Almost all packed, which is a darned good thing considering that the movers are showing up in about 12 hours. It’ll be down to the wire, yep.
Posts will be very sparse for the next little while.
Population: One
Adventure Strips looks just amazingly cool; it’s a subscription-based webcomics site focusing on — well. Adventure Strips. Gotta love the straightforward branding. I wouldn’t be quite so excited except that the art samples look wonderful. Mike Barr is doing one of the titles, too.
The Hugo vote breakdown is now online. Bujold fans like Gaiman, no surprise. You can always get so much out of poring over Australian Rules voting results.
Perhaps a better use of time would be reading the Hugo nominated stories. You won’t find the novels there, but almost all of the other fiction is online. Nice. I remember when Clarinet did a CD containing all the stories (and some of the novels), and that was a big deal.
I’m going to like living in Boston. There’s apparently a bus trip down to the 9/21 RoH show; Dick Togo’s gonna be wrestling a tag match. Also: Low Ki, American Dragon, Steve Corino, Mike Modest, Donovan Morgan, Takao Omori, Christopher Daniels, the SAT, The Amazing Red, and Jay Briscoe. And Spanky. Yeah!
Addendum: I’ve set up a LiveJournal Boston-area wrestling community. My enthusiasm runs wild!
In a fit of automation, I have abused the excellent MTMacro plugin to create an <amazon> tag. <amazon title=”Monster Manual II” asin=”0786928735”> would be blithely transformed into the appropriate link to Amazon. I do this, yes, because I’m too lazy to build affiliate links by hand each time.
The macro code, for those even lazier than I:
<MTMacroDefine name="Amazon" tag="amazon">
<a href="http://www.amazon.com/exec/obidos/ASIN/<MTMacroAttr name="asin">/unofficfengshuih/ref=nosim/"><MTMacroAttr name="title"></a>
</MTMacroDefine>
Mind you, I’m also too lazy to implement this in all the site templates, so until I get unlazy and do a bunch of editing, the feature’s pretty worthless.
Somehow I missed the news that John Malkovich was playing Ripley in an upcoming adaptation of Patricia Highsmith’s Ripley novels. Excellent casting choice; I have to remember to keep an eye out for this.
49% of Americans think the First Amendment goes too far. No, there’s not really anything I can add to that.
The road signs are marked with secret codes which instruct the military where to go when it’s time for the coup. Quintessence of the Loon has more of the same.
The Hugo Award results are in!
BEST NOVEL (486 ballots cast)
The Curse of Chalion by Lois McMaster Bujold (HarperCollins/Eos)
American Gods by Neil Gaiman (Morrow)
Perdido Street Station by China Mi
I watched Magnolia again last night. Well. Part of it; I had forgotten, unsurprisingly, how harrowing it can be and it was rather late, so the whole three hours was not in the cards.
I actually hadn’t seen it since the first time I saw it, in the theater. After that three hours, I said to myself, “It’s going to be a while before I can watch this again.” I still agree with myself. On the other hand, I’m also even more certain that I need to, and that I want to, and that I want to think about Magnolia much much more.
I hadn’t appreciated the pure dry irony of opening with a monologue about coincidental connections; I got the coincidence, of course, but on rewatching I realized that it was the connections between people that were important. Ricky Jay’s not saying that he doesn’t believe in coincidence; he’s saying that he can’t bear to believe that people aren’t connected.
And then Aimee Mann sings “One,” and isolation comes crashing back down like a weighted shroud, settling over our mouths and hiding others from our sight.
“What Do Kids Know”: stylized interaction without real humanity. “Respect the Cock”: yearning for intimacy, but only achieving the semblance of same. “Oh — do you have Playboy? How about Penthouse? Do you have that magazine?”
When Phil Parma gives Earl Partridge the liquid morphine, he’s cutting him off from all contact. It’s the final blow, from which nobody can return. You can see it in Jason Robards’ eyes; he knows he’s leaving the world of humanity behind. He also thinks he deserves it. See his preceding monologue.
So in the following sequence, the “Wise Up” sequence, they’re singing to him. They’re telling him he can have absolution, if only he asks for it. It’s too late, yes, and he’s gone forever (mere moments before his son arrives to see him for the first time in years). But perhaps it’s not too late for them, and perhaps they are singing to themselves as well.
I’ll have to watch the whole thing before I can say anything sensible about the frogs.