Ten Famous Science Fiction Properties That Would Make Great VFX Movies — Part 3 ‘Appleseed’

This is a series of posts discussing ten existing science fiction properties (from literature, animation, games and comics) that could serve as the basis for ground-breaking live-action VFX films and television shows. This time: Shirow Masamune’s manga and anime franchise Appleseed.

For an explanation of the choices for this list, see the first entry.

Number 8 of 10: Appleseed (manga: 1985-89; anime: 1988, 2004, 2007)

If there’s one thing modern CG can render with absolute realism, it’s hardware. From modern consumer automobiles, commercial aircraft and military vehicles to futuristic robots, mecha and spacecraft, VFX artists have mastered the art of heavy gear, from 1984’s The Last Starfighter to last year’s Avatar.

But the military hardware, vehicles and spacecraft in modern VFX movies and television shows and video games do not show as much creative variety as one might expect, given the nearly boundless flexibility of CG. Spacecraft usually look much like the USS Sulaco from 1986’s Aliens, which itself isn’t terribly original. The “APUs” in Avatar are nearly identical to the battlemechs from the BattleTech franchise, themselves inspired by anime mecha. And any time you see a BFG (Big “Effin’” Gun) or any other large military prop in a sci-fi film, TV show or video game, it seems to come from the same prop house or 3D model library as all the others.

This isn’t necessarily because production designers and VFX artists are lazy or unoriginal – there are creative and production concerns. If a giant futuristic space blaster looks exactly like what the audience expects a giant futuristic space blaster to look like, a filmmaker need not waste time explaining what it is. The same goes for spaceships – film-goers unfamiliar with sci-fi (are there any of those left?) might be confused by the giant, spherical spaceship at the end of the 2008 remake of The Day the Earth Stood Still (they were already confused by the plot); but will instantly recognize the alien ship in 2009’s District 9, given its resemblance to the bastard love child of the giant saucers from Close Encounters of the Third Kind (1977) and Independence Day (1996). Continue reading

Ten Famous Science Fiction Properties That Would Make Great VFX Movies — Part 2 ‘Erma Felna EDF’

This is a series of posts discussing ten existing science fiction properties (from literature, animation, games and comics) that could serve as the basis for ground-breaking live-action VFX films and television shows. This time: the furry animal sci-fi comic Erma Felna EDF.

For an explanation of the choices for this list, see the first entry.

Number 9 of 10: Erma Felna EDF (comic, 1983-2005)

It took a few decades, but computer graphics engineers have mastered the modeling and rendering of hair and fur. This has allowed a tremendous level of sophistication in CG animals that are realistic (the giant ape in 2005’s King Kong), cartoonish (the new CG Chipmunks films), and somewhere in-between (Aslan the Lion from the Chronicles of Narnia adaptations).

But little has yet been done in the realm of anthropomorphics, what is sometimes referred to as “funny animal” or “furry” animation and comics. These are usually representations of characters with animal heads and other bestial characteristics, but humanoid (“anthropomorphic”) bodies, intelligence and the ability to speak. Such furry characters may or may not wear clothes; may live in their own “furry” world, or in the real world with humans; and may have their own animal-based culture. Such creatures appear in children’s literature (Beatrice Potter’s 1902 The Tale of Peter Rabbit; Kenneth Grahame’s 1908 The Wind in the Willows) and in adult stories (Art Spiegelman’s Maus: A Survivor’s Tale (1980-91); Kirsten Bakis’ 1997 Lives of the Monster Dogs). Continue reading

Ten Famous Science Fiction Properties That Would Make Great VFX Movies — Part 1 ‘Wings of Honneamise’

This is a series of posts discussing ten existing science fiction properties (from literature, animation, games and comics) that could serve as the basis for ground-breaking live-action VFX films and television shows. First up: the 1987 anime feature film The Wings of Honnêamise.

In the 1980s and 90s, effects-centered films and television shows occupied specific niches. In film, an effects-heavy movie like Ghostbusters or Terminator 2: Judgment Day was a summer tentpole release designed to reel in teen audiences of repeat viewers; while a show like Star Trek: The Next Generation, with its $2.5 million an episode budget, was a risky experiment in capitalizing on 1960s nostalgia.

Today, most movies rely heavily on VFX, many of those effects invisible. Greenscreen sets and set extensions, digital makeup, and post-production fixes for on-set mistakes are just a few applications of digital technology used in films and TV shows that the average viewer might think had no effects whatsoever.

But audiences still want “effects-heavy” films, from The Matrix and The Lord of the Rings trilogies at the turn of the millennium to the Iron Man films and Avatar today. And for the first time in TV history, shows from Firefly and Battlestar Galactica to V and Human Target are recreating the experience of effects-heavy, action-oriented movies on the small screen.

Two factors have led to this renaissance in effects-driven entertainment. First, technological advances have made it cheaper and cheaper to create top-quality effects. And second, those same advances have made it possible to realistically render visions that were never possible before. Today’s VFX artists can create worlds that just ten years ago producers would have said could only be represented with traditional animation. Rumor said James Cameron abandoned his Spider-Man film project because he was dissatisfied with the realism of the character’s CG web-slinging. Can you imagine the director of Avatar having such a concern today? Continue reading