Ach und Kaito, da ich ja weiß, dass du empfindlicher bist als eine schwangere Frau (wohnst du in Ost-Berlin und bist ein Ossi?), sei mir nicht böse, dass ich Weeaboo so oft benutze. Ich kann ja auch nichts dafür, dass diese Geisteskranken existieren und sich ausbreiten wollen. ...Hoppla, jetzt hab ich doch glatt vergessen, dass du ebenfalls einer bist - sowas aber auch!
PS: Guilty Crown ist absoluter Dreck und Yoshino ist der schlechteste Animeschreiber aller Zeiten!
Kann deine kommende Schleimerei und was du noch so alles treibst um mich zu stoppen, nicht abwarten.
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Anonymous2014-02-20 5:51
So everyone left and this has now become a German anime thread. Fuck this shit, I'm out of here.
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Anonymous2014-02-20 6:07
Hey, weeaboo scum, did you sleep well with your anime toys?
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Anonymous2014-02-20 11:54
German brain power strikes again!
>The Dark Knight
>universal acclaim
>best rated capeshit film
>over a billion $
>8 oscar noms +countless awards
But it's shit, guize!
Hab ich euch schon gesagt, dass ihr dämlich seid? Ich glaub schon
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Anonymous2014-02-20 11:56
Oh ja, vergesst nicht mir ja schön immer in den Arsch zu kriechen, weil das ändert ja sicherlich irgendwas, richtig?
Hey weeaboo scum, I need your help: Is it true that each decisecond of that GIF http://i.imgur.com/VKVoYW5.gif has more animation than all episodes from Shit la Shit?
Hey, hey, no need to lie. The bad guys who are responsible are nazis from a german forum called aniPodium and some german blogs and they are by far the most retarded people you can find on the net (adults).
They're not from /a/
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Anonymous2014-02-27 0:48
>>130
it has more animation than your mum in bed lol
>>137
No, I'm not from aniPodium. Where do you get that idea?
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Anonymous2014-02-27 9:07
Kommt und erzählt mir wie es ist, auf ganzer Linie versagt zu haben und nun mit eingezogenem Schwanz planlos zu agieren und sich am laufenden Band zu blamieren? Nicht, dass es vorher anders war, aber es ist einfach unglaublich befriedigend mitanzusehen, wie ihr angekommen seid mit dem Ziel mir eins auszuwischen und mich am schreiben zu hindern und absolut nichts erreicht habt.
Tja, wie blöd muss man auch sein, sich mit jemandem anzulegen, der nichts falsches macht oder sagt. Bedankt euch bei Kaito Hasegawa, er ist der Hauptgrund für all das hier.
Und nun viel Spaß beim Übersetzen
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Anonymous2014-02-27 9:45
>>138
You seem to know the crowd there well, at the very least you can speak their tongue.
That's the reason I left you and your friends. I don't want to become braindead like you
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Anonymous2014-02-27 10:50
So, nun versucht ihr es also mit Trojanern? Hab schon gedacht, wann ihr versucht, diesen PC mit einem Virus auszuschalten (vorübergehend versteht sich).
Viel Erfolg!
Wird sicher genauso gut laufen wie mit meinen Posts
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Anonymous2014-02-27 14:11
Was ist denn los? Ist es so überraschend, dass ich über eure Aktivitäten Bescheid wusste?
Ich habe ja gesagt, dass ich euch haushoch überlegen bin, aber ihr wolltet mir nicht glauben. Ihr seid Vollidioten, die ihren Platz nicht kennen. Nicht ungewöhnlich in dieser Welt und Zeit, aber zum Glück gibt es ja Leute wie mich.
You subhuman trash are still watching weeaboo garbage? You'll get brain damaged, you know? Oh wait...
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Anonymous2014-03-01 7:19
The first time that I cosplayed Hetalia, the only people who recognized me were the two other Hetalia cosplayers at the convention. That was three or four years ago. Since then, I’ve continued to wear my England cosplay, and I’ve made loads of great friends. Most of them have also been involved in Hetalia for a long time—not to say that all new Hetalia fans are bad! 8) However, it is interesting to note that in the beginning of the fandom, everyone was saying that Hetalia only had really calm, nice fans because you had to have a pre-invested interest in history, etc etc…oh how wrong we were in the future!
Anyway, getting onto the rest of the story! Last weekend, I attended a convention. I cosplayed England, and hung out with my friends. It was fabulous. At once point, my girlfriend and I were going to go to her car to get something to eat. I looked over my shoulder, and saw a group of cosplayers with a France walking in the same direction that we were. Cool beans. I figured maybe we could say hi once we got back from my lady’s car.
We walk back into the hotel, and I’m munching on a poptart. I see the Hetalia group from before, but they’ve passed the doors, and my girlfriend and I have to go the other way. Everything is chill, right? Right. Until I hear… “IT’S AN ENGLAND!”
If all they’d done was say that and come over, that would have been fine.
Instead, suddenly something grabs my side. I’m too stunned to do anything for a second, and I feel myself break out into a cold sweat. I was in mid-bite of my poptart. After my moment of shock, I look down and see the France from before. She’s latched onto me and started humping me. There are cameras everywhere. I’m too weak to push her away.
All I can do is say, “Get off! Get off! Get off!” My girlfriend is too surprised to take action. At first, the France thinks I’m in character. Then, she figures out that I’m not and gets off of me.
Before that day, after nine months of dating, my girlfriend had never seen me angry. I did not yell or scream, but I was very firm, and obviously upset. My words where somewhere along the lines of: “You CANNOT do that. That is NOT okay. You CANNOT run up and grab a cosplayer like that, ESPECIALLY while they’re EATING!” Quite comical when I retold the story to my friends, but while I spoke it I was shaking. She apologized, obviously surprised. I didn’t give a shit. What she did was NOT okay. I say, “Do NOT do that again!” She nods a little, and I turn and shakily make for my girlfriend. I was really surprised, because some of the people in that group had nicely asked me for hugs and pictures earlier. What the hell happened?
The people holding cameras laugh and tell me, “I got that ALL on film!” As if I had been making some short of joke. By that point the adrenaline was gone, and I just wanted to get away. I regret that, as I would have had them delete the footage. For now I’m scouring YouTube.
/convention rant
Advice: Hetalia cosplayers, new and old! PLEASE don’t grab people without their permission, or FILM without their permission for goodness sakes! Once at another convention, I was with my girlfriend and another couple who cosplayed Hetalia. They weren’t officially a couple everywhere because of a jealous ex. Because we were eating and out of the con, they were kissing a little and so were my girlfriend and I. Just pecks. We look over, and we’re being filmed. This is NOT OKAY. You never know if someone is being IC or not, or if they want that sort of thing on the internet. Even if you do film it, ALWAYS ask if you can put it up somewhere or not!
Note: This does not affect how much I love Hetalia. This was bound to happen sooner or later, and the more level headed Hetalia cosplayers there are out there, the better. Peace!
TLDR: I was eating a poptart and cosplaying England when a France cosplayer grabbed me and started humping me. I made them get off and scolded them.
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Anonymous2014-03-01 7:21
Oh, and something from the german idiots from aniPodium again:
Interstellar from Nolan will be the new 2001!
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Anonymous2014-03-01 7:23
>Heul heul heul heul Aber er hat doch versprochen, er hört endlich auf damit! So ein gemeiner Kerl! Heul heul heul heul
>Kuller kuller kuller kuller kuller kuller
>>151
Yeah, cry harder, retard from aniPodium. Not my fault, if you're THAT stupid to claim Nolan is as good as Kubrik in any way. How do you even manage your daily life?
Short, but also way better animated than all from KLK
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Anonymous2014-03-01 12:19
Man, your tears (aniPodium retards and the sakuga core) giving me quite the boner. Revenge sure is something great
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Anonymous2014-03-01 12:29
>>152
I'm not even from that stupid forum you double nigger. Why do you bring up your childish spat with that community here? What the fuck is your problem? If you want to talk shit about that forum then go do it there. I don't give a fuck about what happened between you and those krauts.
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Anonymous2014-03-01 12:30
At its most fundamental level, "Alien" is a movie about things that can jump out of the dark and kill you. It shares a kinship with the shark in "Jaws," Michael Myers in "Halloween," and assorted spiders, snakes, tarantulas and stalkers. Its most obvious influence is Howard Hawks' "The Thing" (1951), which was also about a team in an isolated outpost who discover a long-dormant alien, bring it inside, and are picked off one by one as it haunts the corridors. Look at that movie, and you see "Alien" in embryo.
In another way, Ridley Scott's 1979 movie is a great original. It builds on the seminal opening shot of "Star Wars" (1977), with its vast ship in lonely interstellar space, and sidesteps Lucas' space opera to tell a story in the genre of traditional "hard" science fiction; with its tough-talking crew members and their mercenary motives, the story would have found a home in John W. Campbell's Astounding Science Fiction during its nuts-and-bolts period in the 1940s. Campbell loved stories in which engineers and scientists, not space jockeys and ray-gun blasters, dealt with outer space in logical ways.
Certainly the character of Ripley, played by Sigourney Weaver, would have appealed to readers in the Golden Age of Science Fiction. She has little interest in the romance of finding the alien, and still less in her employer's orders that it be brought back home as a potential weapon. After she sees what it can do, her response to "Special Order 24" ("Return alien lifeform, all other priorities rescinded") is succinct: "How do we kill it?" Her implacable hatred for the alien is the common thread running through all three "Alien" sequels, which have gradually descended in quality but retained their motivating obsession.
One of the great strengths of "Alien" is its pacing. It takes its time. It waits. It allows silences (the majestic opening shots are underscored by Jerry Goldsmith with scarcely audible, far-off metallic chatterings). It suggests the enormity of the crew's discovery by building up to it with small steps: The interception of a signal (is it a warning or an SOS?). The descent to the extraterrestrial surface. The bitching by Brett and Parker, who are concerned only about collecting their shares. The masterstroke of the surface murk through which the crew members move, their helmet lights hardly penetrating the soup. The shadowy outline of the alien ship. The sight of the alien pilot, frozen in his command chair. The enormity of the discovery inside the ship ("It's full of ... leathery eggs ...").
A recent version of this story would have hurtled toward the part where the alien jumps on the crew members. Today's slasher movies, in the sci-fi genre and elsewhere, are all pay-off and no buildup. Consider the wretched remake of the "Texas Chainsaw Massacre," which cheats its audience out of an explanation, an introduction of the chain-saw family, and even a proper ending. It isn't the slashing that we enjoy. It's the waiting for the slashing.
Hitchcock knew this, with his famous example of a bomb under a table. (It goes off -- that's action. It doesn't go off -- that's suspense.) M. Night Shyamalan's "Signs" knew that, and hardly bothered with its aliens at all. And the best scenes in Hawks' "The Thing" involve the empty corridors of the Antarctic station where the Thing might be lurking.
"Alien" uses a tricky device to keep the alien fresh throughout the movie: It evolves the nature and appearance of the creature, so we never know quite what it looks like or what it can do. We assume at first the eggs will produce a humanoid, because that's the form of the petrified pilot on the long-lost alien ship. But of course we don't even know if the pilot is of the same race as his cargo of leathery eggs. Maybe he also considers them as a weapon. The first time we get a good look at the alien, as it bursts from the chest of poor Kane (John Hurt). It is unmistakably phallic in shape, and the critic Tim Dirks mentions its "open, dripping vaginal mouth."
Yes, but later, as we glimpse it during a series of attacks, it no longer assumes this shape at all, but looks octopod, reptilian or arachnoid. And then it uncorks another secret; the fluid dripping from its body is a "universal solvent," and there is a sequence both frightening and delightful as it eats its way through one deck of the ship after another. As the sequels ("Aliens," "Alien 3," "Alien Resurrection") will make all too abundantly clear, the alien is capable of being just about any monster the story requires. Because it doesn't play by any rules of appearance or behavior, it becomes an amorphous menace, haunting the ship with the specter of shape-shifting evil. Ash (Ian Holm), the science officer, calls it a "perfect organism. Its structural perfection is matched only by its hostility," and admits: "I admire its purity, its sense of survival; unclouded by conscience, remorse, or delusions of morality."
Sigourney Weaver, whose career would be linked for years to this strange creature, is of course the only survivor of this original crew, except for the ... cat. The producers must have hoped for a sequel, and by killing everyone except a woman, they cast their lot with a female lead for their series.
Variety noted a few years later that Weaver remained the only actress who could "open" an action movie, and it was a tribute to her versatility that she could play the hard, competent, ruthless Ripley and then double back for so many other kinds of roles. One of the reasons she works so well in the role is that she comes across as smart; the 1979 "Alien" is a much more cerebral movie than its sequels, with the characters (and the audience) genuinely engaged in curiosity about this weirdest of lifeforms.
A peculiarity of the rest of the actors is that none of them were particularly young. Tom Skerritt, the captain, was 46, Hurt was 39 but looked older, Holm was 48, Harry Dean Stanton was 53, Yaphet Kotto was 42, and only Veronica Cartwright at 29 and Weaver at 30 were in the age range of the usual thriller cast. Many recent action pictures have improbably young actors cast as key roles or sidekicks, but by skewing older, "Alien" achieves a certain texture without even making a point of it: These are not adventurers but workers, hired by a company to return 20 million tons of ore to Earth (the vast size of the ship is indicated in a deleted scene, included on the DVD, which takes nearly a minute just to show it passing).
The screenplay by Dan O'Bannon, based on a story he wrote with Ronald Shusett, allows these characters to speak in distinctive voices. Brett and Parker (Kotto and Stanton), who work in the engine room, complain about delays and worry about their cut of the profits. But listen to Ash: "I'm still collating it, actually, but I have confirmed that he's got an outer layer of protein polysaccharides. He has a funny habit of shedding his cells and replacing them with polarized silicon which gives him a prolonged resistance to adverse environmental conditions." And then there is Ripley's direct way of cutting to the bottom line.
The result is a film that absorbs us in a mission before it involves us in an adventure, and that consistently engages the alien with curiosity and logic, instead of simply firing at it. Contrast this movie with a latter-day space opera like "Armageddon," with its average shot a few seconds long and its dialogue reduced to terse statements telegraphing the plot. Much of the credit for "Alien" must go to director Ridley Scott, who had made only one major film before this, the cerebral, elegant "The Duelists" (1977). His next film would be another intelligent, visionary sci-fi epic, "Blade Runner" (1982).
Though his career has included some inexplicable clinkers ("Someone To Watch Over Me,") it has also included "Thelma & Louise," "G.I. Jane," "Gladiator" (unloved by me, but not by audiences), "Black Hawk Down" and "Matchstick Men." These are simultaneously commercial and intelligent projects, made by a director who wants to attract a large audience but doesn't care to insult it.
"Alien" has been called the most influential of modern action pictures, and so it is, although "Halloween" also belongs on the list. Unfortunately, the films it influenced studied its thrills but not its thinking. We have now descended into a bog of Gotcha! movies in which various horrible beings spring on a series of victims, usually teenagers. The ultimate extension of the genre is the Geek Movie, illustrated by the remake of "Texas Chainsaw Massacre," which essentially sets the audience the same test as an old-time carnival geek show: Now that you've paid your money, can you keep your eyes open while we disgust you? A few more ambitious and serious sci-fi films have also followed in the footsteps of "Alien," notably the well-made "Aliens" (1986) and "Dark City" (1998). But the original still vibrates with a dark and frightening intensity.