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Auditor

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Posts posted by Auditor

  1. Oh don't get me wrong, I'm excited as fuck and thrilled that the reviews are this positive. Not letting myself get too hyped though, ya know: "prepare for the worst"

     

    an im damned sure seeing it in imax

  2. So glad I didn't enable Ironman Mode on XCOM 2: WotC, having lost faction members on missions more than once. And with the Avatar Project progress squares being enough of a concern, now you gotta worry about that Chosen assassin bitch gaining enough knowledge to find your Avenger. I can't wait to put her down for good.

     

    Might check out Ruiner after I'm done with WotC, between now and when the new Wolfenstein drops...

     

    If the Assasin finds your ship is it game over or does it just prompt a battle?

  3. Child's Play

     

    Pleasantly surprised! Either my standards are dropping given all the recent B-movie madness i've been working through or this is actually executed really well...or its just better than some of it's competitors.

     

    Will watch more in series/10

     

    Haven't seen that in years, but I do know that it traumatized me to the point of demanding that I sleep on either a couch or a bed when I stayed at friends' houses as a kid. I thought if I slept on or near the floor then I would be the first to die. 

  4. Motion Man is such an underrated emcee. His lyrics are lysergic fever dreams

     

    Aqua gill leg, shark bite, beach towel
    Bay Area conquistador, negro reservation
    Sniper tree trunk squirrel monkey agility
    Ultimate Fight night, pay per view ability
    Angel flight superhero, platform shoes
    Stomp down, return smacks, sniffin afro hairy chest
    Being, often seen, the Atlantic ocean, scared of motion
    Bulletproof flips, I'm slappin 'em, you shoot your best shot
    Roll the pearl, all world, lovin Oakland girls
    Vinny Testaverde style, I'm tossin balls dirty
    All form in swim, telepathic with amphibians
    Avenue warlord, I'm at the public sellin fat sacks
    Pockets on double, profit will triple
    Keep my piece tucked, low-plated nickel
    Bullets hit me they tickle, actual Terrordome
    Tossed my hall door keeper
    Italian, Columbian, Chinese black afro gangster
    Authentic ball collector, Euro-Asian afrocentric
    Bohemian being, third busted eye seeing
    Nada on papi, boil latte in the chrome
    My folks'll ride yo, down with Nicky, Custom Auto
    Able access, dislocate my larynx
    Change my vocal from millld to loco
    Half African, wild lion cheetah spotted
    Connect the dots, gazelle gallop, wolf kick

  5. Saw Mother! and enjoyed it for the most part. I thought I knew what it was about, but then I got home and read that Aronofsky claims that it is a bible allegory combined with a warning about destroying the environment. If so, it was completely underwhelming and pretentious as tits. I saw the film as a big metaphor for the narcissism and other shortcomings of a lot of artists. 

     

    Some guy on Reddit agrees with me and did a great writeup about it, so I will quote it:

     

     

    I don't think the biblical analogue is a perfect fit. A more appropriate fit, and the one that I (incidentally) subscribe to, sees the film as an illustration of the creative process, played out in graphically Freudian terms. In this interpretation:
    The house is the larger mind/inner intimate being of Javier Bardem, the artist. It's lived in by his wife, who has rebuilt it after a personal tragedy. Because the wife has participated in the rebuilding, it's their life together.
    Javier Bardem's character is the ego, the conscious mind of the artist.
    Jennifer Lawrence's character is the wife/partner of the artist. She is an interloper in his mind, in his intimate self. (I think this better explains the attitude of the various house guests towards her, and their fundamental lack of respect for her authority in the house.) She is not a true partner of the artist; as she says at the end, Javier Bardem's character doesn't love her, he only loves how much she loves him. He needs her love to keep his house (his larger being) in order, so that he can help create.
    The tonic is a representation of self-repression required by the artist's wife to allow her to live in intimacy with the artist. It's important that she mixes the tonic with the paint; it's a part of the house (part of the artist's mind), so by ingesting it, she takes some of his characteristics into herself. It illustrates her subservience to him. When she doesn't take it, she's in disharmony (physical discomfort) with the artist/house.
    The people are, collectively, the id, the subconsious mind of the artist. The id craves the creative output of the artist. It propels him (violently) toward the act of creation. More on them later.
    Ed Harris's and Michelle Pfeiffer's characters, and their children, are an event or personal story either told to or witnessed by the artist. The events in the second half of the film are the artist's attempts to process the tragedy/trauma he witnessed into a creative act.
    The crystal is a memory of a prior lover treasured by the artist. The vileness of the death of the son destroys the goodness of the memory of love the artist has; it's what animates him. By destroying the good memory, the trauma of the event cannot be erased by the artist or the artist's wife.
    The bloodstain is the trauma continuously borne by the artist after witnessing the death of the son. It's meaningful that the trauma never disappears, but keeps recurring, and also that the bloodstain is in the bedroom put aside for the baby. More on that later.
    The film's second half signifies the id's attempts to overtake the conscious mind with grief at the death of the son in the first half. The artist is having trouble processing death (specifically, the death of the son), and it boils over into the larger mind (the house) of the artist. The id is only placated by a creative act, which brings us to...
    The newborn son is the creative act inspired by the wife of the artist. The artist uses the wife for inspiration of his creative act, then turns it over to his id to placate it and help him process the trauma. Hence his speech about making the child's death mean something.
    Jennifer Lawrence's character's destruction of the house represents the wife leaving the artist out of disgust. She realizes what the artist has done with the creative act she inspired (used it to selfishly recreate a violent act), so she leaves him. The trauma of her leaving him burns out/destroys the life they have created together.
    The second crystal signifies the memory the artist creates of his and his wife's time together. He keeps that memory safe while he recreates the house with a new wife/lover, thus restarting the creative process over again.

     

  6. Alright fellas, help me put together a kickass pile of spooky books to read this autumn.

     

    I dug out Stephen King's Cycle of the Werewolf last night (it was next to a bunch of old Goosebumps books—hell yeah), and before that I reread Alan Moore's From Hell. Plus I got this thing called Powers of Darkness, which I guess is what happened when Bram Stoker's Icelandic translator for Dracula decided to blood-and-gore things up a bit. So that could be fun. or crap, but maybe fun crap.

     

    Suggestions? I hunger for fresh blood

     

    The Visible Filth by Nathan Ballingrud

    Experimental Film by Gemma Files

    Almost anything by Jack Ketchum (if you want really nasty blood+guts stuff)

    A Head Full Of Ghosts by Paul Tremblay

    The Least Of My Scars by Stephen Graham Jones

    Penpal by Dathan Auerbach 

    Any short stories by Thomas Ligotti 

    Anything at all by Brian Evenson 

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