What impressed me was the hardware, and how they used the correct holsters for the revolvers as well as wearing them correctly for a duel situation.
Ganon has a Colt Conversion, which was an old cap-and-ball revolver factory refitted for all-in-one bullets. More than that, he uses a cross-draw technique where as Zelda and Link have Colt Model Ps where hip-draw was more often used.
My only complaint is that Link’s gun was way too long to be a viable quick draw weapon, but that’s me nit-picking. This is a fun video, especially if you’re a Zelda fan (the costumes are fantastic, too)!
“Those wild hills are surely the outpost of a frightful cosmic race––as I doubt all the less since reading that a new ninth planet has been glimpsed beyond Neptune, just as those influences have said it would be glimpsed. Astronomers, with a hideous appropriateness they little suspect, have named this thing ‘Pluto’. I feel, beyond question, that it is nothing less than nighted Yuggoth––and I shiver when I try to figure out the real reason why its monstrous denizens wish it to be known in this way at this especial time. I vainly try to assure myself that these daemoniac creatures are not gradually leading up to some new policy hurtful to the earth and its normal inhabitants. … Sometimes I fear what the years will bring, especially since that new planet Pluto has been so curiously discovered.”
What made H. P. Lovecraft a “good” writer was not his ability, no doubt. Mechanically, he was not particularly skilled beyond a firm grasp on a large, archaic vocabulary. What made him great was that his main interests––possibly even beyond that of weird fiction––were not creative in the aesthetic sense at all. When he wasn’t writing, he was an amateur––though incredibly capable––historian, architecture enthusiast, and (most importantly, I would argue) astronomer. The differential between Lovecraft’s juvenilia and mature writings is how he expresses the knowledge he acquired through severe practice and process. In his youth, his writing tended to focus on the aggregation and expression of this knowledge in the form of almanac entries, newspaper editorials, etc. As an adult, he instead used this knowledge as a foundation for his fiction, which guided rather than instructed the reader. It’s the same principle that guides writers like Kim Stanley Robinson, David Brin, and Cormac McCarthy. (David Brin basically instructed me to do as much when I e-mailed him about writing early in the days of the internet…I am an apologist for The Postman.) All of these writers embody and benefit from the mixture between creativity and science, and it’s something I think should be emphasized more in today’s scientific––and artistic––climate.
Not perfect. Not terrible. It’s D. Bethel approved (especially the first hour).
Recently, I was interviewed by webcomics interviewer extraordinaire, Kurt Sasso, about Long John. Kurt has been running the TGT podcast for years and it’s a fascinating podcast if you enjoy listening to people talk about being creative. It started as a webcomic-centric podcast, interviewing only webcomickers, but Kurt has wisely branched out and has been busily making TGT into a media empire.
Before this new interview, I had been interviewed by Kurt twice previously, both with Eben07. Originally, we were interviewed in 2008, and then again in 2010. It’s crazy to think it’s been five years since I last sat down with Kurt, but it was kind of like coming home. Kurt’s podcast has been an interesting hub for webcomics over the years and I would argue his outlet and talent are really underappreciated. He gave a lot of burgeoning webcomics their first interviews and, with his wide-reaching associations with nearly everyone, has probably been a major step toward what were small-time comickers becoming big league. So, let me just take this space to thank Kurt for all he has done for this field. He’s a hero. A Canadian hero. So, a polite hero.
Kurt has switched from audio podcasting to video, and I must apologize for my crappy internet during the interview; it seems to crap out every now and then and always right when I’m beginning to make a point (thanks karma). Also, my camera is cheap and, for some reason, it stretched everything out horizontally. Noted. I will upgrade my equipment accordingly for next time.
This is the first time I’ve talked about Chapter 2 on an interview, so you get a little bit of the thematic background involved with its creation, which could be interesting as we move forward with it.
What surprised me most was how much I actually talked about teaching––something I don’t address too often on the site, but it is of huge import to me as a person and has, without a doubt, informed my creative process as well, so it’s interesting to look back and hear how I link the two because I didn’t realize I was doing it at the time.
I hope you enjoy the interview and ask any questions for clarification or make any comments below!