EIGHTH TOWER'S SOLARIS CURATION

Though Eighth Tower Publishing's William Gibson/cyberpunk anthology is still in the works (set for a possible February release), yet another, science-fiction volume has entered the queue: a tribute to Stanislaw Lem's novel, Solaris, and director Andrei Tarkovsky's 1972, movie adaptation of it. 

My contribution is entitled "Safe Space." Though it's Solaris-derived, it's as much a homage to Ray Bradbury's Space Age fables, particularly The Illustrated Man's "The Rocket."

For the record, "Safe Space" is an alternate-reality sojourn, a category into which Solaris and "The Rocket" fall, even if they curl from different ends. 

"Safe Space" also presses a political angle, just because I've never gotten over my Cold War apprehension. Anything Soviet-based, therefore, tends to make me defensive. 

As with other Eighth Tower releases, I'm grateful to be involved in this ambitious project and will be certain to share updates on its progression. 

GOODBYE, GREG HILDEBRANT

With your dear brother, Tim, you created visual templates for so many of our favorite movies, books and games, with The Hobbit, Lord of the Rings, Clash of the Titans and Star Wars in the pop-cultural forefront.  

Your solo ventures proved darn impressive, as well, and include awe-inspiring imagery for Dracula; Star Trek; Poe: Stories and Poems; Peter Pan; Robin Hood; The Phantom of the Opera; Alice in Wonderland; Peter Cottontail's Surprise; Christmas Treasury; Treasures of Chanukah; and Favorite Fairy Tales. In addition, there's your highly respected, tie-in work for Marvel, DC, Amazing Stories, Omni and Heavy Metal.

And let's not skip that wicked imagery you dealt for Black Sabbath's Mob Rules (aka "Crucifiers"), your influential, musical influence on Trans-Siberian Orchestra's captivating catalog, and all those super-sultry pin-ups you seduced us with through American Beauties' monthly views. 

I can't tell you how many times I've stared at your work, whether in books or on posters tacked to my wall. The inspiration they've induced has been inexhaustible and because of that, appreciated far beyond what mere words can tell. 

There's no question you were a maestro of magic, Mr. Hildebrant, an artist who'll go down with the great likes of Frazetta, Vallejo, Dallmeier, Rembrandt and DiVinci, and believe me, brother, that ain't too shabby! 

I saw the Penguin: Season 1 (A Respectful Rumination)

Matt Reeves' HBO/Max, six-part miniseries, The Penguin, delivered the dark, virile goods, sharing its Faustian testosterone not only among its men, but its women. It did this surrounding a Dickens/Oliver Twist-esque pact, establishing a fascinating relationship between mobster and teen. 

Colin Farrell's Oswald Cobblepot, aka Os/z Cobb, was even more spellbinding than in Reeves' excellent The Batman, because, of course, extra exploration was invested into the character's seedy progression. For one, we were able to observe the Penguin's "sympathetic" side, only to be jarred when its layers were stripped, exposing his conniving, Yojimbo tactics for all to see.

His relationship with Rhenzy Feliz's Victor Aguilar, a victim of the Riddler's explosive purge, emerged as pure, melodramatic dynamite. With careful, callous precision, the burgeoning bond shows how a by-chance encounter can change everything, as a confused boy bucks his fear to shake hands with the Devil. 

Clancy Brown's Salvatore Maroni proved a real treat, too, as a tough-as-steel, jail bird, lamenting his lost command. The same can be said of Mark (Shazam!) Strong as the flashbacked Carmine Falcone, who holds a creepy, murderous secret, making him more vile than believed. I also enjoyed Deirdre O'Connell's Francis, Pengy's mom, shrewd and cautious, even if dented by dementia, and then there's Falcone's son, Michael Zegen's Anthony, arrogant and entitled in his heir-apparent intro, but when his past is uncovered, not such a bad bloke, after all. 

The big standout, however, is Cristin Milioti's Sophia Falcone, a nuanced lady said to be the Hangman, a killer of  women, confined to Arkham and tortured into revenge. We see her fooled by everyone yet no one, acting as both Cobb's foe and confidant, and once the dust clears, the greatest of all Gotham's unexpected kingpins. (Will her presence creep into The Batman: Part 2? I wonder, but if there's a Penguin: Season 2, she'll be present. If not, the next phase will drop a profound peg for sure.) 

I found this series to be euphoric and fulfilling in its two-fisted gist: a DC, Sopranos variant, for certain. Because it exceeded my expectations, I want--no, demand!--more, and the sooner, the better. 

HAPPY GODZILLA DAY 2024 (11/3)

HAPPY 70TH, GODZILLA

It was 70 years ago (November 3, 1954) that the original Godzilla (Gojira) premiered in Japan. (The popular, Raymond Burr recut, King of the Monsters, would premiere two years later.)

Godzilla is, in truth, a disguised remake of Eugene Lourie/Fred Freiberger/Lou Morheim's  The Beast from 20,000 Fathoms (which in its own right was based on Ray Bradbury's "The Foghorn"). The concept was also inspired by King Kong (in particular, the T-Rex that fought the titular ape) and was directed by Ishiro Honda, who would become synonymous with the kaiju genre, from a script that he wrote with kaiju innovator, Takeo Murata. The movie was shot in black-and-white, which works to its brooding benefit, with Godzilla (Katsumi Tezuka) filmed in eerie slow motion to emulate a stop-motion style. (This gives Godzilla a lumbering but formidable flow, unique to this initial entry.) 

The tale's theme is  introspective, with an implication that the Titan's emergence was a karmic reply to Japan's imperious sins. This, therefore, makes Godzilla a cause-and-effect tragedy, with a push toward redemption. 

Whether one views the 1954 original or the Burr revision, Godzilla's significance can't be denied. Why not re-watch it on its landmark anniversary and rejoice in its savage roar! 

Collectible Time: Hallmark's Monsterverse Kong & Godzilla (New Empire) Ornaments

Hallmark has released a set of Titan-ic ornaments to commemorate one of this year's most acclaimed movies, Godzilla x Kong: The New Empire, with each piece sculpted by the adroit Orville Wilson. 

First up is the 3" x 4.5" x 2.1" battle-scarred Kong, with cybernetic arm, rendered in a ferocious, running pose. 

Kong's companion is, of course, Godzilla, measuring approximately 4" x 4" x 5.5". Godzilla is adorned by translucent, pink fins, unique to New Empire. As with Kong, he's posed for big-time action. 

This Monsterverse duo should be part of every kaiju fan's collection. Visit your local, Hallmark store or related, online source to purchase these outstanding entries!

GODZILLA MINUS ONE RETURNS TO THEATERS

On November 1, the subtitled edition of Godzilla Minus One returns to AMC theaters to commemorate this year's Godzilla Day. 

Godzilla Minus One received endless accolades for its special effects and engaging, character study of Ryunosuke Kamiki's Koichi Shikishima, a beleaguered kamikaze pilot who questions the validity of the Japanese Empire. Though Godzilla is prominently featured, the story is truly human driven, an allegory for solving life's towering conundrums.

Takashi Yamazaki's concept isn't only relatable in this respect, it's proven its melodramatic worth enough that kaiju fans rank alongside the 1954 original.  (Some even prefer it to the original.) 

Godzilla Minus One's re-release will be limited, so check local listings for theaters and showtimes.