Category Archives: DVD

Big Scream TV: The Boo Tube


As noted in my last review of a video decor DVD, although the concept (and commercially available) existed in the age of VHS, it wasn’t until DVD technology entered the picture that Halloween video decor really took off. One of the biggest and most influential titles to take advantage of the technology was the Big Scream TV series by Lightform Productions.

The concept behind the series is simple: a looping series of spooky talking heads that seem to float in nothingness that can easily be done at home. The DVD-R starts with a quick credits screen that notes the following performers: Bill Lae, Mike Ziemkowski, Tim Peyton and Teresa Shea. We then go to a graveyard-themed menu with looped scary music and wind effects. Three tombstones give us the following choices: “Here Lies the Untame,” “Here Lies the Tame,” and “Here Lies Scary Tips and Illusions.”

Choosing the “untame” option starts a fourteen minute and thirty-three second long video of numerous spooky faces. The faces, realized using a combination of makeup and computer generated effects, pop up onscreen for a few seconds to either growl, laugh menacingly or make some comments before vanishing. The transitions are very well done are aren’t just simple fade ins/outs. For example, the mouth monster shown on the cover is spat out and gobbled up by a giant disembodied mouth and demons appear and disappear in explosions of flame. The CGI effects also add extra touches to the fiendish faces. Frankenstein’s monster shoots sparks from his electrodes, a three-eyed monster wiggles its ears and shoots steam from his nose and lots of other neat little touches that I won’t spoil. Although there is some pretty creepy stuff here, it should be noted that several monsters ham it up for their performances and tell corny jokes. Also, despite the “Untame” name that implies use for teenagers and adults, several monsters makes references to children and candy, for reasons that will become clear in a bit. In a nice touch, the track loops automatically and each face has its own chapter stop (for a total of thirty).

Selecting the “Tame” plays most of the same material from the “Untame” loop. In fact, the only difference is that the demons, rotting corpse, mouth monster and exposed brain guy scenes have been removed, making the running time only seven minutes and 38 seconds before it automatically loops. It also cuts the chapter stops down to fourteen! Don’t be fooled, though. There’s still some material that will scare kids. Although I’m sure some of the jokes (especially the mummy that injures itself) will help them cope.

Selecting the “Tips” option will play a four minute video about the basic set-up, how to use the DVD in displays and decorating suggestions. There are a lot of great tips here, like how to adjust brightness and contrast to reduce light from TV (in order to hide the fact that a screen is being used). There’s also an explanation of using the DVD to create an amazing Pepper’s Ghost effect, which is clearly explained in simple terms and is actually very easy to set up using Plexiglass and household items. In a nice turn of events, the thinnest and cheapest type of Plexiglass is actually the type that works best for the effect! But even if you aren’t able to do that effect, you can still play it on a TV with decorations around it (I recommend putting a frame around the screen) or put it in a darkened window. If you have to go that route, might I suggest putting in a dark room that people can’t enter, thanks to the open doorway being blocked off? You can use stacked boxes, fake nailed-up boards or warning tape to both keep people from getting closer and to add to the effect.

Despite being a DVD-R, Big Scream TV: The Boo Tube has an excellent transfer. Sadly, there is no submenu for the individual chapter stops or loops for individual characters. Although somewhat understandable since this 2004 DVD was the first release in line, it would have been a welcome feature. It is possible, however, to program your DVD player to do that (or to make your own custom mix of characters). That might be the best course of action for those using it in a haunted house. The mad scientist segment alone would be a perfect introductory video to explain the rules of a mad scientist-themed haunted attraction. Depending on your tastes as to how the characters look and act, as some might not like the dialogue directly referencing Halloween if the haunt runs throughout October, then this might be the best option. Those using this on Halloween without a specific theme for their house should be easily satisfied, and use of the Pepper’s Ghost effect will almost guarantee that their house will be the talk of the neighborhood. That said, I wish the loops were longer in length. I know that Trick or Treaters probably won’t mind, seeing as how they’ll only see a few of the faces as they visit, but I can imagine that this could get old after awhile at a party. Having this on a factory-pressed DVD would have been nice, as those tend to be more durable than recordable media. In any case, I certainly know what will be making an appearance in one of my future Halloween displays…

The success of The Boo Tube led to two more installments in the series, Funny Bones and Crystal Ball. Lightform Productions has also gone on to release a how-to DVD called Xtreme Haunted Home Make-Over, along with more traditional video decor products like Halloween Scarols and Terror Eyes. I strongly suspect that the success of these titles is why several cheap video decor DVDs started flooding the market in the following years.

Special thanks to Lightform Productions for the review copy!

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Living Dead Live!

Although there are tons of materials devoted to the various aspects of creating of haunted house, one topic remains mostly ignored amongst all the how-tos on prop-making and setting up a haunted house: scaring people. Far too many people think simply wearing a mask and yelling “Boo” while jumping out of a dark corner is all you need to do in order to scare people.

So when I discovered Living Dead Live! while perusing through Amazon, I was pretty excited. Especially because of the names I saw listed on the cover. I was familiar with Jim O’Rear due to his acting work and presence in the Halloween/haunt community and Rich Hanf is a pretty big name in the haunted attraction industry. In fact, he is a professor at Halloween University! This was clearly put together by guys who knew their stuff when it comes to scaring.


The film opens with Rich Hanf speaking outside his 2002 “House of the Living Dead” haunted attraction. He’s very energetic, animated and quick to make a joke, like an 80’s wrestling manager “cutting a promo.” We learn that this is actually a sequel to a video from 1997 called Live on Horror Hill and that, just like that video, we’ll be going through a haunted house, room by room, to examine how the scares are achieved. After a reprise of a gag from Live on Horror Hill (presented in a way that’s still funny to those who haven’t seen it), we get the opening credits. Said credits are played over footage of people getting scared as they go through the haunt, and certain footage is reused many times over the course of the film.

Right from the beginning, Hanf shows the viewer how a scare can be used to force people in a certain direction. In this first example, he uses a rattling, chained-up door prop to startle people into running further down the hall at the beginning of the haunt. It’s positioned by the doorway that customers use to enter the haunt, and it doesn’t start moving until the customers are partway down the hall with their backs to the door. This is followed by footage of the scare in action, which occurs after the initial explanation of each scare.

Oddly, the footage used for the next scare (involving a giant rat and a killer clown) only seems to show the clown scaring people. The asylum room is truly inspired and jam-packed with scares, featuring numerous instances of a single actor providing multiple scares. My favorite involves a jailed inmate startling someone by suddenly appearing in a cell and rattling the bars. This gets the customer to back up towards the opposite wall, which contains an actor behind a hidden drop panel. When the hapless victim turns around to see what made the loud noise behind them, the first actor removes the bars from his cell and starts to climb out. That way, when the customer(s) who get scared by the drop panel turn back around, they’re surprised by the freed prisoner coming after them and are forced towards the next scare. As our host notes, using scares to direct people are important, as it helps keep them from aimlessly milling about for too long and clogging up the flow of customers.

The next few scares are mostly based around distracting people prior to hitting them with a scare (which greatly enhances the effectiveness of said scare), the first of which involves an actor who has already provided two other scares. Getting the most scares out of one actor is a constant theme throughout Living Dead Live!, be it by having the same “character” reappearing elsewhere or by having them secretly trigger an effect in a nearby room. Other distraction and misdirection-based scares include a room which takes advantage of the fact that people will assume that everything in a room that mostly consists of painted figures on a wall is merely a flat painting and another involving a corpse behind glass. On the non-distraction front, there’s also a scare designed to tempt (and nail) people who break rules like “no touching.”

A still from reading “Words from the Press” takes us into a long segment featuring numerous clips of local news footage promoting “House of the Living Dead.” These are frequently mind-blowing, featuring things like a newscaster in bleeding “Jason” mask, multiple uses of Michael Jackson’s “Thriller,” and a segment where things keep popping out of walls until the room fills up like a reverse clown car. It’s all gloriously bizarre, although watching all of the clips does give away a large portion of the attraction. All of this footage appears to have been recorded at home although certain flaws, like the very high contrast footage featuring Rich Hanf’s wife seems to be the fault of news crew and not the people behind the DVD. There’s also one segment where the footage seems to “flash,” but I can’t say if it’s an error or merely an attempt to simulate a strobe light.

Then we’re taken back to the scare tips and explanations. More creative misdirection scares are discussed (the ones in the haunted mine and hanging room are truly brilliant), as are the psychological effects of black curtains, the importance of showmanship, and what sort of scares to use for promotional news shoots.

Another still takes us to a lengthy segment devoted to the actors and actresses. Mr. Hanf and a series of various employees sit in a meeting room and discuss the room they appear in, how their scare works (often followed by footage of the scare in action), memorable customer reactions, how to improve the room and (of course) general tips. There is a lot of great advice here, like “get your scare and get out of there” and the importance of actors taking control of their room, often by
singling out a person to get them more involved in the experience.

After that, the viewer is taken on the final leg of the haunt break-down. There’s plenty of old standards, such as a graveyard, strobe room and laboratory, along with more original material like the “Hall of Doors” (the scares aren’t as obvious as they sound). Of course, the old standards always have a new twist, such as how the mad scientist is able to get multiple scares at once.

But wait, there’s more! Before the credits roll, there’s a ton of videos of people going through the haunt and some interviews with scared customers. It’s interesting to see how the character in some rooms are rotated and seeing some actors do scares that weren’t previously mentioned by Hanf. The customer reactions are, as you’ve probably guessed, quite a hoot. All the classics are here, from people losing shoes to people who go in acting brave getting scared silly.

This 2003 DVD-R release has no menu or chapter stops, which is quite annoying given that it’s about an hour and 43 minutes long. There aren’t any special features
(there is a funny joke about this on the back cover), which is a shame since the news footage segment could have easily served as a bonus feature without removing essential from the film. But, in all fairness, this appears to have been the first time those involved had ever released a DVD.

The transfer is full frame, camcorder quality with the occasional rainbow/tape lines and artifacting. To be honest, the quality doesn’t both me, as I find it much less annoying than flat, overly bright Mini DV transfers you see on direct-to-video crapfests like The Tomb. What did annoy me, however, were the longish black pauses between haunt footage and Hanf’s segments and the squeaking noise that first appears several minutes into the movie (and occasionally pops up later on). I asked Mr. O’Rear about this and sadly, this was present on the master copy. He was not sure as to exactly what caused it, but theorized it could have something to do with a low battery. Unfortunately, it pops up at points where simply removing that portion of the audio track and replacing it with ambient noise or redubbed dialogue would be impossible (as would simply not using that footage).

The same can’t be said for the long breaks between footage transitions, however. That really should have been fixed in post-production or, failing that, replaced with graphics outlining the scare tips made from the previous segment (not unlike the scrolling subtitles from time to time to emphasize a point or provide further hints). Another thing that could have been taken care of in post is the order of the segments, as the constant breaks from the main dissection of the attraction’s scares is rather distracting. In my opinion, it would flow much better in the following order: step-by step through the haunt, actors, live haunt footage and maybe the news promos (if they weren’t used as an extra).

Any other issues can mostly be chalked up to Living Dead Live!
As this was more or less made by two guys using only one camera on the final night of the haunt’s run (Halloween), there was no time for multiple takes. Thankfully, Rich Hanf rarely flubs his dialogue and those are limited to the interviews with performers. And even then, the others (including cameraman Jim O’Rear) seize upon the opportunity for some good-natured joking. Likewise sometimes the camera angles used during the “live” footage might not be to everyone’s taste, but the fairly narrow portions of the haunt were designed to keep scared customers moving forward and not for filming. Especially filming by a cameraman who was taking care not to get in anyone’s way.

Although primarily intended for those already familiar with the haunted attraction biz, home haunts can still pick up some great tips from this. However, the entertainment and educational value is marred somewhat by the presentation. Thankfully, that’s nothing that couldn’t be fixed by a little editing and a “Living Dead Live: Reanimated!”-type reissue of the title.

Special thanks to Jim O’Rear for the review copy!

A Halloween Moon

Although the use of video technology for decoration did exist in the days of VHS, things really didn’t take off until DVDs entered the picture. Finally, a program could be played over and over again in a loop without the need for constant rewinding.

TransLumen Technologies seeks to differentiate themselves from the virtual fireplaces and “ghoul logs” on the market by doing something other than the standard video wallpaper DVD. Rather than doing an actual video that’s mean to be watched, they use a series of images to create an illusion of a still picture that changes at times. Apparently, there’s no threat of screen “burn-in” since the images are always changing. The back cover says that these were intended for use on widescreen televisions and that the changes can’t be detected on them. As I have an old school tube TV, I can confirm that the disc can be used with it, although the transitions are somewhat easier to detect (especially if you constantly watch the screen).

As you’ve probably guessed, one doesn’t technically watch a TransLumen DVD. Instead, it’s better if you only glance at the screen from time to time. This makes it best suited for use “in the background” at a Halloween party or in the waiting area of a haunted house. Although the back cover says a “cabinet, mirror, window shade or other concealment methods” are not required (presumably a reference to the Big Scream TV series and other such titles), I suspect that many Halloween enthusiasts will be tempted to place a fake picture over their screens in order to help give the appearance that this is a haunted painting. A fun way to further enhance the effect is to position a mirror across the room from the screen playing A Halloween Moon. People are naturally drawn to mirrors and as they look at themselves, they’ll probably notice that the image has changed since they last saw it.


A Halloween Moon starts off with an opening title screen and and explanation of the technology on the disc, followed by a 30 second time lapse version of the entire “show.” This entire segment (including the opening) counts as the DVD’s sole chapter stop. Next comes the main program, which clocks in at about an hour and automatically loops (skipping the introductory screen) after the conclusion.

We’re greeted with a black and white scene depicting a deserted house on a lonely road with a full moon overhead. However, this gradually shifts into color (and said colors change shades over time) while scary sound effects and music play. Although the audio fades out completely after five minutes, it returns every now and again. The initial return (tolling bells) is a clever way of drawing people’s eyes back to the screen to both take notice of the changes and to get them prepared to check back at other points in time to see how else the “painting” has changed. However, the sound/silence ratio (and duration) constantly changes after that, rather than predictably occur every five minutes or not long after a new image appears onscreen. It’s a clever touch that might take some awhile to get used to. Of course, those who either want no audio or who wish to use a different soundtrack only need to hit “Mute” on their remote.

I was impressed how TransLumen Technologies managed to stretch out the amount of sound effects over the course of the DVD without it ever seeming boring or skimpy. They even manage to pull of using two versions of “Toccata and Fugue in D” (the classic spooky version and a lighter take on it) and not have it seem repetitive. New effects or music are always layered in whenever something is repeated. Said music is excellent and ranges from “pounding and spooky with wordless vocals” to “eerie yet mystical.” The program’s final segment uses a mix of old and new material to make for a great ending.

However, I do have a few issues with the choice of certain effects. For example, the barking dog effect that appears about fourteen minutes in sounds like a regular dog barking. Although its sudden appearance after a lengthy silence is genuinely surprising, I would have preferred something a little more vicious-sounding. Also, some effects are much louder than others, like the door slamming about forty minutes in (which implies a use of effects from multiple sources).

But let’s not forget the visual side of things. Many other spooky images pop up over the course of the disc’s running time, ranging from a strange reddish light appears in the upper window of the house to the very creepy “skull in the moon” effect (along with plenty of other spooky touches I won’t describe). I did like how, at the end, the various scary things fade away and the image gets monochromatic again, which makes the transition back to the beginning very seamless.

This 2007 DVD is a very impressive first effort by Translumen, with an excellent widescreen transfer and is scary enough to please adults while not being too intense for all but the youngest of children. As it’s a DVD-R release, some players might display “lines” onscreen during the first play-through and it is advised that you play A Halloween Moon at least once prior to the visitors arriving. Thankfully, the label is printed onto the disc rather than being glued on. I also think it would be a nice creepy touch if future Halloween-related titles had some objects that appear and disappear from time to time without sticking around for the final picture.

Company founders Carol Sherman (company President) and Doug Siefken (who also directs the company’s DVDs) were also kind enough to answer the following questions:

Please tell us a little about the company.

Carol Sherman: TransLumen Technologies was founded and the first patent was filed at the beginning of 2000 followed by a second patent application. The initial art on Video Compact Disc (VCD) for internal use was shown to Kodak, Viacom, Disney and Panasonic. They verified its competitive uniqueness via patent and internal technology searches. In 2002 – 2003 TransLumen was issued U.S. Patents #6,433,839 and #6,580,466 for graphic imaging algorithms. On 02/02/2002 Sony Galleries sponsored an exhibit featuring the first public implementation of TransLumen’s Fluid Stills® technology. The show exhibited three pieces of the VCD based art, two on TVs and one projected.

TransLumen Participated in a Boeing “think tank” to create future technologies. TransLumen successfully completed a collaborative 3-month test with NEC on plasma screen burn-in mitigation. We then presented a simulation on the Access Grid Facility for the Office of Naval Research along with one to the Technology Research Education & Commercialization Center. TransLumen also collaborated with Boeing Integrated Defense and QinetiQ for Command/Control applications during this time.

In the years 2004 – 2005 TransLumen received a NASA Illinois Commercialization Center Award and participated in a DARPA Cognitive Performance think tank for Augmented Cognition. The first functional peripheral awareness indicator integrating Subthreshold Extreme Gradual Change (STEGC) was developed. Since 2006 TransLumen received a State of Illinois’ Homeland Security –Innovation Product grant, made presentations to and submitted “white papers” to Augmented Cognition International and the World Bank, received an Illinois Technology Development Alliance grant to advance use of the v-INDICATOR™ for universal mobile device use, received an Office of Naval research contract Broadcast Agency Announcement (BAA) for perceptual training and partnered with Lockheed Martin to conduct further development associated with the perceptual training BAA. In addition, we have launched the game “UAV Fighter,” an Apple App for the iPhone, iPod Touch and iPad.

Please tell us a little about your “Fluid Stills” technology.

Carol Sherman: We currently hold three patents on the Fluid Stills® Sub-threshold Extreme Gradual Change (STEGC). With their pictorial roots, the pieces produced in this manner can be very fluid yet non-disruptive when used as ambient art. The pieces are a part of the “Stillism”, “video art installation” and “video painting” genres. Each frame has all of the qualities of a photograph, painting or other piece of still art while the work as a whole embodies the temporal flow of the motion picture.

The technology relies on slowing change from one image to the next to a point slow enough to be below the visual sense of change. In other words “it looks like a still image but is dynamically changing.”

TransLumen developed an art DVD for the Chicago Field Museum using its Fluid Stills® technology. A Fluid Stills® Chicago Skyscape for the renovation and re-branding of Chicago’s Holiday Inn Express Hotel was installed in 2007 (and is still running) at 640 N. Wabash.

How did the idea to do a Halloween title come about?

Doug Siefken: I have always thought that Halloween was the most awesome of holidays – loving the excitement of it. I wanted to do an art piece that lent itself to the “festive” (scary really) aspects of Halloween but suitable for all ages.

What’s the creation process like for your products?

Doug Siefken: We use the following process

1. Create and develop the concept
2. Develop the “story” timeline
3. Create or acquire the artwork and audio tracks
4. Process as STEGC (Sub-threshold Extreme Gradual Change) raw imagery/video
5. Compile video using MPEG2, H.264 etc.
6. Distribute as digital file or DVD/Blu-ray etc.

Are the art and audio original or were they licensed from another company?

Carol Sherman: The art in A Halloween Moon was based on about 15 original photographs by Doug Siefken and a handful of licensed art. The audio is a collection of original music and sound effects by TransLumen combined with licensed pieces. The licensed pieces came from sound effect/audio and art collections.

Which companies were they licensed from?

Carol Sherman: The audio was licensed primarily through Sony and Sonic libraries and mixed with original TransLumen content.

Are you planning on switching from DVD-Rs to DVDs at any point?

Doug Siefken: Yes – we are planning to introduce a variety of formats including DVD, Blu-ray and streaming for all of our titles. An interesting point is that in various formats it is a “Green technology.”

Interesting! How are these a “green” technology?

Carol Sherman: The images when played back via certain file formats (not DVDs or Blu-ray) are “green technology” because only the change is transmitted and there is very little change compare to full motion video. High-def images have been successfully played over 14400 baud modems (over telephone).

Do you have any plans for further Halloween (or other holiday)-related releases?

Carol Sherman: We are planning to release product for all major Holidays and currently are producing and /or translumenizing content for Long Glance Media.

Special thanks to TransLumen Technologies for the review copy!

More Cool Cover Art

While browsing through the recent “Gravedigger’s Local 16 Flashback” entry, I couldn’t help but find myself drawn to the “Cool cover art” entry. Although the website noted in it (Critical Condition Online) is the undisputed king of online VHS cover art collections, I was inspired to see if there were any other sites devoted to cover art scans out there. I was not disappointed:

Itsonlyamovie.co.uk has a nice selection of British VHS covers from before the infamous “Video Nasties” crackdown.

Retro Slashers has a wonderful collection of the sort of slasher film box art that used to thrill us back in the day.

Both the Uranium Cafe and Friday the 13th: The Website have some cool pages devoted to VHS covers.

The Lightning Bug’s Lair has a cover gallery devoted solely to Christmas-themed horror movies.

Toho Kingdom has numerous pages devoted to both VHS and DVD covers.

Last but not least, the Horror Section offers a huge collection of covers from the best section of the video store, along with reviews and other goodies.

RIP Video Oasis

I’m bummed. You see, I was looking up the contact information for one of my favorite video stores and discovered that they had since closed their doors. I even tried calling to double check. It’s a bit odd for me to count Video Oasis as one of my favorites, seeing as how I only visited once and never rented anything, but I think the following will explain why.

I first learned about the store through its reputation back in 1995. Its selection of cult and obscure titles from all genres was often praised in the It’s All True column of the now-defunct Editorial Humor. That column, along with the paper’s profiling of local events in Massachusetts, set Editorial Humor apart from other humor piece/comic reprint papers (like Funny Times) due to their focus on everything weird. Be it crackpot inventors, television shows, movies, or the strangest the internet had to offer, It’s All True would tell you everything you needed to know. It also sponsored/promoted “Channel Zero,” a showcase of various bizarre movies and television shows (and occasionally things like bad poetry) that traveled from one venue to another. I remember reading that an installment about Japanese superhero programs was held at a bar, while others were presented at indie movie theaters.


But I digress…

I seem to recall that one installment of It’s All True made note of Video Oasis having to hastily assemble shelves from 2x4s and cinder blocks in order to accommodate the sheer number of VHS cassettes they had acquired over the years. It also noted one of the store’s claims to fame: They actually carried the legendary Bruceploitation classic The Dragon Lives Again, wherein “Bruce Lee” goes to the underworld and teams up with Popeye to fight mummies, skeletons, Dracula, the Exorcist, and James Bond (among others). Oh yeah, you read that right.

So that, combined with the various ads for it that I saw in Editorial Humor and various free weekly papers, firmly cemented Video Oasis in my mind as a place I had to visit in the future. I once recognized the store’s distinctive palm tree logo from the newspaper ads, looking at the store with longing as the car I was riding in quickly passed by.

It wasn’t until around 2005 or 2006 that I actually set foot inside the place. I had gotten lost in Cambridge while trying to find a movie theater I was supposed to pick up a prize I had won online from. Despite having walked for quite some time and started getting sore feet (along with a partial sunburn), I pressed on in the hopes that I only had a little more to go before reaching my destination. Instead, I found Video Oasis.

I was both happy and confused. Although I was glad to have an opportunity to actually visit the store, I could have sworn it was located in a different part of the state. The storefront certainly didn’t look like the one I remembered. But it didn’t matter if this was due to fuzzy memories or a change of location, I was finally there. Besides, I could probably ask for directions inside.

I was totally unprepared for what I found inside. It was actually bigger on the inside than it appeared outside. “Standalone, one story Best Buy” big. Rows upon rows of shelves (of the non 2×4 and cinder block variety) filled with DVDs or VHS (depending on what section of the store you were looking at). A barred door was chained shut in a corner, with a sign on it saying you had to ask someone up front to open it in order to inspect or purchase the vintage toys behind said door. “So that’s why they have a Shogun Warrior in one of the windows” I thought.

“Are you all right?”

The guy up front had taken noticed of my stunned expression. I had been so surprised by what I had just seen, I had frozen in place.

Embarrassed, I replied with something to the effect of “Oh…I was just surprised at how big it is in here. I’m just gonna look around now” and quickly darted down the nearest “Martial Arts” aisle. I walked around checking out all the cool covers and rarities until I worked up the nerve to ask for directions and more information about their rental and membership policies. It turned out that I had gone in the opposite direction of where I needed to be. I had to turn down the offer to sign up and take home a rental due to money issues, but vowed to return as soon as I had a steady supply of income.

But that time was further off than I thought and various issues (including an unplanned move) kept me from returning. By the time everything had calmed down and I was able to find the time to get there, Video Oasis had closed. If you maneuver around past the bus in this Google Map street view, you can even see the store’s signs and the darkened, Shogun Warrior-free windows.

As is the case when a loved one passes away, one has to work past the sadness and remember the good times. Although I’m sad to see it go, I’m still glad I had been able to visit at least once. It is also important to cherish those that are still with us and make every opportunity count. So if you’ve been thinking of renting certain movies from a certain store, do it now. They could close up tomorrow for all you know. Writing this also led me to discover that It’s All True/Channel Zero still exists in blog form. You’ve got to take the good with the bad.

Goodbye Video Oasis, you will be missed.