Why is it escapee?
Shouldn't it be escaper?
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If You Can Read This, You Can Read This
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If You Can Read This, You Can Read This
Hi, I'm Thad. I build websites.
This blog's been up in one form or another since 1999. In that time I've written about topics ranging from comic books to video games to copyright law to creators' rights to Frank Zappa.
I also write eBooks and narrate audiobooks. Here's where you can find them:
For tonight's Moment of Zappa, I have found a surreal Hungarian cartoon titled Beasts, set to G-Spot Tornado and Cletus Awreetus-Awrightus.
It's probably NSFW -- not just because there are some nude figures who look more like the work of Picasso than actual human beings, but because both the video and audio are precisely the kind of weirdness that will attract unwanted attention if someone notices you watching it. (But there aren't actually any words, so no nasty Zappa lyrics to worry about, anyway.)
The copyright date is 1993, so Frank presumably got to see the completed work before he passed. Which is great, because this is exactly the kind of crazy shit he really enjoyed. He was involved in some offbeat American animation too, of course -- fans will remember his cameo on Ren & Stimpy as the Pope, and that he wrote the theme song for Duckman (hmm -- you know, I think one of these days I'll have to post that as a "Great Opening Titles" and "Moment of Zappa").
I love Cletus; it's one of my favorite Zappa pieces. It's precisely what he was talking about when he famously (and rhetorically) asked, "Does humor belong in music?" Because he didn't just mean funny lyrics -- he meant funny sounds. Everything from the tempo to the instrumentation is expert comedy; it's a funny, funny song -- and it doesn't have a single word.
I found the Beasts video looking to see if there were any good videos of Zappa Plays Zappa performing Cletus live (I saw it in concert a few years ago; Dweezil introduced it by noting that to the best of his knowledge Frank never performed it live). I didn't find any, but I found something totally unexpected instead -- somehow I doubt this is the last time that will happen on one of my searches for Zappa material.
So here's a thought: looking at great opening title sequences for TV shows.
Let's start with an obvious one: last year's Emmy winner, Game of Thrones.
(This video is from the official GoT YouTube account, so it's probably region-locked, but it's also probably not going to get pulled for copyright infringement.)
So okay. What's great about it?
Well, first of all, it serves a purpose. A Song of Ice and Fire is one of those incredibly complex and convoluted fantasy series where it's hard to keep track of just what the hell is going on at any given time; reading the books, I find myself perpetually flipping to the map.
So how do you deal with that in a TV show? You show the map, at the beginning of every single episode. And actually change what parts of the map you show, to match the locations where this week's episode takes place.
It also stresses another of the central themes of the series: the idea of distance, of the vast expanses between all the characters you're seeing, the isolation of Daenerys out in Qarth or Jon Snow north of the Wall. The series itself initially focuses on a comparatively small area of the world, and the characters and their narratives drift farther and farther apart as it goes.
Technically, it's beautiful; the CG and clockpunk styles combine to make for a sort of pleasing set of anachronisms, so that you know what your'e seeing doesn't literally fit the setting of the show. You've got the symbolic rising of kingdoms, towns, and castles, with the heralds of the major families. And the theme song -- I don't think I've stopped humming it since April, 2011.
Simpsons did a fantastic parody of it recently, too; I can't find a good copy of that that's embeddable, but they have it over at io9. (Does not appear to be playable in Firefox on Ubuntu. Booooo.)
If you want to read more, Art of the Title has a great interview with Angus Wall, creative director of Elastic, the company that made the sequence (and also the animated Deathly Hallows sequence in the second-to-last Harry Potter movie).
And we've got a couple discussion threads over at the forums: Game of Thrones: The TV Show, where, as the name implies, we discuss the TV show (expect untagged spoilers for all of season 1 and much of season 2 at this point, and tagged spoilers for both seasons and the books), and Song of Ice and Fire: The Books: Massive Spoilers & Rampant Speculation, which, as the name implies, is nothing but huge spoilers and speculation and which I advise you not to read unless you've read all five books and don't mind people talking about as-yet-unrevealed things like who Jon Snow's mother is.
In the previous post, I mentioned two shows: Mad Men and the new Thundercats.
Mad Men is one of the most successful and critically acclaimed shows on TV, by a network that has at least two more of them and has become synonymous with drama on cable TV.
It's also availble on Netflix Streaming. Despite some missteps in the past year, I believe that Netflix represents the future of TV distribution. Eight bucks a month for access to a huge library of movies and TV shows new, old, and, in the case of the upcoming season of Arrested Development, original.
Thundercats is available online too. You can go to cartoonnetwork.com, click on Full Episodes, and get this charming little notification:
FULL EPISODES... AWESOME!
Watch the newest episodes of all your favorite shows. Get your parents to fill in their cable info and you're good to go.
That's right: you can watch Thundercats online...if you already have a cable subscription!
And there are three whole episodes available: today's, the one from three weeks ago, and the one from four weeks ago!
So all you have to do is pay seventy dollars a month, and you, too, can get access to a seemingly completely fucking random selection of episodes from all your favorite shows online! Plus you get to pay for Fox News and the Christian Broadcasting Network, whether you want them or not! AWESOME!
Cable TV as we know it will not exist in 20 years. Good fucking riddance.
It's interesting, the kind of small but glaring errors that take you out of something.
Mad Men has an absolutely fantastic crop of writers, editors, directors, and actors -- so it's jarring when not one of them notices that, say, "1960, I am so over you" is a phrase that no human being has ever uttered. It's one thing to use a 1963 Bob Dylan song as background music in an episode set in 1960; it's another to actually have a character use slang that would be out-of-place in a show set in 1990.
A less severe but still amusing flub: in last week's Thundercats, a character said he had worked his math out to "the thousandth decimal point". I think I can see the error in his calculation: he used more than one decimal point.
Also: I changed the name of the "toons" category to "cartoons", because this is not Who Framed Roger Rabbit? The only reason I used the shortened form of the word in the first damn place was for a set of link banners I made back in 2000 that only one guy ever actually used.
And continuing with Zappa and Kirby, here's...Zappa and Kirby!
This one made the rounds back in aught-nine, after an article by Jeff Newelt at Royal Flush Magazine, who caught up with Ahmet Zappa to ask him about it.
The son of a gregarious rock star, Ahmet grew up meeting every celebrity musician under the sun. But it wasn't a rocker who gave Ahmet that first feeling of being around greatness. "I was not starstruck at all by rock stars because music is its own language and my father spoke it, so we spoke it," Ahmet explains matter-of-factly. "This totally demystified the fame or the celebrity. There was no currency for 'oooh, that guy sold a million records, we just cared about good music. One of the most significant moments in my life is when my dad said, 'meet Jack, he's the guy who created all those superheroes you love.' That blew my little mind. I thought it was awesome and weird that my dad had this friendship with this guy. It was like meeting like a real magician!"
[...]
"I remember Jack confided in Frank that he felt like the stories he created helped shape the Star Wars saga, that he saw direct parallels between his characters and the movie's story arcs."
Of all rock stars in the world, Zappa, famously an outspoken champion of free speech and artist's rights, was the ultimate sympathetic ear.
"He told my dad stuff like, 'Darth Vader was Doctor Doom and the Force is the Source' and that George Lucas ripped him off. Now this you may not know, and I was only a kid, but I remember learning at the dinner table that my dad was asked to write the music for Star Wars; he turned it down, he said he wasn't interested. That would've been really strange, the lives of us Star Wars fans woulda taken a different turn and that whole score woulda sounded like Tatooine Cantina music."
Give the article a read; it's also got a neat Rick Veitch illustration of Zappa as a Kirby-style superhero complete with outlandish headgear. Which is also available as a T-shirt at World of Strange!
News out of the Comics Internet today is that Laura Hudson is stepping down as EIC of ComicsAlliance. It's one of those things where the headline shocked me but the story actually left me feeling it's a good thing -- Laura described the frustration of having to maintain a website instead of just being able to write.
I've been grousing about that very thing on this blog -- and this blog is tiny, has one writer, no comments section, and nobody looking over my shoulder to make sure I don't use the word "fuck".
So, Laura Hudson not worrying about site admin crap and, instead, focusing on writing more articles? Yes please.
Because the woman writes a damn fine article.
Last September, she set the Comics Internet aflame with a post titled The Big Sexy Problem with Superheroines and Their 'Liberated Sexuality'. She wasn't the first person to point out sexism in mainstream American superhero comics, obviously. Nor was she the first to point out that it was a barrier for entry in DC's "New 52", ostensibly an attempt to attract new and lapsed readers.
But her piece was clear, heartfelt, and became something of a rallying cry, the first of many on CA, and linked frequently in other articles on other sites.
She's more patient than I am.
Somebody tries to tell me there's no sexism in American superhero comics, I'm less likely to deliver a point-by-point set of examples and how they make me feel, and more inclined to look incredulous and say "Are you fucking kidding me?"
I don't think people should have to write pieces like that. I think every example, every explanation, that Laura gets into in that piece is blisteringly obvious and self-evident.
But obviously there are people who just don't get it. For many of them, their instinct when confronted with such a piece is to get defensive, or to deny, or just to spew a bunch of crazy misogynistic crap in the comments section. I swear that the CA comments section got permanently stupider after that post. (And people are still writing terrible comments on that single post, nine months later -- you're probably better off not scrolling down to the bottom.)
But I think some people do listen. I think some people do take a look at what they're doing and look for ways to fix it. Just the other week Greg Rucka wrote a great post at io9 discussing superhero misogyny and how to fix it (basically: you want to write a well-rounded female character, talk to some women). The discussion is ongoing -- and with Hudson back writing articles, I like to think she'll keep the heat on.
I think it's a little optimistic to say that Big Sexy Problem could be the most important thing written on the subject since Gail Simone's Women in Refrigerators list -- but I really think it has the potential to be.
Course, she's more than welcome to just post cat pictures from here on out, too. She's earned it.
And she writes a mighty fine Mark Millar Valentine.
Yesterday I started off my day with a Frank Zappa quote.
And you know what? I think more Frank Zappa is just what this site needs.
Here's Frank performing Watermelon in Easter Hay; if the comments on the video are correct, it's in Barcelona in 1988.
It's not one of his better-known songs, but I think it's just gorgeous -- it reminds me of what Douglas Adams said about Wonko the Sane:
But his smile when he turned it on you was quite remarkable. It seemed to be composed of all the worst things that life can do to you, but which when he briefly reassembled them in that particular order on his face made you suddenly feel "Oh. Well, that's all right then."
Particularly in its context in Joe's Garage -- it's the last song in the rock opera (it's followed by A Little Green Rosetta, but that's after the story ends and the band drops character) and it's the end, the song about letting go and saying goodbye and knowing that you're going to lose something but making the very best of the short time you have left with it.
Music is the best.
You know what would be great?
A version of Super Mario World that added all the cool shit from the Advance version (different physics for Luigi, randomly-colored Yoshis throughout the game) without any of the bullshit (voices, completely game-breaking extra point of damage).
Wonder if there's a hack out there.
So you know what I just watched?
Well, it says "X-Files" up there, so yeah, you probably do.
My fiancée is out of town and I am bacheloring it up. This is rather less exciting than it sounds; as it turns out most of my friends my age are busy raising kids and said they'd get back to me about going out for beers sometime.
So I've largely been sitting at home playing Nintendo and watching Netflix.
You know, Thursday.
Anyway. I watched X-Files pretty religiously from probably about '96 to '98. I missed most of the early stuff and most of the late stuff. I saw enough to know that when it was on it was on, and when it was off...it got pretty bad.
Tonight I fired up the pilot. And while a lot of shows don't quite click in the pilot, this is definitely one of the "on" episodes. Right out the gate, the show is smartly written, beautifully directed, and convincingly acted. (Yes, even Duchovny. Guy only ever plays one part, but that part is Fox Mulder.)
And they look so young.
There's an immediate charm to it -- and I think part of it is in the tiny budget. There's something that's always fascinated me about watching people try to make something on a shoestring -- Evil Dead, Doctor Who, MST3K (which, incidentally, is the show I stopped watching X-Files for; it was moved into the same Sunday night timeslot in its last season or two). Even terrible stuff -- like, say, most of the movies they actually showed on MST3K -- there's a charm to the trying, to the heart of it all. I said recently that I'd rather watch a cheap, terrible movie like Manos: Hands of Fate than an expensive, mediocre one like...well, anything by Michael Bay -- and I stand by that.
But X-Files, at its best, was something that did great with a tiny budget.
Indeed, I think it was the Emmys, the movie, the relocation to LA, that led to the show beginning to dip in quality.
But even then, even during the Doggett and Reyes era -- when it was on, it was on. (Hell, I may be the only guy who thought the '08 movie had some charm -- course, it helped that I looked at it as just another episode instead of an attempt at a triumphant return.)
Anyhow, the whole series is up on Netflix.
There are lots worse ways to spend an hour...