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Force Awakens by skyrace











It seems the Force has truly Awoken, at least it has here on DeviantArt.


It has been one week since the teaser trailer for the first of the Disney owned Star Wars movies was released. Twitter and Facebook nearly broke under the deluge of postings of the trailer and frame by frame commentary of it. Each commentator hoping to spot something everyone else had missed.






Meanwhile on the far distant planet of DeviantArt, the community was drawing and designing up a storm of material. Where else could you possibly go and see hundreds of pieces of awesome art be rendered and posted in just one week?


The hopes and dreams of two generations are hoping for this feature to respark the wonder the original film inspired back in 1977. Based on what we have seen posted here on DeviantArt this week we can only presume those hopes and dreams are going to keep growing.


Now, we know you saw the trailer. Admit it, more than once.







Everyone of course is asking the simplest of questions, why is the Imperial Stormtrooper on the run?






We won’t really know until well into next year… and that’s way too long to wait because we are the spoiled children of modern generations accustomed to instant gratification in all things pop. So we have for you a dilemma, a conundrum, A CHALLENGE.


Do you have the creative mind of a “Star Wars” imagineer? When you see the young man, sweating, breathing heavily, running in the desert of some nameless planet, running from something… do scenarios begin taking shape in your head? Do questions demand answers? Is he actually a stormtrooper, or is he disguised to escape stormtrooper captivity? Is he a deep undercover agent of the Federation who’s just had his cover blown? Is he a once loyal soldier of the Empire who saw something he shouldn’t have seen, something that now has him trying to defect to the Federation, something that has generated his death warrant?








Open your mind to the all–powerful creative storytelling streams of The Force, and write a few paragraphs of the story you see developing… because a year is just too long to wait.

















Your Thoughts




  1. Can you name who said all the above quotes? For extra brownie points, name the movie they’re from.
  2. What is your favorite Star Wars quote?










It has been one week since the teaser trailer for the first of the Disney owned Star Wars movies was released. Twitter and Facebook nearly broke under the deluge of postings of the trailer and frame by frame commentary of it. Each commentator hoping to spot something everyone else had missed.

Meanwhile on the far distant planet of DeviantArt, the community was drawing and designing up a storm of material. Where else could you possibly go and see hundreds of pieces of awesome art be rendered and posted in just one week? The hopes and dreams of two generations are hoping for this feature to respark the wonder the original film inspired back in 1977. Based on what we have seen posted here on DeviantArt this week we can only presume those hopes and dreams are going to keep growing. It seems the Force has truly Awoken, at least it has here on DA.

Author: techgnotic 
Curator/Editor: DeevElliott 
Designer: seoul-child

For more articles like this, visit depthRADIUS.
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Billm by techgnotic













Sometimes a painter’s vision expresses and inspires what the zen philosopher’s words can only define and describe.


When remarkable lives defined by success and abundance are reviewed from their beginnings, it is remarkable that the narrowest of paths, sometimes a precarious balancing between life and death itself, led to the decision to fight on when failure seemed certain. So it was for our beloved friend Bill Murray, having once entertained the thought of ending it all before his career had a chance of getting started.


Just imagine how much pure unadulterated joy the world would have been denied had Bill taken that one fatal misstep in his journey on a cold day at the water’s edge…



Nixon’s world imploded…


…With his resignation as President of the United States in the summer of 1974 and a more hopeful America arose in its place. A part of this new world was a fresh anarchistic current of comedy that satirized all the stale conventions of the society that gave us Nixon, ‘Nam and “TV Dinners.” In ’75 a funny guy named John Belushi brought Bill Murray into the “National Lampoon Radio Hour” (a sort of post–grad project of “Harvard Lampoon” alumni). In ’77 Murray was drafted into the then–revolutionary Saturday Night Live during its second season to replace it’s first “star” departure, Chevy Chase. Hip America fell in love with Bill’s “unmade bed” everyman persona over the next three SNL seasons.


Bill then transitioned well into the movies with Meatballs, Caddyshack and Stripes.


In 1984 he agreed to step into a part vacated by the death of his friend, John Belushi, who was perhaps the single most significant champion and promoter of his early career. He took the part to help finance his remake of The Razor’s Edge, from the Maugham novel about a man’s search for spiritual meaning in a violent and randomly cruel world—issues obviously on Bill’s mind in the wake of John’s death. Ghostbusters went on to become one of the box office blockbusters of all time. Razor’s Edge is gone and all but forgotten.



Bill starred in audience favorite Goundhog Day, but most of his film work has tilted into more experimental and eccentric moviemaking, like Wes Anderson’s Royal Tenenbaums, Life Aquatic with Steve Zissou, Fantastic Mr. Fox and “Moonrise Kingdom.” In 2003 he starred in what he has claimed is his favorite role, as the American movie star Lost in Translation in Japan, having flown in to pick up a big check for doing a TV commercial. The Sofia Coppola–directed film afforded Bill the space to examine a life of fame, opportunities, generous remuneration for one’s talents—and yet still nagged by the core loneliness afflicting all humans. That we’ll never know what it is (perhaps some zen wisdom from Razor’s Edge) that he whispers to fellow traveler and lost soul Scarlett Johansson is the moment that elevates this movie into humanist masterpiece, the small detail that defines our lives on Earth. Pure movie nirvana.


Bill may be our slacker Buddha who continues to define in his every brilliant comedic choice the finer ironic points of modern living, but there was a time when darkness nearly swallowed his developing mind after a comedy club audience gave a thumbs–down to his stage debut. Bill was the disgraced newbie with the Second City crew in Chicago and in fit of depression decided to drive to Lake Michigan. Lucky for us, he had to pass the Chicago Art Institute on his way to the murky shore.


Lucky for us



He decided to stop and take a moment before entering oblivion to put some beauty in his head. Lucky for us, that Jules Breton painted The Song of the Lark in 1884. The painting is of a stoically beautiful peasant woman at dawn, readying herself for another day’s hard labor in the fields. Her eyes are raised heavenward, as she apparently hears a lark, a small bird living hidden on the ground, but a singer of beautiful songs when having raised itself up into full flight. Lucky for us, that this painting was there to save Bill Murray’s life and renew his spirits, as he recently revealed, obviously resonating with the comic capable of transcendent humor but who had, nonetheless, crashed and burned on his first attempted public “flight.” Lucky for us that an appreciation for art was a large enough part of his life to inspire him to soar again.










Your Thoughts






  1. Have you ever had the experience of being lifted out of a seriously dangerous depression or sadness by losing yourself in a work of art? Was the artwork on deviantART and would you share by posting it here in the Comments section?

  2. Is there a particular artist whose works you look at to be uplifted or that invariably just make you feel happy?










Sometimes a painter’s vision expresses and inspires what the zen philosopher’s words can only define and describe.


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Star Wars: A New Hope

Thu Nov 20, 2014, 7:41 PM
Img-00a by techgnotic














Who’s the most important person now in the Star Wars franchise? JJ Abrams? Think again!


It has begun. Below you will find the trailer to the beginning chapter of the next Star Wars sequels, Star Wars VII: The Force Awakens,a new trilogy for a new generation. One well crafted 88 second trailer later, and it's just what we were hoping for. X-Wings, Tie Fighters, brand new Light Saber designs, the Millenium Falcon and just enough intriguing character moments to have us all guessing at plot points until the next one arrives. The style of camera work is also very interesting, a bit cinema verite, as we open on a character obviously on the run. We will have a full breakdown of the trailer coming next week. Our global Star Wars culture stirs in its sleep. George Lucas is whispering, “Wake up…” — for he has more life lessons for the youth. He continues on in his role as our children’s modern Walt Disney.


This second batch of Star Wars movies will hopefully fare better with the fans than the near-disastrous rollout of The Phantom Menace in 1999. The Star Wars community was split in two by the prequel trilogy. While on one hand it brought in a whole new younger audience to the franchize, the older fans who had waited so many years for these films were devastated that they were skewed to such a young audience.



But there was something else missing, one might say the vital ingredients that made the original franchize so great.



There was no hope that we’d ever see Francis Ford Coppola, writer and director of the fantastic Godfather Trilogy as well as Apocalypse Now, work on the scripts as he had done on A New Hope. There was also no chance that Gary Kurtz, the original trilogies producer would be back either. Gary was just as involved with Star Wars as George Lucas was. He kept George on track on both development and production through American Graffiti and their early desire to do a Flash Gordon adaptation, the latter project evolved into Star Wars.


We can relax because J.J. Abrams, who so successfully resuscitated the Star Trek franchise with his reboot, is the director this time out.


No worries, right? So who’s left?



Lawrence Kasdan. The man who co-wrote Empire Strikes Back and Return Of The Jedi. The man credited with breathing life into Luke, Leia and Han, then taking them on a slightly darker path. Kasdan was the man who also helped bring Indiana Jones to the screen, co-writing Raiders Of The Lost Ark! Many fans, with serious Star Wars knowledge, were relieved when the first video journal for Star Wars had both JJ Abrams and Lawrence Kasdan in it. A hopeful sign that JJ wouldn’t have final say on the script, something many Star Trek fans had wished someone else had on that reboot. Lawrence will be around for a while, his name already linked with the further sequels and spin-offs planned by Disney for Star Wars.


So as the Jedi nation grows in its multitudes and the 2015 Star Wars Celebration Convention, scheduled for April 16-19 in Anaheim is projected to shatter attendance records, there remains little evidence of the Force ever having being asleep in these years after the third “prequel.”


Lawrence, our faith is with you.


No pressure.



























Your Thoughts


  1. Which Star Wars characters are best suited to be featured in their own spin-off films?
  2. Do you hope Lando makes a surprise appearance?
  3. What are your hopes for the new series of Star Wars films?
  4. How would you like to see Han Solo and Princess Leia's relationship play out?
  5. What is your favorite Star Wars Fan Art or Fan Fiction?











Who’s the most important person now in the Star Wars franchise? JJ Abrams? It has begun. Below you will find the trailer to the beginning chapter of the next Star Wars sequels, Star Wars VII: The Force Awakens, a new trilogy for a new generation. One well crafted 88 second trailer later, and it's just what we were hoping for. X-Wings, Tie Fighters, brand new Light Saber designs, the Millenium Falcon and just enough intriguing character moments to have us all guessing at plot points until the next one arrives.

Author/Curator: DeevElliott
Designer: seoul-child 

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01-img-00b by techgnotic











Foreword by techgnotic


The Today Page welcomes Sylwia Telari with a review of the one of the most beloved animated feature films of Hayao Miyazaki, “The Castle Of Cagliostro.” A DeviantArt community member for over six years, Sylwia is a traditional artist, working mostly within the mediums of ink, graphite and water color, as well as a wonderful storyteller and concept artist. Sylwia is also a Community Volunteer for Traditional Art, so please let her know if you see an artistic work that you feel is worthy of a Daily Deviation in that category.











I watched The Castle Of Cagliostro after having seen all of the “Master” Miyazaki’s more recent films. It was a fantastic opportunity to see the foundations of his career and the roots of the magic Miyazaki formula that he would apply in his later productions. Based on the “Adventures of Arsène Lupin III” manga created by the artist Kazuhiko Katō (or Monkey Punch, as he prefers to be known), The Castle of Cagliostro (1979) has continued to be very positively received by audiences over the years, despite a not so enthusiastic review by Monkey Punch himself, who liked the movie overall but felt the character’s interpretation was too far a departure from his original conception.


Arsène Lupin III is quite the charming burglar, said to be a grandson of Maurice Leblanc’s famous character, the French gentlemen thief, Arsène Lupin, whose first adventure was published in 1905. One of the major differences between Miyazaki’s version and Monkey Punch’s original is Lupin’s personality, transformed from a cold and ruthless criminal into a fellow who is rather heroic and good–natured at heart. Such changes didn’t bypass the other characters either, creating the sort of ensemble so recognizable (although still not fully developed) for those familiar with Miyazaki’s later films.


One can easily notice the signs of the Miyazaki style that was to become the flagship of Studio Ghibli. Not quite what you can see in Nausicaä of the Valley of the Wind, released 5 years later, but with the attention to detail, the unusual camera angles and the pattern of movements personalized for each character, is exactly what you expect from Miyazaki in his other works. The setting, both the landscapes and the architecture, is a wonderful example of akogare no Paris, a romanticized vision of Europe (and European inspired locations), another trademark element of his productions. What may be surprising for long time Ghibli fans is probably the language used, as Miyazaki didn’t restrain himself from using more ‘colorful’ dialogue.


This movie will make you smile. It has a never-ending display of beautiful visuals to marvel at and chase scenes the animated equal of any in the James Bond films. It does have a few cheesy moments here and there, and a stereotypically evil, one–note antagonist, so atypical for a Hayao Miyazaki character. But it also has those forever memorable scenes that steal your heart and details that will make you wonder. The Castle of Cagliostro should be on your watch list. It’s a good one.











The Castle of Cagliostro (1979) has continued to be very positively received by audiences over the years, despite a not so enthusiastic review by Monkey Punch himself, who liked the movie overall but felt the character’s interpretation was too far a departure from his original conception.


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Collection: Space Art

Wed Nov 5, 2014, 5:33 PM
Castles In The Sky by Kimmokaunela







Space Art


There was once a time when art depicting the lands west of the Appalachian Mountains as pristine wilderness awaiting exploration was censured by church and state as distracting from more important matters of the common pieties of home life. But there have always been those who need visions of grander realms for the journeys they can only dream of experiencing, but that may one day be rest stops on their great–great–grandchildren’s celestial road maps.









:iconrealm-of-fantasy:

About Realm-of-Fantasy


Fantasy, by it's core definition is: the free play of creative imagination. This is a place for Fantasy Artists and Enthusiasts to come and share their imagination, and meet others with a similar passion. Whether you have come here to share, enjoy or learn you will find what you are looking for. Artists of all skill levels are welcome, from beginners to professionals. Join us at the Realm of Fantasy. Where the only limits here is your magination.









"In space, race doesn't matter, nationality doesn't matter... you see the world as a globe and you don't see the boundaries." — Maggie Aderin–Pocock


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Screen Shot 2014-12-02 at 6.46.36 PM by techgnotic


What


Superheroes


Should Today's Technologies Inspire?







We got to interview a visionary futurist with an eye on technology about what would inspire today's comic book writers to create our next superheroes with knowledge of real technological and scientific advancement.


You never know when it’s going to happen – that otherwise quotidian moment when you suddenly realize your entire thought process has just been tripped up and cast down a cerebral rabbit-hole destination unknown. Little did I know that what began as a typically pleasurable lunch with spyed and makepictures during the San Diego Comic-Con last year would morph into a mind-expanding mental wormhole voyage to the future courtesy of another guest at our table, JordanGreenhall, known to me only as the co-founder of DivX, Inc., the prestigious leader in software creation for video authoring and encoding.


The question was raised: what’s in store for the future of all this? (“all this”, i.e., the costumed conventioneers milling about the miles of booths promoting sci-fi movies, comics, toys, videogames and videogame systems, etc.)


Jordan began to answer the question … and that’s when the convention floor began to fade away into a surreal swirl of background static, as a true visionary began time-tripping my brain forward into the future. I now know why he’s at the top of the speakers’ list of every year’s futurist society conclave, philanthropic ethicist entrepreneurs summit and Aspen Institute-style fix-the-planet think tank confab. He sees through the pop clatter and clutter into the heart of what’s happening, where it’s all going, and what’s important and why.















So who is this guy rewiring

my cranial circuits, anyway?


Besides revolutionizing the way video is brought to all our digital devices with the DivX codec, Jordan is a trustee of the Santa Fe Institute, a non-profit research center dedicated to analyzing and addressing the planet’s “environmental, technological, biological, economic and political challenges.”





This is the key to knowing what Jordan is really about, besides being a new tech genius. He’s one of the good guys who has decided to devote his knowledge of and special position in the new media revolution to turn the world historic wave of change washing over us in the direction of something positive, a better world. To that end, he is indefatigable as a globetrotting guest lecturer, sharing his insights and visions as an advocate for the “efficient, collaborative, open” model of new media-driven information dispersal, and an opponent of the old “closed, centralized, inauthentic” model of information control. Jordan is a prophet for the new wave, and he preaches that enlightenment comes when one accepts that the wave cannot be possessed and controlled, but only understood and then utilized for everything that knowledge of it can bring to this world and future generations.



The “digitization/socialnetworking/participation” wave is as profound and world-changing as Gutenberg’s invention of movable type. And this wave cannot be “owned” and controlled – it can only be ridden by those who seek to understand it, build it and share it with their digital network communities.











That’s all well and good, but what about the future of sci-fi

and superheroes like Iron Man and Wolverine?




I can only attempt to adequately paraphrase his scientific reference-laden response: Quantum mechanics and new discoveries flowing out of our technological revolution (like what’s going on with the Large Hadron Collider in Europe) is going to fundamentally impact and evolve science fiction, not least of which the “origins stories” of its superheroes.


The caped superheroes prowling Comic-Con are the products of the science speculation that excited creative artists back in the 1950s and 60s. The “science fact” being exponentially produced and disseminated to writers and artists currently will soon result in a whole new paradigm, a radical new chapter in sci-fi stories and heroes. Soon new sci-fi heroes will have their “origins” in detours through extra dimensions (courtesy of string theory) rather than as a result of radioactive spider bites. Evil nemeses will be much more interested in enslaving humanity through data control rather than by death ray. Superheroes will become much more concerned with using their powers to avert environmental disasters and systems collapses. New sci-fi heroes will have their genesis in our artists’ dreams of solving our current world-catastrophic challenges. “Superman” was imagined by no more than a daydream of possessing superhuman strength and being able to fly.










Today’s “imagineers” need only click on the science page of their online newspaper to be provided the raw ingredients for new superheroes with quantum mechanical and interdimensional identities and powers far more mindbending than those possessed by the super heros presently haunting the aisles of Comic-Con.













An interview with:


Jordan Greenhall







Sci-fi at bottom has always been anchored in “possible futures” based on speculative science. What scientific “new idea” do you see really catching fire in the popular imagination which will become a new “standard” for sci-fi stories?




We’ve always known that fiction can (and does) create reality. The often cited connection between Star Trek and a wide variety of our favorite toys (including the incorrigible efforts to fabricate teleportation) is a classic example. What is happening today is that the line between “future” and “present” is getting thinner and thinner. As a consequence, it seems that many of the “new ideas” that will hit the popular imagination are less widely speculative (in the Roddenberry, Asimov or Clarke sense) than they are practical conjectures that have been on the cutting edge for a while and are just about to move into the popular consciousness.










What do you think will be the “paradigm shift” in how new superheroes (or even our traditional iconic ones) will be conceived and how their stories will be told?




Personally I think that the next wave is going to be the re-absorption of the (super)hero into the hero. The superhero is largely the expression of the desire for power on the part of the powerless. One of the major themes of the current era is the “flattening” of power and new, more complex, challenges. I sense, perhaps, a return to the more human stories of adventure and heroism to which the normal person could, in principle, actually aspire. We will be witnessing the most dramatic “leveling up” of individual power since the invention of multi-cellular life. In many ways, a mid-21st century human will be a superhero. When you speculate about cybernetics, genetic and chemical modifications, and the more esoteric man/machine interfaces (for example, one mind controlling multiple geographically separate bodies) – not much of the “superhuman” is left outside of the “adjacent possible”.










With so much riding on how well a “tipping point” mass of the population of the Earth understands enough about climate change, etc, and how committed they become to changing things – how important is the “educational” and cultural role of comic books and sci-fi genre fictions generally in saving the world?




It’s clear to anyone who’s been paying attention that the “ComicCon” genres are (by far) the most effective “memetic organisms” yet devised by humans. It’s sometimes hard to recall that scarcely 70 years ago these genres were marginalized – by the marginal for the marginal. Can it be the case that the flashlight-lit passions of impotent nerdy teenagers have somehow come to utterly dominate the global zeitgeist? It certainly seems that way. And while the rich rewards of this domination still seem to flow more to Flash Thompson than to Peter Parker, the memetic ball is clearly in Superman’s court. Yes – it seems very likely that something like the memetic success of genre fiction is a necessary component to achieving a global tipping point.










Where should anyone who cares about the future of humanity keep their focus trained right now? What general information resources on the web or elsewhere should the concerned world citizen try to be aware of and monitor regularly?




What I’m seeing right now is that most of the best stuff is happening sub-rosa. Bloggers having “off-the-record” conversations. Private groups on Facebook or wikis. It seems right now to be about acquiring a certain sensitivity. A nose for who is saying something that smacks of the future – and a huge network of people who are mutually surfacing the below-the-surface conversation. When you find someone smart, see who they follow (and retweet) on Twitter. Who do they +1 on Google Plus? Whose answers do they like on Quora? Pretty quickly you’ll find yourself tapping into the vital flow of “the conversation” and, soon enough, contributing to the portions that are most important to you. After all, a primary theme of the Great Transition is interaction – not just monitoring.











What is the single most important inspiration or cause that keeps you motivated to keep on thinking, exploring and seeking solutions for the survival, extension and betterment of human life on Earth and beyond?




My kids. If you make the decision to have children you can no longer afford the luxury of being cynical.












Questions


For the Reader





1Do you prefer science fiction stories in which superheroes or average human beings are the main protagonists? Do you think advancing technology will shift sci-fi to being mainly about humans with tech powers, or will there always be the need for a super-human “superhero?”


2Which classic superhero do you think best fits and exemplifies the essence of the new Technological Age? Which superheroes do you think don’t fit so well and why?





3Which relatively “new” superhero (who reflects the times and tech of 2012 more than 1950) would you like to see raised up out of the pages of his or her graphic novels and turned into a major film or video game on the same level as “Superman” or “Batman”?


4Flying, x-ray vision, super-strength, shape-shifting, invisibility, mind control, etc. are so played out. Can you think of a “new” super power that could really give you the edge in your struggle for goodness to triumph over meanness and evil?











We got to interview a visionary futurist with an eye on technology about what would inspire today's comic book writers to create our next superheroes with knowledge of real technological and scientific advancement. You never know when it’s going to happen – that otherwise quotidian moment when you suddenly realize your entire thought process has just been tripped up and cast down a cerebral rabbit-hole destination unknown. Little did I know that what began as a typically pleasurable lunch with +spyed and $makepictures during the San Diego Comic-Con last year would morph into a mind-expanding mental wormhole voyage to the future courtesy of another guest at our table, *JordanGreenhall, known to me only as the co-founder of DivX, Inc., the prestigious leader in software creation for video authoring and encoding.
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A magic of effective art can be a drawing that appears to be a movie still, clipped from a film narrative, evoking a powerful sense of storytelling— and the viewer wants to know the rest of the story. This phenomenon has recently manifested itself on deviantART— and in a big way— once again.





Dwayne “The Rock” Johnson will produce a movie based on a drawing (“sweet Halloween dreams”) by deviantART digital artist begemott. The drawing depicts a tiny teddy bear with a tiny wooden sword and shield defending a sleeping child from the advances of a hideous beast sprung from the child’s nightmare.







The drawing was spotted on deviantART and brought to the attention of The Rock, film company, New Line, and the production company that produced The Rock’s successful movie “Journey 2: The Mysterious Island.













Begemott’s gallery is full of wildly imaginative art works... We want to become a part of that world and find out what happens next.














Begemott’s gallery is full of wildly imaginative art works that succeed in capturing the moment in an idea’s “story” that represents a portal into a separate world. We want to become a part of that world and find out what happens next. Almost any of the images from this artist’s gallery could serve as a more interesting story platform than the mostly stale stories released every Friday in our movie theaters. So what at first blush might seem a bit crazy— constructing an entire film narrative from a single artist’s image— becomes much more understandable.











Even within short viewings, the striking and evocative story possibilities of begemott’s artworks spark the imagination. But so many of these paintings deserve longer viewing sessions offering even greater reward by allowing the constructed tableau to percolate and truly come to life. Sensing the dilemma these characters are facing becomes the core focus when viewing these works. Empathy for the subject and situations and the just occurred events comes easily as the scenes unfold and the characters’ relationships with themselves and others become clear. These newly familiar characters exude more identity and personality than the scripted clichés populating too many a screenplay.


The creativity, imagination and resonance with seekers of art that is always next-level, delightfully wicked and yet thoroughly human, always the portal moment of a story we want to enter, is what makes begemott’s art so special. And as a moment of captured “living narrative” his work is drawing in those in the entertainment businesses charged with finding life buried in the stacks of deadheaded old-thought pitches and submissions.


















DeviantART's great proletarian aesthetic is infusing media. Presented for your consideration: the likeness of a central character in Bioshock Infinite was sourced from a prominent cosplayer on deviantART, ormeli; and the recent suggestion by a snarky critic that the key art poster for The Great and Powerful Oz must have been made by a “14 year old on deviantART”— it certainly reflects deviantART because that’s what the world wants to see.


This community is the dominant aesthetic.

















DeviantART is becoming known as the place to come to, where the imagination for the new millennium and the new narrative spaces of the Internet are to be found. And begemott is the newest example of the narratives being discovered here.


Deviants should be made aware that this phenomenon of Hollywood finding movie ideas in the galleries of deviantARTists is not novel. This community’s impact on the aesthetic and narratives of all media is substantial and constant though frequently invisible. This event is distinguished by the high profile acknowledgement of the artist and of deviantART as the source of his work.




















Interviewwith begemott










techgnotic:
How integral was your network of friends and watchers on dA in the “discovery” of this artwork?


begemott:
I think it was crucial. It is only a guess, since I cannot know the people who posted the image on reddit and facebook, but I would expect that it started from people watching me on dA. Same for the people who posted links to my page in comments when the image appeared without attribution. I'm very thankful to them.









techgnotic:
With so many screenplays competing for the attention of movie producers, how surprised were you that your drawing was chosen as the basis for a feature film?


begemott:
It was very unexpected. I guess it shows how social media are changing the landscape. I think that recently another movie project was based on comments on a thread in reddit. It is certainly exciting to have such opportunities offered to outsiders. I would guess that one attractive property of picking up an idea from the internet, is that it has already received feedback from people.










techgnotic:
What do you think it was about your drawing that so intrigued a producer looking for a unique story to tell?


begemott:
I think that the drawing implies a larger story, and it's probably easy to relate to. The night is scary when you are a kid, and I'm sure many children have comforted themselves by imagining that something in the room protected them from all the imaginary dangers in the dark.










techgnotic:
There are so many elements balanced in your simple piece – childhood fear and wonder, heroism and loyalty, the safety and the terror of one’s own bed. Do you spend a lot of time thinking about achieving desired balances or effects, or do you just construct “story narrative platforms” instinctively? What can you tell us about your process?


begemott:
I try hard not to think! When I do try to think about such things explicitly, it all goes wrong. I don't have a process as such. What usually happens is that at some point, usually late at night, often after listening to music for a long time, I have an idea, and I make a quick sketch on a piece of paper to remember. These quick sketches are very rough and probably totally incomprehensible to others. At some other time, when I have time to spare, I go through these sketches, find one that seems like it's worth the effort, and finish it.












techgnotic:
Have you been approached by Hollywood about obtaining film rights to your other artworks?


begemott:
No.




techgnotic:
Can you share with us your preferred tools when creating your artworks?


begemott:
I usually draw with a mechanical pencil on plain paper. When I want more detail, I may use larger Bristol paper. I then scan it and do the coloring on the computer using a Wacom pen.






techgnotic:
There is an ongoing rash of movies “updating” classic fairy tales that all seem to fail by losing all sense of childhood as adult themes are added to the mix. Do you think the “Rock” might succeed in creating a gem like “Time Bandits” amidst the current mishmash affairs like “Snow White and the Huntsman?”


begemott:
I don't really know much about the movie. I will not be part of the creative process, but I certainly hope the end result will be enjoyable. I don't think that adult themes are necessarily a bad thing in a child story. I think that the problem is that in many recent movies revisiting fairy tales, the adult themes are simplistic and inserted in a forceful and explicit way. On the other hand, many good child stories have real underlying adult themes, without losing their magic.

















Questionsfor the reader







1.

Is there a particular artwork, or an artist’s work in general, in which you notice this “moment from an unwritten story” phenomenon?




2.

Have you ever been intrigued enough by a “narrative moment” artwork on dA to ask the artist in a comment to tell the rest of the story? Would you like to do that?




3.

Do you think the Hollywood studio trend in seeking more imaginative narratives in dA’s “unwritten stories” will increase?




4.

Is this because audiences in the Internet age in general are demanding more full spectrum or multifaceted platforms for their narrative entertainment?














A magic of effective art can be a drawing that appears to be a movie still, clipped from a film narrative, evoking a powerful sense of storytelling— and the viewer wants to know the rest of the story. This phenomenon has recently manifested itself on deviantART— and in a big way— once again.

Writers: $techgnotic
Designers: $marioluevanos
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I do them, yes! It's one of my favorite pastimes. ^^ For those interested, here's a general list of things (anime, shows, games, whatever) I'm familiar enough with to RP the characters, or some of the characters.

Notice: Any animes listed exclude manga canon, since I don't read it much.


Old Journal
- Avatar: The Last Airbender (no LoK)
- Attack on Titan
- Soul Eater
- Harry Potter
- SOME Pokémon (games only, to an extent; anthro Pokés or humans)
- Teen Titans (been YEARS since I watched, though)
- Death Note
- Another (set BEFORE all the deaths, obviously; same for Angel Beats and Madoka Magica)
- Angel Beats
- Madoka Magica

Things I forgot in the old journal:
- Mass Effect (no using Shephard on either end)
- Skyrim
- DBZ (new!)
- RWBY (new!)
- A million other things slipping my mind currently, etc.

Things I just recently became a fan of:
- Psycho-Pass
- Kid Icarus: Uprising (New!)
- Guardians of the Galaxy
- The Devil Is A Part-Timer (new!)


There's probably way more stuff I'm not thinking about just yet, but this is just stuff in general I know I can RP characters from. I'll also play with or as OCs as well, so there's that. I also will not do anything sexually explicit, but can hint at darker themes. Almost any bondage set up is fine (including none!), along with however intense it can get for the 'lee. I won't refuse to play the ticklee if asked, but generally play tickler more often. 

I'll play via notes or Skype, but if you have an alternate means of communicating (I won't RP in the comments) then we can work something out. Note me for my Skype name or to start an RP!

Ciao~!
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Paul Tobin's Scavenger Hunt

Wed Dec 10, 2014, 6:41 PM
1200x700 by techgnotic










The Hobbit: Inspirational Tutorials


Masterful Resources on DeviantArt


:iconpaultobin:

PaulTobin is a conceptual designer, illustrator and graphic designer who has worked at Weta Workshop of New Zealand since 2003.




He has worked on films such as Andrew Adamson’s The Lion, The Witch and the Wardrobe, Prince Caspian, Peter Jackson’s King Kong and James Cameron’s Avatar and most recently The Hobbit.


A master illustrator who has had gallery showings of his own original fantasy and sci–fi art, he has become a spokesman and advocate for other New Zealand fantasy and sci–fi artists. White Cloud Worlds was the 2010 “coffee table” anthology edited by Paul featuring the works of 27 of his amazing fellow NZ fantasy artists.


Paul has recently been the subject of a series of DeviantArt tutorial videos in which he outlines his work as a conceptual designer in film production and describes his methods at Weta Workshop for developing the best original concepts for the prehistoric or alien inhabitants of other worlds of the artist’s imagination. These tutorials should prove an invaluable resource for deviants interested in pursuing careers as studio graphic designers and illustrators in fantasy films.


Read the full interview.


Paul Tobin There and Back Again








White Cloud Worlds Volumes 1 & 2






With forewords and introductions from Guillermo Del Toro, Richard Taylor, Iain Craig and Wayne Barlow, these two lavish volumes represent the finest fantasy artwork from New Zealand.






Paul Tobin has graciously given us 20 copies of his books for a DeviantArt competition.


What you need to do


All you need to do for a chance to grab one of his books is to post in the comments below a link to a piece of art from the community that you think might inspire Paul for his own personal upcoming project about the lost city of Atlantis. Paul will then select 10 of the pieces and the deviant posting the piece will get a copy of one of the books as well as the deviant who produced the piece.


Paul will select his favorites on December 31st and we’ll post a wrap–up shortly after.








View the rest here










Paul Tobin's Scavenger Hunt Series










Leave your selections for Paul in the comments below









A master illustrator who has had gallery showings of his own original fantasy and sci-fi art, he has become a spokesman and advocate for other New Zealand fantasy and sci-fi artists. White Cloud Worlds was the 2010 “coffee table” anthology edited by Paul featuring the works of 27 of his amazing fellow NZ fantasy artists.


For more articles like this, visit depthRADIUS.
Want to submit any ideas, suggestions, collections, or an existing work for consideration for the Today page? We'd love to look at it. Email us at share@deviantart.com
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Storytellers of the Future

Thu Nov 27, 2014, 2:02 PM
Storyteller by hyenacub by techgnotic












What kind of new narratives will 21st Century storytellers create for our changing world?







Brain Games host Jason Silva tackled that question in a two-minute video called "Lucid Dreaming," outlining the tremendous opportunities (and challenges) facing 21st Century storytellers. As our relationship to technology evolves, the stories we tell each other will change as well.


It’s always fun to imagine what the future will look like and how we will tell stories in this new world.


Silva used culture writer Erik Davis' description of immersive storytelling, a way to create a sort of lucid dream for the reader or viewer:



Immersive works of art or entertainment are increasingly not content to simply produce a new range of sensations. Instead, they often function as portals into other worlds."


— Erik Davis




Silva also quoted Hamlet on the Holodeck: The Future of Narrative in Cyberspace by Janet H. Murray, a scholarly book looking at the future of storytelling. Silva explained how readers and viewers interact with a story:



So powerful is our desire to be immersed that it's not just that we suspend disbelief, but that we actually create belief--using our sophisticated intelligence to reinforce our belief in the story world, rather than to question it. We actively metabolize belief through story ... The narratives of the future have the potential to transform what it means to be human to employ landscapes of the mind and turn subjective experience into a living, breathing painting; a wake-walking dream.”


— Janet H. Murray



Murray's book was published in 1997, but it is still very relevant for readers, viewers and creators. She raised questions that still need to be answered as technology evolves.


Here is an inspiring passage from her book:


I find myself anticipating a new kind of storyteller, one who is half hacker, half bard. The spirit of the hacker is one of the great creative wellsprings of our time, causing the inanimate circuits to sing with ever more individualized and quirky voices; the spirit of the bard is eternal and irreplaceable, telling us what we are doing here and what we mean to one another. I am drawn to imagining a cyberdrama of the future by the same fascination that draws me to the Victorian novel. I see glimmers of a medium that is capacious and broadly expressive, a medium capable of capturing both the hairbreadth movements of individual human consciousness and the colossal crosscurrents of global society.


What do you think? Who are the writers leading this storytelling revolution?


The wonders of narrative immersion possible through new tech advances are truly amazing.  My only worry is that as with every other academic subject our youth are slipping in due to disuse, the intellectual muscles that created the worlds in which we as young readers had suspended disbelief are beginning to atrophy.


Children’s stories, or for that matter stories for any age group, should not rise or fall on how well the illustrators and animators built the backgrounds I see in my 3D virtual reality wraparound glasses.  At a certain point, pure storytelling (great writing) is going to begin becoming just another element in the overall narrative, and with its primacy reduced, become all the weaker and mundane.













Your Thoughts






  1. Have you ever had a favorite novel spoiled by a bad TV or film adaptation?

  2. Have you ever watched a movie before reading the book, only to find the adaptation more exciting and thoughtful and satisfying than anything in the original source material?









What kind of new narratives will 21st Century storytellers create for our changing world? Brain Games host Jason Silva tackled that question in a two-minute video called "Lucid Dreaming," outlining the tremendous opportunities (and challenges) facing 21st Century storytellers. As our relationship to technology evolves, the stories we tell each other will change as well.


For more articles like this, visit depthRADIUS.
Want to submit any ideas, suggestions, collections, or an existing work for consideration for the Today page? We'd love to look at it. Email us at share@deviantart.com
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