And it’s the teeth that fold back into a karate punch of hot asses in black jeans making their way to war. Falling stars in silk dresses and broken fingers wear khaki post-apocalyptic riding pants to finish lines made of unforgiving fire.
Each satellite that cracks the earth open thinks it’s a dancer improvising a future like an oracle predicting circuitboard murder diagrams through the clenched chest of the world. Waking child eyes inside the navigation computer pull arrows back and let them go while glowing tattoos on Asian ghosts stare down from long-dead airplane crashes.
The zombies and the greek gods are taking it all back. They come up from under the snow and dive in front of subway trains only to get their blood on the cameras. This is Tron in a cornfield playing demolition abortion math near red-haired spring break chainsaw children, one sword swing away from knowing if fairies bruise.
Unseen dream hands and white-eyed possessed girls stand under skies with too many moons, too many suns. Huge creatures from massive, fragile buildings unravel helixes of DNA in an effort to understand armies and the concept of victory. Flaming chunks of rock pirate their way through a cloned army of Dark Knight Jokers wielding JK-47s. It’s all about the martial arts and force of will. Just ask Neo.
Cities bend, curling up and dying like robot stunt doubles punching comic futures through flimsy walls and candy glass. Little-kid dimension beasts snarl and leap when cornered but after that they’re gymnasts sliding under birdcages, making bullets bend trajectories past assassins dressed like medusa-prostitute-guitar-god forest witches.
The big finale drips off of the brim of a Kruger hat as the hot women drive shotgun heels and katanas through drooling Nazi faces. Splashing water up onto the computers, making lust and moisture and synchronized dancing destroy clocks, bunkers, and then it’s all x-ray broken bones and gyrating hips in red leather.
Your robot double can’t break out of the train. Your body will not be saved from the aliens. But your 18th century self will be just fine. Rely on that.
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Each satellite that cracks the earth open thinks it’s a dancer improvising a future like an oracle predicting circuitboard murder diagrams through the clenched chest of the world. Waking child eyes inside the navigation computer pull arrows back and let them go while glowing tattoos on Asian ghosts stare down from long-dead airplane crashes.
The zombies and the greek gods are taking it all back. They come up from under the snow and dive in front of subway trains only to get their blood on the cameras. This is Tron in a cornfield playing demolition abortion math near red-haired spring break chainsaw children, one sword swing away from knowing if fairies bruise.
Unseen dream hands and white-eyed possessed girls stand under skies with too many moons, too many suns. Huge creatures from massive, fragile buildings unravel helixes of DNA in an effort to understand armies and the concept of victory. Flaming chunks of rock pirate their way through a cloned army of Dark Knight Jokers wielding JK-47s. It’s all about the martial arts and force of will. Just ask Neo.
Cities bend, curling up and dying like robot stunt doubles punching comic futures through flimsy walls and candy glass. Little-kid dimension beasts snarl and leap when cornered but after that they’re gymnasts sliding under birdcages, making bullets bend trajectories past assassins dressed like medusa-prostitute-guitar-god forest witches.
The big finale drips off of the brim of a Kruger hat as the hot women drive shotgun heels and katanas through drooling Nazi faces. Splashing water up onto the computers, making lust and moisture and synchronized dancing destroy clocks, bunkers, and then it’s all x-ray broken bones and gyrating hips in red leather.
Your robot double can’t break out of the train. Your body will not be saved from the aliens. But your 18th century self will be just fine. Rely on that.
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