion of the support base (including the distal support member) may also be sterilized to decontaminate those parts that have contacted the instrument holder. In this manner, the surgical manipulator can be easily sterilized after a surgical procedure without damaging the servo motors or the electrical connections required for the telerobotic system.
The support base further comprises a sleeve, such as a cannula or trocar sleeve, mounted on the distal support member. The sleeve has an axial passage for receiving the instrument therethrough and a force sensing element mounted within the axial passage near the distal end of the sleeve. The force sensing element is configured to detect lateral forces exerted on the element by the distal portion of the instrument during surgery. Since the force sensing element is mounted distal to the remainder of the apparatus, it is undisturbed by forces that may be exerted on the cannula by the surgical incision or by gravity and inertial forces that act on the instrument holder. When supported by a positioning device, the surgical manipulator can be used with an inclinometer to determine the true orientation of the instrument holder with respect to the direction of the local gravitational field. Use of the inclinometer and force sensors with the manipulator facilitates the design of a telerobotic system in which the surgeon will directly sense the forces acting against the end of the instrument, unaffected by extraneous forces acting on the telerobotic mechanism. In other words, the surgeon will feel as if his/her hands are holding the instrument at the point in which the instrument contacts the force sensing element.
The invention is particularly useful for holding and manipulating a surgical instrument having an end effector, such as a pair of jaws, coupled to the distal end of the instrument shaft. To that end, the instrument holder further includes an actuator driver having an interface engageable with an end effector actuator on the instrument. The actuator driver includes a coupling that connects the driver to the drive assembly for axially moving a portion of the driver relative to the support base, thereby actuating the end effector of the instrument. In a preferred configuration, the coupling is a concentric helical actuator that translates rotation from a drive motor into axial movement of the end effector actuator. Because of the symmetrical design of the helical actuator, the actuation force applied by the drive motor will not generate any effective side loads on the instrument, which avoids frictional coupling with other degrees of freedom such as axial movement and rotation of the instrument.
Other features and advantages of the invention will appear from the following description in which the preferred embodiment has been set forth in detail in conjunction with the accompanying drawings.
Referring to the drawings in detail, wherein like numerals indicate like elements, a manipulator assembly 2 is illustrated according to the principles of the invention. Manipulator assembly 2 generally includes an instrument holder 4 removably mounted to a base 6 and a drive assembly 7 for manipulating a surgical instrument 14 releasably coupled to instrument holder 4.
Referring to
First drive 8 comprises a rotation drive motor 26 fixed to frame 16 and coupled to first shaft 18 by a drive belt 28 for rotating first shaft 18 with respect to frame 16. Second drive 10 comprises a gripper drive motor 30 fixed to frame 16 and coupled to second shaft 20 by a drive belt 32 for rotating second shaft 20 with respect to frame 16. Third drive 12 comprises a vertical drive motor 34 coupled to instrument holder 4 via a drive belt 36 and two pulleys 38 for axially displacing instrument holder 4 with respect to frame 16. Drive motors 26, 30, 34 are preferably coupled to a controller mechanism via servo-control electronics (not shown) to form a telerobotic system for operating surgical instrument 14 by remote control. The drive motors follow the motions of a surgeon's hands as he/she manipulates input control devices at a location that may be remote from the patient. A suitable telerobotic system for controlling the drive motors is described in commonly assigned co-pending application Ser. No. 08/823,932 filed on Jan. 21, 1992, entitled TELEOPERATOR SYSTEM AND METHOD, which is incorporated herein by reference.
The above described telerobotic servo system preferably has a servo bandwidth with a 3 dB cut off frequency of at least 10 Hz so that the system can quickly and accurately respond to the rapid hand motions used by the surgeon. To operate effectively with this system, instrument holder 4 has a relatively low inertia and drive motors 26, 30, 34 have relatively low ratio gear or pulley couplings.
In a specific embodiment, surgical instrument 14 is an endoscopic instrument configured for introduction through a percutaneous penetration into a body cavity, such as the abdominal or thoracic cavity. In this embodiment, manipulator assembly 2 supports a cannula 50 on distal support member 19 of frame 16 for placement in the entry incision during an endoscopic surgical procedure (note that cannula 50 is illustrated schematically in
As shown in
As shown in
Instrument holder 4 is removably coupled to base 6 and the drive motors so that the entire holder 4 can be removed and sterilized by conventional methods, such as steam, heat and pressure, chemicals, etc. In the preferred configuration, arm 68 includes a toggle switch 69 that can be rotated to release arm 68 from drive belt 36 (
To remove instrument holder 4 from base 6, the operator rotates toggle switch 69 to release arm 68 from drive belt 36 and removes drive belts 28, 32 from drives 8, 10. As shown in
The lower portion of base 6 (including distal support member 19) may also be sterilized to decontaminate those parts that come into contact with holder 4 or instrument 14 (e.g., by dipping the lower portion of base 6 into a sterilizing bath). To facilitate this type of sterilization, shafts 18, 20 will preferably be somewhat longer than shown in
Instrument holder 4 further includes an instrument support 70 (see detail in
Instrument holder 4 further includes an actuator driver 80 (see detail in
Shaft 100 is preferably a stainless steel tube having an outer diameter in the range of 2-10 mm, usually 4-8 mm, so as to fit within a cannula having an internal diameter in the range of 2-15 mm. Shaft 100 can also be introduced directly through a percutaneous incision in the patient. Shaft 100 has a length selected to reach a target site in a body cavity, such as the abdomen, and to extend sufficiently out of the body cavity to facilitate easy manipulation of surgical instrument 14. Thus, shaft 100 should be at least between 10 cm and 40 cm and is preferably between 17 cm and 30 cm. It should be noted that although shaft 100 is shown as having a circular cross-sectional shape in the drawings, shaft 100 could alternatively have a rectangular, triangular, oval or channel cross-sectional shape.
In a specific configuration, shaft 100 includes a mounting means for releasably coupling surgical instrument 14 to instrument support 70 and first drive 8 of manipulator assembly 2. In the preferred embodiment, mounting means comprises a pair of opposed mounting pins 116 extending laterally outward from shaft 100. Mounting pins 116 are rigidly connected to shaft 100 and are adapted for engaging a twist-lock interface on instrument support 70, as discussed in detail below. It should be understood that the invention is not limited to a pair of opposing pins and mounting means can include a single mounting pin or a plurality of pins extending circumferentially around shaft. Alternatively, pins 116 may have a variety of other shapes, such as spherical or annular, if desired.
Instrument 14 includes an end effector 120 extending from distal end 104 for engaging a tissue structure on the patient, such as the abdomen during laparoscopic surgery. In the preferred embodiment, end effector 120 comprises a pair of jaws 122, 124 that are movable between open and closed positions for grasping a blood vessel, holding a suture, etc.
Jaws 122, 124 preferably have transverse grooves or other textural features (not shown) on opposing surfaces to facilitate gripping of the tissue structure. To avoid the possibility of damaging the tissue to which jaws 122, 124 are applied, the jaws may also include a traumatic means (not shown), such as elastomeric sleeves made of rubber, foam or surgical gauze wrapped around jaws 122, 124.
To move jaws 122, 124 between the open and closed positions, instrument 14 includes an end effector actuator releasably coupled to actuator driver 80 and second drive 10 of manipulation assembly 2 (see
Jaws 122, 124 are preferably biased into the closed positioned by an annular compression spring 144 positioned within shaft 100 between actuator pins 132 and an annular disc 146 fixed to the inside surface of shaft 100. During endoscopic procedures, this allows the surgical team to introduce jaws 122, 124 through cannula 50 (or any other type of percutaneous penetration) and into the body cavity without getting stuck within cannula 50 or damaging surrounding tissue.
As shown in
Button 214 is disposed on the upper surface of support 70 for manual actuation by the surgeon or automatic actuation by base 6. Preferably, when instrument holder 4 is moved to its most proximal position (see
The intersecting axial and locking slots 204, 206 form an interface for releasably coupling mounting pins 116 of surgical instrument 14 to instrument holder 4. To insert instrument 14, the surgeon aligns mounting pins 116 with axial slot 204 and slides the instrument through bore 202 of annular collar 200 until mounting pins 116 are aligned with locking slots 206, as shown in
As shown in
As shown in
Referring to
As shown in
As shown in
A first linkage means is indicated generally by the numeral 321 and a second linkage in the form of a parallelogram is indicated by the numeral 323. The first linkage means is pivotally mounted on a base plate for rotation about an x-x axis. The second linkage means is pivotally connected to the first linkage means and is adapted to move in a plane parallel to the first linkage. Five link members (including extensions thereof), 311, 312, 313, 314, and 315 are connected together with pivot joints 316-320. A portion of element 313 extends beyond pivot 320 of the parallelogram linkage. The parallelogram linkage has an operating end at link member 313 and a driving end at link member 312. The elongated element 313 may, as desired later, carry a surgical instrument or other device, such as support bracket 24 of manipulator assembly 2. The pivot joints allow relative motion of the link members only in the plane containing them.
A parallelogram linkage is formed by corresponding link members 314, 315 and link members 312 and 313. The portions of link members 314 and 315 of the parallelogram are of equal length as are the portions of members 312 and 313 of the parallelogram. These members are connected together in a parallelogram for relative movement only in the plane formed by the members. A rotatable joint generally indicated by the numeral 322 is connected to a suitable base 324. The rotatable joint 322 is mounted on a base plate 326 adapted to be fixedly mounted to the base support means 324. A pivot plate 328 is pivotally mounted to base plate 326 by suitable means at, such as, pivots 330, 332. Thus pivot plate 328 may be rotated about axis x-x through a desired angle 82. This may be accomplished manually or by a suitable pivot drive motor 334.
A first linkage is pivotally mounted on the pivot plate 328 of the rotatable joint 322. The linkage elements 311, 312 and the link members are relatively stiff or inflexible so that they may adequately support an instrument used in surgical operations. Rods made of aluminum or other metal are useful as such links. The linkage elements 311 and 312 are pivotally mounted on base plate 328 for rotation with respect to the rotatable joint by pivots 336 and 338. At least one of the pivots 336, 338 is positioned so that its axis of rotation is normal to and intersects the x-x axis. Movement may occur manually or may occur using a linkage drive motor 340. The first linkage is also shaped in the form of a parallelogram formed by linkage elements 311, and 312; the portion of link member 315 connected thereto by pivots 316, 318; and base plate 328. One of the link members 315 is thus Linkage element 312 also forms a common link of both the first linkage means 321 and the second linkage means 323. In accordance with the invention, a remote center of spherical rotation 308 is provided by the above described embodiment of apparatus when the linkage element 311 is rotated and/or when pivot plate 328 is rotated about axis x-x. Thus, the end of element 313 can be moved through desired angles 81 and 82 or rotated about its own axis while the remote center of rotation remains at the same location.
Reference now is made to
Variations and changes may be made by others without departing from the spirit of the present invention. For example, it should be understood that the present invention is not limited to endoscopic surgery. In fact, instrument holder 4, along with a telerobotic control mechanism, would be particularly useful during open surgical procedures, allowing a surgeon to perform an operation from a remote location, such as a different room or a completely different hospital.
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|U.S. Classification
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|International Classification
|Cooperative Classification
|European Classification
|5 Mar 2008
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