You Say Thor . . . I Say Clor!

following along . . . Sleestak via Beaucoup Kevin!




Keepin' the meme ALIVE!

Paint by Voices

thanks to Drawn! for this head's up! Tobin Sprout paintings.

I like this one:

Reading Desk: The Road

here is a quote from one of my favorite writers on one of my other favorite writers (Cormac McCarthy):

Fundamentally it marks not a departure but a return to McCarthy’s most brilliant genre work, combined in a manner we have not seen since Blood Meridian: adventure and Gothic horror. That book is usually viewed not only as McCarthy’s greatest–a view I passionately share–but as representing a kind of fulcrum [in his career] . . . There are strong echoes of the Jack London—style adventure [and] Robinson Crusoe [in The Road] . . . For naturalism operating at the utmost extremes of the natural world and of human endurance a McCarthy novel has no peer. . . McCarthy has to be accounted as a secret master and the rightful heir to the American Gothic tradition of Poe and Lovecraft . . . I think ultimately it is as a lyrical epic of horror that The Road is best understood . . . The father is visited as poignantly and dreadfully as Odysseus or Aeneas by ghosts . . . Replete both with bleak violence and acute suspense, [this is] a layered, tightly constructed narrative that partakes of the epic virtue it attempts to abnegate . . . What emerges most powerfully as one reads The Road is not a prognosticatory or satirical warning about the future, or a timeless parable of a father’s devotion to his son, or yet another McCarthyesque examination of the violent underpinnings of all social intercourse and the indifference of the cosmic jaw to the bloody morsel of humanity . . . It is a testament to the abyss of a parent’s greatest fears . . . It is in the audacity and single-mindedness with which The Road extends the metaphor of a father’s guilt and heartbreak over abandoning his son to shift for himself in a ruined, friendless world that The Road finds its great power to move and horrify the reader.

–Michael Chabon, New York Review of Books

get The Road

Toy Madness!

As ToyFair kicks off in NYC this week, I will probably feature a few of the thousands of things that catch my eye. First up these DC Direct action figures based on the artwork for DC's first direct-to-DVD movie: Superman vs. Doomsday!!

If this is a true rendition of the artwork from the film, I think we have a lot to look forward to. It's sort of a cross between the Bruce Timm-Justice League Unlimited/Batman style and a more modern, action cartoon look akin to the recent Marvel direct films like the Ultimate Avengers and Iron Man.

Here we have Doomsday himself and a group shot. Hell, even the mullet-sporting, lame-O "Sun Suit" Superman looks decent!

None More Black!

Nice little docu-trailer for Spider-man 3 posted over at the always informative Blog@Newsarama - check it out!

you figure it out!

Visit this site, click enter>trailers>choose the lower of the two (the one with the miniature eyeball man in the soup bowl!) and watch the madness!

Here's a description of Gegege no Kitaro from Jay Stephens' killer Monsterama blog:

Check out the two wicked trailers on the official Gegege no Kitarô site. The screenplay was written by Daisuke Habara, based on the super-awesome manga by Shigeru Mizuki, and it's directed by Katsuhide Motoki (Free & Easy series, Drugstore Girl). For those of you who need to catch up, Kitaro is a young half-yokai (goblin/spectre/monster) who lost his parents at birth. His father's soul lives in one of his eyeballs. Raised within the yokai clan, Kitaro keeps tabs on human society, and fights evil yokai monsters-- protecting virtuous human beings from these threats from the other world. For some reason, the filmakers have invented a human love interest for Kitaro. A high school girl named Mika is rescued by the uncanny Kitaro and gradually falls for him. Her character has been created specially for the film, although Kitaro did have a human girlfriend by the name of Yumeko-chan in the third animated TV series broadcast on the Fuji network from 1985 to 1988. Not that I'm complaining!