Library Addition: Signed First of Theodore Sturgeon’s Without Sorcery

April 28th, 2021

Picked up another signed Sturgeon first:

Sturgeon, Theodore. Without Sorcery. Prime Press, 1948. First edition hardback, a Near Fine copy with slight bumping at head, heel and points and a tickmark and circled “A+” next to “Maturity” on the title page, in a Very Good+ dust jacket with edgewear and crinkling at head, heel and points, rubbing along edges one thin streak of discoloration to spine (not affecting any text), slight haze rubbing to front cover, and age darkening and dust staining to white rear cover, signed by Sturgeon. Sturgeon’s first short story collection (and first “real” book). Diskin, Theodore Sturgeon: A Primary and Secondary Bibliography, A54. Currey, page 473 (state B, trade issue). Chalker/Owings, page 352. Kemp, The Anthem Series, page 129. Bleiler, Checklist (1978), page 189 (not in the 1948 edition). Locke, Anatomy of Wonder, page 208. Barron, Anatomy of Wonder 4, 3-173. Bought for $50 off eBay.

Honest Trailer: Godzilla vs. Kong

April 27th, 2021

And here’s the conclusion of our (sorta) Godzilla Week on Futuramen, The Honest Trailer for Godzilla vs. Kong:

Hopefully more book geeking starting tomorrow.

Art Addition: Original Bob Eggleton Godzilla Painting

April 26th, 2021

So back at the beginning of 2020, I found out that there was a Godzilla in Hell comic book miniseries, for which a different professional artist painted every page of an issue, and that Bob Eggleton did the paintings for issue #2. I like Godzilla, I liked the idea, and I like Bob’s work, so I contacted him to see if any of the paintings were available. Some were.

So I bought one for what I think is an extremely modest sum for an artist of Bob’s stature.

Then it took me another year to buy, assemble, and frame the work. (Framing art is freaking expensive.) But I think the end result is quite nice:

I don’t have a lot of original art because I spend so much on books. But it’s nice to be able to afford the occasional piece…

Shoegazer Sunday: Echodrone’s “A Ghost and a Walkman”

April 25th, 2021

Echodrone has a new album, Resurgence out. I bounced off the first tracks I heard off it, but this one I like:

Godzilla vs. Kong Pitch Meeting

April 24th, 2021

As you can tell, I liked Godzilla vs. Kong, but I can’t deny that there are a few, ahem, scientific implausibilities in the film, and Screen Rants Pitch Meeting guy digs into those with gusto:

Of course, remember what franchise we’re talking about. Compared to “He must have programmed himself to get big!” (Jet Jaguar in Godzilla vs. Megalon), Godzilla vs. Kong‘s leaps in plausibility are mere hopscotch…

Unpublished Lafferty Novels Redux

April 22nd, 2021

Some nine years ago, I published this post on Andrew Ferguson’s NYRSF piece on unpublished R. A. Lafferty works. These included:

  • Loup Garou, a werewolf mystery
  • Civil Blood, an anti-communist novel
  • Antonio Vescovo, a very early novel described as “a cross between Rabelais and The Lives of the Saints
  • Dark Shine, about gifted children and an evil protagonist, and
  • When All the World Was Young, a plague novel in which everyone over the age of 10 is killed.
  • I also knew about the unpublished “In a Green Tree” novels:

  • Grasshoppers and Wild Honey 1928-1942 (first two chapters published, the rest unpublished)
  • Deep Scars of the Thunder 1942-1960
  • Incidents of Travel in Flatland 1960-1978
  • (A project fifth volume, In the Akrokeraunian Mountains 1978-1990, was evidently started but never completed.)

    I was also aware of the third and fourth volumes in the Coscuin Chronicles series:

  • Sardinian Summer
  • First and Last Island
  • However, this wiki (evidently created by Ferguson) includes still more novels I haven’t heard about before:

  • Esteban, “a historical novel tracking the life and travels of the African slave who was the first ‘white’ (i.e., non-Native) man to enter much of what would become the southwestern United States”
  • Fair Hills of Ocean, Oh!, “About a dolphin who is a quadruple-agent spy and the invasion of dry land by the king of the oceans.”
  • Iron Tongue of Midnight (I know nothing about, except it shares the same title as a 1988 Lafferty poem)
  • Mantis (evidently a mystery novel)
  • Not listed there, and only listed on a couple of dubious webpages, so I have my doubts as to whether it actually exists, is The Giant Ratchet of Sumatra (with Sharon Scott). There is a reference to a first chapter manuscript in the University of Tulsa archives, but I see no sign that it had ever been completed.

    Excluding the dubious and unfinished, by my count that’s fourteen unpublished Lafferty novels

    Movie Review: Godzilla vs. Kong

    April 20th, 2021

    Godzilla vs. Kong
    Directed by Adam Wingard
    Written by Terry Rossio, Michael Dougherty, Zach Shields (story), Eric Pearson and Max Borenstein (screenplay)
    Starring Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Julian Dennison, Kaylee Hottle and Demian Bichir

    This is the best of the Monsterverse movies. The people at Legendary Films seem to have finally figured out what viewers actually want (hot kaiju-on-kaiju city-destroying action) and what they want left on the cutting room floor (boring human backstory).

    The movie opens with King Kong contained within a Truman Show-type dome over Skull Island and Godzilla attacking the Florida research facility of sinister Apex Cybernetics (think Yoyodyne or Weyland-Yutani). The movie quickly splits into two strands: Millie Bobby Brown’s character (a bit less useless than in Godzilla: King of the Monsters), her tubby geek friend (Julian Dennison) and a conspiracy theorist (Brian Tyree Henry) try to penetrate Apex systems to learn The Real Truth, while Kong, along with his deaf Child Monster Whisperer companion (Kaylee Hottle; think Kenny from Gamera, but much less annoying) and guardian Rebecca Hall (the bank-teller from The Town) help Alexander Skarsgard take Kong to Antarctica on an Apex-underwritten mission to the hollow earth to uncover a new power source.

    If the last part sounds extremely unlikely, you’re right, but they’ve cannily kept explanations to a bare minimum to keep you moving on to the next monster scene. (You know that 5-15 minute segment where they have to knock out Kong to get him on the ship? They snipped that sucker entirely out and cut to him already in giant chains mid-voyage.) The first battle between Godzilla and Kong takes place at sea, with round one going to our reigning lizard champion.

    There’s some delightful stuff with Kong reaching the hollow earth, where he roams the verdant green-and-purple landscape, fights some Quetzalcoatlesque giant flying serpents (which this rundown dubs “warbats”) and finds a giant ancestral throne room and (plot point alert) a Kong-sized Zilla-spined axe.

    In the other plotline, the Scooby Gang discover that Apex is breeding Skullcrawlers (from Kong: Skull Island), and are promptly whisked via high speed underground tunnel to Hong Kong (Monsterverse tech seems to be advancing much faster than our own), where they discover that Apex head honcho Walter Simmons (Demian Bichir, basically playing Evil Tony Stark) has built to his own Mechagodzilla to put man back at the top of the food chain.

    If you watched the Toho Godzilla films, you pretty much know how this is going to turn out.

    We finally get Godzilla and Kong smashing up neon-lit Hong Kong in a truly epic battle royal that Mechagodzilla later joins. Legendary really makes use of the possibilities of CGI to make you feel like you’re in the middle of a battle between two giant monsters, with the viewpoint frequently swooping in and around the action. There’s even a scene where Mechagodzilla emerges from a hillside that I would swear is an almost exact lift from a Toho hillside monster emergence scene.

    This is the Godzilla movie where Hollywood finally figured out how to get out of its own way. No “reinvented” Godzilla, no tedious backstories, no time wasted on pointless human drama, no 15 different studio executives having to stick their dicks in the soup to justify their salaries. Just compelling kaiju on kaiju action rendered with top-notch modern CGI that puts you in the middle of the city-stomping. (And none of the “they make their own weather so everything is dark and stormy” effect used to excess in Godzilla: King of the Monsters.) It bests all previous Moinsterverse films in just about every area (except Kong: Skull Island in cast; Samuel L. Jackson, John Goodman and Tom Hiddleston beat Eleven, Ben Affleck love interest and a random Skarsgard hands down).

    And it’s light-years better than the 1962 King Kong vs. Godzilla, which features perhaps the saddest Kong ever committed to film. (Banglar King Kong doesn’t count.)

    If you like Godzilla movies, this one is well worth catching while it’s still in theaters.

    Shoegazer Sunday: Hundredth’s “Down”

    April 11th, 2021

    Hundredth was a hardcore band that turned to shoegaze with their album Rare. Here’s a track off it:

    Music Video: Mr. Weebl’s “Unicorn”

    April 9th, 2021

    Today is evidently National Unicorn Day, so it gives me an excuse to post this:

    I sort of wanted to post it for St. Patrick’s Day, but forgot…

    Joel Hodgson Launches Another MST3K Kickstarter

    April 8th, 2021

    MST3K creator Joel Hodgson has launched another MST3K Kickstarter to help fund the show that was dropped by Netflix after two seasons. Their minimum goal is $2 million for three more episodes (which I think they’re going to breeze past today), with stretch goals out to $5.5 million for 12 episodes (plus 12 short films).

    Plus something called “The Gizmoplex,” which he describes as “an online theater for live screenings & special events!”

    1. Live Premieres & Events: Each month for our first year, The Gizmoplex will host at least* one live event, where you can join me, our cast and writers, and some special surprise guests. Each live event will be like a night at the theater, and will have a lot of fun surprises. Our live events could include new sketches, trailers (done “MST3K style”), live Q&A panel discussions, interviews, contests… even the return of the MST3K “viewer mail” segment.

    2. The MST3K Watch Club: To make it easier to watch MST3K with your friends, The Gizmoplex will also be the official home of the MST3K Watch Club! Each month, you’ll get on-demand access to a new selection of episodes, and the ability to host your own live screenings for up to 10 people! Anyone with a Gizmoplex Pass can join for free, and if you want to invite someone who doesn’t, they can get a “Day Pass” for just $0.99!

    And, if we reach our stretch goals, the Gizmoplex Pass will get even more valuable!

    3. Gizmoplex Apps: If we raise $3.3 million, we’ll be able to develop apps that bring The Gizmoplex to mobile devices and TVs! Right now, the plan is to include apps for six of the most popular platforms: iOS, Android, AppleTV, AndroidTV, FireTV and Roku. Like Crow says: we’re gonna conquer cyberspace, man!

    Also: “I really want The Gizmoplex to feel like something new: less like another Netflix with nothing but MST, and more like a charming, off the radar, suburban cineplex that plays movies for 99 cents, long after their first run.”

    Though not stated, the ad campaign suggests they’re keeping the Season 11 and 12 cast, and Jonah Ray appears in the Kickstarter video.

    There’s also some interesting discussion of the economics behind the show and Kickstarter:

    1. Without a network supporting us, we need to fund everything ourselves. During our first Kickstarter, we estimated that, once production was up and running, we’d be able to produce new episodes for about $250K each. In the end, though, the budget for each new episode ended up being closer to $350K. For the last two seasons, we were able to cover the difference through our deal with Netflix… but this time, we’re on our own. We’ve got a lot of ways we can keep the budget lower, but, you know… it’s still going to cost something. And when you think about it, $350K for 90 minutes of television is still one of the best deals in show business.

    2. We still can’t spend everything we raise on Kickstarter to make the show.

    Campaign Fees: Between Kickstarter and the credit card processor, we pay about 8% of your pledge in fees. There’s also a fee for CrowdOx, the platform we’ll use to manage all of your surveys and rewards after the campaign ends.

    Making Rewards: We reserve about 20% of your pledge in order to design, produce, print, sort and pack all of your rewards. And that’s not even including shipping, which we’re not collecting until after our Kickstarter campaign ends!

    Dedicated Support: During our first Kickstarter, we underestimated the amount of work involved in providing customer support and creating detailed backer updates, so we had to depend on volunteers to do a lot of it. This time, we want to make sure we’re prepared, so we budgeted about 4% of each pledge for that.

    Building & Running The Gizmoplex: We really want The Gizmoplex to be great, but getting it started will take some work – and keeping it running also means we’ll have some monthly fees to cover. We also need some budget to support all of the special live events we’re planning to host. So, we’re using about 3% of your pledge for that.

    When you put it all together, we have to spend about 35% of what we raise just to cover Kickstarter expenses, and to keep all the promises we’re making to you.

    He thinks that if they do 12 episodes, per episode cost will be down to just under $300K.

    You may remember that MST3K already had the biggest Kickstarter in history up to that time. It’s since been surpassed by several smart watches and board games, among other things.

    Despite the caveat that “this might not be a good time for some people to offer financial support to a robot puppet show dedicated to cheesy movies,” I expect them to blow the doors off the totals of their last Kickstarter.

    Naturally I’ve already pledged.

    Update: Just ticked over the first goal of $2 million.