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thanks Google #ai fail
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Raggedy Land with Ann and Andy
Data East 1987
Nintendo Entertainment System (NES / Famicom)
The world’s favorite Rag Dolly comes to your Nintendo system in an exciting and challenging video game adventure. Join beloved children’s characters Raggedy Ann and Andy and their friends for twelve stages of fun. Take on pirates and monsters on the high seas. Explore the frozen ice caves of Looney Land. Travel through the sky to take on the voracious Greedy. Battle King Koo Koo in the haunted forest. Venture into the mysterious and maze-like hidden castle. But watch out! General D, the personification of death and destruction, has clouded everything with darkness. You’ll need to rescue your friends, and even fight some of them until they come to their senses. It’s a magical adventure you won’t soon forget!
Raggedy Ann is a character created by American writer and artist Johnny Gruelle (1880–1938). Raggedy Ann is a rag doll with red yarn for hair, a triangle nose and a candy heart that says “I Love You.” The character was created in 1915 as a doll, and introduced to the public in the 1918 book Raggedy Ann Stories. Her brother, Raggedy Andy, was introduced by 1920. A 1977 animated film directed by Richard Williams and a 1986 Broadway musical featured songs by Joe Raposo.
This hack was created by filmmaker and artist Garrett Gilchrist, who restored the 1977 film Raggedy Ann & Andy: A Musical Adventure for web release. Half the graphics were designed by Brooklyn Williams, of the Raggedy Ann Revival Effort, which seeks to revive the obscure 1986 Broadway musical “Rag Dolly.” Both projects featured songs by Joe Raposo.
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Anyone saying "Mickey Mouse isn't REALLY public domain, because he's trademarked" is doing Disney's work for them. If a trademark can overrule public domain, do we really have a public domain at all? This will probably be fought out in the courts, but I think this should be pushed as much as possible to prevent that. Make it a foregone conclusion, and widespread everywhere. Treat Mickey as if he's public domain, until the Disney lawyers have to give up entirely. Trademark law as it exists now is unacceptable. Disney has been allowed to delay the entire concept of a public domain for many decades in order to protect Mickey Mouse. How about that ends now?
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The Thief and the Cobbler (NES/Famicom, 1988)
This Nintendo ROM hack is based on the unfinished cult animated film The Thief and the Cobbler, as written and directed by three-time Academy Award winning animator Richard Williams (animation director of Who Framed Roger Rabbit, author of The Animator’s Survival Kit).
Select one of four characters - the nameless Thief, Tack the Cobbler, Chief Roofless of the forty Brigands, and Princess Yum Yum - for a side-scrolling fantasy adventure across seven worlds and twenty stages.
Pick up and throw items, enemies and bombs in a world where anything can become your weapon.
Face off against the evil Grand Vizier, Zig Zag, and his henchmen Goblet, Gopher, Tickle and Slap. Meet the mad and holy old Witch of the desert mountain, who will both help and harm you. Watch out for dangerous creatures, including the vulture Phido and the deadly doggie Kuriboss.
Retrieve the legendary golden balls, defeat the evil warlord One Eye, and save the Golden City!
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Who Reviews
Doctor Who “Kerblam!” – Another good episode from the season 11 team, as The Doctor receives a package - a fez, presumably ordered during Matt Smith’s tenure - leading the TARDIS crew to go undercover at the biggest retailer in its galaxy. “Kerblam!” is a satire of Amazon.com, complete with miserable working conditions and an apparently crumbling society to match.
It feels like the episode is going to be a pointed satire of the current state of capitalism generally, as the setting seems to be a dystopia set after machines have replaced humans in most jobs, and humans are really struggling. However, the episode doesn’t go into great detail about that, and never gets there, dealing with things on a company level rather than a societal one. In the real world, there’s a discussion to be had about whether replacing human workers with automation can be a good thing, resulting in leisure time as long as the human jobless are cared for. But in a hyper-capitalist society with profit as the only motive that doesn’t happen, and that seems to be what we get here. As the Doctor says, the system isn’t necessarily the problem, it’s how people use it.
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Acrylic paint on 16 x 20 Masonite board.
Source: tygerbug.deviantart.com
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Wandavision Marvel memes
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I believe that when we write, we write about ourselves, regardless of the subject matter we’re dealing with. We write our own autobiographies in the mouths of characters who experience things we never will. It could be an adventure story about saving the universe, or a realistic, romantic drama. But our own personalities and life experiences inform everything that the characters see and feel. Mark Evanier put it more modestly - that he has a hatred for cole slaw, so if he was writing Daffy Duck or the Hair Bear Bunch, those characters would suddenly hate cole slaw too. There is, and should be, a lot more to it than that. It’s often a deeply uninteresting exercise to actually write our own life stories. We seek to move the audience - to take them on a ride that’s exciting, emotional, funny - all of that. As writers we need to feel deeply, and treat the characters as being as fully-formed as ourselves. Our characters tend to manifest as facets of ourselves, and as echoes of people we have known. In theory I have very little in common with Marvel’s the She-Hulk, but when writing about her shyness as Jennifer Walters, and her rocky relationship with her father, I realized we had much more in common than I’d thought. I wasn’t writing my own life, but I was writing my own emotions - somehow writing my own experiences and feelings through the lens of a very different life. Fanfiction, and work that’s heavy with pop culture references, are considered the realm of the teenager, or the child. The mark of a writer who has yet to develop his or her own voice. Using an already-established character or world can be like training wheels. The writer already knows how that character speaks, and can imagine how that character would react in any situation. That’s very good practice, all things considered, for learning how to do the same with an original character. The writings of a beginning writer, in this internet age, can be an incomprehensible mess of references to the films, songs, television series and other pop culture that have moved and inspired the writer to write. Referencing a song which had a huge effect on that writer, they believe that anyone reading the piece will have the same reaction, just hearing that song’s title listed. Of course the effect is the opposite. Most people reading would lose interest at that point, having pop culture references thrown at them, and not get the intended buzz from that. They’re likely to approach such a piece like walking through a minefield, and stop reading if those references get too dense, and seem to be standing in place of character development. The writer, in this saturated internet age, must learn to throw away the pop culture references and look at what they’re standing for. Why do we write? Why do these films and TV series and songs and books and comics and everything else inspire us? When I was a teenager, I was heavy with certain TV shows and films that I felt defined me. I wore them like a badge, and considered it a great victory to shoehorn a reference into one of my films that almost no one watching it would get. That’s the spark - the initial spark of seeing something that inspires that young teenage writer, makes you want to write. It takes a more mature writer to look at why those pieces were inspirational in the first place, and create something entirely original that has some of the same qualities. When you throw away the pop culture references, you’re throwing away the training wheels and trying to stand on your own as a writer - Starting a process by which you might create something which could inspire someone else. There is no shame in being inspired, but you can’t inspire others by copying other art on a surface level. You have to dig into your own soul, your own experiences, even if it’s just the fact that you don’t like cole slaw. What do your characters want? What do you want? What do you value? And those things that inspired you - why did they strike such a chord? What were the positive qualities, the realness and rawness? What was it that connected with you? How could you seek to strive for that in your own work? Who are your characters? What do they want? And what are they fighting for?
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Is there something you bought regularly at the grocery store, which then vanished from the aisle as if no one was buying it?
I was thinking of some recent examples, for me:
Great Value Apple sugar-free drink mix Great Value pitcher water filters Mezzetta medium pepperoncini slices (large jar) Hibiscus Kool-Aid
Stuff that keeps coming and going: Banquet Chicken Fajita Bowl (microwavable) (or Marie Callendar’s Chicken Burrito Bowl) Great Value Croutons (large bag)