Hulu Recommendation Friday: Fright Night

It wasn't quite the TWILIGHT or NEW MOON for Gen X movie goers, but it was a rollicking good time. FRIGHT NIGHT manages the careful balance between comedy horror and teen dramedy. Think of the film as Ferris Bueller meets the Hammer films catalog and you won't be far off. I also find it hard to imagine that a franchise like BUFFY THE VAMPIRE SLAYER could have come to fruition without FRIGHT NIGHT.



Roddy McDowall is wonderful as the combination Van Helsing and local horror movie host -- like Zomboo. More to the point as local horror movie host Van Helsing poseur who is called to combat the forces of Darkness to help a teen whose neighbor happens to be a vampire.

There's a phenomenon in horror films that I haven't written about before, and it's the underlying cause of the reason people tend to open doors when the audience knows better. Essentially, it's the fact that most characters who are in horror movies believe that they are in the real world. You know, where supernatural stuff doesn't really exist. One way that one can begin to categorize horror movies, and their characters, is how meta-aware they are that they are in a horror story.

For example, the only real difference between your typical Lovecraftian professor and Manly Wade Wellman's John Thunstone is that Thunstone knows at the beginning that he is in a horror story and he acts accordingly. In Lovecraft's horror, the breakdown of the psyche of the protagonist is often triggered at the point they realize they are in a horror tale -- this is usually the case in horror movies as well. In Wellman's Thunstone tales, Thunstone's awareness allows him to combat evil in ways that others wouldn't. One can also compare the characters in "Supernatural" to characters in most other horror films/television shows. The Winchester's meta-awareness is what sets them apart and enables them to avoid opening doors best left closed.

FRIGHT NIGHT plays with this concept a lot, and has fun with it. At first, only Charley knows he's living in a horror movie. Eventually, Roddy McDowall finds out, and though his character should know how to defeat evil the tension between real vs. supernatural makes him less effective at combating evil than he would otherwise be.

Sadly, the film cannot be viewed as an embedded film on a non-Hulu site, but it can still be viewed at Hulu at the link provided. I don't think I like these "Crackle" hosted items on Hulu because they cannot be embedded.

Click on the link or the picture and have a good time.

Cthulhu 101 by Kenneth Hite -- Go Buy It Now!!!

I have mentioned Kenneth Hite's works before on Cinerati. He's written everything from Children's books and roleplaying game products to Fortean magazine columns and "must read" companion books to the fiction of H.P. Lovecraft -- he's also written an illustrated guide to U.S. History.

Hite's latest venture requires all of the skills highlighted in Hite's wide ranging bibliography. Cthulhu 101 by Kenneth Hite is one of the most informative and entertaining For Dummies-eque books I have ever read, and it is the first in what will be a line of "101 Books" by Hite's Atomic Overmind Press. The book some how manages to be a delightful and light-hearted introduction to the fiction of H.P. Lovecraft suitable for the completely uninitiated, while also containing enough in jokes to satisfy a wide array of Lovecraft fans.

Do you have no knowledge of Cthulhu and H.P. Lovecraft? That's okay because Hite's informative and humorous tone will introduce you to the character and author in a way that piques interest without being a substitute for the experience. Hite deftly educates readers about Lovecraft, the Lovecraftian circle, and their place in modern horror fiction in bite sized content that reads like a fun conversation. Most sections begin with a question. For example, "Who is Cthulhu?" These questions are followed by a response, which may or may not be humorous. For the aforementioned question, the answer is a straightforward one:

"Cthulhu is a monstrous being invented by the author H.P. Lovecraft in the short story 'The Call of Cthulhu.' Lovecraft wrote the story in 1926, and Weird Tales magazine published it in 1928."

His answer to "I mean, what does Cthulhu look like?" is more humorous.

Are you a gamer who has played the Call of Cthulhu roleplaying game, but want to know more about the character and author? This book is a great place to start and has a reading list in the back and directs readers to some of Hite's favorite stories. If you are an old D&D gamer who has a copy of the original Deities and Demigods, there is a nice in joke for you on page 49.

Have you read all of Lovecraft's writing, but are wondering what the best film based on Lovecraft's fiction is? He's got you covered. If you want to know which Lovecraftian films to avoid, Hite's got a pretty good list. This list contains Cthulhu Mansion, and Hite's description of the film is one of the funniest film reviews I have ever read -- "There is, in fact, a mansion in this movie. The rest is lies and theft."

Hite is a little hard on August Derleth, who is to Lovecraft as L. Sprague de Camp is to Robert E Howard, but is as fair to Derleth as any Lovecraft "purist" can be. This is to say, while Hite is critical of Derleth he makes sure to point out that one of the better Mythos tales -- "The Thing that Walked on the Wind" -- is a Derleth tale.

As an aside, I'm one of those who -- like the Cimmerian -- is more forgiving of de Camp than many of my fellow Robert E Howard fans. Maybe it's because for all that de Camp butchered and infantalized Conan, deC amp's Harold Shea stories are must reads for any fan of Fantasy literature.

Hite's prose is spot on throughout the book and the illustrations by Drew Pocza are a nice counterpoint to the information -- with one exception. While Pocza's black and white illustrations are well drawn and engaging, his cover does leave something to be desired. Pocza's digital colored Cthulhu on the cover lacks the charm of the interior illustrations.

Don't let the cover, printed in the villain colors* of purple and green, fool you. This book is a must own -- go buy it now!

* -- Green and Purple are the standard villain colors in four-color comic books. Think about all the iconic villains, particularly Marvel, and how many of them are green and purple themed.

Is Mel Gibson Preventing New "Fahrenheit 451" Film?

In an interview with Tor Books, Ray Bradbury enthusiastically discusses his desire to see Frank Darabont's adaptation of Bradbury's classic Fahrenheit 451 into a feature film completed -- but there seems to be a road block in the way. Mel Gibson owns the rights to make the Fahrenheit 451 film and isn't helping with the raising of funds for the film.



Is Gibson sitting on the film rights until he can have full control of the project? Does anyone know more information?

Sporadic Geek Update 11-17: Jess Hartley, Matt Forbeck, and Assault Girls

Here are a couple of items that caught my eye as I wandered the internet today:

• Jess Hartley has a good "One Geek to Another" column up today discussing "Networking and Cross-Promotion." Her site, and columns, are on my regular must read list. She is an inciteful veteran of the gaming industry who regularly shares tips for the aspiring game designer and reviewer.





• Tulkinghorn over at "The Hungry Ghost" pointed me toward what looks to be a combination of geek awesomeness -- ASSAULT GIRLS. A live action film with Big Guns, Kick Ass Women -- some with angel wings, Giant Sand Worms, all blended together through the Anime Transmogrifier.



• Reactor 88 has released a conceptual trailer for a film based on Matt Forbeck's excellent BRAVE NEW WORLD roleplaying game.



• Thanks to SF Signal, I discovered Manybooks.net who have public domain books which they have kindly translated into a number of formats...including Kindle.

Trailer for Clash of the Titans Remake Now Available

After watching the trailer, I am struck by a couple of things. First, Liam Neeson's depiction of Zeus exudes far more power than the Olivier version. Second, though the film seems to lack any claymation (which would be a nice homage to Harryhausen), the film is definitely showing Harryhausen's influence on special effects. They kept the Medusa design and the giant scorpions look straight out of a Harryhausen film. Third, it looks awesome. Fourth, like the original it seems to have thrown a lot of Greek mythology out the window.

Fifth, I cannot wait until March 26th.

Cthulhu Expert Kenneth Hite 's Stocking Stuffer Lovecraft -- Antarctic Express and Where the Deep Ones Are.

At the past two Gen Cons, Atlas Games has released a children's adaptation of a Cthulhu mythos story scripted by Cthulhu expert Kenneth Hite.

In 2008, Atlas Games release Where the Deep Ones Are written by Hite with art by Andy Hopp. Where the Deep Ones Are is a retelling of "The Shadow Over Innsmouth" as transformed through the lens of Where the Wild Things Are.



In 2009, they released The Antarctic Express which took Lovecraft's classic At the Mountains of Madness and slightly changed the tale to match up with the recent holiday classic The Arctic Express. Express was illustrated by Christina Rodriguez.



The combination of Lovecraftian elements with children's stories is not one that would come naturally to the mind's of most people, but Kenneth Hite isn't most people. For years, Hite wrote a column entitled "Suppressed Transmission" ("Of course you know about the Suppressed Transmission") where he demonstrated both a vast catalog of knowledge and an ability to tie seemingly unrelated subjects together with a deft writing hand. When he ceased writing the column for Pyramid Online, the internet lost one of the best post-Fortean modern Fortean columns ever written. Hite is also a great advocate for the independent roleplaying game scene and a dyed in the wool Lovecraftian -- who apparently also shares a love of children's stories.

Hite is the only person I can think of who could have created Where the Deep Ones Are and The Antarctic Express to show us what you would get if you combined Charles Fort, H. P. Lovecraft, and Maurice Sendak.

I am of two minds with regard to what I think of the books themselves.

As a fan of Lovecraftania and products that combine nostalgia for ones childhood with geek elements, I think these books are magnificent. They certainly belong in the book case of any fan of H. P. Lovecraft, or of anyone who has a quirky/cynical sense of humor. Hite is quite a capable writer and Michelle Nephew (the editor) found the perfect illustrator's for each volume. Andy Hopp's surreal and slimy artwork -- which I first encountered in the Low Life setting for Savage Worlds -- fits naturally with a squamous and rugose transformation of "Wild Things." I am particularly impressed by Christina Rodriguez. Her ability to draw in the style of Polar Express while simultaneously drawing my favorite representations of Lovecraftian Shoggoths is quite a feat. Her representation of the Shoggoth is fantastic...best...Shoggoth...ever.



As a parent of 19 month old twin girls, I found the books to be a mixed bag.

Where the Deep Ones Are has found its way onto my daughters' bookshelves and will be read to them as a part of their regular rotation of bed time stories. In this book, Hite perfectly balances the yearning for adventure experienced by children with the Lovecraftian weird elements. Deep Ones never achieves the nihilistic horror of a true "weird tale," instead it errs on the side of wonder. This, combined with Hopp's entertaining and interesting illustrations, makes for an ideal childrens' book.

Antarctic Express has found its way onto MY bookshelf, right between The Moonstone and The Last Man. The book does capture a lot of the tone of Arctic Express, but it also perfectly captures the weird horror elements of Lovecraft's tale. The final page, where the title character is driven insane, is a bit out of place in a bed time story for 19 month old twins. Oh, and Rodriguez's penguins are downright creepy (much creepier than the Shoggoths) -- which is great, but adds to my "not for 19 month old twins" knee jerk reaction. The girls will have to wait before I read this book to them until I can explain madness to them, or at least until they are four or five years old. Hite's writing in this book is also very effective at capturing a nice horror tone. My thoughts are that Hite erred too much on the side of accurate translation and too little on the side of childhood adventure with this volume.

I hope that Hite continues to create volumes in this series, as they are a unique entry in the field of childrens' books. They aren't quite up to the over all quality level of Jane Yolen's "Dinosaur" series -- but then again, not much is.

Capcom Announces Demo for Latest Entry in Ace Attorney Series

Ever since October of 2005 when Capcom released the first Ace Attorney game in the United States, I have been addicted to this wonderful series of deduction based adventure games. In that first game, players were put into the role of Phoenix Wright a wet behind the ears defense attorney who defended the innocent against an overzealous and often corrupt criminal justice system.


The games were a combination of good storytelling and appropriately challenging logic puzzles. Players are expected to keep track of clues as they listen to their clients and do their own investigations of crime scenes during a trial. Two game elements exist which add tension to the game play. First, the trials themselves only last three days. If you haven't proven your client innocent and found the real culprit within three days, then your client is automatically found guilty. Second, you can only make three mistakes in logic during the examination and cross-examination before your client is found guilty due to your own incompetence. There are no appeals in the criminal justice system of the Ace Attorney series, so the stakes are high.

In addition to being highly entertaining adventure games in the mold of classics like Secret of Monkey Island and Maniac Mansion, these games fall into the noble genre of deduction games. Exceptional non-video game entries that fall into this genre include Sherlock Holmes Consulting Detective, 221B Baker Street (one of my wife's all time favorite games), Scotland Yard, Fury of Dracula, and Gumshoe. The board games differ in the amount of narrative content, but they all require players to use deductive skills in order to win the games. These games also vary in the amount that luck can play to aid the players, in the boardgames luck sometimes can give certain players more clues (or more important clues) than the other players possess. This is one of the drawbacks that board games in the deductive genre can fall into.

Thankfully, the Nintendo DS based Ace Attorney series doesn't suffer from this flaw. As a video games, the clues and their location are concealed by the magic of code and must be actively discovered by the person/people playing the game. The Ace Attorney game also requires the player to walk through all the steps of the logical process and the articulation of any logical proof. Even if you know the answer and have figured out the mystery, you must still walk step by step through the logical analysis in order to win the game. I think this is where the Ace Attorney games become more than just games, but valuable learning tools as well. While the information in the individual mysteries will never come into use in daily life, the critical skills developed by investigating the mysteries will. Given that the mysteries carefully balance learning with challenge, players don't tend to get frustrated that they cannot solve the mysteries. The first episode of each game is typically fairly easy to solve, but by the time you get to the final mystery things get quite challenging.

In the newest entry into the Ace Attorney series, which comes available on February 16, 2010, the players leave the court room for the crime scene as they take the role of Phoenix Wright's oft-time rival Miles Edgeworth. Instead of investigating previously examined crime scenes, as in the prior entries in the series, as Miles Edgeworth the players will be asked to start the investigation at the crime scene to find the clues which will be brought out in trial.



A prosecutor friend of mine once told me how Perry Mason influenced his desire to become an attorney and eventually a prosecutor. Perry Mason's ability to find out who the real culprit behind the murders on the TV show gave my friend the impression that attorneys where real life superheroes. They defended the innocent and made sure that the guilty were punished. At some point my friend came to the realization that prosecutors were the real Perry Masons of the world, they were the ones defending victims and prosecuting the perpetrators far more frequently than defense attorneys. Now the Ace Attorney series is walking down a similar path. The players have played defense attorneys fighting against an over zealous and sometimes corrupt Prosecutor's office. Now it is time for the players to take on the role of the most noble member of that office and bring justice to those who thought they could get away with murder.

I'm excited about the prospect and am grateful that Capcom has released a playable demo of the game, which can be played at the Gamespot website. Though all you have to do to play it is click on the image below.



Features :

• Starring Miles Edgeworth, the popular rival of attorney Phoenix Wright
• Gameplay moves out of the courtroom and onto the crime scene
• New investigative style using the Nintendo DS stylus to uncover evidence
• Several unique cases to solve with over 15 hours of gameplay
• New technique, such as “logic” mode assists you in uncovering the crime
• Unique dialog trees and interrogation techniques let you question witnesses to discover the truth

Hulu Recommendation Friday: The Prisoner

Given that this Sunday is the premiere of the new AMC series "The Prisoner," a site as devoted to geek culture as this one is has only one possible recommendation to make -- "The Prisoner" starring Patrick McGoohan. The show is not "officially" on Hulu, but you can find a link on the Hulu site.

The original "The Prisoner" was nominally a follow up to Patrick McGoohan's popular spy themed show "Danger Man," or as I always new it "Secret Agent." One way that "The Prisoner" can be viewed is as the "deprogramming" of McGoohan's character from the earlier series as he retires from the spy world.

There are many other lenses through which the show can be viewed as the show is a great example of what much of the New Wave SF Writers and the earlier Futurian SF writers where doing in written SF. In the fiction of both the New Wave writers and Futurians shifted the focus of sfnal elements away from the mechanically technical and into the political and social. It is true that earlier SF, like that of Wells and Huxley, had been filled with political and social elements as the primary sfnal elements, but the Hard SF movement championed by John W. Campbell had a greater focus on hard science than earlier SF. The Campbellian writers had political subtexts as well, but one can read much of Heinlein, Vogt, and Asimov without engaging with the political/philosophic content. The fiction of the New Wave and Futurians was a little more radical and overt in its use of political and social elements. One cannot read Behold the Man without engaging with the radicalism of the text. It's no accident that "The Prisoner," with its focus on the collective versus the individual, came into existence at the height of the, largely British, SF New Wave.

It is a common practice among fans of "The Prisoner" to have lengthy conversations about the meanings embedded within the series and it is almost impossible to describe the series itself without revealing one something that one might find to be a spoiler. "The Prisoner" is a show to be experienced tabula rasa, then to be experienced again and again in order to engage with the complexities of the narrative.

It appears that the new AMC show is using Alternate Reality Gaming to expand the experience. Make a little visit to the Summakor website to get an idea of what I mean.

Herzog's "Bad Lieutenant: Port of Call New Orleans" Opens in Limited Cities on November 20

Ever since I first saw "Aguirre: der Zorn Gottes" on a German class field trip, I have been entranced with Werner Herzog's films. His documentaries are extraordinary and his narrative films have a verisimilitude often lacking in films by other directors. His recent film "Rescue Dawn," a narrative film inspired by his earlier documentary "Little Dieter Needs to Fly," Herzog gave us a riveting story of hope in the face of hopelessness. The film features an excellent performance by Steve Zahn, a talented comedic actor who demonstrated dramatic ability in "Dawn."

On November 20th, First Look Studios will be releasing Herzog's latest film "Bad Lieutenant: Port of Call New Orleans." The film is a kind of re-envisioning of the cult classic 1992 Abel Farrara film starring Harvey Keitel.

Herzog changes the setting of the film from New York City to New Orleans in a move that opens the possibilities for Herzog to use the titular Bad Lieutenant as a human representation of the city itself. The press release describes the new film as follows:

In Werner Herzog’s new film BAD LIEUTENANT: PORT OF CALL NEW ORLEANS, Nicolas Cage plays a rogue detective who is as devoted to his job as he is at scoring drugs -- while playing fast and loose with the law. He wields his badge as often as he wields his gun in order to get his way. In the aftermath of Hurricane Katrina he becomes a high-functioning addict who is a deeply intuitive, fearless detective reigning over the beautiful ruins of New Orleans with authority and abandon. Complicating his tumultuous life is the prostitute he loves (played by Eva Mendes). Together they descend into their own world marked by desire, compulsion, and conscience. The result is a singular masterpiece of filmmaking: equally sad and manically humorous.

At first look, the role looks to be a nice fit for Cage. Many of his idiosyncratic traits will mesh well with a character spiraling through addiction. Unlike many in the "geekosphere," I have a genuine appreciation for Nic Cage and his films. As the motley crew in "Freaks" would say, he's "One of Us" and this has led him to select some projects where he wouldn't normally be the first choice of filmgoers. But he makes his choices out of a genuine love for the medium.

I don't know if this film will be "sad and manically humorous," but if it manages to capture the city of New Orleans in all of its stark beauty -- while simultaneously depicting the devastation of Hurricane Katrina -- the film will be worth watching for the city alone. When you have a damaged urban landscape, you don't need to use as many shadows to create a sense of despair.

On November 20 the film will be released in Los Angeles, New York, Chicago, San Francisco, and Washington DC. The film will not be released in New Orleans until December.

Frederik Pohl Blogs About the Origins of Astounding (Now Analog) Magazine

Astounding/Analog magazine is the fountainhead of the Golden Age of science fiction. Many of the great SF stories that later generations read in various novelizations and anthologies first appeared within its pages, and most of those during the period the magazine was edited by John W. Campbell. For all of its importance in the field, I have not read much regarding the formative years of the magazine.

Thankfully, Frederik Pohl's has written a blog entry that is filling this significant gap in my knowledge of SF/F history. The post gives some insight on how the cost of printing covers for a line of pulp books, and the need for one more book title to be printed to prevent wasted revenue, was one of the contributing factors to the creation of the magazine. The story demonstrates how niche markets can receive product when the costs associated with the risk of the venture are less than the costs of the waste produced if no product is made -- and how this venture can eventually lead to a literary explosion.

Given my Oma's refusal to do anything remotely computer related, I find it inspiring that Frederik Pohl (who turns 90 this Thanksgiving) has a well maintained and "must read" blog. Well...must read for any SF fan.

Henry Rollins on Globalization for Vanity Fair

In today's "Straight Talk Espresso" for Vanity Fair, Henry Rollins writes a snark filled indictment of the banality of Globalization masked as travelogue. In today's post, Rollins shares in typical "Rollins-rantese" an experience he recently had in Jakarta. The center piece of the post is his sighting, and subsequent photographing, of an elderly female vendor on the streets of Jakarta who happened to be wearing a Black Flag t-shirt. It happens that she has no idea who Henry Rollins is or what Black Flag was, and Rollins uses this as an opportunity to contrast the ubiquity of American iconography with the lack of any real cultural understanding.

Rollins lets the facts stand as they are and presents the global encounter with American pop-culture as so much absurdist flotsam and jetsam -- pop culture as pollution.

The irony that Rollins mentions, but seems to fail to grasp himself, is that the young couple with whom he shares the absurdity of the moment are themselves the perfect example of more meaningful globalization. The couple both recognizes Rollins and is able to communicate the humorous situation to the older woman, a fact that speaks more genuinely to a flattening of the world.

What Rollins presents as an "ironic" encounter that supposedly demonstrates the lie of the emergence of a genuine global culture -- influenced by American culture -- instead becomes only slightly more incongruous than some American Gen-Xer's grandmother wearing a Black Flag t-shirt while grocery shopping. In both cases, a younger individual would likely be necessary to explain the history of the seminal punk band's history to the woman.

While Rollins may be missing some of the point of pro-globalization arguments, he is certainly right in reminding us that American culture is not world culture. Even when you think about our most monolithic pop-culture globalization industries, film and television, one can see that other cultures have influence American film making as much as we have that of other cultures. American film wouldn't be what it is today without the French New Wave, the Hong Kong Wave of the 80s and 90s, or the increasing influence of Bollywood. American television is filled with content influenced by the television of other nations, Britain in particular.

But the globalization of culture is only possible, and meaningful, when it comes with global experience. Americans spend to much time navel gazing and not enough time looking out at the world. Rollins is right when he hints at that necessity.

More genuinely ironic is that Henry Rollins is writing posts for a magazine that once featured articles by T.S. Eliot, P. G. Wodehouse, Aldous Huxley, and Thomas Wolfe.

An icon of my rebellious youth, okay the rebellious youth of some of my best friends, now writes for Vanity Fair. What is up with that?

[For full disclosure, I am a big fan of Rollins. He doesn't just talk the talk about the things he believes in, he acts on them as well. That deserves respect, that and the fact that he can rip my head off with one hand tied behind his back.]