TIP for high schoolers or college students taking core classes
use the crash course youtube channel to help you review for tests
I'm not saying only watch crash course, definitely do some regular studying as well, but if they have a playlist for your common core class that's gonna cover most if not all of what you'll need to know for a final and it'll be explained well (and it'll probably hold your attention for longer periods of time)
This week gave us a much better picture of Gamera Rebirth, thanks to its panel at Anime Japan: we got a synopsis, character descriptions, another opponent unveiled (Jiger!), some toys, and a trailer. I'm loving the redesigns for the kaiju, and am pretty intrigued by the extent to which the U.S. is battling them, but the animation for the humans doesn't look any better than the Polygon Godzilla trilogy. I guess I can bear it for Gamera's sake.
Actor Jiro Dan (middle) died on Wednesday at the age of 74. His claim to fame was playing Ultraman Jack's host, Hideki Go, in Return of Ultraman and many Ultraman series and films since; he was also G-Guard Commander Besuke Jinguji in Godzilla Island. May he rest in peace.
Just when I was starting to worry that IDW's second run of Godzilla comics was going to abruptly end in May, here's another five-issue miniseries. Godzilla: Here There Be Dragons chronicles a secret voyage of Sir Francis Drake in which he and his crew encountered the King of the Monsters and (naturally) other Toho creatures. Believe it or not, this is Drake's second meeting with Godzilla: the first was in Dark Horse's Godzilla, King of the Monsters #10. Can't say I'm a huge fan of Godzilla in pre-Atomic Age settings though. Frank Tieri is writing and Inaki Miranda is illustrating; first issue's in June.
Godzilla: Tokyo SOS was the first Godzilla movie I saw in theaters (at the Pickwick, no less), so catching the Fathom Events showing on Wednesday was a nostalgic treat. Less nostalgic, but quite welcome: new subtitles! Well, new to us. @kyodaikino theorized that they're actually older than the dubtitles we've been forcibly acquainted with. None of the frame rate issues I heard Godzilla Against Mechagodzilla suffered from either. No idea why this was playing on a random weekday in March, but they should keep it up.
Every so often, The Asylum makes a giant monster movie that's a decent way to waste 90 minutes. Ape vs. Monster, their Godzilla vs. Kong mockbuster, was one such production, but I'm sorry to report that Ape vs. Mecha Ape (their... King Kong Escapes mockbuster?) is not. Indeed, it seems bent on entertaining the viewer as little as possible. Avoid at all costs.
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Here's the trailer for Shinpei Hayashiya's next kaiju flick, War of the Ninja Monsters: Jaron vs. Goura. The bar is in hell after his last one, so qualities like "there are suits for both of the monsters" and "the frame isn't wallpapered with cheap CG effects" are notable.
Godzilla Battle Line introduced a new mode, and it's a pretty enjoyable one. Like free battles, challenge battles equalize the levels of all Battle Pieces in the match; you also have to follow certain restrictions when building your team, forcing strategies to shift significantly. The more you win, the faster your egg cracks open and yields rewards. I've only dropped one match so far, which is no surprise; as a trans Pokémon player, I have a lot of experience with egg-hatching.
Presented my research to a panel of judges for the first time ever today!!!! I had my paper printed out and all I could think was, this is not real. This looks like an actual paper. I can't believe I actually presented my data!!! Based on work that I did!!! And a method I developed!!! Which investigated an actual research gap in the literature!!! I feel like a little kid playing dress up as a scientist, and one of my classmates said today "just think, you are going to walk into that room and they are going to treat you like an adult" and they did! They discussed my research with me and asked relevant questions and gave me feedback and I'm so freaking happy!
A 1997 vinyl benefit compilation of mostly Middle American grindcore / powerviolence / emo acts, assembled in an edition of about 1000 by Bloomington-based DIY label Ape Records (active 1995 to 2002), in handmade sleeve with a recent release catalogue, a substantial zine, and a few priceless gag inserts (incl. YOUR HARDCORE SELL OUT DECODER RING). I’m not an aficionado of any of the genres Israfel covers by any means, but you’d have to be a real head to know most of these: in terms of notoriety, the Locust (who contribute a 47 second blast of lo-fi outrage) are basically Led Zeppelin compared to the rest of the acts, most of whom topped out with a couple of EPs and compilation appearances.
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Of course, hearing music that would otherwise be basically lost to time is the appeal of taking a flyer on a comp like this. One of my favourite tracks is “Untitled” by Roanoke, VA’s the Weak Link Breaks, supposedly the first thing the band ever wrote (and, judging from their discography, nearly the last too). It begins with a very, very quiet spacy-Fugazi-style amble (the vocal harmonies couldn’t be more Ian and Guy) that explodes into a brief screamo-style D-beat section, and then some big heaving riffs that make me want to exaggeratedly lift and stomp my feet like a giant trying to keep his balance. I also dig Murfreesboro, TN’s Serotonin, an emo / post-hardcore act with a steely '80s shred band guitar tone who play like they want people in the pit to twirl around ecstatically instead of slam dancing. A lot of the other nasty yowling cat speedballs on Israfel don’t really catch my ear, but that’s okay—I’m weirdly proud of them 27 years after the fact for being themselves and getting out whatever they needed to get out through this violence.
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The package’s tone is all over the place. The zine opens with a haunting description of the compilation’s beneficiaries, the family of a pair of little girls with spinal muscular atrophy (a common birth defect) whose condition worsened until they perished, leaving their parents distraught and financially ruined—and the 21-year-old compiler racked with guilt that he didn’t somehow do more to help. From there, it whips through his heterodox thoughts about the hardcore scene (despicably self-absorbed; unresponsive to requests from label operators); the state of emo (too abstract); the best way to bring about change (working within the capitalist system); rape (it’s bad; consent is black and white; can we stop litigating this in the scene?); calling the cops (fine to do); disrespecting the American flag (played out; tacky); and drinking/drug use (“when did self-destruction become rebellion?”). After he finishes up, each band (that got their artwork in on time anyway) gets a page to talk about themselves. This section is full of old school punk zine/leaflet treasures, with designs that mimic motel newspaper ads, postcards, messy handwritten perzines, and Xeroxed 7” grindcore sleeves.
It's funny reading his scornful words about pseudo-rebellious drunkards stumbling toward “the day when punk rock is shelved for an 8 hour workday, Budweiser, and television” and then finding his LinkedIn, where he describes himself as “driving omnichannel excellence” and as “whimsical (after coffee).” You wouldn’t believe it from the splenetic angst of the Israfel zine, but the guy seems like he turned out happy and normal, with a few kids and a successful career. I wonder how the 21-year-old would see the 48-year-old, if he’d call him a sell-out or feel relieved that things worked out; if the 48-year-old would pity his former self, or feel ashamed about losing his edge. More one-time zinesters and hardcore kids end up looking square from a distance than you’d think (I certainly do if you catch me during the workday), because you usually stop hearing about them when they drop out of the scene. For most, the quiet part of life is the larger portion by far. It’s your choice whether to embrace that, mourn it, or seek your own alternative. But if Israfel reminds us of nothing else, it’s the importance of having a good scream at least once in your life.
A movie for sure. The science is poorly researched and the understanding of how to handle animals is abysmal.
Please, PLEASE, never say the word CPU again.
Overall an experience best had if you are susceptible to rage induced by the lack of common sense or basic understanding of science, mechanics, and coding.
Hope Chicago enjoys the next 100 years of radioactive fallout impacting their environment.
Tonight Boys 'n' Ghouls Film Review Podcast reviews The Planet of the Apes Film Franchises here. https://www.youtube.com/watch?v=Ukk9ZfnqrZU&t=4020s via YouTube
EARTHBOUND has a lot to say about the interconnectedness of humanity and the triumph of love over hate—but that's a lot harder to sell than farting, burping, and vomiting. Here are my thoughts after finally playing it for the first time in my late 30s. Save it for an extended trip to the facilities; it's nearly 5000 words long.
Beware the Planet of the Apes #1 Review #bewaretheplanetoftheapes #planetoftheapes #MARVEL #marvelcomics #comics #comicbooks #news #mcu #art #info #NCBD #comicbooknews #previews #reviews
Writer: Marc Guggenheim
Art: Alvaro Lopez
Colors: Alex Guimaraes
Letters: VC’s Joe Caramagna
Publisher: Marvel Comics
Price: $4.99
Release Date: January 3rd, 2024
Beware the Planet of the Apes #1 begins a four-issue miniseries set before the original 1968 “Planet of the Apes” film. Yep, it’s a prequel, and all the characters are here: Cornelius, Zira, Dr. Zaius, and Nova. Everyone except…