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  • Stranger Things Season 5 Already Has an Eddie Munson Problem

    Stranger Things Season 5 Already Has an Eddie Munson Problem

    With only a month to go until Stranger Things officially launches on Netflix, anticipation is growing for enthusiasts who are hoping for a wild and action-packed finish to the collection. They’re hoping it will happen because so many people have teased the show. An]… ]

    On Den of Geek, the initial postSorry, Season 5 of Stranger Things Now Has an Eddie Munson Issue.

    When Brad Silberling’s major film adaptation of the well-known Harvey Comics figure Casper started appearing in theaters in 1995, it wasn’t just another entertaining ghost story for families. Casper has been a standard Halloween fixture ever since its audience was so impressed with its humor, soul, and meta surprises that it quickly became a hit.

    Casper is still a beloved film for 90s kids everywhere, and if you’re feeling shivering, we’ve got 13 unforgettable facts about his that ( hopefully ) won’t bother you.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    1. Casper was a pioneer in CGI.

    Our friendly spirit was the first wholly Script guide in a feature film, despite the fact that great CGI characters are now a dime a dozen. The Industrial Light &amp, Magic staff worked for a long time to ensure Casper started working onscreen first, before moving on to a more complex post-production video process that lasted more than a year.

    2. The day was saved by an Amiga set-up.

    Casper ultimately relied on a reliable Amiga to provide its guide to life because it was essentially the only computer with picture in and out slots at the time. This proved to be a required component in revealing what the cast and crew of ol ‘ Cas would actually look like. The film’s video producer Phil Nibbelink oversaw its groundbreaking “live” 2D animatics approach, which required a fast turnaround. I was drawing while using a standard Wacom product connected to the Amiga, he told Beforesandafters. By the time [the put ] had finished the run-through, I would have all the Caspers drawn correctly. &#8221,

    3. You might have revisited the Casper residence in a unique setting.

    After Casper&#8216’s release, the shadowy shenanigans continued for a few years. When the Backstreet Boys filmed their music video for &#8220, Everybody ( Backstreet&#8217, s Back ) &#8221, there, the Whipstaff Manor set reappeared on the small screen in a strange way. You might recognize that they inquired about whether they were having sex. &#8220, Yeahhhh, &#8221, you answered in your head just then. That&#8217, s the power of Whipstaff, girl!

    4. Devon Sawa and Christina Ricci had romantic relationships twice in a single time.

    At the end of the film, Devon Sawa made a brief appearance as the animal version of Casper, but he still left a lasting impact on viewers. He was also given the opportunity to enjoy a like fascination for actress Christina Ricci for the first time in 1995. In the coming-of-age film Now and Then, the two had once more look up on display.

    5. It started the crossing scene scene in movies.

    In Casper, Dan Aykroyd makes a cameo as himself, like Mel Gibson, Clint Eastwood, and Rodney Dangerfield, but Ray Stantz, the voice of his Ghostbusters figure, makes a cameo. It was one of the second major movie collaborations at the time, and it helped to spread some of the concepts. Although the majority of these collaborations have been appreciated in the centuries since, some are unquestionably more &#8220, can you not? &#8221, end of things. Your fuel might change.

    6. Its creator J. J. Abrams had a finger in making it.

    Although it’s difficult to imagine the video without Devon Sawa genuinely incarnating Casper, the film didn’t start off that way. The ending was revised to include that time with the addition of J. J. Abrams. Sawa revealed again in 2018, and the end was approved and a global casting call was launched. I sent a VHS tape to the casting directors and a week later confirmed the position of Casper. I&#8217, d been working actually since. Thank you JJ. &#8221,

    7. It almost had The Crow’s producer in it.

    Casper was initially a relationship for which The Crow and Dark City producer Alex Proyas had an ulterior motive, but he broke up once he realized it wasn’t for him. &#8220, I loved the idea of doing a girl’s story, &#8221, he recalled. The Wizard of Oz is one of my all-time favorite movies, and it’s one of’em. One time, I want to do something similar. Casper appeared to be a great opportunity to make a really strong teenagers ‘ movie with some actual strong emotional resonance. However, it eventually started to lose its potential, and that’s why I respectfully bowed away. &#8221, Welp!

    8. A crossing for Poltergeists was abandoned.

    Zelda Rubinstein was initially considered for a simple scene, and the writers previously wanted Zelda Rubinstein to appear. We saw her screaming and shooting out the stove; ‘ Go toward the lighting! Screenwriter Deanna Oliver revealed &#8221. Unfortunately, it rarely happened, but there were some other entertaining celebrities.

    9. A live-action spinoff was attempted, but it failed.

    Universal Pictures canceled a live-action Casper spinoff in 2000 due to a mixture of direct-to-video Casper flop and Duvall not being willing to duet her role. Wells told Variety at the time,” I’m no that unhappy that fell through.” We&#8217, ill often have Casper!

    10. Bill Pullman’s now-famous boy, Bill Pullman, do consider creating a sequel.

    Lewis Pullman is currently one of the biggest actors in the Marvel Cinematic Universe as the disfigured Sentry in Thunderbolts * and Avengers: Doomsday, but he might also be willing to play his father Bill Pullman’s son in the upcoming Spaceballs sequel as Dr. James Harvey, the character’s Casper in the future. &#8220, That&#8217, s sacred grounds to step on, especially something as beloved as Casper, &#8221, he mused, adding, &#8220, I would ]do ] a prequel where I play him younger. &#8221,

    11. Casper’s story was not necessary to be that threatening.

    The comics didn’t even have an origin account for the silvery character. He was nothing more than a devil. His relatives were phantoms! Casper‘s artists made the figure as dreadful as possible by claiming that he died of pneumonia as a child in warm weather, devastating his father because there wasn’t much to go on for them. So it feels mad out of pocket. The addition of the story stung writer Leonard Maltin, who gave the movie a score of &#8220, BOMB&#8221. We had n&#8217, t go that far, but &#8230, scent! Travel on in.

    12. People did not adore it, but reviewers did.

    Casper is a meandering, mindless family film that frequently uses special effects and blatant sappiness, with an astounding 59 % on Rotten Tomatoes. Audiences have mostly rarely agreed, giving it an A Cinemascore ranking and spending$ 289 million to see it in theaters overall. You can&#8217, t satisfy everyone.

    13. In its last split, it was missing a significant movie.

    To persuade Mel Gibson and Clint Eastwood to make a movie in the film, Casper maker Steven Spielberg had to promise them that they would do it as well. However, Spielberg’s performance wasn’t that great, and producer Brad Silbering decided to cut him out of the film. &#8220, I had to tell Steven, &#8216, You &#8217, re not the strongest of the group …]he ] was sort of relieved. Since he requested favors, he felt compelled to do the movie, but he is not an artist. He was nervous all the way through the movie. &#8221,

    The post 13 Weird Facts About Casper That Will ( In a Friendly Way ) Haunt You appeared first on Den of Geek.

  • Back to the Future Star Says the Movie Matters Even More in Today’s Bully Culture

    Back to the Future Star Says the Movie Matters Even More in Today’s Bully Culture

    Back to the Future and its two blockbusters have entertained audiences for 40 years with their zany time travel mechanics, excellent direct performances, and extraordinary Alan Silvestri scores. But in Michael J. Fox, the series resonates with contemporary viewers for a more social reason. We live in a tyrant society right then, Fox said.

    The second post from Back to the Future Star: Back to the Future Star Says the Movie Matters Even More in Today’s Bully Culture appeared first on Den of Geek.

    Casper, a typical Harvey Comics character, was not just another family-friendly ghost story when Brad Silberling’s large movie debut came out in 1995. Casper has been a standard Halloween fixture ever since its audience was so impressed with its humor, heart, and meta surprises that it quickly became a hit.

    Casper is still a favorite of ’90s kids everywhere, and if you’re feeling jittery about the ghostly lil guy, we’ve got 13 unforgettable facts about his film that ( hopefully ) won’t bother you.

    cnx. command. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    1. Casper was a pioneer in CGI.

    Our friendly spirit was a visual pioneer, becoming the first wholly Script lead in a function film, despite the fact that great CGI characters are now a dime a dozen. The Industrial Light &amp, Magic staff worked hard to ensure Casper started with the on-screen production process and then moved on to the post-production video phase, which lasted for more than a year.

    2. The day was saved by an Amiga set-up.

    Casper eventually relied on a reliable Amiga to provide its lead to life because it was the era’s main computer with picture in and out ports. This proved to be a necessary component in revealing what the cast and crew of ol&#8217, Cas may actually look like. The film’s video producer Phil Nibbelink was responsible for overseeing its breakthrough “live” 2D animatics approach, which necessitated a fast turnaround. I was drawing while using a standard Wacom product connected to the Amiga, he told Beforesandafters. By the time [the put ] had run-through, I would have all the Caspers drawn correctly. &#8221,

    3. You might have seen the Casper home once more in a unique setting.

    The haunting shenanigans continued a few years after Casper&#8216, s discharge. When the Backstreet Boys recorded their music video for &#8220, Everybody ( Backstreet&#8217, s Back ) &#8221 there, the Whipstaff Manor set reappeared on screen in a strange way. You might remember that they inquired about whether they were having sex. &#8220, Yeahhhh, &#8221, you answered in your head only then. That&#8217, s the power of Whipstaff, child!

    4. Devon Sawa and Christina Ricci had romantic relationships twice in a single time.

    At the conclusion of the film, Devon Sawa made a brief appearance as the animal version of Casper, but he still left a lasting impact on viewers. Additionally, it wasn’t the only occasion in 1995 that he had the opportunity to enjoy a romantic interest for Christina Ricci. In the coming-of-age film Now and Then, the two had once more look together on display.

    5. On video crossing cameos, it really got the game going.

    Numerous well-known actors appear in celebrities as themselves in Casper, such as Mel Gibson, Clint Eastwood, and Rodney Dangerfield, but Dan Aykroyd does so in the form of Ray Stantz, the Ghostbusters personality. It was one of the second major movie collaborations at the time, and it helped to spread some of the concepts. Although the majority of these collaborations have been appreciated over the years, some are unquestionably more &#8220? &#8221, end of things. Your fuel might change.

    6. J. J. Abrams contributed to it.

    Although it’s difficult to imagine the drama without Devon Sawa genuinely incarnating Casper, the original plot didn’t work out that way. The ending was revised to include that time with the addition of J. J. Abrams. Sawa revealed again in 2018, and the end was approved and a global casting call was launched. I sent a VHS tape to the casting directors and a week later confirmed the position of Casper. I&#8217, d been working actually since. Thank you, JJ. &#8221,

    7. It almost had The Crow’s producer in it.

    Alex Proyas, the chairman of The Crow and Dark City, was initially drawn to Casper, but he broke up once he realized it wasn’t for him. &#8220, I loved the idea of doing a girl’s story, &#8221, he recalled. One of my all-time preferred movies is Wizard of Oz, and I’m not just talking about it. One time, I want to do something similar. Casper appeared to be a fantastic children ‘ movie with some actual strong emotional resonance. However, it eventually started to lose its potential, and that’s why I respectfully bowed out. &#8221, Welp!

    8. A crossing for Poltergeists was abandoned.

    Zelda Rubinstein was initially scheduled to appear alongside Poltergeist‘s best housekeeper, but the authors only had one picture to spare. We saw her screaming and shooting out the stove; ‘ Go toward the lighting! Screenwriter Deanna Oliver revealed &#8221. Unfortunately, it not occurred, but we did find some other entertaining cameos.

    9. They attempted to create a live-action movie.

    Universal Pictures canceled a live-action Casper movie in 2000 due to a mixture of direct-to-video Casper flop and Duvall not being willing to duet her role. Wells stated to Variety at the time,” I’m no that unhappy that fell through.” We&#8217, ill often have Casper!

    10. A prologue would be entertained by Bill Pullman’s now-famous boy, according to Bill Pullman.

    Lewis Pullman is currently one of the biggest actors in the Marvel Cinematic Universe as the disfigured Sentry in Thunderbolts * and Avengers: Doomsday, but he would also be willing to play some future ghostly hijinks as Bill Pullman’s Casper character, Dr. James Harvey, in the upcoming Spaceballs sequel. &#8220, That&#8217, s sacred grounds to step on, especially something as beloved as Casper, &#8221, he mused, adding, &#8220, I would ]do ] a prequel where I play him younger. &#8221,

    11. Casper’s story was not necessary to be that threatening.

    The silvery figure didn’t even have an origin tale in the comics. He was nothing more than a spirit. His relatives were demons! Casper‘s artists made the figure as dreadful as possible by claiming that he died of pneumonia as a child in warm weather, devastating his father because there wasn’t much to go on for them. So it feels mad out of pocket. The addition of the story stung critique Leonard Maltin, who gave the movie a score of &#8220, BOMB&#8221. We had n&#8217, t go that far, but &#8230, scent! Travel in.

    12. People did not enjoy it, but critics did.

    Casper is currently at an incredible 59 % on Rotten Tomatoes, with many people claiming that it is a meandering, thoughtless family film that often uses special effects and blatant cheesiness. People have generally not gotten behind it, giving it an A Cinemascore standing, and spending a full of$ 289 million to see it in venues. You can&#8217, t satisfy anyone.

    13. In its last split, it was missing a significant film.

    Steven Spielberg, the manufacturer of Casper, promised Mel Gibson and Clint Eastwood that he would also appear in a movie in the film to persuade them to perform theirs. However, Spielberg’s performance wasn’t that great, and producer Brad Silbering decided to cut him out of the film. &#8220, I had to tell Steven, &#8216, You &#8217, re not the strongest of the group …]he ] was sort of relieved. Since he requested favors, he felt compelled to make the film, but he is not an actor. He was nervous all the way through the movie because he was. &#8221,

    The post 13 Weird Facts About Casper That Will Surprise You ( In a Friendly Way ) first appeared on Den of Geek.

  • Star Wars Blew Its Chance to Make a Steven Soderbergh Kylo Ren Movie

    Star Wars Blew Its Chance to Make a Steven Soderbergh Kylo Ren Movie

    Even those who are eagerly awaited The Mandalorian and Grogu’s future launch must acknowledge that Star Wars is currently in bad shape. Yes, we just saw the conclusion of Andor, a very difficult and complex piece of sci-fi storytelling that apparently sprang out of the memberberry-ridden Rogue One prequel. But [ …] […] besides that

    The first article on Den of Geek was Star Wars Blew Its Chance to Make a Steven Soderbergh Kylo Ren Movie.

    When Brad Silberling’s major film adaptation of the well-known Harvey Comics figure Casper started appearing in theaters in 1995, it wasn’t just another entertaining ghost story for families. Casper has continued to be a typical Halloween fixture ever since because audiences were so impressed with its humor, center, and meta surprises.

    Casper is still a beloved film for 90s kids everywhere, and if you’re feeling shivering, we’ve got 13 unforgettable facts about his that ( hopefully ) won’t bother you.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    1. Casper was a pioneer in CGI.

    Our friendly spirit was a visual pioneer, becoming the first wholly Script lead in a function film, despite the fact that great CGI characters are now a dime a dozen. The Industrial Light &amp, Magic team worked hard to ensure Casper started with the on-screen animation process and then moved on to the over-year post-production video phase.

    2. A set-up on Amiga saved the time

    Casper ultimately relied on a reliable Amiga to provide its guide to life because it was essentially the only computer with movie in and out slots at the time. This proved to be a required component in revealing what the cast and crew of ol ‘ Cas may actually look like. The film’s video producer, Phil Nibbelink, managed the film’s groundbreaking “live” 2D animatics approach, which necessitated a fast turnaround. I was drawing while using a standard Wacom product connected to the Amiga, he told Beforesandafters. By the time [the put ] had completed a run-through, I would have all the Caspers drawn correctly. &#8221,

    3. You might have seen the Casper home once more in a unique setting.

    After Casper‘s discharge, the shadowy shenanigans continued for a short while. When the Backstreet Boys recorded their music video for &#8220, Everybody ( Backstreet&#8217, s Back ) &#8221 there, the Whipstaff Manor set reappeared on screen in a strange way. You might recognize that they inquired about whether they were having sex. &#8220, Yeahhhh, &#8221, you answered in your head just then. That&#8217, s the power of Whipstaff, girl!

    4. Devon Sawa and Christina Ricci had romantic relationships twice in a single time.

    At the conclusion of the film, Devon Sawa made a limited effect on viewers as Casper, but he made a lasting effect. Additionally, it wasn’t the only time in 1995 that he had the opportunity to enjoy a romantic interest for Christina Ricci. A few months after in the coming-of-age film Now and Then, the two may make an appearance up once more on the big screen.

    5. On video crossing cameos, it really got the game going.

    Numerous well-known actors appear in celebrities as themselves in Casper, such as Mel Gibson, Clint Eastwood, and Rodney Dangerfield, but Dan Aykroyd does so in the shape of Ray Stantz, the Ghostbusters figure. It was one of the first significant movie collaborations at the time, and it helped to spread some of the concepts. Although the majority of these collaborations have been appreciated over the years, some are unquestionably more &#8220? &#8221, end of things. Your mileage might change.

    6. J. J. Abrams contributed to making it possible.

    Although it’s difficult to imagine the drama without Devon Sawa genuinely incarnating Casper, the original plot didn’t work out that way. A brand-new J. J. Abrams was hired to modify the conclusion to include that time. Sawa revealed again in 2018, and the end was approved and a global casting call was launched. I sent a VHS tape to the casting directors and a week later confirmed the position of Casper. I&#8217, d been working actually since. Thank you JJ. &#8221,

    7. It almost had the exact producer as The Crow.

    Alex Proyas, the chairman of The Crow and Dark City, was initially drawn to Casper, but he broke up once he realized it wasn’t for him. &#8220, I loved the idea of doing a girl’s story, &#8221, he recalled. The Wizard of Oz is one of my all-time favorite movies, and it’s one of’em. One time, I want to do something similar. Casper appeared to be a fantastic kids ‘ movie with some actual strong emotional resonance. However, it eventually started to lose some of its potential, and that’s why I respectfully bowed away. &#8221, Welp!

    8. A Poltergeist cross was eliminated

    Zelda Rubinstein was initially considered for a simple scene, and the writers previously wanted Zelda Rubinstein to appear. We pictured her screaming and shooting out the stove; &#8216, Go toward the lighting! Screenwriter Deanna Oliver revealed &#8221,’ Unfortunately, it rarely happened, but there were some other entertaining celebrities.

    9. A live-action movie was attempted, but it failed.

    Universal Pictures canceled a live-action Casper sequel in 2000 due to a mixture of direct-to-video Casper flop and Duvall not being willing to duet her role. Wells told Variety at the time,” I’m not that unhappy that fell through.” We&#8217, ill often have Casper!

    10. Bill Pullman’s now-famous son, Bill Pullman, do consider creating a sequel.

    Lewis Pullman is currently one of the biggest actors in the Marvel Cinematic Universe as the disfigured Sentry in Thunderbolts * and Avengers: Doomsday, but he would also be willing to play some future ghostly hijinks as Bill Pullman’s Casper character, Dr. James Harvey, in the upcoming Spaceballs sequel. &#8220, That&#8217, s sacred grounds to step on, especially something as beloved as Casper, &#8221, he mused, adding, &#8220, I would ]do ] a prequel where I play him younger. &#8221,

    11. Casper’s narrative was not necessary to be that threatening.

    The comics didn’t even have an origin account for the silvery character. He was nothing more than a devil. His relatives were demons! Casper‘s artists made the figure as dreadful as possible by claiming that he died of pneumonia as a child in warm weather, which devastated his parents, so it feels mad out of pocket. The addition of the story stung critique Leonard Maltin, who gave the movie a score of &#8220, BOMB&#8221. We had n&#8217, t go that far, but &#8230, scent! Continue reading.

    12. Criticisms didn’t enjoy it, but viewers did.

    Casper is a meandering, mindless family film that frequently uses special effects and blatant sappiness, with an astounding 59 % on Rotten Tomatoes. Audiences have mostly rarely agreed, giving it an A Cinemascore ranking and spending$ 289 million to see it in theaters overall. You can&#8217, t satisfy everyone.

    13. It was lacking a significant movie in the last cut.

    Steven Spielberg, the manufacturer of Casper, promised Mel Gibson and Clint Eastwood that he would also appear in a movie in the film to persuade them to perform theirs. However, Spielberg’s performance wasn’t that great, and producer Brad Silbering decided to cut him out of the film. &#8220, I had to tell Steven, &#8216, You &#8217, re not the strongest of the group …]he ] was sort of relieved. Since he requested favors, he felt compelled to make the film, but he is not an actor. He was anxious all the way through the film. &#8221,

    On Den of Geek, the article 13 Weird Facts About Casper that Will Haunt You ( In a Friendly Way ) first appeared.

  • Hamnet Review: Shakespeare’s Greatest Tragedy Might Be the Family He Left Behind

    Hamnet Review: Shakespeare’s Greatest Tragedy Might Be the Family He Left Behind

    It is a mysterious fact that before William Shakespeare wrote The Drama of Hamlet, Prince of Denmark, which is frequently attributed to be the best play ever written, he even had a brother named Hamnet. Hence, researchers continue to be regarded as being even more esoteric than they are.

    The first article of Den of Geek was titled Hamnet Review: Shakespeare’s Greatest Tragedy Might Be the Family He Left Beyond.

    Casper, a typical Harvey Comics character, was not just another family-friendly ghost story when Brad Silberling’s large movie debut came out in 1995. Casper has been a standard Halloween fixture ever since its audience was so impressed with its comedy, heart, and meta surprises that it quickly became a hit.

    Casper is still a beloved film for 90s kids everywhere, and if you’re feeling shivering, we’ve got 13 unforgettable facts about his that ( hopefully ) won’t bother you.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    1. Casper was a pioneer in CGI.

    Our friendly spirit was the first wholly Script result in a feature film, despite the fact that they are now a dime a dozen. The Industrial Light &amp, Magic staff worked hard to ensure Casper started with the on-screen production process and then moved on to the post-production video phase, which lasted for more than a year.

    2. An Amiga setup saved the time

    Casper ultimately relied on a reliable Amiga to deliver its guide to life because it was essentially the only computer with picture in and out slots at the time. This proved to be a necessary component in revealing what the cast and crew of ol&#8217, Cas would actually look like. The film’s video producer Phil Nibbelink was responsible for overseeing its pioneering “live” 2D animatics approach, which necessitated a fast turnaround. I was drawing while using a standard Wacom product connected to the Amiga, he told Beforesandafters. By the time [the put ] had run-through, I would have all the Caspers drawn correctly. &#8221,

    3. You might have seen the Casper home once more in a unique setting.

    After Casper‘s launch, the shadowy shenanigans continued for a short while. When the Backstreet Boys recorded their music video for &#8220, Everybody ( Backstreet&#8217, s Back ) &#8221 there, the Whipstaff Manor set reappeared on screen in a strange way. You might recognize that they inquired about whether they were having sex. &#8220, Yeahhhh, &#8221, you answered in your head only then. That&#8217, s the power of Whipstaff, girl!

    4. Devon Sawa and Christina Ricci had romantic relationships twice in a single time.

    At the end of the film, Devon Sawa made a brief appearance as the animal version of Casper, but he still left a lasting impact on viewers. It wasn’t the only occasion in 1995 that he was given the opportunity to enjoy a romantic interest for Christina Ricci. In the coming-of-age film Now and Then, the two had once more look up on display.

    5. It started the cross scene scene in movies.

    In Casper, Dan Aykroyd appears in the form of Ray Stantz, a figure from Ghostbusters, alongside Mel Gibson, Clint Eastwood, and Rodney Dangerfield. It was one of the first significant picture collaborations at the time, and it helped to spread some of the concepts. Although the majority of these crossover have been appreciated in the years since, some are unquestionably more &#8220, can you not? &#8221, end of things. Your mileage might change.

    6. Its creator J. J. Abrams had a finger in making it.

    Although it’s difficult to imagine the film without Devon Sawa genuinely incarnating Casper, the original plot didn’t work out that way. The ending was revised to include that time with the addition of J. J. Abrams. Sawa revealed again in 2018, and the end was approved and a global casting call was launched. I sent a VHS tape to the casting directors and a week later booked the position of Casper. I&#8217, d been working actually since. Thank you, JJ. &#8221,

    7. It almost had The Crow’s chairman in it.

    Alex Proyas, the chairman of The Crow and Dark City, was initially drawn to Casper, but he broke up once he realized it wasn’t for him. &#8220, I loved the idea of doing a girl’s story, &#8221, he recalled. The Wizard of Oz is one of my all-time favorite movies, and it’s one of’em. One time, I want to do something similar. Casper appeared to be a fantastic kids ‘ movie with some actual strong emotional resonance. However, it eventually started to lose its potential, and that’s why I respectfully bowed away. &#8221, Welp!

    8. A cross for Poltergeists was abandoned

    Zelda Rubinstein was initially considered for a simple scene, with the writers previously wanting Poltergeist‘s best home cleaner to make an appearance. We saw her screaming and shooting out the stove; ‘ Go toward the lighting! Screenwriter Deanna Oliver revealed &#8221. Unfortunately, it rarely happened, but there were some other entertaining celebrities.

    9. They attempted to create a live-action spinoff.

    Universal Pictures canceled a live-action Casper movie in 2000 due to a blend of direct-to-video Casper failures and Ricci not wanting to reprise her part. Wells stated to Variety at the time,” I’m not that unhappy that fell through.” We&#8217, ill often have Casper!

    10. A prologue would be a possibility for Bill Pullman’s now-famous child.

    Lewis Pullman is currently one of the biggest actors in the Marvel Cinematic Universe as the disfigured Sentry in Thunderbolts * and Avengers: Doomsday, but he might also be willing to play his father Bill Pullman’s son in the upcoming Spaceballs sequel as Dr. James Harvey, the character’s Casper in the future. &#8220, That&#8217, s sacred grounds to step on, especially something as beloved as Casper, &#8221, he mused, adding, &#8220, I would ]do ] a prequel where I play him younger. &#8221,

    11. Casper’s narrative was not necessary to be that threatening.

    There was no origin story for the wavy character in the comics. He was merely a devil. His relatives were phantoms! Casper‘s artists made the figure as dreadful as possible by claiming that he died of pneumonia as a child in warm weather, devastating his father because there wasn’t much to go on for them. So it feels mad out of pocket. Because the contrast to the account irritates critic Leonard Maltin, who gave the movie a &#8220, BOMB&#8221, rating, was so enraged. We had n&#8217, t go that far, but &#8230, scent! Travel on in.

    12. Criticisms didn’t enjoy it, but people did.

    Casper is currently at an incredible 59 % on Rotten Tomatoes, with many people claiming that it is a meandering, senseless family film that often uses special effects and blatant cheesiness. Audiences have mostly not agreed, giving it an A Cinemascore ranking and spending$ 289 million to see it in theaters overall. You can&#8217, t satisfy everyone.

    13. In its last split, it was missing a significant movie.

    Steven Spielberg, the maker of Casper, promised Mel Gibson and Clint Eastwood that he would also appear in a movie in the film to persuade them to perform theirs. However, Spielberg’s performance wasn’t that great, and producer Brad Silbering decided to cut him out of the video. &#8220, I had to tell Steven, &#8216, You &#8217, re not the strongest of the group …]he ] was sort of relieved. Since he requested favors, he felt compelled to do the movie, but he is not an artist. He was anxious all the way through the film. &#8221,

    The post 13 Weird Facts About Casper That Will ( In a Friendly Way ) Haunt You appeared first on Den of Geek.

  • DC Studios Recruits Comics Great for Robin Movie Dynamic Duo

    DC Studios Recruits Comics Great for Robin Movie Dynamic Duo

    All gaze have now turned to the other half of the World’s Greatest trio: Batman then that James Gunn has successfully introduced Superman into the DCU. Output has begun on the Batman drama The Brave and the Bold in addition to the out-of-production Matt Reeves drama The Batman: Element II. But we shouldn’t forget [ …] Gotham’s other caped.

    On Den of Geek, the second post DC Studios Recruits Comics Great for Robin Movie Dynamic Duo.

    When Brad Silberling’s major film adaptation of the well-known Harvey Comics figure Casper started appearing in theaters in 1995, it wasn’t just another entertaining ghost story for families. Casper has been a standard Halloween fixture ever since its audience was so impressed with its humor, heart, and meta surprises that it quickly became a hit.

    Casper is still a beloved film for 90s kids everywhere, and if you’re feeling shivering, we’ve got 13 unforgettable facts about his that ( hopefully ) won’t bother you.

    cnx. command. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    1. Casper was a pioneer in CGI.

    Our friendly spirit was the first wholly Script guide in a feature film, despite the fact that great CGI characters are now a dime a dozen. The Industrial Light &amp, Magic staff worked hard to ensure Casper started with the on-screen production process and then moved on to the post-production video phase, which lasted for more than a year.

    2. A set-up on Amiga saved the time

    Casper eventually relied on a reliable Amiga to provide its lead to life because it was the era’s main computer with picture in and out ports. This proved to be a required component in revealing what the cast and crew of ol ‘ Cas may actually look like. The film’s video producer, Phil Nibbelink, managed the film’s groundbreaking “live” 2D animatics approach, which necessitated a fast turnaround. I was drawing while using a standard Wacom product connected to the Amiga, he told Beforesandafters. By the time [the put ] had completed a run-through, I would have all the Caspers drawn correctly. &#8221,

    3. You might have revisited the Casper residence in a unique setting.

    After Casper&#8216’s release, the shadowy shenanigans continued for a few years. When the Backstreet Boys filmed their music video for &#8220, Everybody ( Backstreet&#8217, s Back ) &#8221, there, the Whipstaff Manor set reappeared on the small screen in a strange way. You might recognize that they inquired about sexual relations with you. &#8220, Yeahhhh, &#8221, you answered in your head just then. That&#8217, s the power of Whipstaff, child!

    4. Devon Sawa and Christina Ricci were romantic partners half on-screen in a single year.

    At the conclusion of the film, Devon Sawa made a brief appearance as the animal version of Casper, but he still left a lasting impression on viewers. He was also given the opportunity to enjoy a like curiosity for actress Christina Ricci for the first time in 1995. The two may make an appearance on the big screen once more in the coming-of-age film Now and Then a few months afterwards.

    5. On video crossing cameos, it really got the game going.

    In Casper, Dan Aykroyd appears in the form of Ray Stantz, a figure from Ghostbusters, alongside Mel Gibson, Clint Eastwood, and Rodney Dangerfield. It was one of the second major movie collaborations at the time, and it helped to spread some of the concepts. Although most of these collaborations have been appreciated in the centuries since, some are unquestionably more &#8220, can you not? &#8221, end of things. Your mileage might change.

    6. Its creator J. J. Abrams had a finger in making it.

    Although it’s difficult to imagine the drama without Devon Sawa genuinely incarnating Casper, the original plot didn’t work out that way. The ending was revised to include that time with the addition of J. J. Abrams. &#8221, Sawa revealed again in 2018, the ending was approved and a global casting call was launched. I sent a VHS tape to the casting directors and a week later confirmed the position of Casper. I&#8217, d been working actually since. Thank you JJ. &#8221,

    7. The Crow’s chairman was essentially the same as it.

    Alex Proyas, the chairman of The Crow and Dark City, was initially drawn to Casper, but he broke up once he realized it wasn’t for him. &#8220, I loved the idea of doing a girl’s story, &#8221, he recalled. One of my all-time preferred movies of all time is Wizard of Oz. One time, I want to do something similar. Casper appeared to be a fantastic children ‘ movie with some actual strong emotional resonance. However, it eventually started to lose its potential, and that’s why I respectfully bowed out. &#8221, Welp!

    8. A crossing for Poltergeists was abandoned

    Zelda Rubinstein was initially scheduled to appear alongside Poltergeist‘s best housekeeper, but the authors only had one picture to spare. We pictured her screaming and shooting out the stove; &#8216, Go toward the light! Screenwriter Deanna Oliver revealed &#8221. Unfortunately, it rarely happened, but there were some other entertaining cameos.

    9. A live-action movie was attempted, but it failed.

    Universal Pictures canceled a live-action Casper movie in 2000 due to a blend of direct-to-video Casper failures and Ricci not wanting to reprise her part. Wells told Variety at the time,” I’m no that unhappy that fell through.” We&#8217, ill often have Casper!

    10. Bill Pullman’s now-famous child, Bill Pullman, do consider creating a sequel.

    Lewis Pullman is currently one of the biggest actors in the Marvel Cinematic Universe as the disfigured Sentry in Thunderbolts * and Avengers: Doomsday, but he would also be willing to play some future ghostly hijinks as Bill Pullman’s Casper character, Dr. James Harvey, in the upcoming Spaceballs sequel. &#8220, That&#8217, s sacred grounds to step on, especially something as beloved as Casper, &#8221, he mused, adding, &#8220, I would ]do ] a prequel where I play him younger. &#8221,

    11. Casper’s narrative was not necessary to be that threatening.

    The silvery character didn’t even have an origin tale in the comics. He was nothing more than a devil. His relatives were phantoms! Casper‘s artists made the character as dreadful as possible by claiming that he died of pneumonia as a child in warm weather, devastating his dad, because there wasn’t much to go on for them. The addition of the story stung writer Leonard Maltin, who gave the movie a score of &#8220, BOMB&#8221. We had n&#8217, t go that far, but &#8230, scent! Travel on in.

    12. People did not enjoy it, but critics did.

    Casper is a meandering, mindless family film that frequently uses special effects and blatant sappiness, with an astounding 59 % on Rotten Tomatoes. People have generally not agreed, giving it an A Cinemascore ranking and spending an additional$ 289 million to see it in cinemas. You can&#8217, t satisfy everyone.

    13. It was lacking a significant film in the last cut.

    Steven Spielberg, the manufacturer of Casper, promised Mel Gibson and Clint Eastwood that he would also appear in a movie in the film to persuade them to perform theirs. However, Spielberg’s performance wasn’t that great, and producer Brad Silbering decided to cut him out of the film. &#8220, I had to tell Steven, &#8216, You &#8217, re not the strongest of the group …]he ] was sort of relieved. Since he requested favors, he felt compelled to do the movie, but he is not an artist. He was frightened throughout the film because of it. &#8221,

    On Den of Geek, the article 13 Weird Facts About Casper that Will Haunt You ( In a Friendly Way ) first appeared.

  • Strange New Worlds Producers Promise More Traditional Star Trek Next Season

    Strange New Worlds Producers Promise More Traditional Star Trek Next Season

    Sometimes it’s possible to get very strong and venture too far into territory no one else has previously gone. That’s the lesson that Star Trek: Unusual New Worlds ‘ manufacturers learned during the third year of the series, which managed to waste the good will that had grown up in seasons 1 and 2. However, it serves as a session.

    The first episode of Den of Geek featured Odd New Worlds Producers Promise More Standard Star Trek Next Season.

    When Brad Silberling’s major film adaptation of Casper, a typical Harvey Comics character, first appeared in 1995, it wasn’t just another entertaining ghost story for families. Casper has been a standard Halloween fixture ever since its audience was so impressed with its comedy, heart, and meta surprises that it quickly became a hit.

    Casper is still a favorite of ’90s kids everywhere, and if you’re feeling jittery about the ghostly lil guy, we’ve got 13 unforgettable facts about his film that ( hopefully ) won’t bother you.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    1. Casper was a pioneer in CGI.

    Our friendly spirit was the first wholly Script guide in a feature film, despite the fact that great CGI characters are now a dime a dozen. The Industrial Light &amp, Magic staff worked for a long time to ensure Casper started working onscreen first, before moving on to a more complex post-production video process that lasted more than a year.

    2. The day was saved by an Amiga set-up.

    Casper ultimately relied on a reliable Amiga to deliver its guide to life because it was essentially the only computer with picture in and out slots at the time. This proved to be a necessary component in revealing what the cast and crew of ol&#8217, Cas would actually look like. The film’s video producer Phil Nibbelink was responsible for overseeing its breakthrough “live” 2D animatics approach, which necessitated a fast turnaround. He told Beforesandafters,” I was drawing with a standard Wacom product connected to the Amiga,” and that he was using a product. By the time [the put ] had finished the run-through, I would have all the Caspers drawn correctly. &#8221,

    3. You might have re-visited the Casper home in a unique setting.

    The haunting shenanigans continued a few years after Casper&#8216, s launch. When the Backstreet Boys filmed their music video for &#8220, Everybody ( Backstreet&#8217, s Back ) &#8221 there, the Whipstaff Manor set reappeared on the small screen in a strange way. You might remember that they inquired about sexual relations with you. &#8220, Yeahhhh, &#8221, you answered in your head just then. That&#8217, s the power of Whipstaff, child!

    4. Devon Sawa and Christina Ricci were romantic partners half on-screen in a single year.

    At the conclusion of the film, Devon Sawa made a limited impact on viewers as Casper, but he made a lasting impact. Additionally, it wasn’t the only occasion in 1995 that he had the opportunity to enjoy a romantic interest for Christina Ricci. A few months after in the coming-of-age film Now and Then, the two may make an appearance up once more on the big screen.

    5. It started the cross scene scene in movies.

    In Casper, Dan Aykroyd appears in the form of Ray Stantz, a figure from Ghostbusters, alongside Mel Gibson, Clint Eastwood, and Rodney Dangerfield. It was one of the second major movie collaborations at the time, and it helped to spread some of the concepts. Although the majority of these collaborations have been appreciated over the years, some are unquestionably more &#8220? &#8221, end of things. Your mileage might change.

    6. J. J. Abrams contributed to it.

    Although it’s difficult to imagine the video without Devon Sawa genuinely incarnating Casper, the film didn’t start off that way. A brand-new J. J. Abrams was hired to modify the conclusion to include that time. &#8221, Sawa revealed again in 2018, the ending was approved and a global cast visit was launched. I sent a VHS tape to the casting directors and a week later booked the position of Casper. I&#8217, d been working actually since. Thank you, JJ. &#8221,

    7. The Crow’s chairman was essentially the same as it.

    Alex Proyas, the chairman of The Crow and Dark City, was initially drawn to Casper, but he broke up once he realized it wasn’t for him. &#8220, I loved the idea of doing a girl’s story, &#8221, he recalled. One of my all-time preferred movies of all time is Wizard of Oz. I would like to do things similar in the future. Casper appeared to be a great opportunity to make a really strong kids ‘ movie with some actual strong emotional resonance. However, it eventually started to lose some of its potential, and that’s why I respectfully bowed away. &#8221, Welp!

    8. A crossing for Poltergeists was abandoned

    Zelda Rubinstein was initially considered for a simple scene, with the writers previously wanting Poltergeist‘s best home cleaner to make an appearance. We saw her screaming and shooting out the stove; ‘Go toward the light! Screenwriter Deanna Oliver revealed &#8221. Unfortunately, it rarely occurred, but we did find some other entertaining cameos.

    9. They attempted to create a live-action movie.

    Universal Pictures canceled a live-action Casper spinoff in 2000 due to a mixture of direct-to-video Casper flop and Duvall not being willing to duet her role. Wells told Variety at the time,” I’m no that unhappy that fell through.” We&#8217, ill often have Casper!

    10. Bill Pullman’s now-famous child, Bill Pullman, do consider creating a sequel.

    Lewis Pullman is currently one of the biggest actors in the Marvel Cinematic Universe as the disfigured Sentry in Thunderbolts * and Avengers: Doomsday, but he would also be willing to play some future ghostly hijinks as Bill Pullman’s Casper character, Dr. James Harvey, in the upcoming Spaceballs sequel. &#8220, That&#8217, s sacred grounds to step on, especially something as beloved as Casper, &#8221, he mused, adding, &#8220, I would ]do ] a prequel where I play him younger. &#8221,

    11. Casper’s story was not necessary to be that threatening.

    There was no origin story for the wavy character in the comics. He was merely a spirit. His relatives were demons! Casper‘s artists made the figure as dreadful as possible by claiming that he died of pneumonia as a child in warm weather, devastating his father because there wasn’t much to go on for them. So it feels mad out of pocket. The improvement to the story irritated critique Leonard Maltin, who gave the movie a &#8220, BOMB&#8221 rating because he was so upset. We had n&#8217, t go that far, but &#8230, scent! Come in.

    12. People did not adore it, but reviewers did.

    Casper is currently at an incredible 59 % on Rotten Tomatoes, with many people claiming that it is a meandering, thoughtless family film that often uses special effects and blatant cheesiness. People have generally not gotten behind it, giving it an A Cinemascore standing, and spending a full of$ 289 million to see it in venues. You can&#8217, t satisfy everyone.

    13. In its last split, it was missing a significant film.

    Steven Spielberg, the maker of Casper, promised Mel Gibson and Clint Eastwood that he would also appear in a movie in the film to persuade them to perform theirs. However, Spielberg’s performance wasn’t that great, and chairman Brad Silbering decided to cut him out of the film. &#8220, I had to tell Steven, &#8216, You &#8217, re not the strongest of the group …]he ] was sort of relieved. Since he requested favors, he felt compelled to make the film, but he is not an artist. He was nervous all the way through the movie. &#8221,

    The post 13 Weird Facts About Casper That Will Surprise You ( In a Friendly Way ) first appeared on Den of Geek.

  • James Gunn Confirms the Absence of a Major DC Villain

    James Gunn Confirms the Absence of a Major DC Villain

    James Gunn may remain working for DC rather than World right now, but there are still some high expectations for him. We want to see the interaction between soldiers. We desire a universe, which Peacemaker provided. And we want a large negative who represents the entire terrifying world. ]… ]

    James Gunn confirms the presence of a significant DC criminal first appeared on Den of Geek.

    When Brad Silberling’s major film adaptation of the well-known Harvey Comics figure Casper started appearing in theaters in 1995, it wasn’t just another entertaining ghost story for families. Casper has been a standard Halloween fixture ever since its audience was so impressed with its humor, heart, and meta surprises that it quickly became a hit.

    Casper is still a favorite of ’90s kids everywhere, and if you’re feeling all sentimental about the ghostly lil guy, we’ve got 13 unforgettable facts about his film that ( hopefully ) won’t bother you.

    cnx. command. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    1. Casper was a pioneer in CGI.

    Our friendly spirit was a visual pioneer, becoming the first wholly Script lead in a function film, despite the fact that great CGI characters are now a dime a dozen. The Industrial Light &amp, Magic team worked hard to ensure Casper started with the on-screen video process and then moved on to the over-year post-production video phase.

    2. An Amiga setup saved the time

    Casper eventually relied on a reliable Amiga to provide its lead to life because it was the era’s main computer with movie in and out ports. This proved to be a required component in revealing what the cast and crew of ol ‘ Cas may actually look like. The film’s video producer Phil Nibbelink was responsible for overseeing its pioneering “live” 2D animatics approach, which necessitated a fast turnaround. I was drawing while using a standard Wacom product connected to the Amiga, he told Beforesandafters. By the time [the put ] had completed a run-through, I would have all the Caspers drawn correctly. &#8221,

    3. You might have revisited the Casper residence in a unique setting.

    After Casper&#8216’s release, the shadowy shenanigans continued for a few years. When the Backstreet Boys recorded their music video for &#8220, Everybody ( Backstreet&#8217, s Back ) &#8221 there, the Whipstaff Manor set reappeared on screen in a strange way. You might recognize that they inquired about whether they were having sex. &#8220, Yeahhhh, &#8221, you answered in your head just then. That&#8217, s the power of Whipstaff, girl!

    4. Devon Sawa and Christina Ricci were romantic partners half on-screen in a single year.

    At the conclusion of the film, Devon Sawa made a limited impact on viewers as Casper, but he made a lasting effect. Additionally, it wasn’t the only time in 1995 that he had the opportunity to enjoy a romantic interest for Christina Ricci. The two may make an appearance on the big screen once more in the coming-of-age film Now and Then a few months afterward.

    5. It started the crossing scene scene in movies.

    In Casper, Dan Aykroyd makes a cameo as himself, like Mel Gibson, Clint Eastwood, and Rodney Dangerfield, but Ray Stantz, the voice of his Ghostbusters personality, makes a cameo. It was one of the first significant movie collaborations at the time, and it contributed to their popularity. Although the majority of these collaborations have been appreciated over the years, some are unquestionably more &#8220? &#8221, end of things. Your mileage might change.

    6. J. J. Abrams contributed to it.

    Although it’s difficult to imagine the drama without Devon Sawa genuinely incarnating Casper, the original plot didn’t work out that way. The ending was revised to include that time with the addition of J. J. Abrams. Sawa revealed again in 2018, and the end was approved and a global casting call was launched. I sent a VHS tape to the casting directors and a week later confirmed the position of Casper. I&#8217, d been working actually since. Thank you, JJ. &#8221,

    7. It almost had the exact producer as The Crow.

    Alex Proyas, the chairman of The Crow and Dark City, was initially drawn to Casper, but he broke up once he realized it wasn’t for him. &#8220, I loved the idea of doing a girl’s story, &#8221, he recalled. One of my all-time preferred movies of all time is Wizard of Oz. One time, I want to do something similar. Casper appeared to be a great opportunity to make a really strong children ‘ movie with some actual strong emotional resonance. However, it eventually started to lose its potential, which is why I respectfully bowed over. &#8221, Welp!

    8. A crossing for Poltergeists was abandoned.

    Zelda Rubinstein was initially considered for a simple scene, and the writers previously wanted Zelda Rubinstein to appear. We saw her screaming and shooting out the stove; ‘ Go toward the lighting! Screenwriter Deanna Oliver revealed &#8221. Unfortunately, it rarely happened, but there were some other entertaining celebrities.

    9. A live-action movie was attempted, but it failed.

    Universal Pictures canceled a live-action Casper sequel in 2000 due to a mixture of direct-to-video Casper flop and Duvall not being willing to duet her role. Wells told Variety at the time,” I’m no that unhappy that fell through.” We&#8217, ill often have Casper!

    10. A prologue would be entertained by Bill Pullman’s now-famous child, according to Bill Pullman.

    Lewis Pullman is currently one of the biggest actors in the Marvel Cinematic Universe as the disfigured Sentry in Thunderbolts * and Avengers: Doomsday, but he would also be willing to play some future ghostly hijinks as Bill Pullman’s Casper character, Dr. James Harvey, in the upcoming Spaceballs sequel. &#8220, That&#8217, s sacred grounds to step on, especially something as beloved as Casper, &#8221, he mused, adding, &#8220, I would ]do ] a prequel where I play him younger. &#8221,

    11. Casper’s story was not necessary to be that threatening.

    There was no source story for the silvery character in the comics. He was nothing more than a devil. His relatives were phantoms! Casper‘s artists made the figure as dreadful as possible by claiming that he died of pneumonia as a child in warm weather, devastating his father because there wasn’t much to go on for them. So it feels mad out of pocket. Because the contrast to the account irritates critic Leonard Maltin, who gave the movie a &#8220, BOMB&#8221, rating, was so enraged. We had n&#8217, t go that far, but &#8230, scent! Come in.

    12. People did not adore it, but critics did.

    Casper is currently at an incredible 59 % on Rotten Tomatoes, with many people claiming that it is a meandering, thoughtless family film that often uses special effects and blatant cheesiness. Audiences have mostly not agreed, giving it an A Cinemascore ranking and spending$ 289 million to see it in theaters overall. You can&#8217, t satisfy anyone.

    13. In its last split, it was missing a significant movie.

    Steven Spielberg, the manufacturer of Casper, promised Mel Gibson and Clint Eastwood that he would also appear in a movie in the film to persuade them to perform theirs. However, Spielberg’s performance wasn’t that great, and producer Brad Silbering decided to cut him out of the film. &#8220, I had to tell Steven, &#8216, You &#8217, re not the strongest of the group …]he ] was sort of relieved. Since he requested favors, he felt compelled to do the movie, but he is not an artist. He was anxious all the way through the movie because he was. &#8221,

    On Den of Geek, the article 13 Weird Facts About Casper that Will Haunt You ( In a Friendly Way ) first appeared.

  • 13 Weird Facts About Casper That Will Haunt You (In a Friendly Way)

    13 Weird Facts About Casper That Will Haunt You (In a Friendly Way)

    Casper, a typical Harvey Comics character, was not just another family-friendly ghost story when Brad Silberling’s major movie debut came out in 1995. Casper has been a standard Halloween fixture ever since its audience was so impressed with its comedy, heart, and meta surprises that it quickly became a hit. ]… ]

    On Den of Geek, the article 13 Weird Facts About Casper that Will Haunt You ( In a Friendly Way ) first appeared.

    Casper, a typical Harvey Comics character, was not just another family-friendly ghost story when Brad Silberling’s major movie debut came out in 1995. Casper has been a standard Halloween fixture ever since its audience was so impressed with its humor, heart, and meta surprises that it quickly became a hit.

    Casper is still a favorite of ’90s kids everywhere, and if you’re feeling jittery about the ghostly lil guy, we’ve got 13 unforgettable facts about his film that ( hopefully ) won’t bother you.

    cnx. powershell. push ( function ( ) {cnx ( {playerId:” 106e33c0-3911-473c-b599-b1426db57530″, }). render ( “0270c398a82f44f49c23c16122516796” ), }),

    1. Casper was a pioneer in CGI.

    Our friendly spirit was the first wholly Script result in a feature film, despite the fact that they are now a dime a dozen. The Industrial Light &amp, Magic team worked hard to ensure Casper started with the on-screen video process and then moved on to the over-year post-production video phase.

    2. A set-up on Amiga saved the time

    Casper ultimately relied on a reliable Amiga to provide its guide to life because it was essentially the only computer with picture in and out slots at the time. This proved to be a required component in revealing what the cast and crew of ol ‘ Cas would actually look like. The film’s video producer, Phil Nibbelink, managed the film’s groundbreaking “live” 2D animatics approach, which necessitated a fast turnaround. I was drawing while using a standard Wacom product connected to the Amiga, he told Beforesandafters. By the time [the put ] had completed a run-through, I would have all the Caspers drawn correctly. &#8221,

    3. You might have revisited the Casper residence in a unique setting.

    After Casper&#8216’s launch, the shadowy shenanigans continued for a few years. When the Backstreet Boys recorded their music video for &#8220, Everybody ( Backstreet&#8217, s Back ) &#8221 there, the Whipstaff Manor set reappeared on screen in a strange way. You might recognize that they inquired about sexual relations with you. &#8220, Yeahhhh, &#8221, you answered in your head only then. That&#8217, s the power of Whipstaff, girl!

    4. Devon Sawa and Christina Ricci were romantic partners half on-screen once in a year.

    At the conclusion of the film, Devon Sawa made a brief appearance as the animal version of Casper, but he still left a lasting impact on viewers. It wasn’t the only time in 1995 that he was given the opportunity to enjoy a romantic interest for Christina Ricci. In the coming-of-age film Now and Then, the two had once more look up on display.

    5. It started the crossing scene scene in movies.

    Numerous well-known actors appear in celebrities as themselves in Casper, such as Mel Gibson, Clint Eastwood, and Rodney Dangerfield, but Dan Aykroyd does so in the form of Ray Stantz, the Ghostbusters figure. It was one of the first significant movie collaborations at the time, and it contributed to their popularity. Although the majority of these collaborations have been appreciated in the years since, some are unquestionably more &#8220, can you not? &#8221, end of things. Your fuel might change.

    6. Its creator J. J. Abrams had a finger in making it.

    Although it’s difficult to imagine the video without Devon Sawa genuinely incarnating Casper, the film didn’t start off that way. The ending was revised to include that time with the addition of J. J. Abrams. Sawa revealed again in 2018, and the end was approved and a global casting call was launched. I sent a VHS tape to the casting directors and a week later confirmed the position of Casper. I&#8217, d been working actually since. Thank you JJ. &#8221,

    7. The Crow’s chairman was essentially the same as it.

    Alex Proyas, the chairman of The Crow and Dark City, was initially drawn to Casper, but he broke up once he realized it wasn’t for him. &#8220, I loved the idea of doing a girl’s story, &#8221, he recalled. One of my all-time preferred movies of all time is Wizard of Oz. One time, I want to do something similar. Casper appeared to be a great opportunity to make a really strong children ‘ movie with some actual strong emotional resonance. However, it eventually started to lose some of its potential, and that’s why I respectfully bowed away. &#8221, Welp!

    8. A cross for Poltergeists was abandoned

    Zelda Rubinstein was initially scheduled to appear alongside Poltergeist‘s best housekeeper, but the authors only had one scene to spare. We saw her screaming and shooting out the stove; ‘Go toward the light! Screenwriter Deanna Oliver revealed &#8221. Unfortunately, it rarely happened, but there were some other entertaining cameos.

    9. They attempted to create a live-action movie.

    Universal Pictures canceled a live-action Casper movie in 2000 due to a mixture of direct-to-video Casper failures and Ricci not wanting to reprise her part. Wells told Variety at the time,” I’m no that unhappy that fell through.” We&#8217, ill often have Casper!

    10. Bill Pullman’s now-famous son, Bill Pullman, do consider creating a sequel.

    Lewis Pullman is currently one of the biggest actors in the Marvel Cinematic Universe as the disfigured Sentry in Thunderbolts * and Avengers: Doomsday, but he would also be willing to play some future ghostly hijinks as Bill Pullman’s Casper character, Dr. James Harvey, in the upcoming Spaceballs sequel. &#8220, That&#8217, s sacred grounds to step on, especially something as beloved as Casper, &#8221, he mused, adding, &#8220, I would ]do ] a prequel where I play him younger. &#8221,

    11. Casper’s story was not necessary to be that threatening.

    There was no origin story for the silvery character in the comics. He was nothing more than a devil. His relatives were phantoms! Casper‘s artists made the figure as dreadful as possible by claiming that he died of pneumonia as a child in warm weather, which devastated his parents, so it feels mad out of pocket. The improvement to the account irritated critique Leonard Maltin, who gave the movie a &#8220, BOMB&#8221 rating because he was so upset. We had n&#8217, t go that far, but &#8230, scent! Travel on in.

    12. Criticisms didn’t enjoy it, but people did.

    Casper is currently at an incredible 59 % on Rotten Tomatoes, with many people claiming that it is a meandering, senseless family film that frequently uses special effects and blatant cheesiness. People have generally not agreed, giving it an A Cinemascore ranking and spending an additional$ 289 million to see it in cinemas. You can&#8217, t satisfy everyone.

    13. In its last split, it was missing a significant film.

    To persuade Mel Gibson and Clint Eastwood to make a movie in the film, Casper maker Steven Spielberg had to promise them that they would do it as well. However, Spielberg’s performance wasn’t that great, and producer Brad Silbering decided to cut him out of the film. &#8220, I had to tell Steven, &#8216, You &#8217, re not the strongest of the group …]he ] was sort of relieved. Since he requested favors, he felt compelled to do the movie, but he is not an artist. He was frightened throughout the film because of it. &#8221,

    On Den of Geek, the article 13 Weird Facts About Casper that Will Haunt You ( In a Friendly Way ) first appeared.

  • Designing for the Unexpected

    Designing for the Unexpected

    Although I’m not certain when I first heard this statement, it has stuck with me over the centuries. How do you generate solutions for scenarios you can’t think? Or create materials that are functional on products that have not yet been created?

    Flash, Photoshop, and flexible style

    When I first started designing sites, my go-to technology was Photoshop. I created a design for a 960px paint that I would eventually add willing to. The growth phase was about attaining pixel-perfect precision using set widths, fixed levels, and absolute setting.

    All of this was altered by Ethan Marcotte’s 2010 content in A List Off entitled” Responsive Web Design.” I was sold on responsive pattern as soon as I heard about it, but I was even terrified. The pixel-perfect models full of special figures that I had formerly prided myself on producing were no longer good enough.

    My first encounter with flexible design didn’t help my fear. My second project was to get an active fixed-width website and make it reactive. I quickly realized that you didn’t just put responsiveness at the end of a job. To make smooth design, you need to prepare throughout the style phase.

    A new way to style

    Making information accessible to all devices a priority when designing responsive or smooth websites has always been the goal. It relies on the use of percentage-based design, which I immediately achieved with local CSS and power groups:

    .column-span-6 { width: 49%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-4 { width: 32%; float: left; margin-right: 0.5%; margin-left: 0.5%;}.column-span-3 { width: 24%; float: left; margin-right: 0.5%; margin-left: 0.5%;}

    Therefore using Sass to re-use repeated slabs of code and transition to more semantic premium:

    .logo { @include colSpan(6);}.search { @include colSpan(3);}.social-share { @include colSpan(3);}

    Media questions

    The next ingredient for flexible design is press queries. Without them, content would shrink to fit the available space, regardless of whether it remained readable ( The exact opposite issue resulted from the development of a mobile-first approach ).

    Media questions prevented this by allowing us to add breakpoints where the design could adapt. Like most people, I started out with three breakpoints: one for desktop, one for tablets, and one for mobile. Over the years, I added more and more for phablets, wide screens, and so on. 

    For years, I happily worked this way and improved both my design and front-end skills in the process. The only problem I encountered was making changes to content, since with our Sass grid system in place, there was no way for the site owners to add content without amending the markup—something a small business owner might struggle with. This is because each row in the grid was defined using a div as a container. Adding content meant creating new row markup, which requires a level of HTML knowledge.

    String premium was a mainstay of early flexible design, present in all the frequently used systems like Bootstrap and Skeleton.

    1 of 7
    2 of 7
    3 of 7
    4 of 7
    5 of 7
    6 of 7
    7 of 7

    Another difficulty arose as I moved from a design firm building websites for smaller- to medium-sized companies, to larger in-house teams where I worked across a collection of related sites. In those capacities, I began to work many more with washable parts.

    Our rely on multimedia queries resulted in parts that were tied to frequent window sizes. If the goal of part libraries is modify, then this is a real problem because you can just use these components if the devices you’re designing for correspond to the viewport sizes used in the pattern library—in the process never really hitting that “devices that don’t already occur” goal.

    Then there’s the problem of space. Media questions allow components to adapt based on the viewport size, but what if I put a component into a sidebar, like in the figure below?

    Container queries: our savior or a false dawn?

    Container queries have long been touted as an improvement upon media queries, but at the time of writing are unsupported in most browsers. Although there are JavaScript workarounds, they can lead to dependability and compatibility issues. The basic theory underlying container queries is that elements should change based on the size of their parent container and not the viewport width, as seen in the following illustrations.

    One of the biggest arguments in favor of container queries is that they help us create components or design patterns that are truly reusable because they can be picked up and placed anywhere in a layout. This is an important step in moving toward a form of component-based design that works at any size on any device.

    In other words, responsive layouts are to be replaced by responsive components.

    Container queries will help us move from designing pages that respond to the browser or device size to designing components that can be placed in a sidebar or in the main content, and respond accordingly.

    My issue is that layout is still used to determine when a design needs to adapt. This approach will always be restrictive, as we will still need pre-defined breakpoints. For this reason, my main question with container queries is, How would we decide when to change the CSS used by a component?

    The best place to make that choice is probably a component library that is disconnected from context and real content.

    As the diagrams below illustrate, we can use container queries to create designs for specific container widths, but what if I want to change the design based on the image size or ratio?

    In this example, the dimensions of the container are not what should dictate the design, rather, the image is.

    Without reliable cross-browser support, it’s difficult to say for certain whether container queries will succeed. Responsive component libraries would definitely evolve how we design and would improve the possibilities for reuse and design at scale. However, we might always need to modify these elements to fit our content.

    CSS is changing

    Whilst the container query debate rumbles on, there have been numerous advances in CSS that change the way we think about design. The days of fixed-width elements measured in pixels and floated div elements used to cobble layouts together are long gone, consigned to history along with table layouts. Flexbox and CSS Grid have revolutionized layouts for the web. We can now create elements that wrap onto new rows when they run out of space, not when the device changes.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, 450px); gap: 10px;}

    The repeat() function paired with auto-fit or auto-fill allows us to specify how much space each column should use while leaving it up to the browser to decide when to spill the columns onto a new line. Similar things can be achieved with Flexbox, as elements can wrap over multiple rows and “flex” to fill available space. 

    .wrapper { display: flex; flex-wrap: wrap; justify-content: space-between;}.child { flex-basis: 32%; margin-bottom: 20px;}

    The biggest benefit of all of this is that you don’t need to wrap any containers in rows. Without rows, content isn’t tied to page markup in quite the same way, allowing for removals or additions of content without additional development.

    This is a big step forward when it comes to creating designs that allow for evolving content, but the real game changer for flexible designs is CSS Subgrid.

    Remember the days of crafting perfectly aligned interfaces, only for the customer to add an unbelievably long header almost as soon as they’re given CMS access, like the illustration below?

    Subgrid allows elements to respond to adjustments in their own content and in the content of sibling elements, helping us create designs more resilient to change.

    .wrapper { display: grid; grid-template-columns: repeat(auto-fit, minmax(150px, 1fr)); grid-template-rows: auto 1fr auto; gap: 10px;}.sub-grid { display: grid; grid-row: span 3; grid-template-rows: subgrid; /* sets rows to parent grid */}

    CSS Grid allows us to separate layout and content, thereby enabling flexible designs. Meanwhile, Subgrid allows us to create designs that can adapt in order to suit morphing content. The above code can be implemented behind an @supports feature query even though Firefox is the only browser that supports subgrid at the time of writing.

    Intrinsic layouts

    I’d be remiss not to mention intrinsic layouts, a term used by Jen Simmons to describe a mix of contemporary and traditional CSS features used to create layouts that respond to available space.

    Responsive layouts have flexible columns using percentages. Intrinsic layouts, on the other hand, use the fr unit to create flexible columns that won’t ever shrink so much that they render the content illegible.

    frunits is a statement that says,” I want you to distribute the extra space in this way, but never make it smaller than the content that is inside.”

    —Jen Simmons,” Designing Intrinsic Layouts”

    Intrinsic layouts can also make use of a mix of fixed and flexible units, letting the content choose how much space it occupies.

    What makes intrinsic design stand out is that it not only creates designs that can withstand future devices but also helps scale design without losing flexibility. Without having the same breakpoints or the same amount of content as in the previous implementation, components and patterns can be lifted and reused.

    We can now create designs that adapt to the space they have, the content within them, and the content around them. We can create responsive components without relying on container queries using an intrinsic approach.

    Another 2010 moment?

    This intrinsic approach should in my view be every bit as groundbreaking as responsive web design was ten years ago. It’s another “everything changed” moment for me.

    But it doesn’t seem to be moving quite as fast, I haven’t yet had that same career-changing moment I had with responsive design, despite the widely shared and brilliant talk that brought it to my attention.

    One possible explanation for that is that I now work for a sizable company, which is quite different from the role I held as a design agency in 2010! In my agency days, every new project was a clean slate, a chance to try something new. Nowadays, projects use existing tools and frameworks and are often improvements to existing websites with an existing codebase.

    Another possibility is that I now feel more prepared for change. In 2010 I was new to design in general, the shift was frightening and required a lot of learning. Additionally, an intrinsic approach isn’t exactly new; it’s a different way to use existing skills and CSS knowledge.

    You can’t framework your way out of a content problem

    Another reason for the slightly slower adoption of intrinsic design could be the lack of quick-fix framework solutions available to kick-start the change.

    Ten years ago, responsive grid systems were everywhere. With a framework like Bootstrap or Skeleton, you had a responsive design template at your fingertips.

    Because having a selection of units is a hindrance when creating layout templates, intrinsic design and frameworks do not work together quite as well. The beauty of intrinsic design is combining different units and experimenting with techniques to get the best for your content.

    And then there are design tools. We probably all used Photoshop templates for desktop, tablet, and mobile devices to drop designs into and show how the site would appear throughout our careers at some point.

    How do you do that now, with each component responding to content and layouts flexing as and when they need to? Personally, I’m a big fan of this kind of design in the browser.

    The debate about “whether designers should code” is another that has rumbled on for years. When designing a digital product, we should, at the very least, design for a best- and worst-case scenario when it comes to content. It’s not ideal to implement this in a graphics-based software package. In code, we can add longer sentences, more radio buttons, and extra tabs, and watch in real time as the design adapts. Does it continue to function? Is the design too reliant on the current content?

    Personally, I look forward to the day intrinsic design is the standard for design, when a design component can be truly flexible and adapt to both its space and content with no reliance on device or container dimensions.

    Content should come first

    Content is not constant. After all, to design for the unanticipated or unexpected, we must take into account changes in content, like in our earlier Subgrid card illustration, which allowed the cards to modify both their own content and that of their sibling components.

    Thankfully, there’s more to CSS than layout, and plenty of properties and values can help us put content first. Subgrid and pseudo-elements like ::first-line and ::first-letter help to separate design from markup so we can create designs that allow for changes.

    Instead of dated markup tricks like this —

    First line of text with different styling...

    —we can target content based on where it appears.

    .element::first-line { font-size: 1.4em;}.element::first-letter { color: red;}

    Much bigger additions to CSS include logical properties, which change the way we construct designs using logical dimensions (start and end) instead of physical ones (left and right), something CSS Grid also does with functions like min(), max(), and clamp().

    This flexibility allows for directional changes according to content, a common requirement when we need to present content in multiple languages. In the past, this was often achieved with Sass mixins but was often limited to switching from left-to-right to right-to-left orientation.

    Directional variables must be set in the Sass version.

    $direction: rtl;$opposite-direction: ltr;$start-direction: right;$end-direction: left;

    These variables can be used as values—

    body { direction: $direction; text-align: $start-direction;}

    —or as real estate.

    margin-#{$end-direction}: 10px;padding-#{$start-direction}: 10px;

    However, now we have native logical properties, removing the reliance on both Sass ( or a similar tool ) and pre-planning that necessitated using variables throughout a codebase. These properties also start to break apart the tight coupling between a design and strict physical dimensions, creating more flexibility for changes in language and in direction.

    margin-block-end: 10px;padding-block-start: 10px;

    There are also native start and end values for properties like text-align, which means we can replace text-align: right with text-align: start.

    Like the earlier examples, these properties help to build out designs that aren’t constrained to one language, the design will reflect the content’s needs.

    Fluid and fixed

    We briefly covered the power of combining fixed widths with fluid widths with intrinsic layouts. The min() and max() functions are a similar concept, allowing you to specify a fixed value with a flexible alternative. 

    For min() this means setting a fluid minimum value and a maximum fixed value.

    .element { width: min(50%, 300px);}

    The element in the figure above will be 50 % of its container as long as the element’s width doesn’t exceed 300px.

    For max() we can set a flexible max value and a minimum fixed value.

    .element { width: max(50%, 300px);}

    Now the element will be 50 % of its container as long as the element’s width is at least 300px. This means we can set limits but allow content to react to the available space.

    The clamp() function builds on this by allowing us to set a preferred value with a third parameter. Now we can allow the element to shrink or grow if it needs to without getting to a point where it becomes unusable.

    .element { width: clamp(300px, 50%, 600px);}

    This time, the element’s width will be 50 % of its container’s preferred value, with no exceptions for 300px and 600px.

    With these techniques, we have a content-first approach to responsive design. We can separate content from markup, meaning the changes users make will not affect the design. By anticipating unforeseen language or direction changes, we can begin creating future-proofing designs. And we can increase flexibility by setting desired dimensions alongside flexible alternatives, allowing for more or less content to be displayed correctly.

    First, the situation

    Thanks to what we’ve discussed so far, we can cover device flexibility by changing our approach, designing around content and space instead of catering to devices. But what about that last bit of Jeffrey Zeldman’s quote,”… situations you haven’t imagined”?

    It’s a completely different design process for someone using a mobile phone and moving through a crowded street in glaring sunshine from a person using a desktop computer. Situations and environments are hard to plan for or predict because they change as people react to their own unique challenges and tasks.

    Choice is so crucial because of this. One size never fits all, so we need to design for multiple scenarios to create equal experiences for all our users.

    Thankfully, there is a lot we can do to provide choice.

    Responsible design

    ” There are parts of the world where mobile data is prohibitively expensive, and where there is little or no broadband infrastructure”.

    I Used the Web for a Day on a 50 MB Budget.”

    Chris Ashton

    One of the biggest assumptions we make is that people interacting with our designs have a good wifi connection and a wide screen monitor. However, our users may be commuters using smaller mobile devices that may experience disconnects in connectivity in the real world. There is nothing more frustrating than a web page that won’t load, but there are ways we can help users use less data or deal with sporadic connectivity.

    The srcset attribute allows the browser to decide which image to serve. This means we can create smaller ‘cropped’ images to display on mobile devices in turn using less bandwidth and less data.

    Image alt text

    The preload attribute can also help us to think about how and when media is downloaded. It can be used to tell a browser about any critical assets that need to be downloaded with high priority, improving perceived performance and the user experience. 

      

    There’s also native lazy loading, which indicates assets that should only be downloaded when they are needed.

    …

    With srcset, preload, and lazy loading, we can start to tailor a user’s experience based on the situation they find themselves in. What none of this does, however, is allow the user themselves to decide what they want downloaded, as the decision is usually the browser’s to make. 

    So how can we put users in control?

    The media queries are now being returned.

    Media questions have always been about much more than device sizes. They allow content to adapt to different situations, with screen size being just one of them.

    We’ve long been able to check for media types like print and speech and features such as hover, resolution, and color. These checks allow us to provide options that suit more than one scenario, it’s less about one-size-fits-all and more about serving adaptable content.

    The Media Queries Level 5 spec is still being developed as of this writing. It introduces some really exciting queries that in the future will help us design for multiple other unexpected situations.

    For instance, there is a light-level feature that enables you to alter a user’s style when they are in the sun or the darkness. Paired with custom properties, these features allow us to quickly create designs or themes for specific environments.

    @media (light-level: normal) { --background-color: #fff; --text-color: #0b0c0c; }@media (light-level: dim) { --background-color: #efd226; --text-color: #0b0c0c;}

    Another key feature of the Level 5 spec is personalization. Instead of creating designs that are the same for everyone, users can choose what works for them. This is achieved by using features like prefers-reduced-data, prefers-color-scheme, and prefers-reduced-motion, the latter two of which already enjoy broad browser support. These features tap into preferences set via the operating system or browser so people don’t have to spend time making each site they visit more usable. 

    Media questions like this go beyond choices made by a browser to grant more control to the user.

    Expect the unexpected

    In the end, we should always anticipate that things will change. Devices in particular change faster than we can keep up, with foldable screens already on the market.

    We can design for content, but we can’t do it the same way we have for this constantly changing landscape. By putting content first and allowing that content to adapt to whatever space surrounds it, we can create more robust, flexible designs that increase the longevity of our products.

    A lot of the CSS discussed here is about moving away from layouts and putting content at the heart of design. There is a lot more we can do to adopt a more intrinsic approach, from responsive components to fixed and fluid units. Even better, we can test these techniques during the design phase by designing in-browser and watching how our designs adapt in real-time.

    When it comes to unexpected circumstances, we need to make sure our goods are usable when people need them, whenever and wherever that may be. We can move closer to achieving this by involving users in our design decisions, by creating choice via browsers, and by giving control to our users with user-preference-based media queries.

    Good design for the unexpected should allow for change, provide choice, and give control to those we serve: our users themselves.

  • Voice Content and Usability

    Voice Content and Usability

    We’ve been conversing for a long time. Whether to present information, perform transactions, or just to check in on one another, people have yammered aside, chattering and gesticulating, through spoken discussion for many generations. Only recently have we begun to write our discussions, and only recently have we outsourced them to the system, a system that exhibits a significantly higher affection for written letter than for the vernacular rigors of spoken language.

    Laptops have trouble because between spoken and written speech, talk is more primitive. Machines must wrestle with the complexity of human statement, including the pauses and pauses, the gestures and brain speech, and the word selection and spoken dialect variations that can impede even the most skillfully crafted human-computer interaction. In the human-to-human situation, spoken language also has the opportunity of face-to-face call, where we can easily interpret visual interpersonal cues.

    In contrast, written language develops its own fossil record of dated terms and phrases as we report it and keep utilization long after they are no longer needed in spoken communication ( for example, the welcome” To whom it may concern” ). Because it tends to be more consistent, smooth, and proper, written word is necessarily far easier for devices to interpret and know.

    Spoken language lacks this luxury. Besides the nonverbal cues that decorate conversations with emphasis and emotional context, there are also verbal cues and vocal behaviors that modulate conversation in nuanced ways: how something is said, not what. Our spoken language reaches far beyond what the written word can ever deliver, whether it’s rapid-fire, low-pitched, high-decibel, sarcastic, stilted, or sighing. So when it comes to voice interfaces—the machines we conduct spoken conversations with—we face exciting challenges as designers and content strategists.

    Voice-to-text interactions

    We interact with voice interfaces for a variety of reasons, but according to Michael McTear, Zoraida Callejas, and David Griol in The Conversational Interface, those motivations by and large mirror the reasons we initiate conversations with other people, too ( ). We typically strike up a discussion by:

    • we need something done ( such as a transaction ),
    • we want to know something, or some kind of information, or
    • we are social beings and want someone to talk to ( conversation for conversation’s sake ).

    These three categories, which I refer to as transactional, informational, and prosocial, also apply to virtually every voice interaction: a single conversation that begins with the voice interface’s first greeting and ends with the user leaving the interface. Note here that a conversation in our human sense—a chat between people that leads to some result and lasts an arbitrary length of time—could encompass multiple transactional, informational, and prosocial voice interactions in succession. In other words, a voice interaction is a conversation, but it is not always just one voice interaction.

    Purely prosocial conversations are more gimmicky than captivating in most voice interfaces, because machines don’t yet have the capacity to really want to know how we’re doing and to do the sort of glad-handing humans crave. Additionally, there is a debate about whether users actually prefer organic human conversations that start with prosocial voiceovers and then seamlessly transition to other types. In fact, in Voice User Interface Design, Michael Cohen, James Giangola, and Jennifer Balogh recommend sticking to users ‘ expectations by mimicking how they interact with other voice interfaces rather than trying too hard to be human—potentially alienating them in the process ( ).

    A voice interface can also have two types of conversations we can have with one another that are both transactional and informational, each learning something new ( “discuss a musical” ).

    Transactional voice interactions

    When you order a Hawaiian pizza with extra pineapple, you’re typically having a conversation and a voice interaction when you’re tapping buttons on a food delivery app. Even when we walk up to the counter and place an order, the conversation quickly pivots from an initial smattering of neighborly small talk to the real mission at hand: ordering a pizza ( generously topped with pineapple, as it should be ).

    Alison: Hey, how are things going?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison: Can I get a pizza from Hawaii with extra pineapple.

    Burhan: Sure, what size?

    Alison: Big.

    Burhan: Anything else?

    Alison: No, that’s it.

    Burhan: Something to drink?

    Alison, I’ll have a bottle of Coke.

    Burhan: You got it. It will cost about$ 15 and take fifteen minutes to complete.

    Each progressive disclosure in this transactional conversation reveals more and more of the desired outcome of the transaction: a service rendered or a product delivered. Conversations that are transactional have certain characteristics: they are direct, precise, and cost-effective. They quickly dispense with pleasantries.

    Informational voice interactions

    Meanwhile, some conversations are primarily about obtaining information. Alison might visit Crust Deluxe with the sole intention of placing an order, but she might not want to leave with a pizza at all. She might be just as interested in whether they serve halal or kosher dishes, gluten-free options, or something else. Even though we have a prosocial mini-conversation once more at the beginning to practice politeness, we are after much more.

    Alison: Hey, how are things going?

    Burhan: Hi, welcome to Crust Deluxe! It’s chilly outside. How can I help you?

    Alison: Can I ask a few questions?

    Burhan: Of course! Go right ahead.

    Alison, do you have any menu items that are halal?

    Burhan: Absolutely! On request, we can make any pie halal. We also have lots of vegetarian, ovo-lacto, and vegan options. Are you considering any additional dietary restrictions?

    Alison: What about gluten-free pizzas?

    Burhan: For both our deep-dish and thin-crust pizzas, we can definitely make a gluten-free crust for you, without a problem. Anything else I can answer for you?

    Alison: That’s it for the moment. Good to know. Thank you!

    Burhan: Anytime, come back soon!

    This dialogue is entirely different. Here, the goal is to get a certain set of facts. Informational conversations are research expeditions to gather data, news, or facts, or they are investigative quests for the truth. Voice interactions that are informational might be more long-winded than transactional conversations by necessity. Responses are typically longer, more in-depth, and carefully communicated so that the customer is aware of the important lessons.

    Voice Interfaces

    Voice interfaces essentially use speech to assist users in accomplishing their objectives. But simply because an interface has a voice component doesn’t mean that every user interaction with it is mediated through voice. We’re most concerned in this book with pure voice interfaces because multimodal voice interfaces can lean on visual components like screens as crutches, which are completely dependent on spoken conversation and lack any visual component, making them much more nuanced and challenging to deal with.

    Though voice interfaces have long been integral to the imagined future of humanity in science fiction, only recently have those lofty visions become fully realized in genuine voice interfaces.

    IVR ( interactive voice response ) systems

    Though written conversational interfaces have been fixtures of computing for many decades, voice interfaces first emerged in the early 1990s with text-to-speech ( TTS ) dictation programs that recited written text aloud, as well as speech-enabled in-car systems that gave directions to a user-provided address. We became familiar with the first real voice interfaces that could actually be spoken with the help of interactive voice response ( IVR ) systems, which were developed as an alternative to overburdened customer service representatives.

    IVR systems allowed organizations to reduce their reliance on call centers but soon became notorious for their clunkiness. Similar to the corporate world, these systems were primarily created as metaphorical switchboards to direct customers to a real phone agent (” Say Reservations to book a flight or check an itinerary” ), and chances are you’ll have a conversation with one when you call an airline or hotel conglomerate. Despite their functional issues and users ‘ frustration with their inability to speak to an actual human right away, IVR systems proliferated in the early 1990s across a variety of industries (, PDF).

    IVR systems have a reputation for having less scintillating conversation than we’re used to in real life ( or even in science fiction ), but they are great for highly repetitive, monotonous conversations that typically don’t veer from a single format.

    Screen readers

    The screen reader, a program that converts visual information into synthesized speech, was a development that accompanied the development of IVR systems. For Blind or visually impaired website users, it’s the predominant method of interacting with text, multimedia, or form elements. Perhaps the closest thing we have today to an out-of-the-box delivery of content via voice is represented by screen readers.

    Among the first screen readers known by that moniker was the Screen Reader for the BBC Micro and NEEC Portable developed by the Research Centre for the Education of the Visually Handicapped (RCEVH) at the University of Birmingham in 1986 ( ). The first IBM Screen Reader for text-based computers was created by Jim Thatcher in the same year, which was later recreated for computers with graphical user interfaces ( GUIs ) ( ).

    With the rapid growth of the web in the 1990s, the demand for accessible tools for websites exploded. Screen readers started facilitating quick interactions with web pages that ostensibly allow disabled users to traverse the page as an aural and temporal space rather than a visual and physical one with the introduction of semantic HTML and especially ARIA roles in 2008, enabling speedy interactions with the pages. In other words, screen readers for the web “provide mechanisms that translate visual design constructs—proximity, proportion, etc. in A List Apart, writes Aaron Gustafson, “into useful information.” ” At least they do when documents are authored thoughtfully” ( ).

    There’s a big deal with screen readers: they’re difficult to use and relentlessly verbose, despite being incredibly instructive for voice interface designers. The visual structures of websites and web navigation don’t translate well to screen readers, sometimes resulting in unwieldy pronouncements that name every manipulable HTML element and announce every formatting change. Working with web-based interfaces takes a cognitive toll for many screen reader users.

    In Wired, accessibility advocate and voice engineer Chris Maury considers why the screen reader experience is ill-suited to users relying on voice:

    I hated the way Screen Readers operated from the beginning. Why are they designed the way they are? It makes no sense to present information visually and then only to have that information translated into audio. All of the time and energy that goes into creating the perfect user experience for an app is wasted, or even worse, adversely impacting the experience for blind users. __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

    In many cases, well-designed voice interfaces can speed users to their destination better than long-winded screen reader monologues. After all, users of the visual interface have the advantage of freely scurrying around the viewport to find information without worrying about it. Blind users, meanwhile, are obligated to listen to every utterance synthesized into speech and therefore prize brevity and efficiency. Users with disabilities who have long had no choice but to use clumsy screen readers might benefit from more streamlined user interfaces, especially more advanced voice assistants.

    Voice assistants

    Many of us immediately associate voice assistants with the popular subset of voice interfaces found in living rooms, smart homes, and offices with the film A Space Odyssey or with Majel Barrett’s voice as the omniscient computer from Star Trek. Voice assistants are akin to personal concierges that can answer questions, schedule appointments, conduct searches, and perform other common day-to-day tasks. And they’re quickly gaining more attention from accessibility advocates for their assistive potential.

    Before the earliest IVR systems found success in the enterprise, Apple published a demonstration video in 1987 depicting the Knowledge Navigator, a voice assistant that could transcribe spoken words and recognize human speech to a great degree of accuracy. Then, in 2001, Tim Berners-Lee and others created their vision for a” semantic web agent” that would carry out routine tasks like” checking calendars, making appointments, and finding locations” ( hinter paywall ). It wasn’t until 2011 that Apple’s Siri finally entered the picture, making voice assistants a tangible reality for consumers.

    There is a significant variation in how programmable and customizable some voice assistants are compared to others due to the sheer number of voice assistants available today ( Fig. 1 ). At one extreme, everything except vendor-provided features is locked down, for example, at the time of their release, the core functionality of Apple’s Siri and Microsoft’s Cortana couldn’t be extended beyond their existing capabilities. There are no other means by which developers can interact with Siri at a low level, aside from predefined categories of tasks like sending messages, hailing rideshares, making restaurant reservations, and other things, which are still unavoidable today.

    At the opposite end of the spectrum, voice assistants like Amazon Alexa and Google Home offer a core foundation on which developers can build custom voice interfaces. For this reason, developers who feel stifled by the limitations of Siri and Cortana are increasingly using programmable voice assistants that allow for customization and extensibility. Amazon offers the Alexa Skills Kit, a developer framework for building custom voice interfaces for Amazon Alexa, while Google Home offers the ability to program arbitrary Google Assistant skills. Users can choose from among the thousands of custom-built skills available today in the Google Assistant and Amazon Alexa ecosystems.

    As businesses like Amazon, Apple, Microsoft, and Google continue to dominate their markets, they are also selling and open-sourcing an unmatched range of tools and frameworks for designers and developers, aiming to make creating voice interfaces as simple as possible, even without the use of any code.

    Often by necessity, voice assistants like Amazon Alexa tend to be monochannel—they’re tightly coupled to a device and can’t be accessed on a computer or smartphone instead. In contrast, many development platforms, such as Google’s Dialogflow, have omnichannel capabilities that allow users to create a single conversational interface that then manifests as a voice interface, textual chatbot, and IVR system upon deployment. I don’t prescribe any specific implementation approaches in this design-focused book, but in Chapter 4 we’ll get into some of the implications these variables might have on the way you build out your design artifacts.

    Voice content

    Simply put, voice content is content delivered through voice. Voice content must be free-flowing and organic, contextless and concise—everything written content isn’t enough to preserve what makes human conversation so compelling in the first place.

    Our world is replete with voice content in various forms: screen readers reciting website content, voice assistants rattling off a weather forecast, and automated phone hotline responses governed by IVR systems. We’re most concerned with the content in this book being delivered auditorically, not as an option but as a necessity.

    For many of us, our first foray into informational voice interfaces will be to deliver content to users. There is only one issue: any content we already have isn’t in any way suitable for this new environment. So how do we make the content trapped on our websites more conversational? And how do we create fresh copy that works with voice-recognition?

    Lately, we’ve begun slicing and dicing our content in unprecedented ways. Websites are, in many ways, massive vaults of what I call macrocontent: lengthy prose that can last for miles in a browser window while extending like microfilm viewers of newspaper archives. Back in 2002, well before the present-day ubiquity of voice assistants, technologist Anil Dash defined microcontent as permalinked pieces of content that stay legible regardless of environment, such as email or text messages:

    An example of microcontent can be a day’s weather forecast [sic], an airplane flight’s arrival and departure times, an abstract from a lengthy publication, or a single instant message. __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

    I would update Dash’s definition of microcontent to include all instances of bite-sized content that transcends written communiqués. After all, today we encounter microcontent in interfaces where a small snippet of copy is displayed alone, unmoored from the browser, like a textbot confirmation of a restaurant reservation. The best way to learn how to stretch your content to the limits of its potential is through microcontent, which will inform both established and new delivery methods.

    As microcontent, voice content is unique because it’s an example of how content is experienced in time rather than in space. We can instantly see when the next train is coming from a digital sign underground, but voice interfaces keep our attention captive for so long that we can’t quickly evade or skip, a feature that screen reader users are all too familiar with.

    Because microcontent is fundamentally made up of isolated blobs with no relation to the channels where they’ll eventually end up, we need to ensure that our microcontent truly performs well as voice content—and that means focusing on the two most important traits of robust voice content: voice content legibility and voice content discoverability.

    Our voice content’s legibility and discoverability in general both depend on how it manifests in terms of perceived space and time.