In our contemporary media landscape, where consumers are surrounded by full-to-bursting computer-generated imagery, the wondrous has become drearily everyday. The thousands of hours of artists’ labor and computer programming time involved in creating visual effects often vanishes in the face of overwrought spectacle…
The memories of the love I had for these… things as a kid has largely faded. The memories that matter today all have to do with people: the family that gave me love and supported my interests and hobbies, the friends with whom I played these toys and games, and the shared memories with all of you who’ve commented and written to us in response to our articles…
By J.E. Anckorn and Amy Mugglestone
At 8:35 pm on Boxing Day of 1967, the people of Britain gathered around their television sets to witness the Beatles’ new film project, Magical Mystery Tour. Their first filmed project since the daffy caper Help! (1965) accidentally created the sound of the late ’60s, the project was meant to act as a replacement for the live shows they were no longer performing…
The cinematic corpus of David Cronenberg is probably best known for its expertly uncanny use of body horror, but looming almost as large in the writer-director’s various universes is the presence of faceless, all-powerful organizations. Like his rough contemporary Thomas Pynchon and the conspiracies that litter Pynchon’s early works—V. (1963), The Crying of Lot 49 (1966), and Gravity’s Rainbow (1973)—Cronenberg’s shadowy organizations offer fodder for paranoid conspiracy…
By K.E. Roberts
Rock and roll was maligned as an “unholy pleasure” almost from the get-go, just as dancing was decried as the “Heritage of Hell” centuries before. After John Lennon declared the Beatles “more popular than Jesus” in 1966, Christian fundamentalists immediately condemned all music that “aroused the lower instincts,” and the smear campaign would last for more than a quarter-century…
Almost as soon as the television entered the American home, forever changing the course of the American family, it became a novel, uncanny presence. With the introduction of telegraphy in the mid-19th century, a new virtual world—an uncanny “otherspace” of instantaneous communication over long distances, utterly new to the human experience—was unleashed…
If you have small kids, wear something nondescript, take them out, and let them soak up whatever thrills are left. If you don’t have small kids, stay home and read a motherfucking book. And no, Harry Potter doesn’t count…
By J.E. Anckorn
In 1985, vampire flick Fright Night was released upon an unsuspecting world, with The Lost Boys stalking close on its heels in 1987. Two rightfully revered vampire movies with a curious number of parallels, but who wore the cape better? Which film deserves to reign as dark ruler of be-fanged ’80s nostalgia? Today, we pit them head to head in an attempt to find out…
Ronnie James Dio broke out in a big way in the spring of 1983 with the release of his solo debut LP, Holy Diver. Formerly the lead singer for heavy rock/metal pioneers Elf, Rainbow (Ritchie Blackmore’s followup project to Deep Purple), and Black Sabbath (joining the band after it parted ways with Ozzy Osbourne), Dio brought to his new eponymous project over a decade of experience as a foundational heavy metal vocalist and lyricist…
In Lesson Seven, we learned how to draw Space Assault’s title screen, complete with theme music generated by Atari BASIC’s SOUND statement, and through the course of this series, we’ve covered nearly the complete source code of the game. Appropriately, the last section of code to discuss is the “game over” screen, which uses yet another powerful feature of the Atari Home Computer to combine multiple graphics modes…
We Are the Mutants 