I could watch this multiple times just to find out what else I can find in the dense collection of visuals here. It’s helped by the squishy sound effects and discordant music, which sometimes plays in reverse to accentuate the hellscape.īut it’s also so incredibly fascinating to see it unfold, with so much imagination up on that screen and so much to interpret from every new scene. A man is torn apart, and some kind of demon baby is crushed, and there are plenty of other grimy, sickening locations, creatures and events that come together into a very distressing 80 minutes. Slave creatures constantly being churned out by the machine, manufactured from what appears to be the insides of giants being electrocuted literally defecating from the torture, frequently are violently killed by other creatures or machines. It’s horrifying, disgusting, and absolutely nightmarish.
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I adore the art form and I hope it gets more of a resurgence soon (although I recognize the titanic amount of work that goes into it).Īlso…are we sure Phil is doing all right? This movie is bleak. Not that I’d ever be able to do it myself, but I’ve got a basic understanding of how stop-motion works and the way Tippet animates these things and incorporates so many tiny details and even camera movements is absolutely astonishing. The film is an incredible achievement in stop-motion animation, with intricately designed models fluidly and beautifully animated in complex settings. Not that we need any more convincing, but Mad God is further proof that Tippet is one of the best in the business. And things just generally don’t go very well for him. The basic gist is a man called The Assassin is sent down to hell in a diving bell with a bomb to destroy it all. It’s all storytelling through imagery, with a heavy focus on hell and war and death. There’s not really much of a traditional narrative structure, as the film is almost completely devoid of any dialogue whatsoever. After three decades of waiting, Mad God is finally here, and what a treat it is.
Hawk Ripjaw: Phil Tippet, legendary creature designer and animator for Star Wars, Robocop, Jurassic Park, and many more, has finally, finally released the magnum opus he’d almost abandoned.
This week, Hawk recommends Phil Tippet’s long-awaited Mad God, Caemeron’s been listening to Fugazi on repeat, and Paul thinks you might enjoy The Card Counter. Each week we bring you recommendations of things to watch, listen to, play, read, or otherwise consume with your sensory apparatus.
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