A Bugs Life _TOP_
One day, a courageous but clumsy inventor ant named Flik inadvertently destroys the food offering with his grain harvester. Hopper discovers this, and demands twice as much food as compensation. When Flik earnestly suggests the ants enlist the help of bigger bugs to fight the grasshoppers, Atta sees it as a way to get rid of Flik and sends him off.
A Bugs Life
Flik travels to "the city", a heap of trash under a trailer. Happening upon the aftermath of a chaotic bar fight, Flik mistakes a troupe of jobless Circus Bugs for the warrior bugs he seeks. The bugs, in turn, mistake Flik for a talent agent, and agree to travel with him back to Ant Island. During a welcome ceremony upon their arrival, the Circus Bugs and Flik discover their mutual misunderstandings. The Circus Bugs attempt to leave, but are pursued by a nearby bird; while fleeing, they rescue Atta's younger sister Dot from the bird, gaining the ants' respect. At Flik's request, the Circus Bugs continue the ruse of being "warriors", thus enabling them to continue enjoying the ants' hospitality. Learning that Hopper fears birds inspires Flik to create a false bird to scare away the grasshoppers. Meanwhile, Hopper reminds his gang of the ants' superior numbers, warning them the ants will rebel if not kept in line.
After the Circus Bugs distract the grasshoppers long enough to rescue the Queen, Flik deploys the bird. It initially fools the grasshoppers, but P.T., who is also fooled, sets the bird on fire. Realizing the deception, Hopper has Flik publicly beaten to teach the ants a lesson, proclaiming that the ants are lowly life forms who live to serve the grasshoppers. Flik asserts that Hopper actually fears the colony, because he has always known what they are capable of. This inspires the ants and the Circus Bugs to fight back against the grasshoppers, driving all but Hopper away.
Stanton took one of the early circus bug characters, Red the red ant, and changed him into the character Flik. The Circus Bugs, no longer out to cheat the colony, would be embroiled in a comic misunderstanding as to why Flik was recruiting them. Lasseter agreed with this new approach, and comedy writers Donald McEnery and Bob Shaw spent a few months working on further polishing with Stanton. The characters "Tuck and Roll" were inspired by a drawing that Stanton did of two bugs fighting when he was in the second grade. Lasseter had come to envision the film as an epic in the tradition of David Lean's 1962 film Lawrence of Arabia.
The transition from treatment to storyboards took on an extra layer of complexity due to the profusion of storylines. Where Toy Story focused heavily on Woody and Buzz, with the other toys serving mostly as sidekicks, A Bug's Life required in-depth storytelling for several major groups of characters. Character design also presented a new challenge, in that the designers had to make ants appear likable. Although the animators and the art department studied insects more closely, natural realism would give way to the film's larger needs. The team took out mandibles and designed the ants to stand upright, replacing their normal six legs with two arms and two legs. The grasshoppers, in contrast, received a pair of extra appendages to appear less attractive. The story's scale also required software engineers to accommodate new demands. Among these was the need to handle shots with crowds of ants. The film would include more than 400 such shots in the ant colony, some with as many as 800. It was impractical for animators to control them individually, but neither could the ants remain static for even a moment without appearing lifeless, or move identically. Bill Reeves, one of the film's two supervising technical directors, dealt with the quandary by leading the development of software for autonomous ants. The animators would only animate four or five groups of about eight individual "universal ants". Each one of these "universal ants" would later be randomly distributed throughout the digital set. The program also allowed each ant to be automatically modified in subtle ways (e.g. different color of eye or skin, different heights, different weights, etc.). This ensured that no two ants were the same. It was partly based on Reeves's invention of particle systems a decade and a half earlier, which had let animators use masses of self-guided particles to create effects like swirling dust and snow.
Richard Corliss of Time magazine wrote, "The plot matures handsomely; the characters neatly converge and combust; the gags pay off with emotional resonance." Owen Gleiberman of Entertainment Weekly gave the film a B, saying "A Bug's Life may be the single most amazing film I've ever seen that I couldn't fall in love with." Paul Clinton of CNN wrote, "A Bug's Life is a perfect movie for the holidays. It contains a great upbeat message ... it's wonderful to look at ... it's wildly inventive ... and it's entertaining for both adults and kids." Michael Wilmington of the Chicago Tribune gave the film three and a half stars out of four, and compared the movie to "Akira Kurosawa's Seven Samurai (with a little of another art-film legend, Federico Fellini, tossed in)." where "As in Samurai, the colony here is plagued every year by the arrival of bandits." On the contrary, Stephen Hunter of The Washington Post wrote, "Clever as it is, the film lacks charm. One problem: too many bugs. Second, bigger world for two purposes: to feed birds and to irk humans."
In A BUG'S LIFE, when Flik inadvertently loses the food tribute set out by the ants for the predatory grasshoppers, he must find a way to protect his community. In the spirit of The Magnificent Seven, he goes off in search of warrior bugs to fight the grasshoppers. He mistakenly hires a group of unsuccessful vaudevillians from (of course) a flea circus, who think they are being booked for a performance and have no idea he expects them to fight. But they turn out to have just the right stuff to help the ants fight the grasshoppers after all, and Flick gets to prove that he is a hero at heart.
You'll need to see this delightful movie twice to appreciate the scope of its visual wit and technological mastery. Oddly enough, this wasn't the only computer-animated movie about bugs to come out in the fall of 1998; Antz was released just a month before, and the difference between the two animated bug movies is exemplified by their lead characters. Antz has Z, voiced by Woody Allen as -- well -- Woody Allen, angst-ridden, in analysis, searching for individual identity in a world of conformity. A Bug's Life has NewsRadio's Dave Foley providing his voice as Flik, an All-American ant-next-door type who is inventive, brave, and loyal.
Families can talk about the insect world in A Bug's Life. How many bugs can you name? How do bugs communicate in real life? Why do you think ants and bees live in such big colonies? How do they benefit the earth?
Gameplay The game, very much like the movie, follows the adventures of a likeable ant named Flik as he sets out to defend his threatened ant hill from a band of savage grasshoppers. In the film, the magic of Disney is in full effect, conveying a life-like sub-world that is every bit as real and gigantic as our own. Unfortunately, this sensation does not carry over into the polygonal 3D worlds of the videogame. Rather, everything follows a set-path and is, by comparison to other 3D platformers, very confined.
Sound The music in the game is bright, cheery and very A Bug's Life-esque. Upbeat tunes and happy flute-like chords do a nice job of adding atmoshphere. Flik is armed with an equally silly arsenal of berry splats and friendly calls from fellow bugs, as well as remarks from enemies. Everything sounds as one might expect it would, though it would have been nice if Traveller's Tales had utilized Factor 5's MORT sound compression technology for higher quality, licensed music from the film.
On behalf of "oppressed bugs everywhere," an inventive ant named Flik hires a troupe of warrior bugs to defend his bustling colony from a horde of freeloading grasshoppers led by the evil-minded Hopper.
Watching this as a kid and seeing my eyebrow situation reflected back to me in those Ukrainian pill bugs was one of the first times in my life I felt self conscious about my body. Little did I know what puberty had in store for me; the stick bug was waiting in the wings holding a baseball bat.
MUSIC:Randy Newman scores his second Pixar feature, and it's honestly one of the few outstanding aspects of the film. There's the main theme of the colony, a main theme for the circus bugs, and the main theme for Flick, all established clearly. I've had the score stuck in my head all day! The one thing I did not like was the bad Randy Newman song at the end of the film. It was lame and forgettable. I don't have much more to say about this other than I liked the score, but the movie itself is bottom tier Pixar.
The granuloma is the defining feature of the host response to infection with Mycobacterium tuberculosis (Mtb). Despite knowing of its existence for centuries, much remains unclear regarding the host and bacterial factors that contribute to granuloma formation, heterogeneity of presentation, and the forces at play within. Mtb is highly adapted to life within the granuloma and employs many unique strategies to both create a niche within the host as well as survive the stresses imposed upon it. Adding to the complexity of the granuloma is the vast range of pathology observed, often within the same individual. Here, we explore some of the many ways in which Mtb crafts the immune response to its liking and builds a variety of granuloma features that contribute to its survival. We also consider the multitude of ways that Mtb is adapted to life in the granuloma and how variability in the deployment of these strategies may result in different fates for both the bacterium and the host. It is through better understanding of these complex interactions that we may begin to strategize novel approaches for tuberculosis treatments. 041b061a72