Podcasts about Anime News Network

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Show Notes 0:00: Justin and Helen finally are able to talk about things they’ve been up to!…Well, Justin’s been up to finally watching the new season of Medalist now that it’s on Hulu and experienced paying to go to a theater for the first time since COVID-19 (all for Uma Musume: Beginning of a New Era). Helen on the other hand has finally watched Journal with Witch (2 episodes so far) like the rest of the cool people! The hosts then get ready to talk about the news over the past few weeks. And it begins with one of the worst anime/manga news that’s ever been covered on this podcast. News 6:13: Shogakukan’s Manga ONE editorial department issued a statement and an apology this past Friday regarding manga creator Shōichi Yamamoto, after the editorial department had allowed Yamamoto to publish a new manga on the service under a pen name after he had been arrested and convicted of a sex crime. The details are not only many but it also can be triggering. It’s fairly staggering, so you’ll want to check out Anime News Network and Strict Algorithm for all the details, but a quick summary: Shoichi Yamamoto returned as a writer for Joujin Kamen, with Eri Tsuruyoshi drawing the series in 2022, despite his arrest and conviction of a sex crime in 2020 and making sure the artist was not aware of Yamamoto’s past since he is now known as Hajime Ichiro. An editor for MangaOne was involved in this situation, even going so far as to try and strike a deal with the victim. Once details emerged this past Friday of how awful the crime was and that the publication covered it up, many manga artists — from those working for Shogakukan to those not working for them — were angry and for those working for Shogakukan demanded not only a proper response but to have their works removed from MangaOne. Then Saturday, Shogakukan announced they will set up an investigative committee that will include lawyers to clarify the facts of the situation. Both hosts discuss this horrifying scandal as they know it and what this ultimately says about Shogakukan (21:10) — and as Justin expected (26:48), more news would eventually emerge over time after the episode was recorded on Sunday, and yesterday, while continuing their internal investigation of MangaOne, Shogakukan revealed that Tatsuya Matsuki, the writer for act-age who was convinced of a sex crime in 2020 and dismissed from Shonen Jump with the cancellation of that manga, was hiding under the pen name of Miki Yatsunami while working on a manga on the service (Seisō no Shinri-shi). We at TheOASG send our apologies to the victim, Eri Tsuruyoshi, and those affected by this situation. 26:57: Media Do, considered the largest e-book distributor in Japan (and sold off their shares of MyAnimeList last year) has acquired Seven Seas Entertainment for US $80 million dollars. More details emerged since the two hosts talked about it on Sunday, and it was concerning to where Seven Seas had to put out a statement yesterday. Expect both hosts to again discuss more about this partnership in the next episode. 33:29: The two hosts discuss the “Ring Ring Live in Osaka” concert event put on by the Himitsu no AiPri staff was cancelled due to threats; Helen goes over Sho-Pro Books (Shogakukan-Shueisha Productions) announcing that its contract to publish Marvel Comics titles in Japanese will end on March 31; and Manga Mavericks Books now has a distribution deal with Pathway Book Service and with Gazelle Book Services Ltd for Europe so we’ll be able to see their print books on certain retailers soon. 39:27: The Gift-o’-Animation studio’s founder and former president Satoshi Mori passed way February 20 after battling an illness for some time; Talent agency Haikyō announced in February that voice actor Masaru Ikeda died on January 31; And Kodansha shared on their Instagram that Vertical publishing company’s co-founder and Kodansha USA Editorial Director Ioannis Mentzas passed away a few weeks ago. Licenses 41:55: Last episode the hosts talked about a bunch of companies licensing manga. This episode the two about more things getting licensed by companies, first with VIZ: Hyuganatsu, Minoji Kurata, & Touko Shino's The Apothecary Diaries: Maomao's Notes on the Inner Palace Kotoyama's Call of the Night: Paradise Arc Inio Asano's Heroes Shuzo Oshimi's Sound of a Blink Paru Itagaki's Witching Hour Glitch Productions and Gooseworx & Sakura's The Amazing Digital Circus Akihisa Maki & Miki Yatsubo's Albus Changes the World Asato Shima's The Seaside Where Dragon Boys Dwell Yori Katakura's Yakuza vs. Cat Esu Omori's Shiba Inu Rooms Agatha Christie & Aya Nikaidō's And Then There Were None Renka Misaki & Yūto Suzuki's Sakamoto Days: Assassin’s Blues LN 3-in-1 edition of Mizuho Kusanagi's Yona of the Dawn Soshichi Tonari's Horror Picture Book: Looking at Me, with illustrations by Junji Ito My Hero Academia Box Set 2 Jujutsu Kaisen Complete Box Set (Will also include Volume 0) Black Torch Complete Box Set One Piece Box Set 5: Wano to Egghead My Hero Academia: Ultra Artworks art book Dorohedoro Illustrations: Mud and Sludge art book The Studio Ghibli Chronicles book 46:10: Square Enix announced they’ve licensed the following works: Natsu Hyūga, Itsuki Nanao, & Touco Shino's The Apothecary Diaries: Xiaolan's Story Gyūnyūmugigohan's Boyish Girlfriend Mugimo's My Ex-Boyfriend Loves Boys’ Love! Yuo Yodogawa's Stalker Stalks Stalker sooncha's Yang Can’t Live Alone Shinichi Fukuda & Choboraunyopomi's My Dress-Up Darling XOXO! My Dress-Up Darling Season 2 Official Anime Fanbook Asaki Asagiri & selen's The Princess Groom 47:52: SuBLime had a couple announcements during their Valentine's Day event — Puling's Sunshine in Hades, Fumi Tsuyuhisa's Robin in the Veil of Night, & Natsuki Kizu's Given 10th Mix; meanwhile Seven Seas announced this during their Citrus Con panel that happened on Sunday that they’ve licensed IROHA MEGU's WOLFHOUND and two Hayate Kuku manga (STRANGER: A WESTERN BL & MARCHEN) 48:30: Michi Masaki's Tell Me, Dear Butler, Robico’s To Dusk and Twilight, & Jun Wakatsuki's Promise Me the Spotlight is now on K MANGA; Takumigraphics, the new spinoff imprint from Fantagraphics, has licensed Gengoroh Tagame's Do You Remember the South Island’s POW Camp? which shocked Helen; Tei Monaka & Komari Kuro's All-Rounder Maid Connie Ville has been licensed by new publisher Crossed Heart; and Eke Shimamizu's The Maid I Admire Looks Good with a Cigarette is now on Manga UP!. 49:30: Manga Mirai has a couple new additions to their service; The Lady version of Cells at Work! will be put in print by Kodansha; and the two hosts discuss Glacier Bay Books taking up what Matt Haasch wanted to do with Star Fruit Books as they announced they’ll be handling the publishing line moving forward. 54:56: MediaOCD and AnimEigo announced they’ve licensed Master of Martial Hearts & Sketchbook ~full color’S~, both expected to release this year. MediaOCD also announced the new round of titles it is adding to its store as part of the Discotek Deep Dives initiative (a good amount); meanwhile Discotek has a couple re-releases upcoming this year and a Patlabor OVA coming at some point; And finally, Sentai Filmworks has licensed Heavy Metal L-Gaim, which continues Sentai just out of nowhere licensing an older work. Streaming News 1:00:02: The Madoka Magica movie has a new release date, and you can hear the two hosts editorial thought process in this moment as they decide no matter what happens — if it screens in Japan or if it doesn’t — it will wind up in weird news somehow; Akane-Banashi will have people be able to see it, but at this moment, not on your typical anime services…which will be shocking for a Shonen Jump property. 1:02:59: We have some screenings going on in the US — Anime Central will screen the original anime Goodbye, Lara in May; Next week people will be able to watch a 4K restoration of Kiki’s Delivery Service; and Demon Slayer: Infinity Castle Part 1 will also see another screening, which leads Justin to wonder when he’ll watch it since Crunchyroll doesn’t want to stream it yet! 1:04:51: The Me and Robico film has been added to Crunchyroll; Hulu and Disney+ will stream the Rooster Fighter anime in a few weeks (will first debut on Toonami); and Hulu now has the HD versions of the Pretty Cure English dub on their service. 1:05:58: The Criterion Collection’s streaming service Criterion Channel announced will add Gunbuster: The Movie and the first season of Ghost in the Shell: Stand Alone Complex sometime in March; Hideaki Sorachi’s debut one-shot manga Dandelion is getting an anime series adaptation that will stream exclusively on Netflix starting in April; and that 18+ site Oceanveil (who also sometimes streams non-18+ anime) will stream in advance the English-subtitled first episode of Do You Like Big Girls? and Marika’s Love Meter Malfunction. Weird News 1:08:23: Pokémon’s 30th Anniversary is this year, and there’s lots of things going on with the franchise…starting with the original voice of Ash Ketchum (Satoshi in Japan) doing a Let’s Play in celebration and, well, the franchise sharing their 30th Anniversary logos. All 1,025 of them! 1:10:07: Let’s just say the highs and lows of Japan are covered in this section, from a very shirtless buff man as a hanger to an AI buddharoid. 1:12:34: Two of Japan’s famous properties — Crayon Shin-chan and Sazae-san — are gonna cross over; We got a story involving recent gold medalist and Olympic star Alysa Liu and how she has a Pochita! 1:15:41: And finally, apparently Amazon really wants to be a big player in the anime destination game, which we would take seriously except there’s no real sign that they’re actually serious about it at the moment! If there’s anything you’d like to share, please feel free to reach out to us on Twitter (@TheOASG) or comment below with your thoughts! The post TheOASG Podcast Episode 238: We Talk About The Shogakukan Scandal appeared first on TheOASG.

Did you know that James, Lynzee, and Jacki have continued to host the ANN After Show weekly for the last eight months? If not, that's my fault.

This chapter the boys go over what cosplay they are expecting to see done for Halloween. All news is brought to us via Crunchyroll and Anime News Network.

This chapter, Aaron and Tyler do a roundup of a ton of news, all brought to us from Crunchyroll and Anime News Network.

Aaron and Tyler discuss the importance and significance of One Piece. All news is brought to us from Crunchyroll and Anime News Network.

This chapter, Aaron and Tyler go over what their looking forward to, and the hype train behind Winter 2026 compared to Fall of 2022. All news is brought to us via Crunchyroll and Anime News Network!

This week, the boys catch up on 3 weeks worth of news. All news is brought to us via Crunchyroll and Anime News Network!

The boys discuss their favorite arcs through MHA, and what MHA means to the anime realm, ahead of S8. All news is brought to us via Crunchyroll and Anime News Network!

This chapter the boys go over a bunch of news that came out the previous few weeks. All news is brought to us via Crunchyroll and Anime News Network!

On this chapter, Aaron and Tyler discuss what Pokemon would be on each Hashira's team if they were Pokemon Gym Leaders! All news is brought to us via Crunchyroll and Anime News Network!

At long last, after podcasting for 8 years and counting (wow...), we have finally gone and done it; we're reviewing some Mobile Suit Gundam. Since we are very sensible and reasonable folk at TIA, we thought we would start at the very beginning. Just kidding, we picked an entry that sounded interesting to us after Austin and Bill had independently been dabbling in various Gundam entries for the past several years. Although to be fair, some people claim that the OVA we're reviewing in this episode, Mobile Suit Gundam: 08th MS Team, is a solid entry point into the franchise for beginners, but is that actually true? Let's test that theory! We're happy to welcome Coop back to the show! Coop has been on the show a number of times to talk about anime conventions, but never to actually review a series with us before. As a giant robot aficionado, we could think of no better friend of the show to have on for our first leap into the world of Gundam. Coop regularly writes for Anime News Network, including the weekly This Week in Anime Column, and contributes to releases from Discotek and AnimEigo. Check out Coop's work, social media, and podcasts here! Have you seen 08th MS Team? What do you think of it? Does it live up to the hype? Do you think it's a good entry point to Gundam or not? Let us know by sending us an email at thirdimpactanime@gmail.com and we'll discuss it on the show. If you enjoy this or any other episode, leave us a Rating and Review on Apple Podcasts, Spotify, or elsewhere! Show notes are available on our website: www.thirdimpactanime.com More helpful links: https://beacons.ai/thirdimpactanime Follow us on Bluesky at thirdimpactanime.bsky.social Follow us on Instagram at instagram.com/ThirdImpactAnime Listen & Subscribe on Apple Podcasts | Spotify | YouTube | Podbean Support us on Ko-Fi | Patreon

This week the boys go over relevant news coming out of Anime NYC. All news is brought to us via Crunchyroll and Anime News Network!

This chapter, Aaron and Tyler go over all the relevant news and announcements from Anime Expo. News is from a multitude of sources this week include our normal spots: Anime News Network and Crunchyroll News.

This chapter, Aaron and Tyler live react to the Pokemon Day announcement, which can be found on YouTube. All news is brought to us via Crunchyroll News and Anime News Network!

This chapter, Aaron and Tyler draft a team of pokemon spanning gens 1 through 3, for currently undisclosed reasons. Let us know what you think of our teams and whos do you think is better! All news is brought from Crunchyroll and Anime News Network!

Another great year of Animazement has come and gone and Bill, Austin, and Tori are here to tell you all about it. Pay no mind that the convention ended almost a month and a half ago! This episode was a beast to edit, and for good reason! Not only do we talk about our panels, the cool sights and sounds we experienced, the good food we ate, and merch we bought, but we also had not one or two, but FIVE special guests join us for various segments throughout this episode to talk about some of the cool things they saw and did over the weekend. Going through them in appearance order, you may know a few of them from being on the show before or encountering their work on the internet in various places; we have returning friends Coop (@RiderStrike) and Maddy (@hyakushiki0087) back on the show but also Megan (@brainchild129), Cody (@codyanskaya), and Kurt (@GreatSG) join us for the first time! Coop, Megan, and Maddy travelled from far off lands (the Midwest and the west coast) to see if the rumors about Animazement being "good" were true. Listen to find out! Coop regularly writes for Anime News Network, contributes to releases from Discotek and AnimEigo, and does some podcasty stuff from time to time. Maddy appears as a regular contributor to Giant Robot FM. Megan is a frequent panelist and writes for Anime Feminist as well as her own blog, The Manga Test Drive! Cody is a long-time Animazement head but joins us to talk about their debut panel Rotund Mecha Gentleman, something we really got a kick out of and I'm sure you all will too. Kurt is the mastermind behind panels such as the Awesomely Bad Japanese Music Videos and Ugly Giant Robots Arbitrarily Ranked but we had him on specifically to talk about his brand new endeavor The Anime Home Video Museum, a audio visual odyssey through the history of anime on home video. It's a heck of a thing and I know you guys will love to hear Kurt talk about it. Did you attend Animazement this year? If not, did you attend one of the other 900 conventions happening over Memorial Day weekend? Let us know by sending us an email at thirdimpactanime@gmail.com and we'll discuss it on the show. 00:00:00 - Live from the hotel room on Sunday afternoon, it's The Nagahomies! (Austin, Tori, Coop, Maddy, and Megan!) 00:19:23 - The actual con-versation starts! (Lots of autograph and panel talk) 00:39:48 - Cody joins us to talk about Rotund Mecha Gentlemen and their general thoughts about the con 00:59:39 - The con-versation continues! (Mostly on the Aimi concert) 01:04:38 - Kurt joins us to talk about the origins and the madness of The Anime Home Video Museum! 01:35:59 - Extra talking about the AHVM, Tori's horrors in the horror panel, most notable cosplays, Austin talks about his panels (10 Anime Movies You May Have Missed and Road of Resistance: 15 Years of BABYMETAL), Bill and Austin talk about being invited onto a Trivia Knights game show, reflecting on the Masao Maruyama panel, Bill playing Mario Golf, and talking about what we did (and didn't) buy. 02:19:00 - Wrap up, recommendations, and social media plugs! If you enjoy this or any other episode, leave us a Rating and Review on Apple Podcasts, Spotify, or elsewhere! Show notes are available on our website: www.thirdimpactanime.com More helpful links: https://beacons.ai/thirdimpactanime Follow us on Bluesky at thirdimpactanime.bsky.social Follow us on Instagram at instagram.com/ThirdImpactAnime Listen & Subscribe on Apple Podcasts | Spotify | YouTube | Podbean Support us on Ko-Fi | Patreon

This week, Aaron and Tyler dissect another really badly ranked list. All news is brought to us via Crunchyroll and Anime News Network!

This week Aaron has an apology for all the One Piece fans out there. All news is brought to us via Crunchyroll and Anime News Network!

On this weeks chapter, Aaron and Tyler rank 16 different anime power systems. Which is your S tier systems? All news is brought to us via Crunchyroll and Anime News Network!

In this episode, Tara Sands and Steve Yurko interview Jason Thompson. Jason was a Manga editor at Viz on Yu-Gi-Oh! and One Piece and many more titles. He also worked on Shonen Jump Magazine and at Anime News Network. Check out more about him and read his work at https://www.animenewsnetwork.com/house-of-1000-manga/2013-07-25 https://www.jasonbradleythompson.com/ Follow him at https://www.instagram.com/mockmanpress/?hl=en https://bsky.app/profile/mockman.bsky.social and https://x.com/mockman 4Kids Flashback is a behind the scenes podcast about the 4Kids era of television as told by the people who were actually there. 4Kids is the company that brought Pokémon, Yu-Gi-Oh!, One Piece and many other anime series to English speaking audiences. Our website is https://www.4kidsflashback.com/ Subscribe at https://www.patreon.com/4KidsFlashback for episodes one week early and ad-free plus bonus content! Follow Tara Sands at ⁠https://www.instagram.com/tarasandsvo/?hl=en⁠ and Steve Yurko at ⁠https://www.instagram.com/steveyurko/?hl=en ⁠ For merch go to https://4kids-flashback.printify.me/products Leave us a voice message at www.Speakpipe.com/4KidsFlashback Autographs for Charity available at https://www.ebay.com/usr/flashback4kids Watch videos at https://www.youtube.com/@4KidsFlashback. Disclaimer: The views and opinions expressed in this program are those of the speakers and do not necessarily reflect the views or positions of any entities they represent or of this podcast and/or it's hosts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aaron and Tyler rank a handful of anime to test out a tier list website for future chapters. All news this week is brought to us via Crunchyroll and Anime News Network!

On this weeks chapter, the boys discuss all the news coming out of Star Wars Celebration Day, and trust us, there's great stuff coming. All news is brought to us via Crunchyroll, Anime News Network and IGN.

This week, Aaron and Tyler go over the Crunchyroll Anime Awards and cast their votes for each category. All news is brought to us via Anime News Network and Crunchyroll !

The boys are joined by Harper, D James and Ish to go over the 2025 AMMDI March Madness Anime bracket where they discuss 64 of the best written characters in anime. All news is brought to us via Crunchyroll and Anime News Network.

The boys are joined by their friend Chris to review LOTR War of the Rohirrim. All news is brought to us via Crunchyroll and Anime News Network!

This weeks chapter is the initial set up of 2025s AMMDIs March Madness bracket where we pick between 32 protagonists and 32 antagonists. The bracket is in the discord so make sure you join and share yours! All news is brought to us via Crunchyroll and Anime News Network.

This week, Aaron and Tyler go over all of the news from Pokemon Day. They go over what they like and don't like, and what they're hopeful to see in the future. All news is brought to us via Crunchyroll, Anime News Network,

It was Cat Day in Japan, and that included cat-centric images and new anime trailers! Lynzee and James are here to bring you all the purrific news plus, a bit about their own cats.

If it's been under your radar, there are big things shaking up at one of Japan's major broadcasters. The ANN team is here to explain what's going on at FujiTV and what it could mean for its anime programming.

Aaron and Tyler are joined by Ish and D. James in this weeks chapter to discuss the significance of anime in black culture and some of their favorite black characters in anime. All news is brought to us via Crunchyroll and Anime News Network.

Jacki joins the ANN After Show to discuss Orb, ZENSHU., and surprise hit Sakamoto Days!

Quick announcement from Evan: Unfortunately, Seasonal Sampler is going on indefinite hiatus. Continuing the host the show solo was getting to be too much work, especially with how Evan's busy schedule prevents him from keeping up with enough shows every season. Thank you to everyone who has listened to the show over the past four years, and look forward to more anime reviews on the regular Ani-Gamers Podcast in the future! Runtime: 3 minutes Direct Download RSS Feed iTunes Spotify Stitcher Google Music Send us Feedback! Support us on Patreon! Join our Discord server! More episodes Show Notes Opening/Ending Song: “Dancing & Assuming Consequences (digital edit)” by Llamame La Muerte Episode Edited by: Evan Minto Twitter: Evan, Ani-Gamers Mastodon: Evan BlueSky: Evan Evan has written for Anime News Network. Sign up for Evan's official manga subscription service, Azuki.

Aaron and Tyler have discussed in the past some live action IP they would love to see transition to anime, but this time they talk about live action IP they'd like to read in manga format. All news is brought to us via Crunchyroll and Anime News Network!

James and Lynzee are back for 2025: we'll discuss some of the most promising anime from the Winter 2025 season and whatever else floats our boat.

It's the last podcast of the year before we dive into the Winter 2025 anime season and a brand-new year. Also, we're not going to lie to you; James and Lynzee are going to talk about Nosferatu a lot.

James and Lynzee are here to run you through all the big announcements out of Jump Festa, scream about the DAN DA DAN finale cliffhanger, and see how the Orb bros are doing.

This week is a prerecorded chapter from the vault aka from October, where Aaron and Tyler discuss villains in anime. All news is brought to us via Crunchyroll and Anime News Network!

This week the boys discuss the merging and closing of smaller studios and if an oligarchy of big studios is an imminent problem. All news is brought to us via Crunchyroll and Anime News Network.

This week, the boys go over the news of the Switch 2 and what games we could expect at launch. All news is brought to us via Crunchyroll and Anime News Network.

Its that time of the year! Aaron and Tyler go over the 2024 AMMDI Awards, and make bold predictions for the 2025 year of Anime! All news is brought to us via Crunchyroll and Anime News Network. Use code "ANIMEJAN" for 45% off the newest Magic Mind bundle! Shout out Rifti Beats for our newest intro!

After a brief hiatus, the boys are back. Aaron and Tyler play catch up on all the news we missed, as well as, a quick discussion on the best anime fathers. All news is brought to us via Crunchyroll and Anime News Network.

Lynzee and James share their Crunchyroll Anime Arcs from the app's end-of-the-year feature! Plus, we're discussing the SECRET LEVEL show on Amazon Prime and the latest episode of DAN DA DAN.

This is a Jiji appreciation podcast, even if he only appears for five minutes in this week's episode of DAN DA DAN. Plus the ANN Reader's Choice Award Nominations are open, one of the saddest manga is getting an anime, and a new teaser for the Demon Slayer movie.

This week Aaron and Tyler go over which shows are hypothetically in the same universe. All news is brought to us via Crunchyroll and Anime News Network.

Clothes are mostly optional as the DAN DA DAN crew fight aliens at school! What happens when they all merge into one super-evil entity?!

This week, Aaron and Tyler discuss the new season of Fortnite, its them of Japanese mythology and heavy influence of anime. All news is brought to us via Crunchyroll and Anime News Network!

DAN DA DAN is wild! We're also checking in on Orb after that big episode three plot twist. Plus, news on the Pokemon leak and impressions of Silent Hill 2!

The Uzumaki anime is out, and the visuals and music live up to the hype. Still, one thing isn't quite right...also our two favorite shows of the season have come to an end, so join us as we discuss the final episodes of Dead Dead Demon's Dedededestruction and Yatagarasu!

Everyone, you're sleeping on this anime! Dead Dead Demon's Dededede Destruction is totally wild, shocking, and eye-opening!