Episode 13 of Trailer Pod Boys is posted

We take a look at the Trailer Park Boys in other film roles. There’s some more information on our Giveaway contest, and our round table discussion is on  Season 3 Episode 2 “Temporary Relief Assistant Trailer Park Supervisor”

Hear it here at the Trailer Pod Boys website.

Comic Wars: Episode 7

Welcome to Comic Wars, Episode 7.

Before we get started, I have to point you to an awesome, scathing review of The Phantom Menace. It’s 7 installments of 10-minute YouTube videos, but it is well worth your time to watch it. Not only is it insightful and intelligent, but it is hilariously funny. One of the best parts is actual clips of Lucas from 1977 talking about how storytelling trumps special effects, juxtaposed with footage of him from the late 90’s talking how much crap he was going to pack into every frame of the Phantom Menace. Go watch it.

Another reason I bring up that review is to talk about storytelling. Up until this point in this series, I haven’t really gone into the story at all, because, well, it’s Star Wars - we all know the story. It is what it is. If you don’t already know it, you’re probably not reading this.

But now we get to delve into the minds of Roy Thomas and Howard Chaykin who wrote this and the next couple of issues. I’m not sure how they worked with Lucasfilm to decide what got into the comics, or even how much Lucas cared (as compared to today, where every book, comic, video game, etc., gets vetted by someone before going to print) because the story (and the art) quality takes a steep nosedive immediately in this issue.

The cover is pretty cool, though – apart from the crap dialog, and Flash Gordonian “laser-gun” that Han is holding. It has a buff Chewbacca beating up two aliens at once, and Han in a heroic crouch, with a conveniently placed “Wanted” poster in the background.

(Is it just me, or does the idea of paper “Wanted” posters being placed all over the galaxy seem like a losing proposition. I think Roy and Howard still hadn’t gotten their minds wrapped around this whole “Science Fiction” thing yet. But beside that, it really has nothing to do with this issue. Nowhere in this comic are Han and Chewie wanted by the law. They mostly get in trouble with pirates and crazy hicks.)

And, getting back to that dialog. I’m sure I’ve said it before, and I’ll say it again: they are “blasters”, not “laser-guns”. There’s a difference. A laser is a focused beam of light. A blaster fires a discrete energy burst. They never say “laser gun” or “laser sword” in the movies, they say “blaster” and “lightsaber”. It’s one of those nice touches that makes it otherworldly, while Roy and Howard keep pulling it back by injecting Earth-normal terms, like “laser” and “holy” and “was this trip really necessary?”.

The artwork in the first six issues was highly inconsistent. Sometimes it was very detailed, enough to recognize the actors who played in the movie. Sometimes you could barely tell that the blobs were supposed to be people. But for some reason even this first page seems to feel different, even though Howard Chaykin is still the artist. Is it just that all of a sudden we’re witnessing events that did not take place within the movie, and so it has a patina of non-canon to it? Or has something objectively changed? I think you know which answer I’ll end up at.

This page is all exposition to get Han and Chewie off on their “adventure”. I think it’s amusing that Luke and Leia are back in the outfits they wore through the bulk of the movie, even though there’s no real reason for them to do so. We’ve already seen Luke in two different outfits (not counting the stormtrooper uniform): the X-Wing flight suit and the mustard-yellow biker outfit for the throne room scene. Why would he get back into his Tatooine moister-farmer duds (which now seem to have shrunken quite alarmingly – what kind of crappy Sullustan labor do they have running the laundry at the Rebel base?) when he’s not on a desert planet anymore?

And Leia seems to have had her hair put back into the much-beloved cinnamon bun style, even though she probably doesn’t have the dozens of handmaidens here that she had back on Alderaan (I wonder if that’s why she was so upset at its destruction – now she has to take care of that mountain of hair herself).

Let’s not forget poor Artoo, standing there, seemingly missing his the bottom half of his left arm/leg and emitting a pitiable “BLOOP” before he inevitably falls over.

I’m not sure what nonsense to begin with on this page. Let’s get the “star-spurs” out of the way first of all. Apparently, my complaints about “space” jargon were sent back in time to 1977 and were read by Roy Thomas, but instead of cutting it out, he switched over to “star” words instead.

In the very same panel, Han talks about getting back to Dantooine to pay off Jabba. This in itself is a Force-choking offense. As we all know, Dantooine is some remote planet that used to have a Rebel base on it. Tatooine is where the Trilogy started (and ended, if you don’t count the Ewoks, which I don’t), and where Jabba runs his crime syndicate.

But now that they’ve gone ahead and made the astronomical mistake of confusing Tatooine with Dantooine (and why would anyone make that mistake, eh George? Nice imagination, there.) they go right back and reverse it in the next panel, when Han says, “Set ‘em for Tatooine.” Which is it? Are they going to Dantooine or Tatooine? Did no one read over this comic before they went to press?

And what happened to Han’s hair in the second panel on the middle row? He suddenly has a Monkees bowl cut. The fluidity of Han’s hair kind of becomes a running joke in this issue, as we’ll see. I have to chalk it up to the fact that no one in the seventies had any idea what to do with their hair, and that complete lack of ability to coif themselves respectably bled over into the eighties, and eventually ended up with the mullet. Thanks, The Seventies.

The bottom row is just useless filler. Three panels showing what I can only assume is Roy and Howard’s ideas of various alien worlds, but look more like Fisher Price toys (and I can’t even tell what the last panel is supposed to be – it just looks like the trash jettisoned by the Star Destroyer in Empire), while Han makes a completely inane statement about having to fly some light-years before cutting to hyper-space.

How fast do they think the Millenium Falcon can go on sub-light engines? If it’s anything less than the speed of light (which it is, by definition), well, then they’ll be waiting a few years before they jump to hyper-space. Are we to believe that several years have passed before we even get to the main plot of this issue? You might actually wish that were so, once we get there. Or that there was a plot to this issue, which there isn’t. Just a series of random encounters.

First up, Han and Chewie get attacked by pirates. (And don’t you think that Han didn’t shout the words “SPACE-PIRATES”, because you know he did.) And I’m not just talking about pirates of the kind you might see in Firefly or any decently written scifi story. No. We’ve got full-blown Ice Pirates-style pirates, complete with bandanas, swords, eye-patches and buccaneer boots. Oh, and don’t forget the stormtrooper.

I have to credit the writers – when creating their motley band of space-pirates, they thought it would be cool to include a stormtrooper who had defected. That’s a great idea, and you could even write a whole story around that. But do you think he’d continue to wear the stormtrooper armor? Especially given the fact that it doesn’t seem to protect the wearer from pretty much anything, coupled with the fact that if he wore it on any planet or station with the merest hint of an Imperial presence, he’d be caught and shot on sight for desertion? He’s either the stupidest or ballsiest pirate in the group, and for that, we should fear and pity him.

Getting back to Han’s hairdo. The first panel on the middle row shows that Han has spent the last few light-years attacking his locks with a curling iron, getting rid of the Davey Jones look for the moment. Did they use a different artist for every page, or what?

Han seems to know these pirates, though. Or at least their leader, Crimson Jack. They trade jovial barbs (a little like Han and Lando would do in a few years) and then Han just hands over all the reward money he got from the Rebellion. This combined with the story about how he lost Jabba’s loot to the Empire seems to paint Han as being a pretty terrible smuggler. He just hands over his loot to whoever boards his ship. Why the hell does he have the smuggling compartments, anyway?

I find it kind of hard to believe that any sane person at Lucasfilm would have approved a storyline where Han loses all his money within minutes of getting it from Leia.

But even more than that, they created this rag-tag band of pirates, with enough thought to give one of them a sword and another an entire stormtrooper uniform, and they only occupy two pages of story time. Unless they come back in some future issue, that’s a real waste of time and effort.

So, after Han and Chewie hand over the only honest money they’ve every made to the pirates, they decide to lie low for a while on some Outer Rim planet. Let’s see what kind of planet-side shenanigans Roy and Howard can think up, shall we?

After landing, Han and Chewie make their way into the town center, remarking about how few people are about, until they stumble upon the reason: apparently, this town only holds 20 people, because they’re all harassing some poor “insect-guy” on a Bantha.

(Oh, and let me just take a moment here to say that it cannot have been easy for these writers to write a comic about two characters where one of them speaks only in grunts and growls. It’s not a situation that any sane comic creator would have gotten into willingly. It’s just one of those things that works better on screen than on the page, so I’m not going to make fun of any of the “Guh-Runk”s or “Hrak Hrak”s that float above Chewie’s head. Unless they’re really funny.)

The worst part about this page is (and I know this will come as a big shock to those of you who know me, or have read the previous episodes) the religious reference.

I have no problem with them creating an alien priest character – scifi is loaded with great religious characters from all sorts of races and planets. But Han’s reference to Sunday School is inexcusable. A)”Sunday” has no meaning outside of Western Earthen civilizations, and B) “Sunday School” is very specifically a Christian practice.

Are we to believe that Han, born and raised on Corellia, somehow grew up in a Christian family, thousands of years before, and millions of light years away from, the supposed birth of Christ? I may be inordinately sensitive to religious references, but this seems to me to be a confirmation of the unchecked Christian bias on the part of the writers. Those of you keeping score at home, let’s see how many references like this we can rack up.

Apparently, Mr. Insect-Man was attempting the very grave (ha!) crime of trying to bury a cyborg in a, well, I was about to say “all-human graveyard”, but that doesn’t make any sense, as there all all sorts of aliens here. Let’s say “all-organic graveyard”. Which is apparently objectionable to the locals.

But the best part of this page is in the top right corner. Chewie is getting all medieval on their asses, so much so that his head hair is standing straight up, while his eyes have glazed over in his blood frenzy. The poor quadopus man has just had his spine (if he has one) broken and is moments from a coup de grâce, while Han is busy “rough-housing” the other miscreants.

The aliens in the final panel on this page look less like the wretched hive of plausible aliens that appeared in the Mos Eisley Cantina and more like some Shrinky-Dinks that were left out in the sun too long. Or like something I drew when I was five years old.

The rest of this issue is taken up by Han and Chewie duking it out with these hick aliens while Han expounds about their prejudice and how silly it is.

Once the attackers threaten deadly force, Han and Chewie respond in kind. This is actually pretty cool, since in the movie, Peter Mayhew’s costume did not allow him to really show the kind of physical violence a Wookiee is capable of. It is merely hinted at (which is OK, by the way – they do it well). But in the comic, there is no such limitation. Chewbacca is a 7-foot tall barely-civilized ape-like creature who is adept at flying spacecraft and somewhat skilled at holo-chess, although, it’s hard to tell because we’ve only seen him play against a computer, and even the easiest level of computer chess can kick my ass.

But the unbridled violent potential latent in any Wookiee is finally unleashed in this comic book, and it is a wonderful thing to see – he can finally open his mouth, unencumbered by the physicality of the mask, and deal brown, hairy death to his enemies.

Even better, as we see in this panel, is that Wookiees have fifteen separate words for violence. Of course they all sound like “Gronnk! Shuuuk!” to us, but never mind that. And what the hell is with Han’s hair? Is he wearing goggles on his forehead now? Or have his bangs just gotten that long and curly?

So Han, Chewie and the insectoid priest finally defeat all of the prejudiced locals and bury the cyborg on the cemetery hill. Do they think that the creepy locals won’t just wait until they’ve gone and dig him up again? Funeral rights are not usually won by a gun battle.

But after burying the poor cyborg, Han and Chewie head to the cantina for some well-deserved debauchery. Which means that this issue has now moved on to its third storyline without ever setting up a coherent plot. Granted, after the heavy story arc of the first six issues, perhaps they were just going for a random-encounter type of issue as a break between major plots, but still, Han and Chewie deserve better than this.

I’m all for Han sowing his not-yet-royal oats. He and Leia have not gone down the path of falling in love, so he’s still a swinging bachelor. And he should be every bit the match for James T. Kirk in the banging alien chicks department.

But if this is any example of the pickup lines he uses (not to mention the sad state of his hair) I’d be amazed if he’s just as much a virgin as Luke:

What’s a nice girl like you doing in a place like this — I hope!

What does that even mean? He takes a well-worn, completely clichéd, Earth-based pickup line, and throws “– I hope!” on the end. Is he trying to fry some synapses in her brain with radical non-sequitors in hopes that, in her confusion, she will agree to sleep with him? Or is this some ploy that is reputed to work well on the blue-skinned, yellow-lipped women of Minibaar-7?

But she seems amenable, and as they’re leaving, Han checks in with his wingman Chewie, who is busy groping Lady GaGa and what I can only describe as a slutty yellow-skinned Jewish Ninja Princess, what with her Throwing Stars of David strapped to her thighs.

Before Han can seal the deal, however, he’s cockblocked by a trio of what look like Chinese gangsters in green bathrobes who come from the planet of people who speak more obliquely than Yoda.

Whoever they are, they seem to have scared Han’s hairpiece into curling itself up into a little swirl on the top of his head, while his chin has grown a few inches.

Next issue will explain what trouble Han has gotten into in Paradise – although this planet has seemed like anything but Paradise so far, so I’m not sure where that comes from. But I can’t let this issue go without showing you the ad on the back cover:

This is one of the scariest toy ads I’ve ever seen. First of all, it prays on command. That’s bad enough, but the creepy, intense description of what she’s made of “under the nighty” makes my skin crawl. And what kind of fun is a doll that just kneels and prays? This is purely a ploy for parents to indoctrinate their children into their chosen religion (any religion at all, as long as it’s Christianity).

I’m glad to see she at least comes in caucasian and African-American (sorry, “White” and “Black”) varieties. We wouldn’t want to exclude anyone – except those Asians, Middle Easterners and Canadians, amiright?

But the coolest thing is the technology behind it. They didn’t have microchip sound machines in 1977. This chick has a full-fledged miniature record player “in her tummy”. And if you turn the record over, she sings “Brother John” (I have no idea what that is, and I have no desire to find out).

She could have been yours for a mere $9.95 plus $2 postage in 1977. I would love to know how many of these were sold. Because I’m sure that the audience for Star Wars comic books (young boys and geeks of all ages) overlaps mightily with the “buys religious gifts for young girls” audience.

Trailer Pod Boys Episode 12 and Contest now online!

The 1st Trailer Pod Boys “Sunnyvale Trailer Park” t-shirt Giveaway contest starts now! Get the details in this episode. And our round table discussion starts off season 3 of Trailer Park Boys with episode 1 “The Kiss of Freedom”.

Here here the episode and learn more about the contest here.

Comic Wars: Episode 6

Welcome to the sixth episode of Comic Wars. In case you missed the previous episodes, you can start here. It is at this point that we reach the frayed end of the lifeline connecting the crazed imaginings of the comic book writers to the comparative rationality of Lucas’ universe. From here on out, we’re off the reservation.

Once again they chose cover art that merely symbolizes what happens, without showing anything that actually happens. Yes, Luke and Vader enter a battle on opposite sides, although they don’t actually cross sabres until the next movie (or perhaps earlier, we’ll see where the comics take us). And if they did fight, we all know that Luke’s lightsabre (which was actually Anakin’s before) is blue, not red. Red is Sith color. Jedi lightsabres are all pride flag colors.

And for some reason they drew a Y-Wing fighter on the cover, but I don’t think they ever show a Y-Wing fighter anywhere in either issue 5 or 6, even though they were there in the movie. This leads into an entirely different Blue vs. Red discussion, which we’ll get to later.

And no melodramatic cover would be complete without the damsel in distress lying prone, being protected by her knight. It’s like some cheap imitation of a Boris Vallejo painting, minus the skill and vast amounts of bronzed skin.

While we’re here, take a look at Vader’s pants. Notice the horizontal stripes/seams. Comic artists have used that effect all over the place (most notably with Colossus, although I always thought that had to do with his metallic skin) and I really don’t know why. Do they just not like expanses of unbroken color? If they paid attention to the movie they might have noticed that Vader has vertical ribbing in his tights (for her pleasure, I’m sure), not horizontal. If they just wanted to break up the color they could have used that, but they went with the horizontal lines instead. Does anyone know why comic artists love this so much?

In the movie, two squadrons (at least) attacked the Death Star: Blue squadron and Red squadron. It’s not clear to me if Red was all X-Wings and Blue was Y-Wings or whether there was a mix in each group, but as we all know there were two groups and Luke was Red Five. “Red Five – I’m going in” has become part of the fan lexicon almost as much as “May the Force be with you.”

But, in their infinite wisdom, the authors of the comic book pared it down to one squad – Blue, which makes Luke “Blue Five”. First of all, if you only have one squad, do you really need the color? And if you do, why not use the same goddamn color they used for Luke in the movie? You had a fifty-fifty shot of picking the right one, you couldn’t watch the movie – or scan the script – one more time and let the coin toss land on the Red side?

Hoo-boy, here we go with the religion again – “space-gods”? Really? Aren’t gods, by definition, not tied to our plane of reality? What would be different about a “space” god?

But the best part of this page is the line from the lovingly-shaded Imperial mid-level officer in the third row, “Why aren’t they simply defending themselves on Yavin’s fourth moon as we expected?”

This must be the same lament of every movie villain ever - why aren’t the good guys just lying back and taking it? Why are they getting all uppity and defending themselves? It’s beautiful. This guy knows they have a gun that can explode a planet and yet he expects the Rebels – who know about the gun, and have technical plans of the battle station – to try to defend themselves from the moon’s surface.

He must have been promoted out of his white plastic suit too soon because his uncle was head of the gunners or something.

This comic keeps going back and forth between drawings of people that barely have facial features to these insanely detailed close-ups where every wrinkle and hair is shaded in with care. It would be nice to have some consistency.

But even that wouldn’t help when they totally butchered the “Red Five, I’m going in” line.

Darth Vader had to get one last jab in against General “Ultimate Power In The Universe”, didn’t he?

I just love this sequence so much it hurts. So far, the artists are doing a pretty decent job of depicting a space battle – just enough detail, good action lines, etc. And this page is no exception. So we can enjoy it for that.

Porkins’ death scene in the movie is ok, but it was always memorable for two reasons. One, Lucas actually decided to name a character “Porkins”, and then have him be fat. It just doesn’t get much more heavy-handed than that (until the prequels, anyway). And two, when Porkins’ ship is hit, he’s told to eject but he rides it out to his doom. But really – would ejecting have saved him? It doesn’t look like he’s wearing a pressure suit. And those fighter ships don’t seem to have any passenger seats – how could he have gotten rescued before the Death Star blew up?

The writers of the comic really wanted to play up Porkins’ death though, so they added a couple narration boxes talking about how Luke only knows him as Blue Six (even though, in the same panel Luke is calling him by name), but that Biggs knew him well enough to call him a friend.

But the coup de grace is Biggs’ line: “So long, Piggy. You wil be avenged!” I doubt even Lucas could have gotten an actor to say such a ridiculous line dramatically with a straight face.

Peter Cushing, along with Alec Guinness, is one of the finest actors to ever appear in a Star Wars movie. Those two are kind of like Christopher Lee and Ian MacKellan in Lord of the Rings – they just class the whole thing up.

Grand Moff Tarkin (WTF is a “Moff”, anyway? Almost sounds like a kind of species of Muppet.) only had a few scenes, but he was such a great villain. Not only was he pure evil, he had Darth Vader on a leash – how bad-ass is that?

Most of his lines became memorable through his delivery alone, his last line being one of them. In the movie, it’s “Evacuate? In our moment of triumph? I think you overestimate their chances.” He’s cool under pressure, although he’s also dead wrong. But that’s beside the point. He’s going down with his ship.

So, once again, changing lines for no reason, we get “Evacuate? Never! The very idea is treasonous. We shall prevail — in the name of the Galactic Empire!” Never in the movie does Tarkin resort to petty jingoism. He’s above that. He didn’t rise to the position of Grand Moff by just reciting propaganda. That took some intelligence and strength of character. Ordinary Moff’s on the other hand are just thugs who were in the right place at the right time, but Grand Moff is an entirely different story.

It’s a shame that his last words in the comic got cheaped out like this.

The climax of Luke’s character arc in this movie is that at the crucial moment, he forgoes the targeting computer and trusts in the Force to aim the proton torpedo at the thermal exhaust port. His targeting computer is working fine, but he hears Ben’s voice and decides to switch it off. This is where he really starts becoming a Jedi. It’s huge. It’s the pivotal moment of the entire movie. The Wachowski brothers used that exact type of scene in the Matrix when Neo begins to believe in himself, that he can defy physics and take on the Agents. It’s classic Hero’s Journey stuff.

So, given all that, what do you think the comic writers decide to do? That’s right, they make his instruments malfunction so that he has to aim manually. Ben is basically a life coach at this point, saying, “It’s OK, you can do it. You’re awesome.”

This, above anything else, shows how much they missed the point of the movie.

And then of course we get the expositional thought balloons where Luke, for no reason whatsoever, assumes that Ben’s voice in his head means that Ben “merged with the force” and is not representative of some sort of psychosis. Nice defense mechanism, there, Luke.

The next Rebel pilot to go is Biggs. This is another big moment for Luke in the movie. Biggs was his best friend – the only link to his old life. Even though they cut the scene with the two of them on Tatooine, we get a sense of their close friendship in the brief moments they have preparing for and attacking the Death Star. So when Biggs gets toasted by Vader, it’s a big deal for Luke, and he does a pretty good job showing it – and then getting a grip and finishing the mission. A good character moment for Luke.

(Although, I don’t know why they ever let Biggs behind the wheel of an X-Wing. He doesn’t seem to be that good of a pilot. Wedge has to take care of the TIE fighter that is behind Luke, when it was Biggs’ job, and Luke has to save Biggs’ ass at one other time. I guess the Alliance was really desperate for pilots. Although they seemed to have hundreds of spare pilots to fill out the awards ceremony later on – tell me not one of them was better able to fly than Mr. Agonized Scream Of Flesh And Metal.)

The worst part about the comic adaptation of this scene is how much of an asshole Wedge is. “Hey Luke! We lost Biggs! Do you copy? We lost Biggs! Your best friend from childhood! The only link to your past! He’s dead, Luke! Dead! Do you copy? You little whining shit.”

Well, looky here – it turns out there really was a Red Group. This is the first mention of them. And once again, why did they put Luke, Wedge and Biggs in Blue Group?

I guess we hadn’t seen them before because they were busy getting “beaten off”.

Vader in the movie: “What?!”

Vader in the comic: “By the immortal gods of the Sith!”

For the last time, even though The Force is thought of as a “religion”, there are no gods mentioned in the Star Wars movies. Nor does anyone say “Holy” anything.

And how quickly do the contents of an exploding TIE fighter start to decompose? Without atmosphere and bacteria, I would think space would be the last place decomposition would happen.

I realize it’s unrealistic to expect the comic writers to religiously copy the dialogue from the movie, or even, given that they won’t do that, to avoid making up new “spacey” words. So I’m prepared for some of that to happen. But “technicos”? Really? Is that the best they can come up with? Did they really think that people would actually use that term as a shorthand for “technicians”? How about “techs”, or even “Hey, you”?

Speaking of space jargon, Luke uses the terms “Space-Devil” and “Space-Dust” in the same speech balloon. I do believe that violates the Geneva Space-Convention, rule 917/J regarding density of “space” terms in dialogue.

I never thought about this before, but look at all the pilots in that throne room. Why didn’t they send all six hundred of them up against the Death Star? Is it because they only had seventeen ships? If so, now they’re down to two X-Wings and the Falcon, so they’re still kinda fucked.

The writers attempt to explain why Leia didn’t put a medal on Chewie (other than the obvious reason – he’s subhuman, and therefore not worthy, essentially a pet) in that he was too tall. But a) I didn’t see a third medal lying around that he could put on later, b) he just helped save your ass, so get a fucking step ladder, and c) now they’re making sweeping generalizations of the average height of Space-Princesses.

Do they really think anyone thinks of themself as a “space-princess” just because it is commonplace in their life to travel through space? Did we call Diana an “air-princess” because she traveled by plane frequently? I don’t think so.

Well, this wraps up the story of Star Wars Episode IV: A New Hope. Thank you all for joining me on this voyage, but don’t leave, because as the comic warns us: there is a “next issue” in which we will get to see what kind of insane “space”-stories these writers come up with when not even constrained by Lucas’ cockamamie script. (Hint: It involves space-pirates with actual space-eyepatches and space-cutlasses. That’s imagination for you.)

The Clap(board)

The Clap(board)

Daily I have to launch an application from my Dock in which in the icon is a clapboard (or claperboard). And daily, I launch the wrong program – sometimes more than once.

I finally took a good look at my apps dock to see exactly how many icons I have that are clapboards in one form or another.

The total number was 5, though it feels like 20 the way I constantly launch the wrong program, but alas it’s only 5.

Here’s the run down:

Cinema Tools. This is the one I use the least, almost never actually. It’s the database and conversion program that came with Final Cut Studio. It is one I will use for more extensive projects (particularly the one NeoZAZ is work towards over the next year) but for what I’ve filmed over the past years or so, I haven’t needed. But since it’s something I know I’ll need in the future, it stays.

Final Cut Pro. This is one of 3 programs I’ll launch everyday. It’s distinctively different from the others red digital time code graphic, but even with that I’ve missed the target and opened one of these other programs when meaning to launch Final Cut.




Live Type. The Title and text animator and generator for Final Cut Studio. It’s one I’ve just recently been using, migrating off of After Effects for Titles and credits. I accidentally launched Final Cut when meaning to launch Live Type, but most of the times it’s because it’s sitting right next to the Final Cut icon.




Soundtrack Pro. This is number 2 of 3 programs I launch everyday. It’s what I use to edit all of Trailer Pod Boys audio – host recordings, show clips, intro segments, music, everything. And it’s my primary application for all sound work. Most times, I’m able to launch this app when I’m intending to use it… but not always.




Celtx. My one and only Script formatting and writing application. The only one of the 5 that is not part of Final Cut Studio. And the last of the 3 that I open daily. It’s got a distinctively different motif than the other 4, but with it closest resembling Cinema Tools, I tended to mix the 2 up often, especially when I’m running with a thought that I need to get in Celtx quickly and I’m in a rush – that pretty much when I launch the wrong program thus making the time to get my thoughts on paper take even longer.

Of course I’m sure part of the problem is the close proximity these icons are to each other on the dock:

An obvious solution maybe to move them farther away from each other. But I can’t seem to do that. For all of the things I’m not anal about, and all of the things I leave completely unorganized with zero structure in production projects (much to the dismay of my creative partners I’m sure), my app dock is one thing I’m strictly OCD about. All of this program are grouped together as my “production area”. The Final Cut Studio icons are alphabetical, left to right, then ending with the non-final cut studio app, Celtx. It’s a pattern I’ve tried to break up, but couldn’t live with for more than 10 minutes. Ironically, I auto hide the dock so for most of the time I’m in front of my computer I don’t even see it. But if it’s out of order, I know it, I can feel it. So I guess I have to live with the ten to twenty minutes a year I lose opening then closing the wrong programs to have that piece of mind.

This article really doesn’t serve much of a purpose. I guess it’s more of a way to for me to address this issue, an issue big enough for me to get down on paper I suppose. Admission is the first step to recovery, maybe this post will help me move the icons with comfort, or even better, launch the correct application when I need it.

Trailer Pod Boys Episode 11 is now online

We finish up season 2 of Trailer Park Boys with episode 7, “The Bare Pimp Project”. And the inevitable discussion of mashing up “Trailer Park Boys” with “Star Wars” has finally happened.

Hear it here at the Trailer Pod Boys Website.

The Wizarding World of Harry Potter Pictures

Considering how many times I’ve gone to Universal Orlando in the past 2 months, it’s hard to believe it’s taken me this long to finally snap some pictures of the new “Wizarding World of Harry Potter” area of Islands of Adventure. But yesterday I finally made the effort to take a walk through the winding wooden walkway that’s been setup to take a look at the new attraction area.

First I have to admit, I know about as much of “Harry Potter” as I do brain surgery (actually, I once saw a special on Discovery about brain surgery, I may actually know slightly more about that subject as I’ve never read nor watched anything related to Harry Potter). But I am a huge Theme Park/Thrill ride enthusiast, so I am excited about this new area of the park. Specifically the new ride. A ride so “top secret” that even ScreamScape.com hasn’t been able to find out anything about it yet. The mystery of this new ride is killing me!

With my parent along for the tour, I got a little bit of an education on what some of these buildings are probably going to be. Unfortunately, I already forgot most of what they said, but I’ll try to piece together what I can:

The general consensus among my parents (all 2 of them) is that this building must be Hogwarts. All I know is that it is a mammoth sized building. It is ridiculously huge! These pictures serve no justice on how big this thing actually is! The detail is amazing, and it is a very gorgeous piece of construction. Even without knowing anything about Harry Potter, I was really impressed and in awe of this structure.

What may or may not translate in these pictures is how high up this structure is. Even if it’s a clever architectural trick to make it seem higher and bigger than it actually is, it is quiet high off the ground. The detail is amazing.

These pictures are of “The Town” – They told me the name of “The Town”, but I forgot already.

A new construction between Hogwarts and “The Town” that’s not quite to the point that it can be recognized yet. It could be just about anything right now.

I think this duck was a foreman. He was quiet and calm until a construction crew came out of one of the buildings. At that point he turned directly to them and quacked quite loudly. I think the crew tried to sneak out early.

Trailer Pod Boys Episode 10 now online

Episode 10 of Trailer Pod Boys is now on line.

In this Episode we enjoy the musical stylings of John Dunsworth, figure out this is our 10th episode, and have a round table discussion on Season 2 Episode 6 of Trailer Park Boys, “Never Trust a Man with no Shirt on,”

Hear it here at the Trailer Pod Boys website.

Comic Wars: Episode 5

Welcome to the fifth chapter of Comic Wars. From looking at the cover, you might get the impression that the rather more smooth-surfaced cousin to the Death Star actually strafes Rebel bases, picking off people and ships, rather than exploding entire planets, like the real Death Star.

While that does sound like a really awesome subplot that was never in the movie (I’m imagining some sort of cross between the Death Star and the Imperial Interrogation Droid that’s about the size of a meteor, manned by a couple dozen guys all wearing identical spherical helmets with little slits to see out of. And they go around the galaxy solving mysteries. Maybe they have a pet Ewok for comic relief. Coming this fall on the CW!) nothing like that actually happens in this issue. The cover is more like an impressionist collage of elements from the book, rather than a realistic depiction of any one scene.

In the scene, Luke and Chewie seem to be best buddies now, since Luke is barking orders at him, leaving Han out in the cold, and making him even more nihilistic than ever, thus leading him to exclaim, “It’s too late, kid! We’re finished!”. Whatever happened to, “Never tell me the odds!”?

On this next page, the human characters have a stunning lack of detail, while we can practically count every hair on Chewbacca’s face, and the inaccurately drawn TIE Fighter pilot is bursting forth from the minimalism of the page with his stunning realism.

Is the artist finding much more inspiration in the non-human characters in the story? (and the Imperial troops might as well be called non-human with their portrayal in the movies as faceless drones who couldn’t hit a wall from six feet with a shotgun. And aren’t they all clones of Jango Fett, anyway (if the prequels are to be considered canon, which I’m not sure they should be)? If he’s been cloned over and over again for the past twenty years, surely the latest generations have lost whatever humanity once embodied their physical beings. And if they stopped using clones after the Clone Wars – which is what I kind of assumed all along – then the poor saps who sign up for trooper duty only to enslave entire cultures deserve nothing less than to be called inhuman). Are the lines of dialog that started out being pretty banal when Lucas penned them and got even worse when the comic writers pissed all over them turning the poor artist against humanity in general and siding with those in the story who never even speak English?

This sequence is also notable for the sheer quantity and intensity of thought balloons. Back on the Death Star, Han spoke aloud every thought that flitted through that smuggler’s skull of his, but now everyone seems to be holding their thoughts closer to the vest. Which is good, because their thoughts are those of a MySpace drama queen.

But Leia’s despair pretty closely matches Han’s from the cover. I guess that’s why they ended up together.

I’ve talked before about the introduction of silly religious exhortations into the dialogue of this comic – usually when someone says “Holy–!” – but this is ridiculous: “… and Han Solo finds out that space-mercenaries, too, can pray!” Of all the characters that might pray in the entire story, Han is the least likely. He openly scoffs at even the quasi-religion of the Jedi; he mocks the beliefs of everyone and doesn’t believe in anything supernatural, even his belated, “Hey, Luke, may the force be with you.” is strained and insincere. There is no way he was praying just because a couple TIE fighters were hassling him.

This scene in the movie is a great character-defining moment. In most movies, once the main characters have been through hell together, they predictably fall into an all-for-one sense of camaraderie. But after our heroes escape certain death many times over in the Death Star, Han retreats to his baser instincts and makes sure that Leia knows that all he cares about is the money. It sets up the final scene where he comes back to save the day, beginning his character arc from selfish smuggler to genuine hero and all-around pansy.

Apparently, the comic writers didn’t think the movie was heavy-handed enough in this scene and gave Han a couple extra lines: “What else is there? Well??”, underscoring just how much he loves the Benjamins in exclusion of all else, even freedom from tyranny. Meanwhile the artist makes Han look like a very young Randy Quaid.

Oh, there’s so much going on on this page, I hardly know where to start.

First of all, how did the Falcon’s cockpit get to be the size of an Arena Football stadium? I mean, really. The claustrophobic confines of the Falcon set not only are way more realistic – have you ever been in a plane or a (non-cruise) ship? Space is at a premium in any sort of vessel like that.

But besides that it very literally brings the characters closer together – they’re constantly reaching over each other to fiddle with knobs or get in and out of seats.

Somehow the inside of the Falcon’s cockpit has now swollen to Vegas casino-like proportions, with a large, polished floor and a windshield that looks like it was stolen from the Emperor’s throne room on the second Death Star. Heck, if that’s the cockpit, they could house the entire Rebel fleet in the cargo hold.

This is also another wonderfully ham-fisted scene, thanks to the comic writers. In the movie, it’s a great little scene where we get to see Han and Luke doing some verbal sparring about Leia and suddenly realizing they’re in a bit of a competition with each other for her affections (all together, now: ewww).

First of all, Luke, seriously. Do not sit like that.

Then we have a gigantic close-up of Luke thinking “I care!”, holding his gargantuan left hand up to his chin and looking soulfully at Leia’s retreating form.

Then, after a bit of back and forth with Han, Luke boils over into a furious rage, his teeth fusing together in a mass of enamel, the better to resist breaking when Han inevitably punches him right in his beautiful pearly whites. Luke looks like he’s about to turn into the Incredible Hulk.

Meanwhile, Han just chuckles, knowing that he can toss Luke out of the airlock anytime he needs to. Because he’s a murdering bastard, that’s why. Just ask Greedo.

The comic writers couldn’t have known at this point that Luke and Leia were siblings, since I don’t think even Lucas came up with that until he sat down to bang out Return of the Jedi (otherwise, I don’t think we would have had the kissing scene in Empire), so I can’t really fault them for throwing in another incestuous kiss as Luke is about to go save the galaxy. I’m sure they thought it would just add to the tension factor with the whole love triangle thing going on. They had no idea that Lucas would turn this into a Greek tragedy.

But still. Eww.

The final page in this issue once again has the narration box talking directly to a character, in this case “Blue Leader”.

But before that, we have Blue Leader saying, “Approaching target at 1.3 parsecs”, which is great because, taken in context, this use of “parsecs” seems to be a rate of speed, i.e. “approaching target at 350mph”, rather than a measure of distance (as in the real world) or a measure of time (as in Lucas’s world).

It’s as if the writers figured “parsec” was just some generic space-term that had no real-world meaning and they could do whatever they wanted with it.

But then he says, “Now–it’s do or die!” and the omniscient narration box responds with, “Or perhaps both, blue leader … perhaps both!” What does that even mean? To my mind, the “do” in that statement is “stop the Death Star from destroying the 4th moon of Yavin” and the “die” part is, well, the death of the Rebellion. Sure, we all know that they do destroy the Death Star, and most of the rebel pilots do end up dying (except for Luke and Wedge), but the Rebellion survives, so I don’t think this really applies.

Also, did they hire the guy that did Dr. Katz to ink this last page? Why are all the lines so squiggly?

Well, now that you’re all riled up and ready for the exciting conclusion to the greatest space saga of all time (hint: the good guys win) we’ll need to break until next issue, where you’ll see (according to the cover) Luke Skywalker have a lightsaber duel with Darth Vader, which is going to be tough, what with the spaceships and dogfighting and all. But hey, we’ll see.

New Episode of Trailer Pod Boys is On-Line

In this Episode of Trailer Pod Boys, Quint shares his Trailer Park Boysesque Christmas in Canada, and our round table discussion picks up with Season 2 Episode 5, “The Bible Pimp.”

Check out the new episode here.

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