Saturday, April 5, 2014

What's in the box?

 1995's "Seven" (or Se7en, if you want to be classy) is a horrifying mystery directed by David Fincher and written by Andrew Kevin Walker, who made a career on creepy crime films with savage elements that are hard to watch.  I mention this is a good way because it is rare to see a Hollywood film that goes out of its way to make the audience uncomfortable.

Morgan Freeman is the wise, old detective.  Brad Pitt is the rookie who wants to change the world.  Gwyn Paltrow is incredible as an aspiring head-in-a-box.  Kevin Spacey brings his mastery of long speeches that go from whisper to thunderous rage in a single sentence.  

The film preaches that the city is dirty, filthy, corrupt, dreary and terrible in many ways.  It is a microcosm of the entire world, or at least IS the entire world for our main characters.  So how do they live in it?

They talk a lot about how the world sucks, pointing to an increasingly gruesome series of murders by John Doe.  Mr. Doe is playing out the Seven Deadly Sins with victims who are not entirely innocent.  At first, this seems to water down the horror or lessen the stakes.  There's a vigilante quality to the work of Mr. Doe - a point that comes back to bite me in the ass when we get to the big speech by Spacey near the end.  But before that, let's take a look at how elaborate Mr. Doe's scheme can be....

Sloth love chunk...

Kept the dude alive for a YEAR.  That's moxie.  As much as the film is hard to watch, the concepts don't seem to come from a madman as much a screenwriter after a "what's the creepiest way to kill somebody" competition.  While the scenario is creepy and memorable, it is impractical and risky.  To keep his prisoner for an entire year required work.  Surely a sociopath with OCD like Doe might be able to pull it off, but the setting is so open that a year would bring SOME attention.  There aren't enough pine tree fresheners in the world to cover that kind of stink. 

The entire film seems to be an extension of every jaded city dweller who ever daydreamed about killing every last asshole that pissed him off.  Here, Kevin Spacey voices the writer's cynical opinion about people.  It's just the purest and most evil incarnation of the same feelings expressed by the main characters and exhibited by the cops, witnesses and bystanders throughout this dark, rainy film.

Kevin Spacey could chew through the screen with his acting.

The last part of Doe's plan takes them into a brightly lit desert, away from the crappy city and represents Doe's victory.  He's delivered into the sun and redemption; Envy leading to Wrath.    This last section, once you get through the clever gore in a paint-by-numbers motif, is gripping and horrifying.  Everyone is corrupted in the end.  Everyone becomes what they hated so much. Only Doe finds a tidy, satisfying end to the matter.

Tuesday, December 3, 2013

The Wit, Wisdom and Lost Monologues of a Zombie Uprising Survivor

Speeches and stories by Ken Peters cut from HG World presents: "The Googies"

1.  Ken explains where his understanding of The Googies comes from and why they frighten him.
It's something you carry with you.  You can only process so much of it at any one time, so your brain starts to process things differently.  But you end up walking around with this big rock in your gut; all your fears and grief get stuck there and you wish to god you could just pass it like a kidney stone.  It never goes away, keeps you up at night, slows you down...and it grows.  Most folks can't manage it for long; they don't find ways to shrink the stone as it were.  Most folks let it drag 'em down. They either keep it cool so long they just break down... or just give up and take a slow dance with an eater.  Some get cold and lose their faith or even their humanity rather than put up with that kind of pain. 

How do you shrink the stone?

When I was little, this was probably the middle-1970s...prehistory to you...I knew who the googies were for real. I didn't have a dad. I had a series of grown-up pals who showed up in my life for a few weeks or months at a time, pretended to be interested in me and then disappeared when mom got crazy or tired of them hanging around.  Sometimes mom got loud on the phone with the thing she said was my real dad.  She made him out to be some horrible thing that I should be afraid of.  I thought all moms were that loud, that angry.  One day some people from the county came to visit and mom stopped yelling.  Oh, she was so sweet that day. And for the next month.  When I acted up, she told me that I needed to stay quiet or they'd come back.  They'd come back for me and take me to a dark place and I'd never see her again.  I didn't go to school very often, but after the county people showed up, I was put on the bus every morning, either by my mom or someone from the school district.  I hated it.  One day my teacher read us some poetry by Shel Silverstein. The googies are coming, she told us in a spooky voice.  The googies are coming, the old people say, to find little children and take them away. 

That was all I needed to hear. I was so scared I never really got the point of the poem...never made it to the last few lines without freaking out over two plump, sad-looking goons with big glasses and wet lips and a sour old lady who looked like 50 pounds of sand pounded into a 20 pound tweed sack.  They were sour, sinister beasts wearing suits made of people skin.  None of them looked comfortable.  One even had a lazy eye that she kept on me while scolding my mom in a completely different direction.
(Ken's origin changed as the story was edited, so this explanation was cut from an early draft.)

2.  A digression about his troubled youth and why he grew up introverted and hostile.
I don't like being a guest of authorities.  I ran away from a babysitter when I was nine. While mom was working one of her crap jobs, she parked me with some 20-something welfare mom with three other kids, including her own.  At first it was fun - except for the menthol cigarette stink and the two hungry cats that thought my sneakers were mice - but then her boyfriend started spending time there.  He came "back" from somewhere terrible so I thought it made sense that he and my sitter would love up on each other and disappear for short times upstairs while I played video games.  After a week, though, the guy wouldn't even talk to me, deal with any of the kids, and spent the entire day every day drinking, eating and hogging the video games.  He and the sitter had a kid together and the boyfriend was about as useful and reliable.  The two had a lot in common. Both would scream until fed, whine until comforted, and they hated competition for attention.  The only differences I saw were that the boyfriend could master a game controller and use the bathroom.   One time I tried to play one of his little fighting games, you'd think I tried to steal his car.  He raised a hand to me and I... well, I punched him in the stomach.  While he was getting over the shock, I bolted from the house.  I'd seen what happened when he raised a hand to my sitter.  It wasn't pretty.  My sitter was too busy eating or talking on the phone to notice I left and an hour past before she asked he boyfriend what happened to me.  They called my mom.  Mom had to leave work and track me down. When she found me hiding in the closet at home I thought I was in trouble because I messed up that big baby's stupid game. 

Mom, for all her little faults, saw through it all and took me out of that house.  She couldn't afford it any more anyway since leaving her shift cost her the job, but mom hated juggling plates and tables for a bunch of blue collar grab-asses.  She said that if it didn't kill ya, it made you stronger for the next job.  

A few months later, mom got some bad news that made her very sad.  We never really had a lot of happy-fun-time, but this was different than the usual stress of bounced checks, overdrawn accounts and bill collectors at the door.  Turns out the video game champion couldn't concentrate with his little boy crying right beside him and his little blob of pixels couldn't delete the other blob of pixels or whatever it was that kept his demons occupied.  So enraged was this man-child that he beat his own son with the game controller, then throttled the life out of him.
(Another version of Ken' origin that didn't survive.  It was a much more loving home than future iterations...)

3.  Ken's darkest origin story. 
When I was younger, I used to tell people I left home at an early age.  That was usually enough to cover my rough edges, particularly around suburbanites whose idea of having it rough was losing cable or electricity for more than a few hours after a bad storm.   If I did get close to someone like that it was after a few weeks on the job.  After spending time in their home fixing their things and doing their work, some folks seem to think it's permission to pry into my life.  

I helped build an addition to some couple's house once and by the second week they asked me where I went to school.  "I was home schooled" was my usual reply until one lady shined to me so fast you might have thought I said Jesus himself taught me.  She was a home-schooler, too and had a lot of questions.  After wiggling my way through that encounter I liked to resort to 'here and there' or 'I moved around a lot'.  Interestingly enough, I never realized that when they asked me that question, they were really asking where I went to college.

HA!  My university was a series of courses in how to get money from a deadbeat without getting stabbed or how to evict poor, single mothers from an apartment and still be able to stand looking at yourself in the mirror.   I came from a very dark place, which I guess is what prepared me for when the entire world went that way. 

Anyway, I was in a particularly black mood over a couple who had more money than brains and less understanding of the world outside their little controlled cul de sac.  As someone they brought on from a county rehabilitation project, they decided to treat me like some wounded animal.  Between laying concrete for their patio and assembling exterior walls for their extra bedroom, they wanted to know all about me. 

By the way, I was the "rehabilitation" that program referred to.  Because my early release was contingent upon satisfying these homeowners, I played along and told them I was home schooled and spent time in foster care, managed to get through primary school without being crushed by my classmates or the system and then the pink-polo-shirt-wearing muther fugger asked me "So, Ken: what was your first crime?"

Just because I make polite conversation and tolerate your simple-minded banter about how the world should be and how crappy people got it below you...it don't make us friends.  Something about that question pissed me off, so I decided I would tell Pink Polo the truth.

"I shot my older brother in the face with a nine millimeter pistol.  He was seven.  I was three."

The horrified look on Mrs. Pink Polo convinced me to stop right there.  I felt the need to put back some of the soft and fuzzy stuff that protected such people.  After all, I wanted my points from the assignment and my pay, both of which would disappear if they decided I was too crazy to finish the job.

"It was an accident, they say.  Mom kept a gun in every room of the ratty little apartment we lived in after my dad...or something pretending to be him...just left us.   I found a pistol in the living room behind the radiator.  It was loaded and chambered and I somehow managed to trip the safety.  My big brother was in the living room with me.  I don't remember what happened and nobody else was around to tell me.  They tell me mom was asleep in bed at the time.  I remember a loud bang, a cloud of smoke and something hard and hot hit me in the face; the kick on the gun knocked me out cold.  I woke up in the ambulance.  My brother Benny died a week later. 

They say it wasn't a crime.  But it was the catalyst.  I never saw mom again.  I have vague memories which I'm sure are embellished with a few pictures I have of her...the ones I persuaded myself not to burn in a drunken pity party.
(This represents where Ken comes from:  A mix of guilt and rage; a brilliant mind and a good soul tortured by grief and loss.  I think perhaps he was happy when the rest of the world came around to how he saw things.  Listeners ask how Old Ken can be so thoughtful and worldly after everything he's seen and done.  I modeled his behavior on older veterans who were able to come to terms with a "normal" life of grand kids and peaceful evenings and the opportunity they earned to just sit and read a book or listen to music again.  Ken knows how lucky he was to survive.)

4. Ken's experience dying once...
The body drifts to sleep, but the mind remains awake.  Five senses die but my thoughts are of falling into blackness, freed of my body.  I should be terrified.  This is how it ends, after all.  No beating heart.  No sensation of cool air in my nose and chest. I cannot raw it.  Those impulses are gone.  My universe is so much greater without the impediments of flesh.  Without the chemistry of emotion I become pure thought.  I expected to feel trapped inside the confines of my brain, to feel weighted by my useless mass.  Instead, I am free.  This sensation is one of elation. 
I believed that my body would go numb as though I were going under anesthesia, counting backward from one hundred I would not even be aware how fast I faded.  The truth was sunset, fading of everything in a slow, graceful wave, followed by a sunrise of new perception.  The light of the world is bright, but not so bright as my new sun
All I've written before feels so foreign, so confused and devoid of reason. 

5.  Ken's tips for surviving on the run...
Eaters migrated to warmer climes in the winter.  Things were bad in Dixie year round.  But in the late fall, the herds were clear of the northern part of the country leaving the lurkers and the slumps to deal with more often than the stray wandering loners and small packs.  The first year it was easy to find a place to stay in the small towns and cities.  You picked a row house in a crappy neighborhood so you knew the windows and doors were extra strong, did some recon and some good ole fashioned burglary from the second or third floor...boom.  Shelter.  I learned to keep quiet and check everywhere inside a house even if it looked abandoned.  There were places with fire doors and bars over the windows, but they weren't boarded or fortified after the fact.  Those places were usually clean...and by that I mean nobody likely died inside hiding in the attic or basement.  But you had to check, even the cupboards. 

One time I was rolling through Maryland and stopped in a small ranch house locked up from the inside.  I snuck in through the garage and went to sleep.  I woke up to something tugging on my boot.  It was...well, it was a kid...about six... skin and bones with the yellow eyes of an eater.  From the smear he left across the floor, I figured out he came from a cupboard under the sink in the kitchen.  It must have taken him hours to get out and across the house to where I was sleeping.  I put it down with a table lamp and tossed the body out into the yard.  The rot would mask the scent of my being there.  Moral of the story, kid: You search everywhere.  Twice. 

But once you had a place in an empty neighborhood, you could manage for a short while, set up subtle security measures around the place in case the living or dead try to pay a visit, and then – y’know - recharge the ole batteries.  This one house I stayed in near Gettysburg had a full wardrobe of winter clothes and a closet full of blankets, even a bathroom closet stacked with old, but useful medicines.  It was a treasure box.  The place was a converted commercial property with high windows and heavy, reinforced doors.  From the evidence a single mom with two kids lived there.  The clothes were her ex's.  Fit nice.  Kept me warm.  I slept hard.  

You're gonna sweat and piss and shirt and most people deal with blood, so it's only a matter of time before all that human stink attracts a crowd and you gotta move on.  I lasted longer in that place near Gettysburg than most and had time to scout for spare gas and a Ford Bronco locked up in a secure garage nearby.   I was ready to go before I ate some spoiled food and ended up with a bad fever for a day or two.  Fevers bring out the dead quicker'n shit, so I had to cut my recovery short and …[edited]


6. Ken spends some time in Pennsylvania's capital city...
There were two months in the first spring of the eater uprisings when things weren't so bad.  This was before I made it to Hagerstown, Maryland and took a job driving The Popcorn Express.  I found myself following the back roads through the Appalachians heading southwest.  I found myself in scenic Harrisburg, Pennsylvania.   I had one set of clothes and a really under-stocked go-bag strapped to my back.  Word along the refugee trails was that Harrisburg was the place to go to get the hell away from what many predicted would be a million-eater herd pouring out of the city come summer.
Harrisburg was a capital city and a hub of evacuations for the northeast.  If you look at the old maps, you'll see that Harrisburg is like the center point between important places with Interstates crossing through town in every direction.  I was there because I had outdated information about flights leaving from the airport.

When things started falling apart in Baltimore, Philly, Pittsburgh, and all those little farm towns in between, Harrisburg bravely loaded all the lawmakers and their lawyers and staff into helicopters and flew away.  Then the city was opened up to refugees.  The locals got out first, clearing mid-town for the military.  Then outsiders were let in.  The highways would only take you so far before checkpoints stopped all traffic into town.  You took anything you could carry into the check point and left the rest for looters.  Past the check points, everything was military. From there, you got processed and put on a bus to the airport or tossed in a row home or hotel room for the time being until you got booked on a flight out.  Where you would be going?  You didn't know until you got there in most cases.  Rumor had it that the more letters you had behind your last name the faster you and your family got off the ground and out of town.

When I got there, the soldiers at the checkpoints and refugees were long gone, but the medians and embankments around them looked like auto scrap yards.  By the time I reached the airport just down river in Middletown the only planes on the ground were stripped for parts or burned out metal tubes.   The Air National Guard unit stationed there took everything but the paint on the hanger walls. 

In downtown, it's easy to confuse the old stone government buildings for mausoleums.  A lot of them were sealed up and full of eaters... thousands of 'em.  It was common practice to bait eaters with what the army called "Swifts" and "Dodgers" - who would get a mob of eaters all excited by the scent of "dodgers" who would run up the street in between stragglers and form them up into a herd.  The Dodgers would lead them to a building and hide as the Swifts drew them deeper into the building, filling up rooms on every level, all the way up to the roof before getting lifted away by a waiting chopper or zip-lining to safety like in an action movie. The buildings were boarded up or welded shut from the outside. Many were burned.  As burning or razing buildings became too dangerous or time consuming, they were just left as is - sealed tombs for the undead.

I'm not saying that just boxing up a thousand eaters inside an office building was the brightest tactic in the world, but one of the side effects of this mass entombment was a relatively eater-free zone in the city.  The smell of the dead masked the smell of living meat.  The few eaters left had been cleared out by the few living stragglers left in town.  These were tin pot warlords and survivalist weirdies keeping watch over neighborhoods form inside row homes or apartment buildings.  They wouldn't think twice about squeezing off a warning shot or five if you wandered too close to their kingdoms.   They had enough time to strip out all the resources they could hoard.  a few of them were kind enough to leave 2-way radios in plain view so they could tell you directly to feck off of their streets.

But for the most part, Harrisburg west of Cameron Street, north of Derry up to Division was a ghost town.  I was able to get some essential supplies and spend a few calm hours sitting on the river bank, watching the mile-wide Susquehanna River ferry bodies down toward the Chesapeake Bay.   At sunrise, with the sun peeking up over the Capitol dome and smoke rising up over the hills to the west, it was like a view from a bank of the River Styx.

My ride of choice in those days was a local news van.  I found it parked off in a corner of an empty parking garage.  I preferred it because it had space and was lower profile than a camper.  It wasn’t a sat-truck with the big dish on top, but it had a little control room and recording booth inside.  This made it warm and quiet and bullet-proof.  When I found it, the tank was full and the engine recently tuned.  Aside from the dead guy in the driver’s seat with a chewed up arm and a lap full of blood from the canal blasted through his chiseled chin up into his brain, it was pristine. I even found a nice house just outside of town in an area used to house soldiers running the relocation mission, an updated row home with 10-foot hardwood fencing all the way around and a detached garage off the main road.  I don’t remember how I found it.  I was looking for stuff to scrounge near a truck repair shop and a supply depot when there she was.  Three stories, well stocked with canned goods, a gassed up genny, enough water for six months, operational plumbing, beer…the end of the world’s version of a mansion.

7.  Life before the uprising wasn't luxurious, but it was "normal"...
A year into the end of the world, everyone I knew started talking about adapting to the New Normal. It was our way of saying goodbye to the old world.  We all talked about the streetlights and public water fountains, silent-flush toilets and 24/7 conveniences that would never come back.  Oh such-n-such was a pretty town once, before the army bombed the crap out of it.  If the Baltimore Orioles had made it to the 2011 season, their line up would have taken them to the pennant.
You know what was "normal" for me?  Normal was starting my day at 5:15 when the forklift across the street started moving empty water cooler bottles from a trailer truck to the washing facility next door.  Normal was the rumble of fully-loaded eighteen wheelers rolling by my apartment on 21st street because they'd turned 20th street by the loading docks into a tire-chewing minefield of potholes, ruts and sinkholes.  Normal was starting my day with a luke-warm shower and cold pizza from the night before.  My apartment opened onto an alleyway, the front door right in front of a sewer cover.  On cold days, the steam rising through the holes in the cover would frost up my first-floor window.  On summer days, I'd open the door to go to work and walk into a wall of stink so bad that to this day I never walk through a door anywhere without taking a breath and holding it.

Normal was a walk up 21st street to the corner market, talking with Rashni over a hot cup of coffee. She was the owner’s daughter and every time he saw us together he'd ask if I wanted to marry her and take her away from a life chained to a cash register.  Pretty girl, Rashni was and her bashful smile told me that dinner and a movie wasn't out of the question, but in those days, I didn't think my life was much of a step up for anybody, so I kept our relationship strictly coffee.  Normal was that rare night off when I could get home by 5pm with some take-out, throw my boots into the corner and prop my dogs up on the edge of the couch.  I didn't have to have cable or nothin', I could crack the front window and listen to my neighbor Monique perform the latest scene in her one-woman show outside her apartment.  She must've had the worst cellphone reception because I could hear her all the way upstairs on the toilet.  Normal was Police lights outside my apartment building every night sometime between sunset and midnight, twice on Saturdays.  Normal was gunshots in the complex once a week.  Most times it was just bangers blowing off steam by throwing some nine-mills into the air.  Other times, it was bloody stuff for the evening news and the morning paper.  Normal was a hug from my old landlady when I told her I fixed the leak under my sink myself or replaced this or that without asking her idiot son to come muck it up.  For that, she kept my rent low and swapped out my crappy ice box with a new fridge she picked up at a Sherriff’s Sale.

Career-wise, I was as high on the corporate ladder as I could go, really.  I was born for the field and not the office.  I had my CDL license, certs to run most construction equipment on tires or treads, knew all the roach coach operators in midtown by name, and a lot of good cash money coming in – under the table, but all legit work.  Normal was not so bad. 

Then normal changed.  I should've had a clue when work started drying up.  I started taking government contracts, infrastructure projects with tight deadlines and impossible standards.  As things around the world started to fall apart, I was getting jobs that sounded more like Smokey and the Bandit runs than typical hauls.  Safety regs just vanished one day. If I could get from Baltimore to upstate New York and back on a freight swap, I’d get paid well.

(Originally, Ken's story was a biography that lasted an entire episode.  I wanted to show how he came to be the man you'd read later.  Down the line I thought it was better if the listener didn't know what he would do in any given situation based on his erratic and pointedly selfish behavior.  I didn't want to give clues of heroism in his back story.)

8.  A rough version of Ken's first run-in with the Eaters.
To me, there's little difference between the eaters and the lost souls you saw in the later part of the big depression.  You had parks, prisons, hospitals, shopping malls, every forgotten alley was full of people that most of the world tried to ignore.  They were dirty and tired, sick and invisible.  The only difference was that the dead were not crushed under the weight of their own circumstance; they weren't ashamed or programmed to feel like they needed to hide from those who didn't want to see them.   That's where the world went wrong.  The PAIN epidemic spread fast through the tent towns and in the underground communities hiding in the cities. 
The first time I saw an eater was on the job site.  We had about fifty guys clearing a lot downtown for someone who was gonna build a Starchucks or a McBurger joint.  Before you can go in and start knocking out the rot and breaking stuff, the law says you gotta make sure there aren’t people hangin’ around that might get hurt. Me and some goon named Clyde were doing a walkthrough to make sure there were no squatters or homeless folks inside the run-down, four-level townhouse.  Back then we went in with the usual jumpsuit, gloves, crowbar and brass knuckles because squatters, druggies, even rat familes get testy when you try to move them along. 
Clyde went to the third floor bedroom and found one guy crouched down and chowing on a pasty, white leg that had been attached to a body resting on top of a pile of blankets.  Clyde saw it before it caught his scent and put the crowbar through its skull.  Then he slipped on the big pool of gore and landed on top of his crow bar. In a move you couldn’t choreograph, he wound up landing in such a way that the prying end went through his right eye into his brain. 

That's the moment I remember seeing as I reached the top of the stairs.  He never saw the woman in rags stand up from her spot in front of the closet door. She had a knife stuck in her chest and about a dozen other holes thereabouts.  She went right for Clyde's body.  She dove for him like he was the first meal she’d seen in weeks and I managed a pretty impressive golf swing that connected just before she reached his bleeding face.  I wish I could tell you that was thinking heroically in a time of crisis, but I didn’t care what it was coming at me – it needed to fall down before me.  

Her skull was soft.   I never got a look at its face before I pulverized it. 

After I turned Clyde over and decided he was definitely a dead man, I yelled out the window that we had a man down, two scabs and a Bio-Hazard emergency in the house. Inside, I was working out a good excuse for two dead bodies and thinking the severed, chewed leg was good enough to keep me out of jail – especially if the CSI guys saw the missing bits of it inside the one dead dude.  This was unusual, but not a unique experience. Barney was yelling something up at me so I leaned my head out the window to repeat what I’d just said. 

Barney the foreman - otherwise known as the fat guy who stayed outside with the truck while the rest of us actually worked - went for his cell phone to call it in.  That's when I heard movement on the old wood floors behind me.  I think, if not for the fact that Clyde's body was between the front window and the bedroom door, the three eaters who appeared would have got to me before I heard them.  They fell on Clyde and tore him apart.  I started screaming at them and they kept tearing and chewing and digging their bare-boned hand into the hole they punched into his stomach. 
Unbeknownst to me, about a dozen of the guys waiting outside with hammers and pry bars and other implements of destruction heard that Clyde was hurt and decided to come in and help me.  In the melee that ensued, the gang uncovered a nest of about a dozen eaters.  All of them were dispatched, but not before two of them were killed and five others getting infected.

Cops came out like an armored brigade. The house was surrounded and they thought it was a riot.  The infected men got put in ambulances and taken to two different hospitals. Most of the men on the scene were put into plastic cuffs and processed downtown.  Me? I heard the sirens and quickly walked off the job down the back stairs and made a bead for this little place I know where you can shower the blood off your body and launder it out of your clothes without question. It’s the kind of place that specializes in good times and happy endings, if you understand me.  I wasn’t scared, but I looked into the sunken, yellow eyes of an eater, looked at something that could not possibly be alive and I understood them.  They were not evil, but they were hungry…like the big men I stood with in the rain looking for work.  They were not things to reason with or intimidate with a single punch to the face.  You could only destroy them or keep out of their way. 

With that knowledge I understood that the sirens didn’t mean rescue.  The men with wounds would never make it out of the hospital.  Best case, the hospital knew what it was doing and would keep them isolated or put them down.  Worst case, they wouldn’t know what they had on the table until it bit them.  The cops would have to call the feds, the CDC and Homeland Security.  I wasn’t going to a relocation center. I wasn’t gonna get Superdome’d.  So I left my buddies and pals to their own wits and hoped they had the same sense as me.  If I’d stayed, I would probably be stuck at that HG World up north or in that one in Dover, Delaware that got overrun by eaters.

We’re all so used to the phenomenon now, but even at that moment I thought I was just dealing with someone on drugs, someone who mixed their “X” with PCP or shot mescaline directly into their brains or something that would make them do what they did. People going crazy on bath salts and clawing off their own faces – or someone else’s – that was always on the news. With the world in the economic shitter, the R&D sections of many drug cartels were hard providing different ways for people to punch out of this world as hard and as long as possible for little money.
 
In sum, Ken won't shut up if you let him roll... :)

Wednesday, July 4, 2012

Writing and Marketing with Spotify

Music is an important part of HG World.  Careful listeners will hear references to songs in the dialogue, the characters and even settings throughout the show.  Because I can't afford the songs I hear in my head that I think would be perfect for the soundtrack, I try to put some reference to that song in the show in the hope that it creates an earworm or that the listener picks up on the cue and imposes that song in their imagination as they listen.  I don't know if that works or even makes sense, but I've been trying to figure out a way to add new music to the show and share that experience with listeners.

One thing I may try for Season Two is a "song swap" track for each episode.  One scene, for example, would ROCK if it had "Welcome to the Jungle" playing underneath it. Because I can't pay $25,000 for legal rights, I might just produce a version without it, but with instructions for people who own the music (and have a music editor) to superimpose the cut they own at the timecode I'd specify.  Not sure about the legality of it, but it's for private use and I think it would sound awesome.  On the other hand, I see some logistical problems with that.  Stay tuned.

I used to be a casual Pandora listener and kept it in the background while I wrote or revised my scripts.  Pandora is pretty much Internet radio with a clever algorithm to help identify songs with similar musical elements to keep your interest.  If you search for Warren Zevon or, say, "Werewolves of London" Pandora may not pull out the specific request, but may offer you something similar.  I never really understood that because if I ask to hear "Excitable Boy", I don't want to hear Jackson Browne play "Lawyers in Love".  On the other hand, when I pick Metallica, I can be assured of hours of screaming vocals and power chords.  It's a bit of a trade-off because you have no control over the queue and can only skip over so many songs before being locked into their rotation.  Of course, you have more options if you choose to subscribe to the paid service.

I tried Spotify a few months ago because it allowed me to find and queue specific songs and artists. While it misses a lot of my favorite artists (or offers covers and karaoke versions of them) it has a tremendous amount of obscure material ranging from blues and jazz to techno and whatever modem carrier signal music kids today love.   Like Pandora, you can pay to remove the advertisements and a larger song library. But I'm cheap.   Spotify lets me select the songs I want, skip, rewind, replay, save my playlists and share them with people.  It's pretty cool.

At Farpoint, a listener asked my how I titled the episodes of HG World because they read like song titles.  He couldn't find some of them.   I mentioned that the titles to the main series episodes are, in fact, lyrics.  I couldn't remember all of them off the top of my head, so I went back through and searched for them on Spotify.

I was surprised how many of them were online.  While Spotify doesn't have a lot of Pink Floyd, it does have Roger Waters' albums, so I was able to cheat a little by subbing in decent cover versions or remakes.  Musically, it doesn't always flow well ("Welcome to the Jungle" into "Thriller" doesn't quite work, but it's in episode order), but I was able to create a list of all the title songs in order and then added future episode titles and songs either referenced in the show or that WOULD appear if I had the budget to license them for the podcast.  Check out the list here (and please subscribe!)

HG World: The Music

The cool thing is that your iTunes subscriptions are searchable within your Spotify environment.  Because I have HG World on iTunes, I can add them to the playlist and introduce each episode by it's "title song".  It requires some manual set up, but you can do it, too if you have iTunes and Spotify on the same workstation. That assumes you subscribe to HG World through iTunes, of course.

WRAG Radio: Top Tracks with Todd Rage 

The Spotify playlist for Todd Rage's AM station is 11 hours of hits from the fifties to the "end of real music" in the 70s" (plus a few exceptions before and after that period) that I think of when writing the character of Todd Rage.  I imagine these songs crackling out of an AM radio in the night - songs of hope and loneliness, loss and an enduring American spirit.  It's got everything from Billie Holiday to The Animals. Sam Cooke, Van Morrison, the Eagles, Elvis, Waylon Jennings, Rod Stewart... touchstones from a long life listening to music.  I think it's an excellent mix to play while cleaning out the garage, painting the living room, driving across eater-infested territory late at night or just hiding out and scraping beans from the last can in your pack.

I toyed with feeding Keith "Todd Rage" DeCandido with some script bumpers to thread into the WRAG-AM playlist and may still do this. It would be neat to be able to plug random reports, PSAs, commercials and even AD links into the playlist.

Dogberry's Playlist

Dogberry, as played by Lee Sands, is one of my favorite characters.  He's weird, chaotic and sometimes dangerous.  His tastes are scattered, so his music reflects that same weird, sometimes troubles, borderline creepy yet loveable vibe.  So of course I had to add some Thunderclap Newman, Jonathan Coulton, David Bowie, They Might Be Giants, even a little Buckner & Garcia.

McInnes' In-Flight Recorder

Group Captain McInnes is one of the most popular characters and a JOY to write.  Part Chief Engineer Montgomery Scott, part James Bond, with a dash of wandering Time Lord, McInnes is an RAF pilot living in a world without wings.  Ayoub Khote plays the role in HG World, Googies and now his own short series "A Simple Prop" making him the only character (even counting Todd Rage) to show up in all HG World related properties.  Starting with "Scotland the Brave" (because I had to) and Queen's "One Vision" I tried to select the kind of hard-driving, British-slanted rock you'd expect to hear in the middle of a dogfight or a fight through a herd of a thousand zombies.  It tries to mix a complex tapestry of violent disregard of authority with archer fingers raised with an undertone of honor and duty.  McInnes is about adventure and action, so you'll find a mix of Sex Pistols and The Clash, Elvis Costello and Black Sabbath with some McInnisian transitions courtresy of Mojo Nixon, Strawberry Switchblade and The Specials.   This was tough to populate at first, but now there is over 3 hours of music to smash things by.

Constable Jeb's Head Voices

Jeb is another character I love to write.  He's a brute.  He might seem stupid, but as Jill Woodbine said of him, he's like an oncoming storm; when he's there you just have to ride him out and cope.  Voiced by DT Kelly, I could write the line "I like kittens" and Jeb would make it sound like he likes them grilled and covered in wing sauce.   Fitting to his character, this playlist is an hour of batshit angry rock and metal.   I pulled songs listed as the favorites of combat soldiers in Iraq along with some of the songs I used to play (that contributed to my tinnitus) in college.  Korn, Limp Bizkit, Eminem, Dope, RATM, AC/DC...that's the theme.

Jill Woodbine's iPhone

The Diary of Jill Woodbine is a story about HG World from the perspective of an inquisitive young woman who doesn't believe everything the managers tell her.   Diary is designed to be a noir detective story with a Gothic horror feel and supernatural undertones.  As one wonderful listener wrote me, "If Buffy were a lesbian and fought zombies instead of vampires, it would be The Diary of Jill Woodbine". I'd like to believe that's true.  Her iPhone has an hour of eclectic songs that I think Jill would listen to while writing her own stories, composed and performed mainly by regional artists I've met or heard on the convention circuit including SJ Tucker, Jonah Knight and Voltaire along with some songs I think she might have pulled from her mom and dad's collection.

So check out these playlists and, if you dig them, please subscribe so I know there are people enjoying them as much as I am while writing the shows.


Sunday, July 1, 2012

The writer's mood

Some days, the writer/director can feel this way:
Or see himself as:
But much of the time you feel like...
...and sometimes you feel like you're sucking down peppermint schnapps and calling Morocco at two in the morning...
So the gamut for writers is anywhere between Orson Welles and Mark Borchardt.
But this is how you gotta look at it, kittens...  


Thursday, June 28, 2012

Checking In

As I wait for the evening's sleep aid to kick in (I have a long day tomorrow and my body isn't ready to sleep for another 5 hours) I thought I'd post and comment on some of the reviews HG World has been getting over on iTunes.  I am glad to see reviews and comments there because the universe is silent elsewhere on the subject.  The comments from our old feed on Pod-O-Matic are lost to the ages, but they ran about the same as the ones below...

(Note: It's not my plan to defend against bad reviews or snark my way to asshole creator status.  People who take the time to review the show are important to me.  They could be watching YouTube, jerking off to Smurg porn, or listening to someone else's show.  As it is, I appreciate objective feedback.)

So off we go!
Bullock Zombie Lover:  Thank you.  1) We'll take all the praise we get. 2) The hard work is paid by praise.  And beer donations.  And saying "hey" to Mike at conventions so he knows his hard work is appreciated.  I mean, we tell him, but the dude needs to hear it from the peoples.  3) I have to work out how to put a DONATE button back on the site, but yeah...thanks.  It costs about $20 a month to host the show.  I can't put a value on what Mike and Bryan do for production and there's a whole lot of time and energy coming from a lot of unpaid actors.  I would love to be able to buy shirts at some point.  We are still here, still working.  And as I always say, I'll take the comparisons to "We're Alive".  I think we're a different show in a lot of ways, but they're a benchmark for zombie awesome in audio drama, so...yeah, cool!

Yimlengyang: Thank you, brotha...or sistah.  Rock on.

Villain2814: Yeahhhh.... a gentle nudge.  I know our schedule is not the most consistent.  But I hope you're enjoying Jill Woodbine (and the amazing +Veronica Giguere) and "A Simple Prop" starring +Ayoub Khote as Neil McInnes.  Googies will be back, soon.  And the final season will follow.  I promise.  But I can't afford to hire Mike from his day job. :)

COsurvivor:  Whah?  Our web site is down??? (checks) Whew.  No.  www.goodmorningsurvivors.com is still there.  We shifted hosts, but we have a streamlined "wix" site with lots of links and groovy stuff.  And we're not gone.  Promise.  

HVM rfo: "HVM"?  Happy Valley Militia?  Is that like Browncoats?  Or Trekkie?  Because I'd like to think it is.  I doubt it is, but a writer can have his little arrogant mental masturbatory aspirations, right?  Thanks. There's lots of crazy coming.

Part2:
Andre Noble: I know you're over on our Facebook page, so many you can help me with some of this there (or here, whatev.) What about the audio quality?  I'm sure Mike's ears are burning on that.  Dialogue?  Sound Bed design?   As for "few relatable characters"... you make a fair point.  I hope at least Dogberry competes for time in your memory with McInnes.  But I appreciate your feedback and your willingness to stay with us.  

Litmaster 14: See?  This dude likes the Dogberry!  Looks like I accidentally truncated his post but the point of it is that we have a lot going on and a Narrator might be really helpful.  Point taken.  I made a choice early on to try and drive this by characters without going all expository.  I might consider a narrator (Todd Rage or Ken, maybe) in the remasters.  We're trying to help with our "previously on..." bits at the top, but perhaps those might work better as narration).  Hmm... will think on this.

DaisyMaeGogo:  Thank you and we certainly will!

LolaBittles:  I love that we were somebody's Howard Stern summer replacement.  We try to push the actors to give us their best work and, for the most part, I'm pretty happy.  A lot of it is the isolation of acting.  Remote Productions remove some of the chemistry that's necessary to really SELL a part and sometimes, Skype rehearsals just aren't possible (at least they weren't early on).  Thanks for listening.

And finally...

DIABLOU: Glad we're "the best" but no...we're not over.  Ken Peters will drive the Popcorn Express right into Season 2.  

Superbuggem: If not for the five stars, I might assume you thought we Grrrrated on your nerves.  

SoozieMac:  I'm sensing a theme here.  NO, we're Not Yet Dead.  Ken Peters (+Jim Patton) and Mark (+Bryan Lincoln) and Jo (+Gwendolyn Jensen-Woodard) are walking meat bags of awesome sauce telling a tangential but essential part of the HGW story!  McInnes is back!  The rest of the UNNDD is back in Googies soon.  Promise.

GMRC Rower Tweak:  Sweet.  And once again, invoke the name of the Wayland show we love so well.  

Thanks everyone.  Keep the comments coming.  Please add your voice to the conversation if any of these comments (or mine) have struck a nerve.  In the coming weeks, I'll try to make sense of the plot lines for everyone so...well maybe I can understand them, too! 

Sunday, June 24, 2012

Essay - Variation in English for Voice Acting


The topic Variation in English includes a discussion of dialects which is of significant interest to me as a writer and especially because I write audio plays.  This week’s discussion mentioned the American Midwestern dialect as the one most commonly found in broadcast news because it is an easily understandable, accessible and clear dialect.  As a result many voice actors and communications students affect this speech rather than cultivate any range for regional dialects. 
A challenge for me as a writer and director is to inject a sense of realism to the story that has a very specific location and make sure the actors understand where their characters are in the story and how they should sound.  Because you cannot see these characters it is even more important to dress them in the right dialect while providing lines that reflect their patterns of speech.  Adding to this challenge is the fact that my performers live in several different cities (with their own informal dialects) and a few of the characters are not American.  This is a fun challenge.
For American and Canadian actors, “broadcast English” is too formal.  I receive auditions from broadcasters that are too clean and articulate to be convincingly informal.  Actors provide better material, but they often don’t understand the Northwestern Pennsylvania mix of  Scots-Irish and Polish for natives of the region.  Fortunately, there are enough transplant (Really “refugee”) characters to make Philadelphia, Chicago and most southern voices applicable to rural Pennsylvania.   The fact that the story is about refugees makes it a little easier to cast talented people who may not necessarily get the local accent.  But I try to work harder with the actor performing “native” characters to make sure they sound roughly the same.   I start by referring actors to http://www.pittsburghese.com and this video.  The point is to overemphasize the differences in how locals speak versus where the actor is from.  Rural communities identify themselves by their common voice.  You find this in many “fish out of water” films where the main character speaks a more generic American dialect and the locals have a borderline comedic accent to demonstrate to audiences that they are somehow alien or detached from the world as the audience understands it. 
Elements of the Pittsburgh/Northwest PA accent are only as different as other accents from generic American, which means there are fun turns of phrase and inflections to use. “Guys! Go ahead and get some beer from the cooler and come watch the game” becomes “Y’unz guyz go ‘head’n grabba coupl’a burrs from that dere cool’r and cumun ova’ t’watch the game’n at.” 
The writing never tries to translate to the dialect.  The direction attempts to bridge some basic word choices in the script to some inflection that results in the line as read above.  In the script, I would write “Y’unz guys go ahead’n grab a couple’a beers from dat dere cooler and come on over t’watch the game’n that.”  The middle ground is intended to inspire the performer to reach for a specific accent. The goal isn’t to create the extreme example of speech, but to keep the actor mindful of the basic elements of that accent so that they are consistent with the other actors and convey their background in the story.
One of my favorite characters is named Group Captain Neil McInnes.  I am not Scottish, nor do I have an insight into the Scottish Standard English dialect beyond episodes of “Star Trek” and Monty Python sketches.  Using the basic premise from the Northwestern PA accent, I decided to go to an extreme in the hope of finding a more mindful and experienced actor to pull the lines together in a realistic way.  The actor I chose was a Londoner by the name of Ayoub Khote.  Given the prevalence of Anglo-Indians in Britain, this was not a surprise, but Ayoub brought a love of the Scottish voice to the part that may not have been a perfect imitation, but embodied the spirit of the dialect with a natural flare for the burrs and “whoops” of Scottish English that made it effective for a largely American audience. 
I drew on Canadian actor James Doohan’s popular style for “Star Trek” for my writing but asked that the Ayoub listen to more contemporary Americanized voices as displayed here on “The Late Late Show with Colin Ferguson”    Here, Scottish host Ferguson talks with Scottish actor James McAvoy and the natural conversation reveals how actors may remain subconsciously mindful of their American audience.  The music of the Scottish dialect is apparent here, which is something I wanted to capture for the performance. 
Two of the characters I wrote are of Indian descent, which could have been a generic caricature of the dialect, but each character needed to be distinct.  One character needed to be seen as a refugee and the other needed to be seen as an authority.  The difference between the two was conveyed by the latter’s closer resemblance to British-American English and the former’s heavier, more traditional dialect.
The character of Shiva Vesta was designed as a 20-something medical doctor, a medic who had to provide lengthy technical exposition.  Using an American actress to affect a more traditional Anglo-Indian dialect, I covered up any imperfections by suggesting the character had spent time in America pursuing her post-graduate degree.   This seemed to work fine as the British-English was the dominant dialect used in the show. Indian inflections were added whenever the character grew excited or upset, but there is never a regional identifier in her language.
The other character, Balamani, was played by actress Reena Sharma, who is also a psychologist living in Mumbai.  Reena provided an education in the vast variety of languages and dialects in India.  We discussed the character’s background as an engineering student recently employed in the United States from a college in south-central India.  Reena pointed out that most Indians know English and Hindi as their “official” languages.  Hindi can present in any number of accents depending on the origin of the speaker. British-English is taught as a common link between Indian cultures and the outside world.  In addition to Hindi and English, most Indians have a regional and familial language.  I modeled the character’s voice on a consultant I had been working with at the time who spoke Hindi and Telugu, a regional language from south-central India.  I chose Telugu for its distinct, pleasing musical quality that shines when the speaker is excited.  This worked perfectly for the character’s introduction:
FEET TRIP AND BODY FALL, CLOSE ON MIC.

BARBARA    (SHARP CRY OF PAIN. EFFORT TO GET UP.)

ZOMBIES APPROACH ON MIC.

BARBARA                  Monsters…(in Tulugu) Ńeh-nǔ dee-ńi ē-ĺah an-'thüm 'kah-niv-'va-nu[1] [I will not allow it to end this way.]

REVOLVER CLICKS ON EMPTY CHAMBERS.

BARBARA                    (in Tulugu) 'In-kah Ńeh-nǔ 'āy-mē 'chay-ya-'le-nǔ[2] [There is nothing more I can do for you.] (Throwing grunt)

I enjoy working with language as a way of creating characters.  Voice helps define a character, especially in audio drama, which makes this unit particularly important to me.



[1] Nenu deenni ilaa antam kaanivvanu

[2] Inka nenu emee cheyyalenu. (there is nothing more I can do for you)