I saw Daryl's Book of Carol (Season Concludes)

Daryl Dixon: The Book of Carol was good, damn good, in fact. The Shane aspect remained (and there was even a reversal variant to accompany it), but The Searchers component was its thrust, even with the concept already tested in the Maggie/Negan venture, Dead City. With this popular trope inserted, a resilient quest pushes The Book of Carol, in which our titular lady seeks our titular gent (ah, signs of Leia and Han when Star Wars was good).   

Between these themes, there's significant chemistry, thanks in no small part to the characters, which in turn succeed because of their performers: Norman Reedus, Melissa McBride, Louis Puech Squigliuzzi, Manash Dayal, Clemence Posey, Anne Charier, Adam Nagiatis, Lukerya Ilayshenko, Roman Levi, Joel de la Fuente, Eriq Ebouany, among many others. They team up, divide, console and fight, holding different views and motives throughout their perils, sometimes at the cost of their lives, but in a way, their combative positions are nowhere near as myopic or intolerant as what we find in our rueful, present day. 

The Book of Carol, moreover, rises to the occasion because it analyzes what results from such conflict: faith, cynicism, hope and deceit (the latter most evident when Carol lies to Ash, so he'll take her to France). Such ambivalent additives distinguish any life. Though Daryl Dixon (like any Walking Dead tributary) is fictional, it's also like any worth-while Star Trek adventure, swinging right back to earth, right into stark reality, after its allegory is completed. When one peels away its reflective layers, one sees nothing but sincerity. (Try to find that in Harry Potter or This is Us. Go on. I dare you.) 

It now appears (per handy gossip) that Daryl Dixon: Season 3 will take place in Spain, and perhaps that's where we'll receive a closer-to-the-bone confirmation as to whether Laurent is ethereal or just a pampered, run-of-the-mill kid as he resides with his new, surrogate dad. Whatever happens, it's certain to be historic, but then when all is said and done, what stretch of The Walking Dead hasn't been?  

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! 

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.