Filled with art featuring death (for the most part that means a skeleton... spooky, no?) taunting the living. The reproductions vary in quality from good to barely legible. Mostly the former. Interspersed with the images is the occasional paragraph of word salad from the author. I suspect English isn't Fritz's first language. The book closes with a wonderful suite of a dozen or so wood engravings by Eichenburg. Not the most informative book on art, but certainly pretty to look at.
This tiny wood engraving started out as a practice block. I was rendering the bones of a foot. I got bored with that and drew a dude shaking his fist. Inspiration! Anyhow, this is a small wood engraving printed on sekishu rice paper. I have been having a heck of a time getting engravings to print sharply these days so these prints are a little saltier than I like. I'm on the lookout for any advice on hand-printing wood engravings. Leave a comment, commentators!
The first chapter about sea creatures is probably the best part of this book. Lots of great illustrations of ships being attacked. There is a hint of reality to tales of giant squids and the potential of undiscovered deep sea creatures. Then there's the coelacanth. You cryptozoologists have one example of the discovery of a long-thought extinct creature and you're just going to rub it in our faces like so much Sasquatch musk. I'll give you that victory, but I'll be damned if I am going to accept your extraterrestrial bigfoot sightings.
This game is part of a Tomb Raider three pack at GOG.com. I tried to play Tomb Raider 1, but I had already played the vastly superior remake, and I felt no need to revisit the same game but with bad controls and visuals. I would like to think that the second game has some technical improvements on the first, but it's still clunky as hell.
I absolutely hated Beyond the Black Rainbow but felt I had to watch it before watching this. Mandy might be a tad over-hyped, but it is leagues better than that artsy garbage fire. There at least is a story here. Even though it's kinda dumb. It gives you something to hang on to while you watch the images fly by. I get the feeling that Mandy was just an excuse to make a movie that looks like 70s prog-rock album covers complete with glowing geometric shapes and demonic, shadowy motorcycle riders.
The final installment in the Scorpion series is much more straightforward than the previous movies. From what I can tell, most reviewers rank this as the worst in the series but I think I liked it a bit better than Beast Stable. Sure, it's not as crazy, but there is a more coherent story and a semblance of character development for Nami. There's a bit of a love story and you think she might find peace.
A huge drop in quality for this the third Scorpion movie. Much of the visual flair is gone and the plot, which should be a simple revenge story, has trouble finding any focus. It does open with an absolutely fantastic scene involving a severed arm and a casual walk through Tokyo. I feel like the whole movie would be better if they just stayed with the arm the whole time. Instead we get another uncomfortable rape, but this time add incest to the mix. Throw in a couple of abortions and then we're back to prison for the final revenge.
The second film in this series has the same visual flair of the first. This entry is a pretty standard prisoners on the run plot where the escapees do stupid stuff that will, of course, lead them to being captured again. A little bit more gory than before, which is good. But a little bit more rapey than before, which is not so good.
Here are three more videos of my Martian Law songs. These were all created in FL Studio.
Japanese horror anthology from the mid-sixties that features beautiful surreal sets and cinematography but is very light on the horror. There are four stories. I liked the first two in which there was killer hair and an ice ghost. The third is the longest segment and spends way too much time in historical flashbacks. The fourth one is about a ghost that lives in tea. Yeah, that's about it.
In the middle of the film I kind of forgot that it opens in with crazy dreamy imagery. It wasn't until it started to return to its more obvious dreaminess that the whole thing began to click with me. I still don't think I fully got it... something about art and truth and a mid-life crisis. Doesn't matter. It's beautiful to look at and by the end you want to watch it again, knowing where it's heading. I'm surprised I liked this as much as I did.