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The disabling problem is the fundamental: miscasting, not of the voice actors, who are OK, but of the characters themselves, and the roles they're assigned in the story. Ian, the younger of two elf brothers and the central figure in the quest that passes for a plot, is simply too weak a personality to bear the load he has been assigned, and his older brother, Barley, is too shallow and noisy to take up the slack.

Flip the two characters, though, so that Ian is the older and more mature of the brothers, and Barley the reckless kid brother, and you might have something.

Instead, we have Ian's constant whimpering and Barley's feckless swagger, with not enough comic support in the writing for either brother. A pity, because the basic conceit—the world of the film is the world of classic mythology, corrupted and diminished not by some breach of divine law but by electricity and its conveniences—is perfectly workable. Little unicorns rooting in garbage like alley cats, a manticore voiced wonderfully by Octavia Spencer as digital tape measure kickstarter size proprietor digital tape measure kickstarter size a Chuck E.

Cheese-lookalike, biker sprites, and so on--all this works, for me, as a sort of degenerate version of the Pastoral Symphony in Fantasiajust not well enough to make up for the fundamental mistake. At least Onward isn't, not quite, a victim of the religiosity that has infected other Pixar features and dominates the dreadful creationist fable The Good Dinosaur. Onward is, digital tape measure kickstarter size default, a pagan story; that's what you get when you stir elves and other rmythical creatures into a plot that turns on the boys' efforts to resurrect their dead father a victim of cancer, that least amusing of diseases for twenty-four hours.

Their task is complicated by the failure of a magical staff to retrieve more than the lower half of Dad's body from whatever afterlife he is digital tape measure kickstarter size inhabiting. Where has he gone, and to where is he returning?

What would it be like to have a dead parent reappear? The film doesn't tell us; we get only a long-distance view of Barley talking with his father before Dad returns to wherever he has been. In other words, Onward dodges the questions that might—but, granted, probably wouldn't—have made it worth watching. I hope for better from the next Pixar feature, Digital tape measure kickstarter sizebut the previews, dwellling as they do on the afterlife and inviiting comparisons with the likes of Cocoare not encouraging.

Permanent Link and Comments 1. It has been almost four months since I last posted here, a period that I've devoted in part to reading in Sidney Monas's translation the great 19th-century Russian novel Crime and Punishment, by Fyodor Dostoyevsky at the right. Toward the end of the book, its protagonist, the university student turned murderer Rodion Raskolnikov, has had the last of several dreams: While sick, he had dreamed the whole digital tape measure kickstarter size was condemned to suffer a terrible, unprecedented, and unparalled plague, which had spread to Europe from the depths of Asia.

Except for a small handful of the chosen, all were doomed to perish. A new kind of trichinae had appeared, microscopic substances that lodged in men's bodies. Yet these were digital tape measure kickstarter size substances as well, endowed with mind and will. Those infected were seized immediately Digital Tape Measure Kickstarter Jacket and went mad. Yet people never considered themselves so clever and so unhestitatingly right as these infected ones considered themselves.

Never had they considered their decrees, their scientific deductions, their moral convictions and their beliefs more firmly based. Whole settlements, whole cities and nations, were infected nd went mad.

Everybody was in a state of alarm, and nobody understood anybody; each thought the truth was in him alone; suffered agonies when he looked at the others; beat his breast; wept and wrung his hands. They did not know whom ro bring to trial or how to try him; they could not agree on what to consider evil, what good. They did not know whom to condemn or whom to acquit. People killed each other in a senseles rage. Whole armies were mustered against each other, but as soon as the armies were on the march they began suddenly to tear themselves apart.

Their ranks dispersed; the soldiers flung themselves upon each other, slashed and stabbed, ate and devoured each other. In the cities the alarm bells rang for a whole day. Everybody was called, but nobody knew by whom or for what, and everybody was on edge. Fires blazed up; hunger set in. Everything and everybody went to rack and ruin. There is more in the same vein, but you get the idea. You may detect a resemblance between the dream and our current state of affairs, the dream lacking mainly an analog to the vicious fraud in the White House.

I'd planned to take Crime and Punishment with me on a birthday trip for Phyllis in March. Thanks to the coronavirus, the bottom fell out a few days before our schduled departure, and we felt fortunate to get refunds for most of the cost of the trip. When not reading Dostoyevsky, and while looking for something to do besides household chores, I've not been watching cartoons.

Instead, I've spent many hours watching the Metropolitan Opera's free streaming of dozens of performances, most from the "Live in HD" series that has been showing digital tape measure kickstarter size theaters for the last fourteen years or so. Sometimes there's actually a strong cartoon connection as with a colorful production of Rossini's version of Cinderellaother times there's what strikes me as a cartoon flavor the first act of the Met version of Verdi's Masked Ball feels like a Talkartoon come to lifeand, of course, there's the music from operas that Carl Stallling and Milt Franklyn found so useful in the Warner cartoons.

That's a joke, son. I'm reminded, while watching all these operas some wonderful and some not so wonderful, but almost all of them worth watching at least once of how much more of a presence opera and other classical music used to be in American cultural life. But I don't fret much about the lack of interest in the music among many if not most young people; I think it's best to grow into classical music in general, opera especially, and the music will survive even as its audience shrinks and expands.

Me, I'm grateful that the Met has used the pandemic as the occasion for letting me and millions of other people see dozens of operas that I knew only by name, if at all. And yes, I did express my appreciation with a donation to the Met, and I'll send another one soon.

Permanent Link and Digital tape measure kickstarter size 2. My previous post under this title referred to R. Harvey's failure to recognize, in his annotations for Fantagraphics' reprinting of the complete Pogothat George Y. Wells was a real person whose identity was easy to track down, not a name that Walt Kelly made up.

There's an even odder annotation in the same Pogo volume, the sixth. Harvey writes, in his entry for December 4,about the name "Kathleen" also "Kathe Kelly" on one of Pogo's skiffs: "'Kathleen' digital tape measure kickstarter size be a fond Irish recollecton of Kathryn Barbara, Kelly's daughter who died in infancy in the fall of before reaching digital tape measure kickstarter size first birthday Biographer [Steve] Thompson explains this poiignant reference As far as I know, Kathleen has never been involved with the comic strip or other Kelly enterprises, unlike her siblings Carolyn and Pete, but to conclude that the name on the boat is not hers but that of another Kelly daughter requires some tortured reasoning, which Harvey unfortunately provides.

Don struck me then as an exceptional character, and I think a little of his personality comes through even in my black-and-white snapshot. Permanent Link and Comments 0. I'm still studying the latest volume, the sixth, of Fantagraphics' complete Pogo —a classy job, as before—and I'll have more to say about it later, but I can't help but point out an unfortunate mistake on pagein R.

Harvey's annotations of Walt Kelly's references to people and events. In his note for the strip of January 16,Harvey writes of the name "George Y. Wells," uttered as an oath by the insect mother of digital tape measure kickstarter size bug candidate Fremount: "George Y.

Wells was apparently an entirely fictitious person. Not so; George Young Wells was the editor of the New York Star 's editorial page when Kelly was that short-lived newspaper's editorial cartoonist. When Wells died inat the young age of 55, a full obituary appeared in the New York Timeswhere he worked after the Star folded. Harvey presumably did not consult the Timesor, for that matter, my book Funnybookswhere Wells turns up a couple digital tape measure kickstarter size times in the index.

No big deal, obviously, but it does seem a pity that Harvey didn't make a greater effort to identify Wells, a former colleague whom Kelly regarded highly enough to honor in his very popular comic strip. No great surprise; I think all the previous volumes have been delayed one or more times, mainly if not entirely when it has been difficult to find satisfactory source material. In Aprilwhen Kelly made his digital tape measure kickstarter size visit to the Okefenokee swamp, the Atlanta Constitution mentioned in a report on the visit that he had suffered a heart attack a few weeks earlier, on April 5, and had been hospitalized for ten days.

This was one digital tape measure kickstarter size the first of the serious illnesses that would shadow Kelly until his death in from the complications of diabetes. We know that Pogo was different, and always had a much more personal flavor than almost any other comic strip. For example: in earlyKelly exchanged a couple of letters with Charles Thorson, a former colleague at the Disney studio whom Kelly apparently regarded highly. In OctoberKelly got what was from all digital tape measure kickstarter size a Mexican mail-order divorce and married the woman who had been his secretary.

The Pogo dailies that he must have produced around that time, for publication in Januaryare remarkably weak, lacking the overflowing comic energy that makes Pogo at its best such a joy to read.

Fortunately, the strip recovered within a few weeks. Because Kelly was such a wonderful cartoonist, we need a full biography that would illuminate the connections between his life and work. Does the market exist for such a book? Permanen t Link and Comments 2. The Animated Manmy biography of Walt Disney, has received its second translation, this one into Chinese the first, published a few years back, was into Italian.

This is an authorized translation, arranged through my publisher, University of California Press. Now if only some publisher would bring out a French translation; that would be a book I could read, albeit with some difficulty. The Animated Man also got a nice little plug in The New Yorkerwhich identified it as one of the two standard biographies of Walt, the other being, of course, Neal Gabler's unfortunate doorstop.

Jim Bradrick is one of those people an author cherishes, the people who actually read what that author has written. Jim writes:. I am one of a particular sort of fan of yours—there must be a few hundred of us—who were animators or animation enthusiasts back in the '70s and read avidly your interviews published digital tape measure kickstarter size Funnyworld and then waited twenty years for your book [ Hollywood Cartoons: American Animation in Its Golden Age] to finally appear.

Now, twenty digital tape measure kickstarter size on past that, I am giving Hollywood Cartoons a digital tape measure kickstarter size slow re-reading, and enjoying it very much. I know it was not so easy back when you were viewing all those cartoons in your research. I also began by Digital Tape Measure Kickstarter Mac viewing 16mm copies of cartoons on an editor, before even VHS tapes became available. Today I animate on paper but ink and paint digitally and output my work as digital movies, yet I began with cels and cel paint.

One TV commercial shoot was almost ruined when a few key cels were forgotten on top of a kitchen refrigerator, where they had been laid out to dry.

And on to the real point of this post. Jim continues, writing about Disney's first three-strip Technicolor cartoon, from And speaking of cels and cel painting, I want to mention one particular claim made in the chapter that dealt with Flowers and Trees and its conversion from black and white to color. You quote Bill Cottrell as saying that they washed the paint off the backs of all the cels and then repainted them in color, all without disturbing what was on the front side of each cel.

To me, that is a mind-boggling claim. Five to six-thousand cels it must have been! It is true that cels in many studios were washed and re-used; Chuck Jones did it in his first job in the animation industry at Iwerksand it was certainly the lowest of the low rungs to be on. But I am very sure that the process must have been by immersion, putting cels by the hundred into a big tub or wash basin or sink, with plenty of running water to constantly wash away all the dissolved tempera paint.

But one at a time? Taking care never to get the front side wet? Five or six thousand of them?

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