How have I never read this shit? Wow. Okay.
Anyway, the .cbr I have is split into 12 parts, which I think reflects its original publication in 12 issues (correct me if I'm wrong). They read, in my opinion, extremely quickly, so how about having the first six issues read by February 16? I assume you all have your copy by now. Shout if that's too fast/slow.
Sorry for the large amount of highlights, I wasn't sure exactly who is reading.
eightbitsamurai, StJohn, DiamondLou86, AnSionnachRua, _refugee_, minimum_wage, flagamuffin, fuffle, b_b, hugitout, JakobVirgil, zebra2, AdSeriatim, mk, thenewgreen, SufficientGrace, ecib, kleinbl00, cliffelam, hootsbox, lil, rezzeJ, cgod, blackbootz, onehunna, AshShields, BLOB_CASTLE, insomniasexx, kuli, louderwords, Floatbox, maynard, hiss, NikolaiFyodorov, Meriadoc, wasoxygen, BlackBird, jayfixkleenit, crimsonlight, Kaius, spearhard, iamducky, humanodon
Timely post as my book just arrived. I'm enthused by your enthusiasm. I'll start reading tonight!
I would enjoy seeing photos of other readers' copies of the book, or else the context in which they read. I added a photo to my trip report. I didn't get much reading done on that trip, but ended up watching the film on the flight back. It had been a while since I read the book, but I was still impressed with how faithfully some of the images were recreated.
That sounds fine. I just ordered the paperback from Amazon (I like my graphic novels in the physical format) and it should be here today or tomorrow. They do read fast. I don't see myself having a problem getting done by February 16th.
….not entirely. I know three storyboardists quite well; I could elucidate if need be. Sin City was done shot-for-frame with Frank Miller as co-director. 300; not so much. The interesting case study is 30 days of Night which was written as a screenplay, didn't sell, then converted to a graphic novel which was made into a movie.
What's the alternative to storyboarding? Or is it just not necessary? My outsider's impression was basically that you write a script and then turn it into something that resembles a rough graphic novel so it's easier to plan out your shooting schedule etc.
Storyboarding isn't "turning it into a graphic novel." It's turning each camera shot into a shot of movie. The script runs underneath it. In a comic or graphic novel, what matters is what fits on the page, how it flows, and the layout. In a storyboard, what matters is whether or not the visual composition tells the story of the screenplay. One of my buddies is on this page. You'll note that storyboards are pretty much about "where are we going to put the camera" and "what is it going to do." A lot of storyboardists come from comics, or started in comics, or bounce in and out of comics (another storyboardist friend has his own label) but the intentions are actually quite different. The alternative to storyboards, which is eating up the livelihood of lots of storyboardists, is previz. Generally done in Maya at Hollywood scales, you can do it in simple shit like Sketchup. The indie piker's previz of choice is FrameForge, which also provides (at a premium) a number of 3D tools. I own FrameForge and am pretty good in it. For a while I was doing graphic novel layouts in it, but it's too much work and the results are uncanny valley in the extreme. That's the thing about storyboards - they're decidedly more human.
So to continue my flawed analogy, a storyboard is going to have way more "pages" than a graphic novel of the same material would? But, if you feel like answering another question, how do you decide which shot gets a storyboard frame? Surely you can't account for every single different frame of a movie, too labor intensive.
Way more. Every time you see a cut in a movie, there's a frame of storyboard. Simple. Every single goddamn one. No, but you get every single shot. As in, every single time we put the camera somewhere else, every single time we roll and then cut. I don't think the White People Edition has it, but the Chinese and Japanese DVDs for Spirited Away include an alternate video track - the animatics of the film. That's the storyboards, timed out and presented as video. It was kinda trippy when I saw it, because my Chinese DVD defaulted to video track 2 for some reason. I thought it was a decidedly low-fi Miyazaki, but still pretty cool. I had to watch the first 20 minutes over again when I figured it out.So to continue my flawed analogy, a storyboard is going to have way more "pages" than a graphic novel of the same material would?
But, if you feel like answering another question, how do you decide which shot gets a storyboard frame?
Surely you can't account for every single different frame of a movie, too labor intensive.
No idea. You can extrapolate, though - here's a nice representative clip from Jurassic Park. I count 8 shots in the first minute. It's 127 minutes long, of which probably 8 minutes or so are credits'n'shit. Spitballing, we're talking around a thousand shots. Compare and contrast, though - here's Tony Scott's *Domino.* there's a dozen shots in 30 seconds. If you had to storyboard that shit (all 127 minutes - what a coinkidink!) you'd be looking at around three thousand shots. Fortunately, Tony Scott didn't storyboard shit. He brought three or four cameras, pointed them all over the place, shot the fuck out of everything and then gave it in a bucket to his editors and said "turn this into a movie." Crimson Tide was shot with four cameras simultaneously and the editor had to turn over 240 hours of footage into a 2-hour movie. Michael Mann did nine cameras on some shots of Miami Vice. So you don't exactly get a one-to-one.
Hitchcock made a movie, Rope, with exactly 9 cuts, each one only because the film he was using came in 10 minute reels. If you watch it, you will count 4 cuts, the other 5 are disguised with close ups on dark objects such as a man's suit. Edit: I guess technically it's 10 cuts, since the end of the movie is a cut. But maybe I'm just splitting hairs.
Funny that you mention that movie, because I just recently heard of it the other day. They are screening it soon at the Detroit Film Theater, which is the theater associated with the Detroit Institute of Art. I read about it in their flyer, and I plan to see it. Funny the way you avoid something in your consciousness for years then come across it multiple times in a short span. That seems to happen a lot. Maybe it's a matter of just paying attention.
You are right, and we are using the same file. I have the first six issues loaded up on my tablet, I think that would be an acceptable pace. Glad to see you're enjoying it. The Watchmen is my intro for people who want serious comics, like how I cowboy bebop to introduce people to anime.
Yeah, I've had the big bad burly edition on my want list for a few years now. However, I finally sprung for half of Toynbee so it'll have to wait. Spirited Away is a lovely film, but it's very Western. Miyazake made it a good decade into his arrangement with Disney and after the clusterfuck that was the Mononoke dub. This is the work of a guy who was already an acknowledged master, who had most any resource he needed, and who was playing on a world stage. Nausicaa, on the other hand, is alien. It was Miyazake's first broad, bold "I'ma make me a movie" tale. Nausicaa was rejected as a movie, done as a manga, then retooled as a movie - it's doubly refined. It was done cheap and it was done fast and it makes no attempt to embrace the thinking of Americans raised on Speed Racer. Nausicaa is Miyazaki's Snow White - it's the "gimme one shot" reach for the sky of the undisputed master of anime. Much like Watchmen utterly annihilates your expectations of graphic novels, Nausicaa grabs you by the lapels and shakes all the Sailor Moon and Pokemon the fuck and gone out of your head. The first time I saw it was '94, an anime club fan sub. No official English edition had been done and even that horrible, weird recut was hard to come by. Anime for me was, at the time, Vampire Hunter D, Robot Carnival, and occasional weird shit on Liquid Television. We'd trekked down to Santa Fe to see a midnight showing of Urutsukidoji (the film that convinced me once and for all that the Japanese really are different in some not-so-flattering ways) but passed up the chance to do the same thing with Totoro. So when I saw Nausicaa I suddenly got it. I suddenly understood why people bothered with Anime. It made sense. It was an art form that allowed you to do things you can't do otherwise. Spirited Away is nice, but what it says is "Miyazaki can out-Disney Disney."
I've only watched Spirited Away when it comes to anime, since it was recommended everywhere. I found it quite endearing, like watching a new Brothers Grimm fairytale. I can really see why you think it out-Disneys Disney. As Western as it is, I still felt like I didn't get parts of it. Watchmen, on the other hand, is amazing. I just finished chapter 2, can't wait to read further. Exceed my expectations already. Really like the foreshadowing with the clocks, and I noticed that clocks in the background are nearing midnight as well.
It's a great film. One of Miyazaki's best. But it's pretty conventional by Miyazaki standards. Take a deep draught of Ponyo and suddenly Spirited Away is like a long, beautiful episode of The Flintstones. Yeah, funny story about Spirited Away. So Disney bought up the rights to distribute any and all Ghibli films in the US and Europe, as I recall. Miyazake was so apprehensive based on past performance with Nausicaa that he shipped Michael Eisner a Katana and a card that said "No Cuts." So Disney brings in a bunch of A-list talent - Claire Danes, Billy Bob Thornton, Minnie Driver - to do the English language dub. Then, rather than throw it at the art houses, they open it wide… in eight theaters. They proceed to fumble about, opening it in another dozen every couple weeks, until it vanishes five weeks later having made a whopping two million dollars. Disney, in their infinite wisdom, decides that this is because American audiences don't get Anime. So they neglect to release any other Ghibli films, until Spirited Away becomes the highest-grossing film in Japanese history. So Disney grumbles, fumbles, and slashes their budget - no Claire Danes this time, we'll use nobodies and has-beens - Suzanne Plechette. Michael Chiklis (before the Shield). And let's dump it the same way we did Mononoke so we don't lose money. You could try and find that movie in theaters, but you'd have to hunt. Then it got nominated for an Oscar. "Okay," says Disney. "Maybe we'll put it in some art houses. Nerds love Oscars." So they put it on a 3-month run, petering down from 130 screens to six the night of the Oscars. Which it won. So now it's on 700 screens, Disney makes more in a week than they did the entire three months previously, and they're forced to recognize that maybe they just suck at distribution. In order to drive the point home, they re-release the entire Ghibli-back catalog with A-list talent… …direct to video. facepalm Pay close attention to Chapter 5. Pulling off what they did required obsessive attention to detail.I still felt like I didn't get parts of it.
I've only watched Spirited Away when it comes to anime, since it was recommended everywhere.
Watchmen, on the other hand, is amazing. I just finished chapter 2, can't wait to read further.
There is another version of Spirited Away with a different set of voice actors, famous ones at that?
I have finished reading watchmen [nearly a week a ago]
last time I read it I was in high school? [maybe jr high] It was oddly too fresh in my mind when I read it again. I think it is a spell to cause one to hate superheroes.
My thoughts exactly. I'm a few chapters in, are those the issues you mention? Initial thoughts: Watchmen grabs me from the start. Not a single part of it felt/feels like a chore (like some books need a little room in the beginning to pick up steam), god I'm excited.How have I never read this shit? Wow. Okay.
No lol. Although something the psychopath said in the other article stuck with me. I'll have to hold onto it for a few months and see if I still think it's a great idea then. Besides, you'd see any new tats on #instaink if I got 'em. This post
http://hubski.com/pub?id=129416 This quote The tattoo idea: just the phrase "the romantic notion"Sometimes the truth is not just that it hurts, but that it's just so disappointing. You want to believe in romance and have romance in your life—even the most hardcore, cold intellectual wants the romantic notion. It kind of makes life worth living.
I'd put it on my chest, near to my heart, in a half-circle shape, I'm thinking. I like the idea, and I like it especially because it is said by someone who is mostly divorced from emotion. I am not a romantic person but I find sometimes I want to buy into, as he puts it, "the romantic notion." It's like, I fall for it - then it happens and I realize it's not really me at all.* So I can relate to that, although I wouldn't call myself "the most hardcore, cold intellectual." - Maybe if I am lucky, someday ;) *Or rather, it is probably more likely that the traditional romantic notion is not what I want. I have my own form of romance, I'm sure. I guess the point is, I grapple with romance. It doesn't make sense to me and a lot of it is, well...haha "gross." But yes, some parts of me still want it sometimes. The whole quote resonates with me quite a lot.