#vhs 94 edit

[malet-depressive-psychosis]

Goofy edit of a movie I like 👍

(The reason it says “savior” on the front is bcs thast my Pinterest alt where I posted it first lol)

[brokehorrorfan]

Broke Horror Fan presents V/H/S/94 and V/H/S/99 on limited edition, fully functional VHS! Our latest tapes are on sale now at Witter Entertainment.

V/H/S/94 returns to VHS with a new slipcase edition and a restock of our standard clamshell case. A small quantity of leftover variant clamshells and big box editions from the first pressing are also available while supplies last.

It includes a letter from writer-director Simon Barrett. Stay tuned after the movie for a special feature: Behind the Scenes of V/H/S/94 featurette.

V/H/S/99 arrives on VHS with two variants: a standard slipcase edition with art by Creepy Duck Design and a big box variant with artwork TBA and a blue VHS tape (limited to 50).

It includes an exclusive introduction by writer-director Tyler MacIntyre. Stay tuned after the movie for special features.

For optimal VHS viewing, the films have been cropped from their original aspect ratio to 4:3 full frame. Both are officially licensed from RLJE Films/Shudder.

Witness a hellish vision of 1999, as social isolation, analog technology and disturbing home videos fuse into a nightmare of found footage savagery.

A police S.W.A.T. team investigates about a mysterious VHS tape and discovers a sinister cult that has pre-recorded material which uncovers a nightmarish conspiracy.

[slashertalks]

You’re in a Blockbuster. It’s summer, you’ve got no responsibilities and your parents threw you some extra cash so you could rent a movie and buy some popcorn. You’re gonna go home, open that plastic shell case (remember the way the cheap ones would crinkle?) and plug the tape into your VCR for 120 minutes of fun. Or, better yet— you’re not in a Blockbuster. You’re at home, digging through your movie shelf for the one tape you want to watch. Your mom recorded it off the TV, so you’ll have to fast-forward through commercial breaks (and little do you know, it’s probably edited) but you love it all the same. It’s not as high a quality as what you could get from the local rental shop, but there’s something magical about it. The four and a half minutes of the end of whatever TV show was on before your movie started. Ads, captured from a specific time period in a specific region— ads you probably won’t ever see again. VHS artifacts— fuzz, lines. The colors are a little off, the images a little hazy. You’ve got popcorn in your lap and a remote in hand so you can always get to the good stuff fast when the commercials do start. You don’t realize it, but that tape, with the hand-written label already starting to wear away, is a time capsule of your youth.

Youth you’ll never get back. Youth you may not even miss, but which so many people will play up as the best time of our lives. Was it really, though? Teenagers are assholes. Times were different. People are hateful now, yeah, but people were hateful back then too. I miss grunge and Y2K fashion and idogs and inflatable furniture and the freedom of being able to go outside as a kid but I wouldn’t exactly want to live in the fucking 90s or early 2000s. I wouldn’t go back, even if I am nostalgic. And I think there’s some very potent horror in that nostalgia.

I’ve been hyping this up for a while and it’s finally time I tackle WNUF Halloween Special, V/H/S 94, and V/H/S 99 all together— splatterfests, sure, but all poignant time capsules of a specific genre of media: the home recording. Not family movies, though a variety of those certainly plays a major role in both of the V/H/S titles I’ve selected. No, instead I mean tapes copied from local TV channels, ads and all. There’s something very unique about the experience of watching a film on TV. I think few of us would actively choose that route these days, when films are available seamlessly at our fingertips (unedited and uninterrupted). Yet, there is something so universally nostalgic about both local TV channels and VHS tapes for a certain generation of us that all three of these movies capture perfectly (albeit some aspects are captured better than others in each of the films).

The first film chronologically for both release and setting is WNUF Halloween Special. A gem of a film set in 1987, it pretends to be a home recording of a local news channel’s Halloween broadcast. Segments about dentists buying back candy, about Christians protesting the holiday, and the grand finale: a longer special about a news reporter and a team of paranormal investigators exploring a supposedly-haunted house. Things go, unsurprisingly, haywire. The plot of the film is paper-thin and predictable, the acting is sublimely cheesy (exactly what you want and expect from smalltown news personalities), and the effects are alright. A little blood here and there, a dead cat— nothing beyond that.

Where the film shines is its dedication to capturing the experience. The sound of the tape being pushed into the VCR, the blue screen— local commercials, and fast-forwarding through ones you’ve already seen or segments you find boring. “Kids, ask your parents permission before calling!” “Playing with drugs... is playing with DEATH.” “All the rock you could want, on the QUARRY!” — It’s truly a masterpiece. I feel like a little kid sitting too close to the TV screen with my bucket of Halloween candy next to me every time I watch this movie. It has its flaws, sure, but there is something so tangibly charming about a window into my childhood now preserved only on old Between The Lions tapes, captured here in a film released in 2013. I remember that broadcast on my TV. I remember my old Halloween costume, and my orange plastic pumpkin. I was that kid, watching in awe and horror was my local TV anchor hosts a call-in seance live. We all have, I think, if you grew up in that wonderful window from the late 80s to the early 2000s. It’s delightful, and WNUF Halloween Special has cemented itself as one of my favorite holiday films of all time.

V/H/S 94 is second, again for both release and setting (and isn’t that perfect?). Overall, this film takes itself the most seriously. While WNUF is not an anthology film, both of the V/H/S entries are. Our frame story here, Holy Hell, follows a SWAT unit on a drug bust that turns into a snuff film ring bust that quickly goes sour. As the film progresses, so to does our little unit— deeper and deeper into the facility, uncovering more and more eyeless bodies and strange TVs, until it’s finally revealed that the two female officers were the leads of the snuff film cult all along. The take a camera to the head of the final SWAT officer; lenses shatter and brain chunks splatter.

 Overall, the shorts in this film are delightful, and all in various ways. Storm Drain is most similar to WNUF, as it also parodies a news broadcast. Being a direct broadcast from the mid-90s, the camera quality has improved distinctly— only to drop again for the next short, The Empty Wake. After all, a funeral home certainly wouldn’t have the same quality cameras as a news station. You could (and people certainly have) argued that The Empty Wake is middling at best; a simple and obvious story that excels mostly with its use of effects and occasionally with its building of tension. Yet the use of three fixed cameras calls back to early survival horror in a delightful way. It feels almost Poe-esque, a sort of 90s Gothic I’ve never really seen before. Overly-haunting funeral music, a raging storm and a sea of brown. Brown chairs, brown carpet, ugly light fixtures that constantly threaten to go out. Its delightfully evocative of the sort of empty beige wasteland of many Midwest baptist churches. The only things unique here are the girl and the casket— and whatever monster lurks inside.

The third short, The Subject, is my second favorite. The effects are stunning and CGI is used sparingly, and I’m a sucker for mad scientist/Frankenstein’s Monster stories. Though it makes the least effort to maintain an “authentic” appearance, the creature and set design elevate it. There’s also a delightful emotional core; the girl becomes a monster of the soldiers’ own creation, and it is Jono’s kindness that helps re-ground her. I can only say it’s unfortunate Jono died, considering they each save the other (and he’d only ever been kind to her, trying to protect her from the start and even lying to his commander about seeing her crawling away before they run into each other again in the midst of her killing spree). I’m not sure whether I would’ve preferred that they both died together, or both escaped together, but having only the girl survived feels... odd. Especially considering the world she is escaping into is likely to hold little kindness for her.

Interestingly, the fourth short (and by far my favorite) has a similar sort of “monster of your own creation” through-line, though with a distinctly more serious twist. A white supremacist extremist group is preparing for a domestic terrorist attack, using vampire blood as a bomb. It’s got the grittiest, most low-quality footage of any of the shorts (which, again, makes sense — they’re using cheap, handheld cameras) and feels the most real to me. It’s set near Detroit, but the snowy wilderness is familiar as someone who grew up in the northern midwest. Each day, at a certain time, the militia members shoot the vampire in the head. One such scene opens the film— the vampire pleads for his life. Each subsequent time, the vampire pleads less and less, until he simply kneels in silence and accepts a bullet through the skull. At the end of the film, through a series of drunken mishaps, the vampire is released and all of the militia members are killed. The vampire uses the militia’s fail-safe to open a large window and expose himself to sunlight, killing himself and destroying the compound. It feels less tragic than The Subject, but remains very understandable. When you’ve spent most of your life being demonized, sometimes you do just want to let yourself become the demon.

The third and final film, V/H/S 99, is more consistent aesthetically than V/H/S 94, as it leans almost entirely into handheld, home movie style film-making. It is also mostly focused on teens suffering the consequences of their actions. There was certainly a specific brand of mean-spirited, Jackass-style “prank” content prevalent in this era alongside the blossoming newgrounds community of shock animations and flash games. All that to say, teenagers of this era fucking sucked.

Shredding, the first short, features a group of irreverent douchebag punks who break into an abandoned music club only to mock the deaths of Bitch Cat, the last band who played there before a fire broke out inside the building. Only one of them shows any concern for their actions, but all of them die gruesomely— and in a delightfully gory bit of effects work, their dismembered corpses are reassembled and puppeteered by the zombified ghosts of Bitch Cat to perform one last song.

This is followed by Suicide Bid, pivoting from punks to bitchy sorority girls who decide a great hazing prank would be burying a desperate girl alive for a night. Of course, as shitty as that would be on its own, there also has to be a ghost involved. The ghost of Giltine attacks Lily as the coffin slowly fills with rainwater after a storm starts, and the sorority sisters come back to a mysteriously empty coffin the next day. Lily gets the last laugh by trapping all the other girls in their own coffins, having made a deal with Giltine to offer the sorority girls in exchange for her own soul.

Ozzy’s Dungeon pivots from revenge against shitty teens to revenge against shitty adults— all while parodying Nickelodeon game shows. It’s gross, it’s sleazy, and it’s wonderfully demented in a SAW-esque way. It’s also an interesting look at failed child stardom. Donna was supposed to be the one who got out, the one who made it big, but now her leg is mangled. Her own mother says it looks like dog meat, goes on this revenge crusade that Donna barely takes part in. When she does, her mother takes over for her. Her father makes token protests but ultimately lets the mother take the lead— and the game show host was always more worried about appearances than anything else. At the end of their little vengeance plot, the host helps Donna and her family sneak back onto the set of the show to meet the titular Ozzy and get a wish granted (the promised prize of the show which no one ever won). Donna’s mother prompts her to wish for for a new car, for 15 million dollars— Donna wishes for everyone who used her to die.

The frame story of this film, stop-motion animated segments of a teen’s home movie made with toy soldiers, feeds directly into the fourth short, The Gawkers. We’ve returned again to the world of shitty teens— this time, to popular teen boys. They think they’re hot shit and treat women as objects, trying to sneak panty shots of girls in a park before being chased off, and later spying on Brady and Dylan’s neighbor. It’s hardly the most enjoyable watch, but it is quite gratifying. The teens who treated women as nothing more than sexual objects are themselves turned into literal objects. It turns out the neighbor is a gorgon, and she caught the boys spying on her through her webcam thanks to Brady’s programming skills. She attacks them all and turns them to stone for invading her privacy, betraying her trust and sexualizing her without her consent. This is the short that relies most heavily on CGI (to create the Gorgon) and it does feel extremely weak. The gorgon doesn’t seem to have any weight to her and the snakes on her head do not move naturally in the slightest— budget constraints are understandable, but this is why I much prefer The Subject’s merging of practical and digital to elevate the practical and execute what couldn’t be physically built.

Last, but certainly not least, is To Hell and Back, a short following to videographers recording a Y2K party hosted by a coven of witches as they attempt to summon a demon into the body of a willing host. A lower demon crashes the party, and as the witches banish it back to hell it grabs onto the two cameramen and drags them to hell with it. The only short that has nothing to do with vengeance (or teens), the two men must instead venture through the pits of hell in an attempt to find the demon being summoned and catch a ride back to earth. They succeed, but ruin the coven’s summoning and are killed for it (one of them using his blood to write the name of another lower demon who had helped them escape in the witches’ book before dying). The film closes as the videographers’ camera runs out of battery.

Each of these films captures a very specific era in the lifetime of VHS as a medium, and captures it extremely well. From the image and color distortion of WNUF’s faux home recording to the differences in camera quality to match the shorts’ settings in V/H/S 94 as we transition from newscasts to funeral homes, to amateur documentaries. V/H/S 99 is more consistent than 94, as stated, but this is inherent to all of their shorts being filmed by amateurs— the most polished segment is the beginning of Ozzy’s Dungeon while the actual show is being filmed. It’s an excellent depiction of the astounding jump in technological quality in such a brief time. At least in what was available to professionals. Perhaps the most charming part of this era of VHS is that while technology got smaller and cheaper for consumers, it did not necessarily get better. A cheap, handheld video camera is still a cheap handheld video camera.

In their commitment to this horror time capsule project, WNUF Halloween Special and most of the shorts from the two V/H/S films rely heavily on practical effects. It is, at times, bad-looking. You know it’s a guy in a rubber suit. The leech-like vampire isn’t really chewing a guy’s face off. Giltine is... well, an unarticulated latex mask with equally unarticulated hands. These monsters are fake and you know it, and that is part of the charm. It is a low-budget 90s film you picked up from the bargain bin, a home-burned DVD your friend gifted you of their high-school slasher created during summer vacation. It’s a guy in a mask, and it might be a guy you know, but you’ve got to suspend your disbelief. You’ve come home from Blockbuster with every intention of seeing that guy in a mask and believing he is a monster out to torment assholes, and it’s golden.

I’ve said it before, seen it said by others, and will absolutely say it again: bad practical effects will always be better than bad CGI. I don’t care how cheap it looks— if there’s a real, tangible thing in front of the actors I’ll buy it so much more than PS1 graphics slapped against the background. Something with weight, something the actors can really react to. A good performance can make bad practical effects passable and passable effects amazing. You forget you can see the wire in certain shots until some dude on IMDb points it out in the trivia section. The actors sell it. The film scares you. You’re 14, 15, 16 and you snuck a horror movie out of the rental place your parents would never let you watch normally. You’re tuning into the late-night broadcast of Ghoulies or Reanimator or Killer Klowns from Outer Space. It scares you because it’s not something you’re supposed to see. None of these tapes were something we were ever supposed to see, but here they are.

Here’s death, here’s gore, here’s horror. Here’s a man in a mask. Here’s a cheap video camera and here’s the nostalgic sound of your tape thunking into place in your VCR, whirring to life as a commercial flickers across the screen as that home recording of your favorite movie comes on. The one you were only supposed to see once, that Halloween night, preserved carefully now on your shelf lined with hand-labelled tapes. Maybe it’s not as scary as it used to be, but it’s joyful! It’s a trip down memory lane, an experience not many of us will get back (at least not the way we all individually remember it), but we can still plug in any of these masterfully crafted movies and get a dose of nostalgia whenever we want. They’ll always be there— and you can always be a friend.

Just remember to rewind when you reach the end.

[aftaabmagazine]

Nainawaz: A Luminary in the Realm of Songs and Melodie

Nainawaz: A Luminary in the Realm of Songs and Melodie

Interview with Abdul Ahmad Ada on his partnership with Nainawaz

Recorded in Kabul and aired in 1988 on RTA (Radio Television Afghanistan) 

Show hosted by Zakia Kohzad

Farsi transcript and edits by Parween Pazhwak 

Subtitles translated by Farhad Azad

Spring 2024    بهار ۱۴۰۲     AftaabMag.com

Whispers of the Unwritten

By Farhad Azad 

The poet and the composer—their creative bond in the Farsi language echoes with the weight of centuries. Rudaki رودکی, a 9th-century illustrious poet, embodied this tradition by weaving words and melodies, laying the foundation of modern Farsi.

Fast-forward to the early 2000s, when my friend Tameem Afzali shared a treasure: a faded VHS tape of an interview exploring a musical era we both cherished. 

Years later, the grainy footage flickered back to life in a digital format, rekindling my fascination with the alchemy of lyrics and music—and, precisely, how a gifted poet's words danced in harmony with a legendary composer.

This 1988 Kabul TV interview unlocks a window into the world of the Kabul-born poet عبدالاحمد ادا Abdul Ahmad Ada (1927-94) and the renowned composer فضل احمد زکریا نینواز Fazel Ahmad Zekrya Nainawaz (1935-79). Their partnership pulsed with creative energy until Nainawaz's untimely death in 1979. 

In this brief aired program, Ada provides a glimpse of his creative partnership with the composer— a symphony of words and melody culminating in ten songs for Ahmad Zahir's احمد ظاهر iconic album, The Song of Life آهنگ زندگی—all composed en route in a rain storm from Kabul to Kunduz. 

This is their final work, a touching reflection of their partnership cut tragically short— the album title is duly fitting. The collaboration date lingers near the spring of 1978, a bittersweet season marking the end of an era and soon after the opening of the gates of hell, by the Khalq coup, on a people who haven't healed from it to this day. 

Ada’s voice, close to a decade after the loss of Ahmad Zahir and Nainawaz, carries the weight of implicit grief. Reserved, his words seem to falter to an invisible barrier. The music within him has fallen silent—he states I stopped writing songs.

Though unspoken, the shade of censorship hangs heavy. Ada cannot name the truth: Ahmad Zahir's murder in Salang on June 14, 1979, nor Nainawaz's execution at the hands of the Khalq regime during the Bala Hissar revolt of August 5, 1979 in Kabul. Their voices were silent, leaving an aching hush effortlessly sensed in Ada's voice. 

Today, Ada's verses breathe within the unforgettable songs of a bygone era—a vibrant soundscape bursting with colors and brilliance forever waiting to be rediscovered. 

Thus, we arrive with these unfading lyrics from Ada's "The Song of Life," their message resonating through the voice of Ahmad Zahir and Nainawaz’ composition: 

آهنگ زندگی، خواند به گوش من

in my ear, the song of life has been sung:

رو سوی عشق کن که ترا فرصت اندک است

turn to love, for your time is fleeting 

در پهنه‌ی جهان، مشت غبار من

in the expanse of the world, my handful of dust

غير از هوس قلمرو ديگر شناخته است

knows no other realm but desire

چیزی به نام دل، بوده است گوییا

in the name of the heart, perhaps it was

از چشم انتظار فلک افتاده است

from the yearning of the skies has fallen

[librairiemelodieensoussol]

Lot de 4 Cassettes Video VHS ~ Kiss Bonjour à tous Collectionneur et passionné de vhs depuis les années 90 j'en ai fait mon métier et vous pouvez me retrouver sous le nom de Librairie Melodie en Sous-Sol  Tous les films ont été testés avant d'être mis en vente et fonctionnent bien ! Pour un envoi vers international merci de me contacter avant svp Ensemble en bon état général Film testé et ok Editions pirate #bootleg enregistrés Rare Vendu uniquement pour les collectionneurs et fans #KissArmy ! #KissKonfidential / #RevengeTour vost 1993 #Kiss Animalize live uncensored Detroit 1984 #MonstersofRock 1994 Santiago du Chili / Buenos Aires 1994 / River Plate Stadium 94 / Ritmo de la noche Monsters of Rock 1996 #DoningtonPark #librairiemelodieensoussol  #melodieensoussol #oiseaumortvintage #libraire #librairie #librairiemarseille #librairieparis #librairieindependante #librairieenligne #librairiedoccasion #livresdoccasion #bookstagram #booklover #cassettevideo #vhs #vhstape #vhsavendre #videoclub #videoclubmarseille #vhscollection #vhscollector #vhssurvivor https://www.instagram.com/p/CpKmy8Vshr7/?igshid=NGJjMDIxMWI=

[aftereffectsprojects]

Magazine Promo Motion Design from Antony Parker on Vimeo.

✔️ Download here: templatesbravo.com/vh/item/magazine-promo/19495820

- No plugin - All made in After Effects - Editable with After Effects CC and Above - 1920×1080 Full HD resolution - Works with any frame rate - 94 Text Placeholders - 36 Image/Video Placeholders - Duration 0:52 second - Music link: [information on project page] - Page Turn Effect: [information on project page]

[spockvarietyhour]

You guys are doing this, you guys are doing this, right? You can control water. That’s your technology, but why are you doing this?

The Abyss (Special Edition) 1989

[all-souls-matinee]

Quick-bite reviews: V/H/S/99 dir. Maggie Levin, Johannes Roberts, Flying Lotus, Tyler MacIntyre, Vanessa & Joseph Winter

It’s a V/H/S sequel (read: I’ve lost count of how many there are, they’re never good, I’m on my phone half the time, but the anthology segments are short and  familiar enough to keep me coming back.)

I actually liked the basic setups of these? Moreso than a lot of other horror, WAY more than any other V/H/S movie. The premises seem like no-brainers for the franchise, and unlike last year’s V/H/S/94 are actually rooted in 90s culture (a group playing at Jackass in a haunted theater, a sorority hazing that goes too far, a grindhouse Legends of the Hidden Temple, a voyeurism parable by way of an iMac G3, a demon that can only be summoned at the turn of the millennium.) They just can’t keep things going from a storytelling perspective without someone’s head exploding into poop spiders or whatever, and there’s no saving the real potential some segments had with the atrocious acting. The edit is also rough around the edges; I intentionally watched it on the tail of something actually filmed on VHS and it made the ‘glitchy’ visual effects so much worse. The movie doesn’t trust its audience’s attention span enough not to use intermittent static or warping as jump scares, but it’s just distracting and bad to look at. Considering last year’s effects were great it’s starting to seem like quality whack-a-mole with these things.

Buy a ticket? I’ll say the same thing I did last year: hard no unless you already like the franchise, then it’s one of the better ones

[jerryb2]

I mean….you all knew this was coming ¯\_(ツ)_/¯ : the Star Wars Art of one Mr. Drew Struzan. 

And look, the man has done so much and has such a diverse portfolio that Star Wars is only one very small part of his career. If you want to explore some of his other works, then might I suggest that you check out his website. 

As for me here, we’ll be sticking strictly to his SW art. Now, with that out of the way, here we go…

*cracks knuckles*

I have to admit that before I really started to dig into this, I didn’t realize just how many Bantam Era (and beyond) Star Wars books this man has illustrated. Nearly 50 titles, ranging from novels to comics, short stories & even an RPG supplement. 🤯 

And so, after much consideration, I decided to just pull all the titles that feature his art off my bookshelf and take a few pics for you guys:

First off, I just want to point out that I don’t have every book he’s ever illustrated. Some of them are just harder than hard to find, are hilariously expensive, or I just don’t have an edition that features his art prominently - you’ll see what I mean. Right off the bat though, you can see that he was really hitting his stride in the mid-90′s, with all but a handful of these coming out between ‘94 & ‘99. One of the highlights from this time for me, is The Callista Trilogy.

I just want to stress that The Callista Trilogy is a highlight for me only because of its gorgeous cover art. 🤣 Other than that, this book series needs to go lay down. 

Anyway, the designs are all really striking and even after all these years, absolutely iconic. And you can really see Struzan’s distinct visual style at play here; not a painting in the same vein as something from Dave Doorman, and not a simple trace. Rather, something that is stylized in a very particular, very subtle way, almost to the point where it appears photo-realistic at first glance. Beautiful.

Next up is this trio of trilogies (good use of words, me), collected in these Science Fiction Book Club (SFBC) hardcovers: 

Once again, these covers are just striking, particularly The Black Fleet Crisis. This is actually what I was referring to when I said that I don’t always have the best editions for a Drew Struzan appreciation post. 😅 

Because these are hardcover collections of paperback books, we actually miss out on a good bit of the art. For these SFBC special editions, the publisher just took all three and basically photoshopped the best bits of each one together. The one that suffers the most here is obviously The Corellian Trilogy, where they didn’t even try to blend everything together, and instead just separated everything into columns. I don’t personally mind it (and I do love having the hardcover editions of these books) but if you want to see the covers as they were originally intended, just pickup those mass market paperbacks. 🙂

There’s a lot more to get through, so I’ll just hit the highlights here; even though he didn’t illustrate The Thrawn Trilogy (that was Tom Jung, who I personally think did an okay-ish job at best), he did an absolutely amazing job with the follow-up, The Hand of Thrawn Duology in ‘98 & ‘99:

I’ve always loved these covers. And narratively speaking, they really do serve as one last hurrah on the Bantam Era. Oh, and also please note, Mara Jade on the cover of Vision of the Future, just as Zahn originally described her. ❤❤❤

If you step back and look at Struzan’s work as a whole, it’s all incredibly unified. I bring this up here because even though some of these are books relatively ‘meh’ worthy, Struzan maintained a level of quality that belied the mediocrity contained within. And also to say that he was definitely busy, particularly in 1994:

That’s right - all of these released in ‘94, within a few months of one another. These covers man… *chef’s kiss*

And look I’m sorry, I just can’t help myself: The Crystal Star was a hilarious joke until we all realized they were serious about it. 😳

Alright, that’s a little on the harsh side; it’s not nearly as bad as most make it out to be, and Waru as a source for unlimited power (citation needed 👀😉) isn’t any more ridiculous than the 50 other post-Palpy, hair-brained Imperial schemes that everybody else cooked up, so I guess it fits. And besides, I really wanna be nice to Vonda McIntyre here, but this book was just so so boring. 😴

*clears throat* Moving on, here we have a couple Barnes & Noble hardcover collections of The Jedi Prince Series:

The same thing applies here; cover art photoshopped from across 6 different YA novels to get these. They don’t look bad, far from it. But rather this series has some things that people would rather forget about, namely a supposed son of Palpatine (spoiler: he wasn’t) named Triclops who had - wait for it - 3 eyes. 

Like Tien. From DBZ. Yep. 🤦‍♂️

Moving further down the list, we have yet another pair of iconic cover designs, being I, Jedi (the only Star Wars novel written in the first person, and an appropriate riff on Isaac Asimov’s I, Robot - yes ladies & gentlemen, that is as clever as Star Wars gets) and The New Rebellion.

Classics, no doubt….but for reals, did anybody else ever wonder why the X-Wing on the cover of I, Jedi is missing an S-Foil? Or how that one slipped through??? 👀

Ah, at last we arrive at what is arguably Struzan’s most famous work; the covers for Shadows of the Empire & The Star Wars Trilogy: Special Edition.

It’s hard to overstate just how important Shadows of the Empire really was for Star Wars as a brand. In an era where SW books were already extremely popular, the Shadows of the Empire Multimedia Project basically served as a breakout hit and reignited interest in SW media across the board. This was in no small part due to the striking imagery captured on its cover - are you seeing a pattern here?

This success actually renewed Lucas’ interest in a theatrical re-release of the OT in 1997….which of course, feature more beautiful art from Drew Struzan:

These are my OG Special Edition VHS tapes from back in the day. I watched these so damn much as a kid. In fact, they’re basically the whole reason that I’m here, annoying the shit out of everybody today. 😁

After the Bantam Era concluded & the Star Wars publishing license went to Del Rey, Struzan did progressively fewer pieces for SW media. Here we see his contribution for the latter half of the Last of the Jedi YA series, and his kick-ass cover art for the Darth Maul comic: 

And when I say that Struzan did progressively fewer pieces for Star Wars, I am of course omitting his turn as the poster artist for the freaking Prequel Trilogy: 

Say what you will about the films, but these poster designs are nothing short of genius. 

Look guys, it would be pretty easy for me to downplay Struzan’s Star Wars portfolio as just one small part of his incredible career. But my dudes, this is literally just the tip of the iceberg. The man has been a professional illustrator for over 50 years, and his art has delighted and inspired generations. From Star Wars to Indian Jones, and from Back to the Future to Blade Runner - Drew Struzan has played an integral part in shaping popular culture. 

Here’s to you, sir. 🍻

[mastermindenoshimaalicia]

Hi! I'm Alicia!

A black 25 year old bisexual who's been writing for nine years that is a Sagittarius, graduated with a degree in computer information systems and has a (lowkey) obsession with anime characters at times.

Here's my likes and dislikes!

✔: food, sleeping, video games (mostly on switch), anime

❌: politics, certain vegetables (fight me) and foods, and mean people among others

My personal favorites!

anime: jjba, black butler, jjk, spy x family, ghost stories and many others

video/gacha games: hades, bayonetta, fate grand order, granblue fantasy, fallout new vegas, the outer worlds, and dead by daylight among others

movies: suspiria (2018), midsommar, hereditary, censor (2021), the witch (2016), vhs 94

My current hobbies!

Writing, crocheting, video editing (in indefinite retirement but might come back, idk)

The characters that I like!

anime: geto suguru (jjk)

fgo: sessyion kiara (moon cancer/alter ego)

dbd: wraith/trickster (killer) and yun-jin lee (survivor)

Any questions?

just send me an ask and I'll get to you

[fatehavtarsingh]

"Ice cream" 2020 Re-Edition by Fate Avtar Singh

https://makersplace.com/fatehavtarsingh/

With this artwork, I go back to my youth days, when I watched the NBA finals, the 1993-94 season, Knicks vs. Rockets, and between matches Spike Lee's film, on VHS was on my TV screen, at that time Wu-Tang sounded from audio cassette in my music center.

[brokehorrorfan]

Broke Horror Fan presents V/H/S/94 on limited edition, fully functional VHS! Our latest tape goes on sale Wednesday, June 7, at 12pm EST/9am PST via Witter Entertainment, along with V/H/S/99.

The fourth installment in the found footage franchise is directed by Simon Barrett (You’re Next), Chloe Okuno (Watcher), Ryan Prows (Lowlife), Jennifer Reeder (Knives and Skin), Timo Tjahjanto (The Night Comes for Us), and Steven Kostanski (Psycho Goreman).

V/H/S/94 returns to VHS with a new slipcase edition and a restock of our standard clamshell case. A small quantity of leftover variant clamshells and big box editions from the first pressing will also be available.

Each tape includes a letter from writer-director Simon Barrett. Stay tuned after the movie for a special feature: Behind the Scenes of V/H/S/94 featurette.

For optimal VHS viewing, the film has been cropped from its original aspect ratio to 4:3 full frame. It is officially licensed from RLJE Films/Shudder and has been approved by producer Brad Miska.

A police S.W.A.T. team investigates about a mysterious VHS tape and discovers a sinister cult that has pre-recorded material which uncovers a nightmarish conspiracy.

[witterent]

Thanks to @mikeburnswho for sharing some of his VHS tape collection from Witter Entertainment & Broke Horror Fan! . V/H/S/94, Mandy, Werewolves Within, Black Friday, PG: Psycho Goreman, Tragedy Girls, and Willy’s Wonderland big boxes are beautiful all stacked up. Some of these titles have editions still in stock in our shop, but won’t return. All officially licensed 📼🤌 . Reposted with permission. https://www.instagram.com/p/CfWz7H3lmba/?igshid=NGJjMDIxMWI=

[pvtjoker22]

Judging the Year in Horror by the films and shows I saw this past year:

2021 releases:

Army of the Dead

Candyman

Fear Street Part 1: 1994

Fear Street Part 2: 1978

Fear Street Part 3: 1666

Halloween Kills

Willy’s Wonderland

Last Night in Soho

Malignant

Werewolves Within

PG: Psycho Goreman

VHS ‘94

Films I saw from previous years this year:

Phantasm II

Phantasm III

I Saw the Devil

The Cat o’ Nine Tails

TV:

Midnight Mass

Squid Game

Hellbound

Them

Podcasts

Alice Isn’t Dead

Books / Comics

The Fisherman

For new releases, campy horror came back in a grand way led by Malignant, PG, and Willy’s Wonderland. I love ‘elevated horror’ as much as the next person, but it’s nice sometimes just to have that way-too-cheesy dialogue followed by a scene taken far too seriously for its own good. Fear Street and Halloween Kills continued the trend of slashers making a come-back, shout out to the bread-slicer scene. Candyman and Last Night in Soho were probably the ‘best’ films I saw, but my favourite by far was Malignant and it’s incredibly well-made cheese. It actually succeeded in pulling off something incredibly difficult and making a ‘bad’ movie intentionally by doing so in earnest, with skill and having people who understood the intention making it. The new VHS was great in comparison to the third film which was admittedly a slog to sit thorugh.

Films I saw for the first time in 2021, were pretty solid as well, continuing my watch-through of the Phantasm films were II and III, with Phantasm II being especially a deliciously splendid slice of action-horror (I didn’t hate nu-Mike either by the way, I think they’re both good). I Saw the Devil was brutal and dark, as many Korean thrillers and horrors are excellent at this. The Cat o’ Nine Tails was both my first Argento film and first giallo and it kicked all kinds of ass. I especially loved the blind retired journalist grandfather, the dude had intrepid civilian detective written all over him.

Finally, the shows I watched this year were mostly good to great, especially the one-two punch of Midnight Mass and Squid Game. Midnight Mass was a meditative Mike Flanagan joint on religion and faith, and how it can be used for evil and good. Squid Game meanwhile was a social horror in the vein of Get Out, and while not the best show of the year (for me personally, it would probably be Resident Alien, that show had a damn big amount of heart) was incredibly tense and well-acted, and that marbles episode was probably the best single episode that year. Hellbound was another mediation on religion and was a solid follow-up for the director of Train to Busan, although it was more of a character piece. Them was meh, it was there.

The only book I got around to was The Fisherman by John Langan which is just a fantastic read. Keep in mind though it’s a story within a framing story, if that isn’t your jam, you might not enjoy this - but what’s there is incredible. Langan had the incredible skill to make something as mundane as a fishing trip seem foreboding and doomed.

In conclusion, it wasn’t the best year horror fiction has seen, but certainly not the worst by a long shot and continues the mid-10′s level of quality

Edit: I completely forgot I had started and finished Alice Isn’t Dead this year as well, which is a fantastic listen. Between this and Night Vale, I’m fairly sure Fink/Cranor are some of the best in cosmic horror fiction. 

[cytemealing]

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