My odyssey through the strange world of Russian fantasy films began in earnest many years ago, when I moved to a prominently Russian and Ukrainian neighborhood and started prowling around the DVD stores of Brighton Beach, Brooklyn. Up until then, I’d caught glimpses of this strange and wonderful looking avenue of cinema in the form of dubbed and edited American versions of the films, where Ilya Muromets became The Sword and the Dragon and Sadko became The Magic Voyage of Sinbad. These movies made regular rounds on broadcast television back when I was a kid, and I loved them without having any idea they were Russian fantasy films tailored by crafty American distributors to become nationless adventure spectacle. They were colorful, they were full of monsters, and they had lots of guys with swords running at each other. When I crept a little closer to old age, I decided I wanted to find the original versions of the films — much as I did with Eastern Bloc science fiction films — not just to see what had been changed, but also to see them in a better quality than I’d enjoyed on independent broadcast television with rabbit-ear antennae reception.
Although Manhattan’s Chinatown is the best-known of the city’s many Chinese enclaves, other pockets of settlement that draw far fewer tourists and don’t really cater to non-Chinese speakers exist all over the five boroughs. The biggest, most crowded, and most interesting to explore is the Chinese neighborhood in Flushing, Queens. Sitting in the shadow of Citi Field and the remnants of the World’s Fair, Flushing is a massive Chinese neighborhood with a dense concentration of restaurants, shops, and arcades. It sees far fewer tourists than Manhattan’s Chinatown, so navigating it can be a little trickier if you don’t read and speak the language. Many signs have no English translations (some have Spanish translations), and many shop proprietors speak very little, if any, English. But fortune favors the adventurous, and you can generally get along just fine so long as you recognize the fact that, unless you are Chinese, you are the minority here.
“I think we can put our differences behind us… for science… you monster.”
Portal 2 is a game that gleefully flies against all the wrong-headed assumptions about games — both from within the gaming community and from its many critics in the world of politics and moral watchdogging. It is a bloodless, essentially non-violent video game with a female protagonist. And it was a massive hit with an appeal that made it popular with both committed and casual gamers alike. It’s a game that dismisses the notion that games have to cater to the baser human desires for blood and guts, and that games have to be designed for what the industry erroneously defines as its audience: white, heterosexual guys who actively dislike — or are at least extremely uncomfortable with — women, and by extension, female characters in games. The massive success of Portal 2 proves these time-honored conclusions are, if not totally incorrect and blind to a massive and largely unacknowledged diversity, at least increasingly creaky, old-fashioned, and out of touch with the industry’s shift into a mainstream form of entertainment. And hell, even if they were correct, those are not assumptions that should be played to anyway.
I am a huge fan of George RR Martin’s A Song of Ice and Fire. Well, I am a huge fan of the first three books, tolerate the fourth, and consider the fifth one of the worst books I’ve ever read — but I am still qualifying myself as a huge fan since I am looking forward to the rest of the series regardless of my displeasure with A Dance with Dragons. But I am also cheap and slow, so I have yet to watch any but the first episode of HBO’s adaptation, A Game of Thrones. I keep meaning to, but then I just end up watching another season of Starz’ Spartacus instead. But when HBO and local villain Time-Warner Cable announced an exhibit of props from the show as part of the push for the new season, I was interested enough to go. Unfortunately, so was most of the rest of New York.
This is the first of what will be many random summaries of wandering and day-to-day adventures. I tend to get bogged down in research and endless expansion of scope when it comes to writing about the strange and entertaining sights across which I stumble (or deliberately seek out) throughout the week, which results in articles never actually getting posted. These frolic write-ups are summaries, really, with minimal background information or historical context. Some of them will be expanded upon later, and others don’t really afford much expansion. But they will be presented here so that we may, together, enjoy frequent romps through whichever city, town, or wilderness in which we happen to be wandering.
Watch enough of the types of movies that regularly occupy the screens here at Teleport City, and at some point you will undoubtedly find yourself lifting your arms up into the air toward yon’ heavens and, in a booming and suitably epic film sounding voice, beseeching Jehovah himself. “O Lord!” you will cry, “O Lord, how in the name of all that is twisted and unholy did this film ever get made?” For the very existence of some films, if not exactly a pox ‘pon the very arse of Almighty God Himself, are at least perplexing in their existence. Who, you ask the hideous phantoms that haunt you whenever you are left too long by yourself (the phantoms look like Mick Jagger in Performance), in their right mind would have ever green-lighted this film? You are especially likely to ask yourself (and your inner demons) this question if, like me, you consider “go out with a hot chick and party and drink free booze with her and your pals” or “stay at home and watch made for Sci-Fi Channel original movies all night,” to be a legitimately difficult decision. A night of movies in which Stephen Baldwin saves humanity? OK, I think I’ll out to the party. But a night of movies in which Daniel Baldwin saves humanity? I might just have to stay home that night.
My introduction to Hong Kong cinema came in the form of a crash course between the years of 1991 and 1993, when I began to discover and voraciously devour a seemingly endless parade of mind-blowing films made in the past decade. Finding the movies was hard. Finding information on them was even harder, but there was an explosion in the popularity of these films among cult film fans in the United States around that time, so though it took some leg work, we soon found that we were not alone. Together, then, we stumbled through the dark, trading tapes, raiding Chinese grocery stores that stocked videos, writing reviews for one another, publishing fanzines, and doing our best to spread, pre-internet style, every scrap of information we were able to dig up on these amazing movies. In the course of two weeks (maybe less), I think a few friends and I huddled around my massive 10-inch screen TV and watched A Better Tomorrow, The Killer, Swordsman, Zu, Once Upon a Time in China, and A Chinese Ghost Story. We sat there another week and just drooled. Though I love each of those movies, there was something about the elegance, beauty, and melancholy of A Chinese Ghost Story that made it stick out as my favorite of the time. Decades later, it’s still one of my absolute favorite movies.
Japan’s occasional flirtations with an interest in vampires are, like most things having to do with Japan and Western pop culture, a bizarre mix of revulsion and fascination with the foreign — a dichotomy that is almost certainly (in my eyes) born of the interests of the young simply not lining up with the prejudice of the old (something that is not unique to Japan, or to any culture). One portion of the Japanese population can import and read home-grown vampire fiction as cautionary tales about the corrupting influence of the foreign on Japan, while another portion of the population can read those same tales and simply walk away having enjoyed a fun horror story about strange creatures. The presentation of vampires as symbols for the threat of and infection by the foreign is hardly a uniquely Japanese trait. The very foundation of modern pop culture vampire lore, Bram Stoker’s Dracula, is basically a cautionary tale about swarthy Eastern Europeans with weird customs coming to the “more enlightened” west of Europe and Britain to mess things up and steal women.
As a kid, I was a sporadic comic book reader at best, thanks mostly to growing up pretty far from just about anywhere. Within biking distance, as long as I didn’t tell my parents I was riding that far, was a Convenient food mart where my friends and I could exchange our hard earned chore money for the currency of American youth — baseball cards, squirt guns, superballs, and on occasion a comic book. As a monster kid who grew up staying up late and watching the classics on “Memories of Monsters” and the sometimes less-than-classics on WDRB’s “Fright Night” featuring The Fearmonger, my favorite comics weren’t the superhero fare upon which the industry was built. Instead, I always favored the monster comics like Marvel’s Frankenstein and Werewolf By Night. The closest I would come to superheroes was Dr. Strange, who occasionally tooled around in a dune buggy with a green bodybuilder in purple pants, a naked silver guy, and an elf in Speed-O’s. Easily my favorite comic above all others, though, was Tomb of Dracula.
Maintaining the most notable presence amid the scattered remnants of Louisville’s once mighty whiskey distilling industry is Brown-Forman. Their facility near the corner of Dixie Highway and West Broadway (right across the street from Heaven Hill) is crowned with a giant bottle of the distillery’s signature product, Old Forester Bourbon. There is a second location a little further up the road at 2921 Dixie Highway, where I believe most of the distilling takes place, but it doesn’t have a giant bottle of Early Times or anything on it. About the only thing to see when you drive down the service road to that facility is a security guard who will politely but firmly tell you to turn around and please don’t take any photos. Neither location is open to the public for tours, but at least the 850 Dixie Highway location sits right on the highway, so you can stand on the sidewalk and take photos of the building and the giant bottle of Old Forester — though if you are particularly nerdy and linger around too long trying to get your photo just so, the guard at the front gate might get suspicious and start making calls.