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Some Parrot by TheDrifterWithin

What is irony?

In this essay, I'm intended to give a powerful example of it. But before that - I mean, in order to properly achieve that -, I would like to talk not-so-briefly about the classic children's novel "The Jungle Book", its author Rudyard Kipling himself, and its film adaptations.

Rudyard Kipling was born in Bombay at British India, and some of his most famed literature works are set in the colony. Novels like "Kim" and "The Jungle Book" became literally classics on their own right, although through the years, people noticed there might have been something of a glorification of the British Empire in Rudyard's novels. George Orwell once called him a "prophet of British Imperialism", and it's easy to see why anyone would think that. Even to this date, the writer is not an unanimity: he became something of a caricature of colonialist mentality. Now, I'm not to forgive Rudyard for being "a man of his time", like D.W. Griffith. But for whoever kind of person he was, "The Jungle Book" doesn't really express any fascistic ideals (at least I didn't spot any).

Rudyard actually made two books: the original "The Jungle Book" from 1894 and also "The Second Jungle Book", released a year later. Both books are children's novels, illustrated by Rudyard's father John Lockwood Kipling, and compiling tales of the Indian jungle, which in Rudyard's stories, is composed by talking, even eloquent animals. This made for a universe that is at the same time sophisticated and wild. For years, such tales captivated children and adults everywhere, having an elegance that kept the novels of being overly childish - a distinctive trait of the greatest children's novels ever made, such as "The Hobbit".

Jumping seven decades after the books were made, New Hollywood was on the rise in America. Directors from the fervent counter-culture arrived with jolting new ideas, and films started to become more authorial and less studio-oriented. Figures like Robert Wise started to make room for misfits like Martin Scorsese. 1967 in particular was the year the doors were blast opened with films like "Bonnie and Clyde", "In Cold Blood", "The Graduate", "In the Heat of the Night", "Cool Hand Luke", "Point Blank" and "The Dirty Dozen". It was a time in which the sweet, candy-cotted films of the previous generation started to make room to more cynical films: I usually say that 70's American cinema really started in 1967. But among such iconic films, there was one brave animated masterpiece that may not have belonged to such notorious movement, but that was as good as they were; it was Disney's "The Jungle Book".

Directed by Wolfgang Reitherman, beautifully animated and featuring the voices of many celebrities of its time (most noticeably to me the energetic jazzist Louis Prima as King Louie), the film was a massive, uplifting box office success, making over 200 million dollars worldwide back in the day: adjusted to inflation, that's 1,4 billion. Clocking at 78 minutes, it has enticed whole generations since its release. It was one of those films that won't die due to their sheer magnificence; they just don't age. Unlike "The Sound of Music", this is a film that you don't need to create excuses to justify its greatness; "The Sound" is forgiveable because the language it uses belongs mostly to its age, but "The Jungle Book" is universal.

Before it, there were already two movies based on Rudyard's books, "Elephant Boy" in 1937 (which was actually written by Rudyard himself) and "Jungle Book" in 1942, but both failed to achieve the lasting cultural impact the Disney film did: they are the kind of films you only discover by frolicking around in Wikipedia.

The film naturally took many liberties with Kipling's original book: it focuses mainly on Mowgli (so much so that here in Brazil, the name of the film is "Mowgli, the Wolf Boy"), and the world around him is basically a setting for his story rather than a big, all-encompassing world of its own. Which is not a critic: the film just makes Mowgli the main character. The film also created King Louie from scratch, and today, the character is one of the most iconic members of that universe, even if completely non-canon.

It had one of the greatest movie climaxes I have ever seen, an unlikely final confront: the comic relief going against the antagonist. Baloo in the film is shown as a sloth bear that cares - and sings - about the simple things in life, while Shere Khan would be a tiger that lives by his own rules, holding little regards to the laws of the jungle. Seeing those two characters pitched against each other was an unique experience; it was a fight like I had never seen before, and like I would never see again afterwards. I was genuinely worried with Baloo: a funny, silly character such as him would seem like no match for Shere Khan. But all was well in the end, in a film that is a serious contester for the title of the greatest American animated film of the 60's. Maybe it was for lack of competition, but still, that's no small feat.

Decades passed, and in 1994, Disney released an ultra-obscure live-action remake of the film, "The Jungle Book". Directed by Stephen Sommers (of "The Mummy" fame) and starring John Cleese, Sam Neill and Lena Headey (yes, that Lena Headey, of "Dredd", "300" and "Game of Thrones" fame), the film apparently tried to incorporate both the first and the second books by Rudyard, while also featuring human characters other than Mowgli. Costing 30 million dollars, the film barely broke even worldwide; it was lost in a year of heavy hitters like "Pulp Fiction", "Forrest Gump", "True Lies", "Clear and Present Danger" and Disney's own "The Lion King". It was completely forgotten afterwards, and today, it's something of a curio, an attempt to replicate the magic of the original film with real actors by the means of the era. And that's not the end of it: four years later, Disney released yet another live-action remake: the direct-to-video "The Jungle Book: Mowgli's Story".

Still in the 90's, Disney had entered in that phase of its history when it started to release direct-to-video sequels. My Young Xer/Old Millennial generation remembers those years quite well: everything from "Cinderella" to "Aladdin" was getting a VHS sequel, made by Disney's division DisneyToon Studios. In 2003, "The Jungle Book 2" was released, with the voices of Harley Joel Osment as Mowgli and John Goodman as Baloo. Not quite an adaptation of "The Second Jungle Book", the film was judged good enough to receive a theatrical release. And it went surprisingly well, making 135 million dollars on its 20 millions budget. It was... I can't say what it was because I haven't seen it. In fact, I and many others haven't seen any of these movies. They felt into obscurity, and forever obscured by the 1967 film.

Eventually, Disney left behind its direct-to-video sequels era, only to in 21st century get on the live-action adaptations era. Here's for something important: back in the past, animation was the only place where filmmakers could do what they pleased, conjuring the most insane visuals and situations that would not be remotely possible in live-action. You could have two dogs and a cat walking around in the woods while doing what you desired them to do for real; it was difficult, but you could do it. But having a kid interacting with a sloth bear and a panther and elephants and a tiger and several other wild animals, and having them talk, dude, that's just not gonna happen. Animate it and make a family film. Now days, visual effects reached a point of spectacular photo-realism; audiences are no longer able to distinguish reality from VFX on the screens. Filmmakers can now do the most fantastic things in live-action movies. Disney started to revisit its own classics, updating them with such new technologies. And after films like "Maleficent" and "Cinderella", "The Jungle Book" was next in line.

Directed by Jon Favreau, the new "The Jungle Book" is a very good film. It's exciting, well written, and it was made with utmost dedication by its cast and crew. But... that's not what people are talking about the movie, is it? With ground-breaking visual effects, the film is raising serious discussions about the possibilities of CGI. Little of what is seen in the film is real: it's just child actor Neel Sethi and some props he had to interact with. It's almost a CGI animated film with some real elements, no different than "WALL-E" and "The LEGO Movie". It was entirely filmed in studio, and the credits are actually a long list of visual effects artists. "The Jungle Book" is being sold by the media as the next "Avatar", the next "Life of Pi". Any talk about the movie is eventually a talk about its visuals, about how it looked. But this really overshadows the film as a whole; those who venture into this film will see it is much more than just that. It's a work made by a man that loves the 1967 film and loves the books by Rudyard. It was the film Favreau was set out to do.

Now, with so many CGI-heavy films out there in these last years, this generated a movement of contrarian filmmakers like Quentin Tarantino, J.J. Abrams, Christopher Nolan and some others that prefer to utilize practical visual effects as much as possible. But a film like "The Jungle Book" is almost like a manifesto that filmmakers shouldn't be looking backwards. It's almost like a declaration new technologies are the next step in cinema spectacle; it's an evolution, and it shouldn't be stopped. Nolan created a massive set to replicate the interior for the black hole in "Interstellar", costing production time and money. Alejandro González Iñárritu insisted in using natural light for "The Revenant" in the middle of the tundra, shooting around one hour per day, and the production cost ballooned from 60 millions to 135 million dollars. While I'm certainly not an apologist for using CGI for every little thing that happens on screen, such cases felt to me like the exact examples of what CGI exists for: to ease the life of filmmakers. Favreau and his team saved themselves from having to get deep into the Indian jungle and interact with wild animals, and they safely made a film precisely like they meant it to be. It's truly ironic that a remake has to be a manifesto for innovation.

But that's not the irony I was referring to in the beginning. Not yet.

The new voice cast is loaded with A-stars, but unlike in many animated films pointlessly filled with celebrities to the brim (I'm looking at you, Dreamworks), the actors here feel right for the roles they were given. You end up thinking there was something more to this casting than the fame of such actors. Bill Murray is absolutely perfect as the laid down Baloo; Ben Kingsley transmits a lot of gravitas to the wise Bagheera; Giancarlo Esposito gives an elegant authority to Akela (I didn't even think of Gus Fring when I heard his voice), while Idris Elba is perhaps the best voice actor in the whole film with the fearful Shere Khan: a villain that entices other animals with his seemly convincing points. Even the somewhat controversial gender-bending of the hypnotic snake Kaa worked fine, with Scarlett Johansson causing a great impression as the deceiving character, giving her a motherly yet sinister vibe. Christopher Walken makes King Louie a much more chilling character than he was previously, even when he sings! (Specially when he sings, actually). As we all should know by now, his character was changed from the orangutan of the original to a massive ancient King Kong-like ape that really lived in India. Yes: because in a film filled with animals that talk in perfect American and British accents, the most unbelievable thing is that there's an orangutan in India. Still, that actually makes sense: now there's a reason for him to be the king. He's big, he's massive... he's the alpha of all the primates in the jungle.

As for Neel, he made a terrific impression: his film debut, the little New Yorker was selected among hundreds of kids, and by seeing him on screen, you can see his choice was justified. May this be the beginning of a promising career, but may he keep both his feet on the ground: we know how many child actors ended after they grew up.

It would be very easy for some people to diminish the new "The Jungle Book" as just another remake of our time: another heartless brawls-over-brains CGI fest that doesn't match the original masterpiece. To let the juvenoia speak louder and to bury this film at sight, precisely like it's happening now with the reboot of "The Powerpuff Girls". But the truth is that Favreau's film is filled with personality, and it actually illustrates a point that I have been saying for a long time: there's noting inherently wrong with remakes. The problem is in the way they're being made, specially now days. And you can see this movie balances between Reitherman's film, Kipling's book and Favreau's vision without ever feeling aimless. Right from the start, John Debney's score nostalgically nods to the original score by George Bruns, but the film also tries to be its own distinctive thing.

Unlike "Avatar", it's not a film that seems to exist for the sake of its visuals. Of course it's not fair to say this film exists for the sake of itself, but what may have started as a lazy idea from Disney executives ultimately became a sincere tribute to Rudyard's literally work and to the 1967 film.

Now, it's not perfect like its animated ancestor: sometimes, the film may feel too epic for its own good, and its middle act is uneven compared to the beginning and the end. But it was a good film overall, it stands on its own, and it deserves to be seem either due to its magnificent CGI or due to its compelling story and characters. In the remake/reboot phenomenon of our time, this film should be held as example of what filmmakers have not been doing: something with mind and soul, something with personality. But the lesson they will be getting from this film is the opposite of that: "that movie made tons of money! Let's keep remaking!" Oh, God...

But it doesn't stop there.

By now, most of us knows about the Andy Serkis film that was to be released around this year by Warner Bros, and that was pushed to 2018 due to the Favreau film. It's actually a film that I'm looking very much forward to: I really like Andy Serkis as an actor, and I want to see how a film he directed will turn out to be. It features the voices of Christian Bale, Cate Blanchett, Tom Hollander (not to be confused with the new Spider Man) and Benedict Cumberbatch to name a few. As for Mowgli, the film features yet another New Yorker child star: Rohan Chand, who unlike Neel, already had a career in film. This movie promises to be laser-focused on Rudyard's book, given that it won't have anything to do with the 1967 film. Which means no singing, no nostalgia, and no King Louie of any side. It's even rumoured to be PG-13 (which is not so odd, given that the original books had very notorious moments of darkness). How will it be? Will it be like David Yates' "The Legend of Tarzan"? Or will it be closer to other projects related to Serkis like "The Lord of the Rings", "King Kong" or "Dawn of the Planet of the Apes"? This is yet to be known, but one thing is certain: the film is having the involvement of Alfonso Cúaron. Apparently he's there to give the debutant director some insights and tips, or to add a little bit of gravity to the film... right? Right? (...) I'll show myself the door.

Will this be another gritty film of our age? I hope not: I'm done with big gritty movies after "Batman v Superman: Dawn of Justice" (well, if it is gritty, I hope it's a good gritty film, then). Warner can totally adapt the Rudyard's novels without legal issues, since they are in public domain, but that's not the point. The point is that we have a showdown scenario in our hands, and showdowns are usually not good for business. Meanwhile, Disney has every intention to make a sequel to the remake, which has made by now over 700 million dollars and counting. So now we have two "Jungle Book" movies coming. A friend of mine even commented this is no jungle book; it's a freaking jungle library. But then, it's not even that to begin with.

Now I reach full circle, and I return to the point I started in the beginning; it's nothing short of aggressively ironic that we have several movies, Disney or otherwise, with at least two coming in the future, named "Jungle Book". They're not books; they're goddamn movies! I guess people really don't like reading.

I wonder how Rudyard Kipling would respond to this today...


I'm a graduate in Cinema and I enjoy writing screenplays, editing and taking pictures of unique moments. I also do some mediocre drawings. I like studding economical and political subjects, drifting across my city, and keeping up with my football team Flamengo.

Favourite visual artists
-Scott Adams
-Niklas Åkerblad
-Tex Avery
-Maitena Burundarena
-Eddie Campbell
-Philippe "Zep" Chappuis
-Lauren Child
-Laerte Coutinho
-Robert Crumb
-Salvador Dalí
-Roger Dean
-John R. Dilworth
-Will Eisner
-M.C. Escher
-Shepard Fairey
-Arnaldo Angeli Filho
-S. Neil Fujita
-Dave Gibbons
-H.R. Giger
-Terry Gilliam
-Grégoire Guillemin
-Butch Hartman
-Jamie Hewlett
-Mike Judge
-Chuck Jones
-Wassily Kandinsky
-Tim Kreider
-John Kricfalusi
-Vladimir Kush
-Touko "Tom of Finland" Laaksonen
-Joaquín Salvador "Quino" Lavado
-Roy Lichtenstein
-Milo Manara
-Robert McCall
-Frank Miller
-Hayao Miyazaki
-Tomm Moore
-Burton Morris
-Archibald Motley
-Patrick Nagel
-Pablo Picasso
-Steve Purcell
-Georges Prosper "Hergé" Remi
-Norman Rockwell
-Bob Ross
-Marjane Satrapi
-Charles Schulz
-Tyler Stout
-Drew Struzan
-Bruce Timm
-Albert Uderzo
-Satoshi Urushihara
-Andy Warhol
-Bill Watterson
-Stephen Wiltshire
-Dean Yeagle
-Kagaya Yutaka

Favourite films
-2001: A Space Odyssey - Stanley Kubrick, 1968
-The Adventures of Priscilla, Queen of the Desert - Stephan Elliott, 1994
-Aguirre, the Wrath of God - Werner Herzog, 1972
-Airplane! - David Zucker, 1980
-Akira - Katsuhiro Otomo, 1988
-All About My Mother - Pedro Almodovar, 1998
-All The President's Men - Alan J. Pakula, 1976
-American Graffiti - George Lucas, 1973
-An American Werewolf in London - John Landis, 1981
-Apocalypse Now - Francis Ford Coppola, 1979
-Army of Shadows - Jean-Pierre Melville, 1969
-Around The World in 80 Days - Michael Anderson, 1956
-Babe - Chris Noonan, 1995
-The Battle of Algiers - Gillo Pontecorvo, 1966
-The Bear - Jean-Jacques Annaud, 1988
-Beauty and the Beast - Gary Trousdale and Kirk Wise, 1991
-Beverly Hills Cop - Martin Brest, 1984
-Big - Penny Marshall, 1988
-The Big Lebowski - Joel Coen, 1998
-Blade Runner - Ridley Scott, 1982
-Blue Velvet - David Lynch, 1986
-Brazil - Terry Gilliam, 1985
-Chariots of Fire - Hugh Hudson, 1981
-Chinatown - Roman Polanski, 1974
-Cool Hand Luke - Stuart Rosenberg, 1967
-Dances With Wolves - Kevin Costner, 1990
-The Dark Knight - Christopher Nolan, 2008
-Das Boot - Wolfgang Petersen, 1981
-Delicatessen - Jean-Pierre Jaunet and Marc Caro, 1991
-Dirty Harry - Don Siegel, 1971
-Dog Day Afternoon - Sidney Lumet, 1975
-Easy Rider - Dennis Hopper, 1969
-The Endless Summer - Bruce Brown, 1966
-The Exorcist - William Friedkin, 1973
-Fight Club - David Fincher, 1999
-Finding Nemo - Andrew Stanton, 2003
-Gandhi - Richard Attenborough, 1982
-Ghostbusters - Ivan Reitman, 1984
-The Good, the Bad and the Ugly - Sergio Leone, 1966
-Heat - Michael Mann, 1995
-Koyaanisqatsi - Godfrey Reggio, 1982
-The Last Emperor - Bernardo Bertolucci, 1987
-Lawrence of Arabia - David Lean, 1962
-Léon: The Professional - Luc Besson, 1994
-The Leopard - Luchino Visconti, 1963
-The Lord of The Rings: The Society of The Ring - Peter Jackson, 2001
-Mad Max 2 - George Miller, 1981
-Man Bites Dog - Rémy Belvaux, André Bonzel and Benoît Poelvoorde, 1992
-Manhattan - Woody Allen, 1979
-Mary Poppins - Robert Stevenson, 1964
-MASH - Robert Altman, 1970
-Master and Commander: The Far Side of the World - Peter Weir, 2003
-The Matrix - Andy and Larry Wachowski, 1999
-Midnight Cowboy - John Schlesinger, 1969
-One Flew Over The Cuckoo's Nest - Miloš Forman, 1975
-Pee-Wee's Big Adventure - Tim Burton, 1985
-Persepolis - Marjane Satrapi and Vincent Paronnaud, 2007
-The Piano - Jane Campion, 1993
-Planes, Trains and Automobiles - John Hughes, 1987
-The Princess Bride - Rob Reiner, 1987
-Raiders of the Lost Ark - Steven Spielberg, 1981
-Ran - Akira Kurosawa, 1985
-Rebel Without a Cause - Nicholas Ray, 1955
-Reservoir Dogs - Quentin Tarantino, 1992
-Return of the Jedi - Richard Marquand, 1983
-The Right Stuff - Philip Kaufman, 1983
-RoboCop - Paul Verhoeven, 1987
-The Shawshank Redemption - Frank Darabont, 1994
-Spirited Away - Hayao Miyazaki, 2001
-The Sting - George Roy Hill, 1973
-Taxi Driver - Martin Scorsese, 1975
-Three Colours: Blue - Krzysztof Kieślowski, 1993
-Tootsie - Sydney Pollack, 1982
-Toy Story - John Lasseter, 1995
-Trainspotting - Danny Boyle, 1996
-The Umbrellas of Cherbourg - Jacques Demy, 1964
-West Side Story - Robert Wise and Jerome Robbins, 1961
-Who Framed Roger Rabbit - Robert Zemeckis, 1988
-The Wild Bunch - Sam Peckinpah, 1969
-Wings of Desire - Wim Wenders, 1987
-Y Tu Mamá También - Alfonso Cúaron, 2001

Favourite albums
-2Pacalypse Now - 2Pac, 1991
-Ah Via Musicom - Eric Johnson
-The Amazing New Electronic Pop Sound of Jean Jacques Perrey - Jean Jacques Perrey, 1968
-Amélie - Yann Tiersen, 2001
-Angel Dust - Faith No More, 1992
-Autobahn - Kraftwerk, 1974
-Avalon - Roxy Music, 1982
-Bad Reputation - Thin Lizzy, 1977
-The Beyondness of Things - John Barry, 1999
-Big Band Bossa Nova - Quincy Jones, 1962
-Black Widow - Lalo Schifrin, 1976
-Blade Runner Trilogy: 25th Anniversary - Vangelis, 2007
-Breakfast in America - Supertramp, 1979
-Business as Usual - Men at Work, 1982
-By The Light of the Moon - Los Lobos, 1987
-A Charlie Brown Christmas - Vince Guaraldi Trio, 1965
-Combat Rock - The Clash, 1982
-The Dark Side of the Moon - Pink Floyd, 1973
-Debut - Björk, 1993
-Dirty Deeds Done Dirt Cheap - AC/DC, 1976
-Dirty Mind - Prince, 1980
-Discipline - King Crimson, 1981
-Discovery - Daft Punk, 2001
-The Doors - The Doors, 1967
-Englishman - Barrington Levy, 1979
-Faith - The Cure, 1981
-From Chaos - 311, 2001
-From Here to Eternity - Giorgio Moroder, 1977
-Give Me The Night - George Benson, 1980
-The Grand Wazoo - Frank Zappa, 1972
-Heyday - The Church, 1985
-The Hurting - Tears For Fears, 1981
-I'm Your Man - Leonard Cohen, 1988
-Incesticide - Nirvana, 1992
-The Incredibles - Michael Giacchino, 2004
-Kaya - Bob Marley & The Wailers, 1978
-Kill 'Em All - Metallica, 1983
-A Kind of Magic - Queen, 1986
-Listen Without Prejudice, Vol. 1 - George Michael, 1990
-Learning to Crawl - The Pretenders, 1984
-Led Zeppelin IV - Led Zeppelin, 1971
-Let My Children Hear Music - Charles Mingus, 1972
-Look Sharp! - Joe Jackson, 1979
-Marquee Moon - Television, 1977
-Midnight Love - Marvin Gaye, 1982
-Moby - Moby, 1992
-Moon Safari - Air, 1998
-The Music From Peter Gunn - Henry Mancini, 1959
-Never Mind the Bollocks, Here's the Sex Pistols - The Sex Pistols, 1977
-Nouvelle Vague - Nouvelle Vague, 2004
-Off The Wall - Michael Jackson, 1979
-Offramp - Pat Metheny Group, 1982
-Oxygène - Jean Michel Jarre, 1976
-Paranoid - Black Sabbath, 1970
-Pendulum - Eberhard Weber, 1993
-Pinkerton - Weezer, 1996
-Play Deep - The Outfield, 1985
-Please Please Me - The Beatles, 1963
-Porgy and Bess - Miles Davis, 1958
-Pretty Hate Machine - Nine Inch Nails, 1989
-Pyromania - Def Leppard, 1983
-Rage Against The Machine - Rage Against The Machine, 1991
-Ramones - Ramones, 1976
-Rant in E Minor - Bill Hicks, 1997
-Rocks - Aerosmith, 1976
-Selected Ambient Works 85-92 - Aphex Twin, 1992
-Shout At The Devil - Mötley Crüe, 1983
-Somewhere in Time - Iron Maiden, 1986
-Signals - Rush, 1982
-Stink - The Replacements, 1982
-Street Songs - Rick James, 1981
-Suicide: Alan Vega and Martin Rev - Suicide, 1980
-Super Trouper - ABBA, 1980
-Tango in The Night - Fleetwood Mac, 1987
-Taxi Driver - Bernard Hermann, 1976
-Ten - Pearl Jam, 1991
-Tibet - Mark Isham, 1989
-Unknown Pleasures - Joy Division, 1979
-Violator - Depeche Mode, 1990
-The Voice - Bobby McFerrin, 1984
-Who's Next - The Who, 1971
-You're Never Alone With a Schizophrenic - Ian Hunter, 1979
-Zenyatta Mondatta - The Police, 1980

Favourite television shows
-30 Rock
-Bob's Burgers
-Boston Public
-Charlie Rose
-Cosmos: A Personal Voyage
-Courage The Cowardly Dog
-The Decalogue
-Flight of The Conchords
-Full House
-Generation Kill
-Gravity Falls
-Hey Arnold!
-Key & Peele
-The Kids in the Hall
-Last Week Tonight with John Oliver
-Married... with Children
-Monty Python's Flying Circus
-My Wife and Kids
-The Nanny
-Planet Earth
-Punky Brewster
-Regular Show
-Seven Ages of Rock
-Silicon Valley
-South Park
-Spitting Image
-Step by Step
-Top Gear
-True Detective
-Will & Grace
-The Wire

Favourite books
-100 Years of Menswear - Cally Blackman
-1984 - George Orwell
-Animal Farm - George Orwell
-Big Damn Sin City - Frank Miller
-The Dark Knight Returns - Frank Miller
-The Exorcist - William Peter Blatty
-Fidel: Hollywood's Favorite Tyrant - Humberto Fontova
-Fight Club - Chuck Palahniuk
-Flow My Tears, Said the Policeman - Phillip K. Dick
-From Hell - Alan Moore and Eddie Campbell
-Heretic: Why Islam Needs a Reformation Now - Ayaan Hirsi Ali
-The Hound of the Baskervilles - Arthur Conan Doyle
-In Cold Blood - Truman Capote
-The Jungle - Upton Sinclair
-The Jungle Book - Rudyard Kipling
-Jurassic Park - Michael Crichton
-Letter to a Christian Nation - Sam Harris
-The Little Prince - Antoine de Saint-Exupéry
-The Lord of The Rings - J.R.R. Tolkien
-Naughty and Nice: The Good Girl Art of Bruce Timm - Bruce Timm
-New York: Life in the Big City - Will Eisner
-Persepolis - Marjane Satrapi
-Peter Pan - J.M. Barrie
-The Rough Guide to Pink Floyd - Toby Manning
-Sex, Drugs & Magick - Robert Anton Wilson
-Watchmen - Alan Moore and Dave Gibbons

Favourite video games
-Age of Empires III
-Batman: Arkham City
-BioShock Infinite
-Borderlands 2
-Dead Space
-Euro Truck Simulator 2
-Flight Simulator X
-Forza Horizon 2
-Grand Theft Auto: San Andreas
-Hotline Miami
-Just Cause 2
-L.A. Noire
-The Legend of Zelda: Ocarina of Time
-Max Payne
-Mirror's Edge
-Need For Speed Underground 2
-SimCity 4
-Star Wars: Knights of the Old Republic
-Super Mario 64
-Team Fortress 2

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Entropician Featured By Owner Nov 30, 2015  Professional General Artist

Hi, muito obrigado pelo, I hope you'll enjoy even the rest of my gallery, have a good day, bye!:) 

TheDrifterWithin Featured By Owner Nov 30, 2015
You're welcome.
JonezToons Featured By Owner Nov 12, 2015  Professional Digital Artist
Thx for the fav. Hope you like my other ones too?
TheDrifterWithin Featured By Owner Nov 13, 2015
You're welcome. You don't have to thank me. And I like your gallery. :)
amanda4quah Featured By Owner Jun 5, 2015  Student General Artist
Thank you for joining the Top Gear Fan Club :) We look forward to seeing your works!
TheDrifterWithin Featured By Owner Jun 5, 2015
Don't mention it: you're welcome.
FitzOblong Featured By Owner Dec 26, 2014
Thanks for the :+fav: . :icondweebdanceplz:
TheDrifterWithin Featured By Owner Dec 26, 2014
You're welcome, Fitz.
AllentownDarkWater Featured By Owner Sep 20, 2014
There is a God in Heaven after all! Sorry, I wanted to leave a comment on your journal entry, but the comments were disabled. I HATE the Nostalgia Critic too. He's so annoying and more than half of what he bashes doesn't deserve it! And another thing I hate is when people who do like him read my posts about how I don't like him and attack me and say shit like I have no right to say negative things about him. I hate Spoony and Linkara too. You sir are okay in my book! :)
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