Pacific Rimshot – Taking the Good with the Not Quite as Good

Okay, I didn’t want to write this. I really didn’t. I look at horror games, and I can really only justify stretching to horror movies for this blog, because they’re related. Also, movies with zombies in them. Or, alternatively, just games I like. Okay, so I’ve got plenty of precedence for a pop-culture romp. I mean, pop-culture is pretty much what I do. And yeah, some of the monsters were a little scary. But, still, I didn’t want to write it. Pacific Rim is getting enough attention without me sticking my nose in. However, it has gotten so much positive attention that I feel I’m justified here. Enough of that, let’s sink our teeth into…

pacific-rim-movie-banner-striker-eureka-jaeger-vs-kaiju
The reason I felt like I had to write this was because every time I recommended it, I wanted to put an asterisk on the end of my recommendation. I’ve told people over and over that it’s awesome, and it is. However, for some people (The pop-culture obsessed psychotics like me), there are going to be some issues. That’s why I’m here to warn you about them now, so that you can just sit back, relax, and enjoy the robots. I probably shouldn’t have to tell you that I’m going to be unleashing a spoiler-cane here, but I will any ways.

Not that there’s much to spoil. Pacific Rim is a largely visual movie. Stunningly visual, actually. I felt like my eyes were going to melt out with joy when it fired up. It didn’t hurt that the theatre was mostly empty, because it was a Thursday night, so it was as silent as I could have wanted. I got totally absorbed in the film. Well, mostly. You see, there are still going to be plot-holes to fall into. Huge ones. That’s what I’m talking about. I fell into them, and it interrupted my enjoyment of the film. I don’t want this to happen to you. Before we get to that, though, we’re going to talk a bit about culture. I know, right?

It’s debatable pop-culture wisdom that some of the primary differences between American and Japanese video games is the approach these cultures have to weapons and combat. Bushido (I’m not kidding with the reference) tends to stress responsibility and wholeness. As that approach to combat trickled down through the ages and culture, it manifested in games, representing a bond with one’s weapon during combat. The power lies within-without. Conveniently enough, there’s an Extra Credits video that explains the concept better than I could. Conversely, the idea of the citizen soldier, of great individuality, manifests in the American Zeitgeist and, consequently, its video games.

This was easier to parse out early on, before the world became so globalized. If you want video game examples of this, then, for Japan, think Megaman and Vanquish (Gundam Wing, Evangelion). For America, on the other hand, think of Doom or Duke Nukem (Independence Day, Die Hard). That’s what makes Pacific Rim so interesting as a study of culture. It’s about the bond between people. In this movie, strong connections are the pre-requisites to stopping the end of the world. Stop me if this gets a little too “real.” To me, this represents something that today’s movies are approaching again and again: we need to work together as a world to survive. It happened in World War Z. It’s happening again here. It’s actually a trend that I love. The internet should bring people together.

That mush aside, Pacific Rim’s pilots connect deeply to one another, while also melding with their machine. It’s a perfect blend of the two concepts. The deep connections between the Jaeger (giant robot) pilots enables them to fight the Kaiju (giant monsters).

One of the things that has bothered me so much about this movie is that people are calling it totally original. I know the idea of originality is fluid, at best, but I didn’t make the references to Evangelion and Independence Day lightly. If you mashed those two movies together and added revolutionary special effects, then you’d get Pacific Rim. That’s not a bad thing; they’re fantastic and so is this. Once you think about it, you won’t be able to unsee it, though. The speech by the commander. “Today, we’re cancelling the Apocalypse.” … “Today, we celebrate our Independence Day.” It’s spooky.

Okay, that all aside, let’s talk plot-holes, because they’re going to bug you. So, let them bother you now. That way you can just enjoy the movie. Okay, if the Jaeger program is a failure, then why are the coastal cities surrounding the rift so unusually intact? Why cancel it at all, especially in favour of that wall. Oh yeah, their big plan to replace the Jaegers is to build a big wall from California to Alaska. Aside from the fact that that won’t cover anything, it’s a dumb idea. I mean, we get to see a Kaiju rip right through the wall in the middle of the movie. We’re also made privy to a flying Kaiju (hereafter known as a Fly-ju). So, who approved this plan?! To me, it evokes the image of a bunch of tired, old bureaucrats sitting around a table, looking at financial charts, when one throws up his hands and says, “Fuck it! We’ll just build a big wall!” Right, because anyone that served on the Maginot Line can tell you what a great idea that is. On the car-ride home, we came to the conclusion that the only way to think around this glaring plot-hole was to assume that said bureaucrats had the same agenda in implementing it as the movie-makers had in putting it in the movie: to raise the stakes. It doesn’t make a lot of sense, but it makes more sense than the wall. There were trying to push humanity into coming up with an actual solution.

Near the end of the movie, they discover that the reason they haven’t been able to get a nuke through the rift between worlds, where the Kaiju are coming out of, is because it’s only a semi-permeable membrane. Like a cell, it reads an incoming object and decides to accept or reject it. This is a perfectly serviceable analogy, because it certainly looks like a cell on the inside. *Double Spoiler Alert* Once they get the explosive through, one of them ejects to escape. This makes sense, since the rift hasn’t closed. However, once the other once ejects, the rift is collapsing, and it’s safe to assume the other side of the rift closed. So, how the hell did he get through? Oh well, think your way around it again!

You see, the aliens are “colonists.” They come to other worlds to strip them of their resources. However, given how many resources are available in a single solar system, let alone a galaxy, for a resource-rich society like theirs, why wouldn’t they be flying around the galaxy gathering resources instead? Well, if you think about it, it might be easier to rip a rift between adjoining dimensions than to develop fast-than-light capabilities. Maybe the rift was already there, or even weakened. Otherwise, I think they’ll be back. Even a thermo-nuclear device isn’t going to put a scratch on the kind of resources it would require to create and sustain the Kaiju. Back to Independence Day again, the scene where the explosion goes off in the alien’s face is almost the exact mirror of the nuke-the-mothership scene from Independence Day. Only now, it has four eyes.

Further assisting us is a pair of comedy-scientists that are competing to solve the Kaiju problem. One clearly representing Biology and the other repping Physics. Sort of. In the end, they learn to work together, Jaeger-style. Woot. (Aww, if the sciences cooperate, then everyone wins. It’s a good message.) The reason I bring this us is because the physicist discovers a pattern: a count-down (No, I’m not making another Independence Day reference). That count-down is leading to an unleashing of Kaiju like we’ve never seen before. The time between emergences has been shortening by a predictable factor. He uses that model to predict a double-emergence. Now, why does this make sense? Time-dilation, of a sorts. As the universes move closer together, the time it takes to travel between them, relative to each world, shortens. On this side, we see them coming out slowly. However, I have a feeling that on the alien’s side, they’ve been just pumping them in one after another. That’s why it takes them so long to adapt. They don’t realize that they need to re-adjust their tactics until they’ve sent a few through, because it’s happening immediately for them.

This also explains why the gate lets our hero through. On the human side, the gate may have been closing immediately, but, because of his direction of travel, the human side to the alien side, he arrives on the alien side, drops off the nuke, then comes back before it ever closed. Remember, the time between each emergence was shortening, suggesting that it’s now faster in this direction. So, that explains that.

The troubling thing is that if this is true, then there should still be Kaiju en-route, unless they were caught in the collapse of the rift, which seems likely. Also, and you won’t understand now what this means as a plot-hole, but eagles can lift some deer. You’ll understand.

Things move a bit fast, but that’s okay. We’re trying to tell an epic tale of robot smash-ups in a limited amount of time. The entire tale is actually quite expansive, and I’m thoroughly impressed with how they brought it across. The one thing I’m still divided on is the ending. Dude-buddy-pilot pops to the surface (with a wicked case of the Bends, I assume) and embraces his lady-love. Everything’s good! Saccharine and happy. I was kind of hoping a shark would eat him, because mundane threats still exist, but oh well.

On the one hand, I believe you should trust your audience enough to deliver them a sad ending. A dose of reality. On the other hand, I’m on-board for a happy ending. It would be a grievous shift of tone at best for our hero to just die at the end, especially after all the crap he went through. “Save the world and die” is a pretty anime thing. Sacrifice for the good of the whole is a decent message. However, if Halo has taught us anything, it’s that we don’t like our armoured heroes to stay down. And, if this movie showed us anything, it’s that you can still sacrifice a lot and live to tell the tale. It’s a nice fusion between the concepts.

So yeah, go see Pacific Rim. It’s a great film. I’ve heard it’s even alright in 3-D. You may come across some plot-holes or things in the movie you didn’t like that I didn’t cover here. I only wanted to go on so long. Just ignore them or make a game out of explaining them. Often-times, movies ask us to suspend our disbelief. To look past their flaws at the diamond underneath. I’m not always willing to; a movie has to earn that. It has to give me something worth looking past the crap to see. Well, Pacific Rim has my respect. It’s fantastic. Go see it.

One last question remains: what is a Jaeger’s feet made out of?!? Do you know how much impact it’s handling? It’s insane! Also, look for cameos from GLaDOS.

Addendum: In many areas, it’s also quite a clever film. It respects you enough to not have to explain every little detail of itself. Just another thing that makes it great.

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15 Responses to “Pacific Rimshot – Taking the Good with the Not Quite as Good”

  1. Oh hai there.

    Been a while since I’ve been around unfortunately, due to travelling in China for work. Unfortunately WordPress appears to be blocked there, so I wasn’t able to keep up with my feeds. Sorry in advance for the wall of text.

    Funnily enough though, the first time I check Reader after getting back, and I see you’ve posted a Pacific Rim update a couple of hours before I have.

    I really enjoyed the move (enjoyment doesn’t even really begin to cover it for me actually). I was having so much fun that I lost myself in it to the point that I didn’t even notice any of the plot holes you mentioned. I mean looking back on it, I can see them, but they still don’t taint my enjoyment of it or take me out of it in any way. It’s a movie that I’m happy to let just take me along for the ride.

    I wouldn’t exactly call the wall plan a plot hole though. Having seen it yesterday, and having it still fresh in my mind, I’d look at the following (and SPOILER ALERT for anyone reading this):

    1. The Jaeger program is considered a failure by the world governments due to the fact that they are losing Jaegers faster than they can replace them. It’s incredibly costly and time consuming to do so. However, just because they’re losing Jaegers doesn’t mean they’re not also taking the Kaiju down with them at the same time.

    2. I thought it was pretty clear that the Kaiju tearing through the wall in Sydney is the first one to have actually made it to a wall, hence why everyone is very surprised when it rips straight through it. I would assume that prior to that, the Jaegers had managed to stop them before they actually reached the wall while it was under construction. Prior to this knowledge, the Wall would have seemed like a good idea in terms of cost-effectiveness and time. Admittedly, the fact that the pencil-pushers continue with this plan afterwards does smack of somewhat of pants-on-head idiocy…

    3. The flying Kaiju (I can’t remember its codename) appears to be the first one they’ve encountered with the ability to fly. Why would they be expecting that when they’ve never seen one that can do it before? Everyone sure as hell seems surprised when it unfurls those wings.

    That’s just my personal take on it though. Obviously we all see it and interpret it in different ways.

    Interestingly enough, I actually was expecting the film to close with Raleigh sacrificing himself and unable to return through the portal. I think it would have worked either way, and I’m just as happy with how it turned out as I would have been the other way. I’ll be honest, I really didn’t think about the physics or anything behind the portal/time-dilation/whatever at all.

    I’ve already announced this as my movie of the year, and I don’t think anything is going to shift it for me. As you said, it’s a film that’s got my respect, and it already has a special place in my heart (I don’t give a damn how silly that sounds for a grown man to say). As I mentioned in my review, Pacific Rim managed to make me feel like I was a child sitting down with my favourite uncle to watch anime for the first time ever, and for that I’m grateful. Those memories are some of the happiest I have, and to be taken back to them so completely over 15 years later is a wonderful feeling. One that I’ll thank Guillermo del Toro for if I ever have the opportunity to meet him in person.

    • Not silly at all! The best thing about growing up is being able to unabashedly love the things we love. It’s not a universal privilege, but it’s one I cling on to.

      Yeah, I was still mostly lost in the movie; it was more than fun. I’ve always got at least two voices going in my head when I watch a movie, so I’m always subject to disturbance.

      You have to imagine that the wall they’re building is equally as costly. In rebar alone, they could have built several Mark III’s just from the section we see him working on. Even so, there was no way a wall was going to work. If these creatures are capable of sauntering through cities and iron plating, then there was no way a concrete barrier was going to suffice. Even if it did, all it would have taken was for one to crawl over.

      It didn’t even have to crawl over. A wall suggests that they’re not going to be actively exterminating them. A wall and a Jaeger program I get, but just a wall is silly, even if it has turrets. Amazing jumping abilities aside, if two of these now-obviously-intelligent creatures were to approach the wall, then one could just leg-up the other.

      I’ll buy that they’d never seen a flying Kaiju before, but I won’t buy that no one stood up and said, “Hey, these things are taking giant-animal forms all the time. They’re adapting and changing; they’ve got acidic blood. How long is it going to be before they find a way past our permanent, inflexible barricade?” It was such a monumentally stupid idea that my room-mate and I both groaned in unison.

      For a long-term plan like a giant wall, I’d expect more foresight, is all. Hell, if they’d continued improving the Jaegers, barring the double-triple-etc. events that they didn’t know about at that point, then it could have evened out. Given them weapons, made more speedy Mark 5’s, anything. They could even have trained better pilots. Running in the way they did seems reckless. With the appropriate Jaegers and weapons, every loss we saw on the screen could have been avoided. They weren’t a very competent Ranger Squad. No snipers?

      Given what they were just discovering during the film, they didn’t have a very good research staff, either. No one else looked for emergence patterns? How many were they going to let pile up behind the wall?

      My room-mate thought they should just set up self-propelled sensor mines around the breach that were armed with tactical nukes, even neutron bombs.

      All that being said, yeah, it was utterly fantastic. Dat Black-market dealer.

      • Also, welcome back! 🙂

      • Okay, yeah some excellent points there. I guess, as you said, they needed some way to accelerate the situation, and having the project cancelled in favour of this obviously flawed idea does just that.

        I will agree that the premise isn’t particularly original, but I think del Toro did an excellent job of making his designs and stylistic choices unique and eye catching. The whole movie was obviously a love letter to Kaiju and Mecha films and anime. del Toro even admitted that. Honestly, the biggest issue I’m having with reviewers at the moment is their insistence on comparing it to Transformers. There are so many better comparisons, but they insist on using that. A few of them have even claimed that the film owes more to Michael Bay’s Transformer films than anything else… I nearly did a spit take when I saw that.

        Haha, thanks, it is nice to be home and able to access the entirety of the internet again.

      • Yup, I agree 100%. For a film as soaked in fused reference as this one, where I could almost name the sources each mecha and monster was inspired by, it had a look all its own. I’m really glad he made this; I don’t know if we’ll see anything like it again for a while, but it’s an awesome look at what we can make when we let films have fun but stay clever.

        Yeah, that’s a terrible comparison. Like, bad. I don’t even see… I guess there are robots. I suppose there are impressive graphics, but Bay doesn’t hold the book on that. He doesn’t do the graphical design personally. Maybe by pushing for that kind of graphical fidelity? It certainly isn’t something he has a monopoly on. I don’t know. Maybe they’re just lacking the background to make better comparisons. Bay is certainly what I would compare it to if I only had a mainstream background in recent AAA films.

        Can’t wait to see what you come up with now that you’re back. Cheers!

      • I suspect that the lack of background is exactly why they’re making that comparison. I suppose it’s just a case of my setting my expectations too high, but I kind of thought some of them might do some actual research into where the inspiration came from. It’s not like del Toro made a big secret of it, he’s openly spoken about the fact that it was inspired by things like Tetsujin 28-go and Mazinger Z.

      • You can really, really see the Tetsujin. I went with Eva because of the Nerve-mind-meld thing, but the visual design definitely sprang from there.

      • Yeah, I immediately thought of Eva when the idea of Drift Compatibility and the Neural Handshake was introduced. Cherno Alpha also reminded me a little of the Jet Alone mecha from Eva.

        You know what I’m really hoping for now? I want Pacific Rim to do well enough that the studio leaves del Toro alone to make At the Mountains of Madness the way he wants to. I think he has the skill to make that a truly memorable movie for all the right reasons, and I want to see it happen.

      • Yeah, I can see Jet Alone in there. Even the nuclear reactor core was a bit reminiscent. “The pulses are flowing backwards!!” *charges pulse cannon, almost wipes out humanity’s last hope*

        Ooh, that would be a real challenge. One of the primary strengths of the Cthulhu mythos is its ability to express itself in lack of information. Completely, madness-inducing, alien, utterly alien things. Things the human mind can’t grasp. Other-worldly geometries and the like. Visualizing that for a movie or working around it elegantly would be really difficult. It’s one of the reasons all the other Lovecraft-inspired movies out there have failed. The text actively resists cinematic production.

        Then again, I’ve seen the odd good Cthulhu flick. Not great, mind you, but I’ve got enough faith in him to give it a watch.

        Some of those creatures were probably related to Cthulhu, and if the star-borne creatures from another dimension invading earth from the sea with tentacles weren’t related to Cthulhu, then they at least have him on Facebook.

      • I definitely saw some inspiration from the Mythos for those creatures.

        Guillermo del Toro is one of the few directors I’d actually really trust to do something like At the Mountains of Madness. I think that in order to do it justice though, he’s going to have to be allowed to do it his way. Unfortunately that’s making studios hesitant to pick it up, as he’s insisting that it be rated R. I think it’s necessary though, and I’m glad that he’s holding out for it.

        Have you seen the 2007 film Cthulhu? I haven’t watched the whole thing yet, but from what I’ve seen I suspect it’s one of the better Cthulhu mythos films out there. That said, it appears to be more based on The Shadow Over Innsmouth than Call of Cthulhu. It even features the Esoteric Order of Dagon. What I found really interesting from what I’ve seen is that it does seem to focus more on slow, building atmospheric horror than cheap scares. I don’t know that I’d say it’s subtle horror, because I haven’t seen enough of it to judge properly, but certainly it’s not going for shock factor. The film also explores the difficulty and terror of being a gay man in a small, insular community. Coming from one of those communities, I find it rather interesting (I don’t identify as gay – although I’m not exactly straight either, but that’s neither here nor there – but I did have a few friends who were in high school, and there was a lot of fear there about what would happen if it became common knowledge). It’s on my list of things to finish watching when I get some spare time.

      • Yeah, I’ll always give a director with some integrity a chance at the box-office.

        I have actually seen that one. I cleaned out my favourite cult movie shop’s Cthulhu section at one point. I liked the ideas they were throwing around, but they got a bit preachy for my tastes, which makes sense given the cult. To be quite honest, I really didn’t like it. It got confusing and slow; the special effects didn’t help them at all, either.

        I’m all for subtlety, but it hit the mark, tripped and rolled down a hill on the slow pacing. There were some very effective scenes. The tense family dinner is one that I think worked rather well, and there’s another one with a dimensional doorway that was good. Overall, though, I’d rate it as terrible. I’m a bit harsher on Cthulhian films, though, because I’m a fan-boy. I felt like they focused too much on his sexuality. It’s a trap people often fall into when doing things on sexuality. Instead of being an aspect of his character, the narrative overwhelms him with it. Few of the characters felt real.

        At the end of the day, they didn’t do their message/concepts or the original text the justice they deserved. Still, by all means, finish it. You may have a very different experience than the one I did, and I’m interested in your take. It probably didn’t help that I was viewing it with friends and liquor.

      • Hmmm. Sounds like it may not be what I was after. The opening seemed so promising.

        Still, I definitely will finish it. It’ll probably be the topic of an update when I’m done, hopefully in the next week or so. I know what you mean about being a Cthulhu fan-boy, I’m very much one myself. Part of the problem I have with the expanded mythos is the fact that a lot of it has become Lovecraft-lite. I feel like a lot of the horror of the original body of work came from the realisation that hope is a non-factor, because in the face of these beings we are literally as insignificant as ants. There’s the odd case where humans win, or at least get a respite (The Dunwich Horror being one), but that is the aberration, not the norm. That’s how I interpret it anyway.

        While I still enjoy some of the works that other authors added later, there is a tendency to turn it into a great battle between good and evil where humanity can turn the tide and save the day, and there is always hope. This goes all the way back to August Derleth’s additions after Lovecraft passed away, but many of the latter authors are doing it too. Brian Lumley in particular needs a swift kick for his taking it to unbelievable levels. To quote from the TVTropes page for Cthulhu Lite:

        “Every single Lumley attempt at a Cosmic Horror Story ends up like this. Great Old One Ithaqua rules supreme on an alien planet, but his Half-Human Hybrid daughter leads La Résistance. Cthulhu has a good brother named Kthanid. His most famous contribution to the mythos, the Cthonians, who cause massive earthquakes, drive people insane through prolonged psychic contact, and burrow through bedrock and magma like a hot knife through butter… can be killed by contact with water. The same story that introduces them features a secret society whose modus operandi is locating sleeping eldritch abominations and blowing them up with bombs and an enormous drill.”

        One thing I will say in Lumley’s defence though is that his ideas generally start out okay, the problem being that he just takes it too bloody far. Titus Crow was an interesting premise to start with, but later on he may as well have been the Cthulhu Mythos version of Doctor Who, flying back and forth through time kicking eldritch arse and taking unspeakably horrific names.

        My general distaste for Cthulhu Lite is generally reserved for it in the form of novels and films that actually appear to be trying to be part of the mythos though. When it’s something merely using elements of it as part of a greater whole, I tend to be far more lenient. The Cthulhu RPGs come to mind, which are often played as black comedy, where the fun is that everyone is going to die horribly, you just don’t know how yet, or as Cthulhu Lite because the players actually want to win. Pathfinder does it as well, with Denizens of Leng and so on showing up (Cthulhu is also getting statted now that the Mythic Adventures rules are being released). CthulhuTech is yet another good example.

      • Lovecraft is an interesting thing for me. I don’t really find his work scary. It’s dreadful. It’s dark, dreadful adventure. The horror comes from finding yourself truly absorbed in the work, considering the implications in a very existential way. It’s a delicate balancing act, though. Too much to one side and you get good-vs-evil. Too far to the other and you get depressing and unengaging.

        When I think about it, I really do think they’re adventure stories. They’re just told in a particular manner. Then again, that can be said of most horror. It’s what you focus on that matters. It makes a lot of sense for there to be weakness to Eldritch beings and an organization of humans that stand for the light, but those things aren’t particularly horrifying. In a way, they may have cause to exist, but I wouldn’t call them Cthulhian horror. They throw off the balance too much.

        At the Mountains of Madness reads like a high-seas adventure if you strip away Lovecraft’s approach. If you imagined Jack Sparrow at the helm and adjusted the story thusly, it would be exactly that. However, that has too much hope in it. In many ways, Pacific Rim was like this, as well. If you told the correct portions of Pacific Rim, delved into the right part of the universe, it would become deeply terrifying.

        It’s troubling, because I like the expanded universe. Being given someone else’s ideas and twisting them myself is fun, and I love doing that with the expanded Lovecraft universe. I’m glad there’s room for that kind of exploration of Lovecraft, but I wish it wasn’t labelled “horror.” There’s definitely room in The Mythos for other interpretations, but let’s be honest with their genre.

        Yeah, games tend to handle Cthulhu better than movies do. Arkham Horror continues to be my favourite board-game. Although, I watched a pretty good version of Witch-House a little while ago. It’s “Masters of Horror” Dreams in the Witch-House from 2005. It’s probably the best Cthulhu movie I’ve watched.

      • Sorry for the delayed response. The need to sleep and work unfortunately takes priority to discussions on blogs, no matter how fascinating I’m finding them (I know, madness right?).

        I see what you mean about them being adventure tales. I think perhaps I’ve not explained where I’m coming from quite right. I’ve got no real issue with the “lite” stories, as long as (as you said) they aren’t billed as horror. I suppose to me the mythos has always had that real horror feel to it, but there are definitely other aspects to it as well. Though I would say that At the Mountains of Madness is, along with The Dunwich Horror, one of the few that is not an outright horror story (or at least not one of complete mindscrew).

        My issue is when it’s taken too far in the other direction. When the balance, as you mentioned, is taken out of whack. That’s the issue I have with Lumley. His books lose all feel of horror, because it’s just a case of serial escalation to ridiculous levels. “Oh look, Titus Crow is now basically Doctor Who, except that he’s also a cyborg and spends all his time fighting the Great Old Ones with lasers. Oh and facing these things is so common that they’ve decided to give them a three letter code name. CCD. Cthulhu Cycle Deities… how clever”. The finale of the Titus Crow stories in particular. They win. Not just a temporary victory. They outright win. The Great Old Ones have no more power, and cannot affect reality anymore.

        I’ll have to check out Dreams in the Witch House, I do love that story. I have a feeling I spotted the DVD sitting on my housemates shelf a day or so ago, so that may make things easier.

        Hopefully I’ll finish Cthulhu soon too and get a writeup done. I’m definitely interested to see how I find it. For now I think I’ll have to call this discussion here, but I’ll be happy to continue once I’ve seen the rest of the movie and had time to think about it.

        On another note, have you listened to Welcome to Night Vale? It’s a twice monthly podcast, which I think of as community radio from the Twilight Zone. The events described in the town of Night Vale are surreal, darkly amusing, and often very creepy in a subtle way. Combined with the perfect public radio deadpan narration (though occasionally the narrator does get excited depending on what he’s talking about), and the excellent use of atmospheric music, it’s quickly becoming one of my favourite things to listen to of an evening. I suspect you’d probably get a kick out of it. I’ve got a write up on it over on The Grassy Gnoll, should be the update directly before the Pacific Rim review.

      • Cool, thanks for the heads up. I’ll definitely have to check it out. I think I’ll take a little time this summer and delve into the extended universe a bit once i’m done with The Necronomicon collection again. Looking forward to your review.

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