TRIGGER WARNINGS – because everything needs a trigger warning these days.

DISCLAIMER – I’m a Cis-Hetero-White-Male

The view from where I stand is pretty damn good. I can see everything clearly which allows me to make judgements. I can pick and choose my crosses to bear and give my support to whichever ideology or cause I want.

As a CHWM life is fucking sweet!

Continue reading

Colour Me Gobsmacked

Somethings cannot be explained in one simple blog post. So I’m doing a series of reviews of Mad Max: Fury Road. This one is about the colours used in the film.

Twenty-four hours ago I was sitting in a theater watching Mad Max: Fury Road. If I had a choice, I’d still be there, watching the film again and again and again. The Judge who made the statement about pornography being difficult to define, but you know it when you see it, also applies to art.

I can’t explain why a 1954 untitled painting which consisted of a block of blue paint and a block of yellow paint recently sold for $45 million. But clearly, to someone it was art. Films can be like that, except pornos. You kinda know what you are looking at when a porno film is on. Continue reading

Wizards (1977)

Wizards (1977)  Director/Screenplay/Producer – Ralph Bakshi,

An illuminating history bearing on the everlasting struggle for world supremacy between the powers of Technology and Magic.

PLOT: It is two million years after civilisation has been devastated by a nuclear holocaust. The radiation has caused races of elves, dwarves and fairies to mutate. In the elvish kingdom of Morganthar, a queen gives birth to two sons who are psychic opposites of one another – the charming Avatar and the vile Blackwolf. Both become powerful wizards. Avatar becomes the ruler of Morganthar but Blackwolf reviles his name and chooses self-exile in the kingdom of Scortch, a nuclear wasteland. There he rallies the mutants and demons of the underworld under him, although they lack the volition and unison to be an army. However, after researching into history, Blackwolf discovers all about weapons of war and finds that he can unite the troops together around old film footage of Adolf Hitler. Wizards


Bob Holt – Avatar, an old but powerful wizard

Jesse Welles – Elinore, Avatar’s love interest

Richard Romanus – Weehawk, a noble elf warrior

David Proval – Necron 99/Peace, Blackwolf’s former minion. He is renamed Peace by Avatar.

Steve Gravers – Blackwolf, Avatar’s evil brother

James Connell – President

Mark Hamill – Sean, king of the mountain fairies

Susan Tyrrell – Narrator (uncredited)

Ralph Bakshi – Fritz/Lardbottom/Stormtrooper (uncredited)

Angelo Grisanti – Larry the Lizard (uncredited)


Ralph Bakshi is one of cinema history’s most tragic figures. Certainly the most tragic in animation. By which I mean that the financial success of his films fell short of his vision and genius for storytelling.

With grand vision hampered by a far less grand execution, projects like his Lord of the Rings film remain as cult-classics because of the vastness of the vison (and the vastness of the vision of the source material) that trying to make one film to encompass it all was impossible. Sir Peter Jackson made 6 films to tell the same story.

For me, Ralph Bakshi’s Wizards (1977) remains as the pinnacle of his creativity. An original story, a fantastic mashup of fantasy, science fiction, post-apocalyptic adventure and ultimately, a war film.

The film opens with Susan Tyrell’s droning voice over. She was so unimpressed with the project that she asked to not be included on the film’s credits. However, her timelessly aged voice has always been one of the great features of the film and she has regretted her request ever since.

Some reviewers speak ill of Ms Tyrell’s voice over. To me it encompasses everything that the film is about. It’s a voice of an ancient Gaia – the Mother Earth spirit. A world that has been torn and burned and ravaged. Has been engulfed in an epic firestorm of nuclear weapons and has healed over millions of years. A world with scars and the weight of billions of years. That is the voice of Susan Tyrell. It is eerie, and ancient and spine-tinglingly good.

The soundtrack varies from 70’s guitar wa-waah to haunting electronic synth. It feels like a 1970’s rock opera overture through most of it. The overall sense of the music is a lyrical jazz, experimental rock n’ roll fusion.

Fox Studios refused Bakshi’s request for further funding, and the DIY nature of much of the animation is part of its unique charm. The rotoscoped battle scenes from classic films looked really good, so Bakshi decided there was no need to animate them further. He paid for the additional footage and animation out of his own pocket when the studio money ran out. George Lucas also asked for more money for Star Wars around the same time (they refused his request too).

Famous artists like Ian Miller contributed backdrop scenes, particularly for Black Wolf’s city and the more pastoral Montegar.

Historical allegory is the most important theme of this film. Twenty-five minutes in and the stage has been set with a direct metaphor for Nazi Germany’s rise in Nationalism and rebuilding of their war-machine in the 1930’s.

The chilling part is the scene where the elf veteran of the previous wars is chuckling about what useless troops Blackwolf has. His confidence is matched by his fellow troops, though the young soldier who has no experience is less than convinced. The scene that follows is one of the grimmest ever put to animation. It cements Wizards position as an adult animated film, not a family-friendly movie that you could let your kids watch.

Wizards has rightly become a cult classic. The initial box-office taking was small, but this is a film that is just as relevant now as it was 25 years ago.

Rating: #3 in my Top Five Films of All Time




Meanwhile across town…

In an experiment to reduce speeding in a town, a consultant put up signs that advised motorists that each month, a random driver recorded as driving at the speed limit would receive a $500 cash prize. The average speed of the road users dropped to the posted speed limit overnight.

The message there is that we respond better to positive reinforcement and incentives.

So while things are irritating in one aspect, other things are far more positive.

Paper Road Press – the publisher of Engines of Empathy, is having a giveaway of the book later this week on Goodreads.

They are also keen to support the new graphic novel project I am working on in conjunction with KC Bailey – artist extraordinaire. Given the workload for Paper Road right now, publishing a graphic novel is not within their capacity.

The other exciting news around the graphic novel project is that we may have a publisher who will take on the publishing side of things (as publishers do). That will mean book store distribution, full colour copies of the graphic novel and other delightful things.

No guarantees on that yet of course. But it’s looking like it might possibly could happen.

Severed Press have contracted me to write two marine thriller novellas.

I’m working on a kid’s book project with another company.

I’ve got some short stories out now, or coming out this year.

My new job is good.

Mad Max: Fury Road starts on Thursday. I shall see it. Several times.

Barely Audible

Listen to many, speak to a few.

~ William Shakespeare

 Well it’s Permuted Press royalty statement time again. The sales figures are as expected across the books I have with them. The thing that caught my eye was that there is no listing for the audiobook editions of Tankbread. The audio book rights were part of the original contract, signed over to Permuted. Some books get made into audio, but I think that has dried up a lot since Amazon took over Audible.

I queried this lack of reporting and got the following response:

The absence of Tankbread sales on your statement is due to the specifics of the agreement Permuted made with Audible for the license of those rights.  In essentials, Audible paid a large lump sum for the sale of several titles, (which were applied immediately to said titles: I can send you a statement when it was paid if you would like), under a 7 year royalty free period. It was estimated that most of the licensed titles would not earn out from this advance in less than 7 years if it had been applied as a regular advance/earn-out circumstance.  After this period, all sales are reported and paid normally.

So it’s not the contract I signed. It’s the contract Permuted Press signed. I do recall getting a royalty payment (credit against advance) for the audio book. I got the same thing when they sold the foreign language rights for a French, Italian and German edition too. The royalty rate is based on the print edition – so the amount credited to me is bugger all. I’m still have over $700 of advance to earn back (remaining advance on 6 books).

I can be relieved that for once it’s not just me that’s getting screwed, oh wait, yes it is. Like the Human Centipede, I’m at the end of a line of shit that gets less palatable once everyone further up the chain has had their chew on it.

If I had killed the narrator instead of having him produce an audio book, I would have gotten less than 7 years.

What is more alarming is that after my post about not being able to get the rights to my books back from Permuted, because “They didn’t want to set a precedent…” I was contacted by several ex-Permuted authors who also requested they be released from their contracts. All of them were given their rights back, no problem, no charge. Which means when it comes to my books, the precedent has already been set, with some minor variations:

  1. I don’t know if those other authors had their foreign language rights sold
  2. I don’t know if those other authors were “this close” to a film rights optioning deal for their book.

The frustrating thing is that the movie deal didn’t go ahead. Even if it had, it might have taken years, if it was ever made at all.

But, now (and this is the ironic bit) like the old man in Tankbread 3 who 200 years after the apocalypse still clutches the winning lottery ticket that scored right before the shit hit the fan – they are going to hang on to the rights in an apparent just in case hope that lightning will strike where there was only a forecast of possible cloud previously.

Assholed By Facebook

Facebook and the Puritans are continuing to ensure that your moral outrage is given all the power and encouragement it needs. By sharing a post from Go Topless.org which supported women’s rights to breastfeed (seriously, why is this not normal and accepted and just you know, biological?) I have been assholed by Facebook. Suddenly my account is suspended. Obviously some incredibly uptight assholes decided that I had rent the moral fabric of our society and WILL NO ONE THINK OF THE CHILDREN? So they reported my shared post in numbers too big to ignore.

So I’m off Facebook. No discussion. No trial by jury. Just a – you’re out cos we don’t like people who support people who do normal things. Boobs make us uncomfortable.

So if you want me, I’m on Twitter @paul_mannering and of course you can follow this blog.

Yeah, I could make a new profile and start building up to the 4700 “friends” and followers I had on Facebook – but do I really want to stick my dick into that rat infested sewer pipe twice?

Max To The Max

The Nightrider. That is his name… the Nightrider… Remember him when you look at the night sky!

~ Toecutter “Mad Max”


HP Lovecraft was plagued by aggressive lint on his suit jackets.

In the small town where I was born and raised, on a dark and mountainous coast that would have made H.P. Lovecraft uneasy, we had one movie theatre, The Mayfair. Films were shown on Fridays and Saturdays each week, by the next week, it would be something else.

The place was old with leather seats and sculpted plaster sconces that spoke of a grander time.

The old theatre was my favourite place in the entire world. We didn’t have a TV, so films were a speedball directly into my eyeball and fevered imagination. It was here I walked out of The Wizard Of Oz and it stands as the one film I have never seen, and never will. Here’s why.

In August, 1977 we were living on a small farm, under the shadow of a mountain range, between the mountains and the sea. It was an alluvial flood plain, which meant that if there was a market for river smoothed grey rocks, we would have lived like kings. Most of the paddocks were more rocks than dirt and I remember spending many long hours loading them onto the tractor trailer and dumping them along a fenceline.

Our farm looked like this – but with more grass


Early one morning that August, we were hit by a storm. Due to the shape of the land the wind would come down off the mountain like an X-Games skateboarder and we were at the bottom of the slope. Gusts would come through and tear roofs of houses, rip trees out of the ground, and 7 years later another storm of the same variety it tied 1 inch thick angle iron into knots.

Our car was crushed, trees came down on the house, and we spent weeks clearing fallen trees. I was five years old and it was my first experience with what we would now call PTSD.

A year or so later, we went to see The Wizard of Oz at the local movie theatre. They often played kids movies in matinee sessions. I vaguely remember getting to the bit where the tornado hit, and then I was outside. I have no idea what the rest of the film is about. I know there was a girl and red-shoes and witches and a road. I still can’t watch it.

The only other film that freaked me out as a child was Star Trek II: The Wrath of Khan – and that was just the scene where they put the bug in Chekov’s ear. I went to the bathroom for that bit and then loved the rest of the movie.

The idea of restricted films was of course something we were in awe of as kids. R13 – cool… R16 ooohh… R18? What the hell could qualify for an R18 rating? Discussion suggested in a movie with an R18 rating, people actually died.

The gave this movie an R18 rating because people died in it!

Along with the usual kids fare, I saw all three Star Wars movies in that theatre. The resounding shock I felt when Luke Skywalker’s parentage was announced resonates with me still. One of the great frustrations was when we were away the one weekend that the Mayfair was showing Battletruck, the Kiwi version of a Mad Max dystopian action movie.

My love affair with all things apocalyptic really started with that film. Having missed it the first time around, I got into see Mad Max instead. Then Mad Max 2 and later, in a much larger movie house in Christchurch, Mad Max 3: Beyond Thunderdome.

What is it about the Mad Max franchise that completes me? I’m not entirely sure. Perhaps it is the fact that Max was never a good man. He was a driven, angry, killer. In D&D terms, his alignment was Chaotic Neutral. He looked out for himself and did what he had to, just to survive.

The insurance excess on this is going to be killer…


Sometimes he would do good, other times he would do evil – always looking out for number one and always surviving. I guess I felt a connection with his sheer grit and grimness. This was a man who knew pain. He knew misery and he kept going.

It’s not some boyish hero fantasy, I had shit going on that left me with an intense feeling of connection with the tortured soul of Max.

With Mad Max: Fury Road finally coming to theatres in 9 days’ time, I feel that I’m in a different place now. Calmer, less tortured and still completely mad for post-apocalyptic fiction. George Miller has an eye for the grand. His visions of barbaric wastelands have always been unlike anyone else.

The epic scale of the madness of the land and the people who have become savage and primitive in it, has always required a character like Max. If you fight fire with fire, you fight insanity with madness.