Soup incident
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@leksisbarbarian
Soup incident
woke up this morning, rolled over, and very confidently tried to blow out my alarm clock like a candle. absolutely no precedent for that.
In the year 1450 a priest rolls over and slams his hand into his candle, burning him and sending wax flying all over the place
This post is a zombie. 🧟♀️ Pick one of the answers to see if you were bit or not. (There are 5 bite results out of 12 under the cut.) Best of luck. My deadeye is awaiting to meet any infected at the entrance of camp.
A
B
C
D
E
F
G
H
I
J
K
L
A. Zombie bit you! 🧟
B. Safe
C. Zombie bit you! 🧟♀️
D. Safe
E. Safe
F. Safe
G. Zombie bit you! 🧟♂️
H. Zombie bit you! 🧟♀️
I. Safe
J. Safe
K. Zombie bit you! 🧟♂️
L. Safe
Sorry for spending so long in the character creator it will happen again
God I love animation. I love it for the way it can bring anything to life beyond the constraints of boring ol' reality, but also the ways that it's inextricably linked to, and draws on the conventions of live-action film-making.
So fuck it, let's look at how Hayao Miyazaki straight up copies some camera framing techniques from his predecessor and the other most influential Japanese filmmaker of all time, Akira Kurosawa! (Kurosawa really was the master of framing scenes around his characters, so he's a great source of inspiration)
(btw, this is a screenshot from this TV special where the two met for the first time just after the release of Kurosawa's final film. It's pretty interesting, and also very cute how nervous Miyazaki seems to be to meet one of his idols.)
Specifically, how the two each choose to break the 180 degree rule (well, not technically 'break' in the case of Kurosawa) to show their protagonists' changing destiny in "Throne of Blood" and "Princess Mononoke".
For anyone who doesn't know, the 180 degree rule is a basic film-making rule of thumb which states that in any scene where two characters interact, you should draw an imaginary line between them and the camera should always stay on one side of that line.
("In the Mood for Love" - Wong Kar-wai)
This way, one character is always looking to the right of the camera, the other is always looking to the left, and the audience doesn't get confused by the geography of the scene. Crossing this line can be disorienting, but when done intentionally, it can convey a paradigm shift of some kind in the scene.
In this scene from "Throne of Blood," (a feudal Japanese retelling of Macbeth) Washizu's wife Asaji discusses tactics with him and tries to convince him to aspire to the throne and to assassinate his lord Tsuzuki while he sleeps.
As two servants appear to notify them that Washizu's sleeping quarters are prepared, the camera dollies left and around the characters' backs. This camera movement is motivated by the motion of the servants' torches outside the room, but it also signifies a change in Washizu's outlook.
Washizu is completely silent for most of this scene, contemplating his wife's advice. But as the camera slides behind his back and across the line of action, the scene is now re-framed, illustrating his change in perspective.
He's been convinced and the trajectory of his life is about to change - and now, facing away from the camera, is the time for action.
Because the camera slides smoothly across the line, Kurosawa isn't technically breaking the 180 degree rule. Miyazaki on the other hand, takes it a little further.
The complimentary scene in Princess Mononoke comes near the start when the wise woman of the village reads Prince Ashitaka's fortune after he's cursed by the wild boar spirit. She tells him that it is his fate to leave the village and travel to the west, where he may be able to lift the curse on his arm. The trajectory of Ashitaka's life changes in this moment too. As he accepts his fate, the change is symbolized by him cutting off his hair, but also by the camera jumping the line.
Throughout this dialogue scene and even as he cuts his hair, the simulated camera sits just slightly to the side of Ashitaka's left shoulder.
But once it's done, for the final shot, the scene is reframed and we jump to the other side, where Ashitaka is now looking to the right of the camera instead of the left.
Making the camera dolly across a scene like Kurosawa's version in 2D animation is no simple task, so this transition with a simple cut is in a way subtler, in another way a bit more jarring, but it conveys the same meaning.
This is the moment when our protagonists make the choice to embark on a new destiny and re-frame their lives.
This has been an excerpt from a short video essay I made a while back, which not many people watched. I think this is at least in part due to my failure to package it well, and it seems you tumblheads like this animation/cinematography analysis stuff, so this is an experiment to see if, with the help of y'all, and a new title and thumbnail, it's at all possible to give this video a second wind in the eyes of the Youtube Gods!
So if you found this interesting, I'd appreciate if you checked it out! Thanks for reading!
Let! That! Baby! Eat!!!!!!
Perfect tags
absolutely LOST in the sauce
the pope, or as i like to call him, the hokage of the catholic church
distressing things to say to your friends
Its been five years of it’s august and the flow of time still haunts me
Alt text under cut, cuz this is damn good info
(PS beans and rice combine into the perfect protein. Nice cheap way to keep your nutrition reasonably intact)
Reblogging the Alt Text version and adding two links I took from other reblogs:
The first is an FDA advisory basically saying that you shouldn't use a slow cooker on beans because they won't reach a temperature high enough to break down natural toxins found in some beans. They also state that dried beans should be soaked for at least 5 hours before boiling for at least 40 minutes (to neutralize the previously mentioned toxins).
The second link is the reddit source:
I also recommend going into the reblogs because there are a bunch of recipes and tips, including ones for people on digestive restrictions.
redraw of everyone's favorite 'dad & the cat he didn't want' panel
DRAGON AGE: INQUISITION (2014) dev. BioWare — replay (2/?)
yesterday i made a beetle out of soda tabs and wire. we took the bus home.
Victor Frankenstein after achieving the impossible and building a fucking person from scraps of the dead: Oh god, ew, ew it's ugly! Yucky! Yucky! Gross! Ew! Ew! Yucky! Yucky! Gross! Ew!
something something extremely sexy when magic users resort to physical violence. yeah i have the power of god and anime on my side but i also have THESE HANDS. i cast Punch You In The Face. i take my magic staff through which i channel the vast energies of the elements and the cosmos and i cast Severe Concussion And Skull Fracture. casting time for xenoglossy too long, chose the quicker route of Stab You In The Throat.