Monday, January 12, 2015

Review: The Magic Voyage

Here's the second of two movie reviews I wrote in 2012 but haven't published until now.

The Magic Voyage

Dom DeLuise is the voice of Christopher Columbus in a retelling of his voyage to the New World in which he is best friends with a talking woodworm voiced by Corey Feldman. Yes. That is a thing that happened, and evidence of it still exists in this realm.

Director: Michael Schoemann, 1992

I am a member of the second and final generation to grow up with stores that rented videos. Once a week, we'd go down to the local tape rental and I would select a movie based on what the back of the cardboard sleeve said. In retrospect, most of what I saw was crap, and I simply didn't have enough experience to recognize the difference between good and bad. I don't even remember the names of most of the movies, but when I recognized one of them at the thrift shop, I decided to compare past and present impressions.

Sure, he's mad now, but his hair appears to be clapping, and how long can a man with clapping hair stay mad at anything?

"The Magic Voyage" is a partially singing, crudely animated, not-quite-all-star cast interpretation of Christopher Columbus' trip to the New World. That it takes liberties with the story is to be expected, because a children's story needs good guys and bad guys, not a bunch of pro-and-con arguments about how one guy might have totally ended up ruining two whole continents for everyone who was already living there. History is complicated. Cartoons are not. Thus, "The Magic Voyage" presents Columbus as an affable stooge who believes the world is a cube. He is voiced by Dom DeLuise. He is the Columbus we deserve.

The movie opens with a bunch of seagulls fighting over a fish in a port, interfering with a dock worker and causing him to drop a crate full of books. Out of one of the books comes our protagonist, Pico the Woodworm, who shoulders a tiny bindlestick and sings to the fourth wall about how he used to be a bookworm. He's then set upon by one of the seagulls and escapes up a mooring line to a ship. Here we encounter Christopher Columbus, angrily consulting his charts and oddly shaped globes before throwing them out the window. He mournfully consults the last one, the cube, before Pico introduces himself by chewing all the corners off of it, making it sort of a sphere.

The two immediately form the sort of classic man-xylophage friendship that inevitably leads to a shared musical number.

So, time to take stock. It's just over six minutes into the film and we've been introduced to square-Earth-Columbus by narrator Mickey Rooney, who never returns; we've watched a singing woodworm outwit a seagull by drilling through its beak; and we've heard Dom DeLuise say "My mappa, she sure stinka." Gird your loins. There are 76 more minutes of this.

When I was a kid, I'm not sure I ever saw a cartoon I actually disliked, but the flip side of that coin is that I got too lost in bright colors to actually appreciate quality. In other words, I - and God knows how many other children who are now old enough to drive, vote, and take out crushing student loans - liked seeing animation so much we didn't register any of the aspects that make it good or bad.

Pictured: Bright colors. Not pictured: Squash and stretch. Bonus: The woman in green is actually gyrating pretty quickly for no apparent reason.

For instance, one of the tenets of good animation is "squash and stretch," often summed up in as an animated loop of a bouncing ball. When the ball hits the floor, it deforms on impact before popping back up and resuming its original shape. The technique of squash and stretch is key to making things that change shape look realistic, and "The Magic Voyage" does not have this. The finished project has lines with all the squash and stretch of overcooked spaghetti, causing faces to billow and collapse and bodies to twitch and shuffle. On the plus side, Corey Feldman is a talking woodworm who does his own singing.

Columbus did not pay for that pie.

Columbus and Pico drive to the castle in town, where they plan to shop Columbus' ideas on navigation to King Ferdinand. In doing so, they (and passers-by) share in a musical number where the refrain is "All because I met a fella like you," which sounds like something a down-on-his-luck Tarantino villain would say while spitting blood.

They then arrive at the hall of inventors just in time to watch King Ferdinand and his henchman, Stupedo, throw a man in a flying machine out the window. He is saved from certain death by landing in a tree on the way down, but the other inventors are spooked enough to run away, leaving only Columbus.

I'm sure this is completely historically accurate.

Ferdinand doesn't take well to Columbus or his chewed-up globe, but the incredibly hammered Queen Isabella does. They are voiced by Dan Haggerty and Samantha Eggar, who sound like they're in a sporting contest to see who can be more ridiculous. Columbus gets invited to eat dinner with them. Isabella fawns all over him to the point that Pico gets disgusted and leaves, while Ferdinand sits at the other end of the table and breathes angrily through his mouth. It's a hard thing to watch your wife, who already looks like a partially deflated blow-up doll, hit on a man with a child's-coffin-shaped head.

Outside, Pico climbs up a tower with a light in the window, where he meets Marilyn the fairy (or "firefly," as the tape case insists), who tells him her tragic story. She was originally from the land of Terrible Analog Effects, where all the firefly-fairies live, but was kidnapped by the Swarm. The Swarm is a huge swirling cloud of insects that wanted the firefly-fairy magic for itself, and didn't believe Marilyn when she said it couldn't be used for evil. So she's locked in this tower.

 Trying to drive here at night is hell.

Marilyn is voiced by Irene Cara. If you don't know her by name, she's the singer of "What a Feeling," which she also co-wrote, from "Flashdance." In case you were wondering what happened to the refugees of the 1980s once all the leg warmers were buried, now you know. Pico naturally wants to help her escape, but he only succeeds in alerting the Swarm to his presence, and Marilyn is spirited away across the ocean. Well, damn.

Fortunately, King Ferdinand gives Columbus some ships to be rid of him and the next day they're off. En route, Pico is attacked by some ship rats (formerly harbor rats his got to leave him alone there by telling them there was food on the ships) and Columbus' crew finds out he's friends with a woodworm and starts to turn on him.

This picture gets even better if you try to imagine Dom DeLouise singing "Down with the Sickness." Seriously, just take a minute and try that.

Columbus then breaks out his accordion and tries to whip the crew into a not-killing frenzy with a song about seamanship. It is easily the best song in the movie. Consider this sample from the chorus:

The life of the sea is the life for me,
No lovers of land are we;
La la la la, la la la la,
La la la la la la

I wish I could say that the crew strung him up right then and there ("The Magic Voyage" has a LOT of strangling and strangling-type violence), but the tune actually placates them long enough for Columbus to turn in for the night. No, what actually prompts the crew to drag him out of bed and hang him is the sight of a derelict Viking longboat manned by skeletons. As they're hauling him up, Columbus spots land off in the distance and tries to tell them, but they don't listen. And it is at this point that the Swarm attacks.

This Swarm, here.

The Swarm is really the only part of this movie that held up to the expectations of my eight-year-old self. The idea of a cloud of insects that can think and act as one, as well as use the voice of Dan Haggerty, is objectively terrifying. Smile all you want from your black and white headshot on the back of the tape sleeve, Haggerty, but you are the voice of childhood terror. And also King Ferdinand, from earlier, but mostly childhood terror.

All the animation problems that undermine the rest of the film actually make the Swarm look that much more fearsome. Wobbliness and the whole squash-stretch problem look, if anything, appropriate in a huge cloud of flying insects. It shape-shifts from one pissed-off form to another as it attacks them, a huge cloud of angry, angry pencil scribbles. It's like some kind of childhood entertainment elemental, as though the medium of animation had summoned a champion to cull its own ranks.

"Well, that's animation school, folks. You can all go as soon as you can draw yourselves diplomas freehand."

As the swarm departs, having thoroughly trounced the crew, the ship abruptly runs aground. Columbus originally had three ships when he left Spain, but now we're somehow down to one. Columbus, wearing only his boxers and the noose, lasts long enough to plant the flag for Spain on the beach before passing out.

In a nearby Mesoamerican pyramid, the Swarm wakes Marilyn from her prisoner's sleep inside a solid gold idol to tell her that Pico is dead. Pico is not actually dead, although he is floating face-down in a puddle on the beach. There he is rescued by the last and most ridiculous major character, Bob the Beaver, whose house the ship ran over.

Bob meets up with Pico, who he drags out of the puddle, and the two remaining rats. As the rats pull themselves free from the wreckage, one comments to the other that the third one was knocked out cold. (They do have names, but their weird voices prevented me from understanding them.) This point always intrigued me: Did the guy who voiced the third rat die or quit the movie halfway through voice recording or something? I suppose I may never know.

"Well, the last thing I remember is throwing the stereo into the pool."

Those of you who know virtually anything about North American wildlife probably just asked yourselves why you've never seen a beaver in a documentary about tropical wildlife, and the answer is, of course, that they don't actually live quite that far south. And that would be the end of it, except that this is the one thing in the entire movie that they actually tried to explain. Not the loss of the other two ships, or why the king and queen of Spain were living on the coast when the capital city at the time was 200 miles inland in every direction. No, one of the rats asks Bob what he's doing here, and he explains that he was working on a dam that collapsed, and he woke up here. Sure.

Bob, Pico and the two rats march off into the jungle towards the temple. Columbus expresses fear of whatever "jungly-wungly things" might be out there, but, after looking over his shoulder for the requisite forest-full-of-eyes shot, runs after them.

There's something about this picture that really just sums up the entire Internet for me. For truly, are we not all climbing giant honeycombs in our boxers?

When they finally make it inside the temple they encounter a huge honeycomb, with the Swarm swirling around the top of it, guarding Marilyn and the idol. Columbus, blind with gold-lust, clambers up the side of the comb while Bob chews through the bottom. Pico drills up through to rescue Marilyn.

Having reached the top, Columbus sticks his hand into the Swarm but yanks it back, thinking for a moment that his fingertips are gone before remembering to unfold his hand. (The problem with this gag has always been that you can't fool both the character and the viewer with it; only one of them is going to see it from the proper perspective.) So he whips up a rag puppet out of the tattered Spanish flag he's been wearing as a cape, gives it a pep talk, and sticks it into the Swarm, which is moving so fast that the puppet catches fire.

Columbus battles the Swarm (mostly by dodging and being strangled) while Pico and Marilyn escape and Bob chews the rest of the way through the bottom of the honeycomb. The whole thing collapses, bringing Columbus and the idol down on the Swarm, smushing it flat.

Still less racist than Disney's "Peter Pan."
Then the temple collapses too, because why not, and the protagonists ride a nearby river to safety. They encounter some natives... who are actually grateful to Columbus for squishing the Swarm. They allow him to keep the golden idol, and everyone is happy.

There are a few additional points of context that should be shared. "The Magic Voyage" was originally released in German. Lord only knows what their versions of the musical numbers were like. I like to think it was all done by Rammstein.

 "Du hast?"

Additionally, "The Magic Voyage" was, according to the IMDb, the most expensive animated film ever made in Germany at the time, costing $14.5 million. That's the perfect opening for more jabs at the production values, but I think I've made my point and can ease up. Truthfully, the character designs, however poorly executed in the animation, are quite good, and the quality of the backgrounds is as good as anything from the classic age of Disney, which was no doubt the intent.

In fact, everything about this movie suggests that a group of people watched a whole lot of Disney without understanding any of it, from the poorly spaced musical numbers to the excessive use of talking animals. Only the idea of an angry cloud of insects that otherwise possesses the standard characteristics of a kids' movie villain is something that is completely unique. It will likely remain that way until Michael Crichton's "Prey" is adapted for film.

Sunday, January 11, 2015

Review: "It! The Terror from Beyond Space"

Back at the end of 2012, I wrote a pair of movie reviews as part of an application to become a website's movie critic. It didn't happen, and since then I've been sitting on the reviews, so I decided I'd post them here. Anyone looking for a person to critique bad or strange movies for modest sums of money is advised that I'm still available. Here's the first one:

It! The Terror from Beyond Space

A crew of black-and-white sci-fi's finest is deployed to Mars to retrieve the lone survivor of a crew he's accused of killing, only to find that the true killer has come aboard with them.

Directed by Edward L. Cahn, 1958.

Smokeless rockets wouldn't be invented until 1981.

The benchmark for the mano y mano alien attack film is, of course, "Alien," but it was neither the first nor the last to use the scenario. The basic formula is as simple and timeless as a group of teenagers setting out to spend a weekend at a cabin they're sure isn't as haunted as the locals claim. When a movie formula goes unchanged for as long as this has, it gives us a chance to examine and appreciate the things that do: the characters and the setting. In this case, the future is 1973 and humanity has unwittingly unearthed the slumbering, rubber-clad terror of Mars.

We're introduced to the situation through a brief introductory voiceover by Col. Edward Carruthers, played with deft detachment by Marshall Thompson. He's going to be brought back to Earth to be court-martialed for the deaths of his crewmates.

"If you'll direct your attention to the back wall, I'd like to talk about my latest purchase from the Bradford Exchange."

Immediately after this introduction, we're taken to the only room in the movie not on the returning spaceship: a press room (the "Science Advisory Committee Division of Interplanetary Exploration") on Earth where reporters are told that the rescue team has just arrived on Mars to get Carruthers. This is where the movie really shows its chops: A middle-aged man, who is acting in the sense that he's reading from a script in front of a camera, informs a roomful of journalists on recent developments received through a "teleradio" broadcast. The conference finished, the journalists then all run out the door like lead paint just went on sale.

Nobody comments on how this reference schematic for a spaceship appears to be a hand-drawn one-off in outlined pencil.

The rescue ship is comprised of a series of stacked rooms that have the proportions of cans of tuna fish. Each level has a staircase running up from below and down from above, and when we're shown the ship's blueprints at one point we see that the whole ship is indeed laid out pretty much like a tenement building. The set design team - which otherwise saw fit to take standard 1950s appliances and mount them flush into walls - gets credit for going the extra mile here. If you went inside any of the rockets on the covers of pulp mags from the '50s and '60s they would probably be laid out just like this, and it takes a certain amount of bravado to go through with stacking the floors instead of laying the thing out like an airliner sans wings.

"Yeah, all we need now are a few gray bean-bag chairs and some beer that comes in those cans you have to punch holes in."

We see the rocket standing upright on Mars at the beginning of the movie and so the whole inside of it is oriented accordingly. Bravo. That this choice reduces the shooting space on any given floor to one medium-size room (or a bunch of smaller rooms each the size of elevator cars) is something that the people who made "It!" simply chose to live with. It certainly allows them to shoot a lot of the movie with a stationary camera, sitcom-style, and everybody knows that stationary camerawork is what you look for in futuristic thrillers.

The women are smiling, so clearly everything is fine here.

The rescue crew actually includes two women, which seems highly progressive right up until you see that they're just there to cook dinner and provide school nurse-level medical care when the men get injured. That's all the future you're getting, 1958.

Carruthers is innocent, however; the real culprit is, in the best 1950s tradition, a lizard man. Carruthers desperately pleads with his captors to believe his innocence, but they don't listen to him until they, too are overtaken by a monster as tenacious as it is ponderous.

According to the Internet Movie Database, the lizard mask didn't fit right and what appears to be the monster's tongue is actually Ray Corrigan's chin. I dare you to find anything more 1950s than that.

"It" is played by Ray Corrigan. I didn't know a whole lot about Mr. Corrigan, so I took a quick trip to the Internet Movie Database, which told me that this was the last of 98 productions he was in. There was a biography I could have read, but I feel like I learned enough just going over the credits and finding that he's credited as playing a gorilla 13 times, an ape five times, and "Gorilla Man" in a 1943 musical comedy called "She's for Me."

I like to imagine that when they found out Corrigan was auditioning for the part, the producers looked up from a pile of heavily smudged mimeographs and said, "THE Ray Corrigan?" I don't know what your options were as a casting director who needed a large hominoid in 1958, but it seems like Corrigan was certainly a bankable choice.

There's a lot of this.

"It" is introduced a bit at a time, in glimpses seen in the darkness. In a better movie this would have built suspense, but here we're simply allowed to ponder the individual shortcomings in the costume, starting with the Barney-esque feet shown wending their way uncertainly through the storage area at the beginning. Soon enough, however, It moves in for blood, and Carruthers renews his cries of warning after a couple of the crew are picked off. Something has to be done.

It's then that we really get into the heart of the action. The human vs. lizard fight standards of the era aren't really that high, as anyone who saw Captain Kirk lugubriously fight the Gorn a decade later can attest, so it's a sort of delightful surprise when the movie steps it up. After It has retreated to the depths of the ship's ventilation system, the humans regroup and... break out the box of grenades.

Yep. In the ship's storage area, sitting right on top of everything, is a medium-sized crate with GRENADES stenciled on it. Somebody packing a spaceship for the express purpose of a round trip to Mars to look into a mysterious disappearance decided the recovery crew needed grenades. I mean, heaven forbid anybody on this inane mission should needlessly endanger themselves, take everything you need to do the job right, but when you're coming down out of space to apprehend your quarry you really don't need the sort of weapon that's typically lobbed two dozen feet by hand. And, of course, the idea of using grenades inside a spaceship has a very limited appeal to anybody who's ever seen Jiffy-Pop in action.

So of course they hang some grenades on one of the vents on a trip wire and wait. Presumably Ray Corrigan went out and auditioned for a few gorilla parts while they shot the scenes he wasn't in.

Then we enter the film's magical second half, in which it becomes clear that It cannot be killed. It never injects its eggs into anybody; it doesn't shapeshift into cunning facsimiles of those whose lives it's taken.... it's just really, really hard to kill this thing. Really hard.

After gas, bullets and grenades fail, the crew uses an inter-floor hatch to seal It into the lower levels of the least interesting spaceship ever while they ponder their options. Eventually, Carruthers and a shipmate take an extremely slow spacewalk down the outside of the ship from one airlock to another so they can sneak up on the creature. They then use a torch to weld some electrical lines to the metal staircase with the intent of shocking It to death.

This doesn't work, and only annoys It. Carruthers makes it back to the airlock, but the other - Lt. Calder - breaks his leg trying to escape his hidey-hole and is forced to hold It at bay with the blowtorch. Rewatching this scene with the Netflix subtitles on, I was heartbroken when it turns out that Calder doesn't actually say "Sure, whatevs" into his radio when they tell him to just hang on. It turns out he's just saying "Sure, what else?" which took a lot of his grizzled teenibopper mystique away, in my opinion.

Also, It is saying "[-roaring]."

This came so close to happening. So close.

Back up in the nurse's office - "[machines beeping]" - Ann Anderson tells Carruthers how "I decided after one bad marriage to bury myself in science." This miniscule fragment of character development comes as she rubs a swab of something on his forehead with one hand and wraps the other one almost all the way around his head. "Van changed your mind?" Carruthers asks, indicating a limp shipmate on an IV drip.

The other nurse, Mary, says that Van needs blood. The ship conveniently has some on board, but all the on-hand blood has been used up and somebody has to go downstairs and get more from the compartment where they apparently store overflow blood.

Rather than make another trip outside, the men plan to simply take off their boots and sneak down the ladder while Calder, still pinned in with his blowtorch, makes noise to distract It. Conveniently, the creature wanders into the reactor room, housed on that level, and they just lock it inside by remotely lowering the door.

"Oh man, I LOVE 'Karma Chameleon'!"

Meanwhile, Van staggers out of bed with a sort-of-good idea: unshield the reactor while the creature is trapped next to it and irradiate it to death. He staggers over to the control panel and raises the shield, once again slightly annoying It. "It's enough to kill a hundred men!" says Van with unnervingly genuine enthusiasm.

Unfortunately, It rips through the extremely thin reactor room door and proceeds to flail one of the guys to death with a frenzied series of waving motions.

The other survivors then flee to the ship's control deck and pile random stuff on top of the last hatch in the hope of making the movie feel even longer. Van woozily accuses Anne - or "Chicken," as he lovingly calls her - of falling for Carruthers. Then the survivors break out the bazooka and wait.

I like to think that when the movie was done, somebody pulled all these switches and dials out of that board and reused them in a boiler room.

Finally, with time running out, Carruthers looks at a huge bank of dials and realizes something: The monster is drawing heavily on the ship's oxygen. So they open the doors and let all the air out. The creature dies.

Back on Earth, the world's least compelling press secretary actually stands there and reads a "teleradio" message sent from the ship, warning that "another name for Mars is 'death.'"

Oh yeah!

In a closing note, the movie poster for "It!" contains the following text: "$50,000 guaranteed! By a world-renowned insurance company to the first person who can prove 'IT!' is not on Mars right now!"

Now, I haven't been able to find an online copy of the poster high-res enough to read the fine print, but it's possible that offer is still standing. If anybody feels like trying to cash in on the saddest promotional stunt ever conducted, now is certainly as good a time as any.

Monday, August 11, 2014

The Death of Robin Williams

The following was originally posted on

As I am uploading this, it is still less than six hours since I learned of the death of Robin Williams, who died earlier today of what the news is saying is an apparent suicide. It's very hard for me to accept that someone who's life's work was making other people laugh was so eaten inside that he felt he had to do this. He leaves behind friends and family and a magnificent body of work and a shaken world that never thought it would end this way.

I know many people who suffer from depression, and I suffer from it myself. I also know that many people who do not suffer from depression conflate it with ungratefulness - they perceive an inability to be happy as a person's refusal to be happy. Without knowing the details of his life, I wonder if this made it harder for Robin - to be so successful in so many ways and still hurt inside.

If you or someone you care for has depression, please be kind - to them and to yourself. Depression is an illness, and people are not made lesser for having illnesses. I believe that this will be a hard night for many of us, but if there is a message to be taken from this event, let it be that we must always let those around us know that they are loved.

Friday, April 4, 2014

The Gradual Joke

I get my weather news from a site called the Weather Underground which, yes, is named after the revolutionary group from the 1960s. On April 1, I noticed that their logo - a cloud floating over a rainbow - was falling down. Back again today, I noticed that stick men had come to clean it up. At this point I took notice of the fact that the logo files are numbered. With that knowledge, I was able to see the entire procession of events. I'm sharing it with you because I think it's clever that this tiny little drama is unfolding at the top of the page each day.

Here's the original logo (well, an archive copy from Wikipedia with the old font):

And here's the unfolding saga, which officially hasn't completed as of this writing:

The logo updates stop there; there is no 16th panel to the story. I assume that by the middle of the month, the logo will be unveiled in its full glory, something I suspect will closely resemble the old Macromedia Shockwave Flash logo that disappeared around 2005 or so. Still, since the logo they're retiring literally goes back to 1997, that's a definite improvement all the same. Good on you, guys.

Thursday, April 3, 2014

Get Better

I don't always have to explain something when I present it. Here's a song worth listening to, if you've got a moment:

Wednesday, March 12, 2014

Luigi's Ballad and the Changing, Rubber Face of Pop Culture

First off, have this video, which I highly recommend (if you're not at work). Then, if you want, you can read my thoughts about it.


Still here? It's been long since forgotten how weird Super Mario Bros. really is, even by the video game standards of the 1980s. While the pellet-chomping maze prisoner tale of Pac-Man and the ladder-climbing, barrel-jumping experience ofDonkey Kong are both classic and surreal, they (and all other games of the period) share a forced minimalism that mutes the weirdness somewhat. By the middle of the decade, however, processing power had improved enough to allow worlds that could allow for some realism in scenery and character interaction. Nobly, the creators Super Mario Bros. did nothing of the kind. I'd say that they threw everything at the wall and kept what stuck, except that by all appearances everything stuck. How else to explain a game where a plumber and his brother battle turtles and walking fungi to rescue a princess from a an evil turtle lord holding her in an unspecified castle?

The 1980s might also be the decade that pop culture became self-aware for the first time. The watershed example is The Simpsons, of course, but even some earlier works that don't lean on pop culture for satirical purposes were beginning to get in on the act. Back to the Future has a rich undercurrent of cultural references that define both the home world at the start of the movie (California in 1985, home to '80s-tastic protagonist Marty McFly) and the world he travels to (the same town in 1955, home to his teenage parents). A judicious use of pop culture makes the movie more real.

By the time I was watching TV and movies in the 1990s, the ability to reference pop culture had turned into something of an obsession, culminating with the debut of Family Guy in 1999. This was a show that eschewed the integrated pop culture references of The Simpsons in exchange for sight gags and cutaways that allowed the writers to do virtually anything they wanted at virtually any time, a sensibility that has carried that show through good years and bad. When Family Guy was renewed from cancellation, it was a victory for the show's random style, which has since become a definitive characteristic of Internet humor. And that might be why, for all its flashing colors and hectic pacing, the video at the top of this page strikes me as refined.

Arin "Egoraptor" Hansen - lead animator on the video and part of Starbomb, the group that performs the song - is Internet royalty. I first encountered his works in the middle of the last decade at Flash repository Newgrounds, where he had already garnered an impressive reputation for the "Awesome" series. These were videos in which he would deconstruct a video game at a rapid-fire pace. Here's Metal Gear Awesome, which was the first video he published on Newgrounds. This one is also not recommended for work:


Let us all pause to remember that 2006 was eight years ago, and that it was a simpler time. All of the Awesome videos are like that, each one a hot mess by design. It's never really clear how much the low art quality in them reflects a style that hasn't yet matured, and how much the rushed look is deliberate.

Egoraptor later became the cohost of a web series called Game Grumps that I quite frankly can't get into. Listening to two guys crack random jokes over video game footage lacked the visceral punch of rewriting and reanimated the games themselves and using that as a springboard into comedy. (Full disclosure: I'm focusing on Egoraptor because I'm familiar with him. He's joined here by Leigh Daniel Avidan and Brian Wecht, the former of whom is also on Game Grumps, and I know virtually nothing about them, or Rachel Bloom, who sings the part of Peach. There's only so much one man can know about the Internet.)

The Super Mario universe has been broadened considerably since Super Mario Bros. came out, but Luigi's Ballad would still mostly make sense to somebody from 1985 who had played the game. Some visual elements - such as enemies from later games and the references to Mario Kart, which first appeared in 1992 - would get lost, but stylistically the games have remained remarkably similar over nearly thirty years. Perhaps the biggest jump for time-traveling viewers would be the characters' personalities.

Mario and Peach have the sort of weird quasi-relationship shared by Barbie and Ken, or Micky and Minnie Mouse: They're always together, and yet their couple status never seems fully confirmed. We don't get a very good look at their personalities until Super Mario 64, the N64's inaugural game and the first one in which either character speaks. They each get only a few lines (Peach's at the beginning, Mario's looped throughout the game whenever he does anything), but they're enough to give us reinforcements on what we already knew: Peach is a nice person with terrible luck and Mario is a go-getter who is unfazed by absolutely anything. Both of these traits are ramped all the way up in Luigi's Ballad: Mario is unable to stay out of anyone's face about his wants and Peach, while untroubled by his incredibly blunt advances, is too polite to actually choose between the brothers.

Luigi, whose appearance in Super Mario Bros. was as a palette-swapped Mario, has similar in-game characteristics that are ramped down in the song for humor value. He's a nice guy who just wants to do stuff with the girl his brother is also hitting on. The exchange between him and Peach at the song's height is actually kind of beautiful, the idea that these are two people who want to try something, even if they don't know what it is. Mario, of course, ruins all this, but you don't save the same girl from the same bad guy for thirty years without getting a little frustrated.

The immaturity of the subject matter in Luigi's Ballad is a clever rouse: The creators had a fantastic sense of understanding and scope on the source material, as well as how to best bend it to suit the Internet's current sense of humor. That the whole thing manifests itself as a barrage of dick jokes is simply par for the course in this day and age.

Monday, February 17, 2014

The moment of truth

We've moved!

Originally, this news was going to go up on the Our World website, but that went down. Kuurion was subletting space from friends and for some semi-complex reasons, their site is down too. But that's the past, and I'm finally, after so much time, ready to present you with the future.

If you're familiar with furry webcomics, you've probably been to the Katbox at some point. Home to such genre guiding lights as Las Lindas, DMFA, Caribbean Blue and many more, it's also home to Our World as of today. I approached site owner and founder SoulKat back in August of last year and, to my great excitement, he said yes. Everything since then has been work and planning, both on his side and mine, and today the dream became reality.

I am sorry I didn't get a chance to tell everyone this on the old site, so if you're friends with any of our fans and they're still wondering what's up, please tell them. I still don't know if the blog will continue to be a thing or not, either, but I just wanted to leave this message here. We've got a new home now, and we hope you'll join us there.