Space Patrol Luluco
Space Patrol Luluco is an television series created by Hiroyuki Imaishi and produced by Trigger. The series aired in Japan between April and June 2016 as part of the Ultra Super Anime Time programming block. Luluco is a thirteen-year-old girl who lives in the solar system frontier space colonization zone Ogikubo together with her father, who works for the zone's Space Patrol division. Despite being a part of this wondrous district full of alien immigrants, Luluco would rather live the life of a normal schoolgirl; when her father is accidentally frozen by alien contraband, Luluco is forced to request help from her father's Space Patrol division. She is appointed a member of the Space Patrol by the division chief, named Over Justice, in order to pay the fees required to revive her father. From on, Luluco's normal life faces drastic changes as she is sent on daily missions to protect Ogikubo from space criminals. On these missions she bands together with her assigned partner and alien exchange student ΑΩ Nova, as well as their normal mutual classmate Midori.
Luluco Voiced by: M·A·O. Her one true wish is to lead a normal life despite her odd living place; when her father accidentally freezes himself and falls into pieces, she has to bring him to his workplace where she is assigned the role of a space officer against her will. Alpha Omega Nova Voiced by: Junya Enoki, he is a recent transfer student at Luluco's school and her classmate. Midori Voiced by: Mayumi Shintani. After being caught as the publisher and distributor of a quasi-legal Blackhole App, she volunteers to join the Space Patrol in order to get out of any punishments for her crime, as well as to spend more time at the side of ΑΩ Nova. General Manager Over Justice Voiced by: Tetsu Inada. Secretary A temporary staff worker at the Space Patrol, she serves as Over Justice's personal secretary. Keiji Voiced by: Mitsuo Iwata. Lalaco Godspeed Voiced by: Yōko Honna, she is a space pirate. Just like the members of the Space Patrol, she is able to use a gun morphing ability, called "God Pirate's Gun Morphing".
Space Patrol Luluco aired in Japan between April 1, 2016 and June 24, 2016 and was simulcast by Crunchyroll. The series is written and directed by Hiroyuki Imaishi with character design by Mago and Yusuke Yoshigaki; the opening theme is "CRYmax Dohejitsu" by Fujirokku while the ending theme is "Pipo Password" by Teddyloid feat. Bonjour Suzuki; the series features cameo appearances from other Trigger animations, including Kill la Kill, Little Witch Academia, Inferno Cop and Sex and Violence with Machspeed. Funimation has licensed the series in North America with a dub available in October 10, 2017. A manga adaptation illustrated by Nanboku began serialization in Shueisha's Ultra Jump magazine in April and June 2016 and was released in English by Crunchyroll. Official website Space Patrol Luluco at Anime News Network's encyclopedia
Forbidden Planet is a 1956 American science fiction film, produced by Nicholas Nayfack, directed by Fred M. Wilcox, that stars Walter Pidgeon, Anne Francis, Leslie Nielsen. Shot in Eastmancolor and CinemaScope, it is considered one of the great science fiction films of the 1950s, a precursor of contemporary science fiction cinema; the characters and isolated setting have been compared to those in William Shakespeare's The Tempest, the plot contains certain analogues to the play. Forbidden Planet pioneered several aspects of science fiction cinema, it was the first science fiction film to depict humans traveling in a faster-than-light starship of their own creation. It was the first to be set on another planet in interstellar space, far away from Earth; the Robby the Robot character is one of the first film robots, more than just a mechanical "tin can" on legs. Outside science fiction, the film was groundbreaking as the first of any genre to use an electronic musical score, courtesy of Bebe and Louis Barron.
Forbidden Planet's effects team was nominated for the Academy Award for Best Visual Effects at the 29th Academy Awards. In 2013, the picture was entered into the Library of Congress' National Film Registry, being deemed "culturally or aesthetically significant". In the 23rd century, the starship C-57D reaches the distant world Altair IV to determine the fate of an Earth expedition sent there 20 years earlier. Dr. Edward Morbius, one of the expedition's scientists, warns the relief ship not to land, saying he cannot guarantee their safety, but C-57D Commander John J. Adams ignores his advice. After landing and Lieutenants Jerry Farman and "Doc" Ostrow are met by Robby the Robot, who transports them to Morbius' residence. Morbius describes how one by one the rest of the expedition was killed by a "planetary force" and that their starship, the Bellerophon, was vaporized as the last survivors tried to lift off. Only Morbius, his wife, their daughter Altaira were somehow immune. Morbius offers to help them prepare for the return journey, but Adams says he must await further instructions from Earth.
The next day, Adams finds Farman attempting to seduce Altaira. She reports the incident to Morbius, claims that she never wishes to see Adams again. However, she designs a new, more conservative gown to please Adams; that night, an invisible intruder sabotages equipment aboard the starship. Adams and Ostrow attempt to confront Morbius concerning this the following morning. While waiting, Adams steps outside to talk to Altaira. Adams apologizes for his behavior and they kiss; when they are unexpectedly attacked by Altaira's tiger, Adams disintegrates it with his sidearm. When Morbius appears and Ostrow learn that he has been studying the Krell, a advanced native race that perished overnight 200,000 years before. In a Krell laboratory, Morbius shows them a "plastic educator", a device capable of measuring and enhancing intellectual capacity; when Morbius first used it, he survived, but his intellect was permanently doubled. Morbius takes them on a tour of a gigantic Krell underground machine complex, a cube 20 miles long on each side, still functioning and powered by 9,200 thermonuclear reactors.
Afterwards, Adams demands. Morbius, states that "humanity is not yet ready to receive such limitless power". To guard against further sabotage, Adams has a force field fence, it proves ineffective when the invisible intruder murders Chief Engineer Quinn. Morbius warns Adams that he has a premonition of further deadly attacks, similar to what happened with the Bellerophon; that night, the creature is outlined in the fence's force field. The ship's weapons have no effect, the creature kills Farman and two others. Morbius, asleep in the Krell lab, is startled awake by screams from Altaira. While Adams tries to persuade Altaira to leave, Ostrow sneaks away to use the Krell educator, he is fatally injured, but with his dying breath, Ostrow tells Adams that the great machine was built to create anything the Krell could imagine. He says that the Krell forgot one thing, however: "Monsters from the Id", their own base subconscious desires, given free rein and unlimited power by the machine, brought about their quick extinction.
Adams asserts that Morbius' subconscious mind created the creature that killed the original expedition and attacked his crew. After Altaira tells Morbius that she intends to leave with Adams, Robby detects the creature approaching. Morbius commands the robot to kill it, but Robby knows it is a manifestation of Morbius and shuts down; the monster melts through the indestructible Krell metal doors of the laboratory where Adams and Morbius have taken refuge. Morbius accepts the truth, he confronts and disowns the creature, but is fatally injured by the confrontation, whereupon the monster vanishes. Before Morbius dies, he has Adams initiate what turns out to be a chain reaction within the Krell reactors, saying everyone must be 100 million miles away within 24 hours. At that safe distance, Altaira and the surviving crew watch the destruction of Altair IV; the screenplay by Irving Block and Allen Adler, written in 1952, was titled Fatal Planet. The screenplay draft by Cyril Hume renamed the film Forbidden Planet, because this was believed to have greater box-office appeal.
Block and Adler's drama took place in the year 1976 on th
Tabletop role-playing game
A tabletop role-playing game is a form of role-playing game in which the participants describe their characters' actions through speech. Participants determine the actions of their characters based on their characterization, the actions succeed or fail according to a set formal system of rules and guidelines. Within the rules, players have the freedom to improvise. Unlike other types of role-playing game, tabletop RPGs are conducted like radio drama: only the spoken component of a role is acted; this acting is not always literal, players do not always speak in-character. Instead, players act out their role by deciding and describing what actions their characters will take within the rules of the game. In most games, a specially designated player called the game master —also known as the Dungeon Master in Dungeons & Dragons, Referee for all Game Designers' Workshop games, or Storyteller for the Storytelling System—creates a setting in which each player plays the role of a single character; the GM describes its inhabitants.
Some outcomes are determined by the game system, some are chosen by the GM. The terms pen-and-paper and tabletop are only used to distinguish this format of RPG from other formats, since neither pen and paper nor a table are necessary. Most games follow the pattern established by the first published role-playing game, Dungeons & Dragons. Participants conduct the game as a small social gathering. One participant, called the Dungeon Master in Dungeons and Dragons, more called the game master or GM, purchases or prepares a set of rules and a fictional setting in which players can act out the roles of their characters; this setting includes challenges for the player characters to overcome through play, such as traps to be avoided or adversaries to be fought. The full details of the setting are kept secret, but some broad details of the game world are given to the players. Games can be played in one session of a few hours, or across many sessions depending on the depth and complexity of the setting.
The players each create. As well as fleshing out the character's personal history and background, they assign numerical statistics to the character. Together, these notes tell his or her place in the game world; the GM begins the game by introducing and describing the setting and the characters. The players describe their characters' actions, the GM responds by describing the outcome of those actions; these outcomes are determined by the setting and the GM's common sense. For example, if a player has their character look around a room, the GM will describe the room; the outcomes of some actions are determined by the rules of the game. For example, while looking around the room, a character may or may not notice an important object or secret doorway, depending on the character's powers of perception; this involves rolling dice, comparing the number rolled to their character's statistics to see whether the action was successful. The higher the character's score in a particular attribute, the higher their probability of success.
Combat is resolved in a similar manner, depending on the character's combat skills and physical attributes. In some game systems, characters can increase their attribute scores during the course of the game as the result of experience gained. There are alternate game systems which are diceless, or use alternate forms of randomization, such as the non-numerical dice of Fudge or a Jenga tower. Games are of indefinite length, from a single brief session to a series of repeated sessions that may continue for years with an evolving cast of players and characters. Play is episodic and mission-centric, with a series of challenges culminating in a final puzzle or enemy that must be overcome. Multiple missions played with the same characters may be related to each other in a plot arc of escalating challenges; the exact tone, structure and end vary from game to game depending on the needs and preferences of the players. Tabletop role-playing games have origins in wargaming. In turn, wargaming has roots in ancient strategy games Chess, which originated from the ancient Indian game Chaturanga.
From the late 18th century to the 19th century, chess variants evolved into modern wargames, most notably Kriegsspiel. More than a century the miniature wargame Chainmail, released in 1971 became the basis for Dungeons & Dragons. According to RPG designer John Wick, Chess can be turned into a role-playing game if chess pieces such as the king, rooks, knights or pawns are given names, decisions are made based on their motivations. According to Wick, Dungeons & Dragons was a "sophisticated and complicated combat simulation board game that people were turning into a roleplaying game" just "like giving your rook a motive" in Chess; the assumption of roles was a central theme in some early 20th century activities such as the game Jury Box, mock trials, model legislatures, "Theatre Games". In the 1960s, historical reenactment groups such as The Sealed Knot and the Society for Creative Anachronism began to perform "creative history" reenactments introducing fantasy elements, an
The Simpsons shorts
The Simpsons shorts are an American animated TV series of 48 one-minute shorts that ran on the variety television program The Tracey Ullman Show for three seasons, before the characters spun off into The Simpsons, their own half-hour prime-time show. It features Homer, Bart and Maggie; the series was created by Matt Groening, who designed the Simpson family and wrote many of the shorts. The shorts first aired on April 19, 1987 starting with "Good Night"; the final short to air was "TV Simpsons" airing on May 14, 1989. The Simpsons debuted on December 17, 1989, as an independent series with the Christmas special "Simpsons Roasting on an Open Fire". One marketing study found that only 14 percent of Americans were familiar with the shorts, compared to 85 percent in November 1990 who were familiar with the Simpsons family, 11 months after the full-length show began airing. Only a few of these shorts have been released on DVD. "Good Night" was included on The Simpsons Season 1 DVD. Five of these shorts were used in the clip-show episode "The Simpsons 138th Episode Spectacular" on the half-hour show, released on the Season 7 DVD.
These five shorts were "Good Night", featured in its entirety, portions of "The Perfect Crime", "Space Patrol", "World War III", "Bathtime". In "You Kent Always Say What You Want", the short "Family Portrait" replaces the entire opening sequence in celebration of the 400th episode. In June 2013, it was reported that FXX is trying to acquire the shorts for an October Simpsons app, "Simpsons World"; the version of the Simpson family from the shorts was depicted as ghosts haunting the Simpsons house in the season twenty six episode "Treehouse of Horror XXV". When producer James L. Brooks was working on the television variety show The Tracey Ullman Show, he decided that he wanted to include short animated wraparounds before and after the commercial breaks. Having seen one of cartoonist Matt Groening's Life in Hell comic strips, Brooks asked Groening to pitch an idea for a series of animated shorts, which Groening intended to present as his Life in Hell series. Groening realized that animating Life in Hell would require the rescinding of publication rights for his life's work.
He therefore chose another approach while waiting in the lobby of Brooks's office for the pitch meeting, hurriedly formulating his version of a dysfunctional family that became the Simpsons. He named the characters after his own family members. Bart was modeled after Groening's older brother, but given a different name, chosen as an anagram of "brat"; the stories were storyboarded by Matt Groening. The family was crudely drawn, because Groening had submitted basic sketches to the animators, assuming they would clean them up; the animation was produced domestically at Klasky Csupo, with Wesley Archer, David Silverman, Bill Kopp being animators for the first season. After season one, it would be animated by Silverman thereafter. Gyorgyi Peluce was the person who decided to make the characters yellow; the actors who voiced the characters in the short reprised their roles in The Simpsons series. Dan Castellaneta performed the voices of Homer Simpson, Grampa Simpson, Krusty the Clown. Homer's voice sounds different in the shorts compared to most episodes of the half-hour show, as Castellaneta tried to impersonate Walter Matthau.
Although he would retain this characteristic through the early episodes of the regular series, it was dropped as Homer's personality evolved away from that of a stereotypical sitcom father. The producers of the show were in need of someone to do voiceovers, so rather than hire actors, they asked Castellaneta and Julie Kavner, both members of the Ullman Show cast, to do it; the kids still needed voices, Nancy Cartwright, a journeyman voice actress, came in to audition. She recalled that "I was doing voicework for eight different shows at the time and thought this would just be another job, they wanted me for Lisa's voice, but I thought'Nah, I don't want to be the boring middle child, I want to be a bratty 10-year old boy.' So as soon as I gave a demonstration, hired me on the spot." Some time Yeardley Smith, a 22-year-old B-movie actress whose most notable accomplishment to date was featuring in the notorious 1986 Stephen King film Maximum Overdrive, was brought in to do Lisa's voice. The recording of the shorts was primitive.
While most of the characters' personalities are similar to what they are in the series, Lisa is a clone of Bart and did not have a distinct personality until a few episodes into the regular series. The shorts were featured on the first three seasons on The Tracey Ullman Show. By the fourth and last season of The Tracey Ullman Show the first season of the half-hour show was on the air. In the two first seasons the shorts were divided into three or four parts, but in the third season they were played as a single story. Tracey Ullman filed a lawsuit, claiming that her show was the source of The Simpsons' success and therefore should receive a share of the show's profit; the courts ruled in favor of the network. List of The Tracey Ullman Show episodes List of The Simpsons episodes "Treehouse of Horror XXV"
Space Patrol (1950 TV series)
Space Patrol is a science fiction adventure series set in the 30th century, aimed at juvenile audiences of the early 1950s via television and comic books. It soon developed a sizable adult audience, by 1954 the program ranked in the top 10 shows broadcast on a Saturday; the Space Patrol television show began broadcasting March 9, 1950, as a Monday-through-Friday 15-minute show on a local Los Angeles station, KECA. On December 30, 1950, the American Broadcasting Company added a half-hour version of the program to its Saturday schedule, it became an overnight sensation, the new weekly show and the 15-minute shows continued concurrently on a local basis. It was seen via kinescope syndication in other cities. A 1953 30-minute episode was the subject of the first U. S. experimental 3D television broadcast on April 29 in Los Angeles on ABC affiliate KECA-TV. The series made history by being the first regular live West Coast morning network program beamed to the East Coast. At the time, it took an intricate network of cable and relay stations to accomplish this enormous task.
The ABC television Space Patrol broadcasts became one of the nation's first mass media phenomena, an ABC radio companion series was developed. The radio program was popular and ran from September 18, 1950 until March 19, 1955 producing 129 thirty-minute episodes; the televised Space Patrol aired continuously until July 2, 1954. 210 half-hour shows and close to 900 15-minute shows were made over Space Patrol's 5-year run. The sponsors included Nestles; the stories followed the 30th-century adventures of Commander-in-Chief Buzz Corry of the United Planets Space Patrol and his young sidekick Cadet Happy, as they faced interplanetary villains with diabolical schemes. As was common at the time, some of these villains had Russian- or German-sounding accents. Cmdr. Corry and his allies were aided by such sci-fi gadgets as ray guns, "miniature space-o-phones" and "atomolights". Most episodes carried such pulp-magazine titles as "Revolt of the Space Rats" and "The Menace of Planet X"; the Space Patrol's purpose was that of "clearing the space lanes" but it evolved into an intergalactic space police and military force charged with keeping the peace.
The show was pitched as a cop show in outer space. Latter day comparisons between Space Patrol and the Star Trek film and television series were inevitable; the show attracted a sizable adult audience. Many episodes featured commercial tie-in merchandise, like toys and mail-order premiums, that were advertised during commercial breaks. Many of the ads for corporate sponsor Ralston Purina's Chex cereals used the show's space opera motif in their pitches. A unique feature of the TV and radio adventures was that the premium of the month was worked into the story action; this permitted young viewers to feel that they were participating in the radio or televised adventures. Space Patrol's best known premium was a "Name the Planet" contest wherein the winner was awarded the program's Terra IV spaceship; the prize was a giant trailer in the shape of the series' space craft. One of the many "Name the Planet" commercials may be viewed online; the program sponsored a Space Patrol club. Continuing merchandise tie-ins perpetuated the connection, producing such a sizable following that many of the nation's magazines chronicled the phenomenon.
Many, but not all, of the 30-minute TV episodes are still available in various video/ DVD formats. The radio version ran from 4 October 1952 to 19 March 1955, for 129 episodes; the same cast performed on both shows. The writers and directors were reused between the radio and TV incarnations, but the radio broadcasts were not limited by studio sets and became more expansive in scope than the television programs. Although there was any deliberate crossing-over of storylines, some of the television villains appeared on the radio, during the "Planet X" story, both the TV and radio versions explored the rogue planet's invasion of the Space Patrol universe. While the radio series lacked the sophistication of sci-fi shows like the X Minus One, it was enjoyed as a throwback to the Golden Age of space opera popularized in the 1930s by pioneering magazine editor Hugo Gernsback. Only 117 of the original broadcasts survive. 97 are on a few others on torrent sites. Space Patrol was the first West Coast morning network program broadcast to the East Coast, via a massive network of cable and electronic interchanges.
The program was televised from the original soundstage where the Lon Chaney motion picture, Phantom of the Opera had been filmed. The "Phantom Stage" was one of the largest TV stages in Hollywood, made a great home for Space Patrol. While other televised science fiction programs such as Captain Video and Tom Corbett, Space Cadet used smaller sound stages, Space Patrol sets grew larger and larger; the studio had catwalks high above the stage that were utilized for many of the scenes those requiring large castle-like sets. Cast members could be suspended in "space" outside their spacecraft without the problems of studio cramping. Space Patrol's creator was a World War II veteran United States naval aviator. In frequent interviews such as one given to Time magazine in March 1952, Moser stated that he developed the series idea while flying across the Pacific, he was determined to create a children's television program, as exciting to them as Buck Rogers and Flash Gordon had been to him during his youth.