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The director of the season's movie believes that AI "destroys the purpose of making cinema"

Backrooms is the movie of the season. With a budget of 10 million, it has made 135 million at the box office so far, and with an extraordinary critical reception and a notable reception from the public, the film is set to be one of the movies of the year. In addition to turning its very young director, Kane Parsons, who is only 20 years old, into one of the great revelations of cinema. He is also already making headlines for his completely contrarian opinions on AI in film. No to generative AI, thanks. In a recent interview with The Australian, the director […]

Backrooms is the movie of the season. With a budget of 10 million, it has made 135 million at the box office so far, and with extraordinary critical reception and notable audience reception, the film is set to be one of the movies of the year.

In addition to turning its very young director, Kane Parsons, who is only 20 years old, into one of the great revelations of cinema. He is also already making headlines for his completely contrarian opinions on AI in cinema.

Generative AI no, thanks

In a recent interview with The Australian, the director stated that regarding AI, he considers himself to be “in the same place as most people with their heads on their shoulders”: he does not want Hollywood, or any other industry, to start using AI. Stating that “if I could snap my fingers and make generative AI disappear forever, I probably would,” Parsons seems to have very clear ideas about it.

In fact, it hasn’t stopped there. Stating that “generative AI feels less like innovation and more like a symptom of a greater cultural and economic corruption,” he has made his opinion on AI very clear. But he also wants to explore it in his work. He has said that “I am interested in using that iconography in art — not using AI to create the art itself, but examining what it represents,” hinting at where his upcoming projects may lead after the overwhelming success of his debut.

This contrasts with the recent statements by Martin Scorsese, stating that we must be open to AI, because cinema is a young medium and we should not close ourselves off to its possible evolutions. Demonstrating that there is a clear difference in how this technology is perceived generationally. And not necessarily in the age relationship that we would normally expect.

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If you like Studio Ghibli, this anime about a magical school could be your new obsession

The highly anticipated anime Witch Hat Atelier, based on the acclaimed manga by Kamome Shirahama, will premiere on April 6 on Crunchyroll. Since its publication in 2016, this work has captured the audience’s imagination with its visual style that evokes the magic of Studio Ghibli films, thanks to its detailed craftsmanship and an atmosphere of mystery that envelops the narrative. Witch Hat Atelier is about to be a treat. The story follows Coco, a girl whose desire to learn magic leads her to an unexpected discovery: magic does not depend on innate talent, but rather on […]

The highly anticipated anime Witch Hat Atelier, based on the acclaimed manga by Kamome Shirahama, will premiere on April 6 on Crunchyroll.

Since its publication in 2016, this work has captured the audience’s imagination with its visual style that evokes the magic of Studio Ghibli films, thanks to its detailed craftsmanship and a mysterious atmosphere that envelops the narrative.

Witch Hat Atelier is about to be released

The story follows Coco, a girl whose desire to learn magic leads her to an unexpected discovery: magic does not depend on innate talent, but is based on an accessible system of symbols and drawings. This different approach distances it from series like Harry Potter, where magic is an exclusive quality of certain individuals, and instead, presents a world where anyone can learn to use the magical art.

The adaptation, directed by Ayumu Watanabe and produced by Bug Films, promises to do justice to the impressive visual aspect of the manga, whose pages resemble illustrations from classic tales. The first episodes have been received with enthusiasm, highlighting the attention to detail in the landscapes and everyday life of Coco’s magical world, which echoes Miyazaki’s philosophy: the fantastic can be found in the everyday.

Additionally, Witch Hat Atelier incorporates significant cultural references, such as the painting Circe Invidiosa by John William Waterhouse, which connects the magic of the series with a rich European artistic and literary tradition. This nod establishes a dialogue with the broader cultural context surrounding the art of magic, echoing classic stories and illustrations.

With its focus on the act of creation and its reclamation of art as a form of magic, Witch Hat Atelier promises to be more than just a simple fantasy anime; it is a celebration of human potential and the beauty found in creation. Early reviews suggest that this series could appeal to both fans of the original manga and those seeking a visually and narratively rich experience in contemporary anime.

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This shooter with a gothic setting has been developed in a Spanish art school and it's going to blow your mind

A new first-person shooter, titled Everdark: Undead Apocalypse, is just days away from its launch, scheduled for October 24. This gothic game has been developed as a joint project between teachers and students of ESDIP, a renowned art school in Spain, with the aim of providing students with a complete experience in video game creation. The development of the title has taken approximately two years, and its director expressed that they want each student to be able to present a finished product by the end of their training. A true marvel Everdark: Undead Apocalypse presents itself as a game […]

A new first-person shooter, titled Everdark: Undead Apocalypse, is just days away from its release, scheduled for October 24. This gothic game has been developed as a joint project between teachers and students of ESDIP, a renowned art school in Spain, with the aim of providing students with a complete experience in video game creation. The development of the title has taken approximately two years, and its director expressed that they want each student to be able to present a finished product by the end of their training.

A true prodigy

Everdark: Undead Apocalypse presents itself as a deliberately challenging game, with no difficulty selector option, focused on resource management and intense action, drawing inspiration from classics like Doom and Wolfenstein. The proposal has been described as a “boomer shooter” in a humorous tone by the team, even though they consider the term “almost offensive.” The game is designed so that each of its three chapters features independent stories, although they will share a common universe and diverse characters.

Developed in Unreal Engine 5, its aesthetic evokes 80s horror cinema and part of its soundtrack has been composed by team members, aiming to create a nostalgic atmosphere. The combat against vampires will be one of the keys to gameplay, combining traditional survival horror elements such as item management and puzzles, although action has been prioritized.

The design of the enemies reflects an original approach, where vampires have distinctive characteristics and variations that could range from the classic to the unexpected. With a release that is expected to be well received, the team is alert to the possibility of developing future chapters, whose continuity will depend on the performance of this first segment in the market.

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The director of Arc Raiders confirms where their success comes from: they have done the exact opposite of Marathon

The extraction shooter genre continues to show untapped potential, reflected in the imminent release of two significant titles: Marathon from Bungie and Arc Raiders from Embark. Both games have conducted playtests simultaneously, providing developers the opportunity to compare their decisions and player reactions to their respective approaches. Between doing it one way or another, they chose better. Virgil Watkins, design director of Arc Raiders, commented on the coincidence of the tests, highlighting that it turned out to be an excellent opportunity for a comparative analysis. “It was a great test […]

Between doing it one way or another, they chose better

Virgil Watkins, design director of Arc Raiders, commented on the coincidence of the tests, highlighting that it turned out to be an excellent opportunity for a comparative analysis. “It was a great A/B test for us, as they made decisions that we did not, and vice versa,” explained Watkins, suggesting that the opportunity to observe how players responded to different design decisions was enriching.

Despite this promise, not all analysts are convinced. Tyler Wilde, editor-in-chief of PC Gamer, has expressed his skepticism about whether the market can sustain two extraction shooters, a genre that, by its nature, is not particularly casual. “Both studios need their extraction shooters to be a success,” Wilde stated, adding that there might be insufficient demand for both games.

In addition, the design director of Arc Raiders praised the artistic style of Marathon, expressing curiosity about its future evolution. “I found the artistic style very evocative… I hope to see more of that in the future,” he commented, highlighting the importance of aesthetic value in video game development. Although both titles have notable differences, comparisons are inevitable in a competitive market that seeks to capture attention in a genre that still has much to offer.

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Zelda Williams kindly asks that people stop disrespecting her father's memory with AI

Zelda Williams, the daughter of iconic actor Robin Williams, has once again expressed her discontent with the use of artificial intelligence to recreate her father’s voice and image, who passed away in 2014. Through her Instagram stories, Zelda called on her followers to stop sending her AI-generated videos that attempt to revive the legendary comedian, labeling this practice as “disrespectful” and “disturbing.” It is a lack of respect to recreate the image of a deceased person with AI “Please stop sending me videos of dad made with AI,” wrote Zelda, who also criticized how […]

A disrespect to recreate the image of a deceased person with AI

“Please stop sending me AI-generated videos of dad,” wrote Zelda, who also criticized how these digital recreations reduce real people to mere imitations. “Seeing how the legacy of real people is condensed into ‘this looks and sounds vaguely like them, so that’s enough’, just so others can produce a horrible piece of TikTok, manipulating them, is frustrating,” she stated.

The director of the romantic comedy Lisa Frankenstein emphasized that AI technology does not represent artistic progress and highlighted the importance of actors’ consent in the creation of characters and art. “You are not making art, you are creating over-processed content with the lives of human beings, with the history of art and music,” Zelda added, emphasizing that such imitations blur the essence of what artistic creation should be.

This is not the first time that Zelda has expressed her concerns about this issue. In 2023, during the actors’ strike that addressed the recreation of characters through AI, the filmmaker argued that “live actors deserve the opportunity to create characters with their own choices.” According to her, these recreations are at best “a poor imitation” and at worst, a “horrendous Frankenstein monster” that distorts the entertainment industry.

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The art director of Marvel Rivals reveals that the game's UI was not always what we know

Marvel Rivals, the acclaimed game from NetEase, has generated recent discussions about its visual innovations and its evolution in gameplay. With radical character designs and an aesthetic approach beyond the conventional, the title seems to have steered away from a possible cancellation after a significant iteration process. The art director, Dino, has shared in a web series called Art Vision that the game’s aesthetic is “modern and adaptable,” although some of its user interface features have been subject to criticism. A UI as spectacular as it is impractical Particularly, the radial menu […]

Marvel Rivals, the acclaimed game from NetEase, has sparked recent conversations about its visual innovations and gameplay evolution. With radical character designs and an aesthetic approach beyond the conventional, the title seems to have steered away from a possible cancellation after a significant iteration process. The art director, Dino, has shared in a web series called Art Vision that the game’s aesthetic is “modern and adaptable,” although some of its user interface features have been subject to criticism.

A UI as spectacular as it is impractical

Particularly, the radial menu that was presented in the early versions of the game was considered “excessive” and, at times, complicated to use. Although fans have praised the sleek design and the exceptional 2D artwork, many agree that the way to navigate between heroes could be cumbersome. In its original form, the radial menu allowed players to search for characters in a circular layout, but the functionality felt like an impractical challenge, far removed from more traditional and efficient interfaces, as demonstrated in the final result of the game which opted for a conventional grid for the hero gallery.

Despite these challenges, Dino assures that the hero selection experience is designed to create an artistic immersion. However, some players believe that the bright aesthetics may detract from functionality. It is evident that throughout its development, Marvel Rivals has had to find a balance between aesthetics and usability, thus reflecting the essence of the video game industry: an art that must be appealing, but also practical.

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James Franco's Artwork That Was Literally Nothing… And Sold For $10,000

His paintings could not be a beautiful still life or a self-portrait: he had to go a little further. And this is where 'Fresh Air' comes in, a magnum opus for some, a joke for most.

I’m beginning to think that famous actors have too much free time on their hands. And not because of the strike, which is more than fair and necessary, but because at one time or another they all end up believing they have a gift for writing or art… and no one tells them to stop. This is the case of James Franco, who throughout his extensive career has published a book of autobiographical short stories, released an album with his band Daddy, directed several documentaries… and, of course, has become a painter. Or something like that.

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Painter who paints with love

“I’ve been painting longer than I’ve been acting,” he said when his paintings were first shown in Los Angeles in 2006. But as a fan of Shia LaBeouf’s artistic suicide, of course, his paintings couldn’t be a pretty still life or a self-portrait: he had to go a little bit further. And this is where ‘Fresh Air’ comes in, a masterpiece for some, a joke for most.

In 2011, James Franco opened an art venue of sorts called the Museum of Unseen Art along with the art team known as Praxis. It’s exactly what you’re thinking: non-existent works with beautiful descriptions that, it was supposed to open our eyes “to a parallel world full of images and words.” With the excuse that “maybe it’s more real than the real world,” Franco offered for sale a work that, truth be told, didn’t lie.

‘Fresh air’ was, literally, a piece of fresh air. That is, nothing. The description said “The air you’re buying is like buying an oxygen tank with no end. You can take this piece of art with you if you buy it.” And there was one lady, Aimee Davison, who took the bait (because it can’t be described any other way): she took $10,000 off her credit card and bought a whole lot of nothing.

When asked why she had spent so much money on such a joke, she replied “I identify with the ideology of the project and particularly the phrase ‘We exchange ideas and dreams as currency in the New Economy‘”. Very nice, but the real currency was the $10,000 she spent on the nonsense.

In James Franco’s favor, it must be said that he did not keep the money, but reused it to take the Museum of Unseen Art to other places in the United States. In fact, I’m pretty sure he was able to remake his work from scratch in a very short period of time. The magic of being an artist, I guess.

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Aquella vez que Salvador Dalí pidió un elefante bebé como pago por diseñar un cenicero

La idea original del artista era dárselo a los niños de Figueres pero acabó recalando en el zoo de Valencia, donde le llamaron Noi (cambiándole su nombre original, Surus).

Hubo una época en la que Salvador Dalí era mucho más que un pintor y escultor español: se convirtió en todo un icono pop. Apareció en programas americanos donde la gente debía adivinar su identidad, se convirtió en un famoso de talla internacional en un momento en el que España necesitaba como fuera ponerse en el mapa. Con esa carta blanca bajo el brazo, el artista se dedicó a cometer las astracanadas más grandes que os podáis imaginar. Entre ellas, pues lo típico, pedir un elefante bebé a cambio de diseñar un cenicero.

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Elefante fumón

Aunque ahora podamos coger un avión casi con la normalidad de quien coge un Alsa, en los años 60 era una cosa exclusiva de ricos y gente que había ahorrado toda una vida para hacer un viaje de ensueño. En esos vuelos se podía fumar (no hace tanto de ello: en ‘Misión imposible’ lo hacen y en algunas aerolínas aún quedan los ceniceros como vestigio de otra época) y Air India, en ese periodo de ostentación, quiso destacar de las demás.

¿Cómo? Pidiéndole al artista de moda, Salvador Dalí, que les diseñara su propio cenicero único. Se trataba de un trozo de cerámica blanca sostenido por elefantes que en el borde tenía una serpiente verde. Precioso a su manera. Tanto, que Dalí supo que podía pedir como pago lo que quisiese: 100.000 dólares y un elefante bebé. La idea original del artista era dárselo a los niños de Figueres pero acabó recalando en el zoo de Valencia, donde le llamaron Noi (cambiándole su nombre original, Surus).

Bueno, esto es lo que pasó, pero la prensa india insistía en que la idea de Dalí era atravesar los Alpes con él. En aquel momento el elefante medía un metro veinte y pesaba 250 kilos. Francamente, no parece que hubiera aguantado muy bien la caminata. Cuando el elefante llegó a Figueres, el artista paseó por las calles con él antes de ir a comer y dejárselo a los camareros del Hotel Durán mientras él disfrutaba de un menú de cordero, pescado, marisco y melón con jamón.

Toda historia tiene su final, y en este caso son dos finales más o menos tristes: el elefante, que llegó a España en 1968, murió a mediados de los 70 sin poder acostumbrarse al clima ibérico. En cuanto a los ceniceros, se hicieron quinientos para primera clase y regalos de Air India, y hoy por hoy se venden por Internet a unos 10.000 euros, una décima parte de lo que pidió Dalí. Eso sí, sin elefantito incorporado. Algo hemos avanzado.

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A Surreal Exchange: Salvador Dalí’s Unique Demand for a Baby Elephant as Payment

The artists original idea was to give it to the children of Figueres but it ended up at the Valencia zoo, where they called it Noi (changing its original name, Surus).

There was a time when Salvador Dalí was much more than a Spanish painter and sculptor: he became a pop icon. He appeared in American programs where people had to guess his identity, he became a celebrity of international stature at a time when Spain needed to put itself on the map. With that carte blanche under his arm, the artist dedicated himself to committing the most outrageous acts you can imagine. Among them, the typical, asking for a baby elephant in exchange for designing an ashtray.

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Smoking elephant

Although nowadays we can take a plane almost as normally as if we were taking an Alsa, in the 60’s it was something exclusive to the rich and people who had saved a lifetime to make a dream trip. On those flights you could smoke (not so long ago: in ‘Mission Impossible‘ they do it and in some airlines there are still ashtrays as a vestige of another era) and Air India, in that period of ostentation, wanted to stand out from the rest.

By asking the fashionable artist, Salvador Dalí, to design their own unique ashtray. It was a piece of white ceramic held by elephants with a green snake on the rim. Beautiful in its own way. So much so, that Dalí knew he could ask for whatever he wanted as payment: $100,000 and a baby elephant. The artist’s original idea was to give him to the children of Figueres, but he ended up at the Valencia Zoo, where he was called Noi (changing his original name, Surus).

Well, this is what happened, but the Indian press insisted that Dalí’s idea was to cross the Alps with him. At that time the elephant measured one meter twenty and weighed 250 kilos. Frankly, it doesn’t look like it would have held up to the hike very well. When the elephant arrived in Figueres, the artist walked through the streets with it before going to eat and leaving it with the waiters at the Hotel Durán while he enjoyed a menu of lamb, fish, shellfish and melon with ham.

Every story has an ending, and in this case there are two more or less sad endings: the elephant, which arrived in Spain in 1968, died in the mid-70s without being able to get used to the Iberian climate. As for the ashtrays, five hundred were made for first class and gifts from Air India, and today they are sold on the Internet for about 10,000 euros, a tenth of what Dalí asked for. That is, without the elephant in the box. We have made some progress.

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