With our powers combined
Friday, August 22nd, 2008Warning: A Zombie Outbreak Occurred at This Location
Thursday, August 14th, 2008
I must admit to being amused by the Lost Zombies Sticker Campaign:
The Lost Zombies Sticker Campaign is designed to identify locations where zombie activity has been observed or suspected. To get your free Lost Zombies stickers send a Self Addressed Stamped Envelope to:Lost Zombies, PO BOX 11935, Pleasanton CA 94588
If you see or place Lost Zombies stickers out in the world please take a photo and post it here in the comment field.
Ain’t It Cool News retracts "Clone Wars" review
Wednesday, August 13th, 2008Apparently Harry Knowles hated the new Clone Wars movie — but his extremely negative review got unpublished from his Ain’t It Cool News site. Word on the street says the Lucasfilm applied plenty of pressure.
An excerpt:
After Genndy’s CLONE WARS – I felt that perhaps Lucas “got it” – and that this new animated series was taking a lead from Tartakovsky’s brilliant assembly of pieces. Genndy’s CLONE WARS got STAR WARS better than anyone has got it since Lawrence Kasdan and Irvin Kershner. Genndy took designs and characters that folks were dissatisfied with and made them cool. He did this by using and adapting the themes created by John Williams, the wholly perfect entity involved with Star Wars along with… the sound effects of Ben Burtt. He understood speed and motion – not just with action, but in editing. He understood classic film composition and iconography. And he knows what BADASS is.The folks behind this STAR WARS: THE CLONE WARS movie… you could tell, they looked at what Genndy did – but they didn’t understand any of it. There’s a ****load of battles and ***** going boom. There’s noise everywhere – fury everywhere… but none of it is directed. The music by Kevin Kiner is criminally bad. Why they didn’t employ Paul Dinletir and James Venable is beyond me. No, no – let’s hire the composer of WALKER, TEXAS RANGER. Ahem.
Stage magic isn’t statecraft
Thursday, August 7th, 2008Stage magic isn’t statecraft — usually:
In September of 1856, in the face of a growing rebellion, Napoleon III dispatched Jean-Eugene Robert-Houdin to Algeria. Robert-Houdin was not a general, nor a diplomat. He was a magician – the father, by most accounts, of modern magic. (A promising young escape artist named Ehrich Weiss would, a few decades later, choose his stage name by adding an “i” to “Houdin.”) His mission was to counter the Algerian marabouts, conjurers whose artful wizardry had helped convince the Algerian populace of Allah’s displeasure with French rule.A French colonial official assembled an audience of Arab chieftains, and Robert-Houdin put on a show that, in its broadest outlines, would be familiar to today’s audiences: he pulled cannonballs out of his hat, he plucked lit candelabra out of the air, he poured gallon upon gallon of coffee out of an empty silver bowl.
Then, as he recounted in his memoirs, Robert-Houdin launched into a piece of enchantment calculated to cow the chieftains. He had a small wooden chest with a metal handle brought onto the stage. He picked a well-muscled member of the audience and asked him to lift the box; the man did it easily. Then Robert-Houdin announced, with a menacing wave of his hand, that he had sapped the man’s strength. When the volunteer again took hold of the box, it would not budge – an assistant to Robert-Houdin had activated a powerful magnet in the floor of the stage. The volunteer heaved at the box, his frustration shading into desperation until Robert-Houdin’s assistant, at a second signal, sent an electric shock through the handle, driving the man screaming from the stage. The chieftains were duly impressed, and the rebellion quelled.
The story of Robert-Houdin’s diplomacy by legerdemain is well-established in magic lore, in large part because it is the only documented instance, at least since antiquity, in which a conjurer changed the course of world affairs. Stage magic, after all, isn’t statecraft, but spectacle and entertainment.
Now researchers have begun to realize that magic represents something more than spectacle and entertainment — not statecraft, but a deep and untapped store of knowledge about the human mind:
Misdirection is, in a sense, the conjurer’s tool that is easiest to understand – we miss things simply because we aren’t looking at them. Martinez-Conde is particularly interested in misdirection, and the question of what it is about certain movements that attract and hold our attention. Robbins, a performing pickpocket and another of the magicians to coauthor the Nature Neuroscience paper, has found, he says, that semi-circular gestures draw people’s attention better than straight ones. “It engages them more,” he says. “I use them when I’m actually coming out of the pocket.”Martinez-Conde is intrigued by this distinction, and has hypothesized that the particular magnetism of curved motions might spring from the fact that they don’t map as easily onto the quick, straight movements, or saccades, that our eyes instinctively use to focus on objects. As a result, she suggests, curved motions might require more sustained attention and concentration to follow.
Other effects, though, are more befuddling. Often eye-tracking studies show that subjects can be looking right at an object without seeing it – car accident survivors report a similar paradox. Or, with just a little encouragement, a person can be made to see something where there’s nothing.
The vanishing ball illusion is one of the most basic tricks a magician can learn: a ball is thrown repeatedly into the air and caught. Then, on the final throw, it disappears in midair. In fact, the magician has merely mimed the last throw, following the ball’s imagined upward trajectory with his eyes while keeping it hidden in his hand.
But if the technique is easily explained, the phenomenon itself is not. If done right, the trick actually makes observers see the ball rising into the air on the last toss and vanishing at its apex. As Rensink points out, this is something more powerful than merely getting someone to look in the wrong direction – it’s a demonstration of how easy it is to nudge the brain into the realm of actual hallucination. And cognitive scientists still don’t know exactly what’s causing it to happen.
Book your next vacation with the interplanetary time-travel agency
Monday, August 4th, 2008
Book your next vacation with the interplanetary time-travel agency, Blue Wyvern suggests, with a number of retro-futurist posters.
(Hat tip to Drawn!)
Glennz Tees
Friday, August 1st, 2008
Glenn Jones, who has been designing t-shirts for Threadless, under the name Glennz, has just opened his own online store, Glennz Tees. It’s too bad I don’t wear t-shirts much these days…
(Hat tip to Drawn!)
GraphJam
Thursday, July 31st, 2008Al Gore Places Infant Son In Rocket To Escape Dying Planet
Wednesday, July 30th, 2008
Al Gore Places Infant Son In Rocket To Escape Dying Planet:
Former vice president Al Gore — who for the past three decades has unsuccessfully attempted to warn humanity of the coming destruction of our planet, only to be mocked and derided by the very people he has tried to save — launched his infant son into space Monday in the faint hope that his only child would reach the safety of another world.“I tried to warn them, but the Elders of this planet would not listen,” said Gore, who in 2000 was nearly banished to a featureless realm of nonexistence for promoting his unpopular message. “They called me foolish and laughed at my predictions. Yet even now, the Midwest is flooded, the ice caps are melting, and the cities are rocked with tremors, just as I foretold. Fools! Why didn’t they heed me before it was too late?”
Al Gore — or, as he is known in his own language, Gore-Al — placed his son, Kal-Al, gently in the one-passenger rocket ship, his brow furrowed by the great weight he carried in preserving the sole survivor of humanity’s hubristic folly.
You can thank The Onion for that one.
Mamma Mia! is dangerous, perhaps evil, and certainly hypocritical in the extreme
Wednesday, July 30th, 2008Conservative science-fiction author Orson Scott Card says that Mamma Mia! is excellent art and entertainment — but it is also dangerous, perhaps evil, and certainly hypocritical in the extreme:
As entertainment, as art, there is so much to love.As a social artifact, this movie is so loathsome it almost gives me a rash. Here’s why:
I can live with all the politically correct cant: You don’t need to find your father to find yourself! I’m glad I raised my daughter alone, it was better that way. We don’t need no piece of paper from the city hall! (Oh, wait, that was Joni Mitchell — but the sentiment is there, all right.) Isn’t it cute that Colin Firth’s character turns out to be gay?
I can live with it because I’ve been numbed. But what I can’t live with is the vile hypocrisy of it. Because, while the dialogue keeps delivering punchy little slogans for the elitist anti-marriage crowd (and all the pro-marriage sentiments are uttered by a naif who, at the end, changes her mind), this movie absolutely depends, for all its emotional interest and impact, on the audience’s innate longing for love and marriage, monogamy and fidelity, babies and nuclear families with a mom and a dad.
In other words, they’re having their cake and eating it, too. This movie has no point, it does not work, without the audience’s commitment to the traditional (and, one might even say, culturally necessary) moral worldview.
And yet the movie pretends to be post-marriage and post-family.
The problem is that while coasting on tradition, Mamma Mia! is normalizing the civilizational deathwish of our current cultural elite. As a social artifact, it isn’t worth scraping off of the bottom of my shoe.
I had a wonderful time watching it.
Sid and Marty Krofft are still pulling the strings
Saturday, July 26th, 2008Puppeteers Sid and Marty Krofft are still pulling the strings:
Universal Pictures has just finished principal photography on a $100-million adaptation of “Land of the Lost,” the mid-1970s Krofft show about a family stranded in a jungle teeming with dinosaurs and hissing reptile-men called Sleestak.
Seriously, a $100-million adaptation of Land of the Lost? It gets wackier:
The remake is a comedy starring Will Ferrell, and Universal has circled it as its big popcorn movie for summer 2009.
The strange case of the superheroes, the geeks and the studios
Friday, July 25th, 2008The strange case of the superheroes, the geeks and the studios explains that Comic-con is put on by a non-profit entity:
I posited to the folks that put together Comic-con that not only might they be making a wack-load more money if they went into business — or at least had a for-profit arm — but that they might even be better at fulfilling their stated mission. Why let the studios make all this money off their backs? Some obvious profit-maximizing efforts for Comic-con would include raising ticket prices or moving the whole event — which sells out and bursts the seams of San Diego’s convention center — to a bigger venue like Las Vegas. Variety recently noted that the event’s $75 four-day passes were being scalped for as much as $300.Here’s a quick financial profile, based on Comic-con’s most recent publicly-available financial statement, for the fiscal year ended August 2006: The company earned roughly $1 million on revenues of nearly $6 million, and had some $5 million in retained earnings. Only four full-time employees make more than $50,000, and the highest paid made $76,000 that year. One of the four, marketing chief David Glanzer, told me eagerly that the convention “isn’t about the money, it’s about the content. We’re a group of fans trying to put on a show.”
Kim’s Game
Friday, July 18th, 2008I didn’t realize that the jewel game from Kipling’s Kim had been dubbed Kim’s Game and popularized in real life:
Kim, a teenager being trained in secret as a spy, spends a month in Simla, India at the home of Mr. Lurgan, who ostensibly runs a jewel shop but in truth is engaged in espionage for the British against the Russians. Lurgan brings out a copper tray and tosses a handful of jewels onto it; his boy servant explains to Kim:
Look on them as long as thou wilt, stranger. Count and, if need be, handle. One look is enough for me. When thou hast counted and handled and art sure that thou canst remember them all, I cover them with this paper, and thou must tell over the tally to Lurgan Sahib. I will write mine.They contest the game many times, sometimes with jewels, sometimes with odd objects, and sometimes with photographs of people. It is considered a vital part of training in observation; Lurgan says:
[Do] it many times over till it is done perfectly — for it is worth doing.In his book Scouting Games, Robert Baden-Powell, the founder of scouting, names the exercise Kim’s Game and describes it as follows:
The Scoutmaster should collect on a tray a number of articles — knives, spoons, pencil, pen, stones, book and so on — not more than about fifteen for the first few games, and cover the whole over with a cloth. He then makes the others sit round, where they can see the tray, and uncovers it for one minute. Then each of them must make a list on a piece of paper of all the articles he can remember… The one who remembers most wins the game.
Kindle 2.0 Coming Around October 2008
Wednesday, July 16th, 2008Kindle 2.0 Coming Around October 2008:
An insider let slip that two new Amazon Kindle models will hit stores this holiday season, with the first coming as early as October.The first is an updated version with the same sized screen, a smaller form factor, and an improved interface. The source told us that Amazon has “skipped three or four generations,” comparing the old Kindle to the 1st gen iPod and the new version to something like the sexy iPod Mini.
The second new model, which is shaped like an 8 1/2 x 11-inch piece of paper, is considerably bigger than the current model and should be available next year.
Both models should come in multiple colors and may be aimed at younger readers.
Dark Knight Shift
Monday, July 14th, 2008
In Dark Knight Shift, JR Minkel of Scientific American interviews E. Paul Zehr on why Batman could exist — but not for long:
How would Batman get enough rest?
The difficulty for Batman is he’s going to be trying to sleep during the day. He’s going to be really tired, actually, unless he can shift himself over to just being up at night. If he were just a nocturnal guy, he would actually be a lot healthier and have a lot better sleep than if he were doing what he does now, which is getting some light here and there. That’s going to mess up his sleep patterns and duration of sleep.Wouldn’t fighting Gotham’s thugs every night take its toll?
The biggest unreal part of the way Batman’s portrayed is the nature of his injuries. Most of the time, in the comics and in the movies, even when he wins, he usually winds up taking a pretty good beating. There’s a real failure to show the cumulative effect of that. The next day he’s shown out there doing the same thing again. He’d likely be quite tired and injured.Is there any indication in the comics of how long Batman’s career lasts?
The comics are really vague on this, of course. In Frank Miller’s The Dark Knight Returns, he deliberately shows an aging Batman coming back after he’s retired, and he highlights him being tired and weaker. Somewhere around age 50 to 55, he should probably retire. His performance is going down. He’s always facing younger adversaries. That is well at the end of when he’s going to be able to defend himself and be able to not have to deal that lethal force. This was actually shown in an animated series called Batman Beyond.Oh right. It’s the future; Batman is old and he trains a kid to replace him.
You’re familiar with that one? What we learn is that Batman, when he was older but before he retired, actually picked up a gun against a thug because he had to. His skills had let him down so that he wasn’t able to defend himself without harming another person. So that’s when he decided to retire.How would all those beat-downs have affected his longevity?
Keeping in mind that being Batman means never losing: If you look at consecutive events where professional fighters have to defend their titles—Muhammad Ali, George Foreman, Ultimate Fighters—the longest period you’re going to find is about two to three years. That dovetails nicely with the average career for NFL running backs. It’s about three years. (That’s the statistic I got from the NFL Players Association Web site.) The point is, it’s not very long. It’s really hard to become Batman in the first place, and it’s hard to maintain it when you get there.
I believe Dr. Zehr has overlooked a key aspect of being the Batman — he doesn’t fight fair. Criminals are a cowardly and superstitious lot, and the Dark Knight plays on their fears, while choosing the time and place of his attack.
I can’t say I agree with Zehr’s training advice either:
What’s a realistic training regimen?
I didn’t give a training manual in my book, but he’d want to do specialized weight training to build up an ability to work at a really high rate for maybe 30 seconds to a minute (the maximum time period associated with his fights). One of the early comics shows him holding an enormous weight over his head. That’s not the right kind of adaptation toward punching and kicking. He’s got to make sure he’s doing all the skill training at the same time so that he’s actually using the (physical) adaptations he’s slowly gaining. In conventional martial arts, when people take weapons training, you’re doing a kind of power-strength training.What effects would all that training have on Bruce Wayne’s body?
I looked up what DC Comics and some other books said (about Batman’s physique). I settled on the estimate that Bruce Wayne started off at about six-foot-two and 185 pounds. I gave him a body fat of 20 percent (slightly below average) and a body mass index of 26. Let’s say after 10 or 15 years, after he’s become the Batman, he’s weighing about 210 pounds and has a body fat of 10 percent. He’s probably gained 40 pounds of muscle. His bones will actually be more dense, kind of the opposite of osteoporosis.Are we talking freakishly dense bones?
The percentage change is actually quite small—maybe 10 percent. In judo, where people do a lot of grappling and throwing, you’re going to have more density in the long bones of the trunk. In karate and other martial arts where they’re doing a lot of kicking, there’s going to be a lot higher density in the legs. Muay Thai (kickboxing) is a great example. They’re always doing these low shin kicks. They try to condition the body by kicking progressively harder objects and for longer.
Lifting an enormous weight overhead — i.e. doing a clean & jerk — is excellent training for building up the muscles, bones, tendons, and ligaments of the legs and core, which are used extensively in judo — and in jumping from rooftop to rooftop. But Zehr is a Chito-Ryu karate-do practitioner who, I suppose, rarely jumps from rooftop to rooftop.
What Batman needs is a cross-fit routine with an emphasis on judo/jiu-jitsu, kickboxing, and parkour.
Also, I’d hardly say that Bruce Wayne was 185 lbs. at 20 percent body-fat before training. First, he started training as a teen — his parents were killed while he was a child — and, second, even a mildly active young man can be, say, 8 percent body-fat without really trying.
Moebius Redux
Tuesday, July 8th, 2008Moebius Redux offers a fascinating look at French illustrator Jean Giraud, perhaps best known, under the pseudonym of Moebius, for co-creating the adult comic Métal Hurlant, which spawned an American version, Heavy Metal.
If you know Heavy Metal from the movie, then you might recognize Moebius’s work indirectly, from the last sequence, Taarna, which was based on his Arzach stories — but with his protagonist replaced by a hawt chick.
I guess I shouldn’t be surprised that Giraud made a life-changing trip to Mexico when he was in art school — and that he went back and had an even more life-changing trip there that included some hallucinogenic mushrooms. It shows in his art.
I was shocked to find out that Giraud worked on a film adaptation of Dune for Alejandro Jodorowsky. They had funding but couldn’t arrange American distribution, so the project got cancelled. Not only did the project have Giraud doing design work, but also H. R. Giger — and he’s as creepy as you might expect.
That team went on to do Alien.
Also, Giraud’s artwork for the Dan O’Bannon short story comic “The Long Tomorrow” was a key visual reference for Blade Runner.
(Hat tip to Drawn!)

