章節 69: Show For III

Thermostat 6. The next showcase was much more symbolistic and hidden that the last ones.

In a house, a grandfather, father, mother, teening girl, and a little boy ate at their dining table while there is a leak directly above it.

While the girl notices the leak and asks why it isn't fixed, the weirdness ensued.

The father dismisses it to hiring plumbers and just eats food. The mother constantly churns out food to fill the already full table. The grandfather is busy reading his newspapers and says that there was no problem with his house. All the while, the little boy was stuck in place and just observes.

The teen girl has no choice but to fix it herself. Unfortunately, her attempts only worsen the situation with the little leak turning into a flooding situation.

Their house is flooded but the grandfather is still immersed in his newspaper and the parents enjoy eating and cooking. All the while, the teen girl struggles while the little boy gets caught up in the rising water.

Eventually, the house gets flooded up to the ceiling.

The old grandfather finally noticed the damage and was dismayed. The parents were still caught up in their attitudes and the boy is as innocent as he always is.

As they huddle in the attic, the teen girl heads to the roof and the big reveal was shown.

It turns out that their house wasn't flooded due to the leak. It was the entire world that was flooded as their house and their neighbor's houses floated in the endless expanse of water.

The credits rolled and the audience was mesmerized by the water animations but was baffled by the incredulity of the story.

Some insightful and artsy people were much more receptive to the hidden meaning.

Simply put, the house is the world, the grandfather is the conservative patriarch, the father is the consumer, the mother represents consumerism, the teen is the activist, while the boy represents the future generations.

The leak is the problems of society and as the status quo continues it already becomes too late as the leak problem finally becomes the great flood that can no longer be solved.

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Different from the colorful aesthetic of past films, dull greyness and shades are prevalent.

A young man is standing on an elevated train platform holding a folder when he is hit by a flying piece of paper. The paper is chased by a young woman who lost it to a gust of wind from a passing train.

The same thing happens to the man with his blown paper sticking to the woman's face, which leaves a lipstick mark.

Like Schindler's list, her red lipstick mark is the only color among the monotonous black and white.

He is entranced by the lipstick mark and fate chose to separate them at the train station.

The man arrives at work, despondent, gazing at the lipstick-marked paper on his desk.

He looks out the window and is surprised to find a woman in the building across the street.

Given the open windows and apparent distance, he decides to fold and fly paper planes to get her attention.

Much to the irritation of his boss and failed trials, a lot of paper trains are wasted and unfruitful.

By the end, his paper supply was lost and the lipstick-marked paper was his only chance, only for it to fail once again.

When the cinematic soundtrack was getting depressing, all hope was not lost as the lipstick-marked paper plane gained sentience along with all the other paper planes he folded.

They meet once again but is much more familiar with all those paper planes and the fateful kiss-marked paper.

The credits rolled and the audience was mesmerized by the animation style. Creed Digital Ink has both 2D and 3D options, so taking this Disney masterpiece as his own was a matter of effort.

He-Man and all the cartoons trying to be realistic could only hide in shame when Paperman's flatness could be perceived as more three-dimensional and solid.

Sullivan remembered his grandson's toy ambitions and that figureful animation style seems more fitting.

It had to be said that the 80s were the Action Figure era because its animation style wants to connect the kids to their edgy toys, making it considered to be horrendous-looking for future generations.

Paperman became Alexander's main priority throughout the many projects because of its semi-3Dness.

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Next on the showcase is a special animation film called Walter.

Like 'The Tree', it is about the collection of precious water in a barren world and using it to nourish a plant. This time around it is real.

A brown frogman uses a cloth, the wind, and the clouds to do his work.

The frog meticulously cares for plants in his makeshift greenhouse and finally, his efforts were given rewards.

In a masterful animation sequence, a whisp-esque form of a dandelion was grown from his plant.

Given that there were many more of that plant, a ton of floaty dandelion wisps overpopulate the frog's little greenhouse.

In a storm-like fashion of summoning wind, the dandelions burst forth and carries the frog with them.

It was a simple lesson of all efforts are awarded and the film ends with the credits rolling.

What makes Walter special for Alexander and the audience is that its picturesque scenery and style are quite familiar.

Non-animation fans don't know much but for animation fans who watched My Neighbor Totoro and Grave of the Fireflies, it is quite the marvel.

The animators were awed by the software available to them as it is flexible and versatile enough to be a canvass of many animation needs.

As of now, it isn't too significant but in the future where Studio Ghibli has immense status, software that can do Ghibli style is more than amazing.

Ten or so animations were next on the block and everyone was hooked.

Cartoons and animation had a weird fluctuation in significance. It was originally for all ages but society tends to be wavy on that belief.

Currently, animation and cartoons are exclusive for kids in the mind of society, so these Creed projects that had more adult impact became an indescribable treat.