anonymous asked:

I mean like should i get wind for execution or idle animation? alternatively I could save for the spinning decapitation for the warden. sorry i was talking in meme mode >>

Oh haha, my bad for not understanding D:

If you want to make an omage to Beta Wind form I’m all in I love that you like it ^_^


HOOOOOOO SHIIIIIET THAT WAS GOOD The references, the cameos, the representation–loved it. I do say that there are aspects in writing that couldve been better, but then again, you’re carrying the “Power Rangers” title and are expected to pay omage to the OG series, without overdoing it and having its own twist while somehow bring 5 STRANGERS together WITHOUT making it cliché–I get that it’s hard but Im still satisfied and I’m still fanboying outside the theatre Missed the new episode of Samurai Jack tho :(

Originally posted by croxasworld


Today’s brief:

| Lighting + Brass |

Image 1: I tried to play on the material properties of the brass light shade and the steel wire supporting it. Because the brass is a softer metal than the steel it would give way faster over time.

Omage 2: I added the pulley and bracket to continue the industrial theme. I like the warmness that the light would give to the brass and the natural patina the brass would develop over time.

Image 3: Close up of the curling brass.


Maybe it wasn’t an omage, maybe it was the Joker even, but Mirculousers…I saw The Riddler from DC Comics and I just about fell out of my chair!


I realize one’s a magician and the other is just a super genius who likes riddles, but the similarities to my comic book nerding was uncanny!

Culture Bros. Vol. 2 Interview with Musicians who Worked on Osomatsu-san Part 2

Q: The Drifters did a lot of funk omages too, like ‘The Drifters Tongue Twisters’.

Ishikawa: That’s because Shimura Ken likes black music.

Matsui: We also talked about how funk is in right now.

Q: Mark Ronson’s ‘Uptown Funk’, which won a grammy this year, is a sign of that.

Ishikawa: We figured that trend would be reaching Japan about now.  We thought it would sell since it’s an Akatsuka work with this group of voice actors, and at the same time those things made us feel like we had to make it sell. So we made the theme of the songs funk, which has a tendency to sell well.

Matsui: We also took care in how we used ‘sheh’.

Ishikawa: We wanted to make it a funk piece in which ‘sheh’ would sound as cool as possible. We were also careful about where we used ‘zansu’.

Matsui: When Ishikawa was composing the music we decided how we were going to ‘zansu’ (laughs). That’s when we came up with the phrase ‘Dare ga dare demo onaji zansu!’. Then we had to think about what kind of situation that phrase would come up in, and the composing of the lyrics went from there.

Hashimoto: Were you asked to make two versions for each of the six characters?

Matsui: No.

Hashimoto: That was your idea?

Fujimura: Our self-destructive idea, yes (laughs).

Matsui: And since it’s narration, the characteristics of each voice and also where to put pauses were important elements, so I listened to recordings of the voice actors a lot. I put each person’s speech rhythm and tone in my head and wrote the script that would become the lyrics while imagining them. I even impersonated them in order to record the demos (laughs).

Hashimoto: Wow.

Q: In addition to twelve sets of lyrics, you also changed the drum synth for each Matsu, didn’t you?

Matsui: We were thinking about using the Roland TR series, but we figured if I were going to do that we should change the equipmet for each character. We already had four models from the TR series, so we bought the ones we still needed (laughs).

Fujimura: Since this is vintage equipment it’s difficult to get a hold of without some luck, so as soon as we started talking about that we got on Yahoo Auctions to look, and all the pieces we needed were on there. So we were like ‘this is fate!’ (laughs).

Q: You changed synthesizers for ‘SIX SHAME FACES ~ Konya mo Saikou!!!!!!’.

Matsui: We had the tie in of using the TR series for the first ending, but there are countless synthesizers. So we decided to restrict ourselves to analogue synthesizers, and to use synthesizers with the numbers 1 to 6 in their names. So we were like ‘which synthesizers have 1 in the name?’ ‘YAMAHA CS01’. ‘Okay how about 5?’ ‘Prophet-5!’. That’s how we put it together.

Ishikawa: There were surprisingly few 3s weren’t there?

Fujimura: We were thinking really hard and someone was like ‘there’s JX-3P’.

Hashimoto: Oh!

Fujimura: As you’d expect, Hashimoto knows her stuff to react like that.

Matsui: Analogue synthesizers don’t work forever (due to issues with parts and such), so we wanted to use as many as possible as sound sources while we can. You could say that’s our mission (laughs).

Q: I’m sure you didn’t have an enormous amount of time to produce the songs, so the fact that you chose to switch your equipment around and make 12 sets of lyrics even though you would be cutting it close and risking not making it in time says something about how much freedom you had and how appealing the work was for you.

Fujimura: We really had a lot of fun and a lot of laughs working on the songs. I’m just plain happy that they were well received. But at the end of the day, if it weren’t Osomatsu-san, if it weren’t an Akatsuka work, if it weren’t these staff and these voice actors, I think it would have been really difficult. It was a combination of a number of things that has made the show such a hit, and it’s really wonderful for the Technoboys that we could be involved with it.

Hashimoto: I also feel that Osomatsu-san has pulled me forward and taken me to many different places. I’ve been involved with the show for close to a year now, so I’m sad to see it end.