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asknarashikari · 2 years

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I just finished the Senki Block which includes:

1)Saber Special Chapter:OT4 vibes this ep were great, quite large.

Then there's whatever the hell was happenning beteeen Touma and Zox.

My favorite bit:

"Have you gone insane?"

"Yes, we have"

Also Orihime!Touma x Hikoboshi!Kento.

2)Zenkaiger episode 20:the Shindais really mesh better with the Zenkaiger cast.

They work better as the Comically Serious rather than whatever the hell sorta roll they had in Saber since Ryoga's introduction.

Reika/Magine FTW.

3)SUPER HEROOOOOOOO SENNKIIIIIIIIIIIIII!!!!!:It was a much better watch this time, because I downloaded it rather than watching on Kissasian, where it was uploaded with the audio of the aid for the blind version.

I did not enjoy that it ignored the Special Chapter and Zenkai Ep 20, acting like the Riders didn't meet Zox and the Shindais didn't meet the Zenkaigers.

Kento should have worked alongside Red Racer in the Final battle, to show he did interact with the Carrangers when he was sucked into their book.

Sayonara, Onodera Shotaro-Sensei.

May the Riders always look to you for Guidance.

It was good to see the Zenkaigers again.

I've missed them, so even if this was something from the past that I've already seen for them, it was nice.

I'll only see them next in DonBrothers VS Zenkaiger.

4)Kamen Rider Revice:The Movie(prologue):not a bad watch.

It helped me Believe that I would enjoy Revice once I'm done with Saber.

Now, Onward to the last 9 episodes of Saber!

1- Special Chapter was a hoot from start to finish. The shenanigans was sublime XD It was also some much needed comedy right before shit went down in the Saber main plot.

Also, Rintaro being Kento's inflatable cow...

KenTouma was probably the best part of the episode... or was it ShuichiRyo? Sometimes I can't tell anymore. One of them posted a video on Tiktok where they were in costume but not on set, and they were... uh, very affectionate.

There were also these videos on Toei's YT for the tie-in with Superhero Senki where the Saber cast were competing against each other in a laser tag-type game. Ryo Aoki captained one of the teams and when he named Shuichiro for his first pick, Shuichiro squealed and ran at him to glomp him. It was wonderfully gay of them.

2- Yeah, the Shindai sibs were definitely way better in the Zenkaiger crossover in their own show. Ken Shonozaki clearly had a lot fun playing off of the Zenkai cast's shenanigans, and Angela Mei's enthusiasm for Magine was self-evident.

3- Well, the Special Chapter and the Zenkaiger episode were always meant to be their own thing, not really tying into Senki. Most of the Spring crossover specials, back when they were a thing, were like that too- none of them really tied in to the Taisen films.

Yeah, it was a little disappointing that they didn't show what happened to Kento after he got sucked into the Carranger book... though that already had some other stories mixed in as well- Drive and Black, iirc. I'd like to think he was actually in that other world where he, Luna and Touma all grew up together, and where his dad was alive- which would explain his resistance to Touma returning things to the "normal" world. (Also, Ryo was so damned handsome in that sequence... I was simping the whole time)

Tbf, it also wasn't shown what happened to the other Zenkaigers aside from Kaito after they disappeared either. And Zox just shows up out of nowhere, lmao.

Honestly them including Ishinomori-senshu in this movie was kind of a brilliant move, and seeing his interactions with Touma and Hongou-san made me cry a little, ngl.

Also. Saber roll call scene. Fuck me, why don't they do this in Rider more often. It was amazing.

4- I didn't actually watch the Revice short movie, but from what I gathered it's not canon to the show because it and the first episode contradict each other in terms of how Ikki got his powers.

#kamen rider saber #kikai sentai zenkaiger #superhero senki #kamen rider revice #ask #pkmurasaki

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russianyoshkinaneko · 2 years

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#kamen rider #super sentai #saber + zenkaiger superhero senki #仮面ライダー #スーパー戦隊 #gif

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corokoro · 11 months

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HELLO?????

#UH HI WRITERS OF DEATH SHROUD I #I WASNT EXPECTING YOU TO FOLLOW ME #FUCKIGN UHHHH HELLO I LOST MY MIND OVER DEATH SHROUD #AND THE BEST WAY TO EXPLAIN MY JOY IS THAT THIS IS WHAT I WISHED SUPERHERO SENKI WAS #fallout 4 #death shroud

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importantdestinydefendor · 1 month

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Okay, another drawing done! This time it is not for Arslan Senki though...

mild TW: mention and discription of a spider.

Meet Julie Andersen, also known as Spider-Jewel!

Andersen, maiden name Parker, was bitten by a radioactive canopy spider whilst working in the garden of her parents home. Besides the typical Spiderman powers she has a very strong web and she can camouflage herself like the canopy spider does. (The stomach of the canopy spider is darker then it's back and when it is under its web, it's hard to tell it apart from the ground. The same goes for it's back and the sky.)

She is, when not Spider-Jewel, a gardener who works part-time for Alchemax and a florist in her own shop that she co-owned with her brother and her late wife.

Now the meats and bits for her ATSV-story.

In her universe her brother is Peter Parker and her mother is May Parker. Peter died when Julie fought against Queen (an inscet-human mutant who can control anyone with insect genes, even those with retrogade DNA pieces). Her mother proceedes to disown her and abandons her only daughter and last child with the grief and guilt of potentionally having killed her own brother.

Her MJ was a boy named Min-Ho Jeong, whom she dated in highschool up until graduating college. They amicably went their seperet ways when they decided for different careers/unis.

Her wife Erica Andersen was her Gwen Stacy. She and their son Ben died when an anomaly of Mister Negetive destroyed Julies and her apartment complex. After this Julie retiers from her Spider-man job in her universe. There are other superheros to take over for her (like Sam Wilsons Captian America, etc).

O'Hara and B. Parker recrute Andersen for the Spider Society directly after the death of her wife and son (this was before Miguels mistake).

So... yeah. I believe this is the important stuff out of the way! I probably will not be doing a fanfiction/AU for this character but will post bits and pieces here and there.

Do tell me if you have watched the Spiderverse movies!

And if you have, what number and theme should Julies earth be? (Exc.: Miguel O'Haras Earth number is 2099 and his theme is a futuristic version of our New York called Nueva York). I for the life of me couldn't come up with one. Maybe something with lots of greenery?

#important art defender #atsv #across the spiderverse #spidersona #julie andersen (oc)#so this took a while #couldn't decide on her color palette for her suit #at first I had crimsion red and lime green but the lime was burning my eyes away #I asked a friend (I already talked about him in the character ask-post) and he was like "the fuck is that”#and when I informed him that I changed the colour palette (before I had the purple) he asked if the lime green was gone #he was so hopeful #but I had to let him down at that time #also fun fact: Julies name Spider-Jewel was inspired by her own name!#when a reporter asked her she first said her name but the reporter spoke over her and called her Spider-Jewel #she later mocked her friend (the reporter) for the silly name but ultimatly never change it

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cina-full-moon-xanadium · 6 months

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Between HeiGen Forever and Superhero Senki, which do you think did a better job with the meta side of their story about the real world importance of Toku heroes? As much as the scene of Hiroshi Fujioka talking to Ishinomori through Hongou made me cry, the scene of the kids and young adults calling for their Rider to save the day with Momo strolling up singing Climax Jump hits me just as hard in a more upbeat way

I don't know... both tug at my heartstrings a lot in their own way. I think I liked heigen forever more but they're both fantastic

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muraenide · 7 months

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4. which muse of yours is your all time favorite? if you stopped writing them: why?

10. what genre do you most enjoy, whether in roleplay, or fiction as a whole? (fantasy, period, superhero, etc.)

QUESTIONS FOR MUNS. // @ramshacklestar

4. which muse of yours is your all time favorite? if you stopped writing them: why?

I have a group of muses who are my all-time favorites. 1st main blorbo: Mukuro Rokudo from KHR The first main antagonist of the first season of the series, but eventually joins the main character's team. Reasons why he did so is... a bit complicated, but he is possibly my first muse and the muse that resembles Jade the most. I still love him but the fandom fell out of popularity and there were hardly any rp blogs for the fandom. I've never actually left the fandom. The fandom itself died for a while, so I simply moved on to other fandoms.

2nd main blorbo: Narsus from Arslan Senki Arslan Senki is so far my favourite fandom in terms of rp experience and content quality. It's possibly the fandom where I met most of my current friends, especially @oftwilight, @madakoka, and @corruptiongifted, and a lot of us are in different fandoms now but we still talk from time to time. Narsus is a rebellious aristocrat in ancient Persia who joined the prince in his main quest to retake his kingdom. Sybil (@oftwilight) played a great Daryun and our muses often fought and squabbled like an old married couple bc that's also their canon dynamic. The fandom had a total of 10+/- people, and we were all friends due to how small it was so everyone knew everyone. I stopped writing Narsus because I fell out of the fandom when the last light novel dropped and it was... bad. We understand that the author got tired of the series and wanted to end it quickly, but it's still a lovely series regardless and I tend to revisit it from time to time.

3rd main blorbo: Sion Astal from Denyuuden Sion is a young puppet king with a split personality and shares his present body with a demon. The light novel is written by the same creator as Owari no Seraph, but the anime covers very little of the main storyline. The interesting parts are locked behind the light novel, but Sion is probably one of the more complex muses I've written. If the main trio were to be compared with Castlevania, Sion would be the Alucard among the group. The fandom had a total of 3 rpers including me, it was funny how dead it was. I left it when the other two rpers stopped being active, but I still enjoy the fandom regardless.

4th main blorbo: Diluc Ragnvindr from Gen//shin Impact I don't remember why I love Diluc but it started on discord when a friend (Cass) dragged me into Gen//shin and loved the grape man. I got very invested in his lore in Gen///pact to the point that I would read both the CN and EN versions, have a folder for all its screenshots since we can't replay events, and even dug out possibilities of the Ragnvindr Family Tree members all the way to the first Ragnvindr Knight. I stopped writing him due to how unbearable the fandom became once people started joining and it became big. I will refrain from going into detail about this though! But Gen//pact is still a great franchise. As someone who knows quite a bit about Middle-Eastern and East-Asian mythology, Gen//pact really portrayed some aspects of the old myths that I've never seen show up in any type of media before, which is really refreshing and honestly eye-opening.

10. what genre do you most enjoy, whether in roleplay, or fiction as a whole? (fantasy, period, superhero, etc.)

I like mysteries and crimes, horror, cosmological science, fringe science, high fantasy, medieval fantasy, anything historical, supernatural, steampunk, and cyberpunk as a set up for my threads. As for themes, I'm mostly an angst and romance writer. I'm a bit picky with romance though, because I do enjoy romance as a subgenre in my fiction/rp, but never a main theme. In the sense that they start off normally and eventually develop a romantic interest in the other. If romance is the only thing my muse has in common with the other muse, I wouldn't find it as enjoyable, and eventually get bored of it.

#ramshacklestar #// thanks for sending!! < 3

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macmanx · 11 months

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Rider and Sentai are immortal!

#kamen rider #takeshi hongo #super sentai #superhero senki

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canmom · 2 years

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Animation Night 125: Peter Chung

[Animation Night archive]

Hiii everyone, it’s Thursday! And it’s a multiple of 5, which means it’s time for something ‘big’. Which is to say... full circle back to the creator whose Aeon Flux started this whole thing, Peter Chung~... one of my favourite directors.

^ me setting up an Animation Night...

But! We’re not here to watch Aeon Flux again this time! [Though if you wanna read about Aeon Flux, go check out Animation Night 52]. We’re here to watch the other works of Peter Chung! Such as Alexander Senki aka Reign: the Conqueror...

You see, Peter Chung is one of the few people to have the experience of directing both anime and western animation. The insights this gave him, related once upon a time on the anipages forums, were one of the seeds of what would become the ‘sakuga fandom’.

But let’s start at the beginning. Here’s a picture of Chung via imdb...

He was born in Seoul in 1961, the son of a guy in the foreign service, which meant his childhood was spent travelling all over the world (Wikipedia lists Seoul, London, Nairobi, Washington, D.C., New York and Tunis). Eventually they settled down to migrate to the USA, in Virginia. I’m not exactly sure when Chung got the animation bug, but it was early enough to send him to CalArts, where he attended their experimental animation program.

At age 18, he graduated CalArts joined the animation industry, working for the Spanish painter Salvador Bru. You can see some of Bru’s abstract paintings here; I haven’t been able to track down any of his work in animation. In any case, within a year Chung landed at Hanna-Barbera, working on character design, and also working with Ralph Bakshi [Animation Night 63] on layouts for his barbarian movie Fire and Ice (1983).

At this point he apparently got scouted by Didney for feature development, although which features he may have developed is not entirely clear. He also has layout and art direction credits for a couple of franchise works from this mid-80s period, such as The Transformers (1984, animation outsourced to Toei) and Teenage Mutant Ninja Turtles (1987, animated at an American studio then called Murakami-Wolf-Swenson, now Fred Wolf Films), and some less well remembered ones such as C.O.P.S., a bizarre animated spinoff of a reality show following cops on the job, and Ring Raiders, a toyline-driven show promoting toy aeroplanes.

Chung’s major break came, so far as I can tell, when he designed the characters for the inaugral Nickoledeon show Rugrats (see Animation Night 31 when we watched the Hanukkah episode), in which a group of children play in elaborate fantasy worlds. The show was a huge hit, although it was still a few years until Chung got the opportunity to create something purely according to his vision in Aeon Flux. In the intervening period he got to work on the post-apocalyptic superhero show Phantom 2040 (1994), once again on character design.

Then came Liquid Television, and Aeon Flux. Aeon Flux stood out amidst Liquid Television because its animation could easily have belonged a mainstream show... if it wasn’t horny philosophical science fiction, heavy on ambiguity. But by the same token, it’s specificity won a lot of die-hard fans (like me).

Since there are a number of interviews out there, let’s get some of Chung’s own words on what went into it...

O: You tend to broadly exaggerate your characters' physical characteristics, especially their height and their musculature—is there any particular symbolic or aesthetic reason?

PC: That's a hard thing for an artist to try to analyze. I could kind of try to pick it apart, but the simple truth is, that's the way I draw. I mean, I can tell you about my influences—my favorite artist is Egon Schiele, the German Expressionist. If you look at his drawings, they're very economical, very expressive. The first time I saw them, I thought they were perfect for animation. So I did make a conscious effort to try and adapt that approach to drawing. The other thing is… I was going for a style, when I was doing Aeon Flux, that was much more dependent on expressive drawing as opposed to lots of surface detail. In Japanese productions, they like to put a lot of highlights and shadows on things, to make things look very rendered. Each drawing has to stand out individually as an illustration. Having been trained in American animation, I wanted to have characters that were very realistic, but not so loaded with detail that they were going to be hard to move.

O: Your characters, both in Aeon Flux and in Reign, tend to dress in a way that's half formalized costume, half fetish gear. They often don't wear much, and what they wear is elaborate and stylized. What are your fashion influences?

PC: Well, I struggled a lot, when I was doing Aeon Flux, with how far to push the costumes, and how realistic to make them. I think a lot of illustrators realize—and you see this a lot in American comics as well—that if you draw costumes realistically, it's very difficult. You end up spending all your time trying to create believable drapery. So the tendency is to draw skin-tight costumes that mold around the body. This allows you to use the body more. You see this with classical sculpture, and dancers. You try to use the expressive qualities of the human body more—that's why sculptors prefer to work with nudes, as opposed to trying to make the clothing look accurate. Otherwise you end up concentrating on the clothing and not the person. The same is true with animation—I think of my animated characters as dancers. I want to be able to use body language as much as possible.

Chung’s comments here are interesting, in that his talk of forgoing highlights reminds me of the kagenashi approach taken by Mamoru Hosoda - in both cases, putting less complexity in the static drawings to allow for more motion, but still strongly influenced by the more solid drawing style of anime instead of the more 2D graphical approach of most American TV animation. Chung’s style of lanky anatomy with exaggerated bumps and details is uinstantly recognisable; only Robert Valley, directly inspired by him, is all that similar within animation.

What about Egon Schiele? Let me show you some of his paintings...

...you can probably see how he influenced Chung! (Expressionism if you’re wondering was a pre-first world war Modernist art movement which responded to naturalism and positivism by emphasising the personal, subjective emotional experience of the world. Thanks, Wikipedia!)

Alongside Schiele the German expressionist, Chung cites a whole lot of influences; lemme pick out some of the ones we’ve talked about on here...

I don't consciously model my style or techniques on any particular body of work. I try as much as possible to draw from personal experience and observation. I'm inspired by the work of other artists, mostly because they show me how good it's possible to be at practicing one's craft. They would include, in no special order:

David Lynch, Stanley Kubrick, Orson Welles, Alfred Hitchcock, Federico Fellini, Alexandro Jodorowsky [Toku Tuesday 27], Michelangelo Antonioni, Alain Resnais, Jean Cocteau, Allain Robbe-Grillet, Seijun Suzuki,

Osamu Dezaki [Animation Night 95], Yoshiaki Kawajiri [Animation Night 25, Animation Night 67], Yoshinori Kanada [Animation Night 62], Moebius [Animation Night 71], Kazuo Umezu [author of The Drifting Classroom, whose adaptation we watched on Toku Tuesday 19],

Egon Schiele, Horst Janssen, Frank Lloyd Wright, among others.

On comics, he’s pretty down on the state of the American industry, describing it as largely divided between heavy-handed narration where the illustrations feel gratuitous, and artistic flexes with weak story. He describes his aspiration to communicate the feelings of the characters visually, without being heavy-handed. So while I’m citing influences, lemme pull up Peter Chung’s favourite comics...

Here is a list of my personal favorite comics stories in no particular order. My choices are based as much on mastery of narrative form, as on originality of conception. Each of them appear to have been impelled by an inner vision; they are not comics inspired by other comics, but rather by dreams, obsessions, yearnings.

1. Baptism, Makoto-chan, Fourteen by Kazuo Umezu 2. Savannah by Sanpei Shirato 3. Mighty Atom, No-man, Phoenix by Osamu Tezuka 4. The New Gods by Jack Kirby 5. The Airtight Garage, Arzach by Moebius 6. The Incal Saga by Moebius and Jodorowsky 7. The Tower, The Hollow Earth Series by Schuiten and Peeters 8. The Jealous God, Envie de Chien by Cadelo 9. Be Free! by Tatsuya Egawa 10. Hard-Boiled by Geof Darrow and Frank Miller

I love Aeon Flux, but I’ve talked at length about it in the past, so let’s not spend too long on it here, since tonight the focus is on what came next!

In 1998-9, four years after Aeon Flux, Chung got his chance to work in anime - and not only work in anime but on a series co-directed by Rintaro (Animation Night 53, AN 62, AN 67).

So. Alexander Senki began life as a series of light novels by Hiroshi Aramata, a prolific and widely talented natural history researcher and novellist known otherwise for the occultist historical fantasy novel Teito Monogatari. Alexander Senki tell the story of Alexander the Great, but projected into a futuristic scifi setting.

For the animated version, Madhouse went for an international approach, and invited Chung to come in and design the characters and settings for a 13-episode TV anime, later compiled into a 90-minute film. Much of the animation was outsourced to the Korean studio DR Movie - one you’ll see frequently in the credits of recent anime, but I believe this was more novel at the time.

Chung commented on the experience in the above interview...

Peter Chung: There are many ways I could answer [what it’s like to put a particular stamp on a work he’s not directing], I suppose. In this particular case, it was different from a lot of other shows I've worked on as a designer. I've done a lot of work in the U.S. as a character designer, but in Japan, it's much more of an auteur role, where they really want your individual style on a project. In the U.S., it's much more collaborative. What was good about Reign was that they really liked the idea of things having an eccentric, personal style. And for me, that was great. A lot of that has to do, usually, in animation, with the ability of the animators to adapt to the drawing style of the designer, and they did a very good job, they tried very hard, to follow my original drawings. Whereas often, in American productions, they will try to simplify or adapt a designer's drawings to what the animators can draw.

O: Do you prefer the auteur method over working collaboratively?

PC: Well, as a designer, I like having the freedom and the license to design the way I want. So for me, working with the Japanese is better, at least from a designer's point of view. Now, working from the point of view of an animator, I think the animators had a lot of difficulty adapting to my style.

Animation-wise, Alexander Senki draws on the familiar techniques of Madhouse’s OVAs: limited animation and multiplane effects with moments of more complex animation. But Chung’s character and environment designs give it a particular flavour that makes it feel very different to most Madhouse works, really underlining the significance of a character designer to a project. The result, which takes a wander through the story of Alexander with a lot of philosophical musing was... polarising, but if you like Chung’s style, very appealing.

Since I cannot find the movie and it’s said to cut too much anyway, tonight my plan is to show 3-4 episodes of Alexander Senki - enough to give a taste. Because then the question is, what did Chung do next? He got a little more anime work, animating the credits to Party 7 - a live action comedy film which also Takeshi Koike on the map for its title sequence. Years later, Koike would make a spectacular tribute to Aeon Flux as an ad for the cancelled computer game...

youtube

And then we get the third entry in the ‘Aeon Fluxlike’ canon: Chung directed a segment of the Animatrix (Animation Night 6, long overdue for a rewrite though!). This was his first time working with significant CG - something he found a much more fluid process than traditional animation - and he was brimming with ideas, many of which ended up cut. Nevertheless, his entry is effective - pretty much just ‘what if Aeon Flux but the Matrix’, featuring a machine in a virtual environment designed to persuade it to defect. Chung says...

I mean, how many variations can you do on the story of someone suspecting that he's living in a simulation, then waking up? I decided to take a radically different approach and view the world from the point of view of the machines. After all, a robot would be more susceptible to delusion than a human. Also, I wanted to show that the human mind is just as capable of creating a rich and seductive dream world as a computer is.

And after these three splendid creations, what did Chung do next? I think most people if asked would draw a blank, since he kind of fell off the radar. Aeon Flux was adapted into a feature-length movie, originally described as more of an art film by director Karyn Kusama, but it was taken out of her hands and heavily re-edited by the studio into a very generic sci-fi action movie. Chung had little involvement, and was heartbroken at the result:

With apologies to both Phil and Matt-- who have publicly been effusive in their praise for the show-- the movie is a travesty. I was unhappy when I read the script four years ago; seeing it projected larger than life in a crowded theatre made me feel helpless, humiliated and sad. (...) I know that the studio made a lot of cuts against the wishes of the writers and director. Most of the cuts concerned further development of the secondary characters. Since my main problems are with the portrayal of Aeon and Trevor, I doubt that I'd have liked the longer version much better. I didn't when I read the script, and there are definitely some things I'm glad WERE cut-- like Catherine's pregnancy. Maybe the makers didn't understand the source material and thought they were being true to it; or they understood it, but didn't think it would appeal to a wide enough audience and altered it to suit their presumed target. They claim to love the original version; yet they do not extend that faith to their audience. No, they will soften it for the public, which isn't hip enough to appreciate the raw, pure, unadulterated source like they do. (...) Presuming to know what an audience wants to see and tailoring the product to fit is a method that sucks all the drive I'd have to ever create anything. It's self-defeating disingenuous. I'm not naive about the realities of making unconventional films in the arena of "mass entertainment". It's possible to make good unconventional films; it's also very hard. In any case, if you're going to risk failure, I say do it boldly, with conviction. The problem with the movie is its failure of nerve.

But Chung never seems to have gotten the chance to direct a wholly original project again. The remainder of his work is adaptations or franchise work, with various big productions reaching out to him to put a stylish auteur’s spin on their IP.

The first of these is a short film bridging the gaps between the two Riddick movies.

Riddick? Riddick is a series of sci-fi action movies featuring Vin Diesel as a space criminal. I admit, I haven’t seen them! They weren’t especially successful at the time, but became cult films, kind of present in nerd culture back in the 2000s... and kind of forgotten since. The first movie, Pitch Black, sees Riddick and co on a pilgrim ship which crash lands on an alien planet, where they have to survive. The second, The Chronicles of Riddick, opens with Riddick in hiding from bounty hunters. However did he get there? Telling us is Chung’s job!

The Chronicles of Riddick: Dark Fury is a 35 minute short animated film, created at Universal Animation Studios, which specialise in direct-to-video films. This was the first time that Chung worked with Robert Valley, who would later become well known for his two films in Love Death and Robots (Animation Night 99); fortunately this being a franchise entry does not overwrite that distinctive Chung/Valley style, as seen in this distinctive fight scene animated along with Jorden Oliwa and Lee Hong. It’s full of cool distorted perspectives in the drawings and distinctive layouts.

Chung next appeared three years later, on another franchise spinoff, titled Revisioned: Tomb Raider, a compilation series bringing on a variety of comics artists and writers to put their own spin on the game. This was supposed to be the first in a whole series of Revisioned projects based on games, but in the end it seems only one was ever made. Chung provided designs and scripts for the first three episodes. They’re all available on Youtube, starting here...

youtube

Videogame spinoff animations have a curious quality: they tend to have exceptionally lavish animation with all the videogame $$$ coming in, but often feel quite limited by being a promotion - more on that when I talk about Trigger’s Cyberpunk anime sometime soon. I’ll be interested to see how Chung handles this one.

Another three year gap later in 2010 and Chung directs his only feature-length film, Firebreather, adapting an Image comic about teenagers battling kaiju in CG. It sounds honestly... pretty plain by Chung’s standards, without much to distinguish it in either animation or the energy of the story. It seems to have disappeared without really making a splash.

In 2012 comes another brief videogame promotion, this time for Diablo.

youtube

In both this and Tomb Raider, Chung seems to have moved away from his earlier unshaded style; this one especially skews much more to ‘Western animation taking after anime’. There is, sadly, very little of that Peter Chung flair to be seen, and honestly I wouldn’t have guessed he was involved: it’s just a string of fight scenes.

The next year, Chung started working as a teacher at USC School of Cinematic Arts, where he remained ever since. It’s not quite the end of his creative output in animation, since he did produce the titles for Victor and Valentino (2019), most likely because the author of the original comic book sees him as a huge influence and asked directly. And that’s it, basically! A complete slice through the creations of the Aeon Flux guy...

What’s the plan tonight? Essentially the cross-section of Peter Chung works presented above: we’ll watch a fair chunk of Alexander Senki, and then have a look at everything since. If people are in the mood we might even rewatch a bit of Aeon Flux!

So! Let’s go! Animation Night 125 will be starting shortly, at https://twitch.tv/canmom - hope to see ya there ^^

#animation night #peter chung #aeon flux #alexander senki #reign the conqueror

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