Emahlstadt

ledoshumain:

David Werkstatt

jesuisperdu:

(entire brick wall smoothed out by the ocean)

artspotting:

chatter (on the other hand)

same message board, left side, detail (inverted)
Niihama, 7 August 2018

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2 of 2

all on the other hands
all tagged ohne worte

> asfaltics.tumblr.com

“The Eyeball Man Next Door” is a guaranteed best-seller. Just saying.

Being that they introduced me to horror at a young age, it makes me so happy that the Goosebumps books are still living on all these years later. Nearly thirty years after the first one came out, R.L. Stine is *still* writing new books, and this October will see the release of Goosebumps 2: Haunted Halloween, the second movie in the property’s film franchise.

Keeping the Goosebumps love alive, *someone* has taught a computer to generate new covers for faux Goosebumps books, launching the Twitter account @GooseBots to show them off!

The account’s bio reads, “New classic Goosebumps novels, generated on the fly using top secret code extracted from a decommissioned Scholastic mainframe computer.”

Follow along and enjoy!

pic.twitter.com/KTshlwYEH7

— RLSTINE.EXE (@goosebots) September 14, 2018

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— RLSTINE.EXE (@goosebots) September 14, 2018

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— RLSTINE.EXE (@goosebots) September 14, 2018

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— RLSTINE.EXE (@goosebots) September 15, 2018

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— RLSTINE.EXE (@goosebots) September 15, 2018

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— RLSTINE.EXE (@goosebots) September 15, 2018

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— RLSTINE.EXE (@goosebots) September 15, 2018

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— RLSTINE.EXE (@goosebots) September 19, 2018

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— RLSTINE.EXE (@goosebots) September 16, 2018

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— RLSTINE.EXE (@goosebots) September 17, 2018

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— RLSTINE.EXE (@goosebots) September 17, 2018

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— RLSTINE.EXE (@goosebots) September 18, 2018

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— RLSTINE.EXE (@goosebots) September 18, 2018

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— RLSTINE.EXE (@goosebots) September 19, 2018

Ahead of its Fantastic Fest screening this weekend, IFC Midnight announced today it is acquiring U.S. distribution rights to Emma Tammi’s narrative feature film The Wind (our review) produced by Soapbox Films and Divide/Conquer. The film made its World Premiere at the 2018 Toronto International Film Festival to an enthusiastic Midnight Madness crowd.

Hailed by critics as a femme-centric western and supernatural horror, the film stars Caitlin Gerard, Julia Goldani Telles, Ashley Zukerman, Dylan McTee, and Miles Anderson.

The Wind not only features an array of talented female creatives at the helm and in front of the camera, it also showcases the work from production designers Hillary and Courtney Andujar, set decorator Elsbeth Mumm, along with film editor Alexandra Amick.

“When a woman moves to the American frontier to settle it with her husband, an evil presence soon makes itself known and infects her with paranoia.”

A release is planned for 2019.

When players think of horror games their minds usually don’t go anywhere near portable systems. Limited buttons and hardware have often left successful horror series off of the platforms, and it’s mainly been a genre primarily seen on consoles. Despite these disadvantages, some developers have had success in creating handheld horror games, and with the recent success of the more powerful Nintendo Switch, it’s quite possible that we’ll see a resurgence in scares that can be had on the go as many of the historical problems are no longer relevant.

Until then let’s take a look at 10 games that showed how successful the genre can be when done right on a handheld.

Clock Tower (Wonderswan)

While the grayscale visuals might lessen the impact that Clock Tower’s fantastic atmosphere had on players, there’s no denying that the faithful Wonderswan port was an impressive technical feat. The point and click gameplay of the Super Famicom original is entirely intact, and the menacing Scissorman still manages to instill fear in players. Even in 2018, players can easily find themselves engrossed in the tale of the Barrows family.

Silent Hill: Shattered Memories (PlayStation Portable)

Despite lacking the motion controls that made the original Wii version so unique, the PSP version of Shattered Memories showed that the handheld could handle console experiences well. The visual downgrades are obvious, but the game’s biggest strength remains its fantastic reimagining of Harry Mason’s story. Shattered Memories’ inventive psychotherapy sessions proved just as powerful on the go.

Corpse Party: Book of Shadows (PlayStation Portable)

All three of the mainline Corpse Party titles have found portable success, but Book of Shadows manages to be the scariest of the bunch. This is due to the evocative imagery that is conjured up both on-screen and through text in the visual novel. It’s a great example of a horror game playing to the system’s strengths as it abandoned the adventure game template of the original.

Resident Evil: Revelations (Nintendo 3DS)

Resident Evil largely went back to its roots with Revelations, as it embraced the survival horror gameplay that brought the series to prominence rather than the straightforward action it had embraced over time. The result was a resounding success, and it’s one of the most visually impressive 3DS games to this day. As the console ports later proved, the 3DS’ smaller screen and lower resolution helped hide some of the rough spots, and the bite-sized horror was perfect for portable play.

Year Walk (iOS)

Swedish developer Simogo embraced their heritage with 2013’s Year Walk and managed to create one of the most unique mobile games in recent history. The adventure game is absolutely haunting and takes advantage of a companion app to help players unravel the game’s many mysteries. It’s a brilliant example of a title taking advantage of its platform and shows that mobile gaming can be a strength, not a weakness if designed from the ground up.

Silent Hill Play Novel (Game Boy Advance)

Not many know that the original Silent Hill found its way to Game Boy Advance thanks to a unique version of Konami’s horror hit. Rather than trying to cram the adventure onto a system it wasn’t designed for, it instead presented the story as an interactive visual novel. It was only released in Japan, but fans have translated this cool piece of history into English.

Dead Space (iOS)

Despite serving as a side story to the main game, Electronic Arts pulled out all of the stops in creating a mobile version of the third-person shooter. It featured incredible production values at the time, and the gameplay was just as tense as ever thanks to a redesigned control scheme that alleviated the need for a controller. Unfortunately, despite how well it transitioned the iOS version of Dead Space is no longer available on the App Store. Perhaps proving that the perils of digital distribution are the greatest horror of all.

Resident Evil Gaiden (Game Boy Color)

While not without its fair share of problems, Capcom’s initial attempt at taking Resident Evil portable should be applauded. The game stars Barry Burton and Leon Kennedy as they explore a bio-organic weapon filled ship. It has a shockingly great storyline filled with twists, and a new top-down perspective works generally well. Combat is somewhat clunky, as first-person shooting is handled via a constantly moving reticle, but it’s a smartly designed title that manages to rely on the survival aspect of survival-horror.

Five Nights At Freddy’s (iOS)

By far the biggest success from a sales perspective on this list, the iOS version of Five Nights at Freddy’s manages to translate all of its jump scares to the small screen without fail. Like the PC version, players have to manage their electrical power while they check camera feeds in order to avoid the monstrous animatronic animals that roam the pizza parlor. It’s a remarkably well-designed horror game, and its simplicity helps it shine brightly on mobile.

Lone Survivor (PlayStation Vita)

Lone Survivor underscores one important lesson that is seen throughout this list: handheld horror games often can’t rely on technical achievements for scares. While the genre has often been at the forefront of game tech (even as recent as Resident Evil VII’s embrace of virtual reality), even a pixel-based game can keep players on edge if the writing is good and an atmosphere is properly built. Lone Survivor manages to achieve both of those goals, and it’s a great game on any platform because of it.

Bonus: The Pinball of the Dead (Game Boy Advance)

While not the purest of horror games, SEGA’s pinball adaptation of The House of the Dead is too good not to mention on this list. Each of the game’s three tables has players mowing through zombies by strategically shooting the ball, and there are six great boss battles that give the game a traditional sense of progression. It’s proof that even when the tech isn’t quite there, a good developer can find a way to make a horror series work on handhelds with some tweaks.

As I sit surrounded by software engineers in a conference room with no natural light, playing augmented reality games on an iPhone, I forget for a second that I'm in Seattle visiting Facebook. Not Amazon or Microsoft. Facebook, a company that's evolved from a simple social network to a full-on technology behemoth. Here, inside the company's largest engineering hub besides its Menlo Park headquarters, Facebook says people are working on many of the projects that will impact its 10-year road map and mission of "bringing the world closer together," including Games, Groups, Messenger and, of course, ads. But I'm here to talk about one particular emerging technology that the company believes will be key to its future: augmented reality.

Earlier this week, dedicated servers were finally rolled out for Friday the 13th: The Game, but only on PlayStation 4. What about Xbox One, you ask? Well, that’s coming today!

The team updates this morning, “We plan on publishing the Xbox One update today, which includes Dedicated Servers, at 11am Eastern. Please keep in mind that it could take a while before the update reaches your console.”

What does this mean?

“Players do not host the match, so if Jason kills the “host” and they quit, the game continues,” the team notes. “If Jason quits then the counselors remaining survive.”

In other words, an all around better gameplay experience for us all.

We plan on publishing the Xbox One update today, which includes Dedicated Servers, at 11am Eastern. Please keep in mind that it could take a while before the update reaches your console.

— Friday The 13th Game (@Friday13thGame) September 14, 2018

Surprisingly relaxed.

Sony’s “dark” comic universe is going to kick off with Venom, a long-promised R-rated adaptation of the popular comic antihero who was first introduced in “Amazing Spider-Man” #298. It has been rated PG-13 by the MPAA, if the AMC listings are to be believed.

Director Ruben Fleischer has publicly stated that, in the case of a PG-13, he pushed the limits of the gore and violence. What he’s essentially saying is that Sony hasn’t neutered his movie much like they did that of Sylvain White’s Slender Man. Truth or not, all that matters is what’s on the screen come October 5th.  An “R” is all but an arbitrary rating offered by the MPAA’s own bias. It’s possible that Venom has all the bells and whistles us fans have been promised, and still was able to score a much more audience (and box office) friendly PG-13. As a fan, I’ve got skeptical eyes, but it’s hard to complain when one of the coolest comic characters ever is getting his own film – with Tom-fuckin’-Hardy starring nonetheless. Oh, and the runtime is an awesome 1 hr 52 minutes.

As for the reason why the studio wanted a PG-13 rating, we’ve previously discussed it here, but essentially it’s the start of a new universe that would include Morbius, Silk, Jackpot, and Nightwatch. With Venom tracking around $60M for its opening weekend, it seems more and more likely that we’ll not only get to see all of the aforementioned characters, but also Carnage and then maybe…SPIDER-MAN?

I’d still argue that the Nicolas Cage-starring Drive Angry is the best (unofficial) Ghost Rider movie ever made, but Cage himself of course also starred in two actual Ghost Rider films: Ghost Rider in 2007 and Ghost Rider: Spirit of Vengeance in 2011. Both films were rated PG-13, and neither one blew up the box office in any sort of significant way.

But, Cage believes, if they had been rated “R” and were released in today’s superhero-heavy climate, they probably would’ve been big success stories. And he’s not wrong.

“Had Ghost Rider been made in R-rated format, the way they had the guts to do with Deadpool, and they did it again today, I’m fairly certain it would be enormously successful,” Cage told Yahoo! Entertainment. “Having said that, I still think the movies were a hit. People don’t look at the subsidiary outlets, like DVD and streaming and whatnot. When you look at what Mark Neveldine and Brian Taylor did [on ‘Spirit of Vengeance’] for $50 million, and they got a $250 million return, you begin to see the genius of the sequel.”

Cage continued, “The problem is, it’s very hard to take a family of children to a movie — and they made it a PG-13 movie — about a superhero who, oh, by the way, also happens to have sold his soul to Satan. [Not the] most commercial concept or vehicle. But it certainly is the most interesting, and the most thought-provoking. I think if you look back on the movies today, they age well.”

Given the box office success of harder, rated “R” superhero movies like Logan and Deadpool of late, it’s not hard to imagine Ghost Rider being a huge success story nowadays. Perhaps the feature film adaptations were just a bit ahead of their time, coming along at a time when movies of that particular sort weren’t such a hot ticket at the box office.

Cage made similar comments in a chat with Joblo earlier this year.

“Y’know, GHOST RIDER was a movie that always should’ve been an R-rated movie,” he admitted to the site. “David Goyer had a brilliant script, which I wanted to do with David and for whatever reason they just didn’t let us make the movie. But that movie is a still a movie that should be made, not with me obviously, but it should be an R-rated movie. Heck, DEADPOOL was R-rated and that did great.”

He continued, “GHOST RIDER was designed to be a scary superhero with an R-rating and edge and they just didn’t have it worked out back then.”

32 options.

Most horror fans agree that the horror genre was absolutely glorious in the 1980s, with new iconic villains being created left and right and gory, practical effects-driven mayhem exploding all over the screen. There’s a reason so many films of today hearken back to the ’80s, and that reason is quite simply because the ’80s were an absolutely magical time for horror.

Now in development, the documentary In Search of Darkness shines the spotlight entirely on ’80s horror, teased this week with a kickass trailer and an awesome piece of poster art.

The team previews…

“The 1980’s exploded onto our screens in a veritable feast of blood, sweat, and chills. Madmen, killers, and evil spirits mingled with aliens, demons and cursed dolls; horrific images burnt directly onto our retinas and etched permanently into our brains.”

“For the first time in Horror history, In Search of Darkness will bring together 80’s icons, modern horror greats, popular YouTubers and Social Media Influencers to create the most complete retrospective documentary of the genre ever made. Together, they will bring their unique perspectives as we take a nostalgic journey back to revisit the unforgettable heroes, monsters, and movies that thrilled and chilled us.”

Follow the project through the official website and via Twitter, @80sHorrorDoc.

Check out the fantastic #TeaserTrailer for our forthcoming #documentary on #80sHorror IN SEARCH OF DARKNESS – A JOURNEY INTO ICONIC #80S #HORROR – #horrormovies #creepy #scary #Halloween2018 pic.twitter.com/2Iu6XWq8mI

— 80sHorrorDoc (@80sHorrorDoc) August 16, 2018

Despite the fact that he recently embarked on his farewell tour — dubbed "No More Tours 2" — Ozzy Osbourne continues to insist that he is not calling it quits. "What I'm stopping is doing what I'm doing now, going around the world all the time," Osbourne told Philadelphia's The Inquirer. "I wish people would understand I'm not retiring. Is it my bad English accent? It's called the 'No More Tours' tour. It doesn't say 'No more tours ever.'" Osbourne, who spent the last few years touring with BLACK SABBATH before the legendary heavy metal act retired from the road, said that he "didn't have a great time" on his final run with the band. "I spent nine or 10 years in SABBATH, but I'd been away from them for over 30 years," he explained. "With them, I'm just a singer. With me, I get to do what I want to do. I was getting bad vibes from them for being Ozzy. I don't know — what the fuck else can I be?" Ozzy previously told Rolling Stone magazine that he wanted to "slow it down a little" and be there for his family. "I enjoy being a grandfather," he said. "I don't want to go through another generation of Osbournes without seeing them grow up." "No More Tours 2" is a reference to Ozzy's 1992 "No More Tours" trek, which marked the first time the singer announced the end of his days as a touring artist. The tour name was a pun based on the title of his then-most recent solo album, "No More Tears". Ozzy returned to action three years later and has been on the road ever since. Last year, Ozzy reunited with guitarist Zakk Wylde, who played on studio albums such as "No Rest For The Wicked", "No More Tears" and "Ozzmosis" and who has toured on and off with Ozzy for nearly thirty years.

mimeticspace:

Eduardo Basualdo

mimeticspace:

Sterling Ruby

Panos Cosmatos knows his audience. But does he know anything else? Both of his films to date (Beyond The Black Rainbow, the new Mandy) have been exercises in psychotronic drag-ass, best appreciated by a certain kind of movie freak—the devotees of the church of The Texas Chainsaw Massacre 2 and Heavy Metal, in Mandy’s…

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paintedout:

Joseph Beuys, Fat Corner (1963)

Alex Jones and his dangerous Infowars platform were permanently banned from Twitter yesterday, with Jones’ benign insults against CNN reporter Oliver Darcy finally doing the job that his xenophobic rhetoric and smear campaigns against the parents of murdered children should have a long time ago. Now, with literally no…

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Ethan Hawke is having a busy year: He recently starred in Paul Schrader’s religious drama First Reformed, and just put his fourth directorial feature—the outlaw country remembrance Blaze—into theaters. And yet, we have to remind ourselves that, even in the most hectic of times, there is never such a thing as being too…

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You’ve seen Nicolas Cage go crazy. You’ve seen movies about a man who wreaks blood-soaked vengeance on evil men. And perhaps you’ve seen psychedelic, post-apocalyptic hellscapes populated exclusively by maniacal cult members and horrific demonic bikers.

But not all at once. And not like this. The certifiably insane genre concoction known as Mandy takes a few elements that genre fans know exceedingly well by now — and then tosses them into a setting so weirdly compelling and viscerally intense that you’ll start to feel like you’ve fallen into a Hieronymus Bosch painting and your only guide through the madness, is a wild-eyed, blood-drenched Nicolas Cage.

Most definitely a film of two distinct (yet equally fascinating) moods, tones, and sensibilities, Mandy opens in an alternate version of 1983, and it’s not a pleasant one. Suffice to say that while Red (Nicolas Cage) and Mandy (Andrea Riseborough) enjoy a quietly blissful life tucked away in a cozy cabin in the Pacific Northwest (the rest of the world could be a disaster zone for all we know). For Red and Mandy, things are pretty sweet — simply because they have each other. For the moment, that is.

Director Panos Cosmatos (Beyond the Black Rainbow) and his co-writer Aaron Stewart-Ahn are in no big hurry to get to the incidents that ultimately lead to all sorts of hellacious carnage, and while a “slow start” would act as a stumbling block to many horror stories, in this case, the longer fuse is very welcome. We get to know Red and Mandy’s relationship in all sorts of sweet and personal ways, which helps build suspense as well as a legitimate rooting interest. In order for the second half of the movie to work, we have to get into Red’s mindset, at least a little, and that’s where character development, world building, and off-kilter atmosphere pay off in all sorts of grimly interesting ways.

“Fever dream” is a term you’ll hear a lot when discussing this movie, and it happens to be one of the most grimly alluring and consistently interesting “fever dream” movies in recent memory. Which is to say: this movie gets super weird sometimes, but it still manages to maintain a forward momentum and narrative logic that keeps one from simply tuning out. (Which sometimes happens when a flick is simply too weird for its own good.) From the production design (which descends from calm and inviting to the various levels of hell with alarming effectiveness) to Johann Johannsson‘s awesome musical score, there’s a whole lot of talent on display behind the camera.

Plus there’s not a weak performance to be found: Linus Roache is truly imposing, disturbing, and plain ol’ freaky as the cult leader, Andrea Riseborough provides the film’s heart and soul with a lovely, tragic, and (yes) kinda weird performance, the great Bill Duke shows up for a few key moments, and Nicolas Cage remains an absolute force of nature. Love the guy or not (I’m definitely a fan) there’s no denying he works his ass off, and holy crap is he put through ten types of hell in this particular movie.

If you want a bizarre and blistering revenge story set in a uniquely ominous world, Mandy has a lot to offer. If your tastes lean towards genre flicks like Hellraiser, The Wicker Man, and Race with the Devil, there’s very little chance you won’t dig this movie in a big way. And if you’re hoping for a big fat amalgamation of action, horror, pitch black comedy, bittersweet romance, and that wonderfully sweet smell of sheer unpredictability, hell, Mandy might just be your new favorite movie of the year.

When it was released back in 2014, Veronika Franz and Severin Fiala’s Goodnight Mommy topped many year-end best of lists, garnering an impressive 86% score on Rotten Tomatoes and earning rave reviews nearly across the board. Not surprisingly, a remake is now in the works.

Deadline reports that Animal Kingdom and Playtime are developing an English-language remake, with Matt Sobel (Take Me to the River) directing. Kyle Warren is currently writing the script, with filming expected to begin in third quarter 2019.

In Goodnight Mommy, “Elias and his twin brother Lukas arrive at their mother’s house to find her face covered in bandages − the result, she explains, of recent cosmetic surgery. Lukas delights in their mother’s uncharacteristically lax house rules, but in Elias’ mind, a dreadful thought takes root: the sinking suspicion that this woman beneath the gauze, who’s making their food and sleeping in the next room, isn’t really their mother.”

Sobel says, “Our re-imagining of Goodnight Mommy aims to create an immersive nightmare, with visceral sensations front and center.”

David Kaplan (It Follows) will produce on behalf of Animal Kingdom alongside Nicolas Brigaud-Robert and Valery Guibal from Playtime (Son Of Saul).

Watch the original Goodnight Mommy trailer below.

Nintendo promised online-enabled NES games as part of the Switch Online service, and the company today gave one example of how this is going to work.

At launch, Nintendo Switch online will offer 20 online-enabled NES games. The one highlighted today is the original Mario Bros., only the version available through the service will support online co-op.

In a tweet, Nintendo of America confirmed that two players will be able to play the game online in co-op, with one controlling Mario and the other Luigi. That’s a pretty fantastic idea, mostly because it goes beyond just offering a ROM of a classic game.

You and a friend will be able to play online co-op as Mario and Luigi in the original Mario Bros. game for the first time when #NintendoSwitchOnline launches this month! https://t.co/ZPh216goDt pic.twitter.com/wRbWWBErxR

— Nintendo of America (@NintendoAmerica) September 4, 2018

Some of the other names of the featured games include Ice Climber, Balloon Fight, Dr. Mario, The Legend of Zelda, Donkey Kong, Tennis, Soccer, Super Mario Bros., and Super Mario Bros. 3. It’s not yet clear how enhanced these other games are going to be.

Nintendo Switch Online members will also gain access to online multiplayer when the service launches in the second half of this month, as well as the ability to back up Switch game saves in the cloud.

We’re expecting Nintendo to fully detail the service in the near future, though the company has previously confirmed a $4 monthly subscription, or $20 per year.

The post Original Mario Bros. will support online co-op through Nintendo Switch Online appeared first on VG247.

Working together with fellow survivors will be important if you wish to survive in Fallout 76.

At least that’s the position Vault-Tec take, as explained in its latest public service video for Fallout 76. Especially when it comes to accessing the launch code for a nuclear missiles.

As players adventure across the Appalachian wasteland, they’ll stumble upon portions of nuclear launch codes. Combining the pieces together with other survivors makes it easier, and quicker, to obtain the full code.

With access to nuclear missiles, survivors can use the powerful weapon to destroy fissures filled with Scorchbeasts – or fellow survivors. Just remember, once the missile is launched, the affected area temporarily features high-level threats. But this also means rare and valuable materials will be present.

Launching the missile is end game content, so players will need to have completed the story campaign before hitting the red button.

Fallout 76 releases November 14 for PC, PlayStation 4, and Xbox One. Here’s everything we know about the game so far.

The post Fallout 76 video explains the importance of working together to gain nuclear launch codes appeared first on VG247.

Texas entered the season as one of four Big 12 teams ranked within the Top 25, but a loss to Maryland has the Longhorns leaning towards the bottom of the conference totem pole.

Welcome to your Wednesday edition of Morning Coffee.

Yes, we know, the Longhorns lost to Maryland on Saturday, which isn’t ideal for a program that’s now 7-7 under Tom Herman. There is some good more positive news elsewhere, though.

ESPN’s latest Big 12 Power Rankings released on Tuesday and surprise, surprise — the Texas Longhorns are near the bottom of the pack. After falling to Maryland for the second time in as many seasons the Longhorns sit at seventh in the 10-team ranking, ahead of only 0-1 Texas Tech, 1-0 Baylor, and 0-1 Kansas.

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The Texas women’s volleyball team will make its home debut on Thursday when the Longhorns welcome Texas State as part of the American Campus Classic.

The Longhorns will enter the match ranked No. 6 nationally, which marks a four-spot drop from last week’s placement at No. 2 overall. After opening the season with wins over Oregon an Florida as part of the Vert Challenge, the Longhorns dropped a four-set match to Wisconsin on Saturday, 1-3.

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After scoring her first career goal in the 62nd minute of the Longhorns 2-1 win over Long Beach State last Thursday, Texas soccer’s Mackenzie McFarland has been named as the Big 12 Freshman of the Week.

McFarland’s honor marks the second time in as many weeks that a Longhorn has been recognized with a weekly Big 12 award, as junior forward Cyera Hintzen and junior goalkeeper Nicole Curry were named as the Big 12 Offensive and Defensive Players of the week, respectively, for the week of Aug. 28.

Now 4-0-1, the Longhorns will be back on the field on Friday to welcome Texas State. The match will get underway at 6 p.m. CT and will be televised on Longhorn Network.

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Lake Travis quarterback Hudson Card became the first — and still only — member of the Longhorns 2020 class in May, an despite the early pledge, the local product is firm to Texas. In an interview with 247Sports’ Mike Roach, Card said, “I’m 100 percent committed, no doubt. I’m staying with Texas.”

Card’s junior campaign got underway last Friday. In a 35-14 win over Arlington Martin, Card completed 20-of-28 attempts for 246 yards and three touchdowns. He’s aiming to attend the Longhorns Week 3 meeting with USC.

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Calvin Anderson had high expectations when he committed to Texas over options such as Michigan, but the Rice grad transfer has seen his own high expectations exceeded in short order. On Tuesday, the Longhorns starting left tackle met with the media, in which he said, “It’s better than what I thought it would be. And I thought it would be pretty great.”

Florida State coach Willie Taggart said Wednesday he believes Virginia Tech intentionally faked injuries to slow down FSU's tempo on Monday night.