"We are all in the gutter, but some of us..."
Taking Trash Seriously.
"...are looking at the stars."
-- Oscar Wilde
May 13, 2004
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This site is updated Thursday afternoon with a new article about an artistic pursuit generally considered to be beneath consideration. James Schellenberg probes science-fiction, Carol Borden draws out the best in comics, Chris Szego dallies with romance and Ian Driscoll stares deeply into the screen. Click here for their bios and individual takes on the gutter. Our Guest Stars shine here

While the writers have considerable enthusiasm for their subjects, they don't let it numb their critical faculties. Tossing away the shield of journalistic objectivity and refusing the shovel of fannish boosterism, they write in the hopes of starting honest and intelligent discussions about these oft-enjoyed but rarely examined artforms. Contact us here.


Recent Features


Disconnected Viewing

sita brahmin.jpegI don't have cable right now so I'm rewatching old shows and movies. A lot of them are animated. Such is my way. I'd like to have a nobler reason for rewatching them--something like when James revisited his favorite childhood books. And it's true—he did inspire me. But it's also true that I don't have cable.

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Hammering Away at the Here and Now

mapinternet-small.jpgLet's say you're the newly-sentient internet. How would you decipher the meaning of all the bits and bytes whizzing past you? And what about the real world outside your electronic realm?

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Pilgrim's Progress

Pilgrim 80.jpgFormer Comics Editor, Guy Leshinski has very kindly given us permission to reprint a prophetic interview with Bryan Lee O'Malley in 2005.  Will Bryan Lee O'Malley attain the Holy Grail of cartoonists? As Bryan says, "We'll see..."


There’s a girl sitting on the subway. She’s 16 or so, in a brown corduroy jacket and a pair of faded sneakers, her feet propped on the seat across from her. She’s absently brushing on lipstick, absorbed by Bryan Lee O’Malley’s graphic novel Scott Pilgrim’s Precious Little Life: Volume 1.

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Well-rendered Television

by Jim Munroe
The show's opening sequence starts with a woman in a black bodysuit facing off against a hulking monster. When she finishes him off with a jump-kick, the music swells and the words "Game Over" come up. "Did you ever wonder what happens after the game ends?" a voice reminiscent of Laurence Fishburne intones. "Welcome to the other side."

The woman looks at her watch, says, "Shoot, I'm late for dinner," and runs off to her waiting helicopter, unlocking it remotely with the familiar "squark" sound and the headlight flash. It was a subtle touch, one I didn't notice until the opening sequence of the fifth episode -- and by then it was too late.

I got hooked on UPN's Game Over the first episode I saw. Admittedly, I expected it to suck, presumed it would be a cheap cash-in on videogame hype with a dysfunctional family à la The Simpsons, which one of its producers wrote for. But despite the similarities with that most esteemed clan, the family in Game Over doesn't come off as derivative. The mother, Raquel, has just gone back to work now that her kids are teenagers -- she's a professional tomb raider, essentially. The dad, Rip, a generic race-car driver, has to cope with the fact that his wife is more successful and better paid than he is.

It's this standard family sitcom stuff contrasting with the fantastical videogame world that creates most of the humour and narrative drive. Their neighbours are Shaolin monks who work from home, battling ninjas on their rooftop. Rip returns from a hard day on the racetrack to have the father monk backflip into his yard and remind him that city law prohibits the hedge from being higher than six feet. "It's obstructing my vision when I'm backing the wagon out," he says. "Plus, it makes us a lot more vulnerable to sneak attacks. It's kind of freaking out Dark Princess." He gestures to his wife dispatching attackers on the roof.

It's a sharp depiction of a passive-aggressive neighbourly interaction that manages to mix the real and ridiculous. And the attention to detail -- the grey stubble shading the monk's head, his saying thank-you in Mandarin (xie xie) -- shows an admirable familiarity with the cultures being lampooned. Billy, as a trend-obsessed 13-year-old, drops real hip-hop slang -- when he receives a trophy for going to the store, he pumps his fist and crows, "This is for all the haters who thought I couldn't go to the store!" When his socially conscious sister, Alice, calls her mother and finds out that she's hanging from the roof in the middle of trying to grab a golden monkey from a crypt, Alice is indignant: "Mummies have a right to their cultural heritage, too!"

And thankfully, they're intimately familiar with the games themselves. The sound of Rip's races begin with the beeps of Pole Position. Alice's phys-ed class is beach volleyball with a bunch of bimbos inspired by Dead or Alive Xtreme Beach Volleyball. Billy's puppy love for an anime exchange student who trails rainbows as she flies is cut short -- she must return to Japan, for her family needs her: "It's Godzilla season!" Her big eyes narrow. "We must kill him, many times."

It's this knowledge of what they're mocking that gives the 2-D satire a third dimension. But it may also be the 3-D models. The computer-generated animation, done by Toronto's DKP Effects, is very well done -- it pays more attention to raised eyebrows than it does to conventional CG obsessions like perfecting reflective surfaces or skin texture. In an interview on UnderGroundOnline, Justin Kupka of DKP said, "One of the big assets we have are the videotapes of the actors recording their lines. They aren't just reading them but acting them out. They do it 10 or 20 different ways. We see their gestures and use them in the show. It helps bring it up a level."

The voice acting brings it to the next level after that, with Lucy Liu's voice as the mom, SNL's Rachel Dratch as the daughter and Patrick Warburton (the guy who played Puddy on Seinfeld) as the dad.
Perhaps the whole enterprise was too high-level -- after premiering in March it was pulled in April. The pundits predictably reported that it was game over for Game Over.

But is it really? For someone like me and the growing number of people who get most of their TV via Bit Torrent and other file-sharing methods, I'd rather have five episodes done right than 50 episodes done half-right. Heck, five 22-minute episodes is over a hundred minutes -- a movie's worth -- of entertainment.

There's a term for games that haven't been sold for years, but still have an avid fanbase of players: abandonware. Either the company went under or just decided it wasn't profitable enough to keep selling these games, so sites like the-underdogs.org distribute them for free just to keep these worthy titles alive. Maybe this is the fate of Game Over. Just because it couldn't survive in the strange climate of network television doesn't mean it won't have a second life as a download, and perhaps as a DVD after that.

A show like Game Over deserves at least the standard three lives.

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I also downloaded an episode of this show recently via Bit Torrent. I have to say that I was unimpressed. The video game references weren't nearly obscure enough, the voice acting was annoying, and the graphical style didn't seem to suit the subject. It was clearly not developed by people who have a love of video games and have spent a good portion of their time playing them.

When I first heard tell of this show, I was really hoping that they'd spit some serious geek knowledge, but they decided to play it safe and stick to video games that no tru gamer likes; games like Tomb Raider, Dead or Alive Volleyball among others. More references to games people love, like Final Fantasy, Mario, Metal Gear, Zelda, Doom, Civilization, Half-Life, and Animal Crossing, and a better understanding of what makes gamers tick may have gotten this show a larger cult following, if not at least one more season.

There were a few chuckle moments (I think you mentioned all five of them), but other than that, I feel it was a very superficial attempt at appealing to the ever growing market of gamers.
While it's certainly not the worst thing to ever come out of network TV, I probably won't ever watch it again.

Matt Maynard

i just saw 3 eps and i loved the show, its like the new reboot of tv shows :P ahh,*two thumbs up*,its now on dvd and you can pick it up on dvd at zellers, in ontario but they only have 2 copys per store >_i just saw 3 eps and i loved the show, its like the new reboot of tv shows :P ahh,*two thumbs up*,its now on dvd and you can pick it up on dvd at zellers, in ontario but they only have 2 copys per store >_

—neko


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i just saw 3 eps and i loved the show, its like the new reboot of tv shows :P ahh,*two thumbs up*,its now on dvd and you can pick it up on dvd at zellers, in ontario but they only have 2 copys per store >_i just saw 3 eps and i loved the show, its like the new reboot of tv shows :P ahh,*two thumbs up*,its now on dvd and you can pick it up on dvd at zellers, in ontario but they only have 2 copys per store >_

—neko

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Of Note Elsewhere
Wicked posters for Raleigh, North Carolina's Cinema Overdrive film series.
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Here are some pictures of the ladies reading comics for Read Comics in Public Day. As Gail Simone writes, "Take note everybody in comics!"  (For the record, Carol read Kurosagi Corpse Delivery Service 5 on a sidewalk bench, but there's no photo).
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48 vs. 61 in Rintaro and Katsushiro Otomo's excellent bicycle racing short where the racers look kinda like Rintaro and Otomo. Also, damn fine music and possible steampunkery.
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Klingon opera has finally happened. Get an earful at Cinematical. (The musical part begins at about 2:15).
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Makiko Itoh has translated Satoshi Kon's farewell.
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