We tried to produce this week’s Ramen Empire, but some stuff came up and we had to choose between getting Thieves Can’t Issue #1 finished on time, or getting an update for Monday finished on time. We’ll be finishing up the paper version of TC1 this week. In the meantime, have a Demogorgon.
Zounds isn’t quite ready for whatever sort of public launch Zach and I are ultimately planning for it, but for now, #3 is up for our Ramen Empire Patrons and we’re definitely open-eared to you guys’ thoughts.
We were out of commission for about a day and a half. A PEBKAC error led me to realize I had some pretty bad security flaws. Changing servers was necessary, and my screwing up part of the wordpress install made it as good of a time as any to move.
The full story isn’t nearly so clean or well-mannered, but I don’t want to mar anyone’s reputation.
Shout outs to Lawrence, Mike, and Ryan for all of their technical support this week! None of them are paid enough.
I am a little in love with this concept. The whole comic is over on Patreon.
The Ramen Empire timeline extends out a bit further than you guys have seen just yet, but we introduced Arty (the yet-un-named little girl) in the main comic, and are itching to get the strip about her out and rolling.
In the spirit of Calvin & Hobbes, and very specifically Spaceman Spiff, Zach and I are ecstatic to present the first strip of Zounds!
Her situation within the world will make more sense after the hospital story line concludes, but that’s months away and we want to start sharing these with you guys.
Zounds will, for now, remain behind the Patreon paywall at the $3 marker, and I’m going to update the reward tiers to reflect this. The first comic can be read here, and they’ll always be under the Patreon tag “Zounds.“
I’ve watched the new It movie twice, and am so enamored that I’ve gotten the book and have read quite a ways into it. I’m also re-reading Frankenstein and a bunch of short stories because of my responsibilities as a college instructor, and I’m enjoying being able to read without making notes and marginalia.
Naturally, I’ll be writing a comparison up as soon as I’m finished, and will be taking notes and marginalia to help with this.
This film is, I think, the best treatment that Stephen King’s horror has ever gotten on the silver screen. A bad mood tainted my first viewing, in which the sound track and certain CG moments annoyed me. Under normal circumstances, this’ll kill a movie for me. The aesthetics of the film also bothered me – camera tricks designed to make horror-movie viewers feel ungrounded stood out badly to me, the color scheme felt as if it were screaming messages in my face, and I grumped after every jump scare.
And left the theater thinking and revisiting scenes, which nagged at me until I’d gone out and bought the novel. As I read, I wondered if I had not made a critical mistake, and watched the film against its intended grain. I went again. Stephen King is close to my heart. I wanted to like It, and had been prepared to hate it from its earliest conception.
I had seen an early leak of a script that was absolutely abysmal.
I had a supposed edit of the script that didn’t seem much better.
The reveal of Pennywise’s costume didn’t impress me.
The first trailer made me worry about the film’s overall quality.
And despite having all of this and a bad mood on my shoulders, the movie had me in its grips. I was charmed by the cast, and my internal bitching was drowned out by the sort of post-film mental awe that makes watching films a worthwhile activity.
I saw It a second time and have been left entirely delighted. Horror tropes used throughout the film are not there to scare me, the viewer; they’re there to establish pathos for the Loser Club.
Bill Skarsgård nails the role. He is not the Pennywise we grew up, nor is he trying to be. He made the part his own. Tim Curry played a wonderful murder-clown. Bill Skarsgård played an eldritch horror disguised as a clown. Neither one detracts from the other’s performance in any way; they are doing different jobs for different treatments of a story.
In many ways, I see It as a modern mirror of Grimm’s Fairy Tales. We follow young protagonists into a dark forest through a world wherein we understand they can die, and they’re surrounded by horrors that the adult world only cares about in a cursory way.
This is a coming-of-age story first and a horror film second, and because of that, it has significantly more depth than I expected. If you’ve got young teenagers, let them go see this. The R rating is elemental to the material, but I suspect very strongly that they will understand this film in a way that adults cannot.
And this speaks volumes about how fantastically the makers of It have mastered the material. I don’t think I can write more on this topic while keeping my “no spoilers” promise, so I’ll cut myself short, here.
I have criticisms, but they are surface-level, laden with spoilers, and not worth skipping the film over. The release of what is certain to become a national treasure is not the time for me to yuck into the yum. Go catch this on the big screen, and let me know what you think in the comments.