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newsintheshell · 4 months

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▶️ CODE GEASS ROZÉ OF THE RECAPTURE: ECCO IL PRIMO TEASER TRAILER DEL NUOVO CAPITOLO CINEMATOGRAFICO DELLA SAGA!

La storia di Rozé e Ash verrà raccontata in quattro atti e debutterà nelle sale giapponesi a maggio 2024.

Il progetto è in lavorazione sempre presso gli studi SUNRISE ed è diretto da Yoshimitsu Ohashi (Kokkoku, Sacred Seven). La sceneggiatura, invece, è ad opera di Noboru Kimura (Healer Girl, AMAIM Warrior at the Borderline).

#code geass #rozé of the recapture #dakkan no roze #z of the recapture #anime #film #serie tv #scifi #action #mecha #drama #geassp

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yaessa · 2 years

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Wait you re telling me there are plans for a new season set in the code geass universe and NO ONE told ME ???

#code geass #code geass season 3 i guess #z of the recapture #???

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demifiendrsa · 1 month

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Code Geass: Rozé of the Recapture - PV1

Code Geass: Rozé of the Recapture (originally titled Gode Geass: Z of the Recapture) will have four parts that will screen in Japan in 2024.

Japanese theatrical dates:

Part 1 - May 10, 2024

Part 2 - June 7, 2024

Part 3 - July 5, 2024

Part 4 - August 2, 2024

Key visual

Cast addition

Reina Ueda as Sakuya

Kana Ichinose as Chalice

Hiroki Yasumoto as Noland

Nao Tōyama as Catherine

Yumi Uchiyama as Nala

Daisuke Hirakawa as Stanley

Yasuyuki Kase as Walter

Masaaki Mizunaka as Divock

Hiroyuki Yoshino as Kristoff

Ryota Ohsaka as Heath

Sōma Saitō as Arnold

Hirofumi Nojima as Greed

Yūki Ono as Gran

Previously announced cast members

Kōhei Amasaki as Rozé

Makoto Furukawa as Ashe

Staff

Director: Yoshimitsu Ohashi

Series Composition: Noboru Kimura

Music: Kenji Kawai

Original Story: Goro Taniguchi, Ichiro Okouchi

Original Character Design: CLAMP

Character Design: Shuichi Shimamura, Takahiro Kimura

Art Director: Kazuhiro Obata

Mechanical design: Satoshi Shigeta

Sound Director: Jin Aketagawa

Cgi Director: Shūji Shinoda

Director of Photography: Hiroyuki Chiba

Color Design: Ami Kutsuna, Yuichi Kuboki

Editing: Kumiko Sakamoto

Knightmare Frame Design: Junichi Akutsu

Main Animator: Satoshi Shigeta, Seiichi Nakatani, Shuichi Shimamura, Takahiro Kimura, Takashi Hashimoto

Knightmare Design: Astrays

3DCGI: Buemon

Animation Production: Sunrise

#Code Geass #Code Geass Roze of the Recapture #Sunrise #film #anime #anime film #Code Geass Z of the Recapture #long post

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ikindamaybewanthertositonmyface · 5 months

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IT"S FINALLY HAPPENING!!! :D

Now when it says Dec 18th 2023 though, does that mean the anime is gonna start on that day, cause that is SO SOON

#Code Geass Z of The Recapture #Code Geass

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lipid · 4 months

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hi! just finished watching the stream of the new code geass project announcement

New Code Geass project changed name from Z of the Recapture to Rozé of the Recapture.

Miyavi is gonna do the opening

It's gonna be 4 more movies and they're gonna come out in May 2024

Main characters are Rozé and Ash, they're brothers.

Ash's Knightmare Frame is called Zi-Apollo

#code geass #code geass z of the recapture #code geass rozé of the recapture

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teablogreal · 4 months

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Spending a normal day on christmas however inexplicably i turn to my phone at random moments and go “fuck it im watching the code geass rozé of the recapture trailer again”

#code geass #code geass roze of the recapture #code geass z of the recapture #lelouch #which trailer?? u will never know hee hee

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eievuimultimuse · 5 months

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for the record my idea for a ‘not rlly canon compliant / loosely based’ 03 Baxter verse: everything tht happens to Baxter still happens except before ‘what a croc’ + Baxter getting his utrom robo suit, he winds up finding Z who also has some trauma involving shredder & from there they team up & also have a slow burn loll

#MOBILE.#( s/o to my pal who’s talked abt this w/ me & is equally mentally ill over it < 3 FHCFG #ALSO City at war arc; Z saves him from getting captured by hun & thus recaptured by shredder #& thus also….turned into a brain in a jar lol #Idk it’s like a Whole thing I have in mind. They’re both fucked up & traumatized & I love them <3 )

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ew-selfish-art · 11 months

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Demon Twin AU

Tim Drake comes across a LOA manuscript detailing the sacrifice of a Demon Heir that’s dated around the time Damian is born and brings it to the cave. There’s no other mention of what went down, but it looks like Damian was a twin and the twin was thrown into the Lazaras Pits- Tim kind of forgets about it but shows it to Damian cause he figures that the guy deserves to know, and leaves it out for Bruce to see (basically the same thing as telling him). It doesn’t really change much but there is an obscured name in the corner so they can presume that the kid’s name would have been something starting with D A N.

Well here’s the thing: Names carry power. Damian reaches out to John Constantine to ensure that the child is actually dead, because presumably John can do that. John wants to give the kid some closure, so he does what is supposed to be a super chill seance to an infant. He pricks Robin’s finger, chants a little and the air... turns violent.

Uh oh. Dan appears, unshackled from his prison in the Infinite Realms now that John has called upon them by someone with Familial blood. He cackles madly about the fact that it’ll be a good time to bring about the apocalypse again, promising to spare the bird for now, since he would have to get answers later.

The alarms are blaring, the whole JL is hands on deck to try and stop Dan as he attacks across the globe. They’re saving as many civilian lives as possible but its getting very HAIRY in less than 2 hrs. Robin is out in the chaos, trying to track him down with John and Zatanna trying to recapture him and banish him back to the realms.

Phantom touches down just as the three of them reach Dan- Danny has some choice words for his older alternate timeline self, including “This is why you have no friends.” and “Seriously, you didn’t even stop to say hi to my timeline’s Jazz this time.” and “Soup time for 1,000 years and then we can talk remediation.”

After a short but brutal fight, Danny floats over to Damian, John and Z. After making sure they’re all right he’s like “Maybe you can never do that again? Also tell me how and why you did that so I can banish that spell?” And Damian explains that it was meant to ensure that the infant twin he never knew had passed peacefully and clearly that was not the case. Danny blinks a few times, uh, a twin?

Damian goes through the shit, John explains that it was a familial summoning meant to be an advanced seance (hence the lack of safe guards to keep the entity in) and Z confirms that there was nothing special to it beyond that.

Danny then explains, that uh, “I guess my parents weren’t kidding when they told me I was adopted. Hi? I’m your brother. Uh, I go by Danny though. Dan was me in a different timeline and he’s normally under super strict lockdown.”

#demon twin au #dcxdp #dc x dp #dp x dc #danny phantom #damian wayne #Sometimes an apocalypse is the best way to bring a family together #fuck dan tho #I cannot stand his redemption arcs lmao #Damian is like god damn i really could have been way more evil if thats my twin #Danny is super excited that his bio family are all heroes #Danny throws shade at constantine of course #Damian and Danny naturally bond from that point onwards because like hey #neither of us are as evil or bad as we could be #how dope is that?#danny and damian are twins

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wheelsgoroundincircles · 4 months

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FORD MUSTANG BOSS 302

BOSS-A-NOVA!

They called it The Boss and for two short years it ruled the muscle car scene in the US, establishing itself as one of the greatest road and race cars of the era. Now, it’s one of the most collectible.

In 1960s US street lingo, if something was ‘boss’ it was cool, tough, the best. And the 1969 Boss 302 Mustang wore its badge with pride. It launched just four and a half years after the first Mustang was revealed to critical acclaim and record sales. Yearly updates to keep Mustang fresh in the face of tough new challengers from General Motors and Chrysler (particularly the Camaro) resulted in the once lean and pretty ’Stang muscling up, both in body shape and under-bonnet brawn, and the 1969-70 Boss models were the zenith of Mustang styling.

Thereafter, Mustangs became increasingly bloated and anaemic as the 1970s fuel crisis and stricter pollution laws cut horsepower and stylists lost their way; the rippling flanks and thrusting nose of the late 60s/early 70s cars gave way to boxy, bland designs. That early look would not be recaptured until 2005, when new Mustangs were given retro styling.

The Boss 302 was launched at the same time as its big-block brother, the Boss 429. Both were positioned as competition specials; Ford wanted to homologate its 302-cuber for Trans-Am and the 429ci monster for NASCAR. In fact, Ford went wild with engines between 1969-70, offering nine V8s – the ‘economy’ 302, 351 Windsor, 351 Cleveland, 390, 428 Cobra Jet, 428 Super Cobra Jet, 429 ‘wedge’, Boss 302 and Boss 429.

For the Boss 302, Ford’s high-compression 302ci small-block V8 was beefed up with four-bolt main bearing caps and redesigned ‘Cleveland’ cylinder heads with bigger inlet and exhaust valves, and ports that allowed the engine to breathe more efficiently.

These ‘semi-hemi’ heads were based on the Ford 427ci racing engine’s combustion chambers, and a balanced forged steel crankshaft and forged steel conrods allowed the engine to handle high rpms for sustained periods. A single 780cfm four-barrel Holley carburettor sat atop a high-rise aluminium inlet manifold, while a dual-point distributor, high-pressure oil pump, windage tray and screw-in welch plugs were further indications of its competition intent.

A rev limiter was fitted, progressively cutting spark from 5800rpm to 6150, but it was easily bypassed and the Boss 302 could reportedly keep making power up to 8000rpm with minor mods. In the muscle car marketing war, Ford claimed a peak horsepower figure of 290bhp at 5800rpm (the same as the Camaro Z/28), but that was extremely conservative.

Two four-speed manual Top Loader transmissions were available: a wide-ratio ’box with Hurst shifter more suited to street and strip use, and a close-ratio unit for racing. Adding to the race or road options list were four diffs: the stock 3.5:1 nine-inch, Traction-Lok 3.5:1 and 3.91:1 and the No-Spin 4.30:1 built by Detroit Automotive. Axles and diff centres were also strengthened to take the loads.

Suspension was also race-inspired with heavy-duty springs, shocks and sway bar up front, and Hotchkiss-style rear suspension with heavy-duty leaf springs, sway bar and staggered shock absorbers. The left-hand shock absorber was bolted behind the axle and the right in front, to reduce axle tramp under acceleration. Amazingly for such a high-performance car, braking was still only discs and drums with power assistance.

Ironically, the Boss 302’s sexy shape was styled by former General Motors designer Larry Shinoda, who is often credited with coming up with the Boss moniker. When asked what he was working on, he replied, "The boss’s car", a reference to new Ford president ‘Bunkie’ Knudson, who was also ex-GM and had recruited Shinoda to Ford.

While the wheelbase remained unchanged at 2740mm, the ’69 Mustang was 96.5mm longer overall to accommodate all the V8s offered, although the big-blocks still had to be shoe-horned under the bonnet. Shinoda’s ’69 Boss 302 was also one of the first production cars to offer an optional front air dam and adjustable rear wing, and his use of high-contrast black panels, rear window SportsSlats, and go-faster stripes made the Boss a real attention-grabber. The ’69 was also the only quad-headlight Mustang, a feature that was dropped for 1970 models.

In 1970, American Hot Rod magazine dubbed the 1970 Boss 302 as "definitely the best handling car Ford has ever built", while the conservative Consumer Guide called it "uncomfortable at any speed over anything but the smoothest surface". Unique Cars resident Mustang maniac, ‘Uncle’ Phil Walker, never read the Consumer Guide review, but even if he had it wouldn’t have stopped him buying the immaculate 1970 Grabber Orange Boss 302 you see here.

Phil already has his beloved 1966 Shelby GT350H, but the Boss 302 really got his Mustang juices percolating. And he wasn’t alone, because the first Boss he saw, some 43 years ago, is still one of Australia’s most iconic race cars: Allan Moffat’s Trans-Am racer. Phil remembers it clearly.

"I saw Moff race it Calder and I was inspired to own one," Phil recalls. "It was the most aggressive-looking car; its stance was something you had to see to believe. It looked like it was doing a million miles per hour when it was parked.

"My Boss was originally a one-owner car and I bought it from a friend of mine in California, Dave, who I also bought my Shelby GT350H from 19 years ago. Dave found it in a barn with a blown engine, but in otherwise pretty good condition.

"The lady who owned it from new didn’t realise it had a high-compression engine and had run it on standard fuel. When it blew up she just parked it.

"Dave did a nut-and-bolt restoration over two years, then put it up on his hoist. He didn’t want to sell it, but I got my way in the end – unfortunately he had the last say on the price (laughs). I didn’t even bother to test drive it; I knew it was a good car. It had 21 (new) miles on the odo when I picked it up and only 54,000 miles in total."

Since then, Phil has only put a couple of hundred miles on the car, but that’s enough for him to have bonded with it.

"I’ve only had the Boss since January and it’s growing on me. It’s different to the Shelby. It’s bigger and very low.

"The engine is incredible. Dave is one of the best engine builders in California and when he rebuilt the 302 he changed the cam spec. US camshaft technology was okay in the 60s and 70s, but if you had a big-cam muscle car they wouldn’t idle and they were terrible for driving in cities.

"A proper Boss engine can rev to 8500rpm all day and for a V8 that’s pretty serious. But they’re not renowned for low-down torque; it starts coming on from 3500rpm. My car still has a solid-lifter cam, but it pulls like a train from 1200rpm in top gear and I can drive it around at 1500rpm in top all day.

"It’s got the four-speed close-ratio Top Loader with the long first gear and with a 3.7:1 rear end it does about 55-60mph (89-97km/h) in first gear. It bloody goes!"

Phil is a fussy bugger and his cars have to look just right, so Russell Stuckey from Stuckey Tyres has ordered him a set of genuine 15 x 8 Minilites from England to replace the standard Magnum 500s.

"I want it to look like the Parnelli Jones race car, and to get the stance I want it’s going to have 275/60s on the rear and 255/60s on the front. At the moment it’s a pretty car that is tough, but I want a tough car that looks tough. And that’s all I’m going to do to it."

After his first real fang in the Boss, Phil felt that his Shelby would be half a lap in front at the end of a 10-lap sprint at Sandown, but now thinks the Boss would be quicker. We might have to put both to the acid test one day. What do you mean "no way", Phil?

It was a nervous Phil who turned up at a Melbourne storage facility in January to pick up his new Boss 302. So nervous, in fact, that he took along Unique Cars art director Ange and a sturdy tow rope – just in case.

The storage people were even more apprehensive – they had been warned about just how anal he is with his cars, as he explains: "The lady there said, ‘You must be pretty fanatical because we’ve been given strict instructions that no one is to touch the car except you’." Fortunately, the car arrived in pristine condition.

"I was pretty excited, I’d been waiting for seven weeks," Phil laughs. "I took the car cover off it, fired it up, and it drove home like a brand new car. It was as good as I thought it would be. I spent the next three hours washing it."

Sounds like our Phil.

PARNELLI AND ME

Three years ago, my mate Dave and I were invited to a Trans-Am dinner at Portland International Raceway where Dave was racing his 1970 Trans-Am Boss 302 and I was crewing for him.

When we were driving there we noticed this black Mercedes following us. When we stopped it did too and this bloke got out and said, "I noticed you guys back at the hotel. You’re going to the Trans-Am dinner aren’t you? I’m lost." It was Parnelli Jones!

I jumped in with him and when we got there I ‘invited’ myself onto Parnelli’s table, which also included Pete Brock – the guy who designed the Shelby Daytona Coupe. There was I, Mr Nobody, with all these US racing heavies, but Parnelli was a real gentleman, not up himself in any way.

The next day they had free lap time at Portland and, when I saw Parnelli there with Ford’s new ‘Parnelli Jones’ Boss 302 tribute Mustang, I asked if there was any chance of a ride and he said jump in. We did 10 laps and the guy hadn’t lost any of his ability; my eyes were getting bigger and bigger coming into the corners.

It was a great experience that I’ll never forget. – PW

IT's MINE...

Moff’s Mustang is probably the most iconic Australian racecar and after seeing it I was inspired to own a Boss Mustang. Then, about 25 years ago, I went to Pebble Beach in Monterey for the first time and saw a 1970 Grabber Orange Boss 302, which was the colour Parnelli Jones raced in Trans-Am. That day I knew I had to own a Boss. It was the car I’d always wanted after my Shelby, which was my lifelong dream car.

My Boss 302 is fully optioned, including the Shaker, extra side mirror, tacho and rear louvres, and it’s got a lot of wow factor. When you drive down the freeway, you get the thumbs-up from all sorts of different people. I think it’s the colour.

It’s closer to show standard than my Shelby. It’s got the paint marks on the tailshaft and all the little concours details, but I’m never going to show it; I’m not into that.

The 1969/70 body shape is still the best. Ford got it right then, but lost the plot after that and it’s reflected in their collectibility today. – PW

#car #cars #muscle car #american muscle #ford #FORD MUSTANG BOSS 302 #ford mustang #boss 302 #MUSTANG BOSS 302 #mustang

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thesiltverses · 3 months

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character writing tips??

Everything's subjective, but for me:

For character creation (as for plotting, as for worldbuilding), each of us ultimately has to find our own best practice and preferred method through trial and failure. There's a vast spectrum of tips ranging from 'create a bullet-pointed list of their favourite foods, make them a playlist of their favourite songs, make sure you understand every facet of who they are and where they've been before you sit down to write them' and 'discover the character as you write them!' and there's no objective answer. I like to give my characters a starting point, a starting goal, and starting principles, then toss them in the deep end and see how they react and change over time, but that's not for everyone. Try every approach and adjust to taste - does the character start to bore you after ten pages because you've already written them out as a straitjacketed profile and there's nothing left to find out? Or could you do with having a clearly defined arc, or more small personal habits or peccadillos?

2. For continuous character development (particularly if you're writing something serialised and longform like a podcast, particularly if you're writing for an internet audience), try and identify - and then be prepared to constantly out-think - the temptations that lead to calcification or Flanderisation of the character, because the golden fruit often ends up rotting the tree that birthed it.

Beware of your past successes, in other words, because they sway you and they corrupt the character. It's incredibly easy to find yourself straying towards 'oh, it was impactful when X came bursting in to save the day and they haven't really had a moment like that since, how can we recapture that?' or 'people really liked it when Y & Z had a big angsty argument about their feelings, maybe we should be giving them even more angsty arguments about their feelings' or 'the internet loves mean badass women, maybe A should be just incredibly mean and badass in all her interactions so we can get one million likes and be famous.' (I've caught myself doing all of these, and definitely haven't always succeeded in stopping myself.)

But fishing for a specific audience reaction or trying to stage-manage a narrative outcome is how you end up with zombie protagonists - stale archetypes acting out the same formulaic moments over and over in the hope of reliving the old applause, instead of characters that are still authentically capable of change or capable of surprising you.

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demifiendrsa · 4 months

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Code Geass: Rozé of the Recapture - New PV

Code Geass: Rozé of the Recapture (originally titled Gode Geass: Z of the Recapture) will have four parts that will screen in Japan starting in May 2024.

MIYAVI will perform the opening theme song “Running In My Head”.

Key visual

Cast

Kōhei Amasaki as Rozé

Makoto Furukawa as Ashe

Staff

Director: Yoshimitsu Ohashi

Series Composition: Noboru Kimura

Music: Kenji Kawai

Original Story: Goro Taniguchi, Ichiro Okouchi

Original Character Design: CLAMP

Character Design: Shuichi Shimamura, Takahiro Kimura

Art Director: Kazuhiro Obata

Mechanical design: Satoshi Shigeta

Sound Director: Jin Aketagawa

Cgi Director: Shūji Shinoda

Director of Photography: Hiroyuki Chiba

Color Design: Ami Kutsuna, Yuichi Kuboki

Editing: Kumiko Sakamoto

Knightmare Frame Design: Junichi Akutsu

Main Animator: Satoshi Shigeta, Seiichi Nakatani, Shuichi Shimamura, Takahiro Kimura, Takashi Hashimoto

Knightmare Design: Astrays

3DCGI: Buemon

Animation Production: Sunrise

#Code Geass #Code Geass Roze of the Recapture #Sunrise #film #anime #anime film #Code Geass Z of the Recapture #long post

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thirdity · 11 months

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Rereading, an operation contrary to the commercial and ideological habits of our society, which would have us "throw away" the story once it has been consumed ("devoured"), so that we can then move on to another story, buy another book, and which is tolerated only in certain marginal categories of readers (children, old people, and professors), rereading is here suggested at the outset, for it alone saves the text from repetition (those who fail to reread are obliged to read the same story everywhere), multiplies it in its variety and its plurality: rereading draws the text out of its internal chronology ("this happens before or after that") and recaptures a mythic time (without before or after); it contests the claim which would have us believe that the first reading is a primary, naïve, phenomenal reading which we will only, afterwards, have to "explicate," to intellectualize (as if there were a beginning of reading, as if everything were not already read: there is no first reading, even if the text is concerned to give us that illusion by several operations of suspense, artifices more spectacular than persuasive); rereading is no longer consumption, but play (that play which is the return of the different).

Roland Barthes, S/Z

#reading #rereading #consumption #play #time #mythology #language #quotes #Barthes #Roland Barthes #S/Z

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bugeyedfreaks · 1 month

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Thought this was an interesting article for reasons I think people who read my blog will understand. 😆

…one extra thing I’ll add though is that the article states that “96 percent of streaming audiences surveyed want quality nostalgic content — think ‘The Office’ or ‘Friends’ — they can binge endlessly on a lazy Saturday or snow day,” and what that tells me is that, while people do love going back to great TV shows and movies to rewatch them, that reboots rarely recapture that feeling of nostalgia that you can only get from the source, not some remake of it. They want to watch the original for a reason. It’s always nice to look back to what you love, but I think more often than not, letting it stay in the past and not suffer by being needlessly reanimated is usually a good thing.

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tamarahtalkstv · 4 months

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