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imagitory · 15 days

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@andrewmoocow Personally I find them to be misguided. There is a very well-done analysis video I've cited before that talks about the animation and why it ends up looking like AI, and I think it really addresses this argument better than I could --

youtube

-- but TL;DR, the animation looks "fake" largely because of stylistic decisions (l.e. turning off motion blur with the thought it would look "more like 2D") that weren't well thought-out. And I actually think the film's writing issues run into the same problem.

Because here's the thing -- writing high fantasy is not as easy as it looks. I can testify to this because I myself am writing a draft for a high fantasy novel right now.

All these years, Disney has been in an advantageous position with their animated films largely being adaptations of previous works, since they're already given a lot of the parameters a writer needs to build a world, plot, and characters. In a Snow White adaptation, for instance, you need a vain queen, an innocent princess, a prince, seven dwarfs, a magic mirror, and a poisoned apple, as well as a fairy tale world where these things fit comfortably. And since so much mainstream fantasy is largely inspired by medieval Europe, that aesthetic remains very familiar with audiences to the point that you need a lot less explanation for things. We don't really need an explanation for the political landscape of Cinderella because we see "fairy tale kingdom" and immediately know it's an absolute monarchy led by generally amiable rulers. We're not surprised when fairies appear in Sleeping Beauty, or when a magical sword predicts who should be king in The Sword in the Stone, or when Tiana and Naveen are turned into frogs in The Princess and the Frog, or when trolls appear in Frozen -- all of these magical conventions fit within the usual fantasy aesthetic and really don't need any explanation or backstory. I'd hazard to say that most people -- aside from those nitpicky critic types who get all hung up on how many servants are in Beast's castle just because they saw a bunch of extra silverware in the Be Our Guest sequence -- just don't bother questioning these things. And the original material also gives some shape and form to the adaptation's story, characters, and overall feel. It doesn't matter how close the finished product matches the original idea or even how familiar the audience is with that original material -- it still provides a jump-off point and sense of focus for the writer(s), the same way fanfiction (even an AU fanfic) can, in contrast to original content.

All right, well, what about those Disney projects that aren't fantasy? Well, in the case of stories like Treasure Planet, Robin Hood, and Mulan, they're still based off preexisting properties that people will find familiar enough that the writers can focus more on the adaptation's unique additions and not focus on detailed backstories and explanations about how the world and societies depicted in the story work. It's a lot easier to just focus on the fantastical elements like the space tech, talking animals, or Mushu and the ancestors if the rest of the story and cast are relatively easy to understand. Even in the case of original stories like The Lion King (which admittedly was largely inspired by Shakespeare's Hamlet, but I digress), Lilo and Stitch, and Lady and the Tramp, they still exist in a non-magical world that closely resembles ours, with only superficial changes like animals being able to talk or the existence of aliens. Even quasi-historical settings like The Great Mouse Detective and Atlantis: The Lost Empire look enough like our real-world equivalent that their settings are largely recognizable to us.

In just about all Disney animated films, the screenwriters didn't have to world-build that much. They didn't have to put the character development and plot on hold to explain the rules of the universe these stories take place in that often -- not unlike how writers like Rick Riordan didn't have to explain as much about the country his hero Percy Jackson lives in, because his books are an urban fantasy where our real world is just "plused up" with magical elements. We don't need to know if gravity works on the story's characters the way it does for us. We don't need to be told about the political landscape, history, or terrain of our location. We don't need to ask whether dying is something our characters can come back from.

Wish, on the other hand, is an original story in a high fantasy setting that doesn't resemble our world. People might try to claim it takes place in the Iberian Peninsula, but come on -- Rosas is a completely fictional country in a world that has magic we don't know the rules of and countries that faintly resemble cultures from our world, but we don't know the histories of or how similar they actually are to their real-world inspiration. We also have a cast of characters we've never met in any other media and a story and messages that we know nothing about beforehand. This means that we have no preexisting framework going in for what's possible and impossible in this world; no frame of reference about who these characters are and what their histories are; and no parameters that the plot, characters, and themes must fit inside, whether based on the fantastical story being adapted or a real-world setting that's a lot like ours. And I don't think that Disney really thought through just how challenging it can sometimes be to tell this kind of a story without stuffing the script with a lot of "tell" and not "show," which, as just about any film person can tell you, is the exact opposite of what you generally want. In film scripts, you want to show your audience a lot more than you tell them -- this not only takes full advantage of the visual medium and communicates your point in a much more natural and artistic way, but it also lets your audience think for itself and come to its own conclusions.

Now of course, can you write a high fantasy original story that's easy to follow and evokes a lot of emotion in your audience? Of course! But it does take time and a lot of careful and creative world-building. J.R.R. Tolkien was the king of such things. George R. R. Martin has done it. Neil Gaiman has done it. Ursula K. Le Guin has done it. Even the writer of the Nimona graphic novel, ND Stevenson, did a good job of it! But I think it's quite clear that Wish's script was not in the works that long -- development of the original idea started back in 2018, yes, but it wasn't until January 2022 that it was announced Jennifer Lee was writing it and Julia Michaels was brought on to write the songs, so the film's current trajectory likely wasn't pinpointed until then. And if the film was released in November 2023, then that means Wish's script was finished in under two years. Although there are successful Disney scripts that I daresay needed only that much time (Frozen, for instance, was quite rushed, by all accounts), once again, those scripts were done for stories with some sort of preexisting framework that allowed the writers to skip explaining certain visual or contextual short-hand in favor of focusing on their own creative flourishes in character and story. They were written with a tighter focus on the plot and its players without the need to build a complete stage under them.

The reason some people want to cry "AI!" when they look at Wish's writing is that they're looking at a script that makes the rookie writing mistake of exposition-dumping in an attempt to make its audience care, rather than evoking emotion. That kind of exposition-dumping is something that most novelists usually have to trim and rewrite in future drafts of their work: it's a mistake done while the writer is trying to world-build enough that their audience understands all of these original rules, societies, locations, and characters they're not familiar with. This exposition is then often trimmed down before publishing, and when adapted for the screen it's often trimmed even further or even completely rewritten, in favor of more visual methods of conveying the same information. The Wonderful Wizard of Oz writes about Dorothy traveling down the Yellow Brick Road and about the long journey that takes her and her friends through a lot of side adventures on their way to the Emerald City: it's the famous film adaptation that cuts out the Kalidahs and puts the whole trip to jaunty music for the characters to sing and dance to. Wish could've communicated to us the importance of the wishes to their owners through more visual means, but instead feels the need to reiterate this idea over and over through written dialogue. And again, this is a common mistake by writers when they're inexperienced in creating completely original content, as opposed to spin-offs, sequels, or adaptations of other people's work.

AI writing is generally known for repetitive phrasing and sentence structure, lack of accuracy, and lack of a personal touch. As much as I'll agree that there are a lot of character and world-building choices in Wish that don't make sense, I don't think that's the same thing. There clearly was a story someone (or multiple people) wanted to tell about a person hoarding the precious ideas of other people away, even if it means those ideas can never be shared with the world -- it just wasn't a story that ended up being told that well. And I think this is why Wish is almost worth seeing -- it serves as a good example of why certain writing decisions work better than others and how writing for fantasy projects and/or "family entertainment" is an art form that's worthy of respect when it's done right.

To sum up my stance on the matter -- I think Disney just bit off way more than it could chew and then didn't give its writers enough time to properly digest it.

#disney #disney wish #wish (2023)#wish critical #analysis #opinion #oh boy here i go #personal

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videoproductioncomapny · 1 year

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canadachildvol2 · 6 days

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Wish rewrite ✨ pt.1

Everyone and their grandma has done a rewrite of "Wish," but I couldn't help myself. I've seen the concept art and have watched an array of video essays dissecting what went wrong with the final product and my imagination went wild (as it often does with movies that had so much potential yet failed to deliver).

Full disclosure: I'm not a songwriter nor am I an expert on music theory, so when it comes to the songs in this rewrite, I'm just gonna give a general idea of what they're about and what happens.

With that out of the way, let's get into part 1 of my own "Wish" rewrite! And I'm in no way proclaiming this to be the superior version; I'm just sharing what I came up with like a lot of you have. I've also included a visual of my Asha redesign, which I hope you like. <3

(Also tagging @annymation :) )

First and foremost, I'm torn between this version either being completely 2D-animated or just Star (specifically in his normal magical form) and his magic being the only things 2D-animated. You can envision it however you like.

Book prologue: Like the movie, this opens with a storybook. However, it's in live-action. A narrator (perhaps a Disney Legend, like Mary Costa, Kathryn Beaumont, etc.) tells the backstory of how Rosas became a literal magical place:

“Once upon a time, there was a small island kingdom called Rosas. Surrounded by crystal waters and nestled beneath an endless sky. One day, the king gathered his subjects to make an important announcement: through magic, he had found a way to grant wishes! And since then, the people looked to their magnificent king to make their deepest desires come true.

This magic was passed down to the royals that followed, and in this time, the people continued their undying devotion to their extraordinary leaders.

Over the years, boats came from far and wide, carrying those who wanted to see this magic up close, as well as those who sought to live in Rosas. And our story begins with the docking of one of these boats…”

Introduction to Asha/Rosas; “Welcome to Rosas”: A group of newcomers excitedly wait to enter Rosas and this is where we meet Asha. "One... two... three," she mumbles - as if preparing for a performance - before stepping out in front of the group. Bubbly and all smiles, she introduces herself as their tour guide and ushers them into the kingdom. This version of “Welcome to Rosas” not only explains the rules of the kingdom regarding wishes (giving wishes at age 18 [it's mandatory], how the wishing ceremony plays out, only one wish is granted each month due to the large amount of magic needed, etc.) but it also highlights how hardworking and dutiful the citizens are. Additionally, it mentions that Rosas was once a land in disarray, but the magic of wish-granting led them to prosperity. While there’s an upbeat tone to the song, there is an almost sinister undertone that’s lost on the newcomers (and to us, the audience, if we don’t pay too much attention). I should quickly point out that people don't forget their wishes after giving them to Magnifico like they do in the movie. They just no longer have the motivation to pursue their wishes themselves.

Design note: Asha is the only person in Rosas wearing orange, thereby making her stand out from the largely blue, purple, and grey colour palette (much like how Belle is the only person in her village wearing blue). click the image to see more outfit details

Meeting Dahlia and other townspeople: After Asha leaves the group to let them enjoy the sights, her bubbly persona immediately disappears and her true nature is revealed. Levelheaded, composed, a touch cynical. A realist. This personality is shown as she interacts with some of the townsfolk (moreover, this scene alludes to what some of them have wished for). She takes a bag of fruit to Dahlia, her best friend and a talented baker. She’s cheerful, idealistic, and tends to stumble over her words when excited or stressed (a nod to Doc from “Snow White” along with her character design). Like the rest of Rosas, she thinks highly of the king and queen. In exchange for the fruit, Dahlia presents Asha with a birthday cake for her grandfather. This scene showcases Dahlia’s desire to become the castle baker someday and that she thinks her work needs to be perfect to get that position (even though her work is already amazing). We are also introduced to Simon, who comes by to pick up an order for delivery. He’s a few years older than Asha and Dahlia and is already showing the same level of exhaustion as most of the other adults. He wants his wish granted so badly that he’s willing to work hard and impress the king and queen no matter what. He's secretive about what his wish is.

"Welcome to Rosas (reprise)": As Asha walks home with the cake in a box, she looks at the citizens around her. This time, we’re seeing life in Rosas through her eyes rather than those of the awestruck newcomers. “Welcome to Rosas (reprise)” brings to the forefront how exhausting, unfair, and almost cult-like (i.e. the people’s intense adoration of the king and queen) everything is, while also insinuating the crux of Asha’s personal journey: she doesn’t have hope.

Meeting Sakina and Sabino: Asha arrives home to find Sabino asleep in a chair by the window. She smiles at him; a big, loving smile. Up until now, her smiles have either been small, fake (for her job), or just smirks. She gently wakes him up and he tells her he was dreaming about one of his artworks coming to life. “In a few hours, it may actually happen,” he says with a hopeful grin. She bites her tongue so as not to bring his cheerful mood down with a "Let's be realistic" comment. Soon after, Sakina enters the house carrying a basket of fresh fruit and looking tired. Asha takes the basket from her, fussing over how exhausted she looks. ("Mama, you shouldn't be doing all this work by yourself!") Sakina says that she’s fine, but Asha’s worries aren’t placated. Eventually, the trio sit down to enjoy the cake. Sakina laments the absence of Asha’s father, which prompts Asha to fiddle with her silver bracelet.

Wishing ceremony: We finally see King Magnifico and Queen Amaya in all their glory. They are regal, stunning, and tower over the people of Rosas in more ways than one. Still, when 18-year-olds and new residents approach the king on stage to give their wishes to him, he presents himself as an affable man. The cultish vibes that have so far been subtle are made much more apparent in this scene, complete with chanting, cheering, and bowing in a way that demonstrates complete submission. Sabino and Sakina wait with bated breath to see whose wish will be granted, while Asha remains less optimistic. She holds her grandfather’s hand reassuringly when the announcement is made. It’s not him. While not nearly as surprised or devastated as Sabino is, his disappointed reaction still breaks Asha’s heart. So much so that it encourages her to do something drastic.

Asha learns the truth: Sakina and Sabino head home while Asha makes her way to the castle entrance. She overhears the guards tell other people that the king and queen aren’t seeing anyone right now and reinforcing a specific rule: “commoners aren’t allowed in the palace.” Not to be deterred, Asha finds another way in. She’s distracted from her objective of ambushing the king and queen by the sight of the castle’s interior. It’s beautiful; unlike anything she’s ever seen. It's as if it were made of crystals, like the waters surrounding their island. Reflective surfaces are adorned on almost every section of the walls. Curiousity gets the better of her and she ascends the staircase to the highest room in the building. After brief hesitation, she enters and finds that it’s the room that houses the wishes (the general look of this room is about the same as how it is in the movie). Her wonderment is interrupted by the sound of Magnifico and Amaya outside. Thinking quickly, she hides in the balcony running along the upper part of the room. It’s here that she witnesses something horrifying: Magnifico taking a couple of the wishes in his hands and crushing them. This is how he gets his powers. He and Amaya laugh at how these people will be waiting forever for their wishes to be granted. ("They will work themselves to death, never knowing that their wishes, their dreams, will never come true.") Furthermore, Asha learns that Magnifico is already very powerful and doesn't need a whole month to garner enough energy to grant a single wish. After the couple leave, Asha sneaks back out.

Warning Sakina and Sabino: Asha rushes home and tells Sakina and Sabino about what she saw. Obviously they don’t believe her and an argument ensues. They can’t understand why she’d speak ill of the king and queen, and she’s trying so hard to plead her case. At one point, she accidentally hurts Sabino’s feelings by saying that realistically speaking, the odds of his wish being granted are slim to none. She feels awful about what she said and she tries one last time to convince them. Sakina gently but firmly tells her to stop and “When you’re older, you’ll understand.” Asha is left stunned and alone as Sakina tends to a tired and upset Sabino. Overwhelmed, she leaves the house and runs into the woods. She's trying so hard not to break down.

“This Wish”: This version of the song, much like in the movie, sees Asha wish for a way to help Rosas. However, it also conveys her internal struggle of letting herself feel some semblance of hope for the first time in a long time. She initially pulls back and scoffs at the idea of wishing on a star or even believing that things in Rosas will change, but as the song goes on, she caves into what her heart is telling her as opposed to what her head is telling her. It’s worth noting that each time she considers wishing on a star, it’s instigated by her looking at her bracelet. Akin to “Part of Your World,” after so much build-up, the song ends on a soft but powerful note where Asha finally wishes on a star (she still has serious doubts, but there's a sliver of cautious optimism shining through).

pt.2 / pt.3 / pt.4 / pt.5

#wish 2023 #wish rewrite #wish reimagined #wish asha #asha x star #disney wish #wish #asha x starboy #disney #all parts have been written so I'm hoping to post them during the next few days

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l-a-l-o-u · 10 months

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do you support ai art?

that's a tough one to answer. sorry in advance for the wall of text.

when i first started seeing ai-generated images, they were very abstract things. we all remember the gandalf and saruman prancing on the beach pictures. they were almost like impressionism, and they had a very ethereal and innocent look about them. a lot of us loved those pictures and saw something that a lot of human minds couldn't create, something new and worth something. i love looking at art that looks like nothing i've seen before, it always makes me feel wonder in a new type of way. ai-generated art was a good thing.

then the ai-generated pictures got much more precise, and suddenly we realized they were being fed hundreds of artists' pieces without permission, recreating something similar and calling it their own. people became horrified, and i was too! we heard about people losing their job as background artists on animated productions to use ai-generated images instead. we saw testimonies of heartbroken artists who had their lovingly created art stolen and taken advantage of. we saw people being accused of making ai-generated art when theirs was completely genuine. ai-generated art became a bad thing.

i've worked in the animation industry. right now, i work at an animation school, specifically for 2D animation. i care a lot about the future of my friends in the industry (and mine, if i go back to it), and about all the students i help throughout the years. i want them to find jobs, and that was already hard for a lot of them before the ai-generated images poked their heads into our world.

i'm not very good at explaining nuanced point of view (this is also my second language) but i'll do my best. i think that ai-generated art is a lot of things at once. it's dangerous to artists' livelihoods, but it can be a useful tool. it's a fascinating technological breakthrough, but it's being used unethically by some people. i think the tools themselves are kind of a neutral thing, it really depends on what we do with it.

every time i see ai-generated art i eye it suspiciously, and i wonder "was this made ethically?" and "is this hurting someone?". but a lot of it also makes me think "wow, cool concept, that inspires me to create". that last thought has to count for something, right? i'm an artist myself, and i spend a lot more time looking at art than making art - it's what fuels me. i like to imagine a future where we can incorporate ai-generation tools into production pipelines in a useful way while keeping human employees involved. i see it as a powerful brainstorming tool. it can be a starting point, something that a human artist can take and bring to the next level. it can be something to put on the moodboard. something to lower the workload, which is a good thing, imo. i've worked in video games, i've made short films, and let me tell you, ai-generated art could've been useful to cut down a bit of pre-production time to focus on some other steps i wanted to put more time into. there just needs to be a structure to how it's used.

like i said before, i work in a school. the language teachers are all very worried about ChatGPT and company enabling cheating; people are constantly talking about it at my workplace. i won't get into text ais (one thing at a time today) but the situation is similar in many ways. we had a conference a few months ago about it, given by a special committee that's been monitoring ai technology for years now and looking for solutions on how to deal with it. they strongly suggest to work alongside AIs, not outlaw it - we need to adapt to it, and control how it's used. teach people how to use it responsibly, create resources and guidelines, stay up to date with this constantly evolving technology and advocate for regulation. and that lines up pretty well with my view of it at the moment.

here's my current point of view: ai-generated art by itself is not unethical, but it can easily be. i think images generated by ai, if shared publicly, NEED a disclaimer to point out that they were ai-generated. they should ONLY be fed images that are either public domain, or have obtained permission from their original author. there should also be a list of images that fed the ai that's available somewhere. cite your sources! we were able to establish that for literature, so we can do it for ai, i think.

oh and for the record, i think it's completely stupid to replace any creative position with an ai. that's just greedy bullshit. ai-generated content is great and all, but it'll never have soul! it can't replace a person with lived experiences, opinions and feelings. that's the entire fucking point of art!!

the situation is constantly evolving. i'm at the point where i'm cautious of it, but trying to let it into my life under certain conditions. i'm cautiously sharing ai pictures on my blog; sometimes i change my mind and delete them. i tell my coworkers to consider ways to incorporate them into schoolwork, but to think it over carefully. i'm not interested in generating images myself at the moment because i want to see what happens next, and i'd rather be further removed from it until i can be more solid in my opinion, but i'm sure i'll try it out eventually.

anyway, to anybody interested in the topic, i recommend two things: be open-minded, but be careful. and listen to a lot of different opinions! this is the kind of thing that's very complicated and nuanced (i still have a lot more to say about it, i didn't even get into the whole philosophy of art, but im already freaking out at how much i wrote on the Discourse Site) so i suggest looking at it from many different angles to form your own opinion. that's what i'm doing! my opinion isn't finished forming yet, we'll see what happens next.

#for the record i'm open to discussion about this topic so anyone can feel free to respond #but im honestly more interested in talking about this with people in person #i suggest interacting w this post more than sending asks!#ask #kaijuborn #lalou yells

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animehouse-moe · 7 months

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Shangri-La Frontier Episode 1: What Do You Play Games For?

What happens when a gamer who only plays shitty games decides to pick up a so called god-tier game? Shangri-La Frontier is the answer to that and provides an insane opening episode for the concept. I'm just so excited to get 2 whole cours of this, and I really want to explain why.

Also, SiM's vocalist (MAH) on the OP with FZMZ? And Chico on the ending song? This series was made for me man.

First of all, C2C is an incredibly underrated studio considering the quality of the projects that they enjoy. This is one such project. Right from the start the quality is insane. 2D camera movement, detailed animation and character acting, the whole nine yards. Just look at this walking cycle! There's no 3D and their shoulders move!

It's just crazy to see the detail they put into these pieces early on. Walking cycles are super neglected due to how "plain" they are, but there's just something incredible about seeing that effort put into it with stuff like these examples.

And then there's this (sort of misleading) litmus test. Does your anime have really good art for a random cut? Odds are the production's doing really well. And, well, there's this really good looking beetle shown early on in the episode.

Anyways, to Shangri-La Frontier the game. The direction understands the assignment right away. This is a video game, we need to know it's a video game. So they show us it's a video game. First person perspective is our very first cut shown in the welcome screen and once we enter the world, setting the tone perfectly for what's to come.

But of course, a video game has more to it then just first person perspective, and of course C2C grasp that as well. Slow motion (which you'll see later), and more importantly camera movement are important in establishing that feel. The slow draw towards an endless expanse of world, the bird's eye view of a landmark or feature as the camera slowly rotates. It gets it, and it's able to create a living, breathing trailer for Shangri-La during the episode because of that.

And then, there's the fact that it's a video game. There's talks of skills and abilities and levels and whatnot, but I think most understand that that's a "staple" and that C2C/Shangri-La handle it quite well.

Let's talk about the good stuff, let's talk about action. C2C nails it. They put incredible effort into video game-styled choreography, and it pays off in spades. The slow motion, the harsh camera angles to accentuate the fight, the camera rotation, the way that attacks linger in the air. It's incredible stuff that's augmented by insane animation and visual effects. Seriously, pay attention to the fight and you'll see that they did an impact frame for a crit. Not in the traditional sense, but that the impact frame was the crit. This sort of stuff just makes me so excited because of how well it's handled.

And then there's the worldbuilding. The OP comes into play as well of course, but the details are super great. The enemies Sunraku faces in the starting forest are (mostly) beginner enemies. A goblin with a stone axe and some sort of large pig seem to be the "typical", but there's more to it than that. The Vorpal bunny is a "rare" enemy which makes sense, but the pig enemy only appears as Sunraku ventures closer to the second town rather than the first.

There's considerable detail and effort placed in the creation and appearances of these creatures in the world. The Vorpal Bunny featuring a better crafted weapon than the others that most likely came from somewhere else. Don't forget - we saw a rabbit in the opening.

It's just insanely cool stuff. The world is already shown to be more broad and deep than "it's a big video game world!". There's all sorts of little pieces like this peppered about, and it's just so damn good. Even the concept of Sunraku's "Wanderer" dropping him in a forest rather than the starter town. The detail to really sell this game as god-tier is so damn good.

But it's important to not forget, the god-tier part of the game is only one part of the puzzle. Sunraku here is famous for playing garbage games.

And it's a great way to offset the story and provide a fun angle, I'm serious. It allows them to add fun commentary and responses in regards to frustration from playing bad games, and at the same time provide a novel and excitable approach to a genuinely good game. The best of both worlds that sets the perfect stage for how they want to explore this story.

So, understandably so, I'm very excited about two cours of this and everybody else should be too. C2C is showing us they've got the potential to make the absolute most of Shangri-La Frontier and it's fun and surprisingly unique concept. Can't wait to see what they bring with the next episode!

#shangrila #shangri la frontier #shangri-la frontier #c2c #studio c2c #c2c studio #vrmmo anime #isekai anime #anime review #anime and manga #anime #anime recommendation #anime reccs

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