In acknowledgement of evangelical comic artist Jack Chick's death yesterday, please enjoy this classic animation of the Chick tract "Somebody Goofed," created in 1998 by longtime Boing Boing pals Syd Garon and Rodney Ascher.
I stumbled across this fantastic Tumblr full of traditional hand-drawn animation, and I can’t get enough of it. Artist Willow S. Linda reinterprets live action and cartoon characters in her own style, like these Star Wars portraits or this Beauty and the Beast design. But she also creates her own characters too. The first one that caught my eye was this delightful little story of a mermaid and a centaur.
There's just so much whimsy and joy to Linda's art, I could look through it all day.
In a 1958 interview, author, philosopher, and futurist Aldous Huxley (Brave New World, The Doors of Perception) shares his grim predictions that are unfortunately quite relevant today. From Blank on Blank:
"This is Aldous Huxley, a man haunted by a vision of hell on earth. Mr. Huxley wrote a Brave New World, a novel that predicted that some day the entire world would live under a frightful dictatorship. Today Mr. Huxley says that his fictional world of horror is probably just around the corner for all of us." - Mike Wallace
In this remarkable interview, Huxley foretells a future when telegenic presidential hopefuls use television to rise to power, technology takes over, drugs grab hold, and frightful dictatorships rule us all.
If this retro, psychedelic D&D/Masters of the Universe animation meets a crank-boosted acid trip doesn't blow your neck bolts, I don't know what will. This animated short film/music video for Oakland doomy metal legends, High on Fire, was put together by "psychedelic nightmare" painter, Skinner (also from Oakland) and New York design and animation house, Hey Beautiful Jerk.
For best results: View in the dark, on the widest possible screen, with the volume cranked up loud enough to rattle your neighbor's windows. Read the rest
In 1965, John Lennon, George Harrison, Cynthia Lennon, and Pattie Boyd were having dinner at a dentist friend's house. The dentist put LSD in their coffee without telling them first. When he revealed what he had done, John was pissed off, and rightly so. "How dare you fucking do this to us?" he said. Rolling Stone's Mikal Gilmore has the story and an animated interview with John about their first trip on LSD and the secret history of Revolver:
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"It was as if we suddenly found ourselves in the middle of a horror film," Cynthia Lennon said. "The room seemed to get bigger and bigger." The Beatles and their wives fled Riley's home in Harrison's Mini Cooper. (According to Bury, John and George had earlier indicated a willingness to take LSD if they didn't know beforehand that it was being administered.) The Lennons and Harrisons went to Leicester Square's Ad Lib club. In the elevator, they succumbed momentarily to panic. "We all thought there was a fire in the lift," Lennon told Rolling Stone in 1971. "It was just a little red light, and we were all screaming, all hot and hysterical." Once inside at a table, something like reverie began to take hold instead. As Harrison told Rolling Stone, "I had such an overwhelming feeling of well-being, that there was a God, and I could see him in every blade of grass. It was like gaining hundreds of years of experience in 12 hours."
The couples ended up at the Harrisons' home in Esher, outside London.
The hit CG-animated movie opened to a strong $33m box office this weekend, but claims emerged that costs were kept low by firing people who refused to work without pay and that many animators were omitted from the film's credits in retaliation for leaving.
The production cost were kept low because Greg would demand people work overtime for free. If you wouldn't work late for free your work would be assigned to someone who would stay late or come in on the weekend. Some artist were even threatened with termination for not staying late to hit a deadline.
The animation department signed a petition for better treatment and paid overtime. When the letter got to Annapurna they stepped in and saw that artist were payed and fed when overtime was needed.
Over 30 animators left during the coarse of the production due to the stress and expectations. Most of them left before the paid overtime was implemented. This was met with animosity and was taken as a personal insult to the owners. Their names were omitted from the final credits despite working for over a year on this film.
No names are named (though the discrepancy between the VFX staff listed at IMDB and those on the movie itself is unusual) but this is a pervasive problem in animation. Sausage Fest is getting good reviews, so stands a reasonable chance of being a reputation-maker for many of those who can prove, one way or another, that they had a hand in it. Read the rest