Archives for posts with tag: idea

Hello again. I am back from Williamsburg, Virginia.

First of all, while I was vacationing at America’s Historic Triangle in Virginia (consisting of Jamestown, Williamsburg and Yorktown), I have conceived this idea of writing a big, epic fantasy novel based on and inspired by the cartoon Samurai Jack, one that would take Samurai Jack’s entire childhood, training around the world, and return home as an adult in the hopes of freeing his enslaved people and vanquishing the demon Aku before Aku himself sends Jack spiraling into the future that is Aku, recast it in modern literary prose language (and just like T.H. White have done with his masterful epic retelling of Arthurian legend, The Once and Future King), and retell Samurai Jack’s childhood, training and return home to try and free his enslaved people before Aku banishes the warrior into the future that is Aku for a whole new generation.

The title of my planned epic novel:

The Once And Future Samurai

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And the ‘Once And Future Samurai‘ of the title and in question shall be…

 

This child:

 

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Young Jack, to be exact!

My intention for The Once and Future Samurai is to track the epic life’s journey of Samurai Jack from his boyhood through his training ‘round the world among all manners of warriors and heroes to his return home as an adult to try to free his enslaved people and destroy Aku the Shogun of Sorrow, and ending at the point where Jack is about to strike the final death blow against Aku, at the point just before Aku tore open a portal in time and flung him into the future.

Anyway, I will begin my epic novel, The Once and Future Samurai, shortly after Samurai Jack was born at the end of The Birth of Evil Part II, when his father, the Emperor of Japan/Shanghara gather together the great leaders of the world’s many peoples where, in a great United Nations-type council meeting, they all devise a plan that will prepare The Emperor’s Son, the Once and Future Samurai of the title, for the ultimate battle against the ultimate evil that is Aku, in case Aku ever returns or gets his jailbreak.

Hopefully, in fleshing out the details in Samurai Jack’s childhood before Aku’s jailbreak, I hope to include…

Hmm. Let’s see…

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Oh! I Know!

His playing with the crickets and this girl:

 

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His encounter with none other than Lone Wolf and Cub:

 

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The lessons he learned from his father and mother, The Emperor and Empress of Japan/Shanghara:

 

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The time where he plays with his favorite ball…

 

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…and his thwarting of the three bullies who stole Young Jack’s ball:

 

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All was happy for Young Jack and his Japanese/Shangharan empire, until one day, when a solar eclipse brought about Aku’s jailbreak, so he can “smite the world like I had in days long past”.

And guess what will Aku bring with him in addition to his strange powers, don’t ya?

An army of swarthy barbarians from Astronoma, a land to the north of Shanghara, and their ruthless leader, Nam’Krad The Astronomean (which is backwards for Dexter’s Laboratory’s Mandark), who, offended by not being invited to the great United Nations-like council meeting held by Samurai Jack’s father, The Emperor, swears to conquer and invade Japan/Shanghara and the surrounding world in the name of Aku.

The Emperor’s soldiers fought bravely against Aku and Nam’Krad’s invading Astronomean forces but they cannot defeat Aku’s strange powers, not to mention, the explosives employed by the barbaric Astronomean invaders. And Aku also captured the Emperor before he could reached his magic sword.

But one hope remained.

The Emperor’s wife took the sword and Young Jack with her and left Japan/Shanghara to get away from the ensuing violence.

She hid the sword with a secret sect of monks in the cold recesses of Taipania and sent Young Jack ‘round the world to be trained as a samurai warrior among all manner of warriors and heroes from different cultures.

 

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Remember, Jack wears a special symbol around his neck that identifies him as the son of the Emperor of Japan/Shanghara, and somebody to be trusted, too!

 

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On a Japanese/Shangharan Junk, he learns Navigation/Astronomy:

 

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In the land of Elsharzar/Arabia, he learns horseback riding:

 

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In Harlorleanea/Africa, he learns stick fighting from the Zuli people:

 

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In Azigoria/Egypt, he learns how to read, write and translate hieroglyphics:

 

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In Athenodor/Greece, he learns wrestling:

 

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In the forests of Avaland/England, he learns archery from Locksley/Robin Hood, a Robin Hood-like man who is also a friend of Oliver, The Young Captain of Avaland:

 

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In Vargland/Scandinavia, he learns how to sail the high seas from the Varg People of the Northern Sea/Vikings:

 

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In Nevskia/Russia, He learns how to throw an axe at a target:

 

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In Tenjaland/Mongolia, he learns from the Ten’Jai/Mongols how to throw spears:

 

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And in Taipania/China, he learns martial arts from the Shaolin Monks:

 

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In all his travels, Jack grew from a boy into a man.

 

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He may have learned the basic skills of a samurai warrior, but he learned some extra skills as well. All the extra training helped Samurai Jack to become a well-rounded warrior—the only kind of warrior able to take on Aku.

After claiming the sword from his mother, he gathers a coalition of Avalish and Taipanean soldiers as well as the last surviving Shangharan samurai armies and together, they went to the shores of Shanghara and ride to glory against the Astronomeans led by Lord Nam’Krad, with Jack flying the Shangharan standard from a Taipanean Junk.

After losing Captain Oliver to Nam’Krad, after defeating Nam’Krad and the Astronomeans, after subduing Aku’s taskmasters, and after freeing the Emperor of Japan/Shanghara and his people, he challenged Aku:

 

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At the end of my novel, The Once And Future Samurai, Aku and Jack fought a spectacular battle.

And like I said, I shall end my epic novel/retelling of Samurai Jack’s boyhood and training at the very point Jack is about to destroy the demon with one last killin’ blow from his sword, at the very point just before Aku conjured up a time portal that sent Jack spiraling far into the future that is Aku:

 

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Aku: You might have beat me now, but I will destroy you in the future.

Jack: There is no future for you, Aku.

Aku: I disagree.

Like I said, Samurai Jack, to me, is, in question, the Once and Future Samurai refer to in the title of my book, and always will be, would he?

 

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Anyway, even as The Once and Future Samurai will chronicle the boyhood of Samurai Jack, his training around the world, and his return home to challenge Aku and his allies, the Astronomeans, and ending immediately before Aku flung him into the future that is Aku, one of the central themes in The Once and Future Samurai, is going to be an exploration of human nature.

For even though I shall admit the source of my book is the cartoon Samurai Jack (which is my all-time favorite) by Genndy Tartakovsky, I shall reinterpret the events taking Jack from his childhood through his training to his return home to challenge Aku before he sent him to the future, and I shall fill them all with renewed meaning even for a world waiting for dark precarious time to improve (especially in the post-9/11 age and especially in the Great Recession) and especially for a whole new generation of fans of Genndy Tartakovsky and Samurai Jack.

And I shall give the characters in The Once and Future Samurai motivations or traits more complex or even contradictory to those on Samurai Jack the cartoon show.

And I would like to allow Genndy Tartakovsky himself to have a cameo appearance at the end of my Once And Future Samurai book. I will also like to treat the historical characters as mythological or fictional within the world I create for the Once and Future Samurai.

I shall also incorporate not only anachronistic allusions to the past (i.e., dinosaurs, etc.), but also those to events in more recent times (like 9/11, the actions of James Holmes, Adam Lanza or Elliot Rodgers, etc.).

Just like in T.H. White’s The Once And Future King, would it?

 

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Gee, Talk about ‘anachronism stew’ over here! HA HA HA HA!

Anyway, what would you think of The Once And Future Samurai, my epic novel/retelling/chronicle of Samurai Jack’s childhood, training and return home to free his enslaved people and challenge Aku before the demon sends the Samurai into the future? And what would you think of all the things I wanted to incorporate into The Once And Future Samurai?

 

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Dexter's Odyssey poster design without taglines by timbox129

I still don’t know if you’ve heard about this or not but I thought you might be interested.

Anyway, the 12 things as mandated by my edict for what I wanted and envisioned for Dexter’s Odyssey—my planned Genndy Tartakovsky/Dexter’s Laboratory Cartoon Network characters n’ dinosaurs epic—are as follows:

1) FOR THE DEXTER’S LABORATORY CARTOON CHARACTERS, YOU MUST STICK TO THE CHARACTER DESIGNS AND ANIMATION ART STYLE DONE FOR DEXTER’S LABORATORY’S ORIGINAL 1990s RUN

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I understand the fact that the last two seasons of Dexter’s Laboratory weren’t as good as the show’s original 1990s run, but for the character designs and 2D animation art style for the Dexter’s Laboratory characters to be included in Dexter’s Odyssey (like Dexter, Dee Dee, Mee Mee, Lee Lee, Mandark, Action Hank and Dexter and Dee Dee’s Mom and Dad), just stick to those from the 1990s run of Dexter’s Lab, not those from the 2001-2003 revival.

 2) NO OUTLINES FOR THE SAMURAI JACK-STYLE CHARACTERS, BUT RETAIN THE OUTLINES FOR THE DEXTER’S LAB-STYLE CHARACTERS

Even if the 2D traditional and largely hand drawn animated toon characters in Dexter’s Odyssey should be put in an otherwise live action world alongside mainly CGI dinosaurs and real life flesh and blood human performers, there must be a contrast between those from or in the character design and animation art style of Dexter’s Lab (the original 1990s run, at least) and those from in the character design and animation art style of Samurai Jack.

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I suggest no thick black surrounding outlines for the Samurai Jack-style toon characters, but retain the thick, black, surrounding outlines for the Dexter’s Laboratory-style toon characters.

3) ONLY ONE CHARACTER OR CREATURE SHOULD GET THE REALLY BIG CHARACTER PART AND/OR TAKE A REAL HERO’S JOURNEY THE MOST IN DEXTER’S ODYSSEY

Well, I suggest the Asian friend of Dexter’s sister Dee Dee: Lee Lee, to be exact.

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Even though Dexter’s Odyssey may be titled after Dexter the boy genius himself, Dexter’s Odyssey should focus for the most part on his sister Dee Dee’s Asian Friend Lee Lee and her mythic and epic ‘hero’s journey’ and not just Dexter and Dee Dee themselves feuding!

4) THE DINOSAURS IN DEXTER’S ODYSSEY SHOULD NOT LOOK OR SOUND LIKE THOSE FROM THE JURASSIC PARK FRANCHISE

For too long, all films and video games that have happened to feature dinosaurs, have, without exception, contained conscious nods to the Jurassic Park franchise—whether it’s visual or auditorial.

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Dexter’s Odyssey’s dinosaur scenes should contain little or no conscious nod—whether be they visual, auditory or narrative—to the Jurassic Park franchise.

Instead of the usual scaly reptilian and featherless representations of dinosaurs like the Velociraptors in Jurassic Park, there should be more bird-like and feathery dinosaur representations like this dinosaur:

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There should be beautifully rendered feathers, plus some recently discovered dinosaurs that we never see restored before, as well as a respect for dinosaurs that does not always treat them as mindless movie monsters or just kids stuff all the time, y’know what I’m saying?

Also, There should be no doubt that Dexter’s Odyssey would “reinvent big dinosaur adventure entirely”. Rather than getting bogged down in endless rewrites and development hell like what would become Jurassic World (coming in 2015, perhaps), it should provide a fresh new look at dinosaurs by doing something not done well since Who Framed Roger Rabbit (unless Space Jam and Looney Tunes Back In Action are counted) by combining live action and animation as well as dinosaurs.

But dinosaurs aren’t just seen, of course, they are heard, and one practice that has endured since the early days of sound movies is the use of real animal noises in the creation of the roars of fantasy creatures including dinosaurs, for example:

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Murray Spivack manipulated lion and tiger vocalizations for the original King Kong movie; The late Ray Harryhausen employed the sound of a slobbering camel for the Valley of Gwangi; And Gary Rydstrom incorporated a baby elephant trumpet into the mighty roar of the Tyrannosaurus Rex for Jurassic Park.

If I hire somebody who is a sound designer or sound editor to continue this time-proven technique on the big screen for Dexter’s Odyssey, I and that person should live within that world, but have to make sure that the dinosaur sounds should sound different than the dinosaur sounds of Jurassic Park.

But at least I wanted some of the larger theropod dinosaurs in the story such as the infamous T. Rex to stand-in for the dragons of myth, legend and lore. Just kidding!

5) THE MUSIC SCORE FOR DEXTER’S ODYSSEY SHOULD SOUND AS EPIC, CINEMATIC, AND ETHNIC AS POSSIBLE

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And I mean it.

The score for Dexter’s Odyssey should be this unusual and bizzare blend of epic and cinematic music, some bits of toon music (for Dexter’s Odyssey’s more comedic moments) and ethnic instrumental and ethnic vocal musical sounds from all around the world.

Sorta like the music for The Lion King, right?

6) NO FART OR EXCRETION JOKES!

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Since it is supposed to be an epic movie project, replete with raging epic battles, serious/controversial subject matter and all, you must leave the toilet humor to something else entirely.

7) HAVE A GREAT EPIC, CINEMATIC AND ETHNIC MUSICAL SENSE IN THE SCORE, AS LONG AS IT MUST HAVE APPROPRIATE MULTI-CULTURAL MUSICAL INFLUENCES AND MUSICAL CULTURAL ASSOCIATION

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Not every piece of music in Dexter’s Odyssey has to succumb to a bad hip hop tune. This isn’t a The Lonely Island sketch you’re producing. This is a live action/animated epic film project that contains a diverse network of cultures that are different than one another, despite being in an alternate world where toons, humans, and dinosaurs live, so be more appropriate and more subtle with the multi-cultural kinds of music you’re choosing—whether it’s from Europe, or from Africa or from the Far East.

8) ALLOW DEPTH IN THE CHARACTERS—HUMAN OR CARTOON; NO FLANDERIZATION NOR JUMPING THE SHARK 

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Let the characters have more colors to them than just pink or green or purple or blue or black or red. Subtlety is your friend.

9) POP-CULTURAL REFERENCES NEEDS CONTEXT, NOT RANDOMNESS

 

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Even if Dexter’s Odyssey is an epic film project with raging battles, sweeping camera movements, rousing rescues and intense close-ups, Do NOT put in pop-cultural references just for the sake of pop-cultural references. They need purpose other than selling out something.

10) USE FEW OR NO CELEBRITY VOICES FOR THE TOONS

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Seriously, I will not over-rely on using Hollywood celebrities for the voices of the toon characters in Dexter’s Odyssey, I mostly wanted Dexter’s Lab and Samurai Jack toon voices that should sound just like the originals but provided by actors who can go with the occasional comedy or drama.

11) THE LIVE ACTORS SHOULD CLEARLY INTERACT WITH THE HAND-DRAWN AND/OR CGI ANIMATION, ESTABLISH EYE LINES AND BE CONSISTENTLY INVOLVED WITH ACTION THAT ISN’T TAKING PLACE AT THE TIME OF LIVE ACTION FILMING

 

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These are the three conditions that Dexter’s Odyssey’s live actors—since they may especially be relative unknowns and non-professional no-names (some of them possibly from high school drama clubs and other youth programs) should follow under, but nonetheless I shall allow even those non-professional no name and relative unknown live actors to improvise their dialogue.

and finally,

12) DO NOT OVER-RELY ON CGI FOR ITS SPECIAL AND VISUAL EFFECTS AND/OR MOVIE-MAKING IN GENERAL

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I know debate is still raging over whether computer generated effects are better than those done practically or if you and I can truly beat the real thing, but Dexter’s Odyssey should provide room for all manner of special effects in the cinema. It should combine not only live action and traditional 2D hand drawn Genndy Tartakovsky-style animation but also cutting edge digital graphics, miniatures, animatronics, prosthetics and makeup and/or even plain old visual trickery. If it is magical, it should go in the movie, whether it shall spring from a hard-drive or from a 2D animator’s pencil, or shall take a team of dedicated artists months to create. Dexter’s Odyssey should be an equal opportunities live action/animation/special effects event.

Again, you and I don’t want to be too judgmental, but what do you think?

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Speaking of any upcoming home media release of the 1990s children’s cartoon series Dexter’s Laboratory, whether it’s on DVD, BluRay or any future format, what I was always proposing all the time is always this:

A) A definitive, first-class special edition home media release of Dexter’s Laboratory—something along the possible lines of a “Criterion Collection” for animation on home video—this time, on BluRay, and with dazzling high definition clarity (and quality) and the purest digital sound imaginable on the planet, as well as being done at the highest level.

B) Something that collects every single one in the whole, entire franchise of Dexter’s Laboratory (including the Ego Trip TV movie, Dexter’s Rude Removal (with censored and/or uncensored track(s)),  and even the infamous banned Dial M For Monkey segment known as “Barbequor”, and apart from my proposed dinosaur-infused Dexter’s Laboratory reboot and epic blockbuster movie project that is “Dexter’s Odyssey”) as well as preserving, restoring, and remastering  all the original pre-Ego Trip run plus Ego Trip in their original unaltered broadcast glory, as well as in 1080p HD and in excellent high quality and with maximum bit-rate encoding, as well as, in addition to the original 2.0 stereo broadcast audio mixes, all new 7.1 DTS-HD Master Audio remixes for the best and highest-quality A/V presentations imaginable.

C) Something that, even for an obscure 1990s kids cartoon that gained a small cult following, might also contain the most comprehensive collection of supplemental materials (and not to mention, materials not yet seen before) ever assembled (and by no means imaginable) for any film, any series of films, or any TV show, whether be they live action, animated, or a blend of both.

And

D) Something that might not only be aimed at fans of Dexter’s Lab and Classic Cartoon Network in general, but also the collector, and especially in ways that even previous home media releases of especially Cartoon Network’s more classical show (including that of Dexter’s Laboratory) never were.

While the last two seasons of Dexter’s Lab might well likely get 1080p HD transfer taken directly from the digital source, all of the original pre-Ego Trip Dexter’s Lab stuff plus Ego Trip itself might also undergo a massive restoration process in order for all that to be fit for a definitive, first-class high definition presentation on BluRay.

And in order to give all the pre-Ego Trip stuff in Dexter’s Lab and Ego Trip itself a very, very, VERY FRESH lick of paint in the very form of a massive, frame-by-frame digital restoration  that might even bring the colors back to life and in their original unaltered broadcast glory, all without even the side effects of, say, DVNR, reinsert the infamous banned Dial M For Monkey segment Barbequor right where it always should have been (at least in the fourth Season One half-hour, and right between Double Trouble and the very first Dexter’s Laboratory pilot episode known as “Changes”),  and even give the dialogue/voices, music and sound effects a whole new outstanding punch by way of remixed, outstanding and super-separated 7.1 DTS sound mixes that places you right in the middle of the hilarious chaos in a particular Dexter’s Lab episode and will have you convinced Dexter is yelling “Dee Dee! Get out of my laboratory!!” or something like that right from your living room, in addition to the original 2.0 stereo broadcast audio mixes, to say the least…

They will most likely have no choice but to go back to the original sources, and re-edit and reassemble all that pre-Ego Trip Dexter’s Lab stuff plus the Ego Trip movie itself together from scratch.

For example, each and every single one in the original pre-Ego Trip run of Dexter’s Lab (back when Genndy Tartakovsky was the show runner) and Ego Trip itself will have to be cleaned up and reassembled frame-by-frame from the original film elements all without even the side effects of DVNR, the dialogue/voice tracks as well as the music tracks had to be reinserted and a lot of the sound effects had to be completely redone to fit the show’s 7.1 DTS remixes, etc.

And this will mean a lot of time and a lot of money, probably more time and money than has ever been spent to bring something that is animated, used to air on TV during the obscure yet (to those who are children of the 90s at the time) simple and happy time before the 9/11 attacks in 2001, and have garnered a small cult following, to home video, had to be spent in order to make such a release happen.

But at least I wanted such a BluRay release of Dexter’s Lab to be among the best BluRay sets of all time (alongside even the Alien Anthology BluRay box set, to say the least), whether it’s for a movie, or whether it’s for a TV series, or whether it’s for a series of films, and whether they’re animated, live action, or a fusion of both.

Sorry it is a long post, but that’s what I’ve always proposed for any upcoming home media release of a cartoon like Dexter’s Laboratory all the time, whether it’s on DVD, BluRay, or any future format.

This may be an unusual mix of the 2012 movie Project X, the 1993 movie Jurassic Park, the upcoming Pixar movie The Good Dinosaur and the Dinotopia series of books, but imagine a time when dinosaurs and other fauna from the Triassic, Jurassic and Cretaceous eras never went extinct as a consequence of the life-changing asteroid completely missing the planet and are kept in an huge, elaborate ‘dinosaur zoo’ by humans.

Imagine a time when the power of social networking is doing an immense hold on our society, which means that the days of the entire school crashing your party have come and go, leaving the entire town, everyone on Facebook, Twitter, Tumblr, Craigslist or whatever kind of social networking, as well as the whole entire aformentioned dinosaur zoo that houses every prehistoric fauna that is Triassic, Jurassic, and Cretaceous by age, to do so.

Imagine some kid whose big empty house with anxious parents and a housing subdivision were built near one such dinosaur zoo or over a prehistoric world inhabited by prehistoric reptiles that may have been long gone from the earth for 65 million years or so is convinced by a friend, who happened to be a dinosaur zookeeper, that nothing bad may happen if he has a little party with a few selected dinos.

Imagine that, armed with a video camera, drink, drugs, girls, and a whole host of prehistoric Triassic, Jurassic and Cretaceous fauna and dinosaurs both herbivorous and carnivorous, they prepare for the party that will make them legends, in the housing subdivision area near the dinosaur zoo.

And Imagine that, predictably, things will get out hand, not just in a “random people or prehistoric beasts wandering in your dad’s study” kind of way, but in a far more destructive “car wrecked, neighborhood on fire, dinosaur stampede, struggle between predator and prey, etc.” kind of way, but luckily, despite the mix of drugs, alcohol, swimming pools, roof jumping and run-ins with dangerous prehistoric reptiles/dinosaurs, nobody may suffer so much as a sprained ankle or some other casuality.

And so, what would you think may best be avoided in such a party?

I love Dexter’s Laboratory and The Powerpuff Girls and Samurai Jack, for they are my three most favorite TV shows and cartoons of all time, as much as James Cameron’s 2009 3D Sci-Fi action film AVATAR is my most favorite movie of all time (mainly because out of all the recent movies that came out these days, James Cameron’s AVATAR has, even in 3-D, the most amazing visuals and prettiest colors imaginable).

Now, if I were a filmmaker, film director and even animation artist, I would love to pay homage to Genndy Tartakovsky, creator of Dexter’s Lab and Samurai Jack, especially in ways best suited to the US-based, Russian-born animation director’s talents.

In the case of my own projects, while it might use and share the same cartoon characters as Dexter’s Lab and/or Craig McCracken’s Powerpuff Girls, I would also be clear in my intention that my own big screen hand drawn animated epic feature film project, which may be called “The Princess of Shangara”, would be unrelated to the rest of any of those already-established cartoon franchises from the 1990’s.

Now, there had been talk of somebody doing a theatrical big screen live action movie based on any of my three favorite TV shows, Dexter’s Lab, Powerpuff Girls and/or Samurai Jack-but it would take me, if I were to be an animation artist and filmmaker and film director, to cast my unique vision of a three-part theatrical big screen hand drawn animated epic inspired not only by Dexter’s Lab, PPG and/or Samurai Jack, and especially characters from any of the former two shows but also by, among other sources, the tale of the legendary Ancient Chinese female warrior Mulan (besides Disney’s 1998 animated interpretation of that ancient Chinese legend).

In fact, in my interpretation of the Ancient Chinese legend and folk fable of Mulan, I should take the more nonmusical route than Disney’s Mulan.

In the case of my movie, “The Princess of Shangara”, there would not only be characters from Dexter’s Lab and/or PPG, but also some slight DNA from Genndy Tartakovsky’s work, especially on Dexter, PPG, and Samurai Jack. Fans of Dexter’s Lab, PPG, Samurai Jack and even Classic Cartoon Network may notice some things, especially during the funnier moments, and especially during the more action-packed moments and especially imagery inspired by those of  Genndy Tartakovsky, Craig McCracken, and other people who used to work on the likes of Samurai Jack, Powerpuff Girls and Dexter’s Laboratory and the like.

It won’t be like any other animated feature on the big screen, for I’m gonna use music, sound design, cinematic and epic storytelling and very stylized 2D and 3D backgrounds to create mood, atmosphere and real emotional depth (though done almost entirely in pantomime) as the three main characters travels.

I’m gonna set out to make my animated three-part epic, The Princess of Shangara, not only epic and cinematic in scope, scale or even length, but to also incorporate everything I wanted in a action film like this: action, humor, intricate artistry, and minimal dialogue, some of it in an invented language.

If I combine these elements with my unique visual style and enthralling storylines, I may bring the kind of high energy to the three movies which together would made up the single story of Princess of Shangara  and give audiences on the big screen something they had never experience before in live action or animated form on the big screen.

Even if The Princess of Shangara part I through part III should be made in Cinemascope widescreen, and even if the unique visuals of Princess of Shangara would contain lush, painterly 3D and 2D backgrounds and hand drawn cartoon characters drawn as solid colors without any thick black lines, I wanted The Princess of Shangara to be flat and highly stylized-a lot of lighting and mood-it would be a theatrical big screen hand drawn animated epic with very little dialogue (some of it in a invented language) and more about the action, simple stories and the three main characters.

The three main characters in The Princess of Shangara in my case would be Lilimaia (Dee Dee’s Asian Friend Lee Lee, as well as The Princess of Shangara of the title), Daphne (Dexter’s Sister Dee Dee) and Mikaela (Dee Dee’s African American friend Mee Mee).

And while simple, the concept and back-story of The Princess of Shangara would leave room for much layering:

Lilimaia (Lee Lee) is a proud and pure warrior maiden of few words who is as mighty, brave and noble as she is young, fair and beautiful, and who is prophesized to be the one to bring about the downfall of the evil Dark Lord Mandark.

Many ages before, Mandark is warned that a newborn Princess of Shangara bearing a special mark would grow up to dispose him. 6 months from the birth of just such a child, Lilimaia’s father, The King of Shangara, had sent her away to be raised by a Shangaran-born book merchant named Taikiroh, and to also study with her world’s foremost scholars as well as to be trained in martial arts and stuff.

Along the way, Lilimaia (who looks physically just like Dee Dee’s Asian friend Lee Lee) befriends two girls, Daphne (a blonde girl who is physically just like Dee Dee from Dexter’s Lab) and Mikaela (a black girl who is physically just like Dee Dee’s black friend Mee Mee), and in the course of the three girls’ travels, they encounters exotic and mythical civilizations, living dinosaurs and other living Mesozoic fauna that are Triassic, Jurassic and/or Cretaceous by age, fire-breathing dragons and half-lion, half eagle griffins, rugged, beautiful landscapes and primeval forests, and modern urban cityscapes with fantastic trappings.

Eventually, with the help of Mikaela, Daphne and Daphne’s estranged boy genius brother Odysseus (Dexter) who has a fully equipped secret lab beneath the mountains, Lilimaia fully understood that she must accept the responsibility of her destiny. And so, with her mind and body sharply honed, Lilimaia returns home a woman as mighty, brave and noble a warrior as she is young, fair and beautiful a maiden (sort of like the legendary Mulan), and ready to vanquish Mandark and his evil forces and end Mandark’s attempts of conquest and enslavement of her world as well as to end Mandark’s evil reign. And with the help of Lilimaia’s friends and Daphne’s brother, Lilimaia finally managed to defeat Mandark and assume the throne that is rightfully hers.

The Princess of Shangara is going to be epic, awesome, good, great, and even cool, just like if not even more so than Dexter’s Laboratory: Ego Trip and Samurai Jack, or would it?

I have an idea about a possible Blu-Ray release of Dexter’s Laboratory:

What if there shall hopefully and finally be a proper, excellent, definitive, extensive, exhaustive and complete special edition hi-def Blu-Ray boxed-set collection release sort of A-treatment for the Cartoon Network series, Dexter’s Laboratory, done at the highest level, with every single episode in the entire, complete series of Dexter’s Laboratory (including the Ego Trip TV special and hopefully the infamous banned Dial M for Monkey episode, Barbequor) presented and preserved in their original broadcast run form, unaltered and uncut, and with newly restored and remastered high-definition digital transfers and even DTS HD Master Audio or so, and even a whole lotta extensive supplemental extra features that go beyond the pale, including material not yet seen before, as well as aimed at and accessible to Dexter’s Laboratory fans and the collector, not only in a way equal to that of the excellent treatment that The Powerpuff Girls got on home video and DVD, but also in a way that previous home video releases of older Cartoon Network shows (including that of the first season of Dexter’s Lab as part of Cartoon Network’s Hall Of Fame Region One DVD lineup) never were, and certainly so much better than what Cartoon Network and Time Warner managed to put out on Region One DVD and on iTunes?

And what if ‘The Art of Dexter’s Laboratory’, as such a release should be called, is going to be the best, definitive release of an older, classic Cartoon Network show on home video and the best way to view an older, classic Cartoon Network show on home video and even on hi-def Blu Ray Disc?

Just an idea.

Imagine that I’m gonna make a dinosaur movie of my own.

Imagine that such a dinosaur movie should be made possible, but mainly by my extensive or comprehensive research on and study and knowledge of these magnificent, often terrifying prehistoric creatures long gone from the earth, even though I may not be a true paleontologist myself.

Imagine that if I believe that nobody have ever made a truly great dramatic dinosaur movie, apart from the Jurassic Park movies and the original 1933 King Kong from RKO, what if I may plan to change that with a dramatic live action/animation hybrid epic filmed entirely on real 15/70mm IMAX motion picture film  (which will hopefully be one of, if not, the first major Hollywood full-length feature film project ever to filmed on real 15/70mm IMAX cameras, exlcuding Hollywood movies shot partially in the IMAX format, such as Christopher Nolan’s The Dark Knight), and one which should tell the entire story of the entire age of the dinosaurs, but with no words, no dialogue, and no narration voiceovers, other than music and the earth-shaking roars of the dinosaurs? And what if it should feature every known dinosaur and non-dinosaur species from the Triassic, Jurassic and Cretaceous periods of the Mesozoic era, and should span the entire planet during those geologic time intervals and especially land, air, and sea? 

Well, I think of the dinosaurs as the most interesting animal group ever to walk the earth, even though they were long extinct for 65 or so million years. I call The Age of Dinosaurs, aka the Mesozoic era, “an epic poem of natural history”. I think of the reign of Tyrannosaurus Rex, or T. Rex for short, as “one of the great reigns of terror of all time”, even though Tyrannosaurus Rex may have hunt or scavenge or both, just for survival, or something. and I said that the dinosaurs are one of those remarkable creatures who move the history of our planet (and not just the history of mankind) and mold the destiny of the times and generations to come for every living thing on this planet, especially in general.

Imagine that if I finally got around making that dinosaur movie of mine, I shall sent many a person, maybe an assistant, ’round the entire planet, even getting him or her to help replicate everything known to be in the dinosaur era, especially environments looking like those during the Mesozoic era, so that I could match them on the big IMAX screen. Like, “Wherever a dinosaur went, I want you to go,” I will say.

Well, I’ve read lots of dinosaur books since I was little, and maybe before I can do my dinosaur movie or something, I shall read more dinosaur books and scientific documents or something, maybe breaking down the info on dinosaurs into categories on everything from the food tastes of many species of dinosaurs to the weather on the specific year during the dinosaur era.

Imagine that I may gather lots and lots of location scouting photos and lots and lots of slides of dinosaur imagery, past and present!

And what if I may utilize real 15/70mm IMAX motion picture film (for even the live action aspects), along with special effects imagery, and the most beautifully animated, photorealistic CG dinosaurs ever achieved for a movie apart from those of the Jurassic Park franchise, for my dinosaur movie project, all without words, and with no dialogue and no narration voiceovers?  

And I repeat, what if I shoot the entire dinosaur movie project of mine on 70mm IMAX film cameras, just like Chris Nolan with some scenes in his Dark Knight movie from 2008?

What if  I shall go to great and sometimes extreme lengths to get almost everything right for my dinosaur movie project, save for some nods to dramatic effect, and what if my dinosaur movie should strive to recreate prehistoric life during the entire dinosaur era  as accurately as possible, paying close attention to everything from how they ate, live and die, to one of the most speculative and challenging aspect of my dinosaur movie project and especially dinosaur science, the look and sounds of the dinosaurs themselves (I should hire somebody like Richard King, the guy behind the sound design for The Dark Knight and Inception and Master and Commander: The Far Side of the World, or someone else, to do the sound and especially the dinosaur vocalizations)?

What if my dinosaur movie project, which should be called…

Timothy Robert McKenzie’s DINOSAUR

or, DINOSAUR (not the 2000 Disney CGI film of the same title), for simply short, should be hailed as one of the best, greatest, and most influential dinosaur movies ever made alongside Jurassic Park and King Kong ?

What if every single bit on info pertaining to the making of my dinosaur movie project  should someday be published in the form of a book called…

TIMOTHY MCKENZIE’S DINOSAUR: ONE OF THE GREATEST DINOSAUR MOVIES SINCE JURASSIC PARK

And what if such a book on my dinosaur movie project should be multiple books in one enormous carved out fake book or something, with all the location scouting photos, all the dinosaur research pictures and artwork,  conceptual artwork, correspondence from dinosaur experts, and everything else on the making of Timothy Robert McKenzie’s Dinosaur  included, and especially audio/visual (i.e. film/video) materials, like this?

Even so, and even if you pay to go see a dinosaur movie like mine or something else, what’s your word?