sábado, 15 de abril de 2017

Bizarre March: Titanic Animated



Do you remember when James Cameron surpassed “Jurassic Park” as the highest-grossing film of all time with “Titanic”? And when he self-plagiarized ten years later with “Avatar”? Until then, plenty of production companies try to cash-on the success with movies, documentaries, videogames, Stealth Sequels and parodies. But none of those imitations have been as hated as the animated adaptations, both Italian, both horrible. Today we will take a look to the “less bad” of the two, “Titanic: The legend goes on”, better known as Titanic Animated. It was directed by Camilo Teti on 2000, who also produced “The Arc”, “Killer Crocodile 2” and “Computron 22”. I find incredible the existence of an Spanish dub. The film starts with piano music while the Titanic sinks (SPOILERS). We can see the animation isn’t very fluid, it looks like slow-motion. After zooming to the protagonist’s eye, we see the movie will be told trough a flashback.
-You will never find your beloved mother. *Repeat*
You may get that they didn’t just copy Cameron. Let’s see: the protagonist has stepmother and stepsisters, like Cinderella. Even the fucking cat and speaks with mice. But Disney rip-offs don’t end there, they have the Dalmatians, Horace & Gaspar, the lady but without the tramp, the chef from “The Little Mermaid” and guess the name of the villain.
-Does your molar hurt, Gaston?
-Who does he think he is?
It looks like a Disney crossover! But copies don’t end there either. They also have three Speedy Gonzalez and a Sherlock Holmes.
-Hi, I’m a flagrant violation of copyright, love me!
They even plagiarize characters nobody wants, like Poochie the rapper and bilingual dog.
-Hey, you need to know something, so I’m telling you. Relax, forget it, enjoy the show (Continues rapping in English)
-So Poochie is aggressive.
-And he’s taunting me!
Yes, and there is not one, but two musical numbers: the rapping dog and the Mexican mice. The film isn’t consistent with itself. Some animals can speak with the humans while others can’t.
-Did you understand thaaaat?
Curiously, the roles are reversed with Cameron. The woman is poor, while the man is rich. But the romance is equally under-developed.
-Oh, but what will my stepmother say? And Bernice? And Ortens? And Farfour?
Some people got offended because Cameron’s version focused on an invented romance instead of the real survivors. With this one, victims have to be revolting in their icebergs. Filler isn’t just singing animals, they also do another musical montage with the couple, with even more flashbacks to the two or three scenes they shared! The norm is using flashbacks to go deeper in the story, not excuses to recycle animation!
*The singer screams like The Thing (1982)*
Even the ending of the film is the recycled beginning! They only added how the protagonist reunited with her boyfriend and mother. And when you think everything ended…
-Wait, wait, where are you going? The movie hasn’t ended yet. Don’t you want to know what happened to everybody? At least we’re having luck. To thank us for saving him, our friend the chef let us stay on his new workplace: the kitchen of one of New York’s most elegant restaurants.
They rip-off “Ratatouille” years before existing!
THE END

When are you going to review the other one???

lunes, 13 de marzo de 2017

El riesgo de la fe animada

Una industria con parodias y titanes

“Psiconautas: Los niños olvidados” es una arriesgada película española de animación para adultos en una industria llena de estudios multinacionales y parodias de películas americanas. Ganó el Goya a mejor película de animación en 2017 antes de estrenarse en cines y aún así sufrió de un estreno limitado en su país natal. Por esa razón, el director Pedro Rivero denomina la animación independiente como proyectos de fe basados en ganar premios para obtener reconocimiento en el extranjero.

Tan solo pudo producir su largometraje por la adaptación previa de la misma novela gráfica por Alberto Vázquez al cortometraje Birdboy, el cual también ganó el Goya en 2010. Aún así, el productor Carlos Juárez no se sorprende del galardón. Dictan que su película tiene un “valor intangible” que se aprecia en los festivales internacionales y podrían dar una identidad al cine animado español. El riesgo de la fe se basa en “escapar de la jungla” del negocio tras aplicar diferentes dimensiones al proyecto, “pero sin volverse loco”.

Los equipos de artistas deben compartir puntos de vista y entenderse para llevar las subvenciones de guiones a proyectos realizables. En Euskadi es más posible que en otras regiones de la península porque no toman la animación como una moda pasajera e incluso proponen leyes para defender autores.


La Sociedad General de Autores de la que forma parte Rivero es muy criticada por los políticos que no comparten sus opiniones. Intentan demonizarlos en vez de tratar la animación como una industria que genera trabajo. Es más, se trata temas políticos y controversiales más a menudo en animación que acción real, como la violencia vasca más allá de programas humorísticos.

domingo, 26 de febrero de 2017

Depressing hope for animation nerds

“Psiconautas: The forgotten children” is the last movie directed by Alberto Vazquez and Pedro Rivero, based on the graphic novel “Psiconautas”. It’s a little capsule of depression that actually shows hope trough its characters: the drug addict Birdboy and a mouse girl called Dinky, who want to escape from an island sunken into shit after most of parents dying on an industrial accident.

Longer explanation in Spanish

The novel can perfectly be read in 20 minutes “and puts you into a state of mind we sometimes need”. It’s an interpretative story from you can take plenty of references. Even if the topic of drug addiction is hegemonic in the picture, other experiences can be applicable, like the 80’s crisis on Spain.

Thanks to the success of short film “Birdboy” winning a Goya, Vazquez and Rivero could finance the movie. It’s a type of cinema that deserves being analyzed because takes its time to establish most of the surreal elements instead of just saying “it’s magic”. The real review will be done scene by scene after the movie is released on DVD.


There are so many consistent pieces and subtle elements I would recommend checking the movie more than once to pick all the easter-eggs. For context, I suggest watching “Birdboy” first if you can’t acquire the novel. Both are interpretations of the same story excellently done. “Decorado” is also an interesting short film by Vazquez to expand the universe. It’s a collection of works to revisit when you feel alone to realize there is still hope.

Una pequeña cápsula de la depresión

Deprimir para mostrar esperanza

“Psiconautas: Los niños olvidados” es la última película dirigida por Alberto Vázquez y Pedro Rivero, basada en la novela “Psiconautas”. La historia trata sobre un pájaro drogadicto llamado Birdboy y una ratoncita llamada Dinky que quieren escapar de una isla que está en la mierda, después de que toda la generación anterior de padres falleciera en un accidente industrial.


Es una pequeña cápsula de la depresión. Lo puedes leer en 20 minutillos perfectamente y te va a meter en un estado de ánimo que a veces necesitamos. Pero no lo recomiendo en un buen día porque te puede poner muy deprimido. Un elemento interesante es que esta novela es muy interpretativa, puedes utilizar múltiples referencias.

Aunque el tema de la droga es englobante, creo que se le puede aplicar diferentes experiencias. Por ejemplo, cuando leí esta novela por primera vez, yo no sabía que se basaba en la crisis de los ochenta en España.

Es una adaptación a largometraje que ha estado al menos en cinco o seis años de desarrollo. Solo han podido lograr presupuesto porque hicieron la adaptación a cortometraje “Birdboy” y ganaron el Goya, del cual dejaré el enlace en la descripción.


Un cine que merece analizar

A la hora de contar historias, establecer a priori es un elemento que me gusta mucho. Porque es muy fácil decir “fue magia” o meterlo y que te haga clic de repente y decir “ya lo establecemos aquí y lo metemos a la vez”. Creo que se debe ver más de una vez para entenderla bien. Hay un montón de cosas consistentes y elementos sutiles que hacen realmente apreciar la obra. Porque en otra película dirías “es magia”, pero aquí sin embargo te lo establecen y se toman un tiempo. Cuando esta película salga en DVD, haré la crítica de verdad, escena por escena y a profundidad.

Recomiendo que, por contexto, si no podéis adquirir la novela, veáis el cortometraje “Birdboy”. No es necesario de ver para comprenderlo, pero te adapta al tono y es también una buena interpretación de la novela. “Ambas son interpretaciones”, elabora Miss Blueberry, “y está de puta madre”.


Beneficia ver antes “Decorado” también, porque hay como unos pequeños enlaces o huevos de pascua. Aún tengo pendiente por leer “El Evangelio de Judas” y otras obras de Alberto Vázquez, pero lo recomendaría. Ya sea para leer una vez o para tenerlo en tu estante y, cuando lo necesites porque estás en un momento triste, verlo y deprimirte más y ver que hay esperanza.

jueves, 23 de febrero de 2017

Spanishness without quotation marks

Independent animation is a risky project of faith

Pedro Rivero and Carlos Juarez directed and produced “Psiconautas: The forgotten children” and won the Goya for best animated picture. They point ideological excuses to underrate Spanish cinema and complain about campaigns to defenestrate animation.

Independent animation is “a risky project of faith” because it had to win prizes around the world before getting a Spanish release. They had few backups and didn’t find financing until winning the Goya for the Birdboy short film. The film is based on a graphic novel by Alberto Vazquez, who also co-directed, for not being a commercial proposal to industrialize.

Juarez wasn’t surprised about not winning the Goya because the international tour was good and the biggest handicap was the lack of visibility. Psiconautas had an “intangible value” the country should enhance in words of Rivero. The international recognition of Birdboy let them starting to write the movie script.

Psiconautas has a different premise than most of the Goya contenders because isn’t a parody “with spanishness between quotation marks” or founded by heavy-hitters of the industry. Even animation doesn’t have as presence as fiction in the Goyas, they are produced by cycles and are some of the highest-grossing productions thanks to the family-film studios like Pixar. On the other hand, animation for adults like Persepolis doesn’t impact the Spanish box-office because there aren’t big studios behind.


Faith that comes with risk

Carlos Juarez reveals the secret of escaping the animation jungle: dimentioning without becoming mad. Those actions are shared by a team who believes in the same and have ambition. Euskadi has some of the best backgrounds on Spain with the economic helps to produce. Pedro Rivero explains that risks are taken by the creators, while producers appear later in the way.

Cinema affects culture and public opinion, so politicians tend to demonize instead of taking it as an industry that generates work. Basque animation is more possible for institutions and not being a passenger trend, to the point of proposing a Sponsorship Law. Rivero jokes about the “influencer” politicians afraid of the General Society of Authors, who let phone companies downloading illegal movies instead of improving free access to culture.


To bookend, animation can deal with some themes better than fiction for letting abstraction. For example, Basque violence was always been dealt with humor in TV, while animation would approach it with a reflexive attitude.

miércoles, 22 de febrero de 2017

Excusas ideológicas para menospreciar el cine

Los creadores de “Psiconautas: Los niños olvidados” se quejan de las campañas para defenestrar la animación

El director Pedro Rivero y el productor Carlos Juárez hablan sobre la ganadora a mejor película de animación en los Goya, “Psiconautas: Los niños olvidados”, definiendo la animación independiente como un “arriesgado proyecto de fe” con pocos respaldos. La película se basa en la novela gráfica por Alberto Vázquez, quien también es el co-director. Ha sido presentada en festivales de más de 80 países antes de su estreno en España, por no ser una propuesta comercial.

Carlos Juárez dice que Psiconautas hubiera requerido demasiado dinero de darse a conocer por sus propios medios. El proyecto artístico obtuvo su financiación tras demostrar que el equipo de Rivero y Vázquez funcionaba tras el cortometraje Birdboy. La idea siempre fue de realizar una adaptación a largometraje, pero no pudieron realizarlo al carecer de medios industriales.

Pedro Rivero estaba convencido de que el libro tenía una narración muy sólida para animación, un “valor intangible” que el país debía ensalzar. Como ganaron su primer Goya por la adaptación a cortometraje, fueron reconocidos internacionalmente y comenzaron a escribir el guión de la película.

No están sorprendidos por el galardón porque la edición pasada solo tuvo tres contendientes a mejor película de animación. El director ejemplifica que las propuestas comerciales como Tadeo Jones son parodias de iconos del cine norteamericano “con la españolidad entrecomillada” o suelen estar respaldadas por “pesos pesados” como Fernando Trueba y Javier Mariscal.


Producción cíclica de películas animadas

A pesar de que el cine de animación no tiene tanta presencia en los Goyas como la ficción, Pedro Rivero opina que se producen en ciclos. “No significa que no se estén haciendo”, Carlos Juárez añade que no se sorprendieron por ganar el Goya porque “nuestra trayectoria internacional fue impecable”. El único contendiente serio fue Ozzy por estar producido por Antena 3, ganando en visibilidad y un estreno previo al festival.

Aún así, está demostrado que la animación interesa al público porque tres de las diez películas españolas más taquilleras de 2016 son animadas. Rivero opina que estudios como Pixar o DreamWorks han normalizado la buena recepción del cine animado familiar. Mientras que cine con reconocimiento más internacional como Persépolis y Anomalisa no tienen impacto en la taquilla al carecer de un estudio televisivo detrás.

Juárez revela que el secreto para escapar de la jungla animada es “dimensionarse sin volverse loco” porque los productos que merecen la pena siempre supondrán riesgos siempre que no sean desproporcionados. Son saltos de fe compartidos porque todo el equipo debe comprender lo que está haciendo. Euskadi dispone de la mejor situación en España porque hay una mayor variedad de ayudas económicas para producir. “El riesgo lo toma el creador”, responde Rivero, “los productores aparecen por el camino”.


Cine que afecta la cultura

La animación vasca es más posible de producirse que en otras partes de España por tener más ayudas institucionales y el hecho de no consistir en una moda pasajera. Incluso se está intentando aprobar una Ley de Mecenazgo para ayudar a los creadores culturales porque el cine genera dinero.

Sin embargo, la gente relacionada con el cine puede cambiar opiniones porque interesan en el ámbito sociocultural. Carlos Juárez conoce individuos que ven masas a favor o en contra “para demonizar”, en vez de gente que genera trabajo en una industria real. Los políticos españoles no tomaron en cuenta el cine hasta hace poco y catalogaban a las estrellas como comunistas.

Pedro Rivero vacila con que esas personas son “influencers”, a pesar de señalar la existencia de esa campaña contra el cine más allá de la ideología que afecta a la Sociedad General de Autores. El director protesta acerca de las compañías telefónicas porque permiten descargar películas ilegalmente cuando se pretende Internet y acceso a la cultura gratis.


Por último, Rivero señala la carencia de límites en la animación porque algunos temas son más fáciles de dirigirse mediante abstracciones. La violencia vasca solo ha sido cubierta a través del humor. “Pasamos de ni mencionarlo a reírnos de ello”, elabora el director, “sin un acercamiento reflexivo”.

Animation is a risky project with few backups

Pedro Rivero and Carlos Juarez speak about “Psiconautas: The forgotten children”

“Psiconautas: The forgotten children” is the Goya winner of the best animated picture in 2017. The co-director Pedro Rivero and producer Carlos Juarez tell that independent animated films “only exist by faith” and reflect about how the media treats it on Spain before the release, difficulties to finance it, institutions, politics of backing and “campaigns to denigrate and defenestrate cinema”.

The movie is based on the graphic novel by Galician illustrator Alberto Vazquez, who also co-directed the film. After being shown in 80 countries and festivals like Zinemaldia in Donostia, Juarez speaks about the “intangible value” that Spain could give its artistic works. Psiconautas, for example by the producer, would require too much money if it needed visibility on its own. Rivero adds the “ideological excuses” to underrate cinema.

Both the short film Birdboy and the feature film Psiconautas seem to make the Rivero-Vazquez tandem work. Specially, since the works themselves were what reunited them in the first place. Rivero read the book on 2008, “with a very solid narration”, and proposed him to adapt it into animation.

They always wanted to make it full-length, but couldn’t finance it without industrial goals. So they adapted it into the short film and worked because they won the Goya. After the prize, they were internationally recognized and slowly started to write the script. Juarez wasn’t surprised by the Goya because not many animated films are produced in Spain, just three this last edition.


Goyas without animated competition

Pedro Rivero states that animated films are produced in Spain by cycles, “it doesn’t mean they aren’t being made”. Carlos Juarez explains his lack of surprise for winning the Goya because “our international trajectory was impeccable”. The only contender was Ozzy by Antena 3 because it had more visibility and was released before the festival.

Animation interests the public because three of the ten highest-grossing Spanish films of 2016 were animated. Rivero explains that animated movies for families have good reception thanks to Pixar and DreamWorks. But outstanding films with international recognition like Persepolis and Anomalisa didn’t leave an impact on Spanish box-office. Without a big studio or television behind, Juarez reveals you have to escape to the animation jungle “dimensioned, but without becoming mad”. Products have to be worth making, with risks. Even they aren’t complicated rarities or “ruined by a disproportionate ambition”.

“It’s a risk that every creator takes”, continues Rivero, “producers appear on the way”. Independent creators contact with themselves, like him with Alberto Vazquez to know if Psiconautas could be possible. “It’s a pure matter of faith” a place for this type of cinema. Producers won’t make independent animated movies because there are minimum backups and no private inversion.

Juarez elaborates that faith is shared because people have to understand what is being made. “On Euskadi, we have the great advantage of many public helps”, says the producer, “and public television”. It’s a better situation than the rest of the State and contracts help even if they are insufficient.


Basque animation is more possible

Pedro Rivero reveals that have been more institutional helps on Euskadi than in the rest of Spain because “it doesn’t depend on being a trend”. On Gipuzkoa, a Sponsorship Law has been proposed to kickstart cultural creators, which Carlos Suarez answers that cinema generates money. For example, Psiconautas has been in 80 countries without being a commercial proposal like “Tad, the lost explorer”, which Rivero describes as “a parody of a North American cinema icon with Spanishness between quotation marks”, and “Chico y Rita” is backed-up by “heavy-hitters like Fernando Trueba and Javier Mariscal”.

Spanish politicians haven’t understood their own cinema until the last years for being against the war. Juarez points friends who link that with Politics and “don’t want to watch anything with Bardem because is a communist”. People involving cinema interest in the social ambit and can change opinions. “Instead of seeing them as people who generate work or a real industry”, continues the producer, “are seen as masses in favor or against to demonize”.

Rivero jokes they are “influencers”, but he points a campaign to “defenestrate and denigrate” cinema further than the ideologies. Like the minister Cristobal Montoro saying he doesn’t like Spanish cinema to attack the General Society of Authors. “We talk about free Internet and free access to culture”, reflects the director, “but phone companies are still paid to let downloading movies”.


Basque violence trough animated films

To conclude, Pedro Rivero is asked if he sees possible dealing with the past Basque violence on animation like Alberto Vazquez did with Galicia. He states there aren’t limits on animation because Oscar nominated “Waltz from Bashir” for best foreign film and “Persepolis” about the conflict on Lebanon.


Some themes are easier to address with drawings for the abstraction capacity of animation. While in Euskadi, violence has only been covered trough humor in “What a week” and tangentially in “Spanish Affair”. “We stayed there”, explains Rivero, “we changed from not even talking about it to laugh out loud without a reflexive approach”. Animation could indeed finish that circle.

lunes, 30 de enero de 2017

Digimon Abridged Ep5: Cutreramon (ENGLISH)



*Friendzone Dubs*
MERAMON: Stop singing about Moonmon!
BENDERMON: The next video is a nonprofit and fanmade parody. Digimon is propiety of Akiyoshi Hongo, Toei Animation and Bandai. Please, support the official release AND A MASK FOR ME!
NARRATOR: Previously, on Digimon Abridged…
Are you still watching this show? Seriously? Don’t you have enough incest and penis jokes? I mean, last episode was creepy. High Octane Nightmare Fuel, bro. Even with a firing exhibitionist controlled by a dark wheel, the most horrifying part was the parrot and her girlfriend. I’m going to puke…
Episode 5: Cutreramon*
*Cutrerama is a Futurama parody by the channel that voices Bendermon.
MIMI: Even my hat hurts.
TK: Take a break, please.
MATT: I’m surprised with you enduring so little.
SORA: Poor guys, it’s a shame seeing them rolling in the floor.
TAI: The strange part is that Joe hasn’t complained yet.
TENTOMON: But Izzy, you already know your laptop doesn’t have battery.
IZZY: Yet, a man can dream…
TAI: Do you have porno? C’mon, butts and boobies!
IZZY: Leave my waifu alone!
TAI: Doesn’t it have a motion sensor?
SORA: No Tai, not everything works like your penis, phallocentric jerk!
TAI: What is a phalocentric? And what about that?
AGUMON: I’m going with you, Taichi?
JOE: Taichi?
MATT: Tit for tat.
IZZY: The battery is so low…
TAI: People, come here!
JOE: It looks like a factory.
TAI: It may be of chocolate, let’s go!
TK: What is that, Matt?
MATT: You aren’t prepared to use it yet.
JOE: Okay, okay, okay, who is crazy now? How can a factory exist if there aren’t humans around?
TAI: What a relief, Joe hasn’t complained in so much time that I thought he was possessed.
BIYOMON: Wait!
SORA: What happens, Biyo?
BIYOMON: Hear with attention.
AGUMON: Look at that!
TAI: A robot!
GOMAMON: It’s Bendermon.
TAI; Do you know it?
AGUMON: Yes, he’s a cool guy. We used to play with the Pokemon Tazos. Do you remember them? Such wonderful times!
BIYOMON: What’s more, he’s stronger than our evolutions.
JOE: Are you sure he’s one of us?
SORA: Like Meramon and Seadramon?
TAI: Cool!
JOE: No!
*Joe helps them*
JOE: I only help you not to feel displaced!
*Tai hums and falls over a lever*
AGUMON: Bendermon, wake up!
TAI: I’m going to hit it! I’M GOING TO HIT IT!
JOE: No!
*Bendermon wakes up*
JOE: Very bad, Agumon, sit, sit!
SORA: It looks like he has opened the eyes.
BENDERMON: What are you doing in my shack?
TAI: Attack, Canary!
BIYOMON: Hey, I’m not islander!
JOE: Didn’t you say he was cool?
GOMAMON: Look Joe, everything has been upside down since you appeared. So don’t ask for explanations when you are the cause of my misfortune, damn parasite!
TAI: Agumon, what if you evolve into a robot?
AGUMON: I have something better.
TAI: Well thought, we are unstoppable with your brain and my ability to breathing fire!
*From now on, there will be filters so YouTube doesn’t globally block it*
MIMI: I don’t know what those are, but I don’t have any of those in my purse.
IZZY: I found a door.
TENTOMON: Finally, you have been searching for half an hour.
*They examine the room*
TENTOMON: What language is this?
IZZY: I don’t know, it looks Murcian*.
*Spaniard equivalent to a Canadian joke.
TAI: Oh, dear me!
JOE: We’re lost!
TAI: Silence, he may miss us!
BENDERMON: I may be blind, but this blind blind blind… actually sees.
TENTOMON: I don’t know, Izzy. Your apples* have caused the blackout.
*He misspelled “manazas” (ham-hands) with “manzanas”.
IZZY: I’m sorry.
TENTOMON: Try to redraw the character.
OZZY: Good idea!
MIMI: The light has returned.
MATT: We can continue walking on a straight line.
TENTOMON: Izzy, spontaneous combustion, I’m dying, turn off the computer!
IZZY: Changing the topic, where could the rest be? I hope they don’t leave me alone.
TAI: One-two-three-four, one-two-three-four!...
BENDERMON: Aha, you are there! Dildo-hand!
*Matt screams in pain. Matt screams in pleasure.*
TAI: You might be a level superior to our evolutions.
*Tai gets into the crane*
TAI: But my plot armor is even more superior.
IZZY: Come here guys, I discovered something great!
MATT: I hope it’s not about your fucking Maincras*.
*Minecraft purposely bad spelled.
IZZY: No idiot, this is serious, there is a program that constantly creates energy!
*Bendermon approaches*
IZZY: The factory feeds itself with that and never stops. It’s a cyclic system that never ends, like eating your own shit.
MATT: What a disgusting example.
TAI: Run, we’re pursued by another unnecessary Terminator sequel!
BENDERMON: I bet you didn’t see that coming, meat pieces!
*He tracks the humans*
BENDERMON: You’re going to suck my explosive nipples!
TK: Oh no, I forgot not being stupid!
MATT: Hold on!
GARRULOMON: Of course, since you don’t have to fight!
GREYMON: Suck that, missile in the shape of… a head.
BENDERMON: Aren’t those Cubonemon and Garrulomon?
TAI: That’s funny, we thought exactly the same names.
MATT: Yes, what a coincidence.
BENDERMON: Guys, guys, don’t get mad at me. You would also be angry with a gear in the leg. Dildo-hand!
GARRULOMON: Why are you repeating the same attack animation?
BENDERMON: You must recycle, cunt!
GREYMON: Recycle me this!
GARRULOMON: That was from three episodes ago.
BENDERMON: You aren’t that badass now, right?
MATT: He’s kicking their asses, we’re fucked.
SORA: It’s because none of the attacks penetrates his armor!
TAI: Haha, penetrates.
TENTOMON: Hey Izzy, the episode should be finished in a while. Do I evolve now or I wait so their asses are kicked a bit more?
IZZY: I’m going to google how to evolve you. I’m sure some latino will have a video-tutorial explaining it. If they worked as hard the dubs…
KYUBEY: Wey, I’ve been following this series for five episodes and I wasn’t offended by all those jokes about incest, pedophilia, homosexuals, Spaniards, ADD gamers and JK Simmons. But a joke about latinos with no context? That’s too much, I’m going to unsubscribe and leave a dislike. You got too smartass, cunt.
TENTOMON: Oh yes, Tentomon is going to evolve, every man and woman should wet their panties.
KABUTERIMON: We aren’t even going to change the voice-actor for this one.
BENDERMON: I’m beating the hell out of your friends, why do you think the young grasshopper will defeat me?
TAI: A cockroach?
MIMI: Nasty!
SORA: Can I keep it?
KABUTERIMON: I surrender, let the salad fight!
JOE: He’s a bit broken, without weak points.
IZZY: He must have, his weak spot should be… overwarming his nipples!
KABUTERIMON: Just let me take that little wheel.
SORA: Another sick wheel!
BENDERMON: I’m… free! Sorry Fry, I didn’t want to hurt you!
TAI: It’s Tai, not Fry!
BENDERMON: To get out from here, go to where I’m pointing with my Uboa shoulder.
TAI: I didn’t notice that!
MIMI: Super feminine jump of Mimi!
TAI: Mimi, you’re always doing stupid stuff.
TK: Hey Izzy, did you hack Tentomon to evolve it? Could you try to hack Shitsmon?
IZZY: Of course not, or I would hack myself to have more subscribers.
SHITSMON: Is Shitsmon already my official name?
TAI: It was that or Potatomon.
IZZY: Damn, it doesn’t work anymore.
TENTOMON: We should return to the giant battery so everyone can evolve and continuing gets easier.
TAI: Fuck that, a single evolution each episode!
AGUMON: And what will happen when everyone have evolved?
SORA: Then, the series can end, this won’t last forever, right?

TAI: Unless a sequel is made 15 years later.

viernes, 13 de enero de 2017

The Carlist general who almost changed Spanish popular culture

Palillos is immortalized in Alain Martin Molina’s last book, “Blood of partisan”

“Blood of partisan” is the fifth book of Alain Martin Molina, based on general Palillos, an unknown Carlist who almost changed the history of Spain. The mayor from Alain’s town Santurtzi and his teacher Pablo Zapata, who also writes novels, accompanied him in the presentation on the Tower House. The Council thanked the young writer for previously presenting the book in Madrid.

Zapata also expressed gratitude to his old student for his bibliography and the editorial for how the novel looks. He explains that the book hooked him since the beginning for illustrating the two Spains with Isabelians and Carlists. The country became known for its late fruits and that ignorance persists today for reading with the Index of censorship or by winners instead of foreign authors.

Culture never totally returned to Spain because half of Spanish homes don’t receive books or newspapers and workers only specialize in their jobs. “Blood of partisan” is contextualized in a period without brilliant minds, which was repeated again in the Spanish Civil War for deaths and exiles. Zapata returns the word to Alain, who always invited his teacher to his book presentations.

“The past was a war” is Alain’s previous novel, also based on a war. A couple of lawyers became a fan of it and suggested him writing about Carlism under Madrid, because there was only just novel about that before. Those Carlists didn’t pass to popular Spanish culture, so Alain turned into his main character someone called Palillos who suddenly appeared on documents since 1833.


Using fiction to fill History

“Blood of partisan” is centered on Palillos’, who almost changed the present for reuniting seven thousand Carlists kilometers away from their origin. If Madrid would be attacked by Palillos from the south and Zumalacarregui from the north, they could have taken the country. The Carlist identity was antagonized for losing some wars and it culminated with Canovas del Castillo deleting the regional codes of laws. Fifteen years later, the PNV was born as a response and the Carlist party currently exists trying to change the Constitution.

Alain Martin Molina describes the biggest complication on writing historical fiction as not being a historian. He loves History and loves to fill the gaps to commemorate those who don’t have statues or well-known names. That’s from the experimental part of the book comes, enhancing with the wife character.


Before even thinking I writing more, Alain wants to take a break, since he has been making novels since almost a decade. His personal progression should be reflected in its bibliography to become “a real writer” over sixty. Pablo Zapata jokes that Alain is still with the feeding bottle, “nobody is born as a poet”. In the words of Alain’s grandparent, nothing is better for the human mind than contriving. Writers aren’t able to reread their older stuff and tend to delete plenty of content the more they produce because editorial processes are too long.