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Star Wars Prequels' Art Director Doug Chiang Talks
inherent writes: "Recently, representatives of three fansites covering Westwood's upcoming release, Earth and Beyond Online had the opportunity to interview Doug Chiang, Art Director for the Star Wars prequels, and the designer of the spacecraft models in Earth and Beyond Online. Chiang speaks on topics like the differences between film and digital animation, advice for upcoming digital artists, and the now infamous Jar Jar Binks. The interview transcript is available at Earth and Beyond Portal"
First "Star Wars Has Petrified Natalie Portman Covered In Hot Grits" Post
So I'm a pervert. Welcome to the Internet.
first post
It's all the same, only the names will change
Everyday it seems we're wasting away
Another place where the faces are so cold
I'd drive all night
Just to get back home
I'm a cowboy, on a steel horse I ride
I'm wanted dead or alive
Wanted dead or alive
Sometimes I sleep, sometimes it's not for days
And people I meet always go their separate ways
Sometimes you tell the day
By the bottle that you drink
And times when you're all alone all you do is think
I'm a cowboy, on a steel horse I ride
I'm wanted dead or alive
Wanted dead or alive
I'm a cowboy, on a steel horse I ride
I'm wanted dead or alive
Wanted dead or alive
I walk these streets, a loaded six string on my back
I play for keeps, 'cause I might not make it back
I been everywhere, still I'm standing tall
I've seen a million faces
And I've rocked them all
I'm a cowboy, on a steel horse I ride
I'm wanted dead or alive
I'm a cowboy, I got the night on my side
I'm wanted dead or alive
Wanted dead or alive
old enough to set the table, old enough to pass the meat
Obligatory "why is this news for nerds/stuff that matters"
There, now please proceed with the discussion.
Killing off Jar Jar in Episode 3 would make the fans happy, as well as providing a pleasant "Mr. Hooper's gone" introduction for children to learn the realities of death.
Besides that, I (and others, no doubt..) would actually go see one if I knew Jar Jar was going to get snuffed out beforehand.
My $0.02,
Bowie J. Poag
Seeing that this is a Star Wars story, I'm sure this will end up Slash Dotted. So as a service, here's the important parts:
D: So, what's up with Jar Jar . More specifically, as you were working on Jar Jar, was that the reaction you expected? For example, the thirteen year-old girls can be huge Jar Jar fans, but it makes me cringe.
DC: That's hard to say. In the instance of Jar Jar, when we're designing things like that, whether its for film or for games or whatever, I try not think about what the general perception is because we are so narrowly focused on trying to come up with a really good design. Jar Jar was actually the best possible combination of shapes and personalities and elements that George wanted. We were actually very thrilled with it. We didn't know how he would fit in the story. Our main goal was to design the character.
But, we realized at the end that Jar Jar wasn't made for us. It was made for the 13 year old kid. It's not fair for us to judge, because I can't judge those things. When you're working on a film, you're so immersed in the film that you can't look at things objectively.
And so when the reaction comes out that the character wasn't as appealing to myself or someone else is really irrelevant, because we're not the audience, and we shouldn't be the critiques of that.
D: What was your reaction when you saw Jar Jar in the context of the film the first time?
DC: Oh, I loved him.
But I'm not a good person to ask, because I loved all those guys. I can't look at any of the projects I worked on objectively, you're asking the wrong person, you should be asking a 13 year old girl .
Anyone else smell smoke?
Did anyone else who read the article notice that he seems to talk about 13 year old girls just a bit too much.... he's not a catholic priest in his spare time is he?
This looks to be a somewhat interesting interview. From the looks of it though, the questions deal mostly with the aspects of Chiangs life rather than any details of the upcoming movie. Frankly, I don't really want to hear is life story, or what website I can go to if I want to learn more about is past work. I want the lowdown on production, like what they used for the animation, props, and all that cool stuff.
I've been a Star Wars fan since the late 70's- I even bought a Millenium Falcon with my allowance (though I sold it at a garage sale when I was a teenager, boy am I kicking myself for that one). Anyway, this movie looks like it's got quite an all star production crew. I'm looking forward to seeing it, hopefully in one of the digital theatres if it's not too expensive. Though I sometimes wonder at the dedication of the people willing to sacrifice 3 months of their lives to wait in line.
The future isn't what it used to be.
Doug Chiang Interview
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Recently, representatives of three Earth and Beyond fansites had the opportunity to interview Doug Chiang, Art Director for the Star Wars prequels, and the designer of the spacecraft models in Earth and Beyond Online. This is a transcript of the interview. LC is Lance_Cutter of www.terrantradecorp.com. LoD is Lord_of_Dreams of eb.stratics.com. D is Devon of www.ebportal.com. DC, is, of course, Doug Chiang.
LC: When did you discover your gift or abilities?
DC: I think it was even before, actually in high school, I took my first filmmaking class in 7th grade. At that time I had always drawn, and I was always frustrated because I wanted to do something more than just drawing. I took this film course that showed me animation and how to turn drawings into motion. Once I grasped that, I really jumped into it and spent the whole summer and weekends making little claymation films. The moment that kind of defined it for, I think, a whole lot of people was the year after that. Star Wars came out. That showed me that there were people out there who actually do this for a living, who could actually design and create film in this specific genre. That got me started thinking, and I did a little more research into the whole process. I grew up in Michigan and the film community there is very quiet, so it was a matter of just finding out where and who these people were that were doing all this great work. Once I realized that people were doing that, I really started taking up the focus of what I really wanted to do.
At first when I started, I wanted to be a stop motion animator. I wanted to be another Reddy [Ed's note: The tape is scratchy here, and I can't find the guy he's referring to. If someone has a clue, let me know. Reddy is a phonetic spelling of the first name.]. He was one of my biggest influences because I discovered his films way before Star Wars, even though I didn't know who he was, I just knew there was something really neat about his films. It's the whole fact that you can take a camera and pieces of clay and make your own film in the basement was spectacular.
LC: The claymation thing is just amazing to me. I don't have the patience for it.
DC: Oh yeah. And the scary thing now is with the 3D rendering tools for the Mac you can do amazing stuff. It will be interesting to see what happens in 5 or 10 years when these kids start coming out of their basements. They're going to be spectacular filmmakers. All you need is a Mac or a little PC at home and you can make your own films with sound and everything. That's going to be frightening
LoD: What made you come to Westwood to work on Earth and Beyond?
DC: Well, I was finishing off my work with Star Wars when EA contacted me to see if I would be interested in, at first, just consulting, or looking at their project. I said "Sure." At that point, I was just starting to get interested in computer games because I was trying to get one of my own properties developed into a computer game. So that opened the door where I just came in and started talking with them. The more I saw the material, the more more of my initial project with the Westwood team, I just really liked everybody and the project. Basically after that we just started talking and I said, "Sure, whatever you guys need, I'll try to find the time and contribute." Prior to that, I had been approached by other game companies to do other game designs. It just never worked out, whether it was time, or the projects just weren't that appealing to me. I loved everything about this. I loved the subject and I loved the team, so I set time aside.
D: What are some of the challenges you face in the video game realm that you don't face in film?
DC:You have to design things that really have to work. In film design, you can design things that work for a specific shot, so for instance, you don't have to show how the landing gear really works, or how a door opens. A lot of times you'll see a ship land, and they'll cut away to another action. Whereas in this you play real time, and you will see and experience the ship coming down and you see the function of what it's supposed to do. So that factor made the design process a little bit more intensive because you have to figure out that component and make sure it actually works and actually animates.
But the biggest factor that was really hard was the modularity of this game. It was "Come up with a design that was really strong as a base design, but then taking that design and adding various components and improving that design at those stages so that each upgrade will make the designs look better rather than degrading." It's a hard way of thinking because normally when I design something, I like to create the best combinations of shape for that design and say, "That's done. That's it." When I did that, and the Westwood team approved it, and then said "Ok, now make it even better," it was like, "Wait a minute, if I could have made it better, I would have given you that." It was a real hard way of thinking, but it made it challenging because I just came up with elements that were slightly different. But it wasn't really better in a sense that it was superior to the base design, just different. Each one can be perceived as being better, and an upgrade.
So that was the hardest part. Thinking of designs in that way, as interchangeable parts so that it's kind of modular and not too specific, but it can still work.
LC: How do you approach a new a project and yet keep everything fresh for the new project versus what you've already done?
DC: You know what, that's kind of what my job description is. I don't like to be typecast as only a Star Wars designer, or only a "whatever" designer. I like to think that my background in design skills allow me to be flexible to adapt to each of the projects.
In the case of E&B, there was a huge creative brief that was already designed. That basically set all the ground rules and told me exactly what I could break or push. From there, my process is to digest all that information and go and start researching elements, getting inspirations from my library of books and shapes and things that I know. Then I try and combine that and merge it so it fits.
Ultimately what I'm doing is bringing my aesthetics to the Westwood aesthetics, rather than bringing my aesthetics and changing Westwood to something else. There's a lot of what I do is very different from things you're familiar with like Star Wars or Westwood. What I like to do is take those skills and adapt them to other projects.
Of course, there are certain shapes I like. That always permeates through the designs. But, there are shapes that work because there is some kind of integrity to them. SO those are the common elements I try to keep. I try to be as flexible as possible, and address the questions of each project.
That's part of the fun of what I do. The films I work on are so varied.
LoD: With your previous Star Wars experience, did you ever consider working on the Star Wars multiplayer game, Star Wars: Galaxies.
DC: You know what, no. I guess they never asked . I never really thought about it, but it probably wouldn't be as appealing because a lot of that has already been done before. For me, it would just be addressing the same thing. It would just be taking the same designs and reworking it to make it work for a new medium. That in itself is not as appealing to me. I would rather take a new property and design from scratch.
D: On your films, what's the process like when you work with a team of other artists? How do you make everyone's ideas work together?
On a film project, like Star Wars, I will come in and assemble a team, and each of the team members will have a very specific skill. Some will be great at costume design, some at feature design. I try to tap into all those different talents and guide them. Of course, the team that's being developed is still be driven by the film director, whether it's George or somebody else.
The same process happened here on Earth and Beyond where it was essentially the directors, Jerry and Gary and those guys, and my goal was to be that team as a single person. So much of that work had already been done. There was only one very specific task left, and that was the space ships.
LC: What's been your best piece of work, in your opinion?
DC: Oh no. That's a hard question.
I would have to say the ones that come to mind are the Naboo Starfighters and the battle droids. They were very specific problems and I felt it was the best solution. Those are ones I'm also really happy with in terms of addressing all the needs of what those designs had to be in terms of addressing the historic points of addressing why the ships and robots looked the way they looked.
I'm judging from a very specific angle, which is the design component. As a design, I liked them. Whether they're successful as an element that appeals to the public, doesn't matter. For me, they were the essence of good design for me. I'm proud of the way they turned out.
LoD: Was there any particular inspiration for the Earth and Beyond specific models you created?
DC: That's a hard question, because there wasn't a specific inspiration. The creative brief spelled out the general guidelines. But beyond that, they told me to wipe the slate clean, and create something fresh that still fit within the guidelines of the worlds they were creating. I basically started putting down on paper shapes I like to see. Whether they're shapes for film or whatever, I didn't really worry about how they were executed.
There weren't really specific inspirations. Like the Naboo Starfighter was inspired by art nouveau jewelry. In this case, it was really a matter of sitting down and doing a bunch of sketches until I got a shape that I liked.
D: So, what's up with Jar Jar . More specifically, as you were working on Jar Jar, was that the reaction you expected? For example, the thirteen year-old girls can be huge Jar Jar fans, but it makes me cringe.
DC: That's hard to say. In the instance of Jar Jar, when we're designing things like that, whether its for film or for games or whatever, I try not think about what the general perception is because we are so narrowly focused on trying to come up with a really good design. Jar Jar was actually the best possible combination of shapes and personalities and elements that George wanted. We were actually very thrilled with it. We didn't know how he would fit in the story. Our main goal was to design the character.
But, we realized at the end that Jar Jar wasn't made for us. It was made for the 13 year old kid. It's not fair for us to judge, because I can't judge those things. When you're working on a film, you're so immersed in the film that you can't look at things objectively.
And so when the reaction comes out that the character wasn't as appealing to myself or someone else is really irrelevant, because we're not the audience, and we shouldn't be the critiques of that.
D: What was your reaction when you saw Jar Jar in the context of the film the first time?
DC: Oh, I loved him.
But I'm not a good person to ask, because I loved all those guys. I can't look at any of the projects I worked on objectively, you're asking the wrong person, you should be asking a 13 year old girl
LC: How do you deal with creative blocks, or do you even have them?
DC: Oh, I definitely have lots of them. It's a tough challenge. I just kind of push and force my way through it. Other artists have different approaches.
What I like to do is just sit down and start drawing, even if their really bad, just draw.
The thinking is that I'll get all the bad ideas out and let the good ones come out. My biggest fear when I sense a block coming is to just stop. Tjhat only compounds the process. Once you stop in any of this, it's really hard to get going again. Especially if you have a creative block and stop at the same time, it will be a long time before you get going again. You can quickly undermine yourself and your self confidence.
LoD: Have you actively played Earth and Beyond yourself, if so, what do you think of it?
DC: No, I haven't. The last time I played it was several months ago when I was up here doing our first game. The game has come a long way since then, but it was really fun. Keep in mind, I'm a really novice game player. I couldn't really do what I was supposed to do. But, I loved it. That's what drew me to the project was the whole world, and the fact that you were exploring new worlds. It had all the elements I really enjoy. Here is a game that really puts together all those pieces.
LC: What advice do you have for people who would love to follow in your shoes? What courses would you recommend?
DC: The best thing would be to get a lot of classical training. One of the things I see in a lot of portfolios is that somewhere along the way people are forgetting that they need to learn the basic foundation skills of good drawing, good perspective, good color, good composition, whatever. People are jumping right into doing 3D modeling and rendering. That's one of the dangers of the programs today. You can make something look really good, but it's all glitz, it's all surface, there's no underlieing structure. So what I tell people, is if you want to get in the business, learn how to draw first the traditional way. Do life drawing. Do regular painting. Once you master those skills, then you can put ontop of that all the other layers of new tools. That's the one thing you can't get from these tools. After all they are tools. No matter how flashy these tools are, if you don't have the ideas and education and foundation to support them, the images will look glitzy on the surface, but have no substance. That's the one factor: substance. The portfolios that stand out are the ones who have gone through that classical training. If they don't have the photoshop skills or the visual painting skills. That's ok. That can be taught in a class. If they don't have those foundation skills, it takes many many more years of training to get them. It's better to learn the basics first.
LC: Do you have a site or anything published where fans can look at more of your work?
DC: Yeah. www.dchiang.com. That site highlights my book project: Robota. You'll find I have some tutorials on there. Some demos of how I sketch and paint. Eventually they'll be more there. I'm working on a trailer right now. A 3 minute trailer, once it's finished in June, we'll post it up to the site, along with a bunch of other animation stuff.
D: How many revisions would you say went into the development of the ships for Earth and Beyond.
DC: Actually quite a bit. Jerry and Gary were very specific about what forms they'd like, and the very specific timers of how it fits within the world. On average, I would say each design would take maybe half a dozen or so and refine that. Then I would take the 2 or 3 that they liked a do another dozen of those, then we would hone those down again. Usually by one or two stages like that, we'll have the finished design and from then I can just refine it. But it varies, on some of the ships it was quick, others it took a bit longer.
D: What were the most difficult ships (and which was easiest)?
DC: The easiest were the Jenquai. That was because they were a little more elequant and fluid. The hard one was the Terrans. They were supposed to be like Earth, but they couldn't look too much like Earth. It was like trying to adapt something that everyone was very familiar with and take it to the next level and make it new.
It was like taking what NASA would build in 2 or 3 hundred years, but still make it recognizable that people from earth would build it.
It's always easier when you can take big, broad steps like creating a design for an alien culture. The rules are more open. Noone really has anything compare it with. You're not really tieing in to a sense of history, but the Terrans had strong ties to things we know.
LoD: Do you have anything in the future you could tell us about?
DC: Not really. I'd still like to keep my day job, designing for films. But on the side, I'm trying to get Robota developed into as many different things as I can. That's the only big question mark. Whether or not this big experience works, we'll see in 3 or 4 years. Other than that, it's hard to say. I'm basically "Designer for Hire." I'd love to more computer games, it was really great, really fun.
Klerck, I love you and want to have your babies.
My micropenis and I salute you.
:o)
in terms of setting yourself out from the crowd, at least in graphic design terms, there is no substitute for having classical training in the visual arts. too many people think that they're hot stuff just because they can use photoshop.
VV4R3Z MY C4R??
15th!
I find George Lucas and all his productions much like Steve Jobs and all he has done. Lucas began as an innovator, creating a new genre and shaping society as we know it. Jobs, along with Wazniak, did the same thing- creating what the people wanted, an affordable personal computer, and shaping society along with it.
But both individuals evolved, and from my standpoint, grew corrupt with the power (like Anakin). Jobs controls Apple again today with an iron fist, and Lucas stifles creativity with his quest for profits. I no longer have any interest in buying an Apple computer, as it no longer stands for what it did, just the same as I no longer have any interest in seeing the upcoming Star Wars movie. Both are sellouts, and I will never forgive them for that.
Does art reflect society or does society reflect art? The evils we see today, the corruption, the violence- it all occurs in the media. So I ask you, if you choose to see this Star Wars film, while you're watching it, think about how the capitalistic creed of these men and how many lives they will destroy.
D: What was your reaction when you saw Jar Jar in the context of the film the first time?
DC: Oh, I loved him.
*shudder*
hmm...black text on dark grey background. There's a brilliant idea.
Hey guys, I woke up this morning and made my ritual morning cup of coffee. I made it 1/2 of the way through it before some hoover dam in my digestive system broke, and I literally made some squeezins in my office chair wheile reading my email.
Has this ever happened to anyone else in the Slashdot community? Is it the fault of the coffee, or is closed-source spyware to blame?
Moderation Totals: Flamebait=1, Troll=1, Total=2.
:)
Either today's moderators have no sense of humor or they like little girls
I remember seeing pictures of Jar Jar before the film came out and even bought into the excitement of the character as all those pre-release articles came out. Hell, Jar Jar even made the cover of Vanity Fair (among others).
Of course, then I went and saw the movie and was horrified as soon as Jar Jar opened his mouth. This just couldn't be!
I kinda thought he would be more like a Chewbacca characater. He kind of looked like could be a monkey-wrenching wise-cracking type of character.
So, if you separate the Jar Jar "design" from the actual character (admitted it's very hard), he's a pretty cool looking character. At least when he's not snatching food with his tongue.
Slashdot fails it. There are just too many trolls around!
There are two levels of communism.
The first level is the one where people torture each other and starve to death.
The second and final level is Open Sore, a.k.a BUTTLINUX.
I love HITLER!
Additionally, Slashdot is a lame website for retards and idiots. Yup, just look at me, I'm a regular!
He seems to be saying that the special effects type work of Video games is more difficult and detailed than the same type of work in Movies. I thought that was pretty interesting, as I would have though the opposite. Of course I never have been much of a game player.
But there have been many games based on movies, and they seem to be able to produce / create a game much faster than a movie. Also, I never have seen a video game budget approach the numbers they give for some of the big movies these days. (Yes, I realize they have to pay the actors and such)
It still seems to me that making a movie would be much more time consuming and diffucult than a video game. IF for no other reason than the fact that you have to mix the reality and digitally created scenes perfectly, whereas in a video game, it is all digital.
I guess Final Fantasy would be the best type of comparison, since it was all digitally generated.
-- -- Warning. Do not stare directly at the sun.
Perhaps you should quit using Linux, it only really gets you into trouble.
What does this mean? Normally, when I think of characters designed for this demographic, I think of something of the "heartthrob" type. If any character in the Phantom Menace was "for" 13 year old girls, it would probably be Ewan McGregor's Ben Kenobi.
If Jar Jar is supposed to appeal to any demographic, it probably be those people who appreciate slapstick humor: the very young, the perpetually immature, or those old enough to remember a time before other types of humor (e.g., irony, wordplay) were invented. Basically, anyone who likes Daffy Duck.
Personally, I thought he was great. But I would not expect any 13 year old girls to agree with me.
Karma: Good (despite my invention of the Karma: sig)
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LINUR IS FOR FAGOTS!!"!" HA! HA!
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Color me a skeptic, but I'll believe in this so called 'Star Wars Episode II' when I can go to theater and see it with my own two eyes. Don't believe everything you read, this 'StarWars' is pure fiction. Pictures can be faked, and video can be edited. I'm waiting for some good solid PROOF of this 'Star Wars: Episode II'. Until then it's just so much hokem.
Wait, what were we talking about? Jar-Jar must die? I'm down with that. But so many people here want to see Jar-Jar die. I want to see something else happen. I want Jar-Jar to be turned into that monster in Jabba's palace from "Return of the Jedi". That would rock, cause then Jar-Jar would be this painfully, horribly disfigured creature, AND we would have all seen him die a painfull death already, no waiting.
If Mr. Edison had thought smarter he wouldn't sweat as much. --Nikola Tesla
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LlïNhüks buttsucks! l1NhUuKs goatsuck! l1|\|ûXx sUks! LlIi|\|üXx sUks! 1IiNUUhks sux0rz LïNuXx suxx! LlIiNnûkS lolloscucks! lLIiNUUhXx suxx! LIiNnüX suckagezor! lLINnUuks buttsucks! Ll1NnUukS suckagezor!
LlIiNnukS zux LliNUkS asssuck lLiNUuks sUks! lïNnüx sux0rz 1iNux suxx! l1NUUhx asssuck li|\|ûXx asssuck LINnUX sux0rz LïNhUux goatsuck! LïNUUhkS sUks! lLIiNhux sux0rz
li|\|üXx buttsucks! Lî|\|Uux sUks! lLiNnUuXx asssuck LIiNnUKs goatsuck! L1NnUUhks sucks! LIinükS sucks! LîNhUUhXx sux0rz 1ïNUx sUks! LlîNnUXx buttsucks! lï|\|uks lolloscucks! L1NUUhkS sUks!
lLï|\|Uux zux lLINnuX sux0rz lLîNnUux sux0rz lïNhüx lolloscucks! LlIi|\|ükS suckagezor! lïNux sux0rz l1nuks suxx! 1îNUks asssuck lL1NnUuXx zux lINûKs goatsuck! L1|\|Uks buttsucks!
lLïnuKs lolloscucks! LlïnUUhXx sucks! lLîNUUhKs sucks! LlîNuXx sUks! 1î|\|uKs goatsuck! 11|\|uXx lolloscucks! 1ïNnükS zux LiNûkS buttsucks! LlIinuks suxx! lLïnUukS suxx! LiNUUhkS lolloscucks!
11NhûX sux0rz lLîNUUhkS zux lïNUUhkS suckagezor! Ll1nûXx suckagezor! LiNnUuks lolloscucks! L1nûx lolloscucks! LlINükS goatsuck! lî|\|üKs sUks! LliNUux suxx! lLinUx lolloscucks! lLINnüX goatsuck!
LINUuks buttsucks! LïNhUuks sUks! lLîNüX lolloscucks! L1NUUhKs buttsucks! LIiNnUuks suckagezor! lLiNnüX goatsuck! LINûXx goatsuck! LlINûx zux Lî|\|UkS asssuck Lî|\|üks goatsuck! LliNnükS lolloscucks!
LïnUuX asssuck L1NhUUhXx suxx! LîNUux lolloscucks! LliNux suckagezor! LliNhûx zux 1îNhuXx suxx! LInüX asssuck lINhûKs suckagezor! LiNhUuks buttsucks! L1Nuks sUks! 1IiNuX suxx!
LinûX asssuck Llï|\|ûkS zux LlINnüXx suckagezor! 1îNûks zux LlîNnUux goatsuck! LîNüX suxx! LIiNnUuks goatsuck! LîNnUuKs sUks! lLïNnüx sucks! LIiNUuks goatsuck! LIi|\|ûx buttsucks!
lîNüKs lolloscucks! LI|\|ûKs sux0rz lIi|\|UUhKs zux lïNukS buttsucks! LliNhUuXx buttsucks! Ll1NnûXx sUks! lïNûKs sux0rz linUKs buttsucks! liNûX sUks! L1|\|ûks suckagezor! LlïNUX sUks!
11NhUx sUks! Ll1Nüks suxx! l1NnüKs sucks! Linûx goatsuck! lIiNukS sux0rz lLInUUhKs zux lîNnüx sux0rz LliNUKs asssuck lIiNUuks lolloscucks! 1îNUuks suckagezor! L1NhuXx zux
LînUX goatsuck! LlînukS buttsucks! LiNUx asssuck LlïNnükS zux Li|\|Uuks lolloscucks! LlïNUuks lolloscucks! LlIiNUux lolloscucks! LlïNUXx sUks! Li|\|üKs sucks! lL1NhUUhX suxx! LINhUuXx asssuck
LliNUUhKs sucks! LIinux zux 1iNhUuks zux 1î|\|UUhks buttsucks! lI|\|UUhKs asssuck LINnUUhx goatsuck! L1Nüks suckagezor! Llî|\|UuKs suxx! L1NukS suxx! 1ïNUux buttsucks! LîNnUUhX sUks!
LlîNnukS sUks! 1îNükS lolloscucks! lïNnUUhX asssuck LINhüks sux0rz LIiNhûKs lolloscucks! 1inûXx buttsucks! lLIi|\|ux suckagezor! l1NüXx sUks! li|\|UKs lolloscucks! lL1|\|ûKs zux LlIiNhUukS sux0rz
LiNUUhKs sUks! L1|\|üXx zux lLIiNUUhX suckagezor! 11nuX sux0rz lIiNûX buttsucks! LINnUUhXx sux0rz LiNnUks sUks! LlïNnUUhXx sux0rz LiNnüXx sucks! liNüXx sUks! 1ïnûKs suckagezor!
lînUkS goatsuck! lîNhUukS suckagezor! LiNnükS suxx! l1nUux suxx! lLIiNUUhKs asssuck LlïNUUhx asssuck LlîNux asssuck l1|\|Ux suxx! lLI|\|UXx goatsuck! 11nUKs zux Ll1|\|uks sUks!
lLIiNhukS sucks! lL1NnUX zux 1iNuks sucks! LINnUUhX goatsuck! L1NnûKs suckagezor! 1îNUX zux LlîNhûX suckagezor! 1înüKs zux lîNüks goatsuck! LlïNUx suxx! LINhûKs zux
lïnUuXx suxx! lLïnUkS suxx! LïNûX suxx! 11Nhûks zux lI|\|Ux goatsuck! lLINhux suckagezor! lLi|\|ux asssuck LlïNnUXx asssuck LînükS buttsucks! lL1NUUhXx goatsuck! lLinUuks zux
1îNUUhXx zux lïNhUUhX lolloscucks! LIiNUux goatsuck! LîNhükS zux lLîNUuKs lolloscucks! LïNnuX suxx! LlîNuXx sucks! lLiNhûX sux0rz LI|\|UXx lolloscucks! LinUuXx sUks! lL1Nnüx sucks!
LlîNuKs lolloscucks! l1|\|ükS sucks! Li|\|UUhKs sUks! 1Iinûks suxx! lLî|\|UXx suckagezor! L1|\|Uux buttsucks! Ll1NUXx sucks! LIiNuKs sUks! L1|\|üKs zux LlIiNUUhX lolloscucks! 1INhUUhks lolloscucks!
LiNnûKs zux lLîNnüXx suckagezor! LîNhüXx goatsuck! LInûx sucks! Ll1Nuks suxx! Li|\|Uks goatsuck! L1NhûkS sucks! Lli|\|UUhKs asssuck lLINUuKs sUks! L1Nûx buttsucks! lLïNhüX suxx!
lL1NUUhkS goatsuck! LINukS sux0rz lLîNhuX sUks! LIiNûks sUks! LiNUkS goatsuck! LlIi|\|Ux sux0rz liNnUX asssuck lLINhûks zux lLIiNüX asssuck LlI|\|UUhx asssuck LlïNnUukS goatsuck!
LîNhUuXx sucks! 1îNûks sUks! LïNUuX asssuck Li|\|üks sucks! LîNüKs buttsucks! lIinüKs zux lLï|\|Uuks sux0rz LlIiNux asssuck 1ï|\|UUhks asssuck LlINûkS asssuck Lli|\|ûx sUks!
LîNhûkS asssuck lLiNhUKs lolloscucks! 11NnUx suckagezor! LiNUUhx sucks! Lî|\|UuX buttsucks! 1iNhUUhx buttsucks! 11nUkS suckagezor! 1IinuX asssuck Lli|\|UUhKs sucks! lINüKs sux0rz 1ïNnUUhX sucks!
lInUuXx suckagezor! 1IiNhüKs lolloscucks! l1|\|ûx lolloscucks! LlInUuX goatsuck! lLïNûx sucks! Ll1Nux sux0rz LIiNuks asssuck LINuKs asssuck 1îNUX buttsucks! 1ïNUukS sUks! LlINhüXx buttsucks!
LîNUuks suxx! LîNûks asssuck LlîNûks goatsuck! 1INhUUhks zux liNuX suckagezor! lL1NuX suxx! lï|\|UUhks goatsuck! lLIinükS asssuck LINUuXx suckagezor! LIiNnükS asssuck lïnUukS goatsuck!
lLINnuXx buttsucks! lI|\|üKs asssuck lLî|\|ûX goatsuck! lL1nuXx sUks! lL1nukS lolloscucks! LIi|\|üks lolloscucks! lLIiNUks zux 1iNuXx asssuck 1ïNhûXx suxx! LïNnUUhx lolloscucks! lLïNnUUhX suckagezor!
LîNnukS goatsuck! LINûX sUks! LiNnUukS buttsucks! L1Nüx asssuck lLîNnUUhkS zux lL1NûX zux l1|\|uks lolloscucks! 1iNUXx sucks! LlINUuXx lolloscucks! LînûX zux lIinüx goatsuck!
Li|\|üXx lolloscucks! Ll1|\|üks sUks! LlîNnûXx buttsucks! lLInûks goatsuck! 11NnUukS goatsuck! Linüx asssuck lLïNhüx suxx! LîNUUhks sucks! lIiNhUuks asssuck lLiNUks sUks! LiNUUhXx sucks!
L1|\|uks suckagezor! Llï|\|üX asssuck LiNnUX suxx! lLîNUukS lolloscucks! lL1NuXx buttsucks! lINnüX suxx! L1|\|ûx suckagezor! lL1|\|UUhXx buttsucks! lLïNhüks sucks! LîNhUKs zux LïNhUuXx asssuck
lîNüks sux0rz LiNUUhKs zux lIiNüKs zux LINûXx sucks! lI|\|UUhKs sux0rz LliNUkS sucks! LlinüX zux l1NnUUhKs sUks! LlIiNükS sucks! LlïNnUuXx asssuck LlïnUukS sUks!
LîNUUhKs sucks! 1Ii|\|UUhKs sux0rz Lï|\|UUhX sux0rz lLINhUUhXx sucks! LINnUuXx goatsuck! l1Nûks suckagezor! 1iNhûx lolloscucks! LîNUuks lolloscucks! LinUUhkS buttsucks! 11NuX sux0rz Lî|\|uX goatsuck!
LIinUks sUks! l1nUkS sucks! LINüx goatsuck! LïNûks asssuck l1nUUhX lolloscucks! LiNhUUhkS suxx! LîNhUUhX goatsuck! LîNhüXx sUks! LïnUKs sux0rz LlîNUUhXx zux LiNhUUhx asssuck
lLI|\|UX suxx! Ll1Nhuks suxx! LinüXx suxx! LiNux sUks! LïnûX buttsucks! Li|\|UkS sucks! LlînUkS sUks! LI|\|uX buttsucks! lLïNhUXx zux 11nUuX sUks! l1NUX suxx!
LIiNUx goatsuck! 1INUuX suckagezor! L1nûkS zux l1NüX zux LlI|\|UUhx sucks! LI|\|ûXx sucks! liNnUx sUks! 1IiNUUhX sux0rz l1Nüks asssuck L1NükS buttsucks! 1ïNuKs suckagezor!
LiNUX sUks! 1iNnüKs asssuck lLIiNUux suckagezor! 1ïNUXx suckagezor! LlI|\|ûXx buttsucks! liNhUks sux0rz lLînUUhX sucks! LïNuX buttsucks! li|\|UUhks asssuck lL1NnüX goatsuck! Llinûks sUks!
LINûX buttsucks! Ll1NhUuX sucks! LlINnUuks sUks! lLIiNüKs lolloscucks! lïNûx zux lLïNUUhXx lolloscucks! LîNnuks suckagezor! LlinUUhx sucks! lIinux goatsuck! 1ïnüks asssuck LiNhUKs zux
lLï|\|ûkS buttsucks! LlîNUuks sucks! lLinuks suxx! lL1NûX suckagezor! LIi|\|UKs sucks! LîNnukS lolloscucks! LlînUuKs buttsucks! LlIiNnUx suckagezor! LïNuKs asssuck LlI|\|UUhKs asssuck lInûKs suxx!
l1NhUuXx sUks! LInUKs sucks! LlINnUkS sucks! lIi|\|ûXx asssuck LIiNûKs sucks! lLïnUXx suxx! LiNükS zux LlîNnUUhks lolloscucks! lL1|\|UXx lolloscucks! 1Ii|\|uXx zux 1Ii|\|ukS zux
LINnUUhKs buttsucks! LlIiNüX sucks! lINüks suxx! Lli|\|UUhXx goatsuck! LlIiNûx zux 11nUUhXx asssuck LlïNûX lolloscucks! LINhûKs suxx! Ll1NhukS buttsucks! Ll1NhUUhKs sucks! lLïNûks buttsucks!
1Ii|\|ûX zux LîNükS sux0rz LINnUuX buttsucks! Ll1NnUuks buttsucks! lLiNhuKs zux LiNnUUhKs buttsucks! lLïNUX asssuck L1NûX zux 1îNükS suckagezor! LInûx suxx! LlinüKs sux0rz
1IiNnUukS lolloscucks! LINnûKs zux lLî|\|ûXx buttsucks! 11nUKs zux linUuXx buttsucks! 1îNnukS sux0rz lLîNuks asssuck lIiNûx suxx! LîNnUUhkS suxx! LIiNhUkS suckagezor! LinUukS suckagezor!
lLïNhûXx asssuck lIinuXx goatsuck! LIiNhükS lolloscucks! LlIiNhUXx goatsuck! lLINUuXx suxx! LlîNüX sux0rz LïNhUUhx sUks! LInûX goatsuck! lïNnUUhKs buttsucks! Li|\|UUhks suckagezor! lî|\|üx sux0rz
LïnüXx suckagezor! LîNhukS suckagezor! 11NUkS sucks! LlIiNhûkS asssuck LIiNnuks lolloscucks! liNnUkS sUks! lInUx lolloscucks! lîNnUUhks suckagezor! lL1|\|UuKs lolloscucks! 1ïNhUUhXx sux0rz LINUuXx lolloscucks!
LlIiNUX asssuck 1ïnüks lolloscucks! 1IinuKs asssuck LlINüx suxx! lIiNhUUhX sucks! lLIiNUks buttsucks! lLïNûx goatsuck! LINhUUhx suxx! LiNhUUhX sux0rz Ll1NnUXx buttsucks! 1îNnUkS lolloscucks!
lLînUUhks suckagezor! 1inuX lolloscucks! lLî|\|Ux sUks! LINhuKs lolloscucks! L1NnUX suckagezor! L1Nüks goatsuck! LInUXx goatsuck! LlîNUukS zux LîNhûkS goatsuck! LINUXx goatsuck! lLIiNnux zux
LïnUUhX goatsuck! lINhUXx sux0rz Li|\|uks zux Lînux sUks! LînUukS suxx! liNUUhks buttsucks! LïNUUhKs goatsuck! LïNhUKs lolloscucks! LîNUUhXx lolloscucks! 1iNhuks buttsucks! lL1nûX suxx!
1I|\|ûx goatsuck! 1INhUuXx zux LïNnUux goatsuck! LlîNüx buttsucks! LïNnUkS buttsucks! li|\|UuX goatsuck! Ll1|\|UuKs buttsucks! LïnUux goatsuck! LIi|\|UuX suckagezor! LIiNnUUhXx suxx! LlINhûXx lolloscucks!
LînUks zux LliNûKs zux LïnûX sux0rz LlïNhUKs lolloscucks! LlîNuKs goatsuck! Ll1NnüKs asssuck LIiNUUhks sucks! Lï|\|UkS asssuck LiNnüKs suxx! lLïNhûX sux0rz 1IiNhUUhks asssuck
L1NUUhXx buttsucks! LinUUhX suxx! LIinUks sucks! LlîNhux sUks! 1ïNUkS sux0rz 1InUXx sux0rz lLïNhUUhKs lolloscucks! 11NUX goatsuck! LïNuks suxx! L1|\|ûx lolloscucks! lLIiNuXx asssuck
Li|\|UUhXx goatsuck! lLî|\|üXx suxx! LIi|\|Uks goatsuck! 1ïNUuKs asssuck 1IiNhuX lolloscucks! Li|\|uXx asssuck LINûKs buttsucks! L1|\|UKs suxx! LïNüXx asssuck Lli|\|ûkS suckagezor! LINhûKs buttsucks!
LI|\|UuX buttsucks! lîNUUhXx suckagezor! l1NükS suxx! lLiNnukS buttsucks! 1ïNüXx goatsuck! lLiNukS sucks! 1IinUUhkS asssuck 1ïNUx suxx! lLi|\|uKs asssuck LlïnUX suckagezor! LîNnUux buttsucks!
lLînUXx buttsucks! LïnUuXx sux0rz 11NUUhkS suxx! 1î|\|UukS suckagezor! LIiNnüx buttsucks! lIinUXx buttsucks! l1nûKs suxx! Lli|\|Uux zux lInUKs sUks! Lï|\|UukS sUks! lînûkS suckagezor!
Li|\|UUhkS suxx! LïNnükS sUks! LINüks sUks! lLïNhüks suckagezor! LIi|\|ukS goatsuck! lîNhuX lolloscucks! lIi|\|ûkS sucks! LlïnûkS lolloscucks! 1Iinüks lolloscucks! 1î|\|üx zux LlîNuXx asssuck
LliNuX lolloscucks! Lli|\|ûXx sux0rz LlIiNhUx sUks! lï|\|UUhKs sucks! lIiNUX sucks! lLïnûXx sux0rz 1ïnUux suckagezor! Lî|\|UUhX lolloscucks! 1i|\|UUhX lolloscucks! 1IiNUX suxx! lLïnUUhx goatsuck!
LlIiNux sUks! lïnuX goatsuck! lINnUuks sucks! lLIiNûX suckagezor! LliNüXx suxx! lI|\|UuKs goatsuck! LïNhUx suxx! LliNUUhx goatsuck! lLiNnuXx suxx! 1INhUkS asssuck 1înüXx suxx!
L1NuKs sUks! l1Nux buttsucks! Llînuks lolloscucks! 1InUuX sux0rz lLinUUhX suckagezor! LlINUkS suxx! lî|\|ukS suckagezor! LîNUuXx sucks! LIiNûks suxx! 1ïNUks suckagezor! 1INUX sux0rz
L1NnûX sUks! LïNux sUks! Llî|\|ukS buttsucks! 11NnUukS goatsuck! 1iNuKs suxx! 1iNhûX suckagezor! LlINnUXx asssuck LINhuX suckagezor! LInuKs sUks! l1NnUUhX suxx! 11|\|UuKs asssuck
lîNûkS asssuck 11NnUx suckagezor! LinuKs zux lLïNUuKs sUks! 1ïNnUuks suckagezor! LlIiNhUks zux LlïnükS suxx! lLïnUKs suxx! LlINUuX lolloscucks! LINnuKs lolloscucks! 1îNüX suxx!
1ïNuks suckagezor! lINux lolloscucks! LlIiNhUUhx asssuck lL1NUUhXx suckagezor! L1NUXx sucks! LîNhUuX sux0rz lIiNUuks goatsuck! Llî|\|ûx buttsucks! LlIiNhUkS sucks! Lli|\|UUhXx buttsucks! lLînUkS sucks!
LlInUUhX goatsuck! LlïNhUUhKs goatsuck! LïNnûkS asssuck LiNûXx sux0rz LI|\|UuKs sUks! lIi|\|UUhX sucks! LinüXx zux LiNUX asssuck lLIi|\|ûXx asssuck LIiNUUhX sUks! lL1nüXx suckagezor!
LliNUux asssuck lLIiNuX asssuck lLIiNnUux sucks! L1NUks suckagezor! lLINUX buttsucks! lLINûX buttsucks! 1înuX asssuck LinUXx lolloscucks! 1î|\|Uux sUks! 1îNhûkS suckagezor! LINhUx sucks!
LINhux sux0rz lLIi|\|UUhKs sux0rz LïnukS suckagezor! 1InUUhks buttsucks! LIiNnûx zux Llî|\|Uuks suxx! lïNux suckagezor! Llinux sucks! LliNnuXx asssuck lLinUUhX lolloscucks! lïNüX sux0rz
LInUUhx suxx! lïNhUuKs lolloscucks! 11nUx sux0rz liNûx sUks! L1NUuX sux0rz LlîNhUX goatsuck! 11NhukS sUks! 1Ii|\|ukS suckagezor! 1iNhuX sucks! LïNûXx goatsuck! lLî|\|ukS goatsuck!
LinukS buttsucks! lINhux asssuck 1ïNûKs suckagezor! lIi|\|UUhKs buttsucks! LlinukS sucks! lLIiNüKs suxx! LIiNnuKs suckagezor! 1înükS suckagezor! Lî|\|ûKs sux0rz 1INüXx sucks! l1nUKs lolloscucks!
Llïnüx sUks! lLi|\|UUhkS suxx! lï|\|ûKs suckagezor! lLîNUUhx buttsucks! LiNUUhX lolloscucks! lLIiNüKs sUks! lLIiNux zux l1Nhuks lolloscucks! lLIiNüks goatsuck! 1InUUhks zux l1Nnux suckagezor!
l1Nhûx sucks! l1NnUUhkS lolloscucks! LIiNüx sUks! LINUuXx asssuck lLïNhUUhkS suckagezor! LI|\|UUhXx lolloscucks! 1IiNüX goatsuck! LînûXx sUks! 11|\|UUhX lolloscucks! Ll1NhUuX asssuck 1I|\|ukS sUks!
LlîNUukS sUks! lL1NUUhks zux 1INhûx lolloscucks! lINUuXx goatsuck! lINhüks buttsucks! LIiNnUks sux0rz LINükS lolloscucks! lLîNnUuXx buttsucks! Lî|\|uKs suxx! lInüKs sux0rz LliNUUhKs asssuck
l1nUks buttsucks! lînuKs buttsucks! l1Nnüks lolloscucks! lLinuKs zux LlINUUhks suxx! LiNUUhXx suxx! LlîNhüKs suxx! LliNUUhkS buttsucks! LîNhûks asssuck lINnUuKs sucks! 11|\|ux lolloscucks!
liNhUkS buttsucks! LliNnUXx sucks! LINhûX goatsuck! 11NüX buttsucks! lLINUXx lolloscucks! lLî|\|UUhX suckagezor! LInUkS suxx! lLiNhûks sucks! LiNhûx lolloscucks! Lï|\|ûks sux0rz L1NnûXx asssuck
liNnûX suxx! liNhûX lolloscucks! LîNnûKs suxx! liNUukS sucks! LIinukS sux0rz Llînüx sucks! L1NûXx sux0rz lLïNUkS goatsuck! lLIi|\|Uks goatsuck! lLINukS buttsucks! Lli|\|UkS suckagezor!
1i|\|UUhkS suckagezor! Ll1NuXx suxx! LINux sucks! lïNnUuX sucks! LîNhüks zux LîNnûkS sux0rz lL1NûKs suxx! lLïNUUhX buttsucks! LINüKs suckagezor! lî|\|UUhkS sUks! LlinUks buttsucks!
LIinuks suckagezor! LlIiNnUukS sucks! 1ïNnUuKs sucks! lINUuXx lolloscucks! LïNUuXx zux lLINhûXx zux L1NUux asssuck L1nUuXx buttsucks! 1îNüX goatsuck! LIiNhUUhx suckagezor! 1iNUUhkS asssuck
1ïNüks suckagezor! lLîNUuks lolloscucks! L1|\|ûX goatsuck! 1IinUUhks sUks! l1NûKs goatsuck! LIinuX sucks! Ll1NUuks asssuck 1iNnUuks sUks! Ll1NnUUhX suxx! 11Nüx suxx! 1INUUhx suxx!
L1|\|Uux goatsuck! lINux buttsucks! lïNnUuXx buttsucks! LinüX suckagezor! LïNhûX zux 1i|\|UUhx buttsucks! lLîNUuXx sUks! lî|\|ûKs lolloscucks! LliNhUUhXx goatsuck! lLIiNüXx asssuck lL1NhUuX sux0rz
1iNüX suckagezor! liNûx sucks! lINüX suckagezor! lIiNUuXx suxx! 1INUks goatsuck! LlINnûXx buttsucks! lL1NUUhXx suxx! lL1NuXx suxx! Li|\|üXx sUks! Lï|\|UkS sucks! Ll1NnUuKs suckagezor!
LlïNUUhks sUks! LINhüx sux0rz LINUX sux0rz lINhuX sux0rz LIi|\|ûx suxx! LîNnuXx suxx! lINnükS buttsucks! l1nUkS lolloscucks! lLIi|\|UUhXx lolloscucks! lLïnUuks lolloscucks! LïNuks goatsuck!
l1nUXx goatsuck! L1NhuXx suckagezor! l1nUuX sUks! lïNUuXx zux LINUUhKs sucks! 1ï|\|UuX sux0rz lLïNhUkS lolloscucks! L1NhUX lolloscucks! lIiNnUUhkS sUks! LIiNUUhX suxx! LlîNhUUhx lolloscucks!
LîNhûks suckagezor! L1NUukS goatsuck! 1INnüks goatsuck! l1|\|UkS zux LlïNhuKs sucks! lL1|\|UukS sUks! LliNUux zux Li|\|uXx suxx! LIiNuks sucks! lLIiNUUhXx asssuck LîNûkS asssuck
1iNUuXx sUks! lLîNhuXx sucks! 1înûkS zux LINüX sUks! lLI|\|Uks zux liNüXx suxx! LiNhUXx zux LlIiNhUuX sucks! LlI|\|Uuks zux LiNUuKs zux LliNUUhks sUks!
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daffy duck and bugs bunny are far from mindless slapstick. in fact, your examples of other types of humor (irony, wordplay) would be better descriptions. sure, there's an element of slapstick, but there's so many other levels it's working on.
Well, at least I could read the 'printer friendly' version.
I have to wait AGES to get my posts modded down? What the hell is this? Crapflooding is getting boring :(
Linur is for losers!
Jar Jar is important to the story line. Yes, he is silly, he talks like mickey mouse on crack, and he flops around stupidly, but had it not been for Jar Jar, there would be no episode 2 or 3.. or the rest even. If Qui Gon and Obi Wan had not stumbled across
Jar Jar, they would have never gotten transport to the naboo city, nor would they have cannon fodder types to fight the war with the battle droids. The trade federation would have won, and the evil sith schemes would have prospered.. probably would have started the elimination of the jedi a few years earlier.. So, next time when you bash jar jar, realize that he is important to the story.
Please visit this site if you're at work!
...but I agree with the sentiment. This article on Salon says things better than I could, and this one covers the values put forward in Star Wars pretty well.
D: What was your reaction when you saw Jar Jar in the context of the film the first time?
DC: Oh, I loved him.
And what would you expect with legal child porn like "Lolita-Boys.com - the largest nude lolitas and boys site on the net" showing close-up pictures of 7 year old children genitals (both, boys and girls, in explicit poses)? It sickens me, but what are you gonna do? And, mind you, those children are *two times* younger, than your 13 year old girls! And what is happening to them? Are they shut down? Arrested? No! They have 7-digit monthly profit margins, together with other sick websites from LolitaCash.com! But child porn is hard to find, you might say? Not with the first page hit rank, searching for lolitas in Google.
On the poll that Westwood are running on their Earth and Beyond Online site, their ae some very interesting results :
What operating system do you have installed on your primary gaming system?
- Other 5112 23.51 %
TOTAL 21747 100.00 %Thats almost a 25% market share that this Windows only version will be missing out on :/
Will there be a Linux or Macintosh version?No.
It's a shame really! Why do some companies instantly dismiss making Linux version's of games? With SDL etc. and the speed of computers nowadays, not developing for Linux is quite imho stupid. Thank heavens for NeverWinter Nights \o/
The problem with slashdot is that most of its users were bullied and stuffed into lockers as kids!
Ok, yes, I know the concept of demographic groups and marketing to them. And, apparantly, Jar Jar was supposed to appeal to 13 year old girls.
Thing is though, you can't target market like that when you're also marketing to a broader market. Why? Because when you target that intensely you're going to inherently turn off the rest of your audience. Which is exactly what happened.
Target marketing works fine for commercials and advertisements. It even works fine in TV shows and some movies which are supposed to have a limited appeal. But this was a movie (allegedly) designed for broad appeal to most of the Western world. What on earth were they thinking?
trolling for #asciipr0n
(emphasis mine)
translation:
Yuck yuck yuck! If anyone involved in the conception and realization of JJ Binks ever qualifies him by saying "well, he was designed for kids" again, I am going to move to a different planet.
Just wanted to say that the ships in EB look really great... I've been betatesting the game for a few weeks now... still buggy, but the graphics are really good.
OMG... I have a sig?
It can't be!!!! Its not true!!!!!
I was trying to respond to your statement about the evils of the capitalistic creed but there was a big advertising banner in the way.
He graduated from UCLA Film school a number of years ago (doing Animation?) I thought I'd slip in an a reference to my alma mater :)
I'll tell you what _did_ suck about _The Phantom Menace_.
Try that confused mess of a political subplot, something to do with Naboo and the taxation of trade routes and a Trade Federation that came from God knows where and controls God knows which and wants God knows what from Naboo--hell, does _any_ of that make any sense?
Try Johnny one-note characters like Qui Gon, Obi Wan, and Amidala: Qui Gon hardly utters anything other than gnomic pronouncements about the Force and the prophecy (I know, one can argue that Obi Wan from _Star Wars_ was little better, but Alec Guinness is ten times the actor that Liam Neeson is, and he makes Obi Wan interesting in a way that Neeson, with his monotonous delivery, utterly fails to do with Qui Gon.) Obi Wan has hardly any dialogue of importance at all; he's there to swing a lightsaber. Amidala is the concerned child queen and nothing else, aside from a few lines of painful dialogue (e.g. "My caring for you will remain.")
Try the finale of the climactic battle, which uses the "single ship sneaks in and blows up the great fortress" plot for the _third time in four movies_. That it's done by _accident_, by a character whose most memorable dialogue in the whole sequence is, "Let's try spinning, that's a good trick!", makes it all the more painful.
In comparison to all this, Jar Jar is a positive breath of fresh air. I hate to think of how dreary some of the scenes in _Phantom Menace_ would have been without him--hell, in all those interminable scenes at the beginning of the movie where Qui Gon and Obi Wan are trying to get off Naboo, Jar Jar is the only interesting thing on the screen. He's goofy and silly, yes, but oddly thoughtful at times (such as when he tells Amidala that the Gungans aren't going to give up without a fight--he's still proud of the people who banished him.)
But everyone hates him, of course. At least, everyone _here_ hates him. I guess it's all part of that attitude, so prevalent among fans of things like Star Wars and Babylon 5, that _hates_ children and everything that is perceived as childish or reminding one of childhood. I daresay that, considering that many fans are probably only recently emerged from childhood themselves (or, depending on your point of view, still there), this attitude is understandable. Jar Jar, so the conventional wisdom goes, is for the kids--therefore, the sooner he dies a gruesome death, the better.
hyacinthus.
Mr. Chiang left out one key career tip: if you are looking to break into the 3d animation business, don't forget to GIVE UP. Because the industry is so oversaturated with people they aren't wasting their time with training. You'd better have 5 years of experience or your portfolio is going straight into the shredder before it has a chance to stand out, leaving me search for anew career. Ugh.
So, if you separate the Jar Jar "design" from the actual character (admitted it's very hard), he's a pretty cool looking character.
He might look okay when he's standing still but his movements all seemed very unnatural to me. He almost seems like a rubbery, elastic creature in the movie. His walk is not smooth, his motions are not very crisp. I remember thinking to myself that "that frog-dude must have tendons of steel" to avoid being constantly injured just from everyday motions. Everyone ooh-ed and ahh-ed about the fact that Lucas was able to make a 100% computer-animated character fit in with the movie. But for me, it was just one more example why CGI should be limited to non-lifeform effects.
GMD
watch this
This new game is worthless to me. Release games for Mac's and maybe I'll stop bad mouthing the company. First EA drops support for Sega systems after the Genesis, and then they discriminate against Mac's, bastards.
Stars Wars are KIDS movies. Really great kids movies - not high art. Get over it.
Sign Our Petition!
That's right, a petition to Cast Steve "Crocodile Hunter" Irwin in Star Wars ep. 3! Combining the coolness of Star Wars with the great character that is everyone's favorite Australian. Sign the petition and let George Lucas know who you want to see in the final Star Wars Prequel!
Chris 'coldacid' Charabaruk Meldstar Entertainment
"... those old enough to remember a time before other types of humor (e.g., irony, wordplay) were invented."
ROTFL!
Irony and wordplay have been around as long as there have been languages. Try reading a Shakespeare comedy rather than Slashdot sometime.
Click here or here.
...is killing the visual effect art form.
m d.html). In nearly every scene, there is something which is obviously computer generated. When movies didn't have much computer visual graphics, the realism of some scenes were high enough that you didn't even think of it being as a visual effect-- it didn't jump out and say, "Hey, I'm fake!". Now, it's easy to spot the computer generated effects. And its overuse is really starting to detract from film.
Not the ones with quality of, say, Final Fantasy or Monsters, Inc., but the other 99% of movies that use computer animation which is used to REPLACE a special effect which could have been more realistic-looking and less intrusive using old-fashioned visual effects wizardry like small scale (yet highly detailed) models.
For example-- The Empire Strikes Back scene with the Millennium Falcon escaping the exploding Death Star. Even using 80's technology, this effect looks more realistic than any of the effects in Episode I (except maybe the Pod Race). The computer generated stuff is obviously fake (more so than in some scenes in the original Star Wars trilogy).
If you're not convinced, look at the latest Episode II trailer (Clone War: http://starwars.apple.com/ep2/clone_war/clonewar_
As much as I think modern (relatively realistic) video games are cool as hell, I don't think computer graphics work as well in film, at least not now. The lighting is too "smooth", objects don't have depth, and motion is jerky. Old-time tech looks like it still is better in some instances.
To put it simply, it stops becoming good visual effects when its realism can be easily discounted and its presence draws attention to itself as an effect (and not the action and drama surrounding it). Episode I demonstrated this to a certain extent, and it looks like the other two will as well. Shame...
I love Jar Jar. He is my hero. Monkey love banana. Me-sa love-sa banana.
If you want to read a really stallar critique of Lucas and the Star Wars movies, check out this Salon article by David Brin. It was written after SW:TPM came out, and I think it does a great job of tearing Lucas apart >:) IMO, Lucas is basically a hack with a really high budget.
"I would say that 99 per cent of what my father has written about his own life is false." - L. Ron Hubbard Jr.
Mod the parent up!
OK so my last post was titled.. moderation totals for the post before it... yet this post was given:
Moderation Totals: Offtopic=2, Total=2.
hmmm it seems to be right on topic... more proof moderators here are pretty damn stupid...