Posts Tagged ‘Necronomicon’

Hello, Followers of Fear. There are sixty days till Halloween. What have you done to prepare?

Artwork produced by artificial intelligence, or AI art, has become kind of a thing as the technology has advanced. In fact, some months back, there was an app that became a fad for horror writers to generate images and even book covers. And earlier this week, John Oliver featured it on his TV show, Last Week Tonight with John Oliver. Here’s the video, if you’re interested. It’s hysterical.

John Oliver’s wife and children must have such a blast telling people who don’t know who he is what he does for a living. “Oh, my husband/dad? He sexually harasses Adam Driver and marries cabbages on TV once a week.”

Anyway, it got me interested enough to want to play around with AI art, so I made an account with one of the recommended companies, Midjourney, and went to work. The results were not only fascinating, but gave me some thoughts on the nascent AI art industry.

First, here are some of my successes. As it turns out, Midjourney’s AI program does very well with Lovecraftian/cosmic horror entities. For example, here’s Cthulhu destroying Las Vegas because I’m not a big Vegas fan (though under the right circumstances I’d visit again).

Then, in order, we have Yog-Sothoth, Shub-niggurath, Nyarlathotep, Azathoth, two pictures of the Deep Ones, the Color from Outer Space, and the King in Yellow.

And portraits of famous people tended to go well with the program. Here are Stephen King, Anne Rice, and HP Lovecraft, three of my biggest influences as a writer, as well as one of Lizzie Borden with an axe. Because why not?

And because I love ballet and try to put dancers in my stories when I can, I made a series of ballet posts, with their titles in the captions.

Dancer and Wolf on the lake
The Little Ballerina Ghost
Dancer in the Egyptian Temple
Dancers on a Moonlit Beach
Little Dancers Running from Lava
Little Dancer and Anubis

Pretty cool, right? Most of them look really good. However, those were success stories, like I said. Here’s what happened when I tried to create Jason Voorhees from the Friday the 13th films.

Yeah, I know. None of those come close to looking like Jason! He’s arguably more famous than Cthulhu, but these were the results. And then there was my attempt at Freddy Kreuger from A Nightmare on Elm Street. Oy freaking vey!

Yeah, who is that? Not Freddy Kreuger, who is definitely more famous than Cthulhu! Honestly, it looks more like my conception of Leland Gaunt, the antagonist from Needful Things by Stephen King. How could the AI get our favorite subconscious serial killer so wrong?

And those are just a few examples. I went through several failures trying to get anywhere close to a specific idea or image, only to give up when I realized the program just couldn’t create it. I couldn’t even create a decent Sailor Moon or an accurate tiger image, and both those prompts have enough references out there that they should have been easy to create something accurate.

Even some of the successes took a lot of work and experimentation, such as The King in Yellow or Little Dancer and Anubis. I won’t even go into detail about how hard it was to get a good Alice in Wonderland pic that wasn’t too trippy. I mean, I know the source material is plenty weird, but not all art based on it has to be super-surreal!

And while I call some of them successes, they aren’t perfect. You can especially see it in the ballerina series, where features like the head and limbs look odd or bent in ways you wouldn’t see on a normal dancer or a Degas painting. Only the tutus and bodices come out well. The rest of their bodies can be a mixed bag.

It kind of reminds me of that scene in 1986’s The Fly, where Jeff Goldblum puts steak through the teleporter and it comes out tasting weird. He figures out that the computer hasn’t learned how to move organic materials, and is instead creating an interpretation or bad imitation of what it thinks steak is. That’s what we have here: the AI has learned how to mimic and create, but it’s still leagues away from making certain things.

And honestly, I’m glad. Art is art because there’s someone behind it with a vision or a passion. You can program a computer to recreate famous art pieces or original pieces, including Batman comics and scripts or horror screenplays. And the computer might even do a good job at times. But there won’t be any passion or soul behind it. Art is art because we’re putting our love and soul into our creations.

And getting to work with a creator? That’s even more special. Believe me, I’ve done it before, and it’s amazing to see your vision come to life with their help. Especially when working on art pieces like book covers. That truly is something special.

That being said, I can see AI-generated art being used for cheap book covers as the technology improves, and the services of artists becoming more expensive. This could especially apply for small presses or independent publishers who need to lower costs while maximizing profits. The only time publishers may use a real artist is if the author is big enough to warrant it.

Hopefully that doesn’t happen, because it would mean we wouldn’t get to see some really amazing collaborations. So, for the meantime, I’ll stop with the AI art (I’ve scratched that itch and I don’t want to pay a subscription for Midjourney, anyway), and continue supporting the artists who create amazing art. Especially horror art.

And now, here are some more pieces I created. Except for a few I’m waiting to reveal till the time is right, here are my other successes. You can ask what was going through my mind when I created these in the comments below. Enjoy, and until next time, my Followers of Fear, pleasant nightmares!

Vampire Mothers and Child
Jump Rope with a Ghost
Jack the Ripper in an Alley
Flaming Giraffe #1
Flaming Giraffe #2
The Necronomicon
Bunny Girl and Hammer
Spooky Alice in Wonderland

The Colour Out of Space (yes, with a “u” in Colour), is my fifth favorite HP Lovecraft story (click here for my Top 8 Lovecraft stories). There have been a couple of adaptations of the film over the years, but they’re either foreign films that are hard to come by, or are really bad for one reason or another. So when word popped up in late 2018 that Nicholas Cage was going to star in a new adaptation of the film, directed Richard Stanley in his first major outing since the 1990s, fans of Lovecraft, horror and/or film in general were piqued. We only got more excited as news from the film trickled back to us. When the trailer came out, I immediately knew I had to see this film.

I got back from seeing it a little while ago, and I’m happy to report, it was well worth the wait. This film is freaking terrifying!

Color Out of Space follows the Gardner family, who are living on the family farm and have converted it into an alpaca farm.* One night, a meteor lands on their property, giving off a strange, colorful light. Soon after, lightning strikes the meteor several times during a storm, the meteor disappears, and then things get weirder from there. The animal and plant-life start changing shape and color, technology goes haywire, and the family starts acting unhinged. All of it can be traced to a mysterious light. An entity. A color. From out of space.

If you’ve seen the film Hereditary, Color is a lot like that. It’s a slow, excruciating build with the characters going through a downward spiral, punctuated by moments of strong terror that left me petrified in my seat. The use of CGI is sparing, used only when practical effects in the style of The Thing aren’t possible. And by the way, those practical effects are amazing! They create some truly horrifying visuals, and Richard Stanley knows when–or even if–to truly reveal the mutated monster. There are also a lot of excruciating scenes involving bodily harm that left everyone in the theater freaked out, including me (not easy to do), and they added to the film in the best way.

As for the actors, they all do an excellent job. This might be the first time I’ve actually enjoyed Nicholas Cage in a movie, as they managed to balance his noncommittal acting style with his crazy acting style in a way that works. It’s funny to see him go from “normal” to acting like a bitchy teenager, but it’s also horrifying because you see how it’s connected to whatever’s affecting the family. The rest of the actors are great, embracing their roles and really convincing you they’re going through this tragic event.

Did I mention that Colin Stetson, who did the music for Hereditary and will be doing the music for the upcoming anime adaptation of Uzumaki by Junji Ito, did the score for the film? Will, he did and it works really well. Sound plays as much a big role in this film as visuals, and Stetson’s score adds the perfect touch to the atmosphere.

First time I’ve actually liked Nick Cage in a movie. How about that?

My only criticisms are that there’s a scene involving the Necronomicon (yeah, there are quite a few Lovecraft Easter eggs in this film) that I feel wasn’t given the best payoff. That, and the character of Ezra, played by Tommy Chong of Cheech & Chong fame, felt kind of extraneous. If you cut him out of the film and have one of the Gardners say some of his lines, it wouldn’t change much.

All in all though, this is not only an excellent adaptation of Lovecraft’s work, it’s a great horror film that’s both faithful to the spirit and text of the original story and terrifying to watch. On a scale of 1 to 5, I’m givingĀ Color Out of Space a 4.8 out of 5. Any fan of Lovecraft, or of horror in general, should come away satisfied (or freaked), so buy a ticket and get ready to see the first great horror film of 2020.

(I already plan to buy the Blu-Ray when it comes out. And I really hope the disc is more colors than just blue, if you get my meaning.)

*Yes, it’s an alpaca farm. And it’s that kind of farm for more than just laughs. Also, the family “dog” is a wolf-dog. Trust me, I researched it. What kind of family owns alpacas for farming and a well-behaved wolf-dog used for herding, I don’t know. It would make for a great reality show, but I digress.