oh and the road is wayyy better then i am legend

Sheri S. Tepper — she writes a lot of revenge porn, and seems to relish it, though the Gate to Womens Country misses the historic reality — prosperity leads to population control, not the inverse. Europe had negative population growth, Bangladesh has positive population growth.

Yes, I know she does and I agree with you. Some of it bugs me enough to take me out of the story, but not enough to quit reading.

I talked about the way people read in this post and reading things I don’t agree with, but being able to take the story on its face. I enjoy her work regardless.

Imagine if a book was published that managed to eat 10% of the publishing space (and lost money too) to feed someone’s ego

That happens in publishing all the time (albeit it manifests differently). You pick up a book by a major publishing house that’s badly edited, littered with typos and grammatical errors, badly designed, and a tired plot and go, “Crap, this got published but mine didn’t?” Doesn’t make mine better, but somebody had to have a better proposal on that editor/agent’s desk than that that got rejected.

And hey, Steve, welcome!

Waterworld was so reviled because of the money it sucked out of the film industry. There were probably twenty or thirty films that were not made because Waterworld sucked up the money, with the loss to all of the people who would have been in them.

Other than Costner, the movie itself isn’t so bad, great camera work and production work, but many people in the industry saw it and saw the twenty or thirty films that it destroyed and the cost to people in the industry who needed the work.

Imagine if a book was published that managed to eat 10% of the publishing space (and lost money too) to feed someone’s ego (Costner’s desire to play a character who was not like able) and everyone looked around and wondered whose book didn’t see print because of the monster.

his Catholicism was what made that movie the scariest for him.

This fascinates me. Did he tell you why?

Re Aeon Flux, I meant the cartoon, not the film. I don’t like animation changed into live-action, so I stay away from it.

Now, for my list, what “the Stalker” are you talking about specifically? Can you post a link? Nebber mind; I found it.

As far as Post Apocalyptic films:

You could argue the Stalker is Post-apocalyptic, and its one of my favorites.

Almost every one of the Quay Brother’s shorts fit this bill in my mind as well.

Could we say that Delicatessen fits that as well?

About Aeon Flux, I remember liking the cartoon, but I only watched it as a ten year old who snuck down at 1 in the morning to watch it on MTV. But I don’t think I actually understood anything about it, just that it was for ‘grown-ups.’ Haven’t seen it since.

But there’s a lot of Anime that, of course, fits this. Akira didn’t thrill me, but both Ghost in the shells were interesting… though, I found the Matrix richer and more developed. (that’s right).

I don’t know how I could’ve forgotten Witchblade, but I only saw the US adaptation of it.

I never had the chance to see Firefly but it seems to have an extremely devoted following.

And oh, how can we forget Æon Flux???

Japanese anime writers love the post-apocalyptic genre, perhaps because they’ve actually lived through one. Here’s a small sampling.

Cowboy Bebop (Series; predates Firefly, but is very similar in story structure.)
The Last Exile (Series.)
Eureka Seven (Series; as much “Paradise Lost” as post-apocalyptic, meaning one world must be destroyed so that a new one can begin.)
Innocent Venus (Series.)
Origin: Spirits of the Past (Wants to be another Nausicaa, but its reach exceeds its grasp; still, it looks great.)
Scrapped Princess (Series; another in the “Paradise Lost” genre.)
Witchblade (Series, from the “destroyed Tokyo” genre, much eye candy.)