Thursday, April 4, 2013

next part


Allan

Allan Merwyn absolutely despised the district known as floating city, that twenty mile strip of wreckage home to every rat and rat bastard in Jameson. It was constructed ten years ago in the hope it would become a thriving residential community. Right from the start it was a mess, the lower income properties were snatched up right away, but the posh and palatial penthouses on the south side sat unused. The company lost billions on the project and folded, effectively leaving the floating city in the hands of the Jameson local union, and that meant the city had been left completely unattended for much of those subsequent years. Cops only go down into the floating city when they really need to; if you get in trouble there, you're on your own. The gangs ruled this part of town, and the central office was content to let it remain that way, so long as the violence doesn't spill out of that area. And so far, we'd been lucky. It hadn't. 
The meeting with Moyhne had left him all the more puzzled. He wasn't ready to believe the inspector was his ally, but there was a chance he could work with him in the future. But he wasn't sure he even wanted to, Moyhne's words left a sour taste behind that hung around him like a fog. It was that mixture of superiority and candidness that gave the impression he was saying "they're all my cases," at least as far as Alan was concerned. He could stomach the condescension. 
As he drove from their meeting, toward the dim lights of floating city, he began to cheer up. It's not all so bad, he thought, in fact this is a very big case now, and it could definitely mean a promotion and an office with a little secretary. He popped a few Apaxafil and smiled: ill see better days yet, he thought, it can't all be murders and drug deals and child prostitution circuits. You had to know when to pull your punches, shut your mouth, and let the big shots talk their big talk. It's all bullshit anyway; you just nod your head, say "yes sir," and go do it your own way. The brass? They just want results and clean hands. These were things he had learned during his service, a little grease here, a little bribe there, a kind smile and a “how do you do?" It all went along way; people really fell for that shit. They just wanted to be loved, adored, appreciated, and noticed in any small way. You give that to them, and they turn to butter in your hands. 
The city unfolded below him, like a sprawling metal choking vine, crawling and creeping and reaching out from its central hub, piles of rubble, glass and stone and metal and brick and concrete, cut, scarred, jagged, twisting forever upwards as if to claw and the sun and sky and her very heavens. This was where the bombs had fallen; hundreds of them. They crushed the glorious "sky scraping" buildings of his ancestors, brought them down to lie upon the earth, these massive, phallic towers, the symbols of their past glory, cast to the dirt and ground, forever to lie as reminders of the cost of such deviance. The new way, the path, told different. The way to happiness was through the future not the past, and these golden dreams were honorable heresy. Such decadence was the folly of men, it was hubris. 
The worst of the war was miles and miles away from here, the major cities like New York and Chicago and London were gone, in the sense that no one who went in there had much luck getting out. They were overrun with wild men and women and children, feral and violent, with great red eyes and a penchant for the eating of live creatures, including their own kind. New York was the worst, and in fact the name New York was just a distant memory now. They just called it The Zoo, but the name belied the terrible nature within. The city itself was now mainly contained on the south west end of Long Island, where it was said there had formed a sort of tribal government based on sacrifice, as most of the north end of long island and the surrounding Burroughs were leveled flat by the bombing. The tribes of the Zoo had put up walls crafted from the burnt out cars and buses and trucks and scraps of metal, and shone in red the carcasses of enemies left flayed and dying upon the jagged metal walls. The heads were removed once the victim had stopped their futile squirming, and then mounted on pikes or steaks of jagged glass or steel swords hewn from metal shards. The city was surrounded by this gruesome ring, a warning to outsiders that to trifle with the tribes of the Zoo is a dance with death. This world was falling apart. 
Even the damn squids couldn't take the Zoo, and honestly, they had pretty much given up after the last failure of an excursion. Alan's sponsor for citizenship, a bright red colored (he dyed his skin) squid captain named Philb, had told him that the people of the Zoo were so far gone that all rehabilitation attempts had been unsuccessful. Philb liked to speak about humans, he found them disgusting yet highly amusing and also strangely attractive, and he told Alan as he hovered in the air above his desk, tentacle to his chin, lost in thought. 
"I...think I may want to..." He had stopped and cast Alan a glare, "no, nothing, let’s move on."
Philb liked to invite Alan over to his palatial manse overlooking the Riviera, and they would eat squid dishes and sip on Saltwater extract and avocado ale as Philb would orate on the values of the Higgson Folwervom Water Reunification process, or the mountain expeditions made by Cannerous Flavius on the Red Planet, or the proper way to flat a giant cockroach. Philb would go on and on with his horrid sciences, and Alan would watch and wonder why he wanted to become a citizen in the first place. Philb was a messoterrorist and a brutalist; he found deep pleasure in squishing human children's heads between his tentacles like soggy bits of rotted fruit. He, like many of the squids, freely and openly worshipped Ctuhulu and other death gods, meeting in secret, entombed and wearing black, nodded robes beneath the Bowery where they would cast incantations and sing their prayers to the squid god and make sacrifice of the unworthy, humans and squids. They would encircle their victims, chanting their psalms and curses, in their pointed hoods and flowing capes, the very essence of death. What followed the ruckus was pure evil, a violent bout of supreme debauchery, a pool of spent flesh and bare bone and blood and piss and shit their altar, as they waded, too drunk with delight to use their magic’s and float above, swimming merrily in the bowels of their own self-made hell. Accepted humans, even full citizens, were not permitted to view the holy sacraments, but Philb had gladly described each act of terror and sodomy in such grave detail, and with considerable vigor, such as Alan felt he had been watching from the side lines all along. 
Philb was, as well as extremely powerful in the local Congress, also extraordinarily rich, courting a salary of Seventeen Hundred Thousand Pounds a month from the Official State Science and Weapons Research Department and another Seven thousand pounds a month from his side job as Television personality for the News Network. He did a day time (which was like night for the squids) chat show on Science and Weapons with his good friend and bitter rival, the unceremonious Captain of Seventh Division, Lesser Lord 1st Class Kelb, a vicious and insane squid scientist who apparently, and according to Philb, had lost all those many missing human specimens and assistants by swallowing them into his gullet. Philb and Kelb hated each other, according to Philb, but the show was so important to the "furtherment and pronunciation of our glorious applied and unapplied sciences," that they refused to give in to one or the other. The more Alan thought about those two, and more specifically what they talked about on their show, made him feel nauseous.  
Alan rolled onto the I-68 and took another big pink pill, crunching it up in his teeth and swallowing the bitter sugars within. Moyhne didn't know what he was talking about, but Alan wasn't going to let that stop him. He looked over the data discs again, each one a photo of the intended crime scene, each one with this superimposed baseball glove lying somewhere in the vicinity. They were digital images, like photographs, but made in three dimensions so the viewer had the feeling of walking around in the photo itself. He walked to the bench, in some dark alleyway, and picked up the glove to examine it more thoroughly. The words inside were dark purple, and ran with the gravity like wet paint toward the edge. "I thought what I'd do was..." He set the vehicle to auto pilot, and sat back in his chair. 
"Next," he said and suddenly he was transported to a dingy hotel room somewhere in town, with the same mitt, same words, same feeling. He looked through twenty or thirty, same. Alley ways, motel rooms, dive bars, each one a nearly perfect replica of the last. Each one a replica. He furrowed his brow; there was pattern there somewhere though, he thought, or the inspector general wouldn't have given him the assignment, and Moyhne had showed such interest in Alan...
"Next," he said, another dingy room in a slum, another mitt, but this time when he picked it up and looked at the message within, there was something odd; it was blank. No words at all, just a plain lefty catcher’s mitt like all the rest. He turned it over, but it was completely blank and completely mundane. 
"Another goddamn mystery," he muttered, making note of this particular slide, "what does this mean?" He put the glove back down from where it came and looked around the room. An anomaly? A glitch in the system, or something much worse. An omen. A back door. A relay. 
"Next," he said, and before he got very far in the next slide, which took place in a liquor depository, he found this nagging tug at his very being, and he flipped back to the last slide. 
"Back," he said. There it was, it was plain as day now. As he stood in the front hallway of the tiny apartment, he could see from the out the windows the glorious land scape of the city, the real city, his city, except it wasn't his city, or rather, his city wasn't that anymore. Out the window he could see the Wilkes Building, proud and tall, all gleaming metal beauty, silhouetted against the southern sky. And behind it, the Bullinore Building, and Clarendon Industrial Tower, and the Torches of Albion wall, and the sepuchuler of Cain. These buildings, however beautiful and however proud, were no longer standing in his time; bombarded and destroyed during the last war. Or the one before it. This place wasn't a memory, it was a dream. It was an imposter, a fake. He looked back at the glove. It was a lefty catcher’s mitt. And so was this memory. It was a set up. He had to get out of there; he had to get out of that room. 
"Abort," he said, but instead of the sensation of disconnection along with its pleasant "whooshing" noise, nothing happened. The room was still there. He was still in the room. His thoughts grew short as panic began to set in, and he rushed around the room in a fever, clawing at the walls for his escape. 
"What the hell is this? Abort!" he turned and caught a shadow moving across the wall. There was another presence there; he could feel it, eyes watching him, burning into his head. He was not alone here. 
"Can you hear me, Elena?" He almost never invoked the "name" of his computerized cybernetic assistant system; it felt like giving humanity to something in humane. "Abort! Exit!" There was no response. He spun around, pulling his firearm, which was there, but he knew wasn't real, and fired. Nothing happened. He looked at his hands and they were empty. He had felt something, right behind him, close enough to feel its breath, but when he turned again, he was still alone. 
"What the fuck am I going to do?" 
Then he saw him; it. A shadow, deep and black and empty, standing far off in the corner of Allan's mind. The presence, hounding him, hunting him, watching from the spiraling darkness, waiting to strike. Allan felt his brain split, a headache with the full explosive power of a throttling engine, and he yelped in pain, and fell with a thud to his knees, his hands grasping the sides of his head as if to keep it from breaking in two. 
"Abort!" He hollered, but there was no answer, no action. He was trapped like a rat inside a fragment of memory as his real body, not to mention his vehicle raced toward what could best be described as the rough part of town, and the last thing that was welcome there was a cop. He was a sitting duck, and the gathered vultures would not balk at opportunity. He would be dead before his ass could hit the ground. 
"Fuck," he stumbled through the pixelated frame of an end table, "abort!"
The vomit filled his mouth, mixed with blood. If it truly wasn't real, then it was a perfect fake, because it felt more real to him than anything he had ever experienced. He moved with the speed of a lummox to the window and tried to cast it open, but it was fused shut. He smashed his hands against the glass, as his head spun and swam, but it would not give. The vomit then exited his mouth, and it was cold and sour, his eyes filling with tears, the absolute searing pain raped his senses a dulled his mind. He fell down to his knees and let it come, spilling out of him like some cooked molasses, thick with spit and mucus. He reached out, felt his hands searching the end table next to him through the misty veil of tears. Then he grasped at it, pushing himself up to his feet with a vigor he had not long felt. I'm not ready to give in, he thought; you'll have to do way better than that. He raised the table up over his head, and with a thunderous crash, lofted it through the window. What followed was without explanation, at least, without logical explanation. 
There was a mighty gust of wind, not unlike a hurricane, that sucked from the room all but its color. Allan felt the sensation of floating, lifting from the earth, or perhaps the floor below him was falling. No, it wasn't the floor, it wasn't the building, and it was reality. Everything was falling, fading to pure white, leaving him suspended in the nothingness, a rag doll left to the will of the dream. Or the dreamer. Outside the window, as the world fell away, Allan could feel the dark presence, leering from his secret perch. 
"Come get me," he said, "I am waiting for you," he closed his eyes, "show yourself to me, I am ready to see," he was drifting, his body a weightless vessel aloft a silent sea of forged memories. Then the world fell, he was falling now too, collapsing into itself, as he transcended into another dream. 

Tuesday, March 26, 2013


(Translated from Italian through Google Chrome without interjection or correction)


New York source, Bostonian adoption, Amanda Palmer has played from 2000 to 2008 in the Dresden Dolls, before embarking on a solo career. Abruptly interrupted relationship with the record label Roadrunner, he began to experiment with possible forms of communication, promotion and distribution independent on the Internet.

Very active on social networks (Twitter in particular), in the spring of 2012 he opened a crowdfunding campaign on Kickstarter to fund the new album Theatre Is Evil, collecting a record $ 1,192,793 (from 24.883 supporters). At the launch of this informative guide, we asked some advice for "young Italian artists" interested in the system of crowdfunding.


When you launch a crowdfunding project, what is the most important rule to follow and which the error to be avoided?
Key is not to expect that the public "arrives from the Internet." The crowdfunding do not need to win new fans, but to establish a closer relationship - even from the economic point of view - with those you have already accumulated over time. It is a magical tool. A very important aspect is to treat the pitch video, the movie in which you present your project. Should be informative and explain clearly what you intend to do and how to spend the money collected. Many artists make the mistake of pointing to a clever video, something brilliant. The truth is otherwise: the crowdfunding itself is not art, but a place where dialogue with the public and talk about concrete things. You must not show how good you are or who you go into the details: rather, you must explain why you need support. That 's the reason you're there.

You have some experience with this kind of platforms. In 2012 caused a sensation the campaign for the album Theatre Is Evil, but in 2010 and 2011 had presented two projects on Kickstarter, with increasing success. How important is "experience"?
Very much so. For example, with the time and attempts I learned how to split the rewards should, what pleases the public to such levels of spending tends to gravitate more (two bands are very popular ones to $ 25 and $ 100). But I was not the only one: my fans have come to know Kickstarter, have used it, now trust the service. In the end, what is the most important result.

About rewards (products / items / services that the artist offers to the public in exchange for financial support), do you have any particular advice? Better to focus on offers simple or extravagant ideas? And there is some criteria to follow in choosing the target figure?
With regard to the final goal, better to set the lowest figure that realistically allows you to create a work, no matter what. Starting from that, then, can you expect to get more (in the case of the Theatre Is Evil, Amanda Palmer had set a target 100 thousand dollars, less than 10% of the amount actually harvested at the end of the campaign, Ed.) The choice of rewards instead is more related to energy and the will that you (and your team) think you have to keep up with the shipments. The important thing is not to bite off more than you can chew: Do not promise things that you may not be able to deliver then. That would be the end! It does not hurt also offer something a little 'crazy, but for musicians it is often convenient to think of objects replicated to scale. And in the end, what really matters is the spread of music and art. If you fill your campaign rewards that have nothing to do with art, there is a risk that in the end the whole project becomes a bit 'scruffy. What I can say from my own experience as a musician, is that crowdfunding offers a unique opportunity to collaborate with your creative friends: painters, illustrators, sculptors. You can involve them in your life. I did often on Kickstarter and has always been wonderful. Create something cool for your fans and help your artist friends to earn some money: a win for everyone!

When they are active, campaigns should be followed every day? What are the most effective tools to maintain the audience's attention and activate word of mouth?
I am a superfan of Twitter and the way in which circulates information: during the campaign Theatre Is Evil was almost always on Twitter. Whenever one thousand supporters would add to the project, twittavo image with the new number written somewhere on my body. Found of this type are not only useful to keep the focus on the campaign, but pretty damn funny!

Have over 800 thousand followers on Twitter. What advice would you give - always relative to the crowdfunding - young artists GAI they are instead moving their first steps in the creative world and maybe do not have a huge following? What should aim at the launch of a campaign?
The central point is simple: please contact directly to the public. Do not wait for "someone discovered" or that "the government will fund" would be nice, but not always happens. If your art has value and you can get connected with the people, then there is no reason why you should not control the entire process of creating and distributing your work. In the United States, through the crowdfunding we are experiencing a revolution: are shot film that would never be realized, develop art forms that become possible because we have finally found a way to jump the fences that separated us. We can support each other directly, putting the money where we want it to spring forth creative energy. It 's great.

And exiting the crowdfunding speech, you have some more general advice for those artists who - in these times of economic depression (and not only) - are struggling to keep alive the flame of hope and sometimes think of giving up?
These are the times when people desperately need art. The cinema has exploded during the Depression. People get angry, frustrated and suffering are expressions of anger, pain and frustration. And 'the reason why art exists. Artists must answer the call, go ahead, continue their activities, create things, whether these be considered "lawful" or "necessary." Art is necessary. Feeds us, keeps us human, goes beyond being famous, rich or even financed by crowdfunding. Art is an explosion of what you really are, of what you think, not what you think: something that is to paint the canvas of the world. Must break by itself, without waiting for someone to ask her. You never asked.

Friday, March 22, 2013

AMERICA'S WORST COMICS


BY KEVIN J HARDIN

EPISODE THREE///
THE RETURN OF OBAMA


also.
I have condesnsed the epic poem I am writing onto one blog of its own as it not get lost amid my posting.
you can find it here.


Saura

the bad ass chick...


Saura

Saura raced out the door as she attempted to hail Gaius once again. Men are all a bunch of childish morons; she thought to herself, they all want to go out like some kind of cowboy in a big shoot out. They want to leave everyone else withe the grief as they take all the glory. She checked her watch; it would take her ten minutes to get to the hotel in old town. 
"Gaius," she said to herself, "please don't die, you idiot." She ran to the lift and punched in her code for the car port. The large metal doors shut tight and the lift lurched downwards. He said he loved her. He was a fucking idiot. But she loved him too. 
The car port was empty as usual, and she hurried to her Black Toyota Motorseed which sat near the back of the lot. He had to pick today, she thought as she slid into the driver’s seat, that fucking prick. She started her period this morning, waking to a Scarlett bead spread and that awful feeling she always got. Some sort of weird remorse and grief, she didn't want to really think about it. At least I know I'm not pregnant, she thought, remembering his sweat and his heat and his lips. Fucking asshole, she thought, it's a bad idea to fuck around with a girls head. She pumped the gas and the Motorseed took off, screeching down the carport exit. She turned up the radio, but it was all static. 
"Gaius!" she said, but he wasn't responding. He must have disconnected his device. Typical, she thought, when push comes to shove, you really were just another wannabe cowboy. She skidded on to the Yankee Division highway with such velocity that for a moment she thought the vehicle was going to loosen its grip upon the earth, but it steadied, landing with an exquisite thud, followed by a harrowing screech as she lit up the engine. Fuck, she thought lighting a cigarillo and flicking the match out the window, is he really going to be dead this time? 
She pulled up Gaius' GPS on her dash computer, and it still read the same location; the Regent Hotel in Floating City. She checked her watch; it had been approximately four minutes. Gaius, she flicked some ash of the tip of the cigar, you're really going to do this to me? She punched a fist against the steering wheel. He was such a liar. He didn't really love her. If he did, he wouldn't die. 
"Incoming transmission!" She nearly jumped out of her skin. The dash lit up in a blaze of translucent colors. Francis. She had forgotten about that one. She clicked in, and Francis' face appeared on the dash. 
"What happened back there?" He was visibly pissed off, his face flushed and sweating. 
"I should be asking you the same question," she jammed the gears to narrowly avoid a Sun Systems oil tanker, "Gaius got plugged."
"I saw that much," Francis was livid, his voice quivered with rage. Saura wasn't impressed. 
"And so you ran away like a fucking bitch?" She pumped the gas again. 
"What the fuck did you just call me," Francis hollered, "you wanna get a bolt too, you dumb cunt?"
"Fuck off Francis," she flipped off the image of his face with a single gloved finger, "everyone knows you suck cock, so don't try to act tough. I'm going after my team member, so stay out of my way if you're not going to help."
"You better watch that smart mouth," Francis spoke soft and low. He knew something he wasn't telling her. 
"Is this all you called for? To yap at me? Or you got something," she was literally twenty seconds away from the hotel, "if you do make it quick."
"The squids brought a new kind of soldier with them," he said through his teeth, "they're big. And strong. And I hope one gets you and rips out your voice box."
"Nice," she said, the hotel was now in sight, "I'll remember that. Bye Francis." She switched off. She was in the lot. She skidded into a parking space and slid out of the Motorseed. She checked her pistols, hanging from two underarm holsters beneath her breasts, one a Smith and Wesson 12.7 caliber man stopper, the other a 9mm with extended magazine. The door to the lobby loomed large before her. Gaius, she thought, I'm here. Just stay alive. She pushed open the door. 
The hotel felt like a lot like hell, and it wasn't just the gold leaf trimmed edging and blood red velvet carpets that made it resemble something from a bad movie, or the stench of death and jissom and shit and lies that fluttered through each hallway. It was the reputation. There were few places in the world quite like this, an axis point to the other possible worlds in this dimension. Literally a portal to another earth, where magic and steel were twain and twixt and forged into weapons, and blah, blah, blah. Sid would drone on and on about that shit, tri-dimensional daemons, dirt wizards, water dragons, the dark lord Cthulhu, boring shit like that. Saura didn't care about any of that, at least, not where these things came from or why. Sid was old, he didn't get that; Saura just wanted to know how to kill them. 
The hotel was useful in negotiating transfers, which was a hopped up way of saying drug deals. Or in this case computer hardware. The dirt wizards had a fuck of a time decoding magical data when in the vicinity of an axis point, the con joining magical energies were in such a state of flux it provided a sort of cover for their operations. And Gaius had insisted he go alone, in his typical cowboy bullshit mode, stoic and strict, his manner of fact, this is how it is tone. She really wanted to crack him in the jaw. 
Saura wasn't one of the lucky ones either, like Gaius was. He was a "druid" as they were sometimes called, able to mentally withstand the psychosis drain that occurred when casting even low level spells. There was a whole rank and file line to it; Gaius was constantly trying to explain the nuances of magical theory, much to her dismay. He would say something like, "frost magical falls in the tenth bilateral of the fifty fifth movement of the blah blah blah," she would lose interest in about five seconds. But she had to admit, aside from his know it all personality; he was a wonderful spell weaver. 
Saura couldn't do any of that shit, she wasn't born "broad of mind" like the old men said (she called it being "pretentious") and according to the science masters and magic weavers if she tried even reading from a spell book or casting a first grade spell her mind would boil up and then explode. Honestly she didn't really believe it deep down, however, she had shunned magical texts and spell for guns and motor oil, and distrusted anyone who knew of the magical arts. That is except for Gaius, but he was only the exception. It wasn't like she wanted him casting his spells when they were making love. That thought made her stifle. Gaius, she thought, will I ever even see you again. 
The hotel was empty. Not like, oh there were a few people milling around the lobby, I mean empty, empty. Not a good sign. The air hung thick and heavy with blood and smoke, the aftermath of a firefight. She moved down the long hallway, hugging the corner, pistol drawn, until she emerged at an intersection where two corridors came together. There she saw the first evidence, three long and thin marks like some great razor claw, seeping with greenish, purplish energy. Kemling arcana. They made these massive magical claws (usually which dwarfed their own bodies, which were at tallest 3 and a half feet) that could cleave an armored tank in two; another reason why Saura didn't mess around with magic. Giant magical claws and shape shifting dwarves. Fuck that. 
The walls down the left corridor where covered in misfired bolts, obviously Gaius', lodged into the very drywall. She deduced that was the direction the Kemlings had speared from (spearing being a fancy way of saying inter dimensional travel). Further investigation proved this, down the hallway about twenty feet was a crack in the wall, with burnt black edges fuming smoke. It smelled like an abattoir; definitely a portal to the second dimension. That smell never truly left your nasal passages, lingering in the background, under everything, the stench of the dead and decomposing. It was like coming home when she smelled it out here. Familiar. Gaius must have gone the other way, he wouldn't have been that idiotic (or suicidal) to charge headlong into an inter dimensional crack. He's wasn't a coward, but he also wasn't a moron. If only she could have found some sort of evidence, some of Gaius' yellow magic, anything. That's when she felt it; this horrid, slinking feeling of total dread crept over her, like all the hope was being drained out of her. Squid magic. They were still here. She stopped, and strained to listen. She couldn't turn back, Gaius needed her, but Squids were...she didn't even want to go there. If they caught her, the things they would do to her in the name of their twisted sciences, she had heard some terrifying stories. 
It was Twenty Seven years ago, in fact almost to the day, that the Squids came back. There wasn't a sole alive who remembered the last time they showed up, it was approximately two hundred and fifty years ago before the Toyota/Samsung Landross Chemicals War, but the they had done significant damage the earth, especially to the tiny nation of England. For a few harrowing days their bullet shaped capsules had rained down from the heavens and gripped the world in fear. Thousands died, armies were decimated, and humanity waited, huddled in fear, for enslavement. But it never came, for the Squids had weak immune systems and succumbed to the most common strain of virus; the winter cold. But they were intense and fiercely intelligent creatures and they never forgot the defeat in England. After the battleships came down, April 2nd 2112, there wasn't much left to the island. They burned it, massacred the people, and, as the squids put it, reseeded the soil. Now they call themselves "Englishmen," and all the humans who live there "Welsh." There were stories also, from the corners of the human resistance, that the squids consumed the flesh of humans, when they so had the jurisdiction to do so. 
She could feel them, their presence was like that of some grim specter; cold, wet, empty, Devoid of life or love or reasoning. They were on the floors above, hovering amidst their Zhatif guards, calculating the event outcome of the fire fight. But it was good news, because the fact they were still here meant Gaius' chances of being alive had just gone up. They haven't found him yet, or they're torturing him, but if he was dead they would be hanging around. She realized then she was frozen with fear, bent down on her knee, clutching her pistols and praying. I've got to go, she thought, I've have to save to him. She pushed herself to her feet, and breathing a deep sigh, took a few careful steps forward. The room spun, she felt the sensation of drifting into the deep black nothing of dream, tugging her down with a great invisible force. No, she thought, it's the Squids. They fuck with your head, their magic lingers everywhere it is used, and the aftermath is this lost and distant feeling. It's akin to hallucinogens; this sort of leak from between dimensions can cause intense sickness and even death from prolonged exposure. They left it everywhere, in the form of grey and foul smelling mucus. Apparently this was a side effect of their magical hovering, using so much energy and force on such a simple device caused a massive load of waste, and so the energy had to be displaced somehow. It was everywhere, and in her haste to leave the office earlier she had neglected to grab a mask. Shit, she thought, I can't go on like this. She staggered to her feet, backing away from the corridor back from where she came. The room kept spinning, faster and faster, like some demented carnival ride, churning her stomach until she collapsed on her knees and vomited. I'm gonna fucking die here, she thought, covered in vomit and weeping like a little bitch. What the fuck? She wrestled her limbs into a sitting position and wiped the vomit from her face. It even got in my hair, she thought, yup, I look real fucking classy right now. The end was coming, she could feel it, but she felt strangely at peace with it, which was probably an effect of the poisons. The Squids did try too hard to make everyone happy, she thought, they thought logic would win out in the end. They were always fucking wrong.
There was a burst of light that startled her so, she leapt with what strength she had left to her feet and aimed her pistol. 
"Put that shit down," it was a very familiar voice, "before you shoot somebody."
"Is that..." She strained her eyes in the light. It couldn't be. No, not him. Anyone but him. 
"It's been a long time, Saura," said the familiar voice, "I've missed you."
Shit, she thought, it is him. Out of all the mother fucking times she could have ever seen this shithead again, it had to be now; fucked up, dying, covered in vomit, and on her period. 
"No way," was all she could manage, "you gotta be a ghost man." His laugh made her skin crawl and her stomach turn. 
"Yea, I guess I am," he said, "but then again," he was moving closer, "what the fuck are you?" No, no, no, no! She thought, not now, you fucking asshole. It's been ten years and now you show up?
"Stay back," she lifted up the pistol, "don't make me use this," he smiled; she could see it through the lights. 
"Again," he said, "you mean don't make me use this again. You already shot me once, my sweet."
"So you know I mean business then," she pulled herself up, using the wall behind her for support. 
"You're fucked up," he said, with a snort, "you ain't gonna make it."
"Oh yea, is that the case, Yaakov?" She used his real name. 
"Yea, that's the case kid," he was smirking like a schoolboy with a nudie mag, "you're gonna die without some help."
"Fuck you," she said, "I don't want your help. I know what kind if a price it brings. Now tell me," she stood up as straight as she could, "what the fuck are you doing here?"
"Just looking for you, my love," that smirk, she wanted to punch it right through his thick skull, "it was your beauty that led me here."
"No shit," she said, "that's a fucking laugh and a half. Why are you really here?"
"Francis mentioned you were on your way to this," he raised a hand to cover his mouth, "place...and I knew you'd need our help." 
"Thanks for the vote of confidence," she said and added, coldly "It's nice to know you care so much."
"Of course I do," he said, motioning to his men, "get her." The next few seconds were harrowing, and as two of Yaakov’s men rushed at her with inhuman speed, and she tried to raise her pistol and fire, but where their movements were swift and deliberate, hers were like she was surrounded by flowing water, fighting her at every turn. Needless to say, she was far too slow, and the roughhewn hands gripped at her wrist like a vise, sending the infecting bullet harmlessly against a dark corner. She was forced to the ground, and though she struggled with all her might, the man was stronger. Yaakov laughed, and knelt down in front of her face, twisting it up toward his with a vicious smile. 
"You're coming with us whore," he said, and a menacing feeling crept over her.
"Cunt," she breathed, "you NEED these fucking cyborgs to take me down? You're a pussy." She barely even felt the but of his rifle smash against her forehead.
"Shut up bitch."





Thursday, March 21, 2013





gonna be bringing back the cassette tape.
you just wait.

its coming...

https://soundcloud.com/hvalross

https://soundcloud.com/themightykevvo

Been doing some of these lately...
really love me some ASOIAF...
but the show...

its a mockery at times.

I mean I love tits as much as the next guy...
or more...
and ass too...
but Game of Thrones is reDICKulous with that shit...
I mean...
I get it...
I know...
Theres like 100 sex scenes in the books...
but GRRM made them feel so real...
so like life...
not campy and awkward and unnerving...
even when it was supposed to be that way...
HBO doesnt quite know when to pull their punches...

and then they start changing shit...
I mean
I know...
GRRM works on the show...
Writes...
Directs...
BUT 
WHY THE FUCK DOES ROZ HAVE HER OWN GODDAMN STORYLINE?!?!?!?!
A character merely mentioned in the books...
Theon: "I'm gonna go fuck Roz"
HBO: "HEY! Lets make her an every episode character! MORE BOOBS EQUALS MORE MORONS WATCHING!"
damn damn damn damn damn
I mean I like the show...
I mean

I'm really trying to like the show...
BUT THATS NOT HOW IT HAPPENED!?!?!?!?!?!?!??!
ITS THE SAME THING THEY DID TO WATCHMEN!
RAPE!
RAPE!
THEY ARE RAPING WATCHMEN!
well no...
that was worse...
much worse...
but it comes back to what I always think when some self absorbed, masochistic director decides they want to do a "book to film"
WHY EVEN MAKE IT IF YOU ONLY WANT TO CHANGE EVERYTHING ABOUT IT?
Why would you read something and think
"WOW"
"THIS IS GREAT"
"EXCEPT I WANT TO CHANGE EVERYTHING ABOUT IT."
"I THINK I'LL MAKE A SHOW."
"AND CHANGE EVERYTHING ABOUT THE BOOK SO ITS ONLY LOOSELY FOLLOWING THE PLOTLINE!"

Thats bullshit.
come on
its not because the "viewing public" may have read the books already and you want to mix things up.
thats fucking stupid.
I read these books years ago.
I am a hipster for ASOIAF
I will not deny it.
and now that HBO has made it sexy
it pisses me off just a little bit.
the books are better.
I know, I know
thats "always" the case.
But this time its true. 

so sosososos