Tuesday, March 21, 2017

#HearTheWatchmen Christian Gathering 2017


HEAR THE WATCHMEN 2017 in Dallas  March 31-April 2 at the Hilton DFW Lakes Executive Conference Center.



Surprisingly absent is STEVE QUAYLE. ( http://www.stevequayle.com/ )

I have offered all the of the speakers who hold Twitter accounts free copies of THE LOST BOOK OF KING OG or THE BOOKS OF OG, ENOCH AND THE GIANTS.

LA Marzulli ( http://lamarzulli.net/ ) is probably the top of my list who would get the most out of it.

If you are attending the HEAR THE WATCHMEN 2017 in Dallas TX and would like a copy of either THE LOST BOOK OF KING OG or THE BOOKS OF OG, ENOCH AND THE GIANTS, please find me on my TWITTER account and make a request.


The LOST BOOK OF KING OG fits right into the Genesis 6 Giants era. It is a scholarly tome that features the transcribed words of KING OG OF BASHAN, the Rephaim giant.


This is about all I have left to say on the subject. If you have questions, please contact FATHER MARTIN, he is the source of this translation and the current marketing push. 
( http://www.nephilimwerewolf.com/ )

I am back to finishing off my novel THE GONTEEKWA.

In Darkness,



Saturday, March 18, 2017


The Lost Book of King Og has been published.

What has been even more interesting than that has been finding middle ground with Father Martin for the 2nd edition. We both agreed on the title which is THE BOOKS OF OG, ENOCH AND THE GIANTS. It has been amusing. I did in fact suggest that we also include the BOOK OF JASHER, and I caught a serious earful.

How was I supposed to know that the 5 different available copies are all forgeries? I feel that Father Martin's "shut-down" of my suggestion wasn't properly handled. His response? Something like this:

"We are only publishing verified books from antiquity."

This means the following:
The first 36 chapters of THE BOOK OF ENOCH

There is more to say, but I am up against it right now and I have to go.

The BOOKS OF OG, ENOCH AND THE GIANTS are available here.

In darkness,


Wednesday, March 15, 2017


It is with a lot of excitement that I post this.

The LOST BOOK OF KING OG has been published.

However, Father Martin and I have settled some of our arguments long enough to publish

What this book presents are all of the ancient arguments regarding giants from a more-or-less "Biblical" perspective.

Enoch's verses are cited in the Book of Jude. This means that they were INSPIRED BY THE HOLY SPIRIT. Or at least, so me of them were. This makes the first 36 chapters of the BOOK OF ENOCH definitely a worthwhile read. Enoch specifically zeroes in on the origin of the giants.

The Manichean BOOK OF GIANTS is more or less, a branch from THE BOOK OF ENOCH. The story of the origin of giants is fleshed out a bit more in some ways. There is a LOT of text missing however, even with the Deas Sea Scrolls discovery in 1946.

THE LOST BOOK OF KING OG rounds the volume out by telling the other story. THE LOST BOOK OF KING OG are the verses dictated by KING OG of BASHAN (prior to his ruling that area).

The culture of the giants is captured. The loss of their women is explored. So is the concept of the [Moonchild]. The origin of circumcision is explained. The existence before and after the great flood is told as well.

The BOOKS OF OG, ENOCH AND THE GIANTS is also populated by essays from Father Martin. I really let him loose on this and didn't cut out more of his controversial remarks. In short, Father Martin is struggling with his faith, and he presents this rather humbly throughout the book's text.

THE LOST BOOK OF KING OG available here


My next writing project, THE GONTEEKWA will be available sometime in July of 2017.

For more information on the assembly of THE LOST BOOK OF KING OG pleace check the OFFICIAL WEBSITE.

If you wish to contact FATHER MARTIN you can try through his website. I must warn you that Father Martin is basically a luddite technophobe. He still has an AOL email account, if you get what I am saying. Whatever the case, FATHER MARTIN is available here.

In darkness,


Sunday, August 28, 2016

Father Martin's Insanity

When dealing with forbidden texts and questions close to your heart of hearts, there can come a breaking point.

The real-time processing of Nephilim, Rephaim, werewolves and a general re-interpretation of the flood myth would be enough to throw anyone over I suppose. Especially if you're a Jesuit.

I believe that is what Father Martin is experiencing.

While I am thankful for all of the Gonteekwa and King Og insight that he has given me, there is going to have to be a break in our communication.

His musings, and his latest Vatican reveals will be at his website NephilimWerewolf.com

I will always have a deep respect for the man.



Wednesday, August 24, 2016


It's kind of a relief to just throw that title, THE COSMIC EGG OF FNARK out there. I have been guarding that word "Fnark."

Let me re-tell you what I told you back here with some more details.

When I graduated from the University of Victoria in 1996, the gift that my father gave me was huge.

He'd mentioned for years that he'd collaborated with Philip K Dick on something, but never mentioned what. I'd asked him more and more over time as I studied Dick's work and bumped BLADE RUNNER up to one of my all-time favorite moves.

[I am going to call BS on Dick though. That quote of his "It is just as I imagined it!" as he watched some dailies of Ridley Scott's BLADE RUNNER has got to be a bald-faced lie. DO ANDROIDS DREAM OF ELECTRIC SHEEP does not even come close to the tone that SCOTT set. But hey, I guess it's subjective.]

So my father sent me his only copy of THE COSMIC EGG OF FNARK. In the satchel of papers that I received, there is a publishing contract, and a note from DICK's himself suggesting directions to go in.

Now I don't know exactly what my father went through with this thing, but he never landed the fish. There were no notes of his additions to the thing, it was all DICK's words.

The advice my Dad gave me was to "take a run at it." His take on it was that this was a big exercise. That there was talent of my own to sharpen. I asked him regularly what format he saw me producing it in. His response was to just start writing.

At the time I was working as a secretary at a real estate office. On-shift I pieced together a re-telling of the 26 page treatment through the eyes of a much younger man. Its nothing I'm proud of. I never let it see the light of day and parked the thing.

There have been opportunities and paroxysms of interest over the years, but nothing interesting.

A few years ago, I wound out clocking a lot of time with the TALKING MAGPIES. Those guys know how to write and have comprehension of plot and nuance that I appreciate. In fact, the draft that we wrote is one that I am proud of.

However, as we loaded up the war machine to get it published or into the hands of someone who really cares about ushering DICK's hidden writings into some sort of media form, stuff got wonky.

We got a lawyer on the job. We looking into copyright law and rights. The whole time we were pinging the DICK estate nonstop to see if they were interested in it on any level. My ultimate thought had always been that the kids of PKD would want to know something about their old man that they might not have known before. I'm left to consider that pre-production for Amazon's THE MAN IN THE HIGH CASTLE was in full-swing and they couldn't be bothered.

I have just come off of a 3 week braintrust with the Magpies again, trying to lock the story down sans DICK. We like the work that we have done. The window-dressing around the spine of the plot is stuff that makes me excited. Its some of the best sci-fi I have dealt with in awhile. I know that I am biased because it is my own (combined with the Magpies') writing, but I'm telling you, the ramp-up that we do to the story is enough to keep you on the edge of your seat. We ramp up the mystery and the chaos up until the 3rd act, and then the revelation of the FNARK is made known.

Here is where I am finally at: The spine of plot in THE COSMIC EGG OF FNARK is corroded. What PKD originally presented was a twisting, convoluted story that ultimately questions the value of human life and immortality.  In fact, a lot of what he was wrestling with in DO ANDROIDS DREAM OF ELECTRIC SHEEP is present. However, that corroded spine isn't strong enough for the muscle that we want to hang on the limbs. That corroded spine is the last of DICK's DNA in the project, but it doesn't really hold up. Also, I find that with all of the shackles of the copyright lawyers, its hard to smooth over some of the sutures that we have done with the plot.

We're tossing in the towel.

We have a cooler story we're working on anydamnways. One that touches on such grand subjects such as immortality and infanticide. Its much truer and closer to the zeitgeist than THE COSMIC EGG OF FNARK.

So for all of you who surfed in here based on the title of this blog, yes, its true. There is another PKD manuscript out there and I have it. The MAGPIES have a copy of it too. That's it. We really tried to get it out, but we couldn't do it. The story captivates my imagination, but without the DICK estate involved, its dead in the water.

I have to bring it all back to my old man (who died in 2007). I followed my marching orders. I did in fact "take a run at it." I know he would have liked what we did. He also would have liked the TALKING MAGPIES as well. At the end of the day, this project was a salute to the old man. I feel I did right by him.

Monday, May 9, 2016

Scroll Forward 20 minutes

These guys are citing THE LOST BOOK OF KING OG in their end-times podcast.

Amazing. I'll explain it to that Luddite Father Martin.



Publishing my editor's note and the o.g. text right here:


*Editor’s note:
This is the only Aramaic translation of the remaining chapter from THE BOOK OF KING OG the Giant.  This text (which was lost/hidden because of a historic, calculated move by Pope Pius XII to separate it from the Manichean Book of the Giants) has been the source of great speculation within the research halls of the Vatican for centuries. Originally, both Latin and Aramaic versions existed. The Latin version was censored and destroyed by the Catholic Church in the 5th century CE. 
In fact, the Catholic Church originally posted the following words of anathema in regards to THE BOOK OF KING OG and other forbidden texts:

… and whatever disciples of heresy and of the heretics or schismatics, whose names we have scarcely preserved, have taught or compiled, we declare to be not merely rejected but excluded from the whole Roman catholic and apostolic church, and its authors and their adherents to be damned in the inextricable shackles of anathema for ever.

Chapter 7 from the Aramaic has been recently authorized as “publishable” and is mostly complete. There are light fragments of the first 6 chapters that I will post as they get cleared by the Vatican.
THE LOST BOOK OF KING OG is referenced by association throughout (relatively) recent history, perhaps most notably in the NEW HISTORY OF ECCLESIASTICAL WRITERS published in 1693. In this reference book, the BOOK OF KING OG is described as, “Forged by Jews and Hereticks both Fabulous and Erroneous.” What I have come to conclude is that this has been an elaborate Catholic-ordained suppression of key Biblical knowledge.

Furthermore,  there is an element of disregard for the text in the court documents of the Blasphemy Trial of C. Southwell in 1841 (which was ground zero for the modern atheist movement).  In those trial documents, there is a reference to THE BOOK OF KING OG that has been “lost” and is full of “fables and errors.” However, what I have been learning is that this is a forbidden text that questions the very roots of modern Christianity. Chapters 1-6 tell the story of an antidiluvian and postdiluvian (prior to and post flood) world  that has never been told before.

With Constantine’s systematic destruction of non-Christian texts in and around 326 CE, and the following Gelasian Decree of the 5th century CE, knowledge and/or reproduction of Og’s verses were rendered impossible. The remaining damaged tablets of THE BOOK OF KING OG are currently under lock and key deep in the Vatican. What is transcribed below has been culled from the last remaining tablet/chapter housed in the Secret Vatican Library at the Department of Ancient Documents and Surviving Occult Findings. This department is curated under the Vatican’s residing American Bishop and translator, Father Martin (currently traveling abroad).

In short, Father Martin has access to sections of the Manichean text that has been unknown and unavailable to any other scholar in this field until now.

An interesting aspect of chapter 7 is the speculation that King Og himself dictated the words in preparation for the incoming attack from Moses that is cited in the Bible in Numbers 21.  As far as Father Martin has informed me, these are the only known writings of any of the Rephaim.
I apologize for breaks in text. I will cite them in brackets. I will also transcribe that which Father Martin was unable to translate as follows: [. . .]. Speculative text will have no ellipses, for example: The[quick brown fox] jumps [over] the[lazy] dog.

Regarding speculative text: Most of the words that Father Martin used in his translation of the original Aramaic have been the source of many, many discussions. I argued for “broader strokes” for brevity’s sake. It was painstakingly agreed between Father Martin and myself that italicized words now signify “broader translations.”

All translation liberties taken have been cleared by Father Martin and a panel of his direct Catholic superiors. What you see below is the most efficient reading of Chapter 7 of the Lost Book of King Og.

This website is the result of months of late night discussions and study stateside with Father Martin, a close personal friend of mine. – DEMMON

Numbers 21.
“Do not be afraid of him, for I have delivered him into your hands, along with his whole army and his land, Do to him what you did to Sihon King of the Amorites.”
#Og #KingOg #Nephilim #Rephraim #OldTestament #Catholic #Canaan #Giants #PreAdamicCreation #HundredThousandGiantWar

Dated in or around 1400 BCE.
CHAPTER 7 – The Final Words of King Og
¹Did you think, O [corrupt worm] of [Israel], that I did not stand above [. . . the great wa[ter..] in the [mountains]? ²You who have never touched the sky or stood two cubits over another man. My meditation [my dreams] are your [. . .][death]. Baal will see to it, worm. Behold, I am Og, the largest man in the land. What can you possibly do to me? Are you [prepared to die]?
³I have watched you[. . .] crawl into the [light] as a corrupt [fecal worm]. I have watched your mother Egypt [. . .] eat your young. ⁴I watch now and  I [ponder] is this why you now war with me, O [worm] of Israel? [You have sl]ain my neighbor in Sihon. Baal will avenge [. . .]. Both Baal and Baalat will [. . .empower me. . .] to sever the corrupt [worm] with force. ⁵[ . . .your false god. . .your weak [little] men. . .] I Og spit upon your warriors who trail like ants [. . .beneath. . .][feces]. I [wipe] the spittle from my beard. I will arise when ready. […] [the strength in] but one arm will [break] the [horn] of [Israel].
⁶Are the tales of my [exploits] not [traveling] to your itching ears O corrupt [fecal worm] of [Israel]? Of my power [. . .how I did battle. . .] against the [unspeakable] [monsters] in the renowned fields alongside my [Watcher] and [Nephilim] parentage? [. . .how we moulded to murder. . .] How we turned our wrath [. . .mercy. . .a foreigner. . .] where the old world [monsters] stood. Stupid, [fecal worm]. Stupid corrupt [fecal worm]. Your ox-like stupidity tires me to [sleep].
⁷O bitter, [blackened] corrupt [fecal worm]. Did not my [royal] [sorceresses] of Baal dance and prophesy of your arrival? Have we in Bashan not dreamed of your [murder]? My soothsayers tell of our [. . .victory. . .worship. . .sacrifices. . .]. My priests speak of [sorcery.and perversion] Baal has spoken [. . .] of when I will [tear] the [child skull] of the corrupt [fecal worm] Moses from his soft body and [. . .] hold it over Bashan as [. . .blood sign to Baal]. Your barren women will sing my praises. My dream needs no interpretation.
⁸How will I [murder] [. . .] corrupt one? [. . .] [as [a] dog. . .torn by a bull at the slaughter]. Should I lift [an entire  [. . . ] mountain [of earth] over my head [. . . ]?  Is not [Baal the god] of this [earth] I live in? The kingdom [. . .] supreme Baal has thousands of [. . .] answers to [. . .the pathetic] [fecal] [insect sized] god [. . .] [Israel]. Come here, that I might b[ind you with] cords [empowered by] Baal.
⁹[. . .How many . .] castaways have you killed, since your [insect sized] god told you not to kill? Hypocrite. [. . .the spirits of the sl[ain] complain about you and cry out. [. . .] Moses, you [blood drunk feaster] upon feces.  Like a cowardly [child] with gift toys [you run] from the [skirts] of your mother Egypt to me, that we may do [battle]? I will grind your [bones]. I will [eat] all of your [fingers] to the stump. [. . .great fear] shall seize you and you shall fall upon your face.
¹⁰My [wives] concubines and [sorceresses] shall witness [. . .the. . ] slaughter of the corrupt [fecal worm] of  [Israel]. [And they will] disrobe and paint their [flesh] with [Moses’ blood] and [. . entrails. . .] before Baal.  When we celebrate on high [my] sons will carry his severed stupid [child skull] on high [over the roads. . .]. There will be screams of praise to Og. To Baal. There will be roast [flesh served. . .] To Baal. To Og. [. . .]Moses head [held high] through the [. . .] roads of Bashan. Because you want it so, I will anoint my head and beard with oil before I go to make war, with you, [insect] worshiping fecal [child skull] [defeated].
¹¹Corrupt [little worm] Moses. My spies have told me [. . .your. . .] army, and their [. . .worship. . .] for any god but yours [. . .your murder(ous). . .] Of your time in Egypt. Of your [. . .commandments. . . of laws] your barbarism and insanity all in the name of your [fecal][insect-sized] god.
¹²Corrupt [fecal worm] Moses My spies [. . .] you [made] a bronze snake [. . .] to look upon when poisoned. [. . .] you would kill your own, for not worshiping your senseless corrupt god who kills yet [. . .].
¹³Murderous little [Israel] now at the foot of my kingdom. I will gird my loins to squash [. . .]. As the last of my [. . .Rephaim. . .] The Hundred Thousand Giant War and the survivor of the great wa[ters I now. . . ].
¹⁴[. . .] after killing the [. . .King Arid. . .] then the King of Shihon and [drenched in] their wives and children’s blood? [. . .] You would gird your loins against the last of the [Rephraim]? Gird them well. It is time to stand. My hands are ready for warfare.
¹⁵In my 900th year, the stray dogs of Bashan will feast on the flesh of Israel and the [fecal worm] Moses on the roads and in the paths.
¹⁶My spies [. . .say. . .] King of  Shihon. Killing the women and children, keeping the spoils¹⁷Your corrupt [fecal] god has driven you mad. [. . .murder. . .slaughter. . .destruction] at the [. . .] hands of [Israel]. Of war madness [. . .drunk with. . .] the blood and spoils [. . .] enemies learned. ¹⁸Life is still lost even when the battle is won, [worm].
¹⁹I will release the wild beast [gonteekwa] to you O corrupt [fecal worm Israel. . .] learn its ways of connection [from] before [your time].²⁰Before your [flood] before [your Adam] we were there. From the time of monsters.²¹ My brethren [. . .in the fields] their livestock and the greater [beasts] of old.²²Creeping, cloven hoofed [monsters] that ruled [in the] [. . .] the giants those men of reknown.²³Connected in heart and mind, and unstoppable before the [gods][. . .] one mind and of one heart they ruled. These men of old and their beasts [driven] [before] [them]²⁴Beasts that controlled the men as the men controlled the beasts. O stupid corrupt [fecal worm] Moses, the heart of an animal and the mind of a giant.²⁵ It [is time] for you to share your [soul] with [other] greater.
²⁶[I want no] victory [spoils] [just your. . .] stupid head.
²⁷[. . .] train for [. . .] [strange] weapons.
²⁸Make war [. . .] little man. Make war [. . . ] corrupt little worm. For Baal I’ll spread [. . .]blood [. . .]
²⁹ I have been training as one trains their oxen. My back and arms are ready. My life [. . .] is to [. . .] [fecal worm]. I will tear your backbone [. . .]  [your backside. . .]
³⁰ For Baal I will pull the [. . .] bearded [fecal] [child skull] of Moses from that [stupid] body. I  Og the last of the [Rephaim] [. . .]how long Moses has to live [. . .] since the Hundred Thousand Giant War.

Sunday, July 27, 2014

ALTERED, A really dark movie by my friend Kely McClung

I consider my friend, writer/director/actor Kely McClung, one of the most professional filmmakers out there.  He means business with his product.  I have felt that my dealings with him in regards to his craft have been like crash information courses on how to make a well-crafted independent film.

I have spent hours on the phone with Kely, discussing how to market his products, and hearing the woes of film production.  Kely always remains upbeat, draws on a strength from somewhere, and continues making movies, because that's what he loves doing.

The product that Kely brings to the table is always good.  The actors are acting, not struggling. The camera usually finds the most interesting angle to work from and delivers.  The sets are always superior.  An example is the graffiti'd-out, abandoned-building set in KERBEROS that is almost as fascinating to watch as the actors onscreen.  When KELY started telling me about where he was going to be filming his new horror show called ALTERED, I was excited.  Abandoned churches? The seedy sidestreets of Chicago?  I was totally in.

I'd also been sent the script, so I knew what I was in for.  I knew that there were multiple storylines featuring the same actors, in different "altered" universes, all working their way through a variety of disturbing sequences.  In fact, when Kely sent me the screener, I trashed all of my regular plans for my Thursday night with my writing crew and I sat them down and forced them to watch the latest film done by my friend.

We were all rendered speechless, and that was several months ago.

What Kely has brought to the table with ALTERED is something that I was not (and am still not) prepared for.  ALTERED has the same high-production value, and those same elevated acting chops that I have come to expect from a Kely McClung film. However, I'll be damned if I am going to watch it again.  In short, ALTERED is just too dark for me.

There is an R-Rated sensibility that movie-watchers soon master.  The sensibility is that certain bad things will stop at the last second.  The knowledge that the viewer won't have to go over the cliff headlong into an abyss of negativity.  The hope that there will be someone who will save those that suffer.  ALTERED, because of its multiple storylines and general mission is rarely nice to the viewer in the aforementioned departments.  If there is a concept out there that offends you or hurts your feelings in some way, there is a good chance that said concept is in ALTERED. 

Kely has dug deep into the depraved areas of the human psyche and has delivered a film that crosses most of my comfortable barriers.  In fact, had I known that this film was going to hit me as hard as it did, I would not have watched it.  Furthermore, I had been warned.  I'd seen the script.  I knew more or less what was coming.  But I was in no way prepared for the final delivery.

Kely's no-holds-barred storytelling and film-direction are dangerous, dangerous tools in the case of ALTERED.  Whereas, I understand the level of depravity that Kely has corralled in this film, I am also troubled by what it does to myself personally.  Am I weak and milquetoasty simply because I can't take the vision that Kely is trying to articulate?  Shouldn't I be able to shrug off the deepening layers of moral vacuousness that Sarah (Amanda Dreschler) experiences?  I would think that with the amount of hard-hitting film that I have consumed over my life, that I shouldn't be as jangled as I am at the core about ALTERED, but that's not the case.  When I finished watching the film, I found myself to be profoundly disturbed.

ALTERED takes the viewer to places no one really wants to go, and forces a lingering at those locations for abusive stretches of time.  Part of what Kely has done here is what he set out to do: get a reaction.  However, in the case of this reviewer, the reaction was that of a recoil.  I don't want to know anything more about this mean little world that has been constructed.

Kely has told me in the past that he wants to make movies that are worth talking about over pie and coffee afterward.  ALTERED is such a film. 

In fact, I threw my guts into an email to Kely, telling him sincerely that I didn't like his movie.  I told him that I wasn't going to review it either.  This that you are reading is the closest I am going to get to reviewing ALTERED.  But in retrospect, what I am aware of is that I don't like the reaction that ALTERED forced me to have.

All of the pieces of ALTERED are laid out in the order for a great film. Rob Pralgo pulls it off as a bent priest. Kely McClung pulls off his role as an anger-worshipping ass-kicker.  The formerly mentioned Amanda Dreshler also gives a painfully raw performance as a woman in multiple abusive realities.  Unfortunately, I simply do not have the intestinal fortitude to go through this film again and give you more details than what I have already presented.

The tagline for ALTERED is that "Good never fades and Evil never dies."  This is true, I just didn't realize that I was going to be dealing with an evil that is so close to home that I simply would rather not see it presented.  What has happened to me through watching this film though is that I have myself been ALTERED, and I'm thinking that is the result Kely was after all along.

Bringing the Mediasaurs Back

So, the Mediasaurs has been dead for a few years.  There are many explanations for this.  Please read on.

1. First and foremost, it is HARD to try to eke out a living online.  I did all of the right things, but i just couldn't get to a level with the Mediasaurs where I really felt like I was getting anywhere.  So I had to get a real job (with real benefits).

2. I have been disillusioned by pop culture. 

This is true.  I haven't seen a series of decent films in years.  By "series" I don't mean, "Star Wars" or, "Harry Potter," what I mean is a series, a season maybe, of decent films.  The general product that is coming out of a-list Hollywood is in need of a lot of help. 

Now I have always been a fan and champion of the independent films that are out there.  I cut a LOT of slack to independent filmmakers, but in all truth, most aren't delivering decent product. 

Initially, I thought that there would be more "diamonds in the rough" than there have been.  Finding a decent movie that fires on all cylinders is a hard thing to do.  I basically got tired of slogging my way through mediocrity.  I hate a bad movie, and I hate a bad movie more if there is nothing quotable or cool underneath the lack of budget, plot and acting skills.

3. I have been writing other things.

First and foremost, I am a writer.  I have been writing up a storm, I just haven't been publishing it online.  I've been in the middle of a novel, some short stories and a few different screenplay hustles since I have been away.  Also, there is this Philip K. Dick project that I have been working on.

I have a voice.  I know I have a voice.  Sometimes, I need to just keep a leash on that voice for a stretch and work out concepts in my journals before I drop them online.

4.  Mediasaurs left a strange taste in my mouth.

This is one of the more honest things you will ever read on this blog, so brace yourself.

My eldest son and I started the Mediasaurs.  He was a sophomore in high school and he was in need of some attention and a project.  We came up with this thing and pushed it through. 

Push came to shove though, and my son moved out of the house and moved on with his life.  With that came his abandoning of the Mediasaurs.  I continued it with the hopes that he might come back, or we might be able to heal some rifts between us through working together, but that wasn't goin to happen.  The Mediasaurs became representative of all of the angst and bad-will that were piling up between my son and myself, and I just couldn't enjoy it anymore.

Going forward I plan on updating the Mediasaurs blog fairly regularly.  Especially if I see something that I really like. Again, it won't just be limited to film, but it will be a showcasing of the things in pop culture that have gotten my attention.  However, I am not going to be online, updating the front pge of a website and hustling links all over the place to secure more hits.  I am just going to relax and let it go.  If there are no updates for weeks on end, then you, gentle reader, will know that there is nothing out there that interests me enough to write about.

For example, video games.  I feel that the medium is bloated and sloppy.  Why can't real writers write the stories that become video games?  I have played through many different PS2 and PS3 games of late where at the end, I feel ripped off, because someone who didn't know how to write, somehow got paid to pen together a swiss-cheese story.   In fact, I was out of state on vacation, and I had the distinct epiphany that I hadn't played any form of video game in over two weeks!  Coupled with that revelation was the knowledge that there really wasn't a video game at the Gamestop that I wanted enough to learn how to play it. 

PS4?  I still haven't finished harnessing all of the PS3 goodness.  I just don't see a PS4 happening in our household anytime soon.

So maybe you won't be seeing too many video game reviews, but hopefully, I will do a better job of keeping this place alive over the next stretch.

Yes, the Mediasaurs have been dead for a few years, but I'm not done with the concept quite yet.


Tuesday, January 18, 2011


Look people, I have been harping about the goodness of BLOOD TIES for quite some time now.
Well, the DVD is dropping Feb the 15th. Why should I be excited? Well Kely McClung has been working and re-rendering the thing for MONTHS. Every time I talk to him, his computer is crunching it. I know he is now done with it, and I can't wait to see this thing in all of its new, fresh glory on this 42 inch flatscreen I just bled myself out for.
It has been awesome watching this "no budget movie" get a distribution deal and ramp up for consumption by the masses.
The plot is thick.
The action is solid.
From the official site:

Ex-Government Operative Jack Davis is being manipulated in a life and death struggle by warring factions within the covert arms of the
Homeland Security Agency in a fight for congressional funding. When his brother is kidnapped while working for a foreign embassy, Jack pulls out all stops in a race to save his brother that takes him from the desolate mountains of Virginia to Miami, Washington DC, and then into the exotic lands of Thailand and Cambodia.

BLOOD TIES is the Award Winning New Movie from William Kely McClung... starring Robert Pralgo (Vampire Diaries, The Blind Side) Erik Markus Schuetz (Ong Bak, Mercury Man) and Kely McClung (American Ninja IV, Kerberos). AOF "Action Film of the Year," Indie Fest USA "Best of Festival," "Best Visual FX," Big Bang "Best Director," Rincon Peurto Rico "Best International Film," End of the Pier UK "Best International Film." We're proud of all the work everyone involved has done on this new movie release - we sincerly hope you like it!!
Kely McClung

The underlying theme here is that BLOOD TIES is a lot of fun. There are going to be a lot of satisfied customers out there!
I'm telling you people, I have been clicking reload on pop culture in general, just waiting for this beast to be let out of its cage. I am going to have my "told you so" moment real soon.
-Mediasaurus Rex



Nov. 21, 2010

Remember the 90s Stallone JUDGE DREDD? Remember all of that stupid stuff like Rob
Scheider and the fact that the Judge took his helmet off? Remember when the Angel family
was introduced and Mean Machine was taken out in about 30 seconds? I have these
memories and they hurt me. JUDGE DREDD didn't have to be an abomination. It didn't have to
be a Stallone vehicle and the source material is stronger than the Hollywood mess that we got.

I clocked a lot of my childhood poring over 2000 AD progs and being scared late at night of
mutants and killer polar bears. The upshot was that I was totally obsessed with the star of the
series, Judge Dredd. Judge, jury and executioner. Yes, at times he managed to get out of
situations that should have killed him by some 9th hour writing tricks, but I loved the concept.

I followed the Judge Child Quest and was blown away by Brian Bolland's art back in the 80s.
John Byrne? Byrne was a slob and a hack. Blolland was putting it down, beautifully.

Well, the Judge Dredd reboot is in production, and Karl Urban is going to be the man. Karl
Urban, you know, Dr. McCoy in that STAR TREK directed by the fool who is responsible for that
LOST trash. Karl Urban, you know, the only actor worth a damn starring with all of those
washed-up actors in RED. Look at the above picture and tell me that this doesn't capture the
very essence of the Judge we all know and love.

I have no hope for TRON or any other remakes/reboots coming down the pipe, but I am lighting
a candle for JUDGE DREDD. I hope to God on high that they get it right.

-Mediasaurus Rex

Thursday, September 30, 2010



-By Mediasaurus Rex

EASTBOUND AND DOWN, HBO’s weekly half-hour television show has my complete attention. Initially, it comes on strong and abrasive, but there is no question about the fact that this half-hour show is funny. The humor is mean-spirited but sometimes whimsical. Mostly it is focused on how funny it can be when a human being lacks a moral compass. There is nothing to like about Danny McBride’s failed major league pitcher, Kenny Powers. Lots of screentime is invested in letting us know one thing: Powers is a despicable human being.

The pilot episode is a relentless, painful focus on the out-of-control piggishness of Kenny Powers. Powers’ entire existence is unforgiveable. Every facet of it is tarnished by sleaze and a general self-absorbed, trashy, world-view. The Kenny Powers story is that he was on top of the world, and he lost it all. His pitching speed dropped, and with that, (more) drug-abuse and irresponsible living set in.

The pilot episode is mostly concerned with Powers taking a job as a part-time gym coach to make ends meet. It is almost cliché how Powers’ teaching methods are limited to ridicule, profanity, and veiled threats of physical harm. Powers’ immediate response to a kid who tells him that his father said that he “ruined baseball” is to say, “If everyone wants to pick on anyone in class, aim for him because I ain’t watching.”

He is also one of the most misogynist characters ever to hold the position of protagonist. Kenny is interested in rekindling his romance with his high school sweetheart April (Katy Mixon), but his attraction to her is all breast-related. When introducing a different female friend to the principal of his school, he instructs her not to “suck him off.”

Over the next few episodes, more of Powers’ uncouth ways are paraded. His coke and ecstasy use with his drug-buddy Clegg (Ben Best) are a particularly disturbing revelation. (A line of cocaine up the nose looks painful enough, but when it is as thick as a banana slug?) Powers’ love/hate relationship with BMW dealership owner and televangelist-coifed Ashley Shaffer (Will Farrell) inches past the line of comfort as well. Even Powers’ relationship with simple sycophant and co-teacher Steve Janowski (Steve Little) is merely varying degrees of cringe-induction. All of Powers’ behavior has a purpose though, and the purpose is completely self-centered.

Powers has run aground in bland, white picket fence America with his jet ski (the panty-dropper) and a trailer full of his own baseball memorabilia. But he never drops his anchor completely. He holds back, knowing that the majors will call him at any second and he will be back on top. He wants it bad. He wants to live the life of a superstar again and leave all of these average people in North Carolina behind. This community would be better off if he would just take off and become someone else’s problem. But he has to learn a lesson or two on humility before he can leave.

The running voice-over is a hubris-dripping, self-worshipping book on tape narrated by Powers himself called I’M F*CKING IN, YOU’RE F*CKING OUT which Powers plays over and over to himself in his spare time. Powers knows that he has lost his mojo and that even if he had the skills to be back in the majors, it would still take divine intervention to make it happen. But he starts taking steroids anyway to “kickstart the training.”

With Steve Janowski, his fawning personal assistant/whipping boy, Powers plays every “catching major league attention” angle that he is capable of. As the first season continues, Powers indeed catches the break he needs to make it back to the top. The surreality of such a blessing lingers just long enough for the six episode first season to pull the rug back out from underneath him. Where will he go? Is he coming back? And what about his re-kindled relationship with April (and her breasts)?

Given that Powers is such a complete jerk, there is an underlying riddle in the show: can the audience ever connect with such a vain, profane, ignorant, mullet-wearing egotist? The beauty of EASTBOUND AND DOWN is that yes, yes we really can. The magic of this show is that through the fog of profanity, sexism, cruelty, and alcohol and drug abuse, the writers manage to humanize Kenny Powers with no real compromise to the afore-mentioned issues.

What seems like an insurmountable creative writing task is deftly handled by Jody Hill, Danny McBride, Ben Best and Shawn Harwell, the creative team behind EASTBOUND AND DOWN. Season Two’s first episode shows Powers re-established in Mexico sporting corn-rowed hair living the life of a cock-fighting kingpin on Janowski’s credit card. Powers demonstrates command over this new niche. He has a rooster that is a killing machine. He also rolls with a pair of thugs (one of them is the extremely foul-mouthed, height-challenged Aaron (Deep Roy)) that seem to be just as devoid of social skills as he is. Powers, riding his moped through the streets of Mexico, flipping off random people, maintains a general superhuman belligerence.

As far as Powers is concerned, baseball is over. He has assumed Janowski’s identity and he is living moderately in squalor. Kenny Powers is built for this kind of low-living. But he still has an ego. Kenny is tempted to bloom as a Mexican baseball player and cross back over to the states. The roids have sped up his pitch and he is going to make as much noise as he possibly can south of the American border. There is still a chance that he can catch major league attention and get back on top.

He is still haunted by April and her breasts, but there is a new woman who has caught his eye named Vida (Ana de la Reguera), and Vida has a nice rear-end. Powers has issues to work through, and they are as complicated as any battle of the flesh could be.

The opening episode of season two of EASTBOUND AND DOWN could aptly be titled “The Re-invention of a Total Douchebag.” Powers built his failed bridge out of middle-class, western America and he now has to do it again out of a crime-ridden neighborhood south of the border. Powers remains just as funny, self-centered, and completely irreverent as ever.

The rest of Season Two has a challenge, though. Will we be able to root for Kenny again? If the masterful storytelling of Season One is any indication, there is no question whatsoever. Soon we will all be rooting for Kenny Powers to transcend his “further behind the eightball” existence. But until that point, it is going to be a lot of fun and laughs watching this moral graveyard of a man swirl around the drain until we can honestly care again.


EASTBOUND AND DOWN in the Mediasaurs Forums

Thursday, September 16, 2010


By: Mediasaurus Rex

“Still living the dream, eh Butcher?” – Shank

I have been on a SHANK bender. Nighttime hours have been blurring as I play this game into the ground. I can’t stop. I keep on playing the final boss fight over and over and over again, tuning up my reflexes. I am also dropping into really hectic battles and tuning up my Uzi to shotgun skills. This has to stop soon; I mean, I only paid $15 dollars for this game.

Let me back up. Two weeks ago was my birthday. One of my gifts was the download of SHANK by Klei Entertainment (EA is distributing). I already had a hook in my mouth and was being pulled into the boat by the SHANK demo I saw a week before that. I usually download a demo and let it sit on the PS3 for a few days, weeks or months and they get to it. Then I play it down and make a decision. SHANK was different. The stylized cartoon characters intrigued me. I’d seen impressive screenshots earlier of heavily-muscled men, some fit, some fat, all of them angular and clamoring for a piece of Shank, the main character. So in the case of SHANK, I downloaded that demo, watched the intro video, and went straight to work. It was so much fun that I played it through twice, back-to-back. My conclusion was that I wanted more.

Taking its plot cues from B-grade drive-in cinema, SHANK is an over-the-top revenge story. The depth and blackness of the revenge is revealed as the game progresses. I’ll just let you know that within grindhouse film and M-rated video game logic, Shank has every right to rip through his opponents with the ferocity he displays.

SHANK takes a bit to get used to controller-wise. On the Playstation, the cycling through of various weapons is initially difficult on the fly. The first time through the game I found myself relying heavily on the shotgun and the machetes. These are perfect tools for a side-scroller like this that piles the enemies on thick and hard. As I have matured in my gameplay, though, I lean much more on the chainsaw and the excuse to feed enemies grenades. Yes, you can grab a problem character and shove a grenade in his face and watch him pop!

In order for you to comprehend how satisfying this is, I need to really explain where the fun in this game lies.

Enemies are armed to the teeth with Gatling guns, grenade launchers, automatic rifles, flame throwers, and knives of all sorts. When they show up onscreen, you have the option of grappling with them, pouncing on them, shooting them, or hucking a grenade in their general direction. There are also propane tanks placed at points in the game that can really clear problem situations up messily. Sometimes there are dogs in the fray, and those mongrels will knock you out of any combo you might be working and pin you to the ground. With all of these enemies attacking you virtually nonstop, your health bar can take a serious beating, but there are power-up drinks showing up at regular intervals to keep Shank alive. Sometimes, I find myself really beating the hell out of a large opponent something unmerciful, because I know that when he drops, he’ll give me a power-up drink.

The varying degrees of mayhem that can be created are limited only by the player’s creativity. As you play through the game, you can unlock more, increasingly powerful weapons. There are chains for your fists, an Uzi, and opportunities to kill opponents with some of the heavy machinery that they died trying to kill you with. The combos get thick and complex. In short, you need to open 2-3 cans of brutal whup-ass, and then you need to work your way through a 12-pack or a 24 pack without getting touched in the process. I like to pounce on the first thug I see, stab him in the chest twice, then clear the area around me with a few shotgun blasts before finishing my pinned victim off with a chainsaw rip to his chest or two satisfying buckshots to his face. I find myself giddy as I wreak cartoon havoc on everyone in my path.

Shank moves from left to perpetual right, cutting his way through wave after wave of 2D enemies. Think original STREET FIGHTER or DOUBLE DRAGON or ROBOCOP. SHANK’s soul is reincarnated from parts of the original side-scrolling beat-‘em-ups of the late 80s and early 90s.

The scrolling is only part of the equation. Boss fights are a regular occurrence, and if you don’t know what to do, these guys will mangle you and burst your cartoony blood vessels. The death of Shank in a boss round means that you will come back with a hint floating across the screen offering some insight in how to drop your target. All of this is part of the grand revenge story that is concluded with a hard-to-kill final boss.

The cut scenes are on par with anything that is on Cartoon Network, and the hyper-violence adds to the entertainment value. Subject matter, language, and splatter ensure that if you have kids in the household, you can’t do this stuff until well after bedtime. But there is something about the art, the coloring, and the silliness of it all that keeps this game from being a dark study of man’s bleak nihilistic potential. SHANK is harnessed in a framework of fun, and that fun is so compelling that the fact that I have well-over 3000 vicious kills under my belt is completely trivialized. On top of all of this is a “hard mode” that has no checkpoints. You get killed mid chapter? Back to zero. Yeah, those developers at Klei know a thing or two about making it rough.

Couple all of this with Klei’s approachable SHANK blog (with wallpapers and a free soundtrack download) and their entertaining Twitter-feed, and SHANK is a gaming experience that blows a lot of 60 dollar games away. These guys care about their product, and they have lovingly delivered something to my living room that would have sucked at least a hundred dollars out of me one token at a time at the local arcade. SHANK is all about replay. It is all about those bite-sized moments of glory that those of us who clocked arcade time lived for. I used to take my allowance to the arcade and come away with amazing experiences that I could only replicate the next week when I got paid again. SHANK has that kind of feeling about it. When I finally beat that final boss after struggling with him through two separate gaming sessions, I had to go right back into it with him to make sure I’d actually done it.

With all of the unlocks, cut-scenes, and the cornucopia of fun ways to dispatch opponents (don’t forget that grenade feed), SHANK is the most solid fifteen dollar purchase you can make on the Playstation Network. A hundred hit combo unlocks a white ninja costume for you to wear. A hundred and fifty hit combo unlocks the red ninja suit. Also, a hundred chainsaw kills unlocks a Jason Voorhees looking suit to handle business in (my current favorite). Currently I am sweet-talking my wife into playing co-op mode with me so that I can secure more unlockable costumes.

I don’t have a rubric to grade games with, but if I did, this would be a 10 out of 10 hands down.

Check out Klei's SHANK BLOG

Contact M-Rex here



I have been disappointed time and time again by the RE series. They always fall terribly short of whatever mark they are supposed to reach. And now, the fourth installation is here and it really delivers. But the delivery is a bittersweet headgame. Is this movie that valiantly rips off THE MATRIX, THE THING, (Snyder's)DAWN OF THE DEAD and several other films really good?
No, it isn't. But if you have been conditioned (as have I) to expect something weak, you are in for a surprise. RE: AFTERLIFE is a gun, Milla, and headshot worshipping exercise in high-end style over substance. Paul W.S. Anderson is comparable to Tarantino in this regard. Unplug your logic receptors and enjoy the beautiful, slo-mo mayhem. This film picks up right after the
last one, and the answer to the "clone issue" is a big money-shot. The presence of Astaroth is awesome too. What an awesome way to say goodbye to summer.

-Mediasaurus Rex

Tuesday, September 14, 2010



Perhaps Casey Affleck's I'M STILL HERE documentary about the life and times of Joaquin Phoenix will be a light-hearted romp in the life of a fat, wannabe rapper. I kind of doubt it though. This sounds like one of the most painful, squirm-inducing films I have heard of in a long time. Apparently it details the unravelling of a man who once had the world by the tail. It sounds horrifying to watch. In fact, I would posit that this might very well be the most excruciating horror film to show up in 2010. Morbid curiosity is driving me here, however.

-Mediasaurus Rex


Tuesday, September 7, 2010



If you're familiar with Director Robert Rodriguez's past works, then you should already have a pretty good idea of what is coming. If not, you have to wait about 5 mins. Yes, 5 mins into the movie and you will know what kind of retro-80's directing, cheesy gore, wit 'n humour and naked lithe female forms await you throughout the rest of the film.

Is this a good thing?

Enter Federale Machete: Left for dead at the hands of drug lord Torres (Steven Seagal). Torres has a knack for keeping the same facial expressions throught the entire film. Several times, I thought he was going to ask to be called the Glimmer Man. Machete somehow survives and comes to America and becomes the unknowing pawn in a rather complicated border/illegal immigration/re-election/drug smuggling scheme. Machete is a man of few words (or texts). Reminiscent of Arnold in THE TERMINATOR.

Michelle Rodriguez plays an underground railroad mastermind selling tacos. Not kidding here. She is hot but she tries too hard to be perpetually serious and she tries too hard to be hot.

Jessica Alba is an I.C.E. (Immigration) officer trying to take down "The Network" being run by Michelle Rodriguez.

Cheech Marin shows up late in the film as the coolest Catholic Priest ever to grace a film.

Robert DeNiro and Don Johnson are present but the characters have little substance but are tolerable.

In the what might be the worst bit of casting, Lindsay Lohan plays the daughter of a Senator's aide. It could've only been worse if Paris Hilton was cast instead. I prayed she'd get axed in the film quickly by a manly machete blade.

The gore is over the top as are the action sequences. The humour makes fun of the whole illegal immigration mess as well as presenting obvious Mexican stereotypes.

Robert Rodriguez uses the scenes from the GRINDHOUSE commercial spliced right into the movie. Rodriguez has also stated he'd like his character, Machete, to be the first Mexican superhero. Not so sure about that as Zorro may be the first in my book. Never the less, Rodriguez has great taste in good-looking females, manly ways to dispatch adversaries and sloppy '80s editing.

There are several flaws in the movie, the cheesy gore not withstanding. However, of note are several homages to not only Robert Rodriguez's past works, but also that of Danny Trejo's (Machete) past films. An example of this a car's license plate reads "La Onda." Also, it may be a coincidence, but the 4 men in black with automatic weapons standing outside the church seem to reference Quentin Tarantino's KILL BILL Vol.2

MACHETE is the epitome of cool in a manly movie. The machete blade Machete wields is longer than a Scottish Claymore sword is awesome to behold. I felt the final showdown with Steven Seagal could've been more interesting and not so anticlimatic, but even so, its a fun film.

Intestinal bungie jump for the win!



By: Mediasaurus Rex

Every now and then a game comes along that hits all of the right notes. I am going to posit to you that SHANK is that game. It has the side-scrolling beat-'em-up of classics like BAD DUDES, ROBOCOP and METAL SLUG but with a Cartoon Network look similar to SAMURAI JACK.

Violence? Guns, a chainsaw and knives. Spatter and spray. Grenades to toss and
unlockables like a gatling gun and a katana. Not for the little kids. But it is for the adults. Why? This thing is fun, fun, fun! The combo system and the weapon rotation is TOO EASY. That doesn't meant that the game is easy though. There are bosses in this game that will humiliate you. SHANK is on the Playstation Network and whatever network you use for that XBox trash.


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Thursday, September 2, 2010



Seriously, what fan of horror didn't like Adam Green's HATCHET? It was a ripping good time in the bayou with Kane Hodder, Robert Englund, Tony Todd and a bunch of actors (including the "jump to conclusions" guy from OFFICE SPACE). It was loads of old-school fun. It even ended with what seemed to be a frame by frame homage to the original FRIDAY THE 13th.

The HATCHET 2 project has been hard to land info on with basic trolling. However, the HATCHET 2 trailer has landed on Yahoo. Is that a belt sander? Victor Crowley is going to be putting in some work this October. With HATCHET 2 and the final installation of SAW, Halloween season should be just about perfect.


Friday, August 20, 2010


This landed in the Mediasaurs email box a minute ago and it is pretty cool.

Click it a few times to see it better.

Contact M-Rex here