What Lisa Watched Last Night: Love Sick: Secrets of a Sex Addict (dir. by Grant Harvey)


On Tuesday night, as the temperature outside plunged down to 13 degrees and the ice continued to build up on the street outside, I watched Love Sick: Secrets of a Sex Addict on the Lifetime Movie Network.

Why Was I Watching It?

Uhmmm…hello?  Check out the title.

What Was It About?

This is one of those movies that starts with “Based on a True Story” and then continues on with “Some names and details have been changed.”  So, in other words, this is all true except for the parts that are false.  (Actually, this film is based on a memoir by Sue Silverman.)

Sally Pressman stars as Sue Silverman.  Sue is a writer.  While she battles writer’s block, her husband spends his time going to work and then coming home and whining about it.  Apparently, every day, he comes home, refuses to have sex, and says something like, “You could get a job…”  Or, hey, buddy — here’s what you could do: adjust your bra and stop crying like a little bitch.  Seriously.

(Frequently asked question: When is the right time to call a man bitch?  Any time he starts acting like one.)

Anyway, Sue responds to this by going out and sleeping with every man in Canada with the exception of her husband and who can blame her when you consider that her husband is a little bitch. 

Soon, Sue is undressing whenever she find herself alone with a man — any man.  Her obsession with sex soon brings an end to her marriage and eventually Sue is forced to go through one of those pain-in-the-ass interventions where everyone sits around and goes, “You’re addiction has harmed me in the following ways: 1) you borrowed money to spend on lingerie and you have yet to pay me back, 2) you missed my birthday party, 3) you fucked my husband…”

So, poor Sue ends up at the rehab place where the whole thing is like tough love and all “You will obey these rules or we’ll kick you out.  So there!”  Among the many rules: “No masturbation, no lingerie, no smoking, no avoiding eating, no throwing up…”  Uhm, fascist much?

(And also, what type of man leaves his wife because she wants to have sex?  Seriously, what a toadsucker.)

What Worked?

Oh, it all worked.  This was pure Lifetime Movie goodness in that it took a whole lot of serious issues and then presented them in such a way that made it impossible to take any of it seriously.  Ominous music, over-the-top dramatic line readings, and finally, a therapist who says exactly the right thing and magically makes all of the problems disappear.

Plus, I love that title.

What Didn’t Work?

Technically, the acting was pretty bad (with the exception of Sally Pressman) and the film dragged once Sue got into therapy.  But who cares?  Just check out that title.

“Oh my God!  Just like me!” Moments

Towards the end of the film, Sue says that knowing she was desired was occasionally the only thing that she could cling to, the only thing that allowed her to maintain her fragile sense of identity.  I’ve been there.  Who hasn’t?

I also share Sue’s obsession with black underwear.  Seriously, you can’t look bad in black lingerie.

Lessons Learned 

Some men, apparently, actually do say “Not tonight, I’m tired” when it comes to sex.  I’m still having a hard time buying that one.

Rehab is not fun.

 

A Quickie With Lisa Marie: Seven Souls (performed by Material and William S. Burroughs)


It was either 3 or 4 years ago that I first heard this song playing over the end credits of an episode of The Sopranos.  Other than recognizing the iconic and deadpan twang of the late William S. Burroughs, I had absolutely no idea who performed this song or even what the song’s title was.

However, this previous Christmas, I received a copy of The Sopranos: A Family History from my sister Erin and as I was reading through it last night, I came across a reference to the very song.  I discovered that the name of the song was “Seven Souls” and that it was performed by an “experimental” group called Material. 

I then proceeded to do even more extensive, deep-digging research and … well, okay, to be honest, I’m lazy so I just looked it up on Wikipedia.  And according to Wikipedia, Seven Souls was released in 1990 and it features William S. Burroughs reading passages from his book The Western Lands.

Anyway, here it is…”Seven Souls” by Material and William S. Burroughs…

Anime You Should Be Watching: Bible Black (Baiburu Burakku)


eroge: is a portmanteau of erotic game. It is a Japanese video or computer game that featured erotic content (usually pornographic in nature) and used anime-style artwork in a visual novel format.

Hentai as a genre first reached wide recognition through the notorious Chōjin Densetsu Urotsukidōji, a 1980s OVA that fused graphic sexual imagery with apocalyptic horror and violent fantasy. That work established many of the conventions that would define adult anime for decades—its blend of mythology, grotesque excess, and surreal eroticism pushing the boundaries of animation’s narrative potential. Bible Black represents a later evolution of that tradition, taking the transgressive energy of Urotsukidōji and refining it through a more contained setting, structured storytelling, and psychological tension. Where its predecessor reveled in grandiose chaos, Bible Black turned inward, exploring horror through ritual, secrecy, and moral decay within familiar, everyday environments.

Originally developed as an eroge visual novel, Bible Black featured the artwork of its creator, Shoujo Sei. The game’s popularity within Japan’s adult gaming market grew rapidly, fueled by its striking blend of erotic storytelling, occult imagery, and a sinister undercurrent that set it apart from typical romantic visual novels of its time. Its success inevitably drew the attention of Milky Studio, an animation company already known for adapting adult-oriented games into OVAs. Within a few years, Milky Studio produced the first Bible Black anime series—a six-episode OVA that closely followed the storylines and choices from the original game.

The anime adaptation centers on a high school caught in a web of witchcraft and forbidden rituals. While the premise may sound familiar to fans of the supernatural or occult genres, Bible Black distinguished itself by merging sexual and mystical elements in a way that felt both deliberate and unsettling. The first OVA mirrors the game’s basic storyline, introducing viewers to a world where innocent facades collapse under the weight of temptation and corruption. Later sequels and prequels expanded on this mythology, delving into the origins of the dark book that drives the narrative and introducing new characters entangled in its influence. In doing so, the series built a continuity resembling a twisted mythos—an interconnected body of stories that deepened its immoral mystique.

To describe Bible Black merely as “popular” within its niche would be an understatement. Its reputation extends far beyond its target audience, circulated through anime forums, recommendation threads, and cultural commentary as a kind of benchmark for erotic horror. It is the title almost universally cited when discussing adult-oriented anime, whether out of reverence for its artistic boldness or infamy for its transgressive imagery. For many viewers—particularly Western audiences in the early 2000s—it represented their first exposure to Japanese erotic animation beyond parody or rumor, granting it a strange, almost legendary status within the genre’s history.

What separates Bible Black from lesser works is the precision with which it fuses its erotic and occult motifs. The narrative’s backbone—the pursuit and misuse of a magical grimoire—offers an allegory for unchecked desire and the cost of power. Rituals blend seamlessly with acts of seduction, and the visual motifs of pentagrams, candles, and bloodstained rites serve as metaphors for obsession and spiritual decay. This combination gives the anime an intensity uncharacteristic of typical adult fare, as every encounter is charged not only with physical desire but also with moral and supernatural consequence. Rather than treat sexuality as isolated spectacle, the series enfolds it within its darkly coherent world, ensuring that sin and pleasure remain inseparable.

The “harem” narrative structure, common to many eroge and visual novels, is used here with a more perverse edge. The typical male protagonist surrounded by female admirers becomes a focal point not of romantic fulfillment, but of temptation and corruption. In Bible Black, that dynamic is steeped in manipulation and control—sex as both a weapon and a spiritual act. This inversion of a familiar trope contributes to the series’ enduring fascination, as it refuses to comfort the viewer with the conventions of fantasy romance. Instead, it constructs an atmosphere of moral ambiguity and psychological pressure, leaving few characters untainted.

The setting amplifies the discomfort. By situating its story within the environment of a high school—a space symbolically associated with innocence and growth—Bible Black subverts expectations. The classrooms and corridors that should represent order and safety become arenas for forbidden rites and hidden depravity. This juxtaposition between the mundane and the macabre intensifies the sense of violation that defines the series. It’s not only a story of erotic ambition but of how institutional and moral structures collapse when confronted by unchecked desire and occult power.

Visually, the anime reflects its early-2000s production values with surprising sophistication. Milky Studio preserved the visual style of Shoujo Sei’s original artwork—marked by angular features, bold contrasts, and expressive eyes—while enriching the material with atmospheric lighting and strong sense of color. The palette alternates between the sterile brightness of school life and the dim, saturated tones of ritualistic scenes, crafting a visual rhythm that heightens tension between two worlds. Despite the limited resources typical of an OVA, the series achieved a memorable aesthetic identity, merging the glossy surfaces of contemporary anime with the raw suggestiveness of eroge art.

As Bible Black expanded into sequels like Bible Black: New Testament and various side stories, its universe deepened both narratively and tonally. The newer installments explored different perspectives and timeframes, revealing the long shadow of the original events. This serial approach—rare for hentai productions—allowed the franchise to form a loose continuity, almost like a dark fantasy saga built around erotic and esoteric principles. The cumulative effect was that Bible Black ceased to be a one-off novelty and became a defining thread in the history of animated erotic horror.

Its cultural impact extends further still. Bible Black served as one of the first major adult anime titles to gain substantial attention outside Japan during the rise of online fan communities. Through fan distribution and unofficial translations, it became many Western viewers’ first encounter with themes such as futanari—depictions involving gender transformation or dual sexual anatomy—which had previously remained obscure outside Japan. The OVA thus became not only a product of its domestic industry but also a cultural export that introduced global audiences to the specialized lexicon and aesthetics of Japanese hentai.

Critically, Bible Black remains an object of contention. Its explicitness renders it indefensible to some, yet others recognize within it a degree of thematic intent that surpasses mere sexual provocation. It approaches the occult not with romantic mysticism, but as an allegory for moral erosion and human vulnerability. Erotic acts in the series often parallel spiritual corruption, suggesting that the boundary between pleasure and damnation is perilously thin. The result is an anime that provokes both physical and intellectual reactions—equally discomforting in its carnality and symbolism.

Even after more than two decades, Bible Black maintains relevance and recognition. Later works have tried to replicate its formula—mixing fetishes with supernatural dread—but few possess its coherence or audacity. Its imagery, tone, and structure continue to influence adult creators seeking to merge explicit content with narrative ambition. Moreover, the series exemplifies a moment in anime history when the medium’s adult side dared to pursue storytelling complexity rather than rely solely on erotic novelty.

Viewed today, Bible Black endures as both time capsule and touchstone. It captures an era when the boundaries between mainstream anime and adult experimentation briefly blurred, and when eroge culture translated successfully to animation with both narrative depth and artistic conviction. Whether judged as an expression of taboo horror, a stylistic artifact of its generation, or a benchmark for the fusion of sex and the supernatural, Bible Black stands as one of the most distinctive and controversial works in anime’s underground lineage. Its lasting infamy, like its allure, lies in its refusal to separate desire from darkness—a union as seductive as it is terrifying.

Classic Game: Baldur’s Gate II


A lot of people – and I mean a lot – have played BioWare’s games over the years. Knights of the Old Republic, Neverwinter Nights, Dragon Age: Origins, Mass Effect, Mass Effect 2… and it’s still going strong. BioWare has at least two games that are probably going to come out in 2011. But as time goes on, I rarely find someone who played the games that sort of set off the whole BioWare phenomenon. I would consider BioWare to be the definitive “WRPG” developer, much as Squaresoft would have been the definitive JRPG guys in the past. Of course there are others in the medium, and their work is good too, but when I look back, I always find myself staring back at one game: Baldur’s Gate II: Shadows of Amn.

I think of Shadows of Amn more than the original Baldur’s Gate because it’s a better game. In a lot of cases, we can probably agree the sequels never quite match up with the originals. I think Shadows of Amn blows away the original game for two reasons. First of all, it used to be that advancing technology and increasing popularity for video games made sequels that had a bigger budget and more respect than the originals. History is replete with examples of this phenomenon and it definitely continues into the late 90’s and early 2000’s.

Baldur’s Gate II, however, is a little bit unique in my opinion in the way that the evolution of the same general WRPG style takes a significant step backward from the sophistication and features that BGII integrates. We see in Shadows of Amn an alignment system which your party members will react to throughout the game (including outright leaving if they don’t like your guts), several romances which have interaction with one another, as well as a culmination within the game. A wide cast of characters who support and aid you throughout, and a five-character party which allows for sophisticated and tactical combat.

How much of that transfers on to Knights of the Old Republic? Earnestly, not a great deal. KotOR is still the evolutionary advancement of Baldur’s Gate, it’s just not as evolutionary as you might think. In a lot of ways, it represents a significant step backward in terms of the sophistication of WRPG, the decision-making process that characterizes the genre, and other things. Just one of a thousand reasons that I will always feel that KotOR is insanely overrated. As you’ve probably caught on to by now, I don’t tend to favour titles which don’t advance the genre in some way. I admit that there is some logic to the idea that making changes just to make changes is a recipe for disaster (and let’s face it, there’s no stronger example than my most hated game ever released, Master of Orion 3), but I also think that games should evolve along with the technology that supports them.

Do I think that Mass Effect is a better game than Baldur’s Gate II? In most respects; yes. I thought that the party interactions in Baldur’s Gate II were more sophisticated and more fun, but in most respects, I don’t even think it’s arguable that Mass Effect has moved us in a positive direction with the usage of technology and budget, and is the superior title. But even with Mass Effect (one of my favourite “modern” titles) I’m not certain that everything has been done better than Shadows of Amn. As usual, when we forget about past games, we’re leaving diamonds buried in the sand, and it’s not becoming of us.

So, I guess the bottom line is, play Baldur’s Gate II if you get an opportunity to do so. Try and appreciate the elements of it that are still great, and are still better than modern WRPGs, despite the inferior technology, the (relatively) primitive game system, and even the ongoing use of AD&D 2.0 rules.