Friday, 8 May 2026

Silent Hill ƒ

mixed at first.  Opening sequence, when the choir starts and the torii in the fog is shown... goose bumps.

But... then "just" more Japanese/Asian horror.

The bit in the fields, where at some point one of the crazy scarecrows follows you, and you notice by hearing it, but it doesn't move when you look at it... perfect.

 

Slowly Hanoki (you, main player) is called a traitor, and your "friends" share their ugly truths. More and more intense moments when you simply kill them - or let them be killed while you walk away - are adding.

The moment I had a "okay wait this is something different" was when your character saws off her own right arm.

There's not much - actually none - explanation (so far, still playing), but it suddenly got a step up. 

Silent Hill 2 (2024 remake)

Never played the original, but fantastic game.

Music, the David Lynch/Twin Peak feel, the music by Akira Yamaoka...     

Both the suspense/horror effects, as well as the story horror elements, were amazing.

 

Thursday, 7 May 2026

Alex Pheby - "Waterblack (Cities of the Weft)"

Quite enjoyable.  Goes back and forth, much more exposition directly to reader?? In a good way.

 

 

    The light that emanates from the City of Death, from Waterblack, shows, eventually, the edges of drowned buildings, the path of a drowned river crossed by rusted bridges, drowned streets, some wide and open, some cramped and narrow, drowned parks, the skeletons of drowned trees, tatues of the people of the past, covered with barnacles, covered with algae, seaweed drifting like hair in a light breeze, the slow progres of deep-water jellyfish in and out of the windows of cars, long abandoned, street lamps, unlit, and everywhere - everywhere - the windows of houses.
    It is from the windows of houses that the light that scarcely illuminates evertying comes, now that Nathan is so close, his pellet having entered the precincts of the city from above.

[...]

    On the windowsills of these windows, outside, sit cats. They are all dead, half rotten. The same magic that animates them allows them to remain down there, beneath the water. They do not need to breathe - no dead cat breathes - but they move as they need to move to do their work, which is to oversee the windows.
    Behind these windows, behind the glass, the dead live, acting out the scenes that led to their deaths.

 

Cate Baum - "Land of Hope"

"Hope" being the innocent girl running away with her Bill, who becomes a murderer of children...? Their own child died?  And then a pandemic strikes...

Intriguing, and beautiful in its vernacular.

 


    One maniac pulled his fat hand cross her mouth, and like magnets, her pale eyes glinted direct on mine. She'd sensed me there somehow. Often, I've seen it that when a person knows they will sure die soon, they become for a time almost magically in tune with the world.
    I felt a warm breath just then on my cheek, quiet and small to the side of me, from inside the desk shelf. I turned slow. The lad was curled tiny in the shadows of files and folders. He put one snotty finger to his mouth, shh.
    I gave a half nod back, aye, be fockin' quiet as a mouse, and then the big bastard was raping his mother, and the lad's eyes were crawling like lizards in his head, and he smothered his ears with his little hands when they slit her throat, nand I gazed curious at her wan face staring back at mine with all sorts of songs and words in it whilst she made a sound in her throat like witches casting curses.

 

 

    I should explain that Bill first left off calling me Hope when us bairn died, which was what I was baptised. 'Hope?' he'd hissed at me at her funeral, as they sank her little pink casket in the frosted hard ground. 'What's Hope to me?' I can remember how the sky looked when he said it, the churchyard's black bare trees like slashes in the whtie, as if we could see reet throug hto the void of elsewhere. The weeds that choked the gravestones, the chill, the stink of foxes in the nettles by the gate. I'd not eaten days but for the half-stale sleeping tablet of my mum's slipped between my lips in the car. So I'd nowt of substance to say on my name. Bill took to calling me Glory after that, just like this song they'd chant at his football. It was his magickal name for me, he announced, magickal with a k so as not to be confused with conjuring tricks. As if what he started to dabble in was any more preternatural.

 

 

The knackerman, he'd abe able to follow easy which. He was granted his own judgement to cull any of the don-fer ones and load the carcases in tipper and bring them back for disposal. He'd make a note of any that looked badly, and where they were, so my da could go up and have a look-see.
    The proper name for this profession when it's advertised is 'fallen stock operator,' but nobody round ours would call it that over the fence. It was a job that required the strong stomach and pallid detachment of an abattoirman.

 

 

    See, on this land, we live by a constant, and us families, we go back solid as stone for time: dependable stock, no fussing. Slow in choosing, slower in changing. We ken us place. And naw, we'd gan too quick over and caught us shins, bringing in this unknown entity for the sake of a few pennies, and shit, if we weren't bloody paying for it straight off. 'False economy, see,' Ma rattled as she moved the tea things to the sink. 'Yer da would rather scrape mould off a spoilt apple than buy a pound fresh up' market a shilling.'



The lad didn't much react; he just kept looking at the clouds, blinking. I suppose he'd meant sommat else. Maybe that all his friends were dead, and his mam too, and the pier, so exciting in the photos he'd probably seen at school, would naw be full of stinking bodies anyway, and the slot machines wouldn't be the same without all that hustle and bustle and the machines all dinging and music blaring with that edge of golden happiness when you win a line of paper tickets; that smell of sugar coming off the laughing girls' mouths, and the throng of it all he'd so been looking forward to that someone had most likely told him all about already.

 

Tuesday, 5 May 2026

Mocro Maffia

Leuk (genoeg, in tegenstelling tot saaie 'Anoniem") serie so far

ekphrasis

a full-scale rehearsal of a (real or imaginary) picture's form and content, trying for a wholesale transposition, a verbal equivalent

Monday, 4 May 2026

Derek Lowe - "Things I Don't Work With"

Think I finally found the blog about "lab culture" and chemistry?

https://www.science.org/content/blog-post/things-i-won-t-work-dioxygen-difluoride

 

God of Cookery

crazy guy thinks he's the god of cookery.  Typical Asian humour.  The food does look amazing.

 

Sunday, 3 May 2026

Het Uur van de Wolf - "Drs P"

Wonderful documentary.

 

 

Who knew, Herman van Veen covered Drs P's "Troostvogel" (which he never played himself). An uncharacteristic song for Drs P, who avoided any personal feelings and connections with the topics he sang about.

https://www.youtube.com/watch?v=DTsV_c85WRI&list=RDDTsV_c85WRI&start_radio=1

 

James Vincent - "Keep It Clean", discussing Dylan Mulvin's "Proxies: The cultural work of standing in"

Discusses "Lena",  the 1972 Playboy centerfold used for jpeg (and many other) algorithm verification.

 

 

One of his illustrations is the Internatiol Prototype Kilogram, used between 1889 and 2019 to define a standard for the basic unit of weight. The actual IPK is a palm-sized cylinder of platfinum-iridium alloy stored in triple-layer bell jars in an underground vault outside Paris. In order to verify this object's mass and create copies to be used as reference measures around the world the IPK had to be washed, cleaned and weighed, before being compared to six sibling kilograms. The process, as Mulvin recounts it, is beautifully ritualistic. The cleaner must soak a piece of chamois leather in a mixture of ether and ethanol for 48 hours to ensure full absorption, then rub down the IPK before washing it with steam and removed excess water with filter paper. To ensure that no impurities are left on the kilogram's body (or at least that the same impurities are left each time), every aspect of this sacrament is minutely quantified, from the amount of pressure to be applied with the chamois (10 kPa) to the wattage of the equipment used to generate the steam (350 W) and the distance of the steam nozzle from the kilogram's body (5mm).

 

'China Girls' whose faces were inserted like subliminal messages at the start of film reels to calibrate colours from the projection booth, to the 'Shirley Cards' distributed by Kodak to fulfil a similar role in commercial photography [...] In the case of the Shirley Cards, the exclusive use of white models in early calibration tests meant that the world's most popular film stock failed to capture the detail of other skin colours. [...] Beginning in the 1960s, Kodak slowly began to fix this bias in its film, but not out of any sense of racial injustice: it was a response to complaints from furtnutre makers and chocolate sellers that Kodak cameras couldn't properly capture their products' hues.

 

 

Big Mistakes

Brother who is a clergyman (Dan Levy, son from Schitt's Creek) and sister, primary school teacher, slowly get involved with Turkish and Russian gangsters.

Bit silly but a fun enough romp to watch.