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thecomicsnexus · 6 years

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A serious house on serious earth

ARKHAM ASYLUM: A SERIOUS HOUSE ON SERIOUS EARTH DECEMBER 1989 BY GRANT MORRISON, DAVE MCKEAN AND GASPAR SALADINO

SYNOPSIS (FROM DC WIKIA)

Back in the 1920s, Amadeus Arkham witnessed his mother's descend to madness and as an adult, he became the architect and first administrator of Arkham Asylum, a mental institution dedicated to help the criminally insane and prevent them from being taken into the regular penal system. Arkham renovated the family manor into the asylum following his subsequent inheritance of the property after his mother commited suicide.

In the present, on April 1, Commissioner Gordon informs Batman that the patients of Arkham Asylum have taken over the building, and will murder the staff unless Batman agrees to meet with them. Among the hostages are a young woman named Pearl, who works in the kitchens; the current Administrator, Dr. Cavendish; and Dr. Ruth Adams, a therapist. The patients are led by Black Mask and Joker, who kills a guard to spur Batman to obey his wishes. Two-Face, meanwhile, has degenerated even further into madness as a result of Adams' well-intentioned therapy; she replaced his trademark coin with a 6-sided die, and then with a tarot deck of cards rendering him incapable of making simple decisions such as going to the bathroom.

Batman is forced into a game of hide and seek, and told he has one hour to make his way through the maze-like corridors and find a way out before his old foes are sent to find him. Batman fights his way through Arkham and his own subconscious, fighting some of his most dreaded enemies until he reaches a secret room high in the towers of the asylum - a room left unchanged from the days when the property served as Amadeus Arkham's childhood home.

Inside, Dr. Cavendish is dressed in a bridal gown and holding a straight razor to Dr. Adams' throat. He is revealed to have been the one to orchestrate the riot. When questioned by Batman, he prompts him to read a passage marked out in Amadeus Arkham's secret diary.

The hidden room turns out to have been Elizabeth Arkham's bedchamber. For many years she suffered delusions that she was being tormented by a supernatural creature, and would call to her son to protect her. However, Amadeus had suppressed a memory when one day, he finally saw the monster that tormented her - a great bat, a spectre of death. Subconsciously, he had chosen to block the truth of the events, but in the dairy, it is clearly explained how he used a pearl-handled straight razor from his pocket to cut his mother's throat and free her from her suffering. He then blocked out the memory and attributed her death to suicide. Years later, his wife and daughter were murdered by one of his former patients, a serial killer named Martin "Mad Dog" Hawkins. The tragedy brings back the memory of killing his mother and a traumatized Amadeus puts on his mother's wedding dress and takes out the pearl-handled razor. Kneeling in the blood of his family he vows to bind the evil spirit of "The Bat", which he believes inhabits the house, through ritual and sorcery. He continues his mission even after he is incarcerated in the Asylum himself; he scratches the words of the binding spell into the walls and floor of his cell with his fingernails until the day he dies.

Discovering Amadeus Arkham's journals, the razor and the dress, Cavendish begins to believe himself to be the one destined to continue Arkham's work. On April 1, the date Arkham's family was murdered, he lures Batman to the asylum. Believing Batman to be "The Bat" itself, Cavendish accuses him of feeding the evil of the house by bringing it more insane souls. Grappling with Batman, Cavendish drops the razor, and Adams picks it up. Reacting instinctively, she slashes it across Cavendish's throat, killing him.

Batman returns Two-Face's coin back from Dr. Adams, stating that it should be up to Two-Face to decide his fate. Two-Face then declares that if the coin lands scratched side up they kill Batman, otherwise they let him go. Two-Face flips the coin and declares Batman free. Batman leaves the Asylum and the inmates peacefully return to their cells, except for Two-Face, who looks at the moon and it is revealed that the coin landed scratched side up.

REVIEW

This is a very complicated book to review. It’s a Morrison!

Let’s go with my notes here, the very first thing we learn about the asylum is that you must be mad to be there. I think people in general are afraid of mental institutions because of this very thing. If you are there, who knows you are insane and who doesn’t? I think there is some kind of irrational thinking about being in asylums, that you might “catch it”.

In the first scene that Amadeus describes his mother, she was eating beetles, because the beetle represents rebirth, this means his mother already died and was “reborn”. It is later defined that being mad is being reborn in a world of magic, terror and symbolism. This will be the visual theme for the whole book (plus one other thing we will taker later).

These events happening in April’s Fools have a meaning inside the story, as Amadeus killed “Mad Dog” on April 1st. Many things happen around this date and it seems to be pretty much how we measure time. But Joker doesn’t know this. In this case we may think he is running the asylum, but it is doctor Cavendish that is planning everything. Although the Joker wants the Batman to stay where he belongs (since he is mad, he belongs in the asylum).

Amadeus starts talking about people in the glass, in reflections, it makes us think that he can hear voices or laughs through the glass. In the end he sees his mother (the madness in him, in his blood). I do think there is one more application for glasses (later). The important thing is, Amadeus felt “at home” after seeing the glass people. (at home = insane).

So what about those psychiatrists, if you are in this house you have to be mad. To be honest, doctor Ruth didn’t seem particularly sane in her methods, but I am pretty sure she is insane by the end of this story.

Amadeus has several foreshadows in his diary about the Joker or clowns. It is actually about japanese clown fishes. He later realizes they represent Pisces = symbol of trial and initiation = Death and rebirth. (Rebirth = becoming insane). It didn’t help that Amadeus met Aleister Crowley, and probably got even more obsessed with symbolism and dark magic.

So, at the heart of this story, Amadeus finds his wife and daughter killed by “Mad Dog”. While looking at the horrible scene, he starts looking for his daughter’s head, until he finds it in the doll house, looking back at him. I am not sure if this was intentional, but throughout the book, you will see that “panels” are usually very rectangular in shapes of windows, or similar to the windows outside the asylum. This makes me think that, because someone is looking at him through the windows of the doll house. We are seeing the story through windows. Now... which windows? The windows of the asylum (from outside the house)... or the windows of the doll house (inside the house)? In one case we are insane and in the other one we may not. (There is another detail about the outside world, however, we’ll cover it later).

Mad Hatter says “The apparent disorder of the universe is simply a higher order, an implicate order beyond our comprehension”, then we read “the asylum is a head that dreams us all into being”. You may think that perhaps we are making them crazy, if the head is us. But I leave this to you to decide.

“Arkham is a looking glass”. You can go through the looking glass if you are Alice, you can join the inmates.

In the end, what made Cavendish do all this, is reading Amadeus diary and finding out that it was a bat that tormented his mother. And that is why Amadeus put her out of her misery. So in his last year in the Asylum, managed to prepare a ritual to put an end to the bat.

Closing the story, Batman says that “sometimes it’s only madness that makes us what we are, or destiny”. This is actually true for the Joker in this story (depending on who you believe).

Now the twist of the story is that Batman’s fate is decided by the coin. When the coin turns scarred, Batman leaves the Asylum. Now, it should be the opposite, but a few panels before that, Batman tells the Joker “you are all free”. He is not exactly telling them to leave. They are free in the asylum, because the asylum is their home. So when they say goodbye to Batman, he goes to “the other asylum”, until he can no longer cope with the world, in which case he will be welcome at a serious house on serious earth.

I am pretty sure I missed a lot of symbolism and recurring imagery throughout the book. This book is a good one to have in both, print an digital. The art itself looks different on a screen (at the same time, you can zoom or add brightness in a screen).

This is a very disturbing story that happens to be Morrison’s first work for Batman. It’s a different point of view on what is being insane, on the Joker, and certainly on what role Batman has in this cycle of death and rebirth. Is Batman defined by madness? Is Batman tormenting the insane?

It’s one of those stories that do not have a definite review. You can keep on analyzing the thing and you will never finish.

Dave McKean works very well with his style here, but Gaspar Saladino, a veteran of the industry, should also get credit for his work on lettering each character in a different way.

By the way, the scene at the GCPD has no colors. The outside world has no colors. Because it’s not home. I still think Morrison just wants as to go mad.

I give this book a score of 10 and you should definitely read it at night, next to a candle and a mirror.

#dave mckean #gaspar saladino #arkham asylum #batman80 #batman #modern age #comics #review #1989 #joker #arkham

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twittercomfrnklin2001-blog · 2 years

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Dave Made a Maze

Shudder keeps sneaking in films that aren’t really horror, but it doesn’t matter because they’re so darned good. Bill Watterson’s DAVE MADE A MAZE (2017, also on Amazon Prime) is almost manically creative. It’s so filled with ideas, it’s not surprising that not all of them quite fit, but it’s such a giddy delight, you may be tempted to let it pass. Dave (Nick Thune) is a failure at 30. All his bright, creative ideas go nowhere, so he keeps begging for jobs he hates just to keep his head above water. While his girlfriend (Meera Rohit Kumbhani) is away for the weekend, he builds a cardboard fort that turns into a self-sustaining labyrinth complete with booby traps and bloodthirsty minotaur (pro wrestler John Hennigan, best known as John Morrison). When Kumbhani comes home, her efforts to get him out lead to a wild party that spills over into the maze with sometimes deadly effects. Among the interlopers are hangdog best friend Gordon (Adam Busch) and a documentary crew lead by the delightfully deadpan James Ubaniak. The proliferation of objects, or maybe just object, is reminiscent of Ionesco’s plays, but with the spirit of improv comedy. The various spaces are visual wonders. At one point Dave and some of his rescuers go through a series of tubes and come out as cardboard puppets. When a booby trap takes someone out, the wound gushes red paper. There’s a tribute to CITIZEN KANE (1941) that starts funny but wears out its welcome, but for the rest it’s just a garden of cardboard delights. To Watterson and co-writer Sears’ credit, they avoid the pitfall of making Kumbhani the turd in the punchbowl. Though she’s clearly the sensible one in the relationship, you also can see why she stays with Dave. She keeps succumbing to the more charming aspects of the labyrinth, and the actress has a great, goofy smile that lights up the screen whenever she gets sucked into the fun of it all.

#strange movies

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cinematicquack · 3 years

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Film Project | Writing - New Outline

https://docs.google.com/document/d/1nW0XLV2t3e47iZpu1bkVBfyM-txwQNn-C2fE9UZBg-Y/edit?usp=sharing

After class on Monday, I was feeling pretty crap about my screenplay idea. I was confused about its direction and meaning. One of my main critiques was that one of my classmates didn’t get it was hoarding disorder and just thought the character was lazy. This comment stuck with me as this is not what i was trying to convey. I feel like I failed myself and the community of people who struggle with this disorder.

I ended up bumping into Jagoda and Peter Tuesday afternoon, both of whom helped calm me down from my panic over the screenplay. Peter suggested we walked around Edinburgh and chat about our ideas. We ended up walking for almost 4 hours :). It ended up being really helpful, I at first just rambled about all the things upsetting me at the moment, and Peter helped me rationalise it all. We then discussed my idea, trying to figure out the twist of this idea which would make it a lot more exciting to write (and to make it more obvious that this is about hoarding).

I realised that my original idea too rooted in reality, and specifically my own experience with hoarding. Yes, we did have the more surreal part of the story where they journey inside the hoard, but before that it was very realistic. Peter asked me to describe what hoarding felt like to me. It felt like something gripping me so hard that i bled, it would choke me when I tried to throw things away. I would become possessed when my sister tried to tidy my room, I would lash out and scream. It felt like I was a rotting corpse, and that the grime and rubbish I filled my room with is what I deserved.

I realised that hoarding was a monster that could possess me. This was the twist I came up with, to personify hoarding. I feel like by making this unseen illness a monster with agency, it could become more clear that this is hoarding. It takes elements of fantasy and horror which would allow this story to stil be true to my experience, but so wild and surreal that I could separate it from my experience enough that it was not so emotionally exhausting to write.

Peter suggested I draw the hoard monster as it would give people a visual to tie to my words. Here is that illustration:

I also created a moodboard of monsters or films which Peter and I discuss whilst we came up with the monster - that way, others could relate the monster to things they have seen before. We have No Face from Spirited Away, the house from Monster House, Coraline’s mother from Coraline. As well as a couple screeshots from Dave Made A Maze - which is a HUGE inspiration for my film.

I really like where I have gone with this idea! I found it much easier to write the outline this week, and I am excited to see where I take it.

Here is a photo of Peter in our study room on Wednesday, trying to plan out his own outline.

#filmproject #film project

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aion-rsa · 3 years

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Lucifer Season 5 Episode 12 Review – Daniel Espinoza: Naked and Afraid

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This Lucifer review contains spoilers.

Lucifer Season 5 Episode 12

“Sometimes it feels as if the entire universe is against me.”

I’m going to say up front that I honestly don’t know what to make of this episode, and from the opening scenes, something just feels off in this chapter of Lucifer. At the moment, no one fears the power of the celestials more than Daniel Espinoza, and remembering past history, it’s understandable why he feels this way. While the participants of Lucifer’s highly orchestrated charade may contend they did it for Dan, the truth revealed in “Daniel Espinoza: Naked and Afraid” is that most of them did it for themselves.

There’s no question that it’s long overdue for Dan to have an episode to himself, and even though “Daniel Espinoza: Naked and Afraid” provides a number of perfectly entertaining elements and moments, it seems to fall outside the more serious, introspective approach much of the season has presented thus far. While that’s not necessarily a bad thing, there’s something about the exaggerated theatrics particularly involving Dan’s former police colleague Luis Navarro (Wilmer Calderon) and the overstated organized crime stereotypes that leaves us wondering when someone’s going to break out with a tune from West Side Story.

About this time you’re probably thinking that “Lucifer’s a show that can still explore serious themes without taking itself too seriously,” and I agree with that sentiment one hundred percent. What bothers me most about this episode, and it’s the fault of the characters, not the writers, is that Daniel deserves so much more from those who claim to care about him. He’s terrified of the consequences his life choices will have on him in the afterlife, yet his supposed friends agree to an elaborate ruse that in the end makes him feel even worse about himself.

Apparently, there is no crime to investigate this time, and Dan is sent to retrieve a Los X gangbanger who’s been extradited back to Los Angeles. At the end of the story, Lucifer comments that Chloe needed to be left out of the loop since she’s a detective and would likely see through the entire escapade. Of course, Daniel’s a detective too, and though we understand that Lucifer looks for any opportunity to humiliate Dan, here, the situation becomes a bit more complicated.

“You would have had to know every single decision I would make,” Daniel concedes about his role in this theatrical farce, but it’s unclear whether Lucifer understands that his response not only pays the detective a compliment, but should somewhat assuage his fears about being sent to Hell once he dies. It’s true Lucifer doesn’t understand the depths of Daniel’s anguish, but Mazikeen and Amenadiel should. Still, Lucifer’s explanation that Dan’s perseverance and steadfast desire to always do the right thing are what make him so predictable also represent the qualities that generally keep individuals OUT of Hell.

Ordinarily, we might accuse the writers of engaging in emotional pandering, and while they do to a certain extent here, this approach works within the context of the pretense around which the episode is constructed. Maze offers to bring her Russian contacts to help Dan out of the jam in which he finds himself, but she can’t resist getting a dig in a la Lucifer. “Don’t screw up,” she warns him, and then to mock the desperate detective even further falsely admits “I’m only helping you because it’s you.” No, Maze, you’re helping yourself cope with your own feelings of inadequacy. After the big reveal at the end, this scene becomes even more meaningful when we consider Mazikeen’s willingness to abandon any shred of empathy she might possess. One moment she pleads with God to give her a soul, and the next she acts like the demon she claims to abhor.

Nevertheless, as we sift through the details of “Daniel Espinoza: Naked and Afraid,” one thing becomes exceedingly problematic – what Lucifer hopes to accomplish with his plan remains a mystery. Is this supposed to simply be an elaborate practical joke at Daniel’s expense, or in some twisted way remind Chloe’s ex that everyone’s actually on his side? Even before Lucifer reveals his true nature to Dan, the detective struggles to find meaning in his life, and after Charlotte’s death, he comes dangerously close to reaching rock bottom. Now, however, he has a more complete picture of the celestial realities which instead of providing clarity, confuses him all the more. As he explains to Luis when they first meet, learning the Devil and God are real “makes you worry more, not less.”

Taken within its totality, Lucifer’s master plan, while costing him a financial outlay in the nine figures, requires an attention to detail and precise execution that defies reality. Should Daniel have seen through this elaborate ruse and made better decisions along the way? Let’s look past the night of excessive drinking on the eve of his assignment to execute an extradition order and move right to the dead body he finds in his bed. He’s a detective who doesn’t really do much detecting here. Deliver a package of money to the Russian mafia? No problem. Oh wait, it’s not money, it’s a severed head. Except it’s not really. At what point should Dan’s detective spidey sense kick in and put a halt to all of this nonsense?

Lucifer Season 5 Episode 11 Review: Resting Devil Face

By Dave Vitagliano

Lucifer Season 5 Episode 10 Review: Bloody Celestial Karaoke Jam

By Dave Vitagliano

I suppose we could look at things from a different perspective and hone in on the showdown at Lux during which Los X, the Russian mob, and Dan’s improv crew engage in a well executed standoff that leaves everyone dead on the floor. Except they’re not. Okay fine. Maybe this is all an elaborate metaphor for the existential crisis Dan experiences amidst the apparent knowledge that God is fallible and nothing really matters. That said, once the gun battle begins and the sound drops out, “Vaya con Dios” embellishes an otherwise first rate action sequence. But does Dan “go with God?” Isn’t that what Dan should take away from this experience?

I have to admit that after the shooting stops and the smoke clears, I was momentarily taken aback by the apparent loss of two core characters. Again, I have to be honest; the mass resurrection feels like a bit of a cheat, and when we consider the unlikelihood that anything like this could even possibly be pulled off in real life, my thoughts go back to Lucifer’s intentions. He doesn’t intend to help Daniel, but rather humiliate him yet again, driving home the idea that Detective Douche is as incompetent as Lucifer wishes him to be. In retrospect, it might have worked to have the resurrection scene turn out to be Dan’s dying wish, and while it would be a shame to lose Kevin Alejandro’s likeable character, there’s something about this that just doesn’t sit right.

With all of that out in the open, this really is an enjoyable Lucifer episode. Once we learn the reality of Dan’s journey, the overplayed, amusing performances make much more sense and succeed within the unfamiliar context. With Chloe and Lucifer’s father noticeably absent from the story, Maze, Amenadiel, and Linda step up to fill in any narrative gaps. The unexpected nature of Linda’s punch to Dan’s jaw followed by the classic water in the face routine feels real at the time precisely because of their shared history within the LAPD family. It’s always strangely gratifying to see Amenadiel spread his commanding wings, and even though we don’t visually experience him carrying Dan back to LA, it’s still fun picturing the physical humor that inherently exists. And let’s not forget the gangbanger support group at the bicycle shop. Again, classic.

Lucifer’s issues with his family obviously occupy much of the narrative space in the overall Lucifer arc, but “Daniel Espinoza: Naked and Afraid” powerfully exposes the fears and insecurities of the Everyman. There’s a certain complexity here that drives the episode, and as critics, perhaps we try to be too clever at times. So I’m just going to sit back with the knowledge that I was clearly entertained by this chapter in the story and pleased that we’ll still have Dan in the picture. And that’s enough.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Lucifer season 5 is available to stream on Netflix now.

The post Lucifer Season 5 Episode 12 Review – Daniel Espinoza: Naked and Afraid appeared first on Den of Geek.

from Den of Geek https://ift.tt/3yO2ozm

#aion-rsa #Den of Geek

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nora-reads-homestuck · 8 years

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"Fan" Album, old archived posts by Hussie, some videos, and two actual Fanworks!

(SkaiaMechanic) Another Fanfest Post! What Nora responded to here was actually done back in December. However, various parts were incomplete (for reasons you’ll see) so this just sat around in the Google Doc for months. It’s getting to a point where it’s just clogging up the shared document, so I’m posting what’s here and will make additional posts based on the rest of the content when/if she gets to them. Enjoy!

brrrrrrrrd submitted to nora-reads-homestuck:

Visual art has never really been my thing, and other people have been far better at sharing pre-Act 6 art than I could be, but I can submit a few things you may have missed. They’re all somewhat dubiously labeled “fanwork” being that most of them made by either members of the music team or Hussie himself, but I don’t know of any better time to post them.

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Before we get into the meat of this post, there is one more “fan” album you are current on. It came out just a week after Act 6 began and has no songs about anything from it. It’s called Tomb of the Ancestors and is by Kalibration (aka Robert Blaker) who also wrote Upward Movement (Dave Owns), Skaian Flight, Play the Wind, and Ira Quod Angelus, among other things. https://homestuckgaiden.bandcamp.com/album/tomb-of-the-ancestors-unofficial-album

There’s nothing more recent than Nov. 17th, 2011 on that page.

(Past!Skaia) As a single person fan-album, it’s not necessary to review this, at least not now. If you were going to, I would suggest holding onto it for later, when the amount of music albums in the story dramatically drops off.

(Nora) I agree, and will hold off for now! Album reviews actually take me a while to get finished because I can only listen to things at certain times, and I want to save my steam for meatier posts right now.

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Most of this stuff is stuff that has previously been deleted by Hussie or hidden by the original poster, so if that’s not kosher then feel free to skip down to the section below this one. A little background: Hussie at previous points in time had both a Formspring and a Tumblr on which he would talk about various things Homestuck, and other various things. He also has a nasty habit of deleting old things, meaning a LOT of his old posts are gone and most of them only exist as archives. Here’s some of that stuff, most which was posted before Act 6 or if it was posted during only very early on and not referencing events of Act 6.

To start things off, the origin story of Hussie’s horse painting. This one actually still exists, but the images are broken: https://web.archive.org/web/20140408053025/http://andrewhussie.blogspot.com/2009/01/need-for-steed.html

(Nora) I’ve seen this one before, but I read it again and I think I guffawed just as hard, if not harder. Hussie has quite the way with words… and homoeroticism.

Hussie’s infamous trip to Olive Garden: https://web.archive.org/web/20130312060633/http://mspandrew.tumblr.com/post/12963616983/land-of-souls-and-olives-a-conclusion-pasta-la-vista

Olive Garden part 2: https://web.archive.org/web/20130312060012/http://mspandrew.tumblr.com/post/13585722775/land-of-souls-and-olives-a-conclusion-plmfers-part

(Nora) Trix once suggested I audio react to these. Would that be a good idea?

(Past!Skaia) Nah, just read them through. It’s definitely worth a read, but nothing more than that. (Current!Skaia: As of 3/5/17, there’s no indication whether she’s gone through it or not. I’ll keep it in the GoogleDoc just in case though.)

The post-Cascade recap part 1, in which he talks about the the process of creating it and then the content of it. Really great insight into his creation process: http://web.archive.org/web/20111028175330/http://mspandrew.tumblr.com/post/11938555890/about-eoa5-part-1

Cascade recap part 2: http://web.archive.org/web/20111028222551/http://mspandrew.tumblr.com/post/11941710181/about-eoa5-part-2

Recap part 3: http://web.archive.org/web/20120801112223/http://mspandrew.tumblr.com/post/11960418585/about-eoa5-part-3

Recap part 4: http://web.archive.org/web/20111029142442/http://mspandrew.tumblr.com/post/11975241895/about-eoa5-part-4

There are more posts on his tumblr if you go to the archive and and mess around with the Wayback Machines captures, including a reddit AMA that for some reason only collected the questions from reddit and answered them on tumblr. But that’s for a point much later in the comic.

(Nora) Huh! Fascinating read-through. I enjoyed him talking about the process in particular (he makes it seem deceptively simple, doesn’t he, considering the lion’s share of the comic was a completely solo project banged out at a nearly inhuman pace). It hadn’t occurred to me that [S] Descend was actually scored, as opposed to simply animated to existing music, which is a bit embarrassing since it is obviously a medley. I also like what he says when he clarifies Doc Scratch’s means and motive—it’s basically exactly what I’d surmised from reading all his conversations. That tricky, tricky bastard. I am however still mystified by the Horrorterrors, and neither does Hussie seem keen to provide a real explanation for their actions:

The dark gods helped chart their course through this spacetime maze to deliver them to this location, at this time. Take that for what you will

(Nora) Also… why the hell did I not ever realize that Lord English is literally a giant green space pimp??? He’s got the gold tooth, the horrible gaudy coat, the pimp cane cue stick peg leg…

First of all, [Jade] didn’t actually conjure the 4th wall out of thin air. Remember when Karkat told her to turn the wall off, and then draw it? He was asking her to captchalogue an undamaged copy using her Pictionary modus, for this exact purpose. The eventual getaway. So she had it on standby, waiting for the right time to use it.

(Nora) Ohhhhh. OHHHHHHHH. Wow, this whole plan was even more convoluted than I thought, and with the whole password system and all, it was already pretty damn convoluted.

What’s waiting for them on the other side, beside a big ugly coat? Recall the setup I had with the two 4th walls facing each other, separated by one yard. They will break through the wall on the right, traveling nearly the speed of light, and presumably, break through the wall on the left to enter another reality. If you were thorough during Seer: Descend, you might have caught this excerpt on a bookshelf. “Though we adore Him we shall never enjoy His beauteous Croak. We spill our blood on acres of black and white so they may cross the yellow yard. At last in Skaia’s reflection through broken glass He may find the pond in which He’s meant to squat.”

(Nora)You may recall that when I played through the minigame, upon coming across that excerpt I said the following:

(PastPast!Nora) ….’They’ may cross the ‘yellow yard’? This must be referring to Hussie’s aforementioned interference with the story. It’s pretty abstruse, but I feel like it’s telling me something that I’m going to come back and go ‘OHHHH’ over, when I’ve seen more of the story.

(Nora) Consider me motherfuckin’ OHHHH’ed.

However, speaking of AMAs, Hussie’s Formspring was essentially a year and a half long AMA and most if not all of the questions answered there have been compiled here: http://irratio.org/andrew_hussie_formspring_archives.html

Most of the early questions are inane, but after a while (after he stops answering everything that comes across his message box) there’s some really great responses in there (and some really funny jokes.) Only thing is, it is *LONG* and will take a really long time to get through. It went on from late February of 2010 to early October of 2011, with the last responses being around the beginning of the pause during work on Cascade.

(Past!Skaia) It truly is long. Kinda worth it though, and amusing to see Hussie’s actual trolling.

(Nora) Hahahaha, Hussie is a troll and I love him.

Who do you think should be the next president of the United States?

dumb

(Nora) Welp, consider that one prophetic.

Once there is a reasonable number of strips, is there any chance of a Sweet Bro and Hella Jeff book with commentary by Dave Strider?

yeah

(Nora) That one too, I guess.

When do you think HS will be over?

ive been considering ending it on 8/26/10.

but who the hell knows if that’ll pan out.

(Nora) AHAHAHAHA. HAHAHAHA. AHAHA. HA.

(Nora) I’m going to leave it here for now, as there are SO MANY DAMN QUESTIONS and I really ought to finish my text post.

(Past!Skaia)Sounds good. Once you finish the post above I’ll set up a queue for your responses to the messages above.

(Current!Skaia) This was the main reason I held onto this post. It’s no telling when she’ll get back to this though, so I’m posting what I have. I’ll keep the link in the document, and if she ever does go back to read and comment more I’ll make some more posts!

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Enough decidedly *not* fanworks, here’s some things you might possibly call fanworks! If you can call things made by Bowman or Toby Fox fanworks. And bonus actual fanworks!

(Current!Skaia) I have not shown Nora any of the below. I think…they’re not really necessary? Except Savior of the Slamming Jam, obviously, but that’s also in a submission she hasn’t gotten to yet. If enough people think she “needs” to see them I’ll pass it along but otherwise I’m just leaving it here.

A concert in someone’s front yard! http://www.nospoiler.com/y/HRT758PTmpw

Toby Fox’s Homestuck Abridged! [Removed for Giant Spoilers!]

An actual fanwork, Savior of the Slamming Jam! http://www.nospoiler.com/y/CKrO8kS8D6g

Chorale for Jaspers & Pony Chorale, Live! http://www.nospoiler.com/y/o0Z0oopPGpM

I’m a Member of the Midnight Crew, Live! http://www.nospoiler.com/y/xR5vN0ve4lY

How Do I Live, live! https://www.youtube.com/watch?v=nDSEXd4KyO8

Actual fanwork, Club’s Deuce’s Homework! http://www.nospoiler.com/y/dLo22lvynNg

And two shitpost videos by Bowman:

1) Cascade announcement (can’t no spoiler link to this one, but comments are disabled: https://www.youtube.com/watch?v=3o4NvBz8xac

2) “Toby Fox” is now on YouTube (can’t no spoiler link to this one either, unfortunately. Still, comments disabled): https://www.youtube.com/watch?list=WL&v=pA9uy3KdeEU

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I don’t think I have anything else at this time that either definitely has spoilers or possibly does due to having come out squarely in 2012 or later.

#NRHS #brrrrrrrrd #submission

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tomorrowedblog · 7 years

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An interview with Bill Watterson, director of Dave Made a Maze

Dave Made a Maze is a new film about a man named Dave and a sprawling labyrinth he builds in his living room. I sat down with Bill Watterson to discuss the film and his experiences directing it.

Tomorrowed: Firstly, who are you?

Watterson: I thought the advantage of being asked for an interview was that I was a known quantity! Thanks for keeping me humble… let’s see… I didn’t create ‘Calvin & Hobbes,’ I really like Thai food, and I have taken curbing my coffee drinking habit into serious consideration.

Tomorrowed: In your own words, how would you describe Dave Made a Maze?

Watterson: It’s an adventure comedy that feels like the kind of nutty movies they used to make all the time when I was a kid. Buckaroo Bonzai, The Goonies, Labyrinth—wacky adventures with a heart. I don’t know why they stopped making those.

Tomorrowed: What were your inspirations for making Dave Made a Maze?

Watterson: The movies listed above, and really, the reasons listed above—they stopped making the kind of movies I loved, and a big part of the inspiration for making our own film was to bring that sensibility back. To make a movie that I wanted to watch. There’s a bit of Raiders of the Lost Ark in there, some Star Wars, some Evil Dead II, some Gondry, Gilliam, the original Ghostbusters. I always wanted to be the hero that got to go on the adventure, got to explore the fantasy world, got to risk his life battling the bad guys. The next best thing is making a story about one.

Tomorrowed: So, Dave Made a Maze is a horror movie? Or a comedy? Or a mix of both?

Watterson: It’s a mixture of a lot more than that. It’s got fantasy, adventure, animation, art house sensibilities. Life isn’t one thing, so why should a movie be one thing? It used to be that a movie that leaned toward action had a lot more than just the action going for it. But now, if it’s an action movie, everyone is incredibly shredded and muscular and every scene is bloated with action, and there’s nothing else for you to feast on. All of my favorite films, television, and plays more accurately reflect life by having more than one dimension.

Tomorrowed: Making things is hard. What challenges did you face while making Dave Made a Maze?

Watterson: There was no aspect of this film that wasn’t challenging. There wasn’t one single day of production, pre-production, or post-production that wasn’t fraught with challenges, doubts, limitations, frustrations. We didn’t have enough money or time, which is true on any movie. It was my first time at the helm, which meant I didn’t have a ton of experience to draw from. We had very limited space to shoot, the entire film took place in one warehouse in Glendale, and we had to build, light and shoot it to make it seem like an ever-expanding world that had no end. We had limited time with our actors, so we didn’t get a lot of takes. We worked with practical effects, so if something didn’t work on the day, it had to get scrapped from the film. We only had 20 days of principal production, with no hope of reshoots. You name it, it was challenging.

Tomorrowed: Dave Made a Maze is your directorial debut! How did that transition go?

Watterson: When you’ve got conviction and know what you want to say, and are collaborating with incredibly talented, dedicated storytellers in front of and behind the camera, it is the greatest feeling in the world. I can’t wait to do it again. Part of me definitely wished I could get up there and play with the gang. It was a fun world to occupy. It’s funny—when I’m acting, I want to write. When I’m writing, I want to direct. When I’m directing, I want to be playing bass in a band. I want to do it all.

Tomorrowed: The movie obviously has a pretty unique visual style, what exactly went into creating that style?

Watterson: What didn’t? It took a team of artists working around the clock, problem solving, making the most of the materials and the space they were given, to find ways to keep surprising us. It was a thrill to watch those sets come to life, and to lead your actors into a new environment and new space day after day. Once that cardboard box concept was in place, which came very early in Steve’s writing process, we knew that the rest of the world had to spin out from that source material—it would be a cardboard world. It would be paper and string gore. Everything had to come from that wellspring of what Dave was making with his hands, of the tactile materials of an artist. It couldn’t be CGI, it had to be stop motion. It all had to feel like the handmade world of an artist. Then it was a matter of getting incredibly lucky with our insanely gifted team, and letting them ask themselves what else? What if?

Tomorrowed: You not only directed the movie, but you also co-wrote the movie with Steven Sears. Do you then, as co-writers, have a consistent storytelling philosophy? Or was it more that both of you brought something of their own to the movie?

Watterson: We’re pretty different dudes. We both like the weird, but we have different strengths and interests and priorities as storytellers. It’s what makes it work. But Steve definitely did the lion’s share of telling this story. It was a fully realized world before I ever got my hands on it.

Tomorrowed: So, now that Dave Made a Maze is out, what comes next for you? Are you working on anything now?

Watterson: Just handed in a bat shit crazy script about a musician that has monsters, rockers, and an ancient religious society armed with medieval weapons. Can’t wait to shoot it.

Tomorrowed: And lastly, just for fun: Is there anything y’all want to say that I haven’t asked about?

Watterson: Tell everyone my mom likes my movie, and she’s had to watch it three times already. And that’s good enough for me.

And with that, the interview came to a close.

More info on DaveMadeAMaze.com

#Movies #DaveMadeAMaze #Features #Interviews

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jobtypeblog · 5 years

Text

DEATH OF RAVE

The Death Of Rave is a vinyl and digital imprint, housed within Boomkat, rooted in Manchester. There is little information online about the label, but it’s contributions to UK sound and arts practices speak for themselves, and have continually caught my interest in their redirecting of rave culture, avant garde sonic practices and sound composition as a medium for philosophic contemplation about the entanglements of electronic music and culture. The more I dig into their catalogue of releases, the more I appreciate the impact of this label has had to my listening for the past several years. I am always unpacking contingencies within the community of electronic production and sound art. The Death of Rave roster is home to a few artists in particular whos work has sat in the ambient subjectivity of my creative mind in the past few weeks.

Notable artists and releases that have shaped my understanding of a sound art approach to contemporary electronic club sounds will be briefly discussed below:

Mumdance, Logos and Shapednoise: The Sprawl - ‘The Sprawl - a sindicate of mutant sound carriers individually known as Logos, Mumdance and Shapednoise. Mastered and cut to vinyl by Matt Colton. Artwork by Dave Gaskarth.William Gibson's uncannily prophetic novel Neuromancer was the 1st in a set collectively known as The Sprawl. The same term also refers to a fictional Megatropolis covering the entire Eastern US seaboard in the books, and was also the title of a staggering, standout track on Mumdance's pivotal Take Time EP. The Sprawl is now also a noun for Logos, Mumdance and Shapednoise's new collaborative trio))), which was first conceived at Berlin's CTM15 festival, and now makes their recorded debut with EP1 of a rolling series to be archived by The Death of Rave. Inspired by Gibson's notions of uploaded consciousness in a post-human society, and the way in which the sensory-scrambling effects of technology have played out across our collective reverie, EP1 ventures four cuts of retina-scorching dis-torsion and chrome-burning modular synth work attempting to emulate the physical and mental impact of SimStim overload and fractious hyperreality. Head first, Drowning In Binary rinses us thru a maze of recursive techno chambers and convulsive noise, acclimatising us to the temporal displacement in preparation for the retching, body-quake detonations and finely-contoured synthetic sensuality of From Wetware to Software to take hold. On the other side, their references become more explicit, and violently dynamic, as the gutted late '90s tech-step structures of Haptic Feedback glance in the direction of classic Prototype and Reinforced Recordings, before Personality Upload steadily dismantles your mental firewalls with a gyroscopic sense of weightless delirium. Ultimately, EP1's mostly beat-less dynamics lends it to polysemous reading; at once comparable with elements of La Peste's late '90s french flashcore or the unquantised designs of FIS, and likewise, it's applicable as both 'floor-shocking DJ tools, or as a prop in your own, private sci-fi fantasy.’ - press release description for ‘The Sprawl’ on Soundcloud.

The trio of The Sprawl are known collectively, and in their individual outputs for their love of analogue hardware sound systems and exploratory sample and synth modulation. Composition is a defining methodology in electronic music and sound design, and in the case of Mumdance especially, the rearrangement and performance of deconstructions/reconstructions of Grime, Hardcore, Noise and Stockhausen-style musique concrete and Cagesque industrial ambience have remained integral to his practice. Combined with regular DJ sets, mixes, and a backlog of instrumental backings for UK MCs, Mumdance has made efforts to pioneer a new terminology for this re-engineering of audio culture: ‘Weightless’ refers to ‘the sound, the movement that traces the liquid space between spectral grime, sound design & electronic experimentation’.

Gabor Lazar: Hearing for the first time the slapped out laser resonances and hyper synthetic drum programming of Gabor Lazar’s ‘Unfold’ EP last year was a pivotal moment in my perception of the potentials of forward-thinking dance music. Reading as much terminological music journalism as I have been doing, phrases appear in my mind when attempting to descirbe the sounds of this Hungary based engineer across his live performances and physical releases, phrases such as hyperprismatic mutant elek-trance. Gabor Lazar is an artist who has the discipline to properly explore an idea with composition, to recallibrate technique over a significant duration to increase potency >> https://www.youtube.com/watch?v=eYzSvepYwuI

Yorkshire Sound Artist Mark Fell, who has a number of solo releases on Death of Rave, as well as a collaborative album with Gabor Lazar, has been equally ear-opening for me, and has informed a more sophisticated conceptual understanding of the entangled concepts of sound, technology and meaning>> https://www.thewire.co.uk/in-writing/essays/collateral-damage-mark-fell

http://markfell.com/media/2015_fowleryoungs_sleevenotes/mfell_REvERsE_pRacticE.pdf

^This is a sleeve insert to a record by Luke Fowler and Richard Youngs on which Mark Fell contends with certain philosophies of media theory and listening using (amongst other methods) digital technology and computer software. The text is extremely useful in applying aspects of Marshall Mcluhun’s ideas to the search for meaning and creativity in the saturated media landscape of contemporary society. Imagining and engineering sound as ‘truth’, simulation and ‘the real’ produces fascinating philosophical conundrums, especially when you place the magnifying glass over the dance music and sound art worlds. The record is intended as ‘research music’ to document interactions within and between vibrational phenomena and technoculture.

https://www.youtube.com/watch?v=hUspVAx9FKA

^A video depicting important research into technological advancements in the last few decades that have defined sound culture for generations.

Sam Kidell: Sam Kidell’s work sits in a very specific mode of sonic art and UK music culture that deeply resonates with my own preconceptions of a progressive sonic practice that combines sound composition with social theory. Kidel credits grime as an ‘enduring influence’ on his work, which takes a significant departure from the conventions of this nearly 20-year-old movement, and brings as much care, attention and conceptual motivation to the accompanying artwork. and visual performances. Operating as a designer of sound pieces and installations within his solo work, and as part of the Bristolian Young Echo collective, who experiment with sound and performance to explore the intersections of collective consciousness, identity and contemporary existence with a forward-facing take on ambient, dub and post punk.

SUPERMARKET! (2015): This is a deeply hauntological and brilliantly simple ambient inversion of pop r&b into

Adam Harper writes: “The one thing you can say about underground music in 2015 is that it’s talkingpop’s language. No longer are its stars enemies to be derided - now they are appreciated for their perfection, the craftsmanship, their transcendental demi-god status, and, displaced from their original industrial contexts, as totems of everyday listening.

As SUPERMARKET!, Sam Kidel of Bristol’s Young Echo collective offers the latest and one of the most surprising re-engineerings of pop. He takes acapella R&B vocals from Aaliyah, Brandy, Destiny’s Child, Ciara, Timberlake, and Beyoncé and wraps them in fine fragile films of quaverous machine breath and the stultified knocking of a rapturous trance in which no other response is possible. In doing this, SUPERMARKET! is a way of listening, encoding a strange, otherworldly response to pop that couldn’t be more different from pop, but that finds again the awe and wonder that gets lost among the shopping aisles.”

Disruptive Muzak (2016):

https://www.youtube.com/watch?v=mdAjgt3MR10

‘Sam Kidel’s debut for The Death of Rave is little short of a modern ambient masterpiece. Following a celebrated debut for Entr’acte in 2015, the Young Echo and Killing Sound member’s sophomore solo album is a playful, emotive inversion and subversion of Muzak - that “background noise” variously known as “hold” music, “canned” music, or “lift” music - employing government call centre workers as unknowing agents in a dreamily detached yet subtly, achingly poignant 21 minute composition, backed with a DIY instrumental in case you, at home, want to get your phreak on. Drawing on research by the Muzak Corporation (the company who held the original license for their eponymous product), and his concurrent interests in the proto-internet technique of phreaking (experimenting or exploring telecommunication systems - Bill Gates used to do it, and thousands of kids have probably made a prank call at some point in their time), Sam played his music down the phone to the DWP and other departments, not speaking, but recording the recipient’s responses; subsequently rearranging them into the piece you hear before you. Aesthetically, the results utilise a range of compositional styles - ambient, electro-acoustic, aleatoric - and could be said to intersect modern classical, dub and vaporware, whilst also inherently revealing a spectrum of regional British accents rarely heard on record, or in this context, at least. But make no mistake; he’s not making fun at the expense of the call centre workers. Rather, he’s highlighting a dreamy melancholy and detachment in their tedious roles and tortuous, Kafkaesque systems, one known from first-hand experience. Disruptive Muzak may be rooted in academia, but it’s far from pretentious. We really don't want to give it all away, but the way in which he executes the idea, both musically and conceptually by the time the final receiver drops the line, is deeply emotive without being sentimental; making tacit comment on questioning our relationship with technology, economics and socio-politics in the UK right now: in the midst of right wing policy delivering swingeing benefits cuts and zero-hours contracts which damage those on the margins most, and a scenario where corporate composition and electronic sound form a blithely ubiquitous backdrop to capitalist realism.’ - Boomkat Description of ‘Disruptive Muzak’

‘Sillicon Ear’:

https://www.youtube.com/watch?v=5uoM8FmfXZk

‘Following his compelling comment on the modern-day culture of call centres, Disruptive Muzak – awarded Album of the Year 2016 by Boomkat – Sam Kidel turns his analytical artistry towards the ominous gatekeepers of online communication with a rave-inspired rebel spirit to match his scientific methodology.’

“Chamber music meets free-party-scene warehouse-invasion” First exhibited at EBM(T) in Tokyo, Live @ Google Data Center trespasses in Google’s data centre in Council Bluffs, Iowa to perform electronic music amongst the humming banks of servers and endless cable runs, without actually breaking in. In a process he describes as “mimetic hacking,” Kidel used architectural plans based on photos of the data centre to acoustically model the sonic qualities of the space. The resulting acoustics on Live @ Google Data Center simulate the sound of Kidel’s algorithmically-generated notes, rhythms and melodies reverberating through the space, as though a bold illegal party was being held in the maximum security location. Kidel’s manipulation of his generative direction of the music, all inspired by images of the data centre. “Music that deafens the silicon ear” The generative audio patch Kidel used to make Voice Recognition DoS Attack seeks to disable the functionality of voice recognition software by triggering phonemes (the smallest units of language). The project, first developed for the Eavesdropping series of events in Melbourne, exploits a weakness in voice recognition that cannot distinguish between individual voices. When you speak while the patch is playing, the cascading shards of human expression mask your speech and thus protect you from automated surveillance, questioning our vulnerability in the face of global data giants. In amongst these displaced sounds, Kidel fed additional musical elements into his patch to create the version of the project heard on this release.’ -

Mark Leckey:

Masters lecture: https://www.youtube.com/watch?v=MJHyg4g8MzQ

‘Fiorucci Made Me Hardcore’: https://www.youtube.com/watch?v=-dS2McPYzEE

Next year, on January 2nd 2020, The Death of Rave will be reprinting their inaugural release to vinyl, the soundtrack to the Turner Prize Winning video and installation by Mark Leckey - ‘Fiorucci Made Me Hardcore’ (1999). This seminal work that defined a career for Leckey was in many ways a response to the ‘heady critical thinking’ he had struggled with in art school. The work for Leckey presented an oppurtunity to tackle something he was familiar with in a creatively satisfying and nostalgic sense, though the final 15 minutes of footage presents more melancholia than it reminiscing. The narrative of the video gives glimpses into the miserable reality of late capitalism and the absurd and sublime world of British dance music. Leckey confronts cultural phenomena and the history of his own identity in relation to society. Through nostalgic collaging, abstraction and manipulation of the temporal quality of archival media, Leckey presents a hauntological speculation of his cultural and societal position as a child growing up 11 miles from Liverpool’s city centre.

‘A phantasmic and transcendent collage of meticulously sourced and rearranged footage and sound samples spanning three decades of British subculture - from Northern Soul thru '80s Casuals and pre-CJB Rave - it may be considered an uncanny premonition of the Hauntological zeitgeist which has manifested in virulent sections of UK electronic dance and pop culture since the early '00s.This record severs the sonic aspect from the moving image, offering a new perspective on what rave culture maven and esteemed author Simon Reynolds calls "a remarkable piece of sound art in its own right." Detached from its visual indicators, Leckey's amorphous, acephalic cues are reframed as an ethereal, Burroughsian mesh of VHS idents, terrace chants, fragmented field recordings and atrophied samples cut with his own half-heard drunken mumbles. At once recalling and predating the eldritch esthetics of Burial or The Caretaker; it's an elegiac lament for an almost forgotten spirit; an abstracted obituary to the rituals, passions and utopian ideals of pre-internet, working class nightlife fantasias, now freeze-framed forever, suspended in vinyl. It's backed with an edit of another soundtrack to a Mark Leckey video installation: 'GreenScreenRefrigeratorAction' (2010). In stark contrast, the original video features a black Samsung Bottom Freezer Refrigerator stood in front of a green screen infinity cyc, recounting its contents, thoughts and actions as narrated by the artist in a radically transformed cadence. Taken as a wry comment on cybernetics and the ambient ecology of household appliances which permeate our daily lives, it's an unsettling yet compelling piece of sound design whose subtly affective dynamics reflect the underlying dystopic rhetoric with visceral and evocative precision. The piece has since been used in a collaboration with Florian Hecker for the Push and Pull exhibition at Tate Modern in 2011.’

https://www.youtube.com/watch?v=CATey5LcEF4&t=116s Leckey quotes in a video interview on the Tate’s Youtube Channel: ‘I think it put me in a position where I felt outside of the action... on the periphery of the action... on the edge of the dancefloor looking in’, a perspective that articulates a sentiment that has in many ways shaped my own creative thinking and world view with regards to the topics I choose to contemplate with my creative work. I even draw a similarity with my very first electronic compositions and Leckey’s installation ‘Exorcism of the bridge@Eastham Rake’, as it was a motorway bridge underpass where me and my friend Archie would discuss and listen to our first compositions, and imagine alternate possibilities of living through music. We even codified the accompanying texts to our music with the longitude and latitudes of the bridge where we conceptualised our creative endeavors.

I inhabit urban environments temporarily, but ultimately am a stranger to a life subsumed by industrial machinery and the concrete and metal of urban sprawl. Perhaps this is what has led my creative mind to embrace the dystopian hyperstitions of late modernity as aesthetic strategies for radical art-making and sound production. I have lived in the same house, 10 miles from Leeds city centre quaint middle-class rural countryside, and feel an affinity to the slow pace, fresh air and wildlife. I contend with the stresses of urban and industrial living, but ultimately with the knowledge and experience of a ‘better place’, or more natural environment... ‘it stood me in good stead for being an artist. You become more observational in a way’. You take an interest in things that might seem humdrum, or might not excite other people in the same way that I would’.

https://www.youtube.com/watch?v=Q8HlSHTEtdc

Leckey describes himself as the kind of person who has ‘perpetual crisises’, and often questions the meaning and person of art practice in the modern economic and political landscape. As Steven Shaviro points out in an article on E-flux, ‘transgression no longer works as a subversive aesthetic strategy. Or, more precisely works all too well as a strategy for amassing cultural capital as well as actual capital’. He gives an image of his works as being ‘exorcisms’, moments where he is ‘overbrimming’ with nostalgia or curiosity and in turns creates temporal, sculptural and experiential manifestations of the things that have buried themselves into his sensibility.

https://www.youtube.com/watch?v=yS18_iVTQEs&t=731s

https://www.youtube.com/watch?v=tWMfnK7bEg4

- Dream English Kid 1964-1999AD was one of Leckey’s earliest videos, which contemplated the anxieties and mystification of living with and between electronic and mechanical technology. Leckey explains in an inteview about the moment he found an audio recording of a Joy Division gig he attended on Youtube, which inspired within him a fantasy of timeless recalling of history, and an exploration of how audio-visual software has changed our relationship with our past. Leckey put together much of his most important video work in a time that predated the speeds of the modern internet. Through the laborious process of sourcing footage, writing to people and waiting for responses and VHS tapes, Leckey talks about getting drunk and editing the video alone, often to the point of tears, which can be heard in the backing track.

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