Hero/Villan Assignment

Our hero, Minute Man:

Schoolteacher by day, private-eye by night, Minute Man is an ex-business partner of the two villains.  He is concerned about Hi-Hat's custom hallucinogen, "Swank", and the effect it is having on his student's health (Hi-Hat is poisoning the student's milk supply, so as to get them addicted at a young age).  Minute Man is a brilliant inventor, having created for himself a watch that can temporarily slow down time.  Here is his animation, demonstrating his time-stopping abilities:

One of our villains, Hi-Hat:

This American Life: Superpowers

If I could have a superpower, I would choose the power of speed.

It seems like a cool but reasonable superpower, one that I could get some use out of but that wouldn't be needlessly complicated.  I've always liked running as an exercise; this seems like a logical extension of that.  To able to move very quickly, in effect, is like being able to slow down time, in that everyone would be moving in "slow motion" around you.

If I had this power, certainly I'd use it to sleep in as long as physically possible.  I could sleep till 3:09, wake up, and make it to class by 3:10 using my super speed.  Assuming my powers translated to other actions besides simply running, I could complete all of my chores/homework in virtually no time, which would certainly be nice.  And of course, I'd be unstoppable in almost every sport.  Soccer?  No chance.  Basketball?  Forget about it.  I would be the best there ever was, and - assuming I was allowed to play competitively in the first place - I would mist likely shatter all speed-based records and maintain them until the end of time.  That would be pretty cool.

As far as the Flash specifically, I dig his power, but I'm not a fan of the costume.  It seems like he's drawing attention to himself with his garish spandex uniform, which may be the point, considering he's a hero.  I personally would prefer to remain normal-looking, and only use my powers for everyday situations.  I wouldn't want the pressure or responsibility that comes with being a famous superhero.  It almost seems like that would suck the fun out of the whole thing.

Two Video Jokes

We chose two very different approaches to our joke.  The first video uses stuffed animals as the only characters, which gives the video a very interesting feel.  For example, movement is obviously limited.  This meant we had to frame the shots in such a way as to convey movement/intention without explicitly showing it, although we did end up physically moving the stuffed animals in several instances to show they were sentient (as opposed to simply being characters in a child's playtime).  Shape also played a large role in the video's overall look; the different stuffed animals have distinct personalities in large part because of their distinct outlines, which helps give the video a "real" feel.

The different shapes of the stuffed animals also lend the video some contrast and affinity.  Contrast between the individual stuffed animals gives each of them a unique personality, and helps establish that they are separate characters.  That they are all stuffed animals also gives them an affinity that helps to establish a setting.  Along with the bedroom background/child's handwriting, their affinity as stuffed animals firmly establishes a child's bedroom/imaginative setting.

The second video, using actual actors, relies more on space.  The size of the room was manipulated using camera shots, so that it appeared larger than it actually was.  The interviewees were filmed from an angle that made them appear closer together, for a cramped, nervous look, while the actual interviews were more formally arranged. This use of space helped give the video a more interesting feel.

The use of space mentioned above also gave the video tension and release.  The one-after-another nature of the interviews gives a sense of foreboding; the viewer knows something is coming, but they are unsure exactly when it will happen.  This also adds to the payoff once the punchline does eventually come.  In this case, the punchline acts as the delivery method for the release.

Video Game Scene Examination: Majora's Mask

How to be Creative

An Examination of a Scene: Sunshine

A Visual Reimagining of Salvadore Dali

The top photo is an original work by Salvadore Dali, an amazingly talented painter.  Below it is the same painting, reframed by me.

The original painting, entitled Galatea of the Spheres, is an amazing example of depth and perspective.  The deep depth provided by the many spheres is what originally drew me to the piece; in fact, it wasn't until later I actually noticed the face in the spheres.  It's a painting of many layers, figuratively and literally, and it's this complexity that drew me in.

There are several key differences between the two framings, the most obvious of which is the face present in the original but absent in the reframing.  The more limited space in the reframing restricts the viewer from seeing all of the painting; the wider space in the original allows the viewer to see everything as originally intended.  Obviously Salvadore Dali framed it the way he did for a reason; without the space, we wouldn't be able to see the girl's face in the spheres.

The original painting also has less visual intensity than the reframing does, because of the wider space.  The reframing focuses intensely on the horizon point; there is nothing but the diagonal lines leading straight to the point.  The original, by contrast, gives a much wider view, one that isn't nearly as intense.  Though the horizon point is still present in the original, it isn't as imposing.  How lines are perceived is another big difference between the two; in the original, we can see the woman in the spheres.  However, the reframing does not show her; the lines can only be perceived as abstract paths to the horizon, as opposed to something bigger.

The original has contrast and affinity that the reframing lacks; there is likeness between the spheres and the lines which they compose, and affinity with the spheres and the woman's face.  In the reframing, however, there is no affinity; just an amalgamation of lines and spheres.  The original also has tension and release where the reframing does not.  The tension of the imposing wall of spheres is released the realization that there is a woman's face within them; the reframing, not showing the woman's face, has no release, and is thus somewhat more uncomfortable to look at.