Abominable Plakatstil Concluded

December 28, 2009

I am a terrible blogger. The previous post reminded me that I had started a series of posts on the history of sci-fi and horror movie posters. The posts were all taken from a term paper I had written on the subject. Looking back I see that I only got about half way through converting the text into blog posts. Once again, I am a terrible blogger.

Rather than try to squeeze another 4 or 5 posts out of this, I’m repenting by posting the entire PDF, here.

Prudent Paul’s Prophecy Emporium

July 7, 2009

Hooray! I’m finding my writing groove again. I’ve mostly been hacking away at my fantasy novel but it refuses to form into something coherent. At least the word count is going up. That has to count for something, right?

I’ve also been wrangling this short story that pokes fun at my beloved fantasy genre. It’s titled Prudent Paul’s Prophecy Emporium. Here’s a small taste:

“The second reason Chosen Ones are ignorant is much simpler: the Nameless One feeds on knowledge and experience. Ignorance is anathema to him. Attack him with an experienced warrior from his own realm and it will only make him stronger. Send some confused farm boy or, in your case, someone from an entirely different world to do battle with him and he can easily be defeated.”

“Have you considered throwing a small child at him?” I asked, just to see if he was even listening to me. “Or maybe an infant?”

Paul fell silent and stared at me, horrified.

“Well, as I said, I’ve got to be going. Good luck with the nameless dark, or whatever it is.” I moved toward the door.

“Wait! Where are you going?”

“I’m leaving. This is all fascinating but I’ve got to get back to real life.” I kept moving toward the door.

Paul rushed to get between me and the exit. “My boy, it doesn’t get any more real than this.”

I tried to side step him but he moved with me. This was starting to get a little too creepy for comfort.

“Excuse me, I’d like to leave now,” I said.

“I’m afraid I can’t let you do that,” Paul said.

“What do you mean you can’t,” the world filled with a sudden darkness.

I’ve Caught the Bird Flu!

June 7, 2009

Remember a few months ago when I said I didn’t have time to “Twitter my every inane thought?” Well it’s summer now and with the break in my schedule it turns out I do have time. Well, sort of. I mean, how long can it really take to write 140 characters?

So go follow me and I promise to limit most of my Tweets to my less inane thoughts.

Year in Review

May 18, 2009

Why would anyone post a year in review in May? It’s the end of the school year, that’s why. I just finished Spring term and I’m looking forward to a 3 month break. Of course, I’ll still be working 29 hours a week but at least I won’t have 3 to 4 hours of homework each night.

In the realm of design, I’ve been able to build my portfolio a bit via my Illustration class. I do feel that my skills have improved greatly over the past year. With any luck I’ll be able to pick up a freelance gig or two over the summer.

Of all my pursuits, writing has suffered the most from my busy schedule. This Spring I took an academic argument course which monopolized most of my writing energy without providing any of the enjoyment I normally get from the craft. Writing academic argument is like eating plain white rice, or over-baked chicken. You may be eating but the flavor is lacking.

As far as academia goes, I’ve had a pretty good year. I maintained a 4.0, I was honored with an “Excellence Under the Stars” award for academic achievement in Computer Illustration and History of Graphic Design, and I landed a Bethel Ells Scholarship. I also became a member of Phi Theta Kappa Honor Society. Not a bad bit of resume fodder, if you ask me.

The Legend of John Smithn’Frank Concluded

And Now, the stunning conclusion of:

The Bleam Corp Annual Chili Cook-off
(see part 1 here)
(see part 2 here)
(see part 3 here)
(see part 4 here)

John pushed the cart full of chili through the swinging double doors. Orange slime now covered the cafeteria. The creatures had just slurped up the last bit of chili. They were oozing toward the kitchen doors even before he had emerged with the chili.

“Who wants to try a helping of John’s Streak-free Colon Cleanser?”

John gave the cart a mighty shove. It glided toward the gathering mob of aliens. Just before it reached the nearest, it turned to the left and tipped over. The ammonia-laced chili spilled across the marble floor. Sphincter tipped orange tentacles lapped up the chili like hungry dogs.

“That’s right, eat up boys.”

John didn’t expect the poison to work right away. He didn’t expect the creatures to eat it and drop dead like in some kind of melodrama. What he expected even less was for the aliens to react the way they did. Just after slurping the last bit of tainted chili off the floor, the creatures began to grow.

“Oh crap…”

The first creature to reach John’s Colon Cleanser grew nearly double its original size, and the others were catching up fast. With the chili gone, they oozed toward him again.

“Oh crap,” John repeated, the last of his calm demeanor melting away.

He fled back into the kitchen. The slimy orange monstrosities squeezed through the swinging doors in pursuit. The proleg-lined tentacles propelled the creatures with surprising speed. They followed John through the kitchen and out the rear exit.

John sprinted across the alleyway to his storage shed. He armed himself with a crowbar –the only tool he found in his shed formidable enough to be a weapon– and continued his jaunt down the alley. He didn’t know where he was running. He didn’t care, as long as it was away from those disgusting, slimy, orange freaks.

I’ve got to find a real weapon.

He came to a door that led into the cannery. He stopped only long enough to see that the creatures were still on his heels. He rushed through the door, slammed it shut, and threw the deadbolt into place.

When he turned around he saw that there were more aliens here than there had been in the cafeteria. At least these seemed to be occupied with the massive vats of beans. For now, they showed no interest in John.

A loud crash sounded against the door behind him. The creatures were trying to break it down. The crash sounded again. It wouldn’t hold for long, the way they were pounding on it.

John hurried away from the door, and up onto one of the catwalks. He had only progressed a few feet when the door came crashing down. His slimy, orange pursuers oozed through the opening.

He fled across the alleyway, crashing through the door to the cannery. He jogged only a few steps before he saw them. The sloshing orange abominations had infested the massive pressure cooking vats. They paid him no heed as they devoured mountains of uncooked beans.

John stood there slack jawed. The cacophony of slurping noises made him feel a bit nauseous. The door behind him burst open. He forced his feet to move again. He was half way across the cannery floor when he glanced back. His pursuers were gone. No, not gone. They had joined their brethren in the vats. A grin spread over John’s face.

“So, ya came here for a cook off, did ya?”

With that John calmly made his way to the far wall. There he ascended a staircase that led to a small room. Half the room consisted of glass panels that overlooked the cannery floor. A console lay spread out before the windows at waist level.

John examined the array of controls. He didn’t know what any of the did, so he just started pressing buttons, and turning knobs. At last he flipped a switch and the lid to the nearest vat slammed closed with an authoritative thud. He flipped the next switch in that row, and the next vat closed.

He flipped the rest of the switches. The lids all sealed. Some of the aliens tried to escape, only to be split in half.

John continued to glide his fingers over the control panel. He didn’t stop until half a dozen warning lights and sirens sounded. Then he went back to the cafeteria.

#

Corpses of the Bleam Corp elite lay trampled near the main cafeteria exits, along side those of the rank and file employees.

John sat down next to the twisted body of Gustav, and lit a cigarette.

“Ya know boss, alien extermination isn’t in my job description. I’m going to have to take this up with my union rep,” John said, blowing a smoke ring into the air.

The walls shook with the sound of explosions from the cannery. John finished his cigarette, and went to the executive washroom to relieve himself.

These are the piss buckets of kings.

###

Final Analysis:

This story suffers on multiple levels. There are the pacing problems I mentioned in a previous post. Then there are the dialog tags getting in the way, along with a few other grammatical details. Overriding all of that, however, is the unshakable sense of hollowness.

As I wrote the story I really had no idea where I was going with it. This technique might work for the likes of Stephen King but not so much for me. The final product reads like what it is: empty. It lacks that spark that makes good fiction come to life.

Fortunately, I have complete a few other works since that I feel are vastly improved. No luck with publication yet but I feel they have a much better chance of finding a home, even if it isn’t with one of the more well known literary mags that I always aim for first.

The Legend of John Smithn’Frank Continued

March 5, 2009

The Bleam Corp Annual Chili Cook-off part 4
(see part 1 here)
(see part 2 here)
(see part 3 here)

The Bleam Corp employees lined up, empty chili bowels in hand. John thought the line looked a lot like the one they formed at the time clock at the beginning of a shift.

A large metallic cylinder crashed through the cafeteria ceiling, interrupting John’s musing. The Bleam Corp employees forgot all about ‘Gustav’s Gut Bomb’, ‘Bob Bluster’s Gut Buster’, and the other various bean related delicacies. Everyone stared at the object now dominating the center of the room. Skeeter Davis finished her song and Barry Mann started asking, Who Put the Bomp in the Bomp Bah Bomp Bah Bomp?

To John’s eyes the object had about the same circumference as a port-a-potty, and about twice the height. A ring of cracked tiles radiated out from the point of impact.

A door on the cylinder slid open to reveal a slimy creature with skin the color of steamed carrots. Roughly the height of a man, it had a small oval shaped torso. A neck stretched from the middle of the torso out to support an eyeball the size of a human head. Small caterpillar-like tentacles lined four long, sphincter tipped, multi-jointed appendages.

“What the Hell is that?” John stared at the creature.

The Bleam Corp employees screamed and scattered.

“Who cares what it is, I’m getting the Hell out of here!” Carlos bolted for the door.

The two main exits to the cafeteria quickly clogged. John saw Carlos trip and fall. The frantic exodus trampled him into something that looked like ground beef.

The alien creature lumbered toward the chili table, tossing aside tables and chairs. Three more cylinders crashed through the ceiling. Then two more. More creatures emerged from each, leaving a trail of orange slime behind as they sloshed toward the chili.

“Oh great, look at that mess,” John said.

The first alien reached the chili table, and plunged one of his tentacles into a pot of Bob Bluster’s Gut Buster. The other aliens caught up and began slurping the other contest entries. When they’d sucked a pot dry, they would fling it off the table.

The sight of the overturned tables and discarded cookware angered John.

“You disgusting alien scumbags. I’ll fix your little red wagon.” John turned and walked through the swinging double doors into the cafeteria kitchen.

“This is even worse than last year’s mess.”

He went to the back of the kitchen, and through the rear exit. The exit opened into an alleyway. The administrative building made up one wall of the alley, which also housed the cafeteria. The Bleam Corp bean cannery made up the other side.

John retrieved a bottle of ammonia-based window cleaner from one of the several storage sheds that cluttered the alleyway.

“This ought to do the trick.”

He locked the door to the shed, and returned to the kitchen. John the jugs into the pots of chili bubbling on the stovetop, and loaded them onto a metal catering cart.

As you can see, this is where things start to get weird. They don’t get any less weird as the story goes on.

Abominable Plakatstil (Part 4)

February 27, 2009

The Incredible Shrinking Artist
Hollywood studios seem to have a habit of disrespecting talent, at least until someone shows them how much money the talent can make them. Long after Hollywood realized the potential drawing power of their stars, they continued to treat their poster artists like beasts of burden. In his book The Art of Noir, Eddie Muller writes:

Figure 10: Vertigo (1958) – Saul Bass employs a dizzying spiral design to evoke the feeling described by the title.

As the business boomed, a more factory-like efficiency was imposed on the product—and the “paper.” The growth of suburbia, with its thousands of new theaters, the demand for more movies, and the strident clamor for attention in an increasingly competitive marketplace conspired to transform poster art. In the 1940s, studio publicity departments became sweat-shops. Most postwar paper—especially for B-films—was created by anonymous artists who held no copyright or claim of authorship once their work was shipped to the printer. (Muller 10)

Poster artists really began to gain respect in the 50’s. The director Otto Preminger was a pioneer of the scorched earth style marketing campaign that is common place today. Preminger helped bring fame to Saul Bass when he hired the designer to work on the posters and an animated title sequence for The Man with the Golden Arm in 1955. (King 6-7) Bass ushered in a new era of film credits, moving away the dull, stationary lettering of the past. (Rennie)

Bass would go on to become a legend in the world of movie posters, working with horror/suspense master Alfred Hitchcock. Among other’s, Bass’s partnership with Hitchcock produced the famous poster for Vertigo. (See figure 10)

The Legend of John Smithn’Frank Continued

January 19, 2009

The Bleam Corp Annual Chili Cook-off part 3
(see part 1 here)
(see part 2 here)

The high-pitched squeal of microphone cut off the music.

“Ladies and gentlemen,” a voice boomed over the loudspeaker. The voice was that of Bob Bluster, Bleam Corp CEO. “Welcome to the twenty-second annual Bleam Corp Chili Cook Off!”

The crowd applauded. John rolled his eyes.

“I’ve been up most of the night, along with the other members of senior management, cooking up the best pots of chili this side of the Mississippi. Like I was saying to Gustav earlier, this is the one day of the year when we work for you!”

The crowd laughed. It sounded forced, but passable.

“He gives this same speech every year. Next he’ll talk about how important we all are, and blah, blah, blah,” John said.

“But seriously,” Bob continued, “This day really is for you guys. With out all the hard work you do all year, Bleam Corp wouldn’t be the success story that it is. So I hope you all have a good time, enjoy the chili, and remember who signs your paychecks when it comes time to vote.”

Another round of forced laughter came from the crowd.

“I’m just kidding folks, have a good time.”

Bob put the microphone back on its stand and walked back to his pot of chili. The Bleam Corp Radio Network resumed its broadcast. Skeeter Davis was now singing The End of the World.

“It must crinkle his nuts that old Hitler boy kicks his hind quarters at this thing every year,” John said.

“Hitler boy?” Carlos raised an eyebrow.

“That’s my nickname for Gustav, the Facilities Director.”

“Uh isn’t Gustav a Scandinavian name?”

“My theory is that Gustav uses another brand of beans. See, because the voters are all us Bleam Corp slags, and anyone who works here gets free Bleam’s Chili Beans whenever they want. You eat enough of them and you get kind of sick of them. So when you try Gustav’s Gut Bomb Chili it tastes better because it’s got another brand of beans.”

A lot of people who read this on Critique Circle didn’t get the Hitler Boy joke, but I still like it. This section is meant to poke fun at corporate America. Perhaps if the rest of the story had been able to retain that flavor, it might have worked out better.

Abominable Plakatstil (Part 3)

January 6, 2009


Figure 8: I Walked With a Zombie (1943) – A solitary eye leers out from behind an outreaching hand.

Figure 9: Top: The Shining (1980) – Jack Nicholson’s eyes show menace, while Shelly Duvall’s show horror. Bottom: 28-Weeks Later (2007) – The eyes are the clear focal point of this poster.

Figure 6: Top: Frankenstein (1931) Bottom Left: Dracula (1931) Bottom Right: The Mummy (1932) – All 3 films were released by Universal, which might explain the striking similarities in these posters. Though they were once relegated to the B-list, the actors from these films have become almost as iconic as the villains they portrayed.

Figure 7: King Kong (1933) – Merian C. Cooper and Ernest B. Schoedsack, 1933 – The yellow lettering of the title overlaps the blue building on which Kong is perched. Blues and yellows were quite prevalent in 30’s film posters.

Posters of the Night

Science fiction and horror didn’t really come to Hollywood until the 1930’s. Classic movie monster films like Dracula, Frankenstein, and The Mummy were among the first. (See figure 6) These favored the use of large yellow or red type, often arched, for the title. You see a similar effect with the type on the poster for King Kong. (See figure 7)

The Posters Have Eyes

During the 40’s we start to see early examples of a trend Carol J. Clover refers to as “The Eye of Horror.” In her book Men Women and Chainsaws: Gender in the Modern Horror Film. Clover writes:

Eyes are everywhere in horror cinema. In titles: The Eyes of Laura Mars, Eyes of a Stranger, The Hills Have Eyes, The Eye Creature, Terrorvision, Scanners, White of the Eye, Don’t Look Now, Crawling Eye, Eyes of Hell, Headless Eyes, and so forth. Or on posters, videocassette box covers, and other promotional materials, where wide-open eyes staring up in terror (for example) at a poised knife or a naked face or something off-box or off-poster are part of the standard iconography. (166)

We see this somewhat with the posters for Frankenstein and Dracula, but more so in the 40’s with the posters for films like I Walked with a Zombie. (See figure 8)
This trend has continued all the way to the present day, as we can see from the posters for the Shining and 28 Weeks Later.(See figure 9)

The Legend of John Smithn’Frank Continued…

December 27, 2008

The Bleam Corp Annual Chili Cook-off part 2
(see part 1 here)

John sat upright in his cot with a startled gasp. A thirteen-inch TV/VCR perched on top of wilted cardboard box bathed the dismal space with a bluish light. His breathing slowed. Just a bad dream. He glanced at the alarm clock. Four a.m.

John fumbled for the remote control on his nightstand, knocking over a half-empty beer bottle in the process. He found the remote, turned off the static coming from the TV, and went back to sleep. He paid no heed to the beer soaking into the green shag carpet.

At six a.m. the alarm clock squawked its obnoxious wake up call. John lay with a pillow over his face, groping for the snooze button. Three snoozes later, John shut the alarm off and slinked out of bed.

A few steps from the bed, he realized his sock was wet from stepping in the beer soaked carpet.

“Ah, crap,” he muttered, pulling the sock off his foot.

“I can tell this is gonna be a great freaking day.”

#

Two hours later, John stood next to Carlos in the Bleam Corp cafeteria. The sound of Tennessee Ernie Ford singing 16 Tons accompanied a murmuring crowd.

“Now this is the reason you’re here.” John indicated the large purple banner dangling from the center of the cafeteria ceiling. Green lettering announced, “The Bleam Corp Annual Chili Cook Off.”

“This is it, Carlos, The worst day of the year.”

“What’s so bad about a chili cook off? I kind of like chili,” Carlos said.

“I like chili too. It’s not the chili that’s a problem; it’s the aftermath. They made such a mess last year it took me the whole weekend to get everything back to normal. That’s why they agreed to let me hire extra help this year. And I’m not just talking about the mess in the kitchen.”

“Great,” Carlos said.

In an earlier draft I actually described the nightmare that woke up John. I was trying to use it as a way of foreshadowing a rather ludicrous event later on. Rather than making that event more believable it ended up just creating two segments that didn’t make any sense.

There was also a part where John annoys some random bar patron with a lot of drunken rambling before going home to pass out and fall into the dream sequence. It was more failed foreshadowing, so I cut it. I only left this small bit about John’s apartment because I thought it helped build his character.

In the second half of this post, you can see the beginnings of a major pacing problem. I feel that the first two sections do a good job moving a long quick, and setting up the main character. After the dream sequence we begin what will turn out to be a much longer section.