#ape escape million monkeys

[koppashiren]

Happy Birthday Jeremy Jordan the voice actor of Otto (オットー) and also I inserted Lab Rat (ラボネズ) and Otto (オットー) in this Japanese exclusive PS2 game called Ape Escape Million Monkeys (サルゲッチュ! ミリオンモンキーズ)

[awsmdog-blog]

Soichi Terada - Ape Escape: Million Monkeys - Stadium

[adollt]

we need to go back, back to the past to save the future. god I miss low poly

[pipmcmayhem]

I’m hyperfixated on Ape Escape so here’s some plushies I made (my Comms are also open FOR REAL this time)

The Pipotron trio have always been my favorite, particularly Blue. I made all 3 bc I couldn’t resist lol

These gorls are my OCs, Marine and Proto(type). In the fanfic I’m writing tho she’s referred to as Green by some but Proto by most.

And finally, everyone’s favorite albino boi, Specter. I used his Million Monkeys design bc that one is my favorite.

Also, bonus— my brother paid me to revive one of my ancient childhood OCs in the form of a plush. I’d rather have forgotten Pipotron Orange existed, but $70 is $70 😂

[legitimatesatanspawn]

Random question to tumblr:

Ever play/heard of Ape Escape? Or Magic Pengel / Graffiti Kingdom? A friend claims Ape Escape is too obscure and I swear I've only seen like one other person even aware of Pengel OR Graffiti Kingdom (but never BOTH).

No I'm not going to be more specific with Ape Escape games in general, ANY of them will count (1, 2, 3, the dead 4, 1 PSP port, Ape Quest, Million Monkeys, Ape Academy, the party game...).

Also playing includes ANY amount of play not necessarily to completion.

[world-cinema-research]

"King Kong" (1976) Blog Essay 

By: Dayanara Ramos  

The 1976 remake of "King Kong" is not exactly a regurgitation of the 1933 film with the monster included, but rather a process of cinematic development like the socioeconomic anxieties of the time mirrored in the story. Instead of being a visual copy of the 1933 film, it is visually surreal in that it revisits the visual style of the 1976 version directed by John Guillermin and produced by Dino De Laurentiis and is a more adventure-like version of the original story. Nevertheless, it utterly makes that by taking the frame of early 1970's USA, exchanging the movie crew. The interconnection of present-day economic issues into the plot is also achieved in a subtle and skillful manner. The film "King Kong" (1976) was released in theatres by Paramount Pictures, and it premiered on December 17, 1976. Acting as a $24-m budget film, the picturesque landscapes and incredible mechanical Kong were supposed to be the attractive features of the events and impress the audiences of the 1970s. The plot is centered on the oil crew of Fred Wilson (Charles Grodin) who by some way meets the mighty monkey King Kong on the island where they fortunately landed on to conduct the expedition. They resolve to bring the primate to New York in an ambitious enterprise that will get them millions of dollars and wealth. Even though the movie is about the relationship between Kong and Dwan (played by Jessica Lange) in her first role after the shipwreck will be saved from it. A beautiful lady and a monstrous creature are seen in an unedited gameplay. This is the manifestation of romantic which is a tragedy.  With a ravenous audience at the end of 1976, it received quite a mixture of reviews, but nevertheless managed to provide one of the most engaging and breath-taking experiences with box office growth of $90 million worldwide. The famous critics such as Roger Ebert gave it a rating of three out of four stars, cutting off its extraordinary special effects and a more serious and less captivating approach compared to the original. However, some of the dialogues and the pacing of the film were pointed out as shortcomings in the film's making. On the other hand, the performance of Kong (guided by Rick Baker, who designed a suit for ape) garnered kudos from spectators because it functioned to evoke sympathy. This is a significant break from the more monstrous representation used in the previous versions of Beauty and the Beast as suggested by John Kenneth.  

  The 1970s were a flashing sign of the economic turmoil that culminated with the oil crisis of 1973. The historic context is the key factor that allows one to understand the essence of the given filmmaking; it is introducing the oil exploration as a parallel to the film period greed and self-defeating rapture over the resources. The transition in the plot reflects the environmental and ethical problems of the time, presenting Kong as a victim of corporate exploitation instead of just a movie star.  

The "King Kong" film adaptation of 1976 which is different from the original 1933 version in the fact that the film's cinematography is in full color; this makes the escapism of Skull Island more intense and makes the grandeur of the 70s New York more than ever so palpable.  

The movie makes use of a romantic and soft approach in Dwan and Kong scenes whose visuals represent this manner immensely. These scenes are obtained with a dreamy effect that shows their developing but finally doomed relationship. The primitiveness of the visual effects, which should be attributed to the period it was produced, was nevertheless ground-breaking in its field, especially on account of the special effects incorporating a life-size model of Kong in some scenes, which provided a tangible yet unwieldy authenticity to the sequences that depicted the monster's interactions. 

"Kong" (1976) keeps mostly to the plot (read 'motion picture' template) of this type of movie, along with a rare theme of coercion and liberation. Nevertheless, it adds a new aspect by showing how the emotional and moral impact of Kong's capture is more important than the physical aspects. In the film, the screenplay gives Kong another plotline that is emotional and sorrowful, especially in this final moment as he is atop WTC instead of the Empire State Building. It expresses the modern outlook and the creative styling of the metropolitan New York skyline.  

  In the end, "King Kong" (1976) is a movie that holds a special place in the history of cinema of the 1970s.  It is closely related to the cinematic legacy of the 1970s and the social and economic stories of that era. The movie tries to blend magic, the unknown, tragedy, and evolutionary issues by making significant advances around special effects while exploring the sphere of moral congruence profoundly and creatively. With the power to enchant us as the 1933 original does, it is still calm stories of humankind's cruel domination of nature and such a tragic price we pay. 

[kichimiangra]

I know the Ape Escape Move characters aren’t in your Ape Escape Au but how do think they’ed get along with your version of main Ape Escape cast? Especially how the two different Specters would get along? (Move Specter came off as kinda chill with a kinda soft vibe at the end of his game so it be neat to see how he plays of your more serious with an edgy vibe Specter.)

In complete fairness I'm not sure? I jokingly say that Ape Escape games only have a teaspoon of story to them and I have to make a bunch of shit up to fill in the gaps for my AU, but at least the main series games went on long enough to have like 5 teaspoons of story to pull from (7 if you count the Pumped and Primed and Million Monkeys split, 8 if you want to borrow elements from the anime, etc.) and the characters, though only having a teaspoon of characterization themselves they have kinda big cartoony personalities that you can grab onto. The Ape Escape Move universe has one single game that even it's own teaspoon of story and characterization feel lacking to get a good feel for all the characters :(

We do see early on the two granddaughters are mischievous because of the look they give each other when they convince the protag to help them, giving them an almost manipulative vibe but other than that they don't have much. Grandma and Specter probably had the most personality yet the least screen time. Maybe its just grandma's voice but she has a kind but no nonsense vibe I guess?

The two Specters interacting would be fun to think about but the only thing I can come up with is AEM's Specter just being like "... Wow you're really high strung.... you should take a nap or something?" Because we only get like 3 cutscenes with AEM's Specter and I don't know if I missed something but I have no clue what his motus operandi is ?? They bop him on the head and bring him back to earth and he and grandma are like "Hey? Sup?" and then go home like nothing happened? What is even going on in this game I swear I missed something? ------ Unrelated I love any scene where Specter is getting cradled in human arms he so smol so one good thing I guess?

------

Off topic: WHY DID THEY MAKE THE PROTAG SILENT BUT HE HAS TEXT DIALOGUE IN THE CUTSCENES?! WAS IT TO MAKE IT EASIER FOR THE PLAYER TO PROJECT THEMSELVES ON HIM? BECAUSE I'M NOT A BLUE HAIRED MAN WITH A JELLYBEAN FACE AND DUMPY PANTS SO WHAT WAS THE POINT JUST LET HIM BE A CHARACTER WITH A FACE AND SPOKEN DIALOGUE????

[criticalbennifer]

Film Within a Film

“Argo” and “Sinister.”

By Anthony Lane

October 8, 2012

The new Ben Affleck movie, “Argo,” begins in November, 1979, with the storming of the American Embassy in Tehran. A crowd breaks into the compound, taking more than fifty Americans hostage. Six escape through the back of the building and take refuge in the residence of the Canadian Ambassador. How can they be spirited out of the country, or, as the jargon puts it, exfiltrated? Back in Washington, the task falls to a C.I.A. staffer named Tony Mendez (played by Affleck), from the Office of Technical Services. Various plans have been mooted, the most credible being that the hostages could make it to the border, hundreds of miles away, on bikes. Mendez, however, has an even better idea. Well, not a better one, but a more ridiculous one: how about making a movie?

Enter John Chambers (John Goodman), a prosthetics guru whose work on simian features, for “Planet of the Apes,” earned him an Academy Award, in 1969, and whose talents the Agency has called on in the past. Mendez goes to Hollywood and asks Chambers to devise a nonexistent film: find a script that requires a Middle Eastern setting, and build up a simulacrum of a genuine production. Posters, storyboards, costumes, read-throughs, buzz in the trade papers: everything will help. Mendez, posing as an associate producer, will fly to Iran, issue false identities to the six Americans, claim that they are scouting locations for a Canadian science-fiction movie, and then fly them out.

Four things should be said about this pipe dream. One, it went ahead; two, it worked; three, it wasn’t declassified until 1997; and four, it makes for a good movie, and further proof that we were wrong about Ben Affleck. Few of us, watching “Armageddon” and “Pearl Harbor,” could see a way out, or back, for an actor so utterly at the mercy of his own jawline. Did he flinch at a future composed of all-American strivers, each more earnest than the last, or had he always been nipped by the directing bug? Whatever the case, Affleck was suddenly there with “Gone Baby Gone” (2007), which was more roughened by energies and doubts than all his performances combined. He took the precaution of recruiting actors more formidable than himself—Morgan Freeman and Ed Harris—to boost his endeavors, and that habit remains. “Argo” has Victor Garber as the Canadian Ambassador, Bryan Cranston as Mendez’s superior, and, most enjoyable of all, Alan Arkin as Lester Siegel, a producer so scornfully amused by Mendez’s request that he has no option but to obey it. He does have one proviso. “If I’m doing a fake movie, it’s going to be a fake hit,” he says.

The fake they decide upon is entitled “Argo,” made by a bogus company called Studio Six, and lovingly described by Chambers as “a twenty-million-dollar ‘Star Wars’ ripoff.” I can’t be the only person who ardently wishes that he and Siegel had gone ahead and shot it. Affleck has a lot of fun, perhaps an ounce too much, with the daftness of the film industry; when Mendez, thinking ahead to the hostages’ cover stories, asks whether you can be taught to direct movies in a day, Chambers replies, “You can teach a rhesus monkey to be a director in a day.” No one is more skilled than Goodman, with his faintly bullying geniality, at dishing up lines like that, but must we buy his character’s implication that Hollywood is just another planet of the apes? Is it good for mendacity, and nothing else?

This matters because “Argo” is, in part, a battle of the textures. When it comes to period detail, Affleck seems to take his cue from Mendez, who worked for the Graphics and Authentication Division of the O.T.S.; just look at the typography of the opening credits, with its bulbous seventies curves. Affleck’s beard and hair style suggest someone who moonlighted from the intelligence services to pose for “The Joy of Sex,” and, as you study the fashions of the era, you have to ask whether the Ayatollah’s fury was provoked by U.S. support for the Shah or, more simply, by the width of Western shirt collars. Everything about the Tehran sequences, in fact, is a rebuke to style. The camera work is anxious and twitching, with a grainy surface to match. Here, we gather, is the real thing: life hemming us in, like a mob.

Then comes the climax. If you visit the C.I.A. Web site, you can read Mendez’s account of events in January, 1980. “As smooth as silk,” he calls the hostages’ passage through the airport, whereas Affleck, chopping up the action and spinning it out, insures that no nails remain unchewed. This is absolutely his right as a teller of tales, and “Argo” never claims to be a documentary. It struck me as a bit rich, however, to make such sport of Hollywood deceitfulness and then to round off your movie with an expert helping of white lies, piling on car chases that never occurred. As for the aftermath, it goes on forever. We get hurrahs for Canadian-American relations; a shot of Mendez hugging his wife, from whom he has been estranged, with the Stars and Stripes fluttering behind; images of the actual hostages, presumably for any skeptics who still find the film implausible; and, finally, a voice-over from Jimmy Carter, lauding the efforts of those involved. All this is, frankly, uncool—a pity, because the rest of “Argo” feels clever, taut, and restrained. Why not close with the perfect coda that Mendez himself supplied? “By the time Studio Six folded several weeks after the rescue, we had received twenty-six scripts,” he wrote. “One was from Steven Spielberg.”

At the start of “Sinister,” Ellison (Ethan Hawke) and his family arrive at their new house. “I had to move here. The new story I’m writing is here,” he explains. Hang on, is he proposing this as a basic principle of literary composition? If so, C. S. Lewis must have really stacked up the air miles on the red-eye from North Oxford to Narnia. Ellison’s excuse is that he writes true crime—that shapeless and often shameless genre which is to good crime fiction what pornography is to romance. His latest project—“This could be my ‘In Cold Blood,’ ” he says—concerns a family that was hanged from a tree outside the very house where Ellison now dwells, although somehow he has failed to inform his wife, Tracy (Juliet Rylance), of this cheerful fact. Up in the attic, he stumbles on a clue: a boxful of old Super-8 films, plus, helpfully, a projector on which to show them. Switching it on, he finds himself watching scenes not just of the hanging but of other multiple murders from the past. Who made the film? Or, rather, who made the film?, as Ellison writes on his notepad. The director of “Sinister” is Scott Derrickson, who co-wrote the script with C. Robert Cargill, and we can but pray that they move on to a new bio-pic of Melville. Imagine his questions: one leg only? and why a whale?

The insertion of found footage into horror flicks is now so common as to be almost compulsory, like the use of vomiting in mainstream comedies. What a golden age we inhabit. Ellison, peering at the clips, spies a masked figure known as Mr. Boogie; though that sounds like a bad compilation album from 1975, it refers to a mythological thief of souls, thus plunging the film into the lair of the unnatural. Nothing wrong with that—irrational terrors beset another writer, and his long-suffering family, in “The Shining.” But Kubrick had the common sense to keep the lights on in the Overlook Hotel, and the wit to infuse a simple, carpeted corridor with unease, whereas Derrickson is playing with loaded dice. How can you hope, or presume, to crank up our dread of the inhuman when, from the start, you refuse to play by regular human rules? Throughout “Sinister,” the rooms remain darker than crypts, whether at breakfast or dinnertime, and the sound design causes everything in the house to moan and groan in consort with the hero’s worrisome quest. I still can’t decide what creaks the most: the floors, the doors, the walls, the dialogue, the acting, or the fatal boughs outside.

None of this is fair to Ethan Hawke. From “Dead Poets Society” to “Reality Bites” and “Before Sunrise” to his modern-day “Hamlet,” where he soliloquized on a video display, Hawke was the standard-bearer of the adolescent temper, as it wrestled its way into adulthood. The gauntness, the waves of intensity, the smarting humor: they all made sense, as if his duty, wherever he trod, were to spread a little Hamletry. As Ellison, he looks unhappy and lost, not because some smirking demon wants to joint him like a chicken and drag him to Hell, which can happen to anyone in this kind of film, but because the prison of middle age, dank with fatherhood and money troubles, is no place for a prince, or for a kid who once dreamed of living like one. “Sinister” is a joyless ride, and its frights are too contrived to be surprising, yet somewhere, stashed in the attic, is a much less foolish film with Hawke at its heart. The only problem is, who will make the film?

[skullytrickybonez]

Color: Pink

Food: Pizza,Strawberry Mochi,Strawberry Donut's, Strawberry Shortcake And Strawberry Ice Cream

Beverage: Strawberry Flavored Fanta And Strawberry Flavored Ramune

Movie: Puella Magi Madoka Magica The Movie III Rebellion,Tinker Bell Movie's, Disney's Tangeld,Sailor Moon Eternal And Sailor Moon Cosmos,Cinnamoroll The Movie and Disney's The Little Mermaid (1989)

Tv Show: Precure Franchise,Onegai My Melody,Tokyo Mew Mew,Saru Get You On Air And Saru Get You On Air 2nd,Creamy Mami,Cardcaptor Sakura,Ojamajo Doremi,Princess Tutu,My Little Pony Friendship Is Magic,Hello Kitty Super Cute Adventures,My Little Pony G3,Mermaid Melody,Sailor Moon (1992),Winx Club,Strawberry Shortcake (2003) and Bratz The Animated Series

Video Game: Ape Escape 3,Pokemon Series,Saru Get You SaruSaru Daisakusen,Hatsune Miku Project Mirai DX,Mario Kart Game's, No Straight Roads,Saru Get You Million Monkeys,Nintendogs,Ape Escape (PS1),Kirby Game's,Mario Party Game's,Super Princess Peach,Super Mario Wonder,Super Mario Galaxy 2,Super Monkey Ball Game's,Puyo Puyo Game's,The Legendary Starfy,Princess Peach's Showtime and Super Mario Galaxy

Book: Sailor Moon Manga,Puella Magi Madoka Magica Manga,Mermaid Melody Pichi Pichi Pitch Manga,Fluffy Fluffy Cinnamoroll,Creamy Mami Manga, Codename:Sailor V,Princess Tutu Manga,Pokemon Adventures Manga and Happy Happy Clover

Animal: Cat's,Bunnies,Rabbit's,Chicken's,Horse's,Dog's and Ferrets

Singer: Melanie Martinez,Taylor Swift,Billie Eilish,The AquaBats,Katy Perry,Kero Kero Bonito,Mother Mother,Bo En,Marina And The Diamond's And Jack Stauber

Song: The Void By Melanie Martinez

Time of Day: Afternoon And Sunset

Song Lyric: I gotta escape the void, there is no other choice, yeah

Tryna turn off the voices, the void ate me

Look at the mess I've done, there is nowhere to run, yeah

Holdin' a loaded gun, the void

Like a priest behind confession walls, I judge myself

Kneelin' on a metal grater

Bloody, like a body that has died, and it's myself

Tangled in my own intestines

I gotta escape the void, there is no other choice, yeah

Gotta escape the void - The Void By Melanie Martinez

Emoji: 🌸/💗/💖

Tags: @cozywonderheart , @chaoticedward , @gloomingstar and many more!

reblog with your favorite:

color: purple

food: french fries

beverage: dr pepper

movie: the parent trap

tv show: percy jackson and the olympians

book: neverseen (fight me on this🦅🦅💥💥)

animal: sloth

singer: toss up between taylor olivia maisie gracie and sabrina

song (atm): good luck, babe!

time of day: midnight

song lyric: address the letters to the holes in my butterfly wings, nothing’s forever, nothing’s as good as it seems

emoji: 🧐(im not kidding)

[n00dl3gal]

Introducing... my first voice role! You can hear me as Helga in Flip D Switch’s fandub of Ape Escape: Million Monkeys!

[adollt]

getting into playing SARU GET YOU - Million Monkeys and damn is this intro a blast to the past, not even a rip on youtube to share so IG Ill have to upload it lol. wish it was translated though.

[saru-003]

[trailerparkk]

Saru Getchu: Million Monkey - Promotional Art (Respost from the sarugearchive twitter account)

[kichimiangra]

Can you tell us more about the Viper's Nest Group in the Nannerverse?

Out of universe; Viper's Nest was made because I realized I wanted to raise some of the stakes to push the two dunderheads (Spike and Specter) together. I was having trouble really planning how to get them to move forward in the relationship so i went to the fanfiction reddit to ask other fanfic writers what would be a satisfying way to get the idiots macking on each other given the Foe-Yay, kidnapping, enemies to lovers, and species difference issues. just something to push them into the relationship.

The Favored advice was Alcohol, which was a kinda fun rabbit hole to research if Specter could drink that without dying or it poisoning him or something (Funfact: Yes he can and Chimpanzees are actually known to make their own wine from fermented fruit and palm sap!)(Also is what birthed the drunken wino Specter drawing

So Nannersverse canon: Specter has a collection of those Wine drinker paraphernalia that middle aged women own)

And Adrenaline/Stake raising.

Now I'm totally not against a scenario where the two get shitfaced drunk and make some questionable decisions involving questionable words and body parts touching but for a story that is supposed to be a bit more emotional it felt like a cop-out to just have them get drunk so it was onto the second option!

And that bought a new challenge in the form of "How do you raise the stakes in this scenario? Without bringing in elements of the Pumped and Primed/Million Monkeys branch of the timeline (which I didn't want to do) Specter is literally the biggest threat in the story and he's half of this ship and it's important to the plot that the other protagonists don't encounter Spike as early as this would take place? So what outside source can pose enough of a threat to both of them and make them smooch within the confines of the games I selected for this AU?

So I Made up the group Viper's Nest.

In universe Viper's Nest borrows from the Mesal Gear Solid minigame of Ape Escape 3. The mini game itself is just that; a game within the Ape Escape Universe, probably designed by the professor himself as we know from Piposaru 2001 that he seems to like designing levels and environments for the Piposaru to play in in the virtual world (And was so disappointed when he learned Specter no-clipped into the final SUPER HARD LEVEL that even the Prof can't beat... and Specter Speedran that shit and took over) maybe as a give away or promotion for the Monkey Park. This would have gotten him reprimanded by his old friend Roy Cambell as the two know eachother and elements of the game were borrowed from the Professor's time working with Foxhound, who partially funded Project Specter.

After Project Specter was shut down due to lack of viable results (Specter was too expensive to reproduce in a lab and the Prof got attached and hid his developing pk abilities from the investors to avoid weaponizing him specifically) the Professor focused more into the Peak Point Helmet project (Of which Specter was also not a good candidate for because the helmet fucked him up with the brain chemistry and Pipotchi wasn't born yet). Version 2 of the helmet allowed for the programming of specific traits and abilities, mostly just copy pasting an existing person's data, and imposing it onto the ape wearing it. It was handed over to Foxhound and thus Pipo Snake was born and between the monkey park repossessing Specter, and Foxhound taking claim of the V2 helmet both investors were happy-ish and the Prof could fund his pet project time machine. No more V2 headsets were manufactured though as after the initial test run it was decided to be inhumane as it had a greater chance of just frying the host ape's frontal lobe after a period of time, making Pipo Snake the only survivor of the test group and a terrifying concept to any of the Piposaru and a conceptual boogeyman to Specter and Pipotchi.

Pipo Snake was kept and trained until he was a bit older (He and Specter are around the same age) and deployed on smaller stealth missions for a period of time, before Ape Escape 1 happened (and as far as the public and foxhound knows) Specter broke out of the park, released the other apes, took over the city, and converted the castle in the park into an airship. Needless to say the Professor had some explaining to do, but managed to call off Foxhound under the explanation that a kid with toys designed for amusement park entertainment was able to stop him so it's no big deal and as long as he doesn't get a helmet he's just a cool little monkey. Foxhound lets it go, for now, but by AE2 Specter starts causing trouble agian and although it's mostly property damage over anything else once again thwarted by kids with toys, Foxhound sets up a contingency plan for Specter in the form of Viper's Nest, headed by Piposnake.

Viper's Nest has a smaller handful of members with different jobs but the two most prominent are Piposnake and his 'handler' (I.E. the guy who on the outside looks like he'd the big boss but he's mostly just in charge of translating for Piposnake's Ukki's/sign language and buying him cigarettes). Six months before "Red Light; Blue light" begins Specter is hunting down an old prototype Pipo Helmet, hoping to find it back at the currently abandoned lap where Tomoki's accident took place, figuring that one of the serial model prototypes might still be there as a lot of stuff was left behind to get Tomoki medical attention and the Professor is quite forgetful. It WAS there and Blue was sent as the gofer to retrieve it, but never came back as tabs were kept on the location and Viper's Nest intercepted and nabbed Blue. Losing contact, Specter nabs up the rest of the Freaky Monkey Five as escorts and goes to get the helmet and figure out what happened to Blue, where Viper's nest was waiting to ambush resulting in the capture of the Freaky Monkey Five. Red manages to get Specter to safety but goes back for the others and Specter is ported back to the Saru Station setting up the events of Red Light;Blue Light while Viper's Nest waits for Specter to make a notable move again with the intention of using their Pipohelmet negating tranq dart on him for capture. Which he does to rescue Yellow and Blue who were left openly in a zoo for baiting out the albino ape.

Unfortunately outside of what they do for the story I don't have a lot of specifics down for the Viper's Nest and PipoSnake as I have never actually played a Metal Gear Solid game in my life and would have to do some research. the saving grace being that PipoSnake only speaks in Ukki so I don't have to focus on too much dialogue with him...

[sweetness-pop]

Why is he so happy?!😂💕

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