Podcasts about stone giants

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]

The adventurers of Remor Mutandis begin their efforts of siding with the Thane and Stone Giants.Every episode we get better at audio, thank you for patience!This Session contains profanity, satirical humor, and references to both drugs and probably sex.Support the show by rating us 5 stars and recommending us to a friend!Follow us on Instagram @goon.questIf you would like to submit a name for an NPC or provide a magic item suggestion, you can do so in a google form link in the Instagram bio!Don't have an Instagram, a direct link to the google form is here just for you.NPC & Magic item SuggestionDungeon Master is Jimmy MayPlato Zaltan is JoeyAdras is AlekBoravik Smokestone is SamuelVoralden Derrickson is Chris (James)Alosrin is JaydenCompanionsNovelleBookyJayden is LehsairIntro Music by Alexander NakaradaOutro music by Alexander NakaradaIntro Theme by Alexander NakaradaCover art by Kasey MayMusic Included"Spacey Outro"And other assorted piecesby Alexander Nakarada (www.serpentsoundstudios.com)Licensed under Creative Commons: ByAttribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Additional SoundsMonument StudiosMonument Studios (@monumentstudios) on LinkmeOpening song "Spacey Outro" by Alexander Nakarada Hosted on Acast. See acast.com/privacy for more information.

Murph & Markus - Hour 1: RIP Sly Stone, Giants/Dodgers rivalry, & Marc Spears joins the showSee omnystudio.com/listener for privacy information.

Murph & Markus - Hour 1: RIP Sly Stone, Giants/Dodgers rivalry, & Marc Spears joins the showSee omnystudio.com/listener for privacy information.

This episode focuses on the Elemental Cultists that have been added for Stone Giants, Fire Giants, Frost Giants, and Cloud Giants! Opening Theme and Intro 0:00 Stone Giant of Evil Earth 2:52 Frost Giant of Evil Water 14:14 Fire Giant of Evil Fire 21:44 Cloud Giant of Evil Air 33:40 Outro and Closing Theme 45:26 DON'T FORGET TO LIKE & SUBSCRIBE! Available On: https://www.itsamimic.com iTunes at https://itunes.apple.com/ca/podcast/its-a-mimic/id1450770037 Spotify at https://open.spotify.com/show/3Y19VxSxLKyfg0gY0yUeU1 Podbean at https://itsamimic.podbean.com/  YouTube at https://www.youtube.com/channel/UCzQmvEufzxPHWrFSZbB8uuw Social: Facebook at https://www.facebook.com/itsamimic/ Instagram at https://www.instagram.com/itsamimic/?hl=en Reddit at https://www.reddit.com/r/ItsaMimic/ Email at info@itsamimic.com Dungeon Master 1:  Kasi Just Kasi Dungeon Master 2:  Megan Lengle Written by:  Megan Lengle, Kasi Just Kasi, and Adam Nason Director:  Megan Lengle and Adam Nason Editor:  Adam Nason Executive Producers:  Adam Nason Intro/Outro Music by:  Tyler Gibson at https://www.instagram.com/melodicasmusic/ Logo by:  Megan Lengle at https://www.instagram.com/0meggart/ This episode is meant to be used as an inspirational supplement for Dungeons & Dragons 5th Edition and tabletop roleplaying games in general.  It's A Mimic! does not own the rights to any Wizards of the Coasts products. Artwork included in this episode's visualizations is created by Megan Lengle, or published and/or owned by Wizards of the Coast.

The first part of Chapter 4, Over Hill and Under Hill, is unique for it's direct correlation with Tolkien's own past.  We discuss: Tolkien's hiking experience and how it influenced this section of The Hobbit VERY obviously. Stone Giants... are they even necessary or part of Middle-earth? And what ARE they? What's the significance of Bilbo's dream? In our extended episode (available for our members) we talk about: What we would change if Tolkien had continued with his rewrite. What are the differences between goblins and orcs?  Is there a difference?  And when did Tolkien stop using the word "goblin" altogether? Here are the pics to go along with today's episode! Rivendell Roof in Switzerland Jungfrau Mountain from Tolkien's 1912 Switzerland Hiking Trip BECOME A MEMBER! Get access to the extended edition of this podcast, our private Discord chat, and live chats. You can also join for on Patreon!

This land is their land! We live here because the Sasquatch allow us. #JoinTheTalk as Bailey and Ty take a trip across this great land of America to uncover the vast and varying legends of giant hair covered beasts stalking the backwoods. We're hitting the East, North and South but only scratching the surface of the tales of these creatures in American history. MOMO, Stone Giants, Skunk Apes and more, get ready to #QuestionEverything

Coyote's Aegis gets into some giant-sized combat involving Stone Giants and Fire Giants! Magill profiles a game that he thought was an RPG but is in fact a tactical skirmish game (Magnagothica: Maleghast)! But most importantly, your two hosts contemplate RPG systems and wonder if there are just too darn many of them. Hey does anybody else want a new edition of Rifts? Find us on Facebook! All music composed by Vince Nitro.

Mesiace či dokonca roky sa hovorilo o ďalšej realitnej bubline, o prehriatom trhu o tom, že raketový rast cien nehnuteľností je nenormálny a ničomu nezodpovedá: no tento rast pokračoval. Zdá sa však, že teraz sa tento rast zastavil, makléri už hovoria o výraznom ochladení. Čo sa teda s domami a bytmi dialo, ale najmä, čo sa deje teraz a na čo sa máme pripraviť? Tomáš Prokopčák sa pýta Tomáša Vašutu. Zdroje zvukov: TV Markíza Odporúčanie: Priznám sa, je to aj trochu hanba, ale na minuloročný projekt Amona Tóbina Stone Giants som narazil až teraz. Ak ste si Tóbina spájali skôr s chladným, kovovým až kryštalicky precíznym zvukom, album West Coast Love Stories vás možno prekvapí: je teplejším, kombinuje elektroniku s hlasom a vrství ich... a je to vraj vlastne taký iný melancholický album o láske. Ktosi tento album opísal ako lenivé letné kino, plné tiahlych zvukových plôch, inšpirované viac rockom než industrialom. Vyskúšajte. – Ak máte pre nás spätnú väzbu, odkaz alebo nápad, napíšte nám na dobrerano@sme.sk – Všetky podcasty denníka SME nájdete na sme.sk/podcasty – Podporte vznik podcastu Dobré ráno a kúpte si digitálne predplatné SME.sk na sme.sk/podcast – Odoberajte aj denný newsletter SME.sk s najdôležitejšími správami na sme.sk/brifing – Ďakujeme, že počúvate podcast Dobré ráno.

Electronic music and visual artist, producer, composer Amon Tobin discusses the vinyl and music of his Nomark Records label, the creative process, making records, his new project with Meow Wolf "A Living Room", what's next, live shows & more. Topics include: Meow Wolf Omega Mart art installation Impact of the pandemic on Amon's art Creative contributions to projects led by other people Preparing for the Omega Mart project Putting out “A Living Room” on vinyl The sonic quality of Nomark vinyl releases The role Amon plays in the vinyl production Bandcamp's focus on vinyl Impact of the vinyl delays on Nomark The Nomark Music Club Potential vinyl reissues of older releases The rarity and value of Nomark vinyl Vinyl bundles on Nomark bandcamp Will Amon return to live shows? Discussion of ISAM shows, ideas for future shows Update on various projects (Two Fingers, Figeroa, Stone Giants, Only Child Tyrant) Balancing Amon's creative aliases Who would Amon like to collaborate with? Who is the artist Shy1? Interview wrap up Order "A Living Room" vinyl here. Extended (20+ more minutes), High-resolution & Commercial Free version of this interview available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8 Follow our Podcast: https://linktr.ee/vinylguide Facebook: www.Facebook.com/VinylGuide Instagram: www.Instagram.com/VinylGuide Support our show: www.Patreon.com/VinylGuide If you like records, just starting a collection or are an uber-nerd with a house-full of vinyl, this is the podcast for you. Nate Goyer is The Vinyl Guide and discusses all things music and record-related

Amon Tobin is an innovative electronic music producer specializing in sound design and production techniques.Arriving on the English scene in 1997, Amon's construction of jazz inspired, sampled driven output inspired listeners and critics alike.Amon Tobin has garnered substantial notoriety for his advanced production methods and cinematic compositions."Roots to Grooves" is a production of SIGNL.https://www.signlradio.comhttps://www.instagram.com/signlradiohttps://www.twitter.com/signlradiohttps://www.facebook.com/signlradiohttps://www.mixcloud.com/signlhttps://open.spotify.com/user/96mhz6qfjoztxbl2dpm0uj903?si=aAZpsoEnRAKdx85kr1QWhg

Responding to a listener's question about stone-giants in The Hobbit and more generally, Julia Golding, and friend of the OCF, Jacob Rennaker take a deep dive into all things gigantic. Did you know that ent originally meant 'giant'? Is there something about elemental giants going on in Middle Earth? Taking in Greek, Norse and Celtic traditions, as well as folklore, fairytale and fiction, we wander far and wide in the land of the giants. CS Lewis and Charles Williams take a different approach and we get to discuss these in-depth, waking Father Time to end the world. Last we have a look at our favourite contemporary versions of giants, ranging from transformers, Harry Potter, Marvel and DC, with a nod to Roal Dahl. It is a gigantic subject so will come in two parts!

Responding to a listener's question about stone-giants in The Hobbit and more generally, Julia Golding, and friend of the OCF, Jacob Rennaker take a deep dive into all things gigantic. Did you know that ent originally meant 'giant'? Is there something about elemental giants going on in Middle Earth? Taking in Greek, Norse and Celtic traditions, as well as folklore, fairytale and fiction, we wander far and wide in the land of the giants. CS Lewis and Charles Williams take a different approach and we get to discuss these in-depth, waking Father Time to end the world. Last we have a look at our favourite contemporary versions of giants, ranging from transformers, Harry Potter, Marvel and DC, with a nod to Roal Dahl. It is a gigantic subject so will come in two parts!

This special episode of the It's A Mimic! podcast explores the relationships between Giants and rocks and stones in Dungeons & Dragons 5th Edition.  The focus of this episode also turns to the calmest and most enigmatic of the Giants: Stone Giants!   Intro 0:00 Champion Rock Throwers 2:45   Stone Giant Lore 8:33 Stone Giant Stats 30:56 Famous Stone Giants 49:50 Playing a Stone Giant 57:24 Outro 1:01:33 Bloopers 1:05:02   DON'T FORGET TO LIKE & SUBSCRIBE! Available On: https://www.itsamimic.com iTunes at https://itunes.apple.com/ca/podcast/its-a-mimic/id1450770037 Spotify at https://open.spotify.com/show/3Y19VxSxLKyfg0gY0yUeU1 Podbean at https://itsamimic.podbean.com/  YouTube at https://www.youtube.com/channel/UCzQmvEufzxPHWrFSZbB8uuw Social: Facebook at https://www.facebook.com/itsamimic/ Instagram at https://www.instagram.com/itsamimic/?hl=en Reddit at https://www.reddit.com/r/ItsaMimic/ Email at info@itsamimic.com Dungeon Master:  Megan Lengle Host 2:  Kasi Just Kasi Written by:  Megan Lengle, Kasi Just Kasi, and Adam Nason Director:  Megan Lengle and Adam Nason Audio Editor:  Adam Nason Video Editor:  Adam Nason Produced by:  Adam Nason Executive Producers:  Dan O'Coin and Adam Nason Intro/Outro Music by:  Tyler Gibson at https://www.instagram.com/melodicasmusic/ Logo by:  Megan Lengle at https://www.instagram.com/0meggart/ Current Gear: Microphone (USA) - https://amzn.to/2WWuCsz  Microphone (CAN) - https://amzn.to/2WTZ69G This post or video may contain affiliate links, which means we may receive a commission for purchases made through our links. This episode is meant to be used as an inspirational supplement for Dungeons & Dragons 5th Edition and tabletop roleplaying games in general.  It's A Mimic! does not own the rights to any Wizards of the Coasts products. Artwork included in this episode's visualizations is created by Megan Lengle, or published and/or owned by Wizards of the Coast.

Ever buy an old RPG box set and find some maps or a character sheet inside? For me, it conjures up a specific sort of warm feeling. This week on the Vintage RPG Podcast, we take a look at some of Tim Hutchings' efforts to preserve that sort gaming ephemera in The Habitation of the Stone Giant Lord, a book collecting homebrew D&D adventures written and illustrated by kids. We also look at Hutchings' reprint of the short-live gaming zine The Oracle. A thrilling expedition into the dusty archives of our hobby's past! * * * You can check out more about both projects at Hutchings' Play Generated Map & Document Archive. Physical copies of both can still be had at his shop, as well! New Noble Knight promo code! Use RINGOFWARMTH in store or on the site to get 10% off whatever you're buying. That lasts from now all the way to February 28 - a surefire way to take the chill out of the winter! Hang out with us on the Vintage RPG Discord! If  you dig what we do, join us on the Vintage RPG Patreon for more roleplaying fun and surprises! Patrons keep us going! Like, Rate, Subscribe and Review the Vintage RPG Podcast! Available on iTunes, Google Play, Stitcher, iHeartRadio, SoundCloud, Spotify, YouTube and your favorite podcast clients. Send questions, comments or corrections to info@vintagerpg.com. Follow Vintage RPG on Instagram, Tumblr and Facebook. Learn more at the Vintage RPG FAQ. Follow Stu Horvath, John McGuire, VintageRPG and Unwinnable on Twitter. Intro music by George Collazo. The Vintage RPG illustration is by Shafer Brown. Follow him on Twitter. Tune in next week for the next episode. Until then, may the dice always roll in your favor!

In this episode, we examine the 13th wonder of the ancient world. A wonder lost to history for almost 2000 years. Hidden in the new world, this wonder reminds us the old and new worlds were not that different.

Stone Giants guard the passage further through this tent that stands amidst the new section of Runeforge.  With no sign of the Aludemon from earlier, there is nowhere left to go but inward.  But how many of our heroes will these giants defeat before they can move on?  Enrom makes sure their foes are felled.  Hugo is surrounded by stone giants.  Reetin party kills.  Sibohan takes a bite outta crime.  Clinton cannot roll above a 5. Music Credits:  The Curtain Rises Shamanistic Birch Run Stoneworld Battle Exotic Battke Final Count Clash Defiant Arcane Wanderer By Kevin MacLeod (https://incompetech.com) Fólkvangr by Alexander Nakarada (www.serpentsoundstudios.com) This End by Evan King (evanking.bandcamp.com) Licensed under Creative Commons BY Attribution 4.0 License http://creativecommons.org/licenses/by/4.0 See omnystudio.com/listener for privacy information.

Welcome back to the Fresh Sounds Podcast! This week, Mark and Brendan are back with some quality music to share. This week's show kicks off with a scorcher of a new single from Sam Fender. Then, a trans-Atlantic collaboration between Amen Dunes and (yes) Sleaford Mods. After that, a bit of quirky pop from the English band Teleman. Next, a stellar mishmash from Nevermen, which feature  Tunde Adebimpe of TV on the Radio, Mike Patton of Faith No More, and Adam “Doseone” Drucker, of Anticon Records fame. We wrap the pod this week with our archive track: 1984's "I Will Dare," by the undyingly great Twin Cities band The Replacements. Bonus tracks cover a number of genres, with new songs from Stone Giants teaming up with Amon Tobin; a dance tune pairing UK DJ Mark Hawkins with soulman Jamie Lidell; an Eastern indie track from St. Petersburg, Russia from a band named Shortparis; and a bit of light synthpop from King Gizzard & The Lizard Wizard, followed by a banger from Catching Flies remixed by DJ BORING. For those like Brendan, who don't mind an occasional shot of noise, we wrap with a new single from the noiseniks who go as Pop. 1280. If you are new, please take a second to sign up for our newsletter right here.  We will not share your info, period. This is a two-man podcast, not a faceless corporation. We respect you and your time far, far more than that. Peace, out! Have a great weekend, and a wonderful week ahead! 

Are the stone giants carved at megalithic sites around the world actually ancient data storage devices due to the high levels of quartz in their geological structure - similar to crystal skulls? Is quartz crystal the storage medium that both extraterrestrials AND advanced ancient civilizations used to to store large amounts of information...even...consciousness? We don't know, but our plucky Ancient Astronaut Theorists sure think they do! Let's prooooooooooooooooobe into Season 15, episode 5 of Ancient Aliens: Mystery of the Stone Giants!

Welcome to The Tsi Tsi Podcast! In this episode, your hosts Kahentawaks Perkins and Brittany Bonaparte discuss Stone Giants and the sightings that have happened here in Akwesasne and more. These are hand picked stories from our local Akwesasne Scary Stories Facebook page! If you are indigenous and have a scary story, you can submit by using our submissions page akwesasnetv.com/tsitsi or email tsitsipodcast@gmail.com!

The team confronts the Stone Giants in a fight for their lives... Comedy, action and a whole lot of shaming come together in Dice Shame, an Actual Play Podcast of Storm King's Thunder by Wizards of the Coast! Join our GM Jo; her partner Harlan, his brother Alex & their best friends Justin and Rob as they tackle the daunting world of Faerun in this legendary adventure module! Dice Shame is a podcast that welcomes its audience to the gaming table. Like the games they play at home, they try not to take themselves too seriously. The show aims to be entertaining, inclusive, and irreverent, while still taking the rules (somewhat) seriously. Join us every Thursday morning for brand new episodes available on all major platforms including; Spotify, iTunes, Google Play and more! If you haven't checked it out yet... what are you waiting for?!?

Will and Brian are knocking down another "huge giant" on their quest explore the origin's of all Annam's children during the Year of the Giant! Stone Giants love stone and rock - even more so than their hot and cold counterparts. Come underground and find out what makes them unique this week on The Dungeoncast! Check Out the TDC Merch Store Check out our D&D Liveplay, Superquest Saga Support us on Patreon Looking to sponsor an episode or just say hello? Reach out: thedungeoncast@gmail.com Join the community on Discord Follow us on Twitter Instagram --- Support this podcast: https://anchor.fm/the-dungeoncast/support

Story, setting, and community by Dale! Stories by Liz, Madeline, & Dale

The third chapter of the Crusader's journey into the Winding Tower! With Floating platforms, Stone Giants, and requests to rage all around. Will Lucian's friend Nima be found? Only time will tell as The Blerd Crusade continues!

This is the 4th track in my growing "Can You Imagine That" Playlist... featuring amazing stories about Stone Giants, how the Leaning Tower of Pisa manages to stay up, why we greet people the way we do, and Chopin's music for a dog! Can You Imagine That? Well you don't have to because it is all explained in this 1940's radio show designed purely for entertainment in the same spirit of Ripley's Believe It or Not... hosted by Lindsey MacHarrie with time provided for the local radio station to make announcements... so I did! :) Thanks for listening... and we now are heard on 6 different platforms: Itunes, TuneIn, IHeartRadio, Player FM, Podbean, and Google Play Music... search for Heirloom Radio on their podcast list.

The Silence Breaks, The Tale Continues.... This week, Following a Second Audience with the Dwarven King and one of the Stone Giants, The Party begin their Descent back southwards... The Cast: Dragon as "T'riss Nitra" (A Drow) Freya as "Nal" (a Half Orc/Half Elf) Shiraz as "Ishidoro" (A Dragonborn) Susie Q as "Thirteen" (a Goblin) Tauno as "Rasthikos Thyreon" (A Human) Wednesday Le Fey as "Desolation" aka. "Layla" (A Tiefling)  And Nikoli as your Storyteller. Where Can i Find more from the Cast? You can hear more from Wednesday as Part of the Dum Dum Die Cast at: @DumDumDie Shiraz Can Be Found on Twitter at @DiceDeeds  Find more from Dragon & Nikoli Right Here @PenanceRPG  Interested in the DM and world building Notes? Unlock the Bonus "Archive" Podcast through our Patreon Support us on Ko fi and Patreon All Music Was Written & Performed by Daniel Boström Learn more at Penancerpg.com Come talk with us on Twitter, Facebook or Instagram Listen on Google Play, iTunes,  Spotify,  Libsyn, Stitcher, podchaser, podcastaddict Dndice.co.uk - Using "Penancerpg" at checkout for 5% off your order

Continuing our ongoing examination of the Rise of the Runelords Adventure Path by Paizo Publishing, the next installment for us to examine is Fortress of the Stone Giants, a combination civic defense / dungeon crawl adventure. Join us as we continue our discussion of what works, what doesn’t, what was improved in the anniversary edition … Continue reading "S02E24 – Fortress of the Stone Giants"

Today on Save Vs. Rant, we’re continuing our series on the Rise of the Runelords Adventure Path by Paizo Publishing with the third module in the series – The Hook Mountain Massacre. Ogres and their kin, Stone Giants, townsfolk in peril and yet another ghost story await! For those paying attention, you may note a … Continue reading "S02E23 – The Hook Mountain Massacre"

Concerning Peter Jackson's "The Hobbit: An Unexpected Journey"...we discuss the good, the bad, and the ugly of Jackson's first Hobbit film. Topics include Guillermo del Toro (the original director), the philosophy of literary adaptation, the dwarf songs, the Erebor prologue, the Trolls, Azog, Radagast, Stone Giants, Gollum, Martin Freeman, and so much more!!! For more on this episode and The Tolkien Road podcast, please visit TolkienRoad.com or Facebook.com/TolkienRoad. Also, follow us on Twitter via @TolkienRoad. Also, be sure to check out John's new online resource for all things Tolkien (especially The Silmarillion): SilmGuide.com!

Concerning "Over Hill and Under Hill", from giants and Goblins to Bilbo bonked... Intro - 2:00 Terrains! - 5:00 The Stone Giants - 14:00 Goblins - 21:00 Goblin Songs & Mimesis - 32:00 Goblin Culture - 43:00 The Chase - 45:00 Haiku Time - 52:30 For more on this episode and The Tolkien Road podcast, please visit TolkienRoad.com or Facebook.com/TolkienRoad. Also, follow us on Twitter via @TolkienRoad. Please send correspondence to TolkienRoadPodcast@gmail.com.

Waterdeep, the City of Splendors. Also, a hotbed of intrigue and problems of it's own. The cycle draws ever nearer to completion, and with Stone Giants to the South, Frost Giants to the North and West, and Hill Giants to the East... perhaps it's not such a safe haven after all. Welcome to Season 3 of Dice, Nerds, and Nagas! Make sure to hit that subscribe button to join us weekly for our adventures. Hopefully, we'll even have the old Hong Kong dubbing sorted out by the next episode? As always, a huge thank you to Dimos Stathoulis, Avery Alexander, The Guild of Ambience, as well as Derek & Brandon Fiechter for some of the best RPG music around.

The Heroes of Legend call in some help to deal with the Stone Giants, and then they question their spooky prisoner.

Today BEYOND the DARKNESS sets its sights on the Seneca-Iroquois Nations and the Supernatural with guest Dave Shonogo. Dave Shonogo is the Director of the Seneca-Iroquois National Museum and opens up to us about the cultural look at Death, Dying, Ghosts, Burial Practices, Legends and Lore of Stone Giants, Little People and The 2 Brothers and more! Visit his site www.SenecaMuseum.org www.TrueCar.com See omnystudio.com/listener for privacy information.

Today BEYOND the DARKNESS sets its sights on the Seneca-Iroquois Nations and the Supernatural with guest Dave Shonogo. Dave Shonogo is the Director of the Seneca-Iroquois National Museum and opens up to us about the cultural look at Death, Dying, Ghosts, Burial Practices, Legends and Lore of Stone Giants, Little People and The 2 Brothers and more! Visit his site www.SenecaMuseum.org www.TrueCar.com See omnystudio.com/listener for privacy information.

The party celebrates Ascension Day by battling a pair of Stone Giants on a bridge! Meanwhile, another Stone Giant senses something amiss while on guard duty.Become a supporter of the podcast at our Patreon page: http://www.patreon.com/glasscannon You can help us unlock goals for the future while unlocking fun GCP exclusive rewards for yourself!

The party celebrates Ascension Day by battling a pair of Stone Giants on a bridge! Meanwhile, another Stone Giant senses something amiss while on guard duty. Become a supporter of the podcast at our Patreon page: http://www.patreon.com/glasscannon You can help us unlock goals for the future while unlocking fun GCP exclusive rewards for yourself!

Maggie Stables passing, reviewing non-Doctor Who BF releases and series 8 new Who In this episode of the Doctor Who: Alhambra podcast, we discuss the recent passing Maggie Stables, one of the great actresses to be apart of the Big Finish family, playing the part of one of the greatest companion, Evelyn Smythe.  We have a quick discussion on the best Maggie Stables Doctor Who releases. Next, Liam reviews episode 4 in the Rise of the Runelords range "Fortress of the Stone Giants."  Then we both discuss the Tom Baker at 80 Big Finish interview and move to the Night of the Triffids release with some discussions connecting this release with the original release Day of the Triffids.  Finally, we have a quick discussion regarding the audio book release of The Omega Factor, read by Louise Jamieson.   We finish the podcast off with a review of series 8 of Doctor Who, focusing on "Time Heist" and "The Caretaker." For the month of October we'll do the Talons of Weng-Chiang review with the additional October Big Finish releases.