The Cultural Gutter

geek chic with mad technique

"We are all in the gutter, but some of us are looking at the stars." -- Oscar Wilde

Diabolus in Musica

“I used a descending chromatic scale throughout the score,” explains Marc Wilkinson, who was director of music at the National Theatre when Haggard approached him to write the score for Blood On Satan’s Claw. “To make it scary, I omitted the perfect fifth, which is the one true consonant in the chromatic scale, and highlighted [...]

A Cathedral Carved from Salt

A 360 degree view of an underground cathedral in the Wieliczka Salt Mines.

Red Skies: Soviet Science Fiction

A thorough and well-illustrated look at Soviet science fiction, from the 1920s through the 1980s. (via SF Signal)

The Second Most Incredible Biblical Game

Crap Shoot reviews “the second most incredible Biblical game ever created, ever”:  The You Testament. Ricard Cobbett writes: “[You] can’t get away from the fact that this is a religious game which lets you mind control Jesus Christ and make him punch people in the face.” Also, follow through on the other game reviews linked. [...]

The Gutter Makes Good!

If you’re in Toronto May 6, there’s a book launch for the Gutter’s own Jim Munroe and Shannon Gerrard’s graphic novel about post-Rapture Detroit, Sword of My Mouth. If you’re not in Toronto, you can catch Jim and Shannon at their Detroit launch May 10. More info on the launches and promotions here.

Smiting the Wicked in The Book of Eli

In the Hughes Brothers’ fourth film, The Book of Eli, Nick Pinkerton writes, “Our hero is mostly an Old Testament smiter of the wicked, finally—unless I forget when Christ said, ‘You lay that hand on me again and you will not get it back” at the Garden of Gethsemane.’”

Solomon Kane: Puritan Swordsman

Robert E. Howard’s Solomon Kane buckles his swash, fights the Devil’s Reaper and becomes a puritan swordsman in, well, Solomon Kane–a much better action movie with Christian themes in which the hero is crucified than The Passion of the Christ.

Clean, White and Saved

“Wonderfully retro and absurdly ethnocentric art depicting an idealized American empire on Earth and in Heaven from Bible Readings for the Home (Pacific Press Publishing Associates, 1963),” scans at Lady, That’s My Skull.

Tammy Faye Bakker’s Puppet Songs

You knew evangelist and Queer icon Tammy Faye Bakker used to have a puppet show, right? And her puppets weren’t muppets, they were scary, shellac-headed hand puppets. Way Out Junk has Oops! There Comes a Smile, a collection of Tammy Faye’s puppet songs and stories.

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  • Of Note Elsewhere

    “It’s easier to tell the same stories everyone else does. There’s no particular shame in it.

    It’s just that it’s lazy, which is just about the worst possible thing a spec fic writer can be.

    Oh, and it’s not true.”

    Kameron Hurley writes about lazy writing, cannibal llamas, female soldiers, and women here. (Thanks, James!)

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    Patton Oswalt’s multi-franchise super-movie described in his Star Wars filibuster from Parks and Recreation, animated.

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    Corrigan Vaughan writes an open letter to “Fans of Geek Things“: “I appreciate that you think I have a nice rack and that some of you even find my friends and I to be pretty. That’s very kind. I’m not, however, super in love with the fact that having a rack at all seems to preclude me from being considered a ‘real’ fan.”

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    The Black Girl Nerds Podcast discusses Black girls and women in the Heavy Metal industry with author and journalist Laina Dawes and Ursula “She-Wolf” Parson from Hear Evil News.

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    The Hollywood Reporter interviews director Takashi Miike about his new film, Shield of Straw: ” In Japan now, films are very safe. When I was young and went to old cinemas, they had a distinctive feel, an adult smell about them. As you got in your seat and the lights went down, there was a feeling of excitement: What if the film is scarier than I thought it’s going to be? You’re taken into that world. Nowadays, you can sit in the theater and know it’s going to be safe. That’s good for business, but not for filmmaking.”

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    The Atlantic profiles Spectral Motion, creators of monsters, “effects, and other mechanical grotesqueries that have since become household nightmares, if not names.”

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