sabato 21 gennaio 2017

CENTRO IMMERSIONI MOBILE✓

Ho fatto un disegnino e in 3 giorni abbiamo realizzato il nostro centro immersioni mobile. Sul tetto della macchina ci sono 336 litri di acqua (di cui 330 solo per le docce in barca, il resto è potabile), scaldabagno, corrente per fare una guerra e tutti gli attrezzi per costruire qualsiasi cosa. Quando ci verrete a trovare a Santorini sappiate che il divertimento è assicurato, tin!
Bunzigirl

giovedì 19 gennaio 2017

MACH GO! GO! GO! BY ROBERTO FERRARI ★ マッハGoGoGo

Ricordate questo cartone animato? Mach Go Go Go fu prodotto alla Tatsunoko Productions nel 1967 ma arrivò in Italia solo nei primi anni '80. La storia è incentrata sulle corse automobilistiche del giovane pilota Go Mifune deciso a diventare campione del mondo di F1 nonostante tutte le avversità e gli imprevisti del caso. Nel 1997 la Tatsunoko realizzò il remake (così come per Polymar) e Roberto Ferrari cominciò a lavorare proprio su Mach Go Go Go, esattamente 20 anni fa. Per i fan della serie e di Roberto consiglio vivamente di reperire questo cartonato illustrato, un vero e proprio reperto!
All'interno troviamo anche un cameo di Teru versione remake (Polymar- Holy Blood 1996)
Sulla quarta di copertina del cartonato troviamo i credits, Roberto Ferrari presente!
Bunzigirl

mercoledì 18 gennaio 2017

OPERAZIONE TATTOO

Ho deciso di imparare a tatuare iscrivendomi ad un corso professionale privato, sponsorizzato dalla regione Lazio, in grado di certificare a livello europeo la validità dell'attestato. Tutto è nato in primavera quando una mia carissima amica ha deciso, a 46 anni, di farsi fare il primo tatuaggio affidandosi ad un tatuatore milanese oggettivamente capace nello stile old school americano ma non nello stile anime-manga, purtroppo. Quando a maggio vidi il Doraemon sul braccio della mia amica mi prese un colpo secco e le promisi che avrei fatto di tutto per aggiustare quel "coso" sbilenco e pieno di difetti. 
Facendo una ricerca tra i tatuatori italiani di manga et similia mi sono accorta che in giro c'è il nulla cosmico, l'unico ed il solo che per me merita una standing ovation è il giovane fiorentino Brando Chiesa, mischia lo stile gotico e liberty al manga e secondo me il risultato è a dir poco eccezionale, ditemi voi...
Per quanto riguarda i tattoo che raffigurano i personaggi degli anime giapponesi mi sono imbattuta in sgorbi raccapriccianti, ho visto dei Posi e Nega obesi e sformati con i denti di Gigi la Trottola (anzichè aguzzi), Jeeg Robot macrocefali e una serie di Totoro affetti da vitiligine, bacchette delle maghette asimmetriche da far spavento e colorate con i piedi; dunque mi chiedo: ma prima di tatuarvi la fate una ricerca su internet? Vi informate o andate nel primo studio di tatuaggi che trovate vicino casa? Molte persone non capiscono nulla di disegno, di proporzioni e anatomia ma porcaccia la miseriaccia...informatevi! Vi andate a far deturpare la pelle e pagate pure, follia!!! Prendete un aereo o un treno se sotto casa vostra non trovate un bravo tatuatore, verificate i suoi lavori prima di farvi tatuare, fatevi fare prima un bozzetto e fatelo vedere a chi magari ne capisce più di voi di disegno, così per star sicuri. Ai tatuatori invece consiglio di non esaudire tutte le richieste dei clienti, se siete bravi nel tattoo tradizionale giapponese non cimentatevi per forza nell'old school americano, ognuno ha il suo stile, la sua specialità, se un genere non è nelle proprie corde pazienza, ma non si può sperimentare sulla pelle della gente per soldi, vergogna!
Tatuare mi piace, mi rilassa ma ancora ne dovrà passare di tempo prima di posare il mio dermografo a battuta su qualche cavia umana, ringrazio tutti gli amici e conoscenti che si sono messi in lista ma ci vorranno anni prima che riesca ad arrivare ai livelli che mi sono prefissata di raggiungere, nel mentre mi preparo poichè a breve dovrò sostenere l'esame di scienze, nel contempo butto giù i disegni per la prossima lezione di pratica.
Sulla pelle non si scherza.
Bunzigirl

martedì 17 gennaio 2017

★ CREAMY MAMI BLOCK NOTES BY SEIKA ★ クリィミーマミ

Nel 1983 il brand giapponese SEIKA mise in commercio questo box contenente 30 block notes di Creamy Mami, 15 per tipo a 100¥  cadauno
Per chi era interessato all'intera scatola con tutti i 30 block notes all'interno il prezzo indicato -sulla scatola stessa- era di 3,000¥
Ho avuto la fortuna di trovare la scatola con tutti i block notes in ottimo stato, vediamo un particolare dei block notes vista fronte
e retro
interni
Sulle aste giapponesi e su eBay i block notes sfusi sono di facile reperibilità mentre il box non si trova spessissimo e quando appare (su yahoo.jp) il prezzo varia dai 100€ ai 150€, una chicca vintage di tutto rispetto. A presto con altre super esclusive vintage creamynose, stay tuned!
Bunzigirl

giovedì 12 gennaio 2017

COTTON FIONNERY

Qualche giorno fa a causa della neve sono scesa al paese di sotto dove vive mia zia, tappa obbligata prima di ripartire per Roma. Una mattina sul presto, senza svegliare nessuno, uscita dal bagno mi sono messa in cerca di un cotton fioc e aprendo un armadietto ho trovato lui! Uno Sean Connery munito di sguardo felino, hai capito la zia che buongustaia! Hahahahahaha!
Bunzigirl

giovedì 5 gennaio 2017

HAPPY BIRTHDAY TO HAYAO MIYAZAKI!

Totoro art by Vincent Belbari
Ho radunato alcune tra le più belle fan art trovate in rete per ricordare la bellezza dei capolavori dello studio Ghibli e per fare i miei personali auguri al sensei Miyazaki, 76 anni dedicati all'arte, al rispetto della natura e alla poesia, genuflettiamoci all together. Bunzigirl
Mononoke Hime art by Muju
Spirited Away art by Caffe Tylo
Totoro art by Saggittariusgallery
Mononoke Hime art by Barrett Biggers
Totoro and Laputa guardian by Loruko

domenica 1 gennaio 2017

INTERVISTA A ROBERTO FERRARI PER AKIBA GAMERS ★ ROBERTO FERRARI SPEAKS ON FINAL FANTASY XV ★ ENGLISH INTERVIEW

Se volete leggere l'intervista integrale realizzata dal sito Akiba Gamers a Roberto Ferrari cliccate qui di seguito trovate la traduzione fedele in inglese, no Google translate per mezzo del quale alcuni imbecilli han tradotto vergognosamente dalla rete e stravolto il significato e i contenuti dell'intervista.

Since we believe a lot of the original interview was lost in translation, and since this caused a misunderstanding between Roberto Ferrari himself and his employer Square Enix, we decided to review it again and to retranslate it as best as we could, hoping to shed some light to some points that were clearly misinterpreted by the original translators.
What inspired you to become a character designer, and when did you decide to pursue this career? 
R: Well, it wasn't a straight decision, but when I first saw japanese animation on TV as a kid, I immediately felt a strong connection, and thought I'd like to do that kind of stuff when I grew up. It was 1978, and I was roughly 8 years old. Naturally, I started by drawing comics, as they're a form of art that can be created with a pretty basic equipment: you just need a pen and some paper. To be honest, I originally wanted to become an animator, but back in the day, animation hadn't developed in my country yet, and I didn't know anyone in Italy who worked in that field. In my early twenties, be it destiny or a stroke of luck, one of my works granted me a scholarship in Japan (I have to thank Kodansha publishing for that, and specifically mrs. Takenaka), which allowed me to undertake several months of study for the editorial office of a magazine called Morning.
After Morning published two of my illustrations, our office received a phone call by mr. Ippei Kurii, who at the time was the director of Tatsunoko Production. He told me that he was interested in my work, and offered me a job in his company. I immediately accepted and made up my mind to start this adventure. I came back to Italy and was granted a working visa by the japanese embassy in February 1997. Times changed, and I also did; I slowly became more and more interested in videogames, not from an entertainment perspective, but as an opportunity to create new and innovative worlds. I could, of course, do that as an animator too, but I started realizing 3D was the future, and even animation itself was evolving in that same direction. I left Tatsunoko in 2001 and was hired by NAMCO soon thereafter. In 2006, I tried to obtain an employment in the company that I thought to be the most representative in the videogaming environment. I am obviously talking about Square Enix.
Which franchise you worked on is your favourite? And why? 
R: I think Final Fantasy XV itself, not because it's a recent product, but because I had the opportunity to work with mr. Nomura by having a substantial role. I felt artistically respected and appreciated by mr. Nomura, for the first time since I started living in Japan. He showed me his deep trust in my potential, but more importantly, his trust in me as a human being. It's a little difficult to explain, but before I started working for Square Enix there were times I just felt exploited.
 Do you consider yourself a gamer? What are your favourite games? Do you still have some free time to get inspired by other games you play? 
R: I never was a gamer, and never will be. I don't have enough time. However, I always try to keep up with the latest releases and never miss a single trailer. Working in this field made me develop, above all, a pretty technical point of view. There could be a game I prefer for its scenic design, or another I could like from an innovation standpoint, for its technical choices, and so on.  
On which franchise would you like to work on in the future?
R: I would love to work on Kingdom Hearts because of its non-realistic aesthetic design.
Looking back to the various design choices of the Final Fantasy series, do you prefer the old, super deformed style, the anime style of titles like VII or IX, or something more realistic like VIII or X?
R: I like all of them, because every single one of them is unique. As I previously stated, I don't particularly fancy overly realistic designs, especially when it comes to the characters. When you strive to achieve realism, you often create something that is similar to a ton of other products, which in turn goes against originality. It's aestethically pleasing nonetheless, but I'd choose something anyone could recognize at first glance.
 What is the difference between working for an animation company like Tatsunoko and the videogame industry? How do they manage their production chain?
R: It is extremely different. My first approach to the videogame industry was astonishing: I thought it was very messy and unorganized. It takes an huge number of people to make a game, and a lot of time for every gear to slowly move into place. What impressed me the most is that everything else starts before it is even determined how the story is going to unfold. Countless things change during development, and with those changes many characters, levels and a lot of other stuff gets cut. You don't have this kind of luxury in animation, as they're working with incredibly tight deadlines... I would say animation needs to keep a strict schedule. (Reviewer note: Ferrari didn't mean to disrespect Square Enix by deeming their work "messy and unorganized". He merely stated that the production process of a videogame company is significantly different when compared to that of the animation business).
It's been a long time since you moved to Japan to fulfill your dream. Do you miss your country somehow, your food, your special places?
R: I obviously miss my family, and the sea. Watching the sun setting on the Mediterranean soothes your soul. There are plenty of evocative spots in Japan too, but since I came to Tokyo I have totally devoted my life to work. I sometimes miss that stimulating, proactive free time I had in Italy. Many people dream about working and living in Japan, but a lot of them have given up their dream of moving in the country they love.
 What would you suggest to your young compatriots that are pursuing a career overseas? Can italians really become part of the japanese industry like you did?
R: Never look back when you have a dream, never hesitate. Living abroad is not simple, but you have to look inside you and understand what you want to achieve in your life. In my case, hardships were never stronger than my resolution.
After ten years of development, Final Fantasy XV was finally released to the public. What would you like to say to your fellow italian players?
R: Hey, I was part of the team just from May 2010 to the end of 2013! Anyway, I have a message to whoever is about to start playing Final Fantasy XV: if during your adventure you happen to run into a suspicious and shady character - let's say the most italian one (could it be because I was the one who drew him?) - don't you ever trust him! Jokes aside, all of our staff gave their best to deliver this game, and I firmly believe that you can experience a wonderful adventure by guiding prince Noctis' self-consciousness to maturity.
Bunzigirl