Category: Stream of Consciousness

Shooting Yourself in the Hoof

2012-08-20, 10:47 pm
Categories: Games, Movies, Stream of Consciousness, TV

You know how a single ill-considered comment can overshadow absolutely everything else you say in an interview?

Well, if you've read the news today you can probably think of a pretty good case-in-point, but that's not what I'm here to talk about today.

Last Thursday I went to a Rifftrax presentation of Manos: The Hands of Fate, which ended with a fan video entitled Take It Easy, Torgo Style which I duly posted here.

The fellow in the video is Rupert Talbot Munch, who runs the site torgolives.com and who is working on an honest-to-God sequel to Manos, featuring as much of the original cast, and their families, as he could find.

The other night I poked around his (turn-of-the-century throwback red-on-black Flash) site and, after a series of dead-end "Coming Soon" links that directed me back to the main page with its autoplay music, eventually ran across a link to a Fangoria interview with Munch.

Now, Munch seems like a neat dude. Clearly he's an über fan; he's got a good costume, a sense of humor, and has shown legitimate dedication in getting the band back together and getting this sequel made. Plus a documentary. Plus...well, this is where everything goes wrong.

And if that wasn't enough, Munch and co. have been busy spiffing up MANOS: THE HANDS OF FATE for high definition. "We, the people who represent the original cast and all things MANOS, have been working on the HD restoration for over 14 months," he says. "Recently, some kid who found a print of MANOS at an auction is trying to cash in with the same idea. Myself and Joe Warren do not acknowledge, recognize, or approve of what this kid is doing. In the end, we just ask that the fans hold onto their money and wait for our version. It will include tons of never-before-seen footage, plenty of extras, cast and crew commentary, interviews...plus surprises. And the proceeds will go back to Joe Warren and the MANOS faithful."

Now -- possibly due to how legitimately difficult it is to find the link to this article from the torgolives site -- there are only 5 comments at the bottom of the article. And four of them are eight months old and the fifth is from me. But I do think it's telling that four of them (including mine) are negative responses to that one little paragraph out of the entire article.

Let's back up a bit. The "kid" he's talking about is Ben Solovey, and the restoration project he's talking about is Manos in HD.

Solovey, as Munch notes, got his hands on a work print of Manos and decided to restore it; he wrote about the experience.

Here is a truly independent horror film from the 60′s, a contemporary of 1962′s Carnival of Souls and 1968′s Night of the Living Dead. The main difference being, of course, that those movies came from career filmmakers Herk Harvey and George Romero, who had already made commercials and industrials and knew how a set should be run. Hal Warren, director of Manos, did not have that sort of experience and the deck was truly stacked against him.

[...]

If you yourself have ever been involved in an independent movie, Manos becomes somewhat poignant as you see evidence of the problems that have arisen and have been worked around or willfully ignored. [...] It's all very relatable stuff. And because this is a movie where the artifices of filmmaking are constantly crumbling and being rebuilt, a little shakier every time, it holds a certain fascination to film buffs that places it above worse and more boring films (which there are no shortage of, then or now). Simply put, it's memorable.

[...]

So rather than have Manos fade away as a footnote with only a cruddy video transfer to remember it by, I've resolved to make it a personal project to restore it.

[...]

In addition to making a digital restoration of Manos of sufficient quality to produce a new print or digital projection files, I will be creating a limited run Blu-ray and making the restoration available for repertory screenings. While it remains to be seen if this film is for anything but a niche market, I also feel that if I don't restore it no one else will.

Film restoration is something that too often falls by the wayside in troubled economic times. Though it's doubtful I will change anyone's minds about Manos, I would like to send a message that every film, regardless of the place it holds in movie history, deserves a fair shot to be maintained and presented in the best way possible.

Now does that sound to you like "some kid trying to cash in"?

Because, okay, first of all? If a guy were looking for a get-rich-quick scheme, and he told you he had a plan to release Manos: The Hands of Fate on Blu-Ray...well, look, that's a pretty fucking terrible get-rich-quick scheme, is what I'm getting at.

Yes, Solovey wound up exceeding his Kickstarter goal by some $38,000 -- but he had no idea that was going to happen when he bought the print. Even with the extra money, it's not clear if he's turned a profit or simply put that money back into making the project better than he had originally planned.

Point is, this sounds a lot more like a labor of love, born of a genuine desire to preserve a historical curiosity. And Munch kinda just pissed all over it.

And here's the thing: Manos has a pretty fucking small fanbase. If "fanbase" is even the right word. There is a whole hell of a lot of overlap between Munch's audience and Solovey's audience.

And I can relate to Munch realizing this and being upset -- to him, Solovey is unwelcome, unexpected competition, and threatens not just his bottom line but the exposure of a project that, to him, Joe Warren, and the rest, is also a labor of love.

But dude, one fan dumping on another fan? Very bad form. And incredibly off-putting to the fellow fans who you are trying to convince to buy your product instead of his.

So Mr. Munch, if you're reading this? (Not implausible, really; I'm often surprised by what kind of searches pull this site up.) Here's how I think you should handle it:

"We are aware of Ben Solovey's unofficial restoration project; he is not affiliated with myself, Joe Warren, or the Search for Valley Lodge team. We wish him the best but believe our restored version will be the superior product, as we have access to a higher-quality print, a larger restoration team, and many of the original cast and crew members."

Something like that. Make your case, explain why you think people should buy your version instead of his -- by all means! Nothing wrong with some friendly competition! But don't insult the guy. Don't mock his skill or his motives.

And I also get that Joe Warren may have a sense of ownership over his father's film. That's totally understandable! But the thing is, he doesn't own Manos. Manos belongs to all of us -- and that's not in some fanboy "Star Wars belongs to all of us" sense; Manos is public domain and legally belongs to all of us.

Somebody besides you and Warren wants to restore Manos? He has every right to. Somebody else wants to adapt it as a Zelda 2-style iPhone game? Totally acceptable too. And -- not to put too fine a point on it -- some guys from Minnesota want to put it on a show where a couple of puppets make sarcastic remarks about it? Yeah, that's legal too.

And so while, again, it's totally understandable if Warren has a sense of ownership toward the property, and is miffed when somebody else exploits its public-domain status without his family's blessing -- well, if somebody hadn't exploited its public-domain status without his family's blessing, we wouldn't be having this conversation. If Manos hadn't entered into the public domain and wound up in a box of movies that eventually made their way to Frank Conniff and MST3K, there would be no Manos sequel, no Manos restoration, no Manos documentary -- because nobody would know what the fuck Manos was.

All of this may seem a little harsh, but really, if you ever read this, Mr. Munch, I'd like to repeat that you seem like a cool guy, I love what you're doing, and I look forward to seeing your finished work. I just think you've made a pretty unfortunate misstep on this -- unfortunate enough that it overshadows all the cool stuff you talk about in that interview -- and in the future I'd advise a couple of things:

  1. Remember that Ben Solovey is a fan just like you and me, and just like you and unlike me he has put a whole lot of blood, sweat, and tears into making something lasting out of this silly-ass movie.
  2. And dude, seriously, do something about that website.

It-Girl and the Atomics #1

2012-08-17, 6:21 am
Categories: Books, Comics, Games, Stream of Consciousness

Haven't picked up this week's comics; still going through the last two weeks' worth.

It-Girl and the Atomics is a mixed bag, but I think I'll be sticking around.

The trouble, I think, is that Allred fans are spoiled. Mike Allred's lines and Laura Allred's colors feel inseparable from their work -- to the point that I was actually disappointed when Darwyn Cooke would do a fill-in on X-Statix! Darwyn Cooke! And I don't even remember Paul Pope doing one! (I am older and wiser now and one of these days should really get all those old issues out, read through them, and give Cooke and Pope the respect they deserve.)

So this is a Madman spinoff that doesn't have Madman in it and -- the cover aside -- is not written, drawn, or inked by Doc, or colored by Laura. Instead, we've got Jamie Rich writing, Mike Norton on art, and Allen Passalaqua on colors. And, well, it's not Allred but it's not bad.

First, to the art. Norton does a pretty solid job -- I'm not familiar with his previous work, and his best bits make me feel like he's referencing Amanda Conner or Jaime Hernandez (and Dr. Flem bears a certain resemblance to Dr. Venture), but you know, if he's copying then he's picked damn fine people to copy, and if he isn't, then it's still a pretty favorable comparison. Plus he seems to know how to draw women with different body types, which is unfortunately a rarity in superhero comics.

And, in this age of muddy digital inking, it bears adding that Norton's inks look really good.

To the writing, well, some of it's really good and some of it's mediocre, but none of it's bad. The real highlight is the dilemma faced by the Skunk, the small-time supervillain who killed It-Girl's sister. This being a superhero comic, she got better -- so his conviction's been overturned and he's out of prison, but the experience scared him straight and he's doing his best to walk the straight and narrow.

So, a couple of great things about that setup: first of all, "criminal tries to reform but finds it's not so easy" is a classic premise for a story; it's an easy conflict to relate to and gives you an underdog to root for. And second, it's a pleasing bit of metacommentary on the nature of superhero comics -- and fits right in to the oddball world Allred has crafted in Snap City.

So that's the high point. The low point is probably a segment early on where It-Girl is playing an online game and, interrupted, complains that she has to save her settings or someone will steal the shoes she just got.

Jamie, that is not how online games work. That doesn't even make sense.

But, you know, that's my biggest gripe about this issue, and that's small potatoes. Really I think the comic is pretty good, and I expect I'll be back for the next one.

Special bonus comics thought: Godzilla: The Half-Century War: Oh, IDW, you had me at "James Stokoe". But you're telling me this is actually Marvels in the Godzilla universe?! This is the best "something I didn't even know I wanted" revelation since Charles Stross crossed James Bond with HP Lovecraft with Office Space.

A Frank Frazetta of Frank Zappa

2012-08-16, 10:30 pm
Categories: Movies, Music, Stream of Consciousness, TV

Image: Portrait of the Master
Image courtesy of manosinhd.com

Caught the Rifftrax of Manos: The Hands of Fate this evening. It was great fun; all new riffs, plus two fun new shorts.

Also, it closed with this:

Back to the subject of Zappa: Zappa, because he appreciated things that were awesome, was an MST3K fan. Purportedly he once described the experience of watching the show and suddenly hearing a reference to himself as "unsettling". (Unfortunately I can't seem to find the interview where I originally read that at the moment...)

Closer Closer

2012-08-15, 7:31 pm
Categories: Stream of Consciousness, TV

So The Closer ended this past Monday, sort of.

Really it's kinda funny how the entire season built up an arc that could have explained Brenda leaving, and yet the finale felt forced, rushed, and last-minute. Hey, let's resolve the one remaining loose thread and usher her out the door!

The biggest problem with the episode, really, was that it required a villain previously depicted as a criminal mastermind to turn into a complete fucking moron at the last minute. One character even points out, in dialogue, that his actions in this episode don't match the MO established in his previous appearances. This is never resolved, nor explained even a little bit, but I guess it's nice the writers acknowledged the part where it didn't really make any fucking sense based on what had come before.

And then the goodbye felt awfully abrupt. It didn't feel much like an ending at all.

Because it wasn't, really, because it led straight into Major Crimes, which the writers and network have taken great pains to establish is the same show with a new title.

It's not a jumping-on point. It continues directly from the Closer finale, picks up threads from the previous season, and even has Fritz wandering around the office talking to Brenda on the phone and picking up her things for her.

Really, it's a smart move -- a jumping-on point is also a jumping-off point, and TNT made the right decision in trying to reassure its existing viewers that this was still the same show instead of trying to make it appealing to a new audience that may or may not actually exist to tune in on a Monday night in the middle of August.

And if they had given Brenda a big sendoff, well...how many people quit watching The Office after Michael left? I know I didn't watch the last season of Scrubs because My Finale was such a great damn note to end it on.

So Brenda's shown the door, roll credits, show the new titles in the same old font, and life goes on. A fairly savvy bit of television-making, really.

Comics!

2012-08-14, 8:18 pm
Categories: Comics, Stream of Consciousness

Here are some of the comics I picked up last week that I liked. (They may not all be last week's comics; I'm kind of on an every-two-weeks cycle right now.)

iZombie #28 -- a satisfying ending, on the whole; it's rushed and all gets a little Allred-y in the end, but it works.

I've liked how the book has gradually moved toward a world where Portland is just this kinda weird, offbeat place where all the monster-people are just one more minority group, and somewhere where they're just regular dudes and are accepted. It's like X-Men without the angst. I'd certainly be interested in seeing Roberson and Allred revisit this series some day -- wonder what it takes for the rights to revert.

Action Comics #12 -- So wait, did this issue just start out like that, or was there a lead-in last issue that I completely forgot?

This is Morrison in full-on sprint-to-the-finish mode, like his last arc on New X-Men. He's throwing out interesting ideas a mile a minute and then abandoning them just as quickly.

This issue resolves the "Clark Kent is dead and Superman has a new secret identity" arc, which was an interesting idea I think he could have spent a bit more time on. The resolution -- well, there is no resolution to a "Clark Kent is dead" plot that isn't some sort of copout; honestly I kinda like that Morrison just ran with it and went for the biggest copout he possibly could. (I have mixed feelings on the landlady -- I kinda wish she'd just stayed as some eccentric old lady.)

Best part of the issue, though: Superman reading every medical textbook in the library and then performing surgery. Always fun to see him use his powers in an unusual way.

Batman #12 -- I don't know if there's anything in this world I love more than a done-in-one man-on-the-street story. This just so happens to be a done-in-one woman-on-the-street story drawn by Becky Cloonan and Andy Clarke.

If I have a criticism, it's that there are two penciler credits at all -- Batman is currently a four-dollar, 28-page book; typically that's one 20-page story and an 8-page backup, but this issue it's one continuous story that just switches artists (and, apparently, writers, though that's less obvious) on page 22. Now, both artists are great! But the transition is jarring. It feels like someone failed to hit a deadline and they had to bring in a backup artist -- that's not what actually happened, but it's what it feels like.

So, points off for a kinda weird presentation decision, but aside from that, a damn fine book.

Rasl #15 -- Welp, it's an ending. I'm curious how the whole thing will read together as a complete work, but as it is it wound up being kinda like Planetary in that its publishing schedule was so far apart that I couldn't remember what was going on by the time a new issue rolled out. To that end, I guess the significant portion this issue spends on Rasl sitting in a car explaining the plot to Uma is helpful.

It looks damned good -- Smith remains possibly the best cartoonist of his generation --, and there are some satisfying developments and twists on the way to the end. But I still feel like this is a series that sorta went off the rails after the first few issues. Again, maybe reading it straight through will leave me feeling differently about it.

Not bad as an ending, though.

Some Fucking Bullshit

2012-08-13, 7:55 pm
Categories: Stream of Consciousness, Work

So last Thursday I mailed a package. New hire; needed to be there next-day. But it was in Phoenix, so I chose express shipping. Because, you know, it takes less than a day to drive a package 9 miles.

Today I find out it hasn't arrived yet, so I pull up tracking. And I see this goddamn fucking bullshit:

Package Not Due for Delivery

The package is sitting in a fucking warehouse for three days, because I did not pay extra for next-day delivery. This is a thing that FedEx does now.

They've got the package. They've got it all set to put it on a truck and take it to its destination. But if you don't pay for next-day delivery, they won't deliver it next-day, no matter how short a distance it's going.

I guess what I'm saying is, support your local post office.

Xboxin', Part 2

2012-08-08, 8:32 pm
Categories: Games, Stream of Consciousness

The Witcher 2: Assassins of Kings -- My favorite game of 2011, though the Xbox version just came out a few months ago and is still pricey. (I saw it on sale for $30 recently; maybe you can find a deal.)

Now, the first game is PC-only, and in fact the whole thing is based on a series of Polish fantasy novels that were only recently published in English. But you don't really need to know all that stuff. Here are the important bits of the backstory:

It's a medieval fantasy setting, of the dystopian sort that's currently vogue. Think Game of Thrones, only even more bleak.

Witchers are mutants who fight monsters. They're all male, they have yellow eyes, age slowly, are immune to disease, can cast a few simple spells, and use various potions to enhance their senses.

Our Hero, Geralt of Rivia, is supposed to be dead, but for some reason he's not. He's got amnesia (and if you're playing an RPG cliché drinking game, drink up) and has recently been caught in the middle of a race war in the city of Vizima. A terrorist organization of elves and dwarves called the Scoia'tel invaded, a Knights Templar-like religious organization called the Order of the Flaming Rose seized control of the city, and ultimately the King of Vizima showed up and managed to regain control. The first game ends with Geralt foiling an assassination attempt on the King, only to discover that the would-be assassin has yellow eyes.

The PC version originally had a steep-ass learning curve (as Penny Arcade put it, "It's not that hard. You just have to use abilities they won't discuss and techniques they haven't entirely taught you via controls they never quite explain.") but I hear the Xbox version fixes that and has a tutorial section that doesn't just throw you in the deep end.

Sonic Generations: The first good Sonic game in a decade. There's a plot involving time travel that causes 2011 Sonic to team up with 1991 Sonic; you play through new versions of levels from previous games (Green Hill from Sonic 1, Chemical Plant from Sonic 2, etc.), and each is split into one 2D level you play as '91 Sonic and one 3D level you play as '11 Sonic. The conceit works really wonderfully; the levels are well-designed, full of nostalgia, and have some good remixes of the old music; there's not much to the plot but it's pretty funny (particularly when 1991 Robotnik meets his future self).

Sonic CD: And speaking of 1990's-vintage Sonic games, they've ported this one to the Xbox as a downloadable title. (BTW, a friend of mine advised me never to buy Microsoft Points directly from Microsoft; they store your credit card online, tie it to a Windows Live/Hotmail/Whatever account, and if one of their affiliate sites gets broken into there goes your credit card information. You're better off buying a Microsoft Points card at GameStop or wherever and then entering it into your Xbox.) A few tweaks here: the game works in 16:9, they've changed the spin-dash to work the way it does in Sonic 2 instead of the original clunky version, you can choose either the Japanese or American version of the soundtrack, and after you beat the game you can replay as Tails.

(I think they've got a bunch of other old Genesis Sonic games for download, but they haven't been updated in any way.)

Real Alternatives

2012-08-08, 4:52 pm
Categories: E-Mail, Politics, Stream of Consciousness, Tech

To: NPR's All Things Considered

On this afternoon's All Things Considered, you referred to the computer-illiterate, failed copyright bills SOPA and PIPA, and spoke with economist Steve Siwek. You noted, "Although both bills seem to be on permanent hold, Siwek says their critics have offered no real alternatives." You did not challenge this assertion.

A Google search for the phrase "alternative to sopa" produces 41,100 results. A Google search for the phrase "real alternative to sopa" produces 4,930.

These proposed alternatives range from simple -- focus on the biggest infringers -- to the more radical -- completely overhaul copyright law to provide shorter copyright terms and broader exceptions for fair use.

Indeed, there is a proposed alternative to SOPA and PIPA working its way through Congress right now; it's called the OPEN Act.

To put it bluntly, it is impossible that Siwek is unaware of these proposals. When he says no one has offered any alternative to SOPA and PIPA, he is lying.

Xboxin', Part 1

2012-08-07, 9:49 pm
Categories: Games, Stream of Consciousness

Welp, couldn't think of an entry to write this evening, and I got to thinking -- my brother just got an Xbox (rather like I did), and I was meaning to recommend some games to him. So hey, howzabout a blog post about my favorite Xbox games.

(Actually, I've mostly played the PC versions of these. Because, again -- just got the Xbox.)

Mass Effect -- I haven't played 3 yet, but the first two games are, straight up, my favorite games of the current hardware generation. It's the guys who made Knights of the Old Republic, but it's a new science fiction setting they've cooked up. Humans have begun exploring space and are treated as second-class citizens by the Galactic Council; your character is the first human to be selected for an elite special-ops position. Of course, as these things go, you uncover a threat to all of galactic civilization.

The first game's a not-quite-perfect hybrid of third-person shooter and RPG; it's got a wonky inventory system but is pretty great aside from that. The second game streamlines out all the crap and is more of a pure shooter; on the whole I'd say it's a better game but the first has the better story. I haven't played the third yet; from what I've read it's pretty good but the ending is so bad the company actually released a new ending at fans' insistence.

Batman: Arkham Asylum -- When this game came out it got the Guinness Record for the best-reviewed game of all time. It's easy to see why. It's got a script by Paul Dini and stars Kevin Conroy and Mark Hamill. The gameplay is just perfect, and the enemy AI is a great touch; a lot of the fighting is focused on the idea of sneaking around and slowly picking off thugs one-by-one. (You can even hang upside-down from a gargoyle, wait until a guy walks underneath you, and drop down and tie him up.) As you take thugs out the remaining ones get more and more agitated and have different reactions; some start firing randomly into the air, others start traveling in pairs -- the AI's not exactly brilliant but it's a really nice touch. And that's before the game even starts messing with your expectations, playing with what you expect out of the world of Batman and even the mechanics of the game itself.

The sequel, Arkham City, is supposed to be pretty fantastic too, but I haven't gotten around to that one yet.

Guess that'll do for a start. Other stuff for later: Dragon Age, The Witcher 2, Sonic Generations, Sonic CD. And, hell, Ghostbusters. Because it may be mediocre as a game, but as a Ghostbusters sequel, it's pretty great.

Too soon!

2012-08-06, 7:16 pm
Categories: Comics, Politics, Stream of Consciousness

There's a sentiment I've seen in the CBR comments section a couple of times recently: this "How dare you try and tie this to a political agenda?" faux-outrage.

Now, there are lots of times when it's inappropriate to bring up controversial political subjects. Particularly when there's a recent tragedy in the news and you're sensationalizing it. Like, for example, after the V-Tech massacre, when soon-to-be-disbarred fuckface Jack Thompson tried to blame the killings on Counterstrike, a game which the shooter did not play.

Some things are completely inappropriate in the wake of a tragedy. Like flailing around trying to blame it on Doom or Marilyn Manson or Dungeons and Dragons. Or jumping all over a quote from some guy on the opposite end of the country about what the killer supposedly said. Or grabbing whatever Batman comic your film critic has on his desk, thumbing through it until you see a scene that takes place in the theater, and wildly speculating that the killer was imitating it. Or plastering the killer's name and stupid fucking face all over TV and the Internet to make good and sure that every crazy asshole out there knows that hey kids, if you wanna be on TV, all you have to do is murder a bunch of people. Or typing his name into Google and falsely conflating him with a Tea Party member. Or having an honest dialogue about the ease of access to high-powered weapons and high-capacity clips in this country, and the sorry state of our mental health system.

Wait, what was that last one?

The subject came up again in a discussion of the recent news that comics writer and inker Karl Kesel recently adopted a baby with a methadone addiction and is selling his comic collection to pay for the child's medical bills.

Now, it goes without saying that this is a feel-good story, that Kesel and his wife Myrna are clearly legitimately wonderful human beings, and that they're doing something great that really matters.

But if you can read a story like that and not, even for a moment, think "They shouldn't have to do that" then you and I are very different people.

Nothing but respect to the Kesels, and I certainly speak only for myself and not for them. But it strikes me that there are a lot of people out there with sick kids who don't have tens of thousands of dollars in investments, and that getting slapped with tens of thousands in bills -- even if you've got insurance! -- is a sign of a broken healthcare system.

Seems to me that stories like that are perfect opportunities to have a conversation about healthcare -- but somebody brought it up and immediately got shushed by another commenter's righteous indignation: "How dare you politicize this?"

(In fairness, the guy who brought it up was kind of an ass about it.)

Seems to me that, when presented with a story that's a clear, directly-pertinent object example of some important sociopolitical issue, it's probably a good time to talk about that issue!

I mean, should we just wait until there are no stories about gun violence or healthcare debt to talk about gun access and healthcare costs? Don't make much sense if you ask me.