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JAPAN'S ROBOT RESTAURANT INSANE

' WILL OVERLOAD YOUR BRAIN

There are few places more dazzling in the Robot Restaurant located in Shinjuku, Japan. We use the term 'restaurant' very loosely because it's more like a variety show, that you just happen to be dining at.

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A visual feast for the senses, where the every which way you look is a kaleidoscope of colourful lights and relentless noise, where drummers are armed with glow sticks, cyber strippers fling themselves around neon poles and life-sizes robots go head-to-head in boxing matches.

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But the fun doesn't end there, we haven't even mentioned the flying Terrordactyls, giant sharks, bigger Anacondas and the dance off between robots starring a bevy of scantily clad women, naturally.

So if you're in Japan and literally want to have your brain overloaded to the point where it's nearly melting, make sure you head to the Robot Restaurant, it's an experience you won't forget anytime soon.

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It’s hard to imagine an experience more perfectly suited to Tokyo, and one less likely to exist anywhere else, than Shinjuku’s Robot Restaurant. With a stage show that stretches the definition of terms like “elaborate” and “bizarre,” the restaurant has quickly become one of the city’s most popular venues.

Robot Restaurant Tokyo

We were dazzled by the Robot Restaurant from the moment we spotted it. The entire facade was illuminated in blinding LED lights, and towering lady robots with giant bouncing breasts were roving about the foyer. A band inspired by Daft Punk was rocking out behind the robots, and everything was flashing and loud and over-the-top. Sensory overload? Definitely. And we hadn’t even picked up our tickets yet. I suspected that the performance was going to be more like sensory assault.

Having arrived well in advance of the evening show, we passed the extra time in the restaurant’s upstairs lounge. You’ll want to do the same, because the lounge is unbelievable. It’s as though the world’s most outrageous interior designers were given crayons, glue sticks, glitter and mescalin, and told to go crazy. Everything is mirrored and shining. On every table, there’s a robot dinosaur. On the stage, a lady-band clad in metallic bikinis and angel wings is playing soft lounge music. The drinks are cheap and the vibe couldn’t be better. You and the people around you are in a place unlike anywhere any of you have ever been, and you’re all excited and giddy and talkative. It’s a bonding experience.

Now, however, it’s showtime. You and your new friends head into the underground theater, take your seats, and await the spectacle. Soon, the lights go out, the speakers switch on, and giant vehicles appear on either side of the narrow stage, ridden by ladies dressed as Amazonian war princesses from the year 3000. They’re pounding on drums, rotating around the stage, screaming and dancing to the music, and you’re just… confused. What the hell is happening? It’s hilarious, pointless, impressive and overwhelming in equal measure.

And that’s just Act One! By the end of the show, which stretches out across seven or eight acts, you’ll have perhaps seen boxing robots. Women riding huge mechanical cows. An alien-eating shark robot. Huge motorcycles and airplanes with pole-dancing lady passengers. A tank, I think. There was definitely a freedom-fighting panda. The shows change frequently, so you might see other things entirely, things which no sane human would ever be able to predict.

We had fun from the moment we entered the Robot Restaurant, and I’m not sure my brain has yet been able to process everything we saw. Almost as much as the show, we enjoyed watching the spectators sitting across from us. Without exception, they had their eyes wide open and huge smiles plastered across their faces. I’m sure it’s how we looked, too.

Link: Make your Robot Restaurant Reservations Here

Location on our Map

Buy Japanese Robotics Here

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KUNG FURY - FULL MOVIE

KUNG FURY - FULL MOVIE Autodesk Helps Fido Unleash Action-Packed VFX for "Kung Fury". Warning: Bad Language | kung-fury | production

Following a successful Cannes Film Festival premiere, David Sandberg's 80s-inspired film Kung Fury makes its highly anticipated online debut this week. Kickstarter-funded by 17,000 backers, the 30-minute film follows a Miami-based kung fu cop as he time travels from the 80s to the 40s on a mission to take out Adolf Hitler - a plotline augmented by 399 over-the-top VFX shots delivered by a 46-person crew at Scandinavian VFX house Fido. Using Autodesk 3D modeling, animation and digital sculpting solutions, Fido created and refined dynamic 3D assets and scenes to bring Sandberg's 80's cop drama homage to life.

Throughout ?Kung Fury,? the story unfolds in three major environments: a street intersection, a police station interior and a huge steampunk-inspired Nazi hall. Fido created each environment digitally and then integrated the work with live action green screen footage of actors. Given trailer assets originally designed by Sandberg in 3ds Max, Fido transferred the files to in-house Maya workstations and used the assets as an aesthetic guideline to model, texture and refine the film?s environments, elements and main CG characters, including two robots, a Tyrannosaurus rex and an eagle. After finalizing VFX work and compositing, Fido?s crew then applied a specially designed filter to footage to achieve the VHS-reminiscent look that Sandberg envisioned.

?The movie is essentially a 30-minute VFX rollercoaster ride, so we had our work cut out for us, but having Maya as a pillar of our pipeline put us at ease. David also directs with a strong creative vision and deep understanding of VFX, so even though we faced some pretty crazy challenges, it really helped that he speaks the same language we do,? shared VFX Supervisor Cameron Scott. ? All our Autodesk tools were stable workhorses throughout production. Using Maya?s Alembic support, we were able to quickly transfer 3D assets between programs to work efficiently and meet David?s deadlines.?

?There are so many fun, crazy characters, environments and scenarios in ?Kung Fury? that VFX played a crucial role in the story. Because of my background in commercial production, I?m familiar with all the VFX tools and techniques, so I worked closely with Fido on the VFX,? said Sandberg. ?I?ve worked with Autodesk tools for a while now, and they?re some of the most best 3D modeling and animation tools out there. With outstanding creative talent like Fido behind the wheel of software like Maya, almost anything is possible, and that?s evident in the VFX they delivered for ?Kung Fury.??

About ?Kung Fury? ?Kung Fury? is an over-the-top Kickstarter-funded action comedy written and directed by David Sandberg with VFX by Fido. An 80s style action packed adventure, the film takes place in a variety of exotic locations, including Miami circa 1980s and Asgard and Germany circa 1940s, and features over-the-top characters like arcade-robots, dinosaurs, nazis, vikings, norse gods, mutants and a super kung fu-cop called Kung Fury. Sandberg completed the film in a little over a year with a strong vision and help from Kickstarter supporters, friends and family. The director is currently in talks with Hollywood producers to recreate the film as a full-length feature.

Credits: Director and Writer: David Sandberg

Fido VFX crew: VFX Supervisor: Cameron Scott VFX Producer: Matilda Olsson VFX Executive Producer: Claes Dietmann VFX Production Manager: Anders Singstedt Lead Lighting TDs: Johan Gabrielsson & Filip Orrby Composting Leads: Daniel Norlund & Tomas Näslund VFX Pre-Production Breakdown: Nils Lagergren, Kaj Steveman, Eva Åkergren Pipeline Engineer: Erik Johansson Systems Administrator: Thomas Eriksson Asset Management: ftrack

VFX Artists: Alexander Eriksson, Anders Nyman, Cameron Scott, Carlos Correia, Chris Judkins, Daniel Norlund, David Enbom, David Nelin, Egil Eskilsson, Erika Johansson, Filip Orrby, Fredrik Höglin, Fredrik Olsson, Gustav Alexandersson, Janak Thakker, Joakim Eriksson, Joakim Olsson, Johan Gabrielsson, Jonas Lindfors, Jonas Manell, Jonathan Skifs, Karl Rydhe, Klas Trulsson, Kristian Livén, Kristian Rydberg, Kristian Zarins, Laura Andersen, Magnus Eriksson, Martin Borell, Mattias Sandelius, Mattias Snygg, Niklas Lundgren, Rickard Engqvist, Rodrigo Vivedes, Sandra Scholz, Staffan Linder, Stefan Lagerstam, Sven Ahlström, Teo Mathlein, Tomas Näslund, Viktor Andersson, Zebastian Lilja

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Adult Wednesday Addams” Pulled From YouTube Over Copyright

“Adult Wednesday Addams” Pulled From YouTube Over Copyright

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Apparently there’s such a thing as a parody web series being too good. The hit series “Adult Wednesday Addams” created by Melissa Hunter has disappeared from YouTube after the original creators of “The Addams Family” flagged it.

The web series shot to fame recently when an episode about Wednesday Addams getting her revenge on catcallers went viral and earned her international press coverage — enough to catch the attention of the Tee & Charles Addams Foundation, who hold the copyright for the work of American cartoonist Charles Addams.

The decision may be connected to an upcoming reboot of “The Addams Family” as an animated film from MGM, announced last Halloween.

Melissa addressed the show’s disappearance on Facebook. “Thank you for the outpouring of support and concern about the disappearance of Adult Wednesday Addams from the internet. As many of you have seen, the Tee & Charles Addams Foundation flagged the show and, for now, it is off of YouTube. I am working actively on coming to a resolution and will not let Wednesday be caged in internet purgatory. I appreciate your patience and support while I sort this issue out!”

Judging by the flood of dismayed comments, “Adult Wednesday Addams” fans are not going to accept this decision easily.

I don't understand why this isn't covered as parody?

nope if it's parody. The problem is that this isn't a parody of the universe or character, but a direct, logical progression in the form of a fan made

but a direct, logical progression in the form of a fan made sequel. It's why Scary Movie can copy all the movies they did, so this is the issue "Wednesday Addams" is (c) by MGM

This the response I received:

Dear Michael Goodwin,

Thank you for your comments concerning the suspension of Melissa Hunter's The Adult Wednesday Addams©. Unfortunately for all involved, it is not as simple as you are thinking it might be: The Establishment versus the artist - on the contrary.

We have a contract with MGM to produce a full-length animated feature film of The Addams Family® to look exactly as Charles Addams originally painted them. That contract prohibits anyone from portraying those characters in any media during the life of the contract.

Regardless of her talent or the breadth of her audience or the entertainment it gave you, the online series is a violation of that contract, something for which both Ms Hunter and this Foundation could have been sued heavily. You can thank Melissa Hunter for not having understood the need to contact us so as to obtain a license to protect her show. Now it is too late and she will have to wait to resume her career as the Adult Wednesday Addams© until a year after the film has been released.

Hopefully, she realizes that she already has an audience and merely needs to change the title of her show and her appearance.

With best regards, Tee and charles addams foundation P.O. Box 424 • SAGAPONACK, NEW YORK 11962 (T) 631-537-4554 www.addamsfoundation.org www.charlesaddams.com

 

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Album Review: Gott – “Nonfiction”

Album Review:  Gott – “Nonfiction”

So, I find a message in our super secret Admin section of Dark Asylum Radio – it’s from a man called Flavio and he says that he’s got a new album coming out, and he wants to know what we thought about it.  Well, thinks I, who am I to deny it?  I look around the links that he sends me – links to his artwork project, links to a free download option via Bandcamp...and it all looks fine.  It seems well put together, nicely wrapped up – it’s a pretty nice gift to receive.

So, the label reads “New Wave from Buenos Aires”, which made me smile – you don’t see many New Wave bands about these days, and listening to the first couple of tracks they seem to hit the right notes – the second track, “Ravensong”, is very Cure/Human League feel behind it all which I found quite enjoyable.  The whole album has a nice sheen to it and there are enough surprises to delight the careful listener – the occasional chime in “Industry”.

If there was one gripe to be had, it’s with the singer, Flavio’s, voice – during most of the album it remains nice and stable, but it tends to stretch a little during the higher notes: While not a deal breaker, it does occasionally distract from an otherwise lovely piece of music. The band – Flavio on vocals, Xiro on guitars, Javier on synths and Gabe on bass – work well together as a unit, and while the synths tend to occasionally overwhelm the rest of the instruments it’s rare enough to be ignorable.

...and let’s face it, for a free album you can do miles worse.   It’s something different enough to almost be novel, so I recommend giving it a listen.

Stand out tracks: “Ravensong”, “Industry”

More information can be found from:

www.flavioluccisano.wix.com/flavio-luccisano – this is the link to Flavio’s artwork.  Not bad!

https://www.facebook.com/gottmusik - the band’s Facebook page

http://gottmusik.bandcamp.com/ - the link for the album.

- See more at: http://www.darkasylum.co.uk/blogs/98/46/album-review-gott-nonfiction#sthash.CiF4YR43.dpuf

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