Archive for the ‘Cool Stuff’ Category

Day of the Devs

Monday, November 10th, 2014

Day of the Devs - Double Fine convention - in San Francisco, California

It was a video game enthusiast’s paradise. Screens and consoles decked every wall of (nearly) every room of the two story Old Mint building in San Francisco, all displaying demos of games to be released within the next year. There was a crowd gathered around each display, each person eager to get a chance at playing the game. I was attending with a few other friends from Cogswell, whose brains I could audibly hear exploding as they took in scenery and games around them.

The turnout of indie game developers was amazing. Day of the Devs was hosted by Double Fine, so they had a room full of their own soon-to-be-released games such as Costume Quest 2 and even a remastered version of Grim Fandango, but the rest of the building was filled with small studio games like Night In The Woods and Knight Squad (my personal favorites), Classroom Aquatic, Push Me Pull You, Spy Party, Ikarus, and Please Don’t, Spacedog. A few of the games were played with an Oculus Rift headset. There was even a swag shop full of t-shirts and books related to the games. Outside in the courtyard was a bar and a stage where live DJ’s played music, and games were actively played on a large screen by their developers.

It was enough to make any self-declared nerd hyperventilate. Being as there were a thousand in attendance, the excitement in the air was palpable. Within the first ten minutes, I was thrown a controller and fighting in an arena with five or six other well-seasoned game players. My first thought was along the line of panic, as I was sure I was going to get my butt kicked by people who definitely played more often than I did, but by the first game I was hooked and throwing other players to their deaths.

In the game Classroom Aquatic, one player wore Oculus Rift headgear and was plunged into an underwater school for dolphins. The character they played was a student diver who hadn’t studied for a test. As a result, the player is forced to cheat off of the neighboring students in the room. The trick was to avoid being caught by the teacher. The game effectively gave the player knots in their stomach, and was especially nerve-wracking when players were caught and scolded by the teacher.

Day of the Devs was amazing for one huge reason; EVERYONE there was in love with games, whether they were fans or developers. As a result, there was a feeling of common purpose and enthusiasm. We were all there for the same thing, and it was exciting to be in a place where people from inside the industry and out of it mixed together in a gaming paradise.

During the course of the evening, we got to talk to Double Fine creators, several other indie game makers, and even managed some networking with other people in the game industry! It was absolutely a beneficial experience, and it made the prospect of graduation and getting to work in the industry more tangible. I’m looking forward to next year with Day of the Devs!

Feature Spotlight: Modeling Toolkit

Friday, November 7th, 2014
Autodesk Maya 2014 Modeling Toolkit

Autodesk Maya 2014 Modeling Toolkit

Before Autodesk’s 2014 version of Maya, trying to find the mesh editing tools you needed within Maya was a bother. You had to go through a cluttered UI (user interface) just to find that one tool that always seemed important enough to have its own tab. You were also limited to having one component tool active at a time: face selection, vertex selection or edge selection. Often times I’ve wondered why Maya couldn’t have cleaner functionality like its counterpart, 3DSMax. After all, both programs are made by Autodesk and 3DSMax is far less technical and more forgiving.

Suddenly, from what seemed like out of nowhere, Autodesk introduced the Modeling Toolkit with their 2014 release of Maya. It is a 3D modelers dream! All of the most commonly used tools are now set up right in front of you, in one click of a button. Gone are the days of rummaging through the 3D modeling program, just to find one primary tool.

Need to have all component tools active at once? No problem, just click multi-component.

Need to work on two sides of a model at once? It’s as simple as selecting a center edge, and clicking symmetry.

Thank you Maya for making this modeler’s life easier!

Peter Gazallo

Cogswell Presents: Nye Warburton

Thursday, November 6th, 2014
Cogswell College Presents: Nye Warburton
Cogswell Presents: Nye Warburton
Tuesday, November 11th
12:45 – 1:30
Dragon’s Den

Students!
Do you find yourself starting projects that never get finished, or find yourself swimming in awesome ideas and never do anything with them? Come see Nye on Tuesday to learn how to…

Finish it! How to take your creative ideas and finish the project.
Tips from the industry. How to go from idea to final film, or final game, or whatever you are building. A little bit of project management, a little bit of creative advice and a little bit about the business and how to get your work out there.

About Nye:
Nye Warburton is an animator, cartoonist, game designer and artist. His graduate thesis film, Magnetism, landed him in the Los Angeles animation industry in 2004. He spent a decade at studios like Electronic Arts, Sony Imageworks, Fox, Blur, Proof, Digital Domain and  The Third Floor. He has worked on 30+ high budget films including Monster House, Thor, Battleship, Men in Black III and Oblivion. He has had development deals with Fox Animation and Comedy Central, as well working on several independently funded animation and game projects.

Nye currently works as a creative director for start ups, out of his office space in downtown Los Angeles. Visit him online at http://nyewarburton.com

Animation Show of Shows – The Student Perspective

Monday, October 6th, 2014

On Thursday evening, the 25th of September 2014, Cogswell College was given the privilege of once again being host to the Animation Show of Shows. A collection of the most intriguing (and at times perplexing) animated shorts of the year from all over the world, the 16th Annual Show of Shows demonstrated a diverse number of contributors, ranging from studios like Disney and Pixar to small indie production teams.
Prior to the show, the two shorts that were easily the most anticipated by students were titled LAVA and Feast, from the studios of Pixar and Disney respectively. Feast followed the technique of an earlier short by Disney called Paperman, using 3D animation with the appearance of a 2D medium. With Feast, more concentration was placed on the language of shape and color in contrast to each other.

Feast by Disney

The story follows a stray puppy that is saved from the streets and given a home. The puppy is very lucky indeed, because his new owner is the kind of person who enjoys cooking for their pet on a daily basis. Consequently,

the pup is showered with bacon, eggs, spaghetti and meatballs. (At this point, I was feeling rather envious and really wishing I was the dog instead of a college student who doesn’t have time to cook.) Suddenly things change for the dog when his owner finds himself a girlfriend! *Gasp* Much to the dog’s horror (and to mine, being raised in an especially carnivorous family where meat takes up the top three food groups), his meaty, greasy diet is replaced by sprigs of parsley and brussel sprouts due to the girlfriend’s health-conscious influence. I won’t detail out what happens next, as the ending should be saved, but the resolution was pretty satisfying and it was easily one of my favorite shorts in the whole collection.

Other shorts in the program were more figurative instead of having an obvious plot (at the end of one, a friend turned around to me and whispered “What the hell did we just watch?”) and some in particular were on the depressing side and made the audience question life in general. One distinctive short was titled We Can’t Live Without Cosmos, which was simultaneously humorous and heartbreaking as it followed the story of two astronauts who were as close as brothers.

The biggest impact of all was made by the short titled Hipopotamy which the show’s curator, Ron Diamond, saved for last because – in his words – we wouldn’t be able to concentrate on any other shorts after we’d seen it.
Hipopotamy, by Piotr Durnala, framed humans in a light as if we behaved like hippos—the reverse of the concept of anthropomorphism. What we didn’t expect was that every character in the short was pretty darn naked in the most blatant sense. It was also disturbing as we found out that the humans behaved with extremely animistic instincts—children were not spared from violence, and women were subjugated to open force. It was a raw outlook on perhaps how similar humans’ behavior really is comparable to that of animals like the hippopotamus, and could be interpreted as a statement about things that desperately need to be changed about society.

After going to the Show of Shows last year, I was hooked and eager to see the presentations again this year. I definitely was not disappointed—I walked away inspired and feeling just a little bit different. It’s a refreshing perspective to see things from someone else’s eyes, and Ron Diamond’s collection achieved that for me once again.

by Sierra Gaston, Digital Art & Animation Student

Photos:
Feast by Disney
Ron Diamond (left), curator of Animation Show of Shows with Cogswell College Dean (right), Jerome Solomon

Industrial Strength Graduates and Commercially Viable Apps

Friday, October 3rd, 2014

Industrial Strength Graduates and Commercially Viable Apps

by John Duhring, Education Technology Specialist, Cogswell Polytechnical College

Introduction

To prepare students to enter today’s ecosystems, academic institutions are challenged to create environments in which students can learn not only what skills they need to acquire but also how to work as part of an ensemble of other talented individuals with the goal of producing something extraordinary. Learning as a group requires practice and the best practice is through the experience of making products together.  It is the assertion of the group described here that in addition to embracing what is called “collaborative learning,” colleges can graduate students who are ready to contribute to startup teams the moment they leave college with their experience enabling them to function at a high level.  In many cases, the curriculum for educating students for professions within startups and high–tech ventures draws heavily on the practice of publishing and the Cogswell approach we describe provides one approach.  While it is beyond the scope of this paper to discuss the learning objectives and assessments in place, the course described brings the process of publishing into a classroom experience in which the participating students earn credits towards their WASC accredited bachelor degrees.

For our purpose of examining how publishing processes can be experienced within an academic institution, we first extract the practice of publishing from the myths surrounding the publishing business.  The world of traditional publishing is filled with powerful narratives.  For instance, a publishing company is often called a “house.”  In it, a mythical editor diligently molds an author’s work into a “best–seller” while un–seen production planners and managers bring physical products to market.  Early electronic publishing ventures molded themselves on this model, particularly in the realm of gaming and animated films.  Hidden from view are the specialists and professionals who bring their talents to bear on each work.  It has been well understood: the only way to learn publishing is to work in publishing and that learning takes place over years of apprenticeship and mentoring.  Typically, students from colleges with liberal arts backgrounds are encouraged to give publishing a try.  They migrate to production or marketing, and they discover the roles of myriad specialties: cover design, publicity copywriting, developmental editing, ancillary rights management and royalty distribution.  Here’s a somewhat typical example.

With the current rise of mobile apps as a driving force in electronic publishing, the “house” model is migrating to a “studio” model in which the author team crafts its own works and sells directly to its own audience.  Double Fine Studios provides but one example. As small teams of college students embrace publishing, otherwise hidden facets of what makes the traditional publishing world work can be adapted into production pipelines tailored for each project.  The craft of turning inspiration into product is being embraced by organizations with no background in traditional publishing.  Innovative teams, often operating within larger organizations, look to hire professionals who understand their skillset, their place in production pipelines and the adaptability required to bring products to market.

Skills and Passion

Professor Thomas Applegate of Cogswell College in Sunnyvale, California organized a studio course within a college that is dedicated to bringing engineers and artists together in projects that reflect industry practice. “The students are learning another form of storytelling, from the inside.  They see what it takes to bring the story to life using modern tools to engage today’s audiences,” says Applegate.  The studio’s first work is about a seven year-old boy named Sebastian, his adventures and his personal transformation.  His experiences are delivered as a seven minute animated film bundled with an interactive book as an app for the iPad:   “Each of us is a Sebastian.  This project celebrates what it means to see the world through the eyes of a kid.  It’s for children of all ages and calls forward memories we sometimes salt away without much reflection.  The students are putting their skills to work as part of a collaboration, which means they themselves are in the process of transformation into professional roles even as they reflect on the story as it aligns with their own experiences.”

Drawing on his experience designing games for Sega, DreamWorks and others, along with his 16 years teaching at Cogswell, Applegate brought an original story to Cogswell and recruited students to join the team.  His example illustrates the academic and professional benefits surfaced through collaborative learning when the goal is to instill professional practices while developing a unique curriculum for students.  Participating students earn credit for the course and gain a rich portfolio to take with them into their professional careers.  Mirroring industry methods, the outcome of this project will be distributed through Apple’s App Store.  Such globally available publication vehicles enable Applegate to acknowledge the contributions of the participating students, much like the practice in publishing where a professor thanks those who helped in the production of his manuscript.

Video 1. Developing an inter–disciplinary project involves rethinking how traditional courses are taught.

The mix of skills students bring to the team are enhanced by the roles they take on during the project.  At one stage of production, physical sculpts are produced as reference models, storyboards rendered to document the arc of the narrative and color studies painted to orient the team.  At the same time, engineers build frameworks that will animate page turns, light scenes and bring sounds into the user experience. Since a seven minute animated film is rendered at 24 frames per second, literally thousands of versions of the film are produced as each character is rigged and their moves polished.  Students I’ve interviewed say the major value working on such an inter–disciplinary project comes from what they experience as part of a team.

Video 2. Students gravitate to the challenge of collaborating with talented peers.

Applegate interviews students who show potential as team members.  All Cogswell students are used to critique and presenting their work for class projects, but in order to function as part of his team, the personalities he finds must be complimentary to what is already in the collaboration. He looks for not only a deep–rooted skillset but also the ability to solve problems through critical thinking and to adapt as needs change.  He says, “At the front end, students are attracted to working on a project that is as sophisticated as what they aspire to work on in the industry.  While that is attractive to them, what holds their commitment to the project is what they bring to each other as a team.  Team members shift jobs as the work changes.  Team leaders become novice helpers and vice versa.  It’s a fiercely collaborative environment.”

Measurable Performance

Cogswell College has no varsity sports teams but project teams take on many of the characteristics of athletics with regards to teamwork, performance, roles and capacity.  Individuals in project teams such as described here are graded much like those within an athletic department at a major college.  Participation is not only essential it becomes the quality indicator.  People show up when they feel indispensable.  They challenge themselves to make the team work effectively and within that structure the creativity contributed by team members exceeds expectations.  Something transformational occurs as individual step beyond their own limitations and take on greater responsibility or embrace new challenges.  Cogswell’s faculty serves as “coaches” in this paradigm.  They establish norms and alignment with project goals and cheer on their team members to consider their opportunity to learn and develop their skills and value to the team.

As a WASC–accredited institution, Cogswell measures Learning Outcomes at a course, program and institutional level.  Proficiency in written and oral communications is required as part of every graduate’s performance.  Rubrics are structured to indicate whether a given student meets, exceeds, or goes above and beyond expectations in a variety of measures.  The rich communications fabric that develops between team members within projects provides ample opportunity to observe and measure proficiency and progress.

In the project we are examining here, which awards 3 credit units per term, Applegate requires a self–assessment from each student at the beginning and end of each semester.  The start point serves as a base–line and the end–point provides critical self–reflection on what has been accomplished in the period.  For each student to articulate their role and how it interacts with others forms one level of awareness.  To go beyond this to include how the pipeline or a production process adjusted based on participation moves the needle in a way that reflects professional practice and helps identify which students have the potential to take on greater mentoring or team leadership responsibilities.

As part of the project course, each student is required to write a paper that describes something they learned during the term.  This can be simply a description of some component of their skillset that they enhanced during the period or an observation about working with the team. When evaluating his students, Applegate also asks them to be teachers and to describe how they have helped their teammates to learn from their example or guidance.  He believes in shifting roles from student to teacher, and vice versa.  He says, “If the students have the opportunity to try teaching they get a completely different perspective.”

Better Together

Observing the course in action often takes the casual observer by surprise.   “This is what education should look like,” said one recent visitor, a corporate lawyer. The production goal is to evoke a single emotion around each scene in the animated film while at the same time to faithfully simulate that telling through the form of an interactive book.  For both the film and book sub–projects the work is broken out into animations and assets.  The storytelling takes on unseen sophistication by using the iPad to view the film and to interact with the book.  For instance, the sound track for the film is linear but for the book, sounds respond to user behaviors.  Likewise, animations throughout the book invite interaction.  For instance, users can pause in their reading of a nighttime scene in Sebastian’s back yard and trace stars in the sky to make up their own constellations.

Roughly speaking, the film animations focus on what is known as “character development.”  Each character in the work is examined at a level of detail that goes far beyond what is revealed in the story itself.  For instance, the only hint that Sebastian’s mother plays a major role in his life is revealed when a user discovers his sketchpad in the interactive app and flips through pages to see what he has written about her there. Technically, the images of the characters are sketched in a variety of situations and story–boarded before being constructed digitally.  This construction involves a complex structural design, or “rigging,” that creates a personality to the movements of the character.  The expressions, skin, hair and clothing are stretched and textured onto these structures and fine–tuned to the artistic demands of the project.

Alongside the characters, the props and objects that populate both the book and film require a team dedicated to their production.  Natsumi Nishi is a texture artist on the assets team.  She describes her job as not only designing everyday objects, like a clock that sits on a mantle, but as guiding and mentoring other students who like her have never been challenged to take on such a role that they might choose to pursue in their professional career.

Video 3. Roles in a digital production pipeline involve mentoring and learning new techniques.

From a management perspective, there is a weekly “all hands” meeting, in which the four major sub–teams come together to update their progress and describe their challenges.  These group meetings provide a level of problem solving that rarely happens in traditional academic settings.  The interplay between the sub–groups enables parallel production pipelines to result in orchestrated results and at the same time serves to keep everyone focused and on track.  The discussions lead to what ultimately appears on the upcoming schedule of jobs to be done.  They also serve to establish a common language about the project, for the entire team to gain a new perspective and appreciation for what they are accomplishing.

In addition, the sub–groups formally review their progress on a daily basis.  These “tracking meetings” provide a forum for timely suggestions and advice.  “There really is no place to hide,” says Applegate.  “It’s easy for students to micro vision the problem without seeing the big picture.”  Since the story is about childhood, stories from the students’ own narratives inevitably find their way into the work. In order for the work to be a good story, well told, the students are challenged to reset their perspectives regularly.

Present throughout the process is Applegate, who works with team leaders one–on–one to mentor and model the dynamics of team leadership.  He says, “Students will do what you say in many cases, but they will always do what you model. That’s what they pick up.”  He has created a laboratory that illustrates how teamwork, mentoring and ventures work together.

A Look Forward

As of this writing, the commercial possibilities for the story of Sebastian mirror the dynamics within this self-publishing venture.  No longer do the means to an audience reside exclusively in the promotional machinery of major publishing partners.  In very real terms, participation in a creative endeavor as described here involves communities that come together around what is produced.  The work will be made available through Apple’s ecosystem, but how the creators are able to engage with users directly is still to be seen.  As an academic exercise, the learning stands by itself, yet the meaningfulness of the work expands as audiences respond to the artifacts that are published and that story is yet to be told.

The learning outcomes of the approach described here might provide the strongest measure of their effect.  While we have described skill–building and team–oriented learning that comes into play, the profession–readiness aspects also deserve mention.  In the past year, two hires evolved from similar projects at Cogswell, one to Google and one to Industrial Light and Magic (Lucasfilm).  These Cogswell recent alumni now sit alongside the best and brightest in the world, working on projects with the potential to change lives.  Last year, another recent alum, Chris Evart, received an Academy Award in recognition for his contributions to the Disney film, Frozen.

Whether students matriculate into a studio, an enterprise, or a startup, preparing them to serve vital roles, contributing to the success of any venture, point to the skills and behaviors that they develop as a consequence of their involvement with their peers in producing commercial–grade media.  Typically, students graduating with a bachelor’s degree even from top–rated institutions rarely have the experience of managing multiple groups of people over extended periods of time, or over multiple projects.  Their ability to commit fully to a project or opportunity has been cited as a key reason for their hiring after all other factors have been taken into consideration.  Further studies into the educational value of “head–to–hand” and project–based learning would be well–served to adopt publishing frameworks for their model.


John Duhring (@duhring) is an Education Technology Specialist at Cogswell Polytechnical College.

Cogswell Student’s Artwork Featured On Kotaku!

Wednesday, July 16th, 2014
Matt Bard

Dungeonesque Walls

One of our students, Matt “Bardler” Bard, had his polycount rock formation featured on Kotaku as, “A rather magnificent-looking, somewhat dungeonesque wall from Bardler”

Clicker here for the article!

Awesome job, Matt!

What If…?

Thursday, June 5th, 2014

What if Creativity really is meant to be the central theme of education, social progress, global sustainability, innovation and human brain development? If so, what would we possibly risk losing if everywhere across the country, everyone participated in a weeklong scheme to engage their own creative ideas from how they will reuse their trash and natural resources, to how they might sanitize and decorate their town’s streets and buildings, or cultivate empty land, or implement devices for example, that would support electricity poles to withstand tornadoes and hurricanes, and even be impervious to the effects of flooding?

In the workplace employees can unleash ideas they’ve been harboring, such as how paper can be reconstituted over and over again without ever going to the recycle plant, or refurbish an office’s interior with greenery for a stress free working atmosphere, or how beneficial it might be to plant fruit trees on building tops to provide free treats for all in-house workers. What if an atmosphere of creativity actually contributed to more efficient workers and citizens?

What if all schools threw out the tyranny of a curriculum for a week? What if boards of education gave teachers the liberty of exercising creative control in the classroom for the subject they are responsible to teach their students – just for a week? What if students were allowed to help design lesson plans and each take a turn to be responsible for administering a lesson in their own creative ways? What if students who believed they were dispossessed of any creative elements were creatively stirred to at least try a new way of learning and studying?

Would the country fall into chaos and disorganization? Would students suddenly and dramatically fall behind and be academically damaged for life? If such an endeavor proved to be completely fruitless and useless, well we could just go back to doing things the way we’d always done them, and never again entertain the idea of letting creativity be so rampantly unleashed.

But what if this scheme churned out unimaginably brilliant ideas from all corners of the country, from folks in both low and high places, from the famous as much as from the infamous – would we be able to cope with that, or would it be too much of a leap for us?

Would we suddenly become frightened of our own creative potential, or would we realize how creative thinking really is the venue for advancing human progress, igniting innovation and solving problems? What if we just did everything completely different for a week – would that still count as a pursuit in creativity? What harm could really come from allowing creativity to flourish for a week?

Read the full, thought-provoking post at:

http://www.creativitypost.com/education/what_if

Jackson’s Slave to the Rhythm “Hologram” Isn’t a Hologram

Thursday, May 29th, 2014

The media is a-buzz with headlines highlighting the revival of deceased King of Pop Michael Jackson at the recent Billboard Awards. Jackson’s estate released his new single “Slave to the Rhythm”, which debuted as a holographic performance of the star moon-walking across the stage. The problem is, the hologram, isn’t technically a hologram. It’s an illusion that has been around for centuries.
It’s an old technique known as Pepper’s Ghost. It’s frequently used in theater, magic tricks, and dark rides (like Disney’s Haunted Mansion). The technique utilizes glass, certain angles, and special lighting methods, creating the illusion of objects seeming to appear and disappear on command.


In her article “What’s Holography’s Future” for DigitalCinemaReport.com, Linda Law explains the phenomenon in regards to another recent “holographic” performance of deceased rapper Tupac Shikour at the 2012 Cochella Music Festival. “This [updated technique] alone did not make Tupac revive. It required shooting in very high resolution, some amazing CG work using a body double, and the mapping of Tupac’s head to the body as well as very powerful projectors that make the projected image look quite real. The fact that he moves around showing different parts of himself helps the illusion but it is still 2D… These may be quite effective and engaging and for all who have not seen an actual hologram, quite believable as holograms. I do think that with clever use of this medium many creative and engaging productions will be made.”


The Tupac “hologram” reportedly cost over $400k to create, and with other stars like Janelle Monae and M.I.A incorporating “holograms” into their performances, this new niche form of entertainment has lots of potential for future growth, especially in the digital art field, utilizing CGI and the updated “Pepper’s Ghost” illusion to bring back the some of our favorite artists from the dead.
Would you pay to see your favorite artist perform as a “hologram”? Do you think the Michael Jackson “hologram” was creepy or cool? Let us know in the comments.

Sources:
Article: http://www.digitalcinemareport.com/article/what-holography’s-future#.U35CW9xboeE
Images: http://www.controlbooth.com/threads/peppers-ghost-projection-surface.30412/

http://music-mix.ew.com/2012/04/16/tupac-hologram-coachella-video/

Disney Turns to Digital Technology to Fuse Animated 1959 with Live-Action 2014 Maleficent

Tuesday, May 27th, 2014

On May 30th Disney fans will get a first look at the live-action retelling of the classic Sleeping Beauty from the point-of-view of the story’s renowned villain Maleficent, played by Angelina Jolie. Producers were posed with the challenge of sticking true to Walt Disney’s original 1959 animated version of the villainess, while introducing her in live-action to a 2014 audience that demands high-tech illusionary entertainment.

Digital art and animation teams worked to produce cartoon-like aspects while keeping the “real-life” feel. In the trailer we see Maleficent engulfed in what has been deemed by bloggers as “cartoony” green flames, harking back to the original animated signature evil powers. We also see computer-generated pixies, tree creatures, ravens and the infamous fire-breathing dragon, all adding to the live-but-animated feel.

Sound design took a different spin to create a more modern and gothic feel for the remake. The famous Disney classic “Once Upon a Dream” was recomposed as a haunting rendition by singer Lana Del Rey. The trailer also reveals the use of strategic sound bytes, mystical swoops, swishes and swacks all fashioned by digital audio designers. Dark crows and caw sounds add to the gothic haunt factor, all the while harking back to Maleficent’s original 1959 pet raven Diablo, recast as a shape shifter named Diaval in the live-action remake.

Will you be seeing this early summer blockbuster? Do you think the digital art and animation effects will be enough to allude to the original? Does Lana Del Rey’s rendition give you the creeps? Let us know in the comments!

Images Credit: Disneywikia.com

Links:

http://disney.wikia.com/wiki/File:Stand_Back_you_fools_-_Maleficent_-_kmp.PNG

http://disney.wikia.com/wiki/Maleficent?file=Maleficent-%25282014%2529-54.jpg

Godzilla vs. Smaug: Who Wins This Dragon Duel?

Thursday, May 22nd, 2014

Godzilla has fought many a monster — from giant moths to massive robots to smog incarnate to even King Kong — and he’s lived to roar about it.

But what would happen if the King of the Monsters faced down the dragon Smaug from J.R.R. Tolkien’s classic “The Hobbit”?  With a new “Godzilla” stomping to theaters next week, and “The Hobbit: The Desolation of Smaug” recently out on home video and “The Hobbit: The Battle of the Five Armies” on the way in December, we thought it would be fun to pit these two behemoths — one a Japanese kaiju, or “strange creature,” and an avatar of the Nuclear Age; the other a fire-drake from the North in Tolkien’s mythical Middle-earth — against each other.

To break down the matchup, Speakeasy enlisted two experts: In Godzilla’s corner, we have Chris Picard, owner and editor of the Godzilla-movies.com fansite, citing contributions from staffer Gregory Hudgens. Representing Smaug’s side is “Demosthenes,” the news editor of TheOneRing.net, a popular fansite dedicated to the works of J.R.R. Tolkien’s works and the films based on them.

To see the argument category by category, visit the full article here.