#cg!Spider-Man noir

[lttl3babybug]

could you please do cg spider-noir hcs? :3 thank u!!!!

OF COURSE!! I’m so sorry this took so long sweetie, I’ve been very busy bc of going back to school :3

Cg!Spider-Man Noir headcanons!

🔍 With Noir being from the 1930s he’s not sure of what your age regression is…at all. He is clueless when it comes to all of this

🔍Be gentle with him while explaining, don’t hurt his head please

🔍It’ll take awhile for him to get used to the idea of you regressing but once he did he’s a-okay with being your cg!

🔍In fact, he’s very excited that you chose him to look after you while you’re in such a fragile state

🔍Once he’s settled into being your caregiver he’s actually pretty decent at it

🔍He has a very calming nature to him so if you’re upset he’s very good at calming you down

🔍His precious rubix cube. You are the ONLY one, other than him, allowed to play with it. He’s quite happy to sit and watch you point to the coloured stickers and say what colour each one is

🔍If he’s not in his spider suit he’s very keen on his big turtle necks so he’s very cozy to cuddle with

🔍Will let you sit in his lap while writing reports and such, gently stroking your back and humming to you while you’re cuddled in his lap

🔍Speaking of turtle neck jumpers if it’s cold you will be wrapped up and I mean wrapped up. Turtle necks, big floppy hat, scar, mittens, earmuffs, big fluffy pants and a big puffy coat overtop all of that

🔍He cares so much, keeping every bit of artwork you give him and rotates what one’s go on the fridge

🔍However. There’s one that’s permanently up there. It’s the first drawing you ever made for him, a drawing of you and him holding hands that has the text ‘Me and Dada :)’ underneath it

🔍He melted when you first gave it to him. Holding back tears while putting it up on the fridge with a little magnet of your favourite cartoon character on it.

🔍Oh my god I love him

[dragon-queen21]

I need agere content with spider Noir. He’s my favorite and I think he’s the best and he would be such a good father/older brother figure to look after someone regressed. So I've thought up a couple prompts that I feel like sharing to perhaps inspire some people. :3 (Also cause these ideas will simply keep bouncing around in my brain if I don't do something about them)

1. Peni regressing and Noir doing his best to take care of her the way he grew up. Which meant no electronics much to the little’s dismay.

Instead they make homemade ice cream and play board games together. Perhaps listening to old songs and dancing around the living room. So just kinda showing the girl that you don’t necessarily need to rely on technology to have a good time.

Showing her a bunch of things she ever had a chance to do in her childhood, that seem relatively simple to him. Maybe in turn she shows her cg a bunch of new things as well.

2. A real simple one but Noir coloring with Miles.

With the artist regressed it's much more enjoyable for him to let go with his art and not have to have every detail perfect, and considering Noir isn't the best when it comes to distinguishing color, Miles really doesn't have to worry about the quality of work to begin with. Noir is so proud of his kiddo, and like any proud parent is going to show off to the world. The world being Miguel's office area in order to mess with the older spider man when he walks in and sees that his walls are covered in colorful pictures.

3. Pav being babysat by Noir. Noir not feeling the best mentally, maybe it’s a bit of an off day, not to bad that he can’t look after Pav, he’s just not having the best time ever. Pav noticing and decides to draw Noir a fun picture to cheer him up. Perhaps he even shares his stuffed bear that Gayrti gave him because it always cheers him up when he feels soggy. (I’m just soft for little one taking care of their caregiver, kinda a reverse dynamic, idk)

Another idea is him fretting over Noir and rushing to get bandaids and puts at least a dozen all over Noir because that's what Hobie does for him when he gets an ouchie in order to feel better, and it always works.

[aion-rsa]

What Nicktoon Reboots We Want to See Next

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When ViacomCBS recently announced the slate of programming that would be coming to Paramount+, the rebranded streaming service formerly known as CBS All Access, the media conglomerate touted a rebooted version of the beloved Nickelodeon classic Rugrats. Described as a “reimagining of the classic ‘90s hit,” the new Rugrats will feature the voice cast from the original 1991 animated series, but present the babies in a brand-new, three-dimensional CG style. 

“Rugrats is one of the most iconic cartoons recognized by fans around the globe, and this original version is one we are taking great care and pride in creating for a brand-new audience,” said Ramsey Naito, President, Nickelodeon Animation. “Having the voice cast behind these special characters come together is one of the essential pieces to making the show recognizable and we can’t wait to watch this talented group bring them to life again.”

Rugrats is not the only Nickelodeon property getting an update from Paramount+ The service also announced Kamp Koral: SpongeBob’s Under Years, the first-ever spinoff of SpongeBob SquarePants, new spinoffs, shorts and features set in the wildly popular world of Avatar: The Last Airbender and The Legend of Korra, new live-action versions of both Dora the Explorer and The Fairly OddParents, and a continuation of hit kids sitcom iCarly.

One day the streaming wars will slow down, but until then, media conglomerates like ViacomCBS and WarnerMedia will lean on their wealth of existing intellectual property to entice buyers to sign up for a subscription to their respective streaming services. ViacomCBS is wise to tap into their Nickelodeon vault, as a whole generation of viewers weaned on Nickelodeon’s programming are now media buyers, many with families of their own. Driven by nostalgia and possibly fresh takes on old favorites, Nickelodeon IP could help Paramount+ catch up with its well-established competition. 

With recent revivals like Invader Zim, Rocko’s Modern Life, and Hey Arnold! already delivered, here are some other potential Nickelodeon properties ripe for a reboot.

Danny Phantom

While Danny Phantom creator Butch Hartman may not be a favorite among the art community, Danny Phantom feels like the Nickelodeon property most fans are eager to see return. It’s easy to see why; the story of Danny Fenton, a teenager who’s transformed into half-human, half-ghost superhero Danny Phantom after an accident caused by his ghost hunting parents’ technology, had a unique comic book-influenced premise that lent itself well to interesting animation, colorful characters, and an excellent mix of action and comedy. 

Superhero content has only further exploded since Danny Phantom’s cancellation in 2007, giving Paramount+ the chance to get in on the action with storytelling beats that are very familiar to Spider-Man fans. Hartman has already pitched Danny Phantom: The College Years on his YouTube channel and confirmed that a script for a live-action reboot exists. Whether the series returns in its classic style, a new CG rendering, or as a live-action property, Danny Phantom seems like a slam dunk just waiting to be thrown down.

My Life as a Teenage Robot

Speaking of superheroes, My Life As A Teenage Robot isn’t one of the most talked about of the old Nicktoons lineup, but it’s one of the series that’s held up the best. Credit that to Rob Renzetti’s art style, which used a classic sci-fi, Art Deco-inspired retro-futuristic look and a bold color palette. Centered on teenage robot XJ9 just trying to live her life as a normal, suburban teenager, the show got a lot of milage out of poking fun at the typical cliches about adolescence. 

During MLAATR’s run, critics complained about the lack of complex storytelling, a problem that could easily be fixed by a new writing team focused on continuity and more epic action. Just like Danny Phantom, XJ9 would thrive whether she returns with a new look, in her classic style, or as a live-action interpretation. As long as there are teenagers, then stories about trying to fit in, feeling weird about your appearance, and achieving independence from your “creators” will always be around.

Aaahh!!! Real Monsters

Developed by Klasky Csupo, the same folks that brought you Rugrats, Rocket Power, The Wild Thornberrys, and As Told by Ginger, Aaahh!!! Real Monsters was garish, gross, and grimy in all of the best ways. Embracing gross-out humor and some lightly nightmarish imagery, Aaahh!!! Real Monsters took style inspiration from Soviet cartoons, film noir, and movies like Blade Runner and Brazil. The show followed young monsters Ickis, Oblina, and Krumm as they attend Monster School below a dump in New York City. 

The show was cancelled in 1997 due to worries about its “disturbing” content, but the darker quality of the show paved the way for series like Invader Zim and Courage the Cowardly Dog. New York has changed a lot since the ‘90s, which could give Aaahh!!! Real Monsters plenty of material to play with. A new series could bring our original trio back or introduce us to a new class of monsters, giving us plenty of new, weird creature creations. 

KaBlam!

Maybe the absolute coolest Nicktoon to ever air on Nickelodeon, KaBlam! was a spinoff of All That conceived to be an “animated sketch series” which served as a showcase for alternative forms of animation, like stop-motion, live-action hybrid, cutout photo, and more. Hosted by animated characters Henry and June, KaBlam! featured recurring cartoons like Sniz & Fondue, Life with Loopy, The Off-Beats, and fan-favorites Action League Now! and Prometheus and Bob, alongside one-off shorts and music videos from artists like They Might Be Giants. 

While we would absolutely welcome more Prometheus and Bob shorts, the KaBlam! banner could be brought back to give new creators a chance to showcase their skills and creativity. Technology has come a long way since the last KaBlam! episode in 2000 and there are plenty of new animation techniques that could be put to use. 

Hey Arnold! 

While the show was recently brought back to life in the form of a 2017 TV movie titled Hey Arnold! The Jungle Movie, everyone’s favorite football head should be at the top of Paramount+’s list for a revival. Created by Craig Bartlet, Hey Arnold! ran from 1996 to 2004 and centered on fourth-grader Arnold as he navigated a facsimile of New York City while living in a tenement apartment with his grandparents and plethora of colorful characters. 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Set to a brilliantly jazzy soundtrack, Hey Arnold! taught audiences about respecting different cultures and portrayed inner-city life and non-nuclear families in a positive light. Hey Arnold! holds up incredibly well, and Bartlet and company could pick up right where they left off in their last feature. The world could certainly use more of Arnold’s optimism and positivity. 

The post What Nicktoon Reboots We Want to See Next appeared first on Den of Geek.

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[ryanmeft]

Spider-Man: Into the Spider-Verse Movie Review

Spider-Man 2 set the standard for the wall-crawler’s celluloid escapes, and the movies have been trying to catch up to that ever since. Thanks in large part to poor decisions by Sony, it never came close until Marvel got a hand on the property again. The last thing I ever expected from Sony’s own spin-off movies was that they’d be any good, especially after surviving Venom. As it turns out, the soul of the character just needed animation to set it free. Spider-Man: Into the Spider-Verse is not only a great entry in the webslinger’s mostly forgettable filmography, it’s in the top tier of superhero films, period.

Miles Morales (Shamiek Moore) is a black teen being sent to a private school after winning a scholarship; his father (Brian Tyree Henry) is a by-the-books cop who struggles to understand his growing son but loves him anyway, which sounds cliche but works because the character is so well-written. His mother (Luna Lauren Velez) is unfortunately sidelined, and spending more time on her in the sequel would be welcome. He looks up to his uncle Aaron (Mahershala Ali), who shares Miles’s love of graffiti art but who is also some sort of a criminal. I mention Miles’s race because it’s important: the movie elects for a happily stable family and a smart kid with a bright future, a rare focus for African American characters in cinema. The movie is not political in the slightest, and treats this as if it’s not uncommon, because it isn’t. It’s a deliberate contrast to Peter Parker, whose life is a constant mess. Miles gets his powers with a similar spider bite and without much fanfare.

Speaking of Peter Parker, he shows up, voiced by Chris Pine, and gets in a big fight involving the Green Goblin (Jorma Taccone) and the Kingpin (Liev Schreiber), classic Spider-Man villains somewhat re-imagined for the setting. When things go wrong trying to stop a dimension-combining device, Miles lands the gig of stopping the machine from firing again, but can barely use his own powers. Another Parker (Jake Johnson), an older and out-of-shape one who has given up on life, shows up and doesn’t make a very adequate mentor. He’s eventually joined by numerous other versions. Spider-Gwen (Hailee Steinfeld), who is clearly here to launch her own spin-off, is cynical and calculating. Peni Parker (Kimiko Glenn) is an anime take on the character whose powers are actually invested in a machine that I think is piloted by a spider itself. I’ll be honest, I lost the details in the rush, but she works because she’s more homage to the form than parody. Spider-Ham/Peter Porker (John Mulaney) is sadly underutilized and didn’t really add as much as he could; there’s too many other Spider-guys for him to stand out. By far my favorite was Spider-Man Noir, a version who is almost all shadow, wears a fedora and trench-coat, and is voiced brilliantly by Nicolas Cage, who channels Humphrey Bogart and James Cagney. Indeed, the voice cast is so stuffed that Lily Tomlin and Zoe Kravitz end up in tertiary roles. Each of these alternate heroes got sucked into Miles’s universe and will see their molecules fracture like a bad radio signal if they don’t get back. For this, they seek the help of a batty-but-brilliant scientist (Kathryn Hahn), who provokes one of Parker’s best lines. Each is accompanied by a quick and humorous rundown of their respective origins, which both serves as a nice send-up of the now-tedious origin story and fills in whatever small amount of info the audience might need.

A disclaimer for those who are understandably confused about Spidey’s cinematic history: none of these Spider-People are the same one from the Marvel Cinematic Universe, that interconnected place of Guardians and Avengers. The Parker here appears to be some version of the one from Sam Raimi’s first trilogy, and considering the divided reception of that line, it’s an interesting choice (it still contains the best Spider-Man movie, and a couple lackluster ones). It matters far less than it does in the MCU, because this movie feeds more on energy, humor and heart than on continuity. To my recollection (it’s been a while), all of these characters exist in some way in the comics, but you don’t have to care. On screen, they play off each other wonderfully. The jaded Parker is like those wizened mentors from every movie ever made about a plucky kid finding his way, except this guy, while having the skills, doesn’t care. That’s a decidedly different look for Spider-Man, one that only an animated film, specifically only an animated film this unique, could pull off; an apathetic hero is just not something audiences would accept if he were the main character. The Noir version has the most potential for his own movie, as his universe is the most different from what we’ve seen before. Like Rey in Star Wars, Spider-Gwen is unfortunately given the least interesting character, but there’s room for development later. For some reason, the same people that decided we need more female heroes (which we do) also decided they always have to be---pardon the expression---the straight man. Will we maybe have a female take on Tony Stark at some point? I won’t hold my breath; the culture just isn’t there yet.

The heroes are of course opposed by the afore-mentioned villains, joined by many others: Prowler, a Batman-esque fighter, Scorpion (Joaquin Cosio), Tombstone (Marvin “Krondon” Jones III) and a surprise bonus pick who I will not mention because you should discover it for yourself, except to say this person really works while, in a way, bringing back a long-absent, long in demand foe. When machines are activated and villains are fighting, the movie does occasionally veer somewhat close to confusion, but it always recovers, with the exception of some of the villains being rather generic. Animation has unshackled the agility, speed and wit Spider-Man has always evoked in the minds of people flipping through comic panels. There’s a litheness to the movements of the characters that no amount of CG could ever replicate, and a boundless energy that the unique animation style---designed to look like comic panels in motion and, to my eternal shock, actually successful in this---works perfectly with.

Still, the most surprising thing is how the emotions carry through. Each Spider-Dude-or-Dudette has their own tragedy and loss, and the sense that no matter what universe he exists in, he’ll always have to deal with that is sadly poignant, especially for anyone who grew up on the Spider-Man mythos. There are actual stakes here; even the motivations of the Kingpin have real heft. The movie has been handled by Lego Movie producers Phil Lord and Christopher Miller, with a small army of co-writers joining along the way, and the surprise is that for once, so many cooks have managed to concoct something that feels so sincere.

If you aren’t a comic person, don’t worry. There’s enough heart here to sweep you up even if you don’t know your spiders from your bats. Stan Lee’s posthumous cameo feels fitting, in a movie that does right by his (and Steve Ditko’s) best creation. Nerds tend to declare amazing absolutely every comic movie that comes out. And every once in a while, they’re right.

Verdict: Highly Recommended (3 1/2 out of 4 stars)

Note: I don’t use stars, but here are my possible verdicts.

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid like the Plague

 You can follow Ryan's reviews on Facebook here:

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 Or his tweets here:

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 All images are property of the people what own the movie.

[oscar-isaacs-number-one-bitch]

“Spider-Man: Into the Spider-Verse” Movie Review

When Sony decided to allow Marvel Studios to put Spider-Man in the Marvel Cinematic Universe, many were relieved, citing Sony’s missteps with their previous two Amazing Spider-Man live-action outings as sufficient evidence that Marvel Studios would better handle the character in their universe and that it was time for Sony to let go of the character. Sony would maintain creative control of the property, but they would no longer be able to make live-action Spider-Man films, at least not ones featuring that character (hence their Venom franchise, which is off to a surprisingly lucrative start). Without the most popular version of their largest tentpole franchise to bring in the big bucks, Sony would have to innovate with a fresh new idea if they hoped to keep it going.

Spider-Man: Into the Spider-Verse, then, is Sony’s first ever feature-length animated film with the title character, only this time, there’s a slight twist to their usual formula: there are six of them. Yes, in this iteration, there are six Spider-people all running around New York City at once, trying to save the world. But let’s not get ahead of ourselves, shall we? The film begins by giving us a glance into the life of Miles Morales, a scrappy Afro-Latino high school boy from the streets of Brooklyn who’s not super jazzed about going to a Charter school due to having won his spot in a lottery. When a radioactive spider from another dimension bites him during a little subway adventure with his Uncle Aaron, Miles gains the powers of Spider-Man, and following a tragic event involving an inter-dimensional portal built by Kingpin, five other Spider-beings show up in his universe, all seeking a way to get back home. With very little training from a roughed-up Peter Parker and a whole host of family issues to deal with, Miles must train to become a new Spider-Man, and send all these other Spider-people home before this universe is damaged forever (and that’s about as much as I can say without giving away spoilers).

I loved this movie, a lot. Of course, there’s always a market of people like me waiting for a new Spider-Man story (the original 2002 film is what got me into acting, after all), so I may be going into this with the tiniest bit of fanboy-ism running my energy levels, but as a film critic attempting to give as objective a review as possible to any material I happen to view, I still genuinely loved this movie. In fact, I don’t think it’s too much of a stretch to say that this is perhaps the third or even second best Spider-Man film ever made (theatrically), and that’s not hyperbole. As much as I enjoyed Homecoming, I think it’s a far stronger high school comedy than it is a Spider-Man movie, and to that film’s credit, it works well enough for what it had to accomplish in terms of the MCU’s full-length introduction to the character. Into the Spider-Verse, though, truly understands the fundamental staples of what makes the character compelling, those being guilt, consequences, and most importantly, differences.

Part of what works best about this film, which was written by Phil Lord and produced by himself and the other half of his creating team, Chris Miller, is that it doesn’t see the differences between the different Spider-beings as reasons why other kinds of people can’t occupy the costume or wear the mask. One of the most prominent lines in the entire movie is Miles telling the audience that anyone, no matter who you are, can wear the mask. And instead of having anything to prove anything, or thinking that it owes anyone an explanation as to why there’s a black Spider-Man this time, or a Spider-Woman, or an anime Spider-girl named Peni Parker, or even a literal Spider pig called Spider-Ham (voiced by my favorite stand-up comedian of all time), the script just assumes that this is normal because it should be. Anyone being able to wear the Spider-Man mask, not despite but because of their differences, is one of the film’s main themes, and the script takes pride in that rather than treating it like a chore to get over and done with (which a surprising amount of films do).

The film is also genuinely funny, with trademark Lord & Miller humor sprinkled in just the right amounts throughout the film’s runtime, the recaps of each Spider-person’s origin providing some of the most consistent and uproarious laughs of the bunch, particularly during the recap of Peter Parker’s backstory. Part of what makes the story in Into the Spider-Verse not just fun, but compelling as well, is that even within this humor, there are real life lessons being taught, sometimes ones that even adults need to learn from. And that’s what makes a great animated film great, when it can transcend that line between children and adults and have something everyone can learn from and take away from the experience of watching it. So many animated films this year have failed to send messages as compellingly as this one, and yet Into the Spider-Verse makes it look so effortless that one wonders why other films fail to do it so often (it’s because it’s not effortless; it’s genuinely hard to make a movie, but the people who worked on this really put in the effort and it shows).  

The voice talent work in this film is fantastic, from what I’ve already mentioned with Jake Johnson as Peter Parker and John Mulaney as Spider-Ham, to Shameik Moore as Miles Morales, to Hailee Steinfeld as Gwen Stacy (she’s having a great weekend for early screenings, huh?), to smaller parts like Brian Tyree Henry as Miles’ father and Mahershala Ali as his Uncle Aaron, and of course, the great Nicolas Cage as Spider-Noir. Each performance is full of heart and fun, and there are many moments where one feels that only that actor’s voice could deliver that line in that way, and it is perfect. Perhaps the only true flaw in the movie is Kingpin’s characterization (since he kind of acts like a cutout cartoon character still despite what they give him to work with, but then again it is animation), but that has more to do with the writing than the voice casting. Major kudos to the casting directors on this one.

And yet in all of this, I have yet to mention the animation, which is astounding. Each time an exaggerated sound effect or a narration happens in the film, a little comic book style text or text box appears on the screen to accompany it, and it feels genuinely conceivable that someone could have written this film as a comic book with every panel brought spectacularly to life. One would think the hybrid style of 3D modeling made to look like a come-to-life comic book panel should have been by now one of the most obvious techniques in animated history, but then again, we just got CG-Lego hybrids only 4 years ago and photoreal animation from Jungle Book only 2 years ago, so maybe there’s still more to be realized in this medium (I, for one, can’t wait to see if there is).  

I was looking forward to this movie from the moment I saw the first trailer drop, but what I didn’t expect was that I would genuinely love it this much; the more I reflect on it, the more I find right with it, and the less it’s very few flaws bother me at all. This is perhaps the greatest Spider-Man movie since Sam Raimi’s Spider-Man 2, and by far the best animated film of this year – certainly the most unique in terms of animation style, story, humor, and charazterization. Lord & Miller are one of the world’s greatest creative forces in the cinematic landscape, and if there were any movie this year I actually wanted a sequel to, it’s this one (stay for both credits scenes; it’s 100% worth it).

I’m giving “Spider-Man: Into the Spider-Verse” a 9.1/10

[hypeathon]

Yo, after seeing Spider-Man: Into the Spiderverse, the presentation was lit! Ever since, I’ve spent time digging up as much behind-the-scenes about the movie’s production and creative process and while there’s just waaaay too much to go over, I wanted to help contextualize some things about it.

First, as a starting point, watch Howard Wimshurst’s video about how much thought was put into the animation. How the alternate versions of the Spider-Man characters express themselves differently, how frame rate is being played, the choice of design and aesthetic, etc. It’s amazing and he has more content like this on Japanese animators and providing advice for aspiring artist and animators.

Beyond that, if you want to learn more about the production, first know the staff names. Second, know who did what. Here’s a great list based on what various staff members contributed, courtesy of Twitter:

Humberto Rosa (Lead/Supervising Animator):

Peter talking to Miles (along with fellow Supervising Animator, Julie Bernier-Gosselin

Nick Kondo (Animator):

“That’s a copy.”

Spider-Gwen backflip-kicking “The Lizard”

Time Lapse of Miles in the dorm room

Jefferson Morales drawing his gun

The Spideys huddling to hide from Miles’ roommate

Tauren Lak (Animator):

Each Spidey putting on their mask

Miles singing to get off the ceiling

Eric Chou (Animator):

Animated Miles hopping from on top of one vehicle to another

David Han (Animator):

Used the CG anime, Land of the Lustruous as a reference to successfully give that “animating on 2s” feel (more on this from Callum May, a.k.a: The Canipa Effect)

Patrick O’keefe (Art Director):

Paintings of the forest scene

Color Key of Miles and Gwen

Painted the shots of Spider-Noir’s origin story

Part of the color keys of each Spidey going back home

Juan Mi Vadell (Senior Animator):

Helped the art and modeling departments define Peter B. Parker’s beaten-up face.

When Miles and Gwen meet each other

Miles seeing the Spider-Man suit

Miles diving down the skyscrapers

Miguel Jiron (storyboard artist):

Miles getting ready for school

Miles’ first “Spidey-sense” 

Alex Olea (animator):

Spider-man moving to the beat of Christmas songs

Leandro Martins (animator):

Miles getting ready for school

Michael Lasker (CG Supervisor):

Talked about the stylistic lighting of the film based on one shot of Spider-Man

Daniel Pemberton (composer):

Explains the “Orchestra Scratching” process

Talks about making the “Prowler Elephant” noise

Justin K. Thompson (Production Designer):

Final costume design on Doc Oc

There are so many other cool notes from the 180+ talented animators of this movie (and then some), too many to count. For more sources on who to thank and see what they contributed, check out these tweets and the lead character designer, Shiyoon Kim’s Twitter handle. And of course, check out the video above, get the artbook and even check out the script for the movie available to read online! Finally, keep an eye out for Sony Pictures Animation’s next big project, Mitchells vs the Machines, arriving in theaters in 2020.

[confituredemurs]

Inspirations 2019

Austin Kleon

Un écrivain qui dessine et partage énormément de conseils de créativité sur son blog (https://austinkleon.com/). (déjà tenir un blog en 2019 c'est admirable en soi). Chaque voyage sur son blog apporte des tonnes d'idées de trucs cools à faire et d'astuces pour mieux créer. Grâce à lui je commence cette année un carnet de la vie. C’est aussi chez lui que j’ai trouvé l’idée de colorier en noir des pages de livre.

Photo

Je me suis mis sérieusement à la photo cette année, j'ai compris beaucoup de choses techniques, au moins assez pour que ça ne soit plus une contrainte. C'est clairement le truc le plus cool que j'ai appris cette année. (mes photos ici)

Pour ça je ne remercierai jamais assez @medvedovitch, qui m’a donné l’envie et changé la vie. Checkez son instagramme https://www.instagram.com/lesyeuxdigor/

Les photos de David Lynch m’ont donné envie de faire de la photo, en particulier sa série Nudes où les corps deviennent abstraits grâce aux ombres, au cadrage serré et au focus.

En photo je cite aussi @seantuck

Un photographe avec une chaine Youtube sans le bullshit habituel des youtubeurs, avec beaucoup de réflexions de fond pour trouver sa voix et creuser sa pratique personnelle de la photo (https://www.youtube.com/channel/UC_43mQmHwHPTBBqImFrWU3Q). Aussi un style de photo que j'aime beaucoup. https://www.instagram.com/seantuck

Pour finir sur la photo, @flakphoto est un super curateur de photos, en particulier en story IG https://www.instagram.com/flakphoto/

Collage

En milieu d'année j'ai commencé à beaucoup m'intéresser au collage.

Une première inspiration c’est Kensuke Koike, qui fait des collages en utilisant une seule photo, sans rien enlever et sans rien rajouter. https://www.instagram.com/kensukekoike/ et https://www.instagram.com/single_image_processing/

Pour des collages plus classiques je regarde beaucoup The Daily Splice https://www.instagram.com/the.daily.splice/

J'ai recensé les procédés intéressants parmi les collages que j'ai étudiés dans cet article : https://confituredemurs.tumblr.com/post/187147984044/collage-taxonomy

Je publierai bientôt sur Insta un série de collages.

Cinéma

Ce cours de cinématographie a radicalement changé ma façon de voir les images https://chrisbrejon.com/cg-cinematography/ Il y a des parties très techniques et pas forcément utile si tu bosses pas dans l'animation ou les VFX, mais d'autres chapitres hyper intéressants artistiquement, avec beaucoup de mises en pratique qui aident à comprendre les choses. Grâce à ce cours j'ai compris beaucoup de concepts que je connaissais théoriquement auparavant.

Spider-Man: Into the Spider-Verse

Tellement de bonnes idées graphiques partout, il suffit de mettre pause sur une frame et de piocher. Voir en vidéo https://www.artofvfx.com/tag/spider-man-into-the-spider-verse/

 Voir aussi notamment les concepts arts de Robh Ruppel https://www.artstation.com/artwork/rRJYOL

Pour la peinture j’ai enfin compris des choses chez Edward Hopper. Ça m’évoque beaucoup de solitude qui se rapporte bien à la vie contemporaine.

C’est aussi une idée intéressante de retranscrire Hopper en photo. Une fois j’ai traversé Paris à pieds à 4h du matin et j’ai beaucoup ressenti son travail, la solitude et les fenêtres. J’ai pris cette photo :

Je ne peux pas ne pas citer aussi Egon Schiele. Il me présente une réalité dure et crue mais surtout sincère. Mon but artistique est d’arriver à traduire des choses aussi fortes. Les textures et les déformations des corps me rendent ouf

C’est tout pour 2019 !

Pour suivre mes tentatives d’application de ces inspirations, c’est sur Instagram instagram.com/aweusmeuh/ et @Secretographe https://www.instagram.com/secretographe/

[dream-farm-animation-studios]

7 mind blowing secrets behind the Oscar winner Spiderman: into the spider-verse

Every February, Oscars fill our heart with joyous moments. Smiles, tears, and inspirational speeches make us get emotional. Sometimes the winners make us happy and sometimes we get mad at the jury because of their choices. We are all so into animation and we can’t stop watching animated movies. Every year following the Oscar nominees and the winner helps us update our knowledge about the trends and innovations.

Nominations

This year’s nominees were a bit diverse in styles. Pixar and Disney were nominated as predicted. As you might know, Pixar has won the Oscars since 2002 every year. Pixar presents The Incredibles 2 and Disney presents Ralph Breaks the Internet. Another nominee was Wes Anderson’s Isle of Dogs. The Isle of Dogs is Anderson’s second stop-motion after Fantastic Mr.Fox. It attracts a lot of attention due to its story, and  Japanese elements. Mirai is a Japanese animated movie created by Mamoru Hosoda. Its Japanese setting reminds us of the Isle of dogs. The last nominee is Spider-Man into the Spider-Verse. This animated movie is notable due to its undeniable technical features and the great story. It is considered as one of the best 2018 movies. It won the Oscar for the best-animated movie.

The Oscar goes to…

Spiderman into the Spider-verse is a Sony Pictures movie. It was the first Oscar award for Sony Pictures Animation. Bob Persichetti, Peter Ramsey, and Rodney Rothman directed Spiderman so artistically that made us watch it more than once. They have breathed a new life into the spiderman outdated spiderman or superheroic stories. What we witness as an animated movie is a sharp colors explosion and prompt pace movements.

If you are a fan of superhero movies, you might know that Spiderman is one of the outdated stories. There should be something special about Spiderman to persuade a director to work on it.

How Spiderman into the Spider-verse steals the prize from other nominees?

Spiderman into the Spider-verse manages to keep itself so unique through both story and the animation style. Its animation style combines computer-generated art with hand-drawn techniques, all inspired by the aesthetics of the comic books.

It gathered multiple characters from different universes into a coherent story. There is a number of astonishing facts about this movie; 177 animators and staff worked on this film. It took one week to animate just one second whereas it usually takes a week to animate 4 seconds. It worth mentioning that it took 1 year to animate 10 seconds footage which led the directors to figure out the style of this animated movie.

Frame Rate

Today many animation studios stick to the 3d photorealistic animations. However, the creative team behind the Spiderman introduced something new to the audience. They used traditional print comic-book style. Moreover, the frame rate in animated films is 24 per second. Creating a different image for each frame is known as animating on ones. Spiderman broke the norm and animate on twos. It means that they kept some of the images on the screen for two frames. As a result, where it was necessary to highlight and emphasize on the rush and speed, the animate was on one and where there were struggle and fuzziness the animate was on twos.

Animation Style

Spiderman; into the Spider-verse is a remarkable animated movie. Because producers have used plenty of techniques to make it. Another innovation is that the movie is created using comic-book style. It’s a comic book that moves. If you freeze any part of the movie, at any time, it’s like an illustration with hand-drawn touches. In some part of the movie, there are writings that represent the sound and motion just like what we can see in a comic book.

Misprinting

Also, if you have seen comic books, there are some parts of it which are misprinted. Spiderman producers used this technique in the movie to show depth and focus instead of blurring.

Halftoning

Another technique is halftone 8 that uses dots to create colors and gradients. Furthermore, hatching and crisscross created shadow.

Fourth-wall Breaking

It features some fourth-wall breaking and self-aware narration. The characters are comic book characters that they are aware of this fact. At the same time, they enjoy the adventure that they are experiencing. This technique welcomes us so powerfully to their own world.

Staff

Along with a mix of CG art and hand-drawn techniques, Spider-Man: Into the Spider-Verse is the story of Miles Morales (voice actor: Shameik Moore), the half-African-American, half-Puerto Rican version of Spider-Man introduced in 2011 by writer Brian Michael Bendis and artist Sara Pichelli. It features several other Spider-heroes, including two Peter Parkers (Jake Johnson and Chris Pine), Gwen Stacy (Hailee Steinfeld), Spider-Ham (John Mulaney), Peni Parker (Kimiko Glenn), and Spider-Man Noir (Nicolas Cage).

To sum it up

What has made Spiderman into the Spider-verse so special is the precise attention to the details and creative thinking. The play with colors, tone, texture, form is great. With all the features that are mentioned above, it’s no wonder they won the Oscar and many other well-known awards. This animated movie is looking for something a bit different both in storytelling and in its techniques.

POSTED ON APRIL 17, 2019 BY MARYAM MOHAMMADI

[lttl3babybug]

Hi hi! I am here to leave a request! :D I was wondering if you could do a fic with cg spider Noir, watching over Peni and Miles regressed and having a playdate, if that’s alright. No pressure of course <3<3<3

Of course you can sweetheart!! <33 but I sorry if it’s not that good, I’ve not written in awhile and school is very yucky so I’m s bit rusty =(

Building Blocks

“Stay there” said Noir, gently placing down the small girl onto a blanket on the floor. Peni looked up with wide eyes reaching up for the man in front of her, mumbling behind the plastic between her lips. “Why don’t you play with your blocks, hm? You love doing that! I’m sure Miles would love to join you” Noir suggested, he watched as Peni pushed over a wooden block painted in a deep red colour towards her friend.

As Noir took his seat and flipped through a newspaper he still managed to keep a watch on the two small ones, listening in to their nonsensical babbling while the small tower suddenly became a lot bigger. The newspaper was no longer of interest to Noir, it had been thrown off to the side as he watched the two little scramble to find more blocks. “Red one” Miles mumbled past his pacifier while showing off the block to noir who flashed him a happy smile

After about half an hour the tower had reached about hip height on Noir, he was watching with great intent as the two smaller one’s continued to build up the multicolour tower. “Up!” Peni said reaching up for Noir, he lifted her up and watched as miles handed her blocks, she continued to build up the tower block by block until the two had ran out.

The three stood in awe of the tower, Noir ruffling the hair of the two small ones next to him. “Good job you two!” He says excitedly, miles and Peni looked up at him with bright eyes and wide smiles before turning back to the tower. “…wanna knock it over and build it again?” Noir asked, before he could finish his sentence the two had charge at the tower allowing blocks to cover the floor while they fell into a fit of giggles

[rlhy]

Spider-Man: Into the Spider-Verse

2018 Film Produced by Sony Pictures Animation

I walked away thinking this was one of the most positive movie-going experiences I’ve had in a long time. It was colourful, energetic, enthusiastic, and incredibly fun. It’s also rare that I come out of something actively wanting a sequel or spin-off, but when they inevitably make a Spider-Verse 2 or a Spider-Gwen feature, I’ll be first in line. 

There’s been enough said about the art style: it’s amazing. With CG animated movies, a lot of the conversations about the visuals usually centre around the technical boundaries that have been pushed. Spider-Verse re-centres the conversations back onto the artistic style and vision. Hopefully this inspires future large productions to focus more on bold artistic styles. 

+ Spider-verse seamlessly blends several different styles together within a single film (comics, manga, film noir, cartoons etc.) Also, Spider-Ham’s outrage at being called “only a cartoon” is a great moment. Will this film be seen as only an animated film?

- There wasn’t enough Spider-Gwen. I didn’t even realize she had a unique art style until the ending montage when her universe was shown. 

- Watching this in 3D was actually quite detrimental. The movie uses a lot of blurring and colour separation around the edges of the frame, which makes for bad stereoscopy. I surreptitiously adjusted my glasses thinking that was the issue, which took me out of the experience. 

[firestorm26621]

Top 10 of 2018

Disclaimer: The following are not what I think are the “best” movies of the year, at least not in the objective sense of the word. I’m not even entirely sure how one can judge “best” in an objective manner, or by what criteria that could be measured.  Competence in composition and construction, acting, design, music; these are all only parts of what makes a film connect with an audience, and some truly great films have few of these in any great quantities, while there are a good number of movies that are practically perfect films by these gauges which had very little impact on me personally.

So, setting all that aside, what follows are my top 10 films of 2018 only in the sense that they are films I personally enjoyed the most; be that by conjuring the biggest emotional reaction, making the biggest intellectual impact, or simply inspiring the greatest sense of wonderment and appreciative awe in me.  These sorts of things are not easily measurable and certainly aren’t objective, but I know what I like, and it’s these.

#10 – Free Solo

This one was a late and odd addition for me, being the most recently watched on this list (having seen it in January).  Documentaries, by and large, are always interesting to me, but I rarely walk away thinking they are great movies, as they usually have fascinating subjects but little in the way of actual narrative.  Won’t You Be My Neighbor, another great doc, is an example of this, as it is a fantastic look at a subject, but has very little narrative through-line.  

Free Solo, while it starts this way as a film that investigates a free solo climber (being a style of mountain climbing done without any ropes, and which often kills its practitioners), begins to focus in as it centers itself around one specific potential climb, a massive vertical mountainside in Yosemite that has a very high likelihood of killing him in the attempt.  

So, the film suddenly gains a very solid narrative, and begins exploring the questions surrounding it.  Is his new girlfriend really comfortable with his death-defying lifestyle?  Is the camera crew complicit is something morally questionable by filming this dangerous scenario?  Is this guy really ok, mentally speaking?  All of these come to a head in a breathtakingly beautiful yet terribly suspenseful climbing sequence that had me genuinely worried for a human life.

#9 – Isle of Dogs

I’ve always been fairly hit or miss on Wes Anderson, with much of his previous work heavy on deadpan twee sensibilities and light on actual deeper meaning.  Which is partially why 2014′s Grand Budapest Hotel knocked my socks off so hard; it had his pastel sense of style, but it was used to tell a story that hooked me with themes that spoke to me, and it was incredibly narratively satisfying.  

And while Isle of Dogs doesn’t quite hit those heights, it definitely feels like Wes Anderson is moving as a filmmaker into a place I can really dig into, where he engages the broader world and tackles heavier themes, like tribalism and alienation in this film.  Yes, the film is funny, with all its voice actors giving hilarious deadpan line deliveries, and yes, the animation is both stunning and impressive, with the film somehow looking both intentionally rough around the edges and meticulously crafted at the same time.

But beyond how impressive the look and how charming the style, it’s the story that really lands it here.  It uses these tools to tell a clever, touching, almost sci-fi story about our connections and the strength of relationships and full of what I read as strong allegories to our current political climate.  It manages to be both cute and deep, and connected with me on both of those levels.  

#8 – Searching

Yet another surprise, as I was expecting nothing out of this gimmicky looks thriller about a man whose daughter goes missing and his investigation to find her, all told through the screen of the computer he uses to do so.  This isn’t a new gimmick, with a handful of bad horror movies using it previously, but Searching is by a huge margin the best film to use it yet.  It starts with an immediately impacting, tragic montage, charting the evolution of a family as it progresses through a tragedy, all told through emails, computer calendars, YouTube clips, and various other computer programs.  As it progresses, it continues to use its premise to great effect; we see text messages begin to be typed, then deleted, then retyped.  It essentially uses these as character building tools, showing us as much about these characters as their actual words and action.

And then the mystery starts.  The film becomes something of a techno-thriller detective story, with John Cho giving a fantastically evolving performance (especially considering most of the performances involve primarily staring into various webcams).  The film presents the investigation with plenty of twists and turns as Cho’s character comes to learn more and more of his daughter's life, and as it does so, it builds to some surprisingly powerful emotional beats surrounding how this family has dealt with tragedy.  And sure, it may cheat a bit in its final moments, expanding its scope a bit beyond what could reasonably be found on a computer screen, but by then you’re fully bought in anyway, fully engrossed in a story that delivers far more than what was expected.

#7 – Mission: Impossible - Fallout

I love this series.  While the first two films waffled on what kind of films they wanted to be, starting with the third entry and onward they locked in; they were to be bombastic spy thrillers with action set pieces centered around Tom Cruise’ specific brand of almost manically enthusiastic daredevil stunt work.  And here, at the sixth entry, that focus has continued to be honed and adjusted.  Fallout is an entry that is defined by its set pieces; a “how did they shoot that?” one-take jump out of an airplane, a “ why did Cruise do that?” climb up a rope to a flying helicopter, a stunningly choreographed bathroom fight scene, and my personal favorite, a motorcycle chase through Paris that makes it very clear Cruise himself is putting his life on the line for these shots.

What’s crazy to me is that this isn’t even my favorite in the series; 2015′s Rogue Nation has a better story and Rebecca Ferguson’s Ilsa Faust has a far better supporting role in that one than any here (and weirdly enough, Nation was only an honorable mention in 2015, but that’s because it was a much stronger year for movies I loved).  Yet, while Fallout may not tell a better story, it is likely more memorable, as it presents a non-stop cavalcade of incredible action sequences and stunt work that are as thrilling as they are visually impressive.

#6 – Creed II

I had extremely high hopes for this one.  Creed was one of my favorite movies of 2015 (a strange commonality between this and Mission Impossible above), and was personally my favorite in the Rocky franchise (though whether the Rockys and the Creeds are the same franchise could be debated).  My excitement was tempered upon learning that Ryan Coogler wouldn’t be returning to the directors chair, and to be fair, some of that absence is evident, mostly in the boxing sequences that don’t have quite the same technical proficiency shown in the first film.  But beyond that minor quibble, this film is a more than worthy successor to the first.  

It has the same thematic depth; it has evolved its focus from choosing a family and letting that affect your personal identity to a focus on dedicating yourself to that family and the conflict between it and personal ambition or desire.   It has the same inspirational intensity; featuring a fight that inspires fear in Rocky and a prideful vengeance in Creed, before in the classic format of these films, the characters have to rebuild themselves to rise up.  And it has the same chemistry; all three leads are still fantastic, with more focus this time being given to Adonis and Bianca as they navigate building their own family alongside the inherently dangerous nature of Adonis’s profession.   All this ties together into a fantastic follow-up that builds upon the first film and continues this wonderfully dramatic saga.  

#5 – Spider-Man: Into The Spider-Verse

This was by far my biggest surprise of the year.  I expected nothing of this film, in fact, due to a clip of the film being shown as a stinger on Venom, I was fairly certain the movie wasn’t going to be very good.  It looked to be a slapstick cartoon comedy of a superhero film, and I wasn’t terribly excited for it.  Happily, however, I was very wrong.  So wrong, in fact, that I believe I can comfortably say this is my favorite Spider-Man film.  The film is stylish in a way few animated features have managed; the animation alone is impressive with its blend of modern cg and traditional hand drawn comic book accents, but it’s also got a soundtrack that is wholly rocking and tuned in to the story and character they are backing up.

The film is also hilarious; not only does the mentor/student relationship between Miles & Peter feature charming odd couple banter, the additions of the other spider-people make up a “motley crew” comedy style helped along by some excellent voice work (and special marks for the spot-on casting of Nic Cage as a noir-detective and John Mulaney as a talking pig).  Most shocking to me, however, was just how powerful the story was when it got into gear; the unusual animation style ends up working in tandem with the themes and narratives arcs the story is telling, and while yes, this is in fact another superhero origin story, Miles Morales coming into his own turned out to be one of the best coming of age stories I’ve seen in a long time.

#4 – A Quiet Place

I do love a good monster movie. Not only for the creativity in design choices and aesthetic that can be brought to make some fascinating creatures, but also in the themes, as in almost all the best monster flicks, the monster themselves are stand-ins for some other idea, something that scares us in a more abstract way.  In this case, that theme is very solidly established in the first few minutes: parenthood, and more specifically, the fear and stress of a parent trying to keep their child safe in a very dangerous world.

The first step in exploring this theme is a really solid chunk of world building; presenting a decidedly post-apocalyptic landscape where few humans remain, and those who do must live in silence to avoid detection by the otherwise blind creatures that destroyed the world.  To stack the deck even further, the film presents additional complications; a pregnant wife unclear how she’s going to give birth to a screaming baby without bringing danger, a deaf daughter who cannot hear when the creatures are about, and a father so focused on protecting his family that he shuts them out emotionally.

All this is built up over the first half of the film, and then starts a climax that last almost the full last half as the family has to face all these issues at once.  It’s fantastically tense, riveting horror even it’s rarely outright scary, and firmly establishes itself as one of the more inventive, well told monster stories out there.

#3 – Avengers: Infinity War

It’s difficult to gauge exactly why I love this movie.  Is it sheer comic-book fanboy glee that a story as iconic and beloved as Infinity War was actually adapted for the big screen?  Is it the appreciation of the massive feat that this film represents, bringing together over 20 superheroes from across 18 films together into one story?  Is it the fun of seeing all these superheroes actually interact with each other? Or hell, is it just a really entertaining summer blockbuster?  The answer is obviously some combination of all of these, but I’m still months later having some trouble actually processing it all.

To be clear, it is a great superhero movie; despite one odd sequence aboard a space station with an odd performance choice from Peter Dinklage, the rest of the film is a propulsive journey that cleverly combines and separates its many heroes on to various paths that still interact and matter to each other narratively.  It features action sequence to match, filled with more jaw dropping moments and impressive fight scenes than I can easily count.  

The biggest question I still have is whether this a great movie on its own, taken out of the context of the 18 films that came before it.  And while I don’t think it would be as enjoyable outside of that context, and I’m not even sure it could exist without it, I do still think the answer is yes, and that mostly comes down to its villain.  Thanos is, on his own, a great character, and so much of the movie revolves around his ideology, his plan, and his motivations that it can be and has been argued that Infinity War is actually his movie, thematically speaking.  He is the character with the most traditional arc, down to an ending that shockingly belongs to him as well.  And  while the full story may not yet be concluded, it will be tough to top this achievement of a superhero movie.

#2 – Bad Times at the El Royale

This is definitely a personal pick that I doubt will end up on anyone else’s top 10 this year, but I really did love this movie.  Landing somewhere between Hitchcock and Tarantino, it’s a fantastic thriller that consistently surprises throughout.  To start with, it has a fantastic cast, and they are all absolutely bringing their A-game.  It features Jeff Bridges as a priest suffering from memory issues, Jon Hamm as a sleazy fast-talking salesman, Dakota Johnson as a catty and standoffish hippy, Chris Hemsworth as a maniacal cult leader, and standout newcomer (to me at least) Cynthia Erivo as a subdued but ambitious soul singer.  All of these are rich, deep characters, helped along by dialogue that is witty and engrossing, sounding very Tarantino-esque. And that dialogue often plays around with the fact that all of these characters, across the board, have secrets.

Which brings us to the story, which is where the Hitchcock comparison comes in.  The story at first appears to be a bottle movie, taking place almost entirely within the titular hotel The El Royale.  However, at some point the story begins to shift, both showing us backstories in flashbacks and shifting whose point of view we see the events of the story from.  It leads to a twisty plot that keeps us on edge throughout, sometimes unsure of just where it’s going, but it always pays out for the attention and patience it requires.  And it’s all backed up by an amazing period perfect soundtrack full of soul music that really helps accentuate the narrative.

It all adds up to one of my favorite mystery thrillers in a long, long time.  It’s a genre that is done very often, and more often than not quite badly, so seeing one that is not only an engrossing mystery but relentlessly entertaining counts for a whole lot, to the point where it was almost my favorite movie of the year.

#1 – Annihilation

I am a sucker for a good hard science fiction movie, and it’s a genre that has had an amazing few years.  Ex Machina, Arrival, and Blade Runner 2049 have been some amazing entries, and Annihilation is now another.  These films are great because they are not only about deep, intellectual topics, they explore them in intriguing ways that are equally deep; they are movies that are best served by revisiting multiple times and by discussing them and reading about them afterward, worthy of further reflection and study.  That said, to be a great movie, it also has to be entertaining, and all of these do that in spades as well.

Narratively, Annihilation is about a mysterious dome of energy that is causing odd biological phenomena, and the squad of ladies who go in to investigate it, despite the fact that no one else who has gone in has every come out, including our main characters husband.  Thematically, however, it’s about self destruction, of the natural and biological variety as well as that within the human condition, and its cyclical relationship with creation.  The film constantly presents imagery of rampant creation, including plants and animals blending, a landscape that bleeds into time and the thoughts and memories of those in it, and the most terrifying creature of the year in the rotting bear monster that seems to absorb the last moments of those it kills.  It contrasts against that backdrop its characters, who are all in some way, both voluntarily and involuntarily, self-destructing, and asks what the reactions to each might be.

And while I have a distinct interpretation of what its ultimate message is, I have read and watched many other interpretations that are just as valid and just as interesting.  It’s the kind of film that is far more than its face value, whose intellectual nooks can be found the more you think about it, and I have found myself thinking about it quite a bit since seeing it for the first time.  And for that, I am very grateful, not only for it expanding my conceptions, but for being a touchstone of a philosophical topic I never would have given much thought to.  And for all that, it is my favorite movie of the year.

Runners-Up:

Eighth Grade - A nice sister piece to Boyhood, it’s a more focused, comedic, and stylized counterpart that brilliantly gets inside the head of a girl in a near constant struggle with navigating her emotional state, her social skills, and her world shifting under her.

The Ballad of Buster Scruggs - An anthology film that breaks the western down into component pieces to tell masterfully constructed, beautiful, brutal, tragic, and often bizarre tales that bring as much melancholy as delight.

Won't You Be My Neighbor? - A heartfelt, impacting, poignant, powerful look at the life long mission of Fred Rogers to spread love and acceptance, and the obstacles and internal motivations that drove it.

[homedevises]

The Modern Rules Of Best Marvel Animated Movies | best marvel animated movies

Spider-Man receives the awakening he’s bare aback Sam Raimi’s leash with Into The Spider-Verse; an activated flick which shines far brighter than annihilation in Marvel’s acceptable cine universe.

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Marvel may accept translated an absorbing web of appearance crossovers and Infinity bean accumulating in their blockbuster MCU, but it’s still almost acclimatized aback compared to the banana books – area belief inter-weave through timelines and alternating universes activity a accomplished abundance of possibilities and absurd team-ups.

This crazier ancillary of superhero belief is pulled afar in Into The Spider-Verse; a Marvel and Sony activity accord affected from a exciting mix of talent, including Peter Ramsey (Rise Of The Guardians), Rodney Rothman (22 Jump Street) and Phil Lord & Christopher Miller (The Lego Movie).

Into The Spider-Verse toys with these banana book tropes, and admirers adeptness of accomplished Spider-Man films, to deconstruct expectations of the archetypal ‘origin’ story. Here, Peter Parker takes a backseat to Miles Morales – the Afro-Latino jailbait and additional alter-ego of the web-slinger, who receives Spider-Man’s admiral afterwards actuality apathetic by a genetically-modified arachnid created by Norman Osborne.

Miles afresh aggregate the spotlight in the excellent PlayStation 4 game, but actuality his personality is accustomed far greater attention. We’re alien to Morales (voiced by Shameik Moore) in the bedchamber of his Brooklyn home, bopping with headphones while alienated packing to go off to high-school. A slapped-off spider-bite later, he’s abyssal academy activity with added awkward after-effects – from aggravating to affect girls on uncle admonition and attempting to clamber beyond walls with Peter Parker-like confidence.

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Whereas Parker possesses a akin of banal arrogance, Morales is far added ambiguous of his position in the world. He’s a quieter added affectionate blazon abundantly absent of his skillset, who hasn’t been addled with the abundant tragedy of accident his parents. His agent adventure will be alien to many, and its allotment of what makes Into The Spider-Verse so auspicious from the outset.

The story, however, doesn’t blow on a archetypal agent story, it dives into a basin of bonkers. Afterwards nemesis Kingpin launches a accessory which cracks accessible assorted dimensions, Morales encounters a disillusioned and age-old Parker from a cosmos area he’s become apathetic – emphasized with common ancestor at his ample belly.

It’s a alluring activating which gives a beginning circuit on the ‘what it agency to be a hero’ story, while added importantly, carrying a arresting hit amount of smart, ball gags. An aboriginal arrangement sees the brace attack to abduct a adamantine drive, with Parker on ‘charming’ aberration assignment while Morales wrestles with his newfound adeptness to about-face invisible. It’s a alluringly complete aback and alternating of ascent applesauce and blood-tingling action, which alone hints at the highlights to come.

As you may accept apparent in the trailer, age-old Parker isn’t the alone ambit crossover. We accept the absurd ‘dark’ Spider-Man Noir (voiced by an on-form Nicolas Cage), Spider-Gwen Stacey, Japanese-American Peni Parker, and absolute apology Spider-Ham – all of which acquire their clashing beheld styles and own casting of humour, accompanying axis the blur into a anniversary of Spider-Man’s history and a camp Avengers-style team-up pulled from the weirdest shelves of banana shops.

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Despite the addition of added heroes, Into The Spider-Verse never stops actuality Morales’ story. There’s a 18-carat desolation actuality Marvel has struggled to tap into aback Raimi’s Spider-Man 2, with affecting scenes amid Morales and his ancestors managing to breach through the comedy, antic crossovers and arresting beheld effects.

And boy, those beheld effects. The film’s activity is a abstract aberration throughout, creating a CG artful which somehow convinces you it’s hand-drawn. It’s the abutting we’ve appear yet to seeing a banana recreated in motion, with asthmatic activity sequences bubbles with dimensional glitches, banana book console splits and corybantic bursts of colour.

Spider-Man: Into The Spider-Verse is a arresting accomplishment and one of the greatest superhero movies anytime made. It manages to assassinate a moving, active booty on Spider-Man while advantageous those acutely invested in the character’s accomplished – all captivated in a sharply-written, blissful activity flick which thrills until its actual aftermost quip.

The better revelation? They fabricated a post-credits arena absolutely account cat-and-mouse for. A accurate miracle.

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Spider-Man: Into The Spider-Verse releases in UK cinemas on 12 December.

MORE: Avengers 4 admiral shoot bottomward fan approach about what absolutely happened to Loki

MORE: Avengers 4 trailer, absolution date, cast, commencement banana and accessible titles

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The Modern Rules Of Best Marvel Animated Movies | best marvel animated movies – best marvel animated movies | Welcome to help my own blog, on this time period I’m going to provide you with with regards to keyword. Now, this is the very first image:

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REVIEW: Too much Spider-Man? Not in the Spider-Verse

REVIEW: Too much Spider-Man? Not in the Spider-Verse REVIEW: Too much Spider-Man? Not in the Spider-Verse https://ift.tt/2L6ZHk4

You might be forgiven for feeling superhero overload this holiday season. Had enough of, say, of Spider-Man for a while? Well, this may sound nuts, but consider watching not just one web-slinger but five of them in the animated “Spider-Man: Into the Spider-Verse.” Instead of overload, you’ll be begging for more.

The film gleefully scrambles the notion there can be only one friendly neighbourhood Spider-Man and offers the exciting idea that he can be anyone. He can be a girl, he can be a middle-aged dude with a paunch and he can even be a cartoon pig.

It’s hard to underestimate what this means. “Spider-Man: Into the Spider-Verse ” does what comics and graphic novels have long experimented with, but this time makes the leap to the big screen. It literally opens up a universe of possibilities. “Anyone can wear the mask. You can wear the mask,” we are told.

The result is a film that’s fantastically fresh, both visually and narratively, trippy and post-modern at the same time and packed with intriguing storytelling tools, humour, empathy and action, while also true to its roots — still telling the story of a young man learning to accept the responsibility of fighting for what’s right.

This image released by Sony Pictures Animations shows a scene from “Spider-Man: Into the Spider-Verse.” (Sony Pictures Animation via AP)

Our main hero here is one plucked from a spin-off from the main Spider-Man comic book universe: Miles Morales, a half-African-American, half-Puerto Rican teen from Brooklyn who has a Chance the Rapper poster on his wall. He looks and acts nothing like previous Peter Parker types — Tobey Maguire, Andrew Garfield and Tom Holland — and that’s great. Hey, if Cate Blanchett can play Bob Dylan in a movie, why not offer us a new look on Spidey?

Produced by Phillip Lord and Christopher Miller, the duo behind the acclaimed “The Lego Movie,” this Spider-Man saga pops with outstanding animation, constantly changing its styles. At times, it can be hyper-real, then surreal. It includes anime, slo-mo, colour distortion, Pop art, hand-drawn elements, CG animation and even tweaks its own origins by adding dialogue in little panels.

The animators place their story in a wonderfully gritty New York, complete with screeching, graffiti-streaked subway cars and charmless pedestrians, (one of whom turns out to be voiced by Post Malone, who contributes to the soundtrack.) One quibble: Their ability to have things in the foreground appear in sharp relief while objects in the background bleed away makes it seem as if you’re watching a 3D film without those weird glasses.

Our hero Miles (Shameik Moore) is trying to navigate life between his cop dad (Brian Tyree Henry) and his cooler uncle (Mahershala Ali). After being bitten by a radioactive spider, he witnesses the death of Spider-Man (smaller viewers, beware). But Miles soon learns there are many other Spider-People, freed from their realities by the hulking Kingpin (Liev Schreiber), who has built a nuclear collider that allows access to alternative universes.

“New Girl” star Jake Johnson voices a flabbier and depressed Peter Parker who wears sweat pants and is going through a divorce to Mary Jane. There’s a fedora-wearing, black-and-white Spider-Man Noir (Nicolas Cage) who has been teleported from battling Nazis. There’s also a cool-girl Spider-Gwen played by Hailee Steinfeld, and Kimiko Glenn voices an anime schoolgirl from the future. And there’s Spider-Ham (John Mulaney) who is rooted in Saturday morning kiddie cartoons, including the use of a dropping anvil.

This odd family unites to take down Kingpin and return to their universes, winking forever at themselves and the viewer, not a little like the “Deadpool.” Directors Bob Persichetti, Peter Ramsey and Rodney Rothman — Rothman and Phil Lord wrote the story — also ground the tale with a great soundtrack that includes Elliphant, Run-DMC, The Notorious B.I.G., James Brown and Nicki Minaj.

Marvel icon Stan Lee makes his expected animated appearance, but this time there’s sadness attached. He mourns Spider-Man’s passing. “I’m going to miss him,” he tells Miles. Lee died Nov. 12 and we’re going to miss him, too. But this film somehow sums up a lot of what he tried to do over his career: Pack fun, action and sweetness into a story and then watch it soar.

“Spider-Man: Into the Spider-Verse,” a Columbia Pictures release, is rated PG for “for frenetic sequences of animated action violence, thematic elements and mild language.” Running time: 117 minutes. Three and a half stars out of four.

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MASTERLIST

Request status: Open!

You can find all my fics, drabbles and headcanons here! And if you’d like to request but are unsure of who I write for check out my intro post here!

LOTR

Hair Braiding, Regressor!Legolas, Cg!Gimli

Flip!Pippin Took Headcanons!

Cg!Samwise Gamgee Headcanons!

ROTTMNT

Pillow Fort, Regressor!Donnie, Cg!Leo

Regressor!Donnie headcanons!

Regressor!Leo struggling to slip headcanons!

Regressor!Raph headcanons!

Comfort Cuddles, Regressor!Raph, Cg!Mikey

Family Portrait, Regressor!Mikey!

Rottmnt!Raph Stimboard

Rottmnt!Leo Stimboard

Rottmnt!Raph and Leo Stimboard

Baja blast brothers Stimboard! (Mikey and Leo)

Into the Spider-Verse

Cg!Spider-Man Noir headcanons!

Building Blocks, Cg!Noir, Agere!Penni+Miles

Scott Pilgrim

Bedtime routine, Regressor!Scott, Cg!Wallace headcanons!

Regressor!Gideon Graves headcanons!

Caregiver Ramona Flowers headcanons!

Babysitter!Ramona watching regressor!Scott headcanons!

The little things, regressor!Scott

Regressor!Scott, Regressor!Wallace headcanons!

A little slip up, Cg!Wallace, Regressor!Scott

Regressor!Scott and Cg!Wallace headcanons!

Regressor!Kim Pine Moodboard

Hazbin Hotel

Regressor!Sir Pentious Headcanons!

Regressor!Alastor Headcanons!

Cg!Charlie Morningstar Headcanons!

Cg!Lucifer & Messy!Regressor!Reader Headcanons!

Cg!Huskerdust, spoonie!regressor!reader headcanons!

Staring, cg!Adam & regressor!reader

Warm milk and snuggles, cg!husker & regressor!reader

Cg!Vox & Regressor!Velvette Headcanons!

Cg!Rosie & Uncle!Alastor Headcanons!

Cg!Sir Pentious, Padded!Regressor!Reader Headcanons!

Cg!Adam, Regressor!Reader Headcanons!

Cg!Lucifer, baby!regressor!Reader Headcanons!

Nightmares, cg!Sir Pentious & Regressor!Reader

Cg!Sir Pentious Headcanons!

Cg!Angel Dust & Padded!Regressor!Reader

Cg!Lucifer Morningstar Headcanons!

Cg!Husker Headcanons!

Cg!Rosie & Clingy!Baby!Reader headcanons!

Cg!Angel Dust Headcanons

Regressor!Niffty & Cg!Alastor

Babysitter, regressor!reader & babysitter!Alastor

Crayon scribbles, regressor!reader & cg!Alastor

Angel Dust Stimboard

Alastor Stimboard

Helluva Boss

Cg!Fizzarolli & Baby!Regressor!Reader headcanons!

Cg!Asmodeus & Baby!Regressor!Reader headcanons!

Cg!Stolas Headcanons!

Batfamily

Regressor!Jason Todd Stimboard

Barbra Gordon Stimboard!

Cg!Nightwing Stimboard!

Stardew Valley

Tv Time, Regressor!Shane Mallard

Cg!Harvey Beck Moodboard

Cg!Shane Mallard Moodboard

Xmen

Regressor!Logan & Cg!Wade Headcanons

Regressor!Logan Stimboard

Rest your head, Regressor!Wolverine & Cg!Nightcrawler

Gravity Falls

Cg!Bill Cipher Headcanons

Cg!Stanford Pines, Petre!Reader Headcanons

Cg!Stanford Pines Headcanons!