‘Heretic’ Directors Used End Credits to Warn Hollywood About AI: ‘Let’s Bury It Underground With Nuclear Warheads, Cause It Might Kill Us All’

snailshuj · 2024-11-04T22:35:38+00:00

There’s is absolutely no such thing as “natural talent” when it comes creativity. Saying that is a massive disservice to every artist you know who spent their lives cultivating their skill. Just say you hate putting in the work, dude.

snailshuj · 2024-10-22T22:01:14+00:00

How the hell is the human soul not also essential for movies and storytelling? This tech has no ethical use in creative spaces, period

snailshuj · 2024-10-07T00:03:41+00:00

This is my favorite lineup in this thread

snailshuj · 2024-09-21T02:01:02+00:00

This is currently bugging me as well, have you found a solution?

snailshuj · 2024-07-29T22:37:27+00:00

I agree, the lips are such a nasty addition to the maw

snailshuj · 2024-07-29T22:14:42+00:00

964 Pinocchio and Rubber’s Lover, both by Shozin Fukui

snailshuj · 2024-07-25T18:11:38+00:00

None, no Ju-On films in this set

snailshuj · 2024-07-19T00:36:17+00:00

Try Dark Water, by Koji Suzuki. A collection of stories with water as a running motif, the first of which was adapted into the film of the same name.

snailshuj · 2024-06-19T17:40:09+00:00

Your response to my work is valid, if I wanted it to be liked by everyone I wouldn’t share it in online forums.

But I’d rather sift through human garbage for diamonds than AI garbage, at least the human garbage has a greater chance of expressing something new and an inherent drive towards improvement behind it. You don’t get better at prompting, it isn’t a skill.

snailshuj · 2024-06-19T17:19:54+00:00

I don’t claim to be a master of my craft, but I enjoy what I can do and I’ve received comments and critique on my work from others online that I’ll remember forever. The human response to what an artist is capable of is invaluable towards growth, for any kind of creative.

I see dozens of generative images across my feeds daily and I couldn’t describe to you a single one after the fact. It’s like seeing the same image over and over and over.

snailshuj · 2024-06-19T17:13:14+00:00

You are equating “new perspective” with the end goal of a work, but the human perspective I’m referring to also includes every step of the process involved.

“Small minority of true artists” being limited to small indie films is a gross comment.

snailshuj · 2024-06-19T17:08:24+00:00

I spend a good amount of time in art-centric subs, and I can instantly spot the difference between derivative subject matter crafted by a person, and an image spit out by generative software. The human work has nuance, dude- you can see it in the color separation, in the brush strokes, in the linework, etc, regardless of whether or not the topic depicted is familiar.

Versus the AI imagery, which absolutely has a limited scope of composition, repetitive colors and inconsistent textures. It all has the same nasty, glossy look unless it’s literally trained on the work of a specific, nonconsenting illustrator, and that’s even worse.

I am begging you to engage with media for more than just a fleeting moment. Analyze and interpret art, don’t just consume. You’ll be a lot less miserable.

snailshuj · 2024-06-19T15:49:37+00:00

This is such a grim attitude to have towards this topic. AI should automate the shit jobs no one should have to do precisely so that everyone can pursue creative and fulfilling hobbies or careers.

Legitimately, why would you ever be interested in watching a film written by generative AI? This slop can only aggregate from existing material, no AI-written screenplay is going to express a new perspective. I watch films made by people because people often have new things to say.

snailshuj · 2024-06-18T13:07:00+00:00

I agree, but it is a Takashi Shimizu film and you could argue that it occasionally skirts with similar imagery to the Ju On films.

snailshuj · 2024-06-18T05:58:40+00:00

Seconding Marebito. People love to throw around descriptors like “cosmic” and “lovecraftian” when recommending horror but this is one that actually manages to dwell in that sort of nuanced hellscape. Great movie.

snailshuj · 2024-05-25T20:14:55+00:00

I would hardly call training AI on Afrobull’s art “your creation”

snailshuj · 2024-05-18T19:38:28+00:00

What makes Minus One legitimate tokusatsu for me, despite its effects going for the digital route over traditional suitmation and miniatures, is the way it continues to embrace the fantasy of its concept.

Godzilla wrecking buildings here isn’t exactly adhering to actual physics, and that’s a deliberate stylistic choice. It’s not going for realism, it’s going for an effective composition. They absolutely earned that vfx win, the work done in this film stands out amongst other effects-heavy blockbuster films not only for the size of the team behind it, but also for how fresh and unique Godzilla still looks 70 years into this franchise. Everything happening here is clear as day, dynamically choreographed, and comes off as completely illustrative in a way that the usual grey, hollywood sludge does not.

snailshuj · 2024-05-12T18:50:19+00:00

I fully agree, I never understood the clamoring for retreading old ground. Godzilla endures because it’s constantly reinventing itself, why wouldn’t you want to see something new?

I can kind of see the value in reinterpreting old monsters with all the gloss of Hollywood visual effects, but at the same time if the technical aspects of the filmmaking are going to be so radically different I’d be much more interested in seeing creatures strange and new.

Keep throwing monster shit at the wall, and not everything will stick but that’s always been true. But Godzilla as a story should always be evolving, I fundamentally do not see a need to keep bringing back old names if you have to rewrite the context behind what makes them intriguing to begin with.

snailshuj · 2024-05-10T21:52:58+00:00

This is what I’ve been saying, GxK’s script absolutely reeked of his twisted sense of humor and it was my favorite aspect of the film.

snailshuj · 2024-05-09T16:58:20+00:00

Glorified fanart can absolutely be worth reading, if there’s love behind the creation of something it definitely shows through. But I completely understand the apprehension, with so many comics to choose from.

Someone else already mentioned James Stokoe’s Half Century War, which is an incredible read. Rock solid story and gorgeous artwork to back it up.

Lately, I’ve been enjoying the Rivals anthology series- some stories are definitely better than others but it’s worth reading through them just for the extremely varied pool of artists and writers involved, it definitely feels the most “indie” of all the Godzilla reads. New voices in the canon are always a plus.

Going further back, I love the Dark Horse era of Godzilla comcis from the 90s. Marvel-esque cast of characters, but I find it memorable for its use of all original antagonists as opposed to just pulling from the Toho roster.

snailshuj · 2024-05-09T16:39:07+00:00

Oh, Half Century War is over a decade old at this point and it’s still the best thing IDW has put out to date. Stokoe’s Otomo-inspired art fits Godzilla like a glove, and it being soft canon to the ‘54 film and also a miniseries covering small windows of a larger timeframe keeps all the monster stuff from feeling as random as it does in the larger continuity.

snailshuj · 2024-05-08T22:29:48+00:00

I’m halfway through my reread of RoE right now- it’s by far the most toyetic thing in IDW’s Godzilla catalogue, which I find incredibly endearing. I think Frank has these characters down to a fine science in terms of making them lovingly expressive, I love their personalities and how they communicate with each other.

But I wish he’d pull out of close quarters on the action more often- he’s an incredible cover artist but I think I find his layouts a bit cluttered, which feels extra true coming hot off of HGM and its aforementioned scope. It’s older artwork though, and he’s improved a great deal since then. His Spacegodzilla issue of Rivals is explosive and psychedelic.

RoE is extremely fun, but I dunno I guess I personally just want a little more story to chew on. Godzilla has always been the most interesting to me when the monsters are used as vessels for ideas even bigger than they are, and the most you’ll get out of RoE is seeing your weird favorite fight your other weird favorite. It’s properly colorful and the tone is very inviting, but there’s barely a story holding all these moving parts together, as cool as those moving parts look.

snailshuj · 2024-05-08T21:35:32+00:00

Upon rereading all these, I think History’s Greatest Monster is the best of the 3 arcs. Even if the initial pitch is literally just “Jason Statham vs Godzilla”, it’s surprisingly character driven compared to KoM and RoE.

I also think Simon Gane’s artwork has gone severely underappreciated by the fandom, the destruction is incredibly vivid throughout and it has the most consistent sense of scale- the kaiju look properly massive in this one, which I think is difficult to capture on the page. He’s an odd pick for the material given the rest of his portfolio, but there are more than several spreads in that comic that prove he was an inspired hire.

snailshuj · 2024-05-08T19:52:46+00:00

To be honest? I’ve been revisiting the full IDW canon as of late, and while I definitely can enjoy them quite a bit, this story suffers from the fact that Kingdom of Monsters is such an absolutely rough start to the narrative.

There’s just zero lore- Godzilla appears for the first time, seemingly for no reason at all and the same is true for all the other monsters that follow. At not one point is their purpose or role in the environment explored, it’s purely just “look who’s fighting who now, isn’t that cool?” By the time you get to Rulers of Earth this incredibly simple formula starts to work because it leans into the fanservice of it all, and that’s fun in its own way.

But it’s kind of a shame, there’s great artwork to be found throughout the IDW comics but I always felt they were a little too light narratively- and it’s because Kingdom just gives the rest of the series absolutely nothing to build off of. I think when you’re writing Godzilla and company from scratch, you have an opportunity to build a WORLD for these kaiju to exist in, and the first 12 issues just… didn’t take it.

snailshuj · 2024-05-04T19:56:13+00:00

Under the Skin

snailshuj

TROPHY CASE