Monday, 20 February 2017

Adaptation B: Casting Call- Ludlow Fitch and Joe Zabbidou

Fig 1: Ludlow Fitch
Fig 2: Joe Zabbidou

Here are a series of actors that I envision would play the characters of Ludlow and Joe from The Black Book of Secrets. The main goal of this exercise was to find people that fitted with the character descriptions of the two characters. This is to help in envisioning a clearer understand of how I want my character designs for the two to be using the characteristics of these actors and director. The general aspects that I looked for when casting the two characters, was piercing eyes, a youthful face and a slim figure for Ludlow and wild hair, a tall and serious older looking man who fitted the mentor role that Joe provides to Ludlow. The ages of the characters are not specified in the book but Ludlow is a boy in his teens while Joe is anything 40 and above as deducted from the description of him in the book of having greying hair.

Critical Perspectives- Dissertation Proposal OGR

Sunday, 19 February 2017

Adaptation B: Tree Frog Studies

Fig 1: Pencil Drawings of Tree Frogs

Fig 2: Fineliner Drawing of a Tree Frog
I drew these as Joe's pet Saluki is a tree frog, specifically a Poison Dart Tree Frog. I hadn't had much practise with drawing these animals before so I used a selection of images of different tree frogs to try and figure out the anatomy of the creature.

Dissertation: The Cone of Cogency

Thursday, 16 February 2017

Adaptation B: Environment Research

Pagus Parvus:

  • "The village dated from times when people were at least six inches shorter and all dwelling were built accordingly." "- that doors and windows were made narrower than was usual and ceilings were particularly low"- Chapter 3 Page 11
  • "It was a small village clinging for its life to the side of a steep mountain in a country-" "-It comprised one cobbled high street lined on either side with a mixture of houses and shops built in the style that was popular around the time of the great fire in the famous city of London. The first and second floors/ overhung the pavement. In fact, sometimes the upper levels  stick up so far out that they restricted the sunlight. The windows themselves were small with leaded panes, and timbers ran in parallel lines on the outside walls. The buildings were all at strange and rather worrying angles, each having slid slightly down the hill over the years and sunk a little into the earth."- Chapter 6 Page 27
  • ";Pagus Parvus existed in a grey light that was cast by clouds that never seemed to go away,"- Chapter 16 Page 89
  • "Sitting as it was on the exposed side of a mountain, covered in snow eight months out if twelve and rained on the other four, Pagus Parvus was not popular with  outsiders..."- Chapter 16 Page 89


  • "The shop itself was quite tiny. The distance between the display window and the counter was no more then three paces. Joe went behind the counter and opened the solid door that led into a back room. A tiny window on the far wall allowed the dusty-moon-glow to lighten the gloom. The furniture was sparse and worn: two ladderback chairs and a table, a small stove and a narrow bed pushed up against the wall. In contrast the fireplace was huge. At least six feet across and nearly three deep, it took up almost the whole of one wall. On either side of the hearth sat a faded upholstered armchair. It was not much but it would do."- Chapter 3 Page 13
  • "- I took the opportunity to examine the goods in the shop window. the jewellery was bright and pretty, the hurricane lamp was polished and looked in working order. The timepieces were wound and ticking."- Chapter 10 Page 51
  • "He fixed to the pole the universal symbol of the pawnbroker: three polished golden orbs stuck together in the shape of a triangle."- Exterior, Chapter 6 Page 30
  • "- Joe's display benefited from the addition of a flower vase in the Grecian style, a pair of leather braces with silver clips (one missing), a sturdy pair of scuffed boots (only slightly down at heel), and a set of decorative brass buttons. The chamber pot sat in the corner next to the wooden leg."- Chapter 14 Page 79
  • "... Joe took everything he was offered, even the most ridiculous and worthless items- a moth eaten, slightly mouldy stuffed cat being one such example- and paid good money as he promised"- Chapter 15 Page 86
  • "As most customers came in wheezing after climbing the hill, Joe instructed that a chair be set by the door and it was gratefully received." -Chapter 15 Page 87

Wednesday, 15 February 2017

Adaptation B: Character Research

Ludlow Flitch:

  • "He truly was a pale and sorry figure, undersized, undernourished and shivering so hard you could almost hear his bones rattle. His eyes were striking though, dark green with specks of yellow, set in a ring of shadow. His skin matched the snow in tone and temperature"- Page 15
  • "I took the opportunity to jump down and sneak a look in the cab, wherein I found a leather purse, fringed printed silk scarf and a pair of gloves. I wrapped the scarf around my neck and slipped the gloves over my numb fingers. The purse contained only a few pennies but it was a start."- Chapter 2, Page 8
  • "As for the boy, his skinny, short-legged attendant who went him everywhere (Joe Zabbidou),he seemed a sly little demon. He wore gloves that looked suspiciously like his own, the ones Jeremiah was certain the coach driver had stolen. And those big dark eyes. Jeremiah had never once managed to hold Ludlows gaze. He always had to look away."-Chapter 19, Page 121
  • "'I can run fast and curl up so tight I can hide in the smallest places'" -Chapter 4, Page 17
  • "Ma suggested that I be sold to a chimney sweep. My skinny frame more than suited to the narrow, angled chimneys,"- Chapter 10 Page 49
  • Wore a grey shirt- Chapter 4, Page 17
  • "He resembled so many City boys, dirty and skinny. He certainly smelt like one. His clothes were barely functional (apart from the scarf and gloves which were of much higher quality) and he had a distrustful face that gave away the wretchedness of his past existence. His was bruised and his mouth was very swollen, but there was a spark of intelligence - and something else - in those dark eyes" Chapter 4 page 19
  • Has all of his teeth- reason he escaped to Pagus Parvus was because his parents wanted to rip out his teeth to sell them to the rich for booze money-Established in Chapter 1
  • Suffers from Travel Sickness- Chapter 2, page 7
  • Pickpocket- Established in Chapter 1
  • "Ludlow wondered idly if any had a pocket worth picking"- Chapter 6 Page 33
  • "Ludlow was always a few steps behind, no higher than Joe's elbow, trotting to keep up"- Chapter 17 Page 97

Joe Zabbidou:

  • "It was not easy to describe Joe Zabbidou accurately. His age was impossible to determine. He was neither stout nor thin, but perhaps narrow. And he was tall, which was a disadvantaged in Pagus Parvus." Chapter 3, Page 11
  • "Joe was dressed suitably for the weather, though unheedful of the current fashion for the high-collared coat. Instead he wore a cloak of muted green, fastened with silver toggles, that fell to his ankles. The cloak itself was of the finest Jocastar wool." Chapter 3, Page 12
  • "On his feet Joe wore a pair of black leather boots, highly polished, upon which sat the beautifully pressed cuffs of his mauve trousers. Around his neck was wrapped a silk scarf, and a fur hat shaped like a cooking pot was pulled down tightly over his ears. It could not fully contain his hair and more the a few silver strands curled out from underneath." Chapter 3, Page 12.
  • "With every step Joe took, a set of keys hooked to his belt jingled tunefully against his thigh. In his right hand he carried a rather battered leather satchel straining at the seams, and in his left a damp drawstring bag from which there emanated an intermittent croaking." Chapter 3, Page 12
  • "For now he had to deal with the pawnbroker. Every time he thought of Joe, That string bean of a character whose hair defied description,"- Chapter 19 Page 121
  • "Without a doubt Joe was the breath of fresh air the village had needed for a long, long time."- Chapter 21- Page 128
  • "Sometimes conversations with Joe were like riddles"- Chapter 16 Page 91
  • "Joe was indeed coming down the street in his usual jaunty pace. He had the grip of a mountain goat. Right now one or two villagers were wondering whether his shoes did contain those telltale cloven feet."- Chapter 22 Page 139
  • "Joe was a man of few expressions"- Chapter 16 Page 90
  • Has a pet frog named Saluki- glistening skin in a patchwork of vibrant reds, greens, yellows. Unlike any frogs in Pagus Parvus. Her feet aren't webbed but instead more like long-fingered hands with knobbly joints and toes. - Chapter 6 Page 29 Treats her like a queen, feeding her the finest bugs, snails and worms- Chapter 16 Page 90

Tuesday, 14 February 2017

Adaptation B: Initial Concepts

Fig 1: Ludlow

Fig 2: Joe Zabbidou
Here are some Initial drawings for the two characters from "The Black Book of Secrets" I'm style experimenting with the style I want to go for and trying to figure out how to make the two characters relatable to each other. Clothing wise I've decided to go with a more Victorian style however due to Joe's known habit of travelling for his job as a Secret Pawnbroker I'd imagine that he wouldn't be in a stereotypical English suit. Ludlow on the other hand is a poor boy from the City so him wearing the chimney sweep boys clothes of shirt, overalls and a larger then him coat would suit to drive the point that he is more and make the silk scarf he stole at the beginning of the book more prominent. I want to use the character descriptions from the beginning of the book when the two characters meet for the first time as that has the most description.

Friday, 3 February 2017

Global Animated Film Review: Japan- Spirited Away

Fig 1: Theatrical Poster for 2001's Spirited Away
Spirited Away is a 2001 Japanese Fantasy Anime film directed by Hayao Miyazaki and produced by Studio Ghibli. The film is the eleventh film to be created by the studio, following after such films like My Neighbour Totoro (1988), Kiki's Delivery Service(1989) and Princess Mononoke (1997).
It was a worldwide success, being critically acclaimed and winning an academy award for best animated film in 2003. It is among the eight Studio Ghibli films to be world widely successful with Spirited Away being the highest grossing of them.

Fig 2: A Frighten Chihiro who doesn't want to follow her parents through the corridor to the Spirit World
The plot revolves Chihiro, a 10 year old girl who was moving into a new town with her parents who finds herself in the spirit world after her dad attempts to take a shortcut through the woods. While in the spirit realm, her parents eat some food and transform grotesquely into pigs, so in an attempt to save them from being eaten Chihiro decides to become an employee at the bath house as the boss of the house, Yubaba the Witch controls the entire area and is the only one able to break the curse, given up her name as payment. In the bathhouse she mets a series of characters, Kamaji who works the boiler room, Lin a worker in the bathhouse, No Face a faceless spirit that Chihiro shows kindness too, letting him into the bathhouse were he then suffers from the greed of the place turning him monstrous and Haku, Yubaba's assistant who recognises Chihiro from his past and is willing to help her through out her adventure starting with giving her the idea of getting a job at the bathhouse.
While the film is downright stunning, the environments from the bathhouse to the train stops across the river, the second act to the story feels rushed, like there was too much build up in the first half that the later part of the story couldn't provide what the film needed so it fell a little. However all of the characters in the film were enjoyable, seeing Chihiro's growth in both her maturity and her confidence was nice to witness as well has her impact on the people she's around leads to Spirited Away being an interesting character piece.

Fig 3: Yubaba's Bathhouse
The film plays out a bit like Alice in Wonderland, with a young girl going to a world of magic by accident, meeting the strange residences of the world, growing up and maturing as she goes. Chihiro starts the film as a sullen girl who's left everything behind her to go to a new town with her parents. Initially she doesn't want anything to do with the spiritual world the family finds themselves in, wanting to go to the new house instead of engorging herself on the plentiful food like her parents. Through the meeting of Haku and the other residences, Chihiro matures, she learns to act less childish and takes on the responsibility to save her parents from Yubaba and to stop No Face from destroying the bathhouse. This is comparable to Alice's story from the Lewis Carroll story who falls into a world of fantasy and through her trials she is able to come back to her world and mature along the way. In this instance Spirited Away is also a Coming of Age story for Chihiro.

Fig 4: A monterous No Face offering Chihiro his Gold
Greed is another major theme of the film, it what the bathhouse represents, its income and wealthy guests blend itself to money hungry residents from the frog, Aogearu, to Yababa herself and she inspect her jewels in the highest floor of the establishment. This greed is a big part of the No-Face storyline where the spirits lust for money and acceptance is challenged by Chihiro who refuses to accept any of the gold he conjures up, this leads to the consumption of some of the bath house employees and for No-Face to go into fit of anger. Environmental issues is also brought up in the film mainly through the destruction and pollution of rivers, Chihiros first big client, after she gets a job and loses her name to Yababa, is a polluted mess of a spirit which is then revealed to be a river spirit that was full of its rivers pollution. As a gift to for cleaning it the spirit gives Chihiro some medicine which she then uses to cure No- Face to make him spit back up the people he's eaten and Haku who wounds up majorly injured from a fight with Yababa's twin sister Zeniba.

Fig 5: Chihiro coming back to the bathhouse on Haku's back
While being one of the most influential and successful animated film from Japan, the countries animation history is long standing and fruitful, with the oldest surviving piece of animation from Japan dating back to 1917 with Namakura Gatana (Blunt Sword). Animation during this early period from the 1910's through to the 1930's generally revolved around Japanese folklore and animation was also used during wartime to spread about Anti-American propaganda a notable example being MomotarĊ: Umi no Shinpei made in 1945 as it was the countries first full feature film. The more modern style of animation from Japan, one that is commonly recognised as anime came along in the 1960s with Osamu Tezuka's Astro Boy being the first animated television show, it has been a major influence on the genre, alongside other animations like Cyborg 009, Kimba the White Lion as well as the longest running anime Sanae-san (1969) which is still on air today and has over 7000 episodes under its belt awarding it a Guinness World Record. From then on anime has become a staple of Japanese media, moving from films to television and the increase of animation studios. Anime is now a so varied and popular that new shows are put into set seasons and can run for 12 to 24 episodes plus. With the subculture of Otaku, merchandising is now an important part of conjuring up a profit for animes. As a whole Japanese animation is now well known around the world, thanks to its iconic and diverse appearance and its uniqueness in relation to its country of origin's culture.

Fig 6: Chihiro off to find her parents back in the Human World

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Wednesday, 1 February 2017

Adaptation A: Infographic Game Screen Colour Schemes

For the colour scheme of my Infographic I want to use the colours in the games I've chosen, starting with black and white, then bright colours and then after going into more muddy colours that represent modern games, mainly first person shooters like Call of Duty.

Adaptation A: Infographic Storyboard

Fig 1: Frames 1-12

Fig 2: Frames 13-24

Fig 3: Frames 25-36

Fig 3: Frames 37-48

Fig 4: Frames 49- 60

Fig 5: Frames 61-63

Adaptation A: Infographic Script