Prowling The Savannah

Proud Lion webcomic #6 - Detention

2012-01-29T10:00:00.004Z

The Lion's Share - the road to Avengers Vs X-Men

2012-01-28T10:00:00.010Z

Marvel need a win. Blackest Night trumped Siege in 2010 and the New 52 has crushed Marvel this past winter. All eyes are on the potentially epic knockdown, drag out, battle royale the House of Ideas is about to unleash upon us: Avengers Vs X-Men.

Some of the top creators on Marvel's roster come together to craft a story that will have potentially massive ramifications. Many years in the making, Avengers Vs X-Men sees the return of the Phoenix force, an entity that first appeared in the late Seventies and is synonymous to many comic fans with the character Jean Grey. An incredibly powerful energy being, the Phoenix often bonds with a host as it did with Jean and later her daughter Rachel Summers. The seminal work in this instance is certainly the Dark Phoenix Saga, now available in hardback.

The Phoenix itself has been a lingering influence throughout the X-Men comics in recent years, but hasn't been an overt presence per se. Then during last year's Point One one shot, there was a chapter featuring a Nova centurion (possibly Richard Rider, although could it be his brother Robbie?) fleeing ahead of the returning Phoenix Force - as it destroyed whole worlds in its path. The Phoenix is heading for Earth and has already chosen its new host. The so-called mutant messiah, Hope Summers. Solicitations for Avengers Vs X-Men suggest that the mutant superheroes believe this will be a good thing, despite past negative experiences with the Phoenix Force entity. The Avengers believe it will mean the end of all life on Earth and all evidence seems to support this!

So who is Hope Summers, the young woman at the heart of this coming maelstrom? To answer that question, we need to wind back to 2004 and Avengers Disassembled, the beginning of the modern Marvel Universe metaplot. In this book - the first Avengers story arc by Brian Michael Bendis - the heroes are torn apart by shocking tragedies. In the final act we discover that mutant Avenger the Scarlet Witch was responsible for these horrors. Driven insane by grief, Wanda's unstable mind has begun to blame her fellow Avengers for the loss of her children and so she lashed out with her reality altering chaos powers. She is taken away by her father Magneto and the Avengers were forced to disband, reuniting later as the New Avengers, adding fan favourites Spider-Man and Wolverine to the roster.

The story of Wanda picks up with House Of M, as the X-Men and the Avengers come together to confront Magneto and Professor X, who have been sheltering the Scarlet Witch following the events of Disassembled. Killing her is discussed as the only viable option, leaving her brother Quicksilver distraught, and in desperation he convinces the emotional vulnerable Wanda to remake the world nto one which could make everyone happy. The House Of M world is one ruled by mutants - in particular Magneto. Over time - and with the help of a strange girl called Layla Miller - the heroes regain their real memories, once more assembling to challenge Master of Magnetism and his children. Realising that Magneto's dream of mutant supremacy has always been more important than his love for his children, Wanda puts the world back to normal, but with one startling difference. No more mutants.

Overnight, the world population of mutants totalled only 198. All the others had lost their powers, an event that became known as Decimation. To make matters worse, the mutant birth rate fell to zero. The Beast went to incredible and frantic lengths to verify the extent of Wanda's actions in a story collected as X-Men Endangered Species. Then, just as the mutant race seemed to facing total extinction, the mutant detecting computer Cerebro exploded - overloaded by the birth of a powerful new mutant in Alaska. Scrambling to investigate the X-Men find themselves embroiled in a battle with the Purifiers and the Marauders for the life of the baby.

This was complicated by the arrival of the future mutant cop Bishop, who has once traveled back in time to try to prevent his dystopian world. Bishop had sought various potential culprits but now felt that this baby would become the monster responsible. X-Men Messiah Complex is a bloody, brutal read and well worth your time. Finally the time travelling paramilitary son of Scott Summers, Cable, took the baby and disappeared into the future intending to raise her as his daughter, naming her Hope.

Over the course of five volumes (Messiah War, Waiting For The End Of The World, X-Force/Cable Messiah War, Stranded and Homecoming), Cable and Hope move further forward in time, constantly pursued by a determined and deadly Bishop. In a clever narrative conceit, each volume seems Hope growing older and becoming more experienced - getting ready to embrace her destiny. Finally, she and Cable return to the present day in an incredible story called X-Men Second Coming, a story which ended with the seeming death of Cable and the acceptance of Hope Summers into the X-Men.

Since then, Hope has struggled to find her place in the world. Her arrival was followed by the detection of five new mutants - the first since her birth. She can also seemingly activate emerging mutants though so far she has been unable to help those who lost their powers during the Decimation. Perhaps because of this there are those who see her as a destroyer and not a potential saviour, especially after numerous ominous signs and portents. And now the Phoenix Force is coming for her.

If that wasn't enough, the Scarlet Witch is back. Her first appearance after she disappeared at the end of House Of M was in New Avengers 26 - the Ballad of Clint Barton & Wanda Maximoff (collected in New Avengers Vol 6: Revolution) - as a seemingly innocent young woman, stripped of her tortured memories and devastating powers. Since then she has been seen in Avengers The Childrens Crusade with some fairly interesting revelations and unsettling ramifications.

Finally as a precursor to the Avengers Vs X-Men storyline, Avengers X-Sanction is currently on the shelves - a four part miniseries showing us the true fate of Cable. Ravaged by the techno-organic virus that has plagued him since birth, Cable's intended final act was to save Hope by sending her back to the present day. He then disappeared into the timestream expecting to die. Awakening in the future, Cable found his old mentor Blaquesmith with an ominous prediction about Hope's future fate at the hands of the Avengers. With less than 24 hours left to live, Cable has made one last timeslide, intending to neutralise the Avengers before they can harm his daughter. Wonderful foreshadowing for the coming events of AvX.

This brings us up-to-date and ready for Avengers Vs X-Men. Two mutant powerhouses are on a collision course as it is - and throwing in the Phoenix Force will have dire consequences for the Earth's population. No wonder the Avengers feel required to intervene!

Explore the Marvel history of the past decade and get ready to choose your side, or simple dive in with your gut feeling! Either way, this year looks set to be something special for Marvel.

Ben Fardon suspects that the epilogue to Avengers Vs X-Men will lead to a reboot for the whole Marvel Universe. What's good for the goose might be seen as good for the gander after all. Mixed feelings about that possibility.

New Beginnings - Transformers

2012-01-26T12:00:00.005Z

As a child of the 80’s I had a staple diet of Saturday morning cartoons. One such cartoon was Transformers. This was followed by the sticker books, the toys and the T-shirts. I was hooked. Watching every week you couldn’t help but wonder “So which will actually win? Autobot or Decepticon?” Even Michael Bay hasn’t really answered that question with rumours of a fourth film rife.

However, in the end it was the comics that answered the questions.

Transformers, in the comic sense, has been a foster child of a series. Initially it started with the toyline from Hasbro and Marvel introduced them in comics. Later on Dreamwave, a spin off of Image, launched Transformers and then after their demise in 2005 IDW were granted the licence to the comic.

Now after 125 comics a new era under the strong helm of IDW begins with a one-shot and two new titles.

In typical storybook fashion good has triumphed, the Autobots have been successful in not only winning the war but also in using the Matrix to revive Cybertron itself. With their world alive again and no one left to fight, what is a robot to do?

Transformers: The Death of Optimus Prime tries to open and answer this. Beginning where the comics left off with Optimus pushing the Matrix into Cybertron and “dying”, it tries to answer and pose questions at the same time. Optimus had been consumed by a great white light and now awakens in the future with the Matrix split in half.

Instead of trying to reinvent a conflict between two opposing sides a new line has been taken. Optimus may have lead the Autobots to win the war but the battle for the planet now begins. Most importantly this isn’t between good and evil but in fact between thoughts and feelings. Refugees from the war are returning with no affiliation to either side and no regard for a new regime especially as they feel they don’t owe anything to the victors of a conflict they didn’t want.

It’s quite a fraught situation and one that demands very hard decisions as well. The Autobots are fractured, Optimus is not the revered leader the people want and a big difference of opinion creates a divide so large that Rodimus leaves taking a large number of well known characters apparently to their deaths.

Although not a fantastic story, the one-shot works best as a vehicle to introduce the two new spin-off titles - Transformers: More Than Meets The Eye and Transformers: Robots In Disguise. These replace the previous ongoing Transformers series.

I wouldn’t want to suggest that James Roberts didn’t commit to the title as he has gone onto write on MTMTE, however as an issue it is a bit something and nothing. The artworks harks back to the Eighties animated series which I relate to most but doesn’t always hold to it.

Transformers: More Than Meets The Eye, is where Roberts transitions to. What I find very frustrating is that I know that the MTMTE title is going to be dedicated to Hot Rod and his quest to find the Knights of Cybertron, but it spends so little time actually doing that. It’s more of a scene setter and works in the favour of John Barber’s Robots In Disguise by solidifying the incredible volatile and unstable setting that Cybertron has become. The frustration and rift between Bumblebee - now Autobot leader - and Hot Rod is built well to create tension but what should be a shock moment where the departing ship “explodes” is lost quickly.

It’s only in the last few pages where Hot Rod’s sense of duty towards his crew, the “not on my watch” attitude, that you get a real sense of what this title is going to be about. Flung across the galaxy by a surprise quantum jump and losing 40 friends in the process gives him purpose, but as I said due to it only being a couple of pages no depth. All of this has been used to create deeper back stories and settings for what will become needed in the future issues.

Nick Roche joins Roberts to provide the artwork for the issue. I think the strange thing about this, as well as the other two comics, is that Transformers have no defined structure or predetermined look. This means that thin limbs, odd shaped faces or blocky square torsos are completely normal. There are the odd occasions when you do think this is stretched a little too far but on the whole this isn’t bad. Also considering you are dealing with characters that are almost 30 years old and you can easily recognise them all. It’s bright, colourful and full of innovation.

Transformers: Robots in Disguise focuses on Bumblebee’s struggle to unite the inhabitants of the now living Cybertron - the story takes a more political and worldly approach. It also goes a long way to showing that regardless of your environment or your race the same problems and prejudices can and will affect you.

Fighting an internal struggle on three fronts, Bumblebee has to keep the Autobots together, rehabilitate the Decepticons and prevent the civil unrest that is brewing with the non-affiliated Cybertronians. All of this is compounded by his own feelings where he constantly fights to step out of the huge shadow Optimus has left behind. What I’ve really liked is that it has parities to so many real life events and situations. Discrimination is a huge player in this comic with all of the Cybertronians, who are neither Autobot or Decepticon dubbed as NAILS – Non Affiliated Indigenous Life FormS. It is setting up for a gritty and harsh storyline especially as a Decepticon can’t change its paintwork.

In a similar fashion to MTMTE, the artwork in RID feels more engaging. It keeps with tradition but feels comfier somehow. I can’t quite put my finger on why but it just does.

Overall it’s a tricky call on these comics. The one-shot is not essential but certainly worth a read as a (re)introduction if you’ve not been following them before. The two spin offs are good and RID is certainly entertaining me so far, MTMTE has a little way to go but has definite potential in a similar way that Lost In Space or Star Trek Voyager did. My concern is that my love of a childhood favourite blindsides me slightly.

The new ongoing series are definitely worth picking up but I think favourites will be chosen based on who you are and the sort of stories you like.

Matt Puddy knows that one shall and one shall fall.

Big Game Hunting - Sully their character!

2012-01-24T12:00:00.001Z

Game designers are, let’s face it, responsible for most of the initial shouting and swearing that goes on around the table in general, and also some of the biggest hilarity before people actually gets into the game itself. That's right, this week I'm talking about the player character design process.

Depending on how people choose characteristics, both good and bad, will dictate how they play their character in game. Also, you’re giving the GM fuel at this point – the truly savvy GM listens to how people describe their characters, and how others discuss and react to the information they share.

Abilities and skills are interchangeable in the minds of players, but it’s important to understand when designing games that there are three sub types of designing a character. It’s key to explore a couple of systems before settling on how you’re handling this bit – you can either have something that’s really ‘rigid’ but actually generates the right range of characters for the game, or something really loose and give your players the chance to rely on luck and common sense.

Positive and negative are difficult to consider in terms of characteristics. So once you’ve generated the vital ‘statistics’, (whether bought or via dice roll), the next step is almost always to choose from a list of characteristics. Of course, for the game writer, it’s not as easy as ‘just picking’. Depending on the mechanic of the game, you’ll design it in one of several ways.

Both ways are basically based around XP though – the GM will give the gamers a pool of points to buy stats from. And this is the game designer part - you have to think about how your player is going to design the character they’re going to play. And to do this, you have to think about archetypes.

Archetypes are the stereotypical ‘meta’ characters that people can create. Warrior, mage, healer, rogue, etc. Each of these character types have strengths and weaknesses. This is your ability/attribute/skill set pool. So, you can create the characters, brain storm over the elements you think you might need, and playtest, playtest, playtest! And then, add a splash of personality. So, you’re a fighter and you’re good at it – you’re probably going to be an arrogant toad. So, add arrogance (and give that stat a consequence – you could add points back into the pool to buy something else, but it could mean that in certain rolls, you have a penalty. Positive stats cost more to buy, but add to rolls, or give automatic successes etc.)

There’s a final part to this – you need both the positive, and the negative. Without negative traits characters aren’t only one dimensional, but they’re difficult to play, and mostly unsatisfying. So, ensure that there’s some nasty in with all that nice.

D Kai Wilson-Viola is on FINAL EDITS for Glass Block and is genuinely wishing her senile cat would stop the pre-dawn chorus.

Digital Canvas - The Long And The Short Of It

2012-01-21T10:00:00.005Z

In the world of webcomics, there exists a great divide that isn’t seen in ink-and-paper comics. Two camps, two different styles of writing, split right down the middle of the web and (coincidentally) my brain; the Long-Form webcomic, and the Gag-A-Day webcomic. You don’t really see this distinction anywhere else, because the Gag-A-Day format only really works on the internet or in newspaper strips. But which camp are you in? Which is best?

Long-form webcomics have the advantage of actually having a story to follow. In most of the better cases, the author has even planned ahead and knows what’ll be coming up, leaving the opportunity to foreshadow and plant several Chekhov’s Guns along the way. This format also has the space to establish characters and really give them development, as well as establish a setting, giving readers a firm sense of place. And talking of development, longer form webcomics give the artist the opportunity to grow in skill, especially when they’re practicing with the same characters or settings for a while. In a nutshell, readers of long-running paper-and-ink comics will probably enjoy long-form webcomics.

Todd’s Long-form quick picks:

On the downside of the Long side, it can sometimes be a pain to go back through a huge established archive and start from page one, knowing that it’ll take at least a few days to get through the whole story AND the story is still updating for those few days. If you read through the archive too slowly, you start feeling like Achilles in the philosopher Zeno’s famous paradox of Achilles vs. the Tortoise. Another downside to some Long-Formers is the fact that they never seem to want to end, or at least never end naturally with a proper conclusion. This can be down to the perceived pressure of keeping the readers entertained, or for the love of a fairly consistent pay check, or simply because the author never wants to stop! In bad cases this can lead to uncomfortable story-stretching, and endless filler.

Gag-A-Day comics (or more accurately, Gag-A-Page) have the advantage of accessibility. It usually doesn’t matter where you start reading, you’re already laughing. Indeed, some of these webcomics even have a “random” button that’ll take you to a random comic from the archive. But Gag-A-Days can have fun with continuity as well; running gags and cameos of favourite one-time characters are used to great effect in this genre, rewarding the long term readers. Gag-A-Days also have the opportunity to be “relevant” - they can quickly riff on the news of the week to get a laugh out of whats happening right now, without having to divert a long-running storyline just to fit. Indeed, the skill to do just this is evidence of a quick thinking author with good writing skills. In short, if you have a low attention span, or just need a quick fix of funny, Gag-A-Days are for you.

Todd’s Gag-A-Day quick picks:

Unfortunately, relevancy can also be a downside. A comic that ties into todays news won’t necessarily be funny in a few years time, with some jokes ageing very quickly. Imagine clicking that random button and reading all those “THIS. IS. SPARRRTAAA” jokes all over again. Yawn! And of course, even the first time round you read it, there’s no guarantee that every punch line hits the mark 100% of the time.

So each has its pluses and minuses, personally I read a selection of both types! But is there some sort of middle ground out there, some sort of ideal compromise? A few webcomics attempt to alternate, telling a long story interspersed with a few gag pages, and I have read a few of these. I’ll quote a good friend of mine, who says “it reaches a point where the quality of one comes at the sacrifice at another, my personal effigy being Sluggy Freelance.” I haven’t read it myself, but apparently it’s the gag pages that are lagging behind the epic story pages. This is of course personal opinion, so your mileage may vary.

Something I find a lot more enjoyable than this alternating technique is the use of story arcs to tell a series of contained tales, but can also lead on from one another. This way you get the ease of finding a good jumping-on point at the start of each arc, the closure of the end of each arc, plus the joy of a longer continuity to follow. And the author can throw in a gag arc between other stories if they feel like it.

Todd’s Story Arc quick picks:

So back to the original question: which is ‘best‘? Beauty is in the eye of the beholder my friends. I’ll let you make your own minds up!

Todd’s been agonising on where to categorise webcomics with “chapters”: are they Story Arcs or pieces of a Long-Form?

New Beginnings: Dark Matter #1 and Prophet #21

2012-01-19T12:00:00.009Z

Both Image and Dark Horse comics are ones that always interest me. Image comes up with a number of different titles such as Super Dinosaur, Walking Dead and the recently reviewed Fatale. Dark Horse always tickles my love of sci-fi with Aliens and AvP titles. So it is safe to say when new comics from either of these publishing houses come about I take notice.

This is exactly what has happened with both over the last few weeks. Image comics has brought us Prophet and Dark Horse has created Dark Matter.

Both comics focus on protagonists who arrive in an unfamiliar time and place, essentially being born into uncertainty. Whilst there is a drive for them all to move forward the surroundings, people and dynamics working around them mean that the movements they make are instinctual at best but blind all the same.

Prophet, from Image, started a long time ago in fact. The rebirth element is not only the opening pages but the title itself. Rob Liefield originally created it back in the Nineties where it was an innovative title for Image (coming out not long after Liefield left Marvel). Now after a substantial break and a change in direction (John) Prophet has returned under the watchful eyes of Brandon Graham.

The story is quite straight forward in an almost Planet of the Apes sense. The opening scenes depict the arrival of the main character in a future when man has devolved and aliens have turned them almost into livestock. Thrust into this new – but old – land John knows that he must move forward towards his goal of restarting the Earth Empire and renewing the human race.

There is a definite feeling of loneliness and isolation to it with most of the story being portrayed through narrative. It’s a tricky thing to balance and can be detrimental if not done right, but Graham has worked it well. Instead of it being an internal monologue the use of third person perspective means that there is a distance between the reader and John. The beauty of it is that the only explanation of the scenario is what you see, which is exactly the position Prophet is in too.

Graham has teamed with Simon Roy for the artwork. Whilst it’s not the cleanest or most precise, Roy’s work sits well with the story. It’s a dirty new world without the conveniences of our “modern” technology. What used to be a relatively known environment has been turned into an alien landscape complete with the newly associated flora and fauna.

Dark Matter is also a leap into the future. In a similar fashion to Prophet, Mallozzi and Mullie’s characters are thrown into a familiar yet unknown environment after being dropped out of hypersleep.

The change here is that whereas Prophet is a stranger in a strange land, our characters in Dark Matter are strangers in space.

For those who don’t recognise the names from other comics, Joseph Mallozzi and Paul Mullie may still seem familiar. Together they have written a vast number of episodes for the various Stargate franchises, so the science fiction background is pretty well covered by them both.

As a first glance there is a definite “Alien” feel to this title. A huge ship passing through space with a crew in stasis. Something has happened though and they are all rudely awoken by a rapidly failing life support system. Once the crisis is averted the real dilemma presents itself.

What do you do when you have no memory of the five people around you? Even worse still, what do you then do when you know nothing about yourself too?

Waking with amnesia, all of the crew (if that’s what they are) don’t know who they are, where they are and most importantly why. The comic is designed to establish a few points and ideas but strangely nothing personal about the people involved. This creates automatically a certain tension as you always want to know more, but if it were you in the situation would you ask and if asked would you answer?

I like that instead of simply telling you who everyone is you are given a story which leaks traits and personality flaws, leaving you to create your own thoughts about the different characters, much as they would have to do themselves.

To then further increase the pressure around them closing with an attack can only lead to a much bigger story coming into play.

Garry Brown is the artist on the title and without wishing to sound derogatory in any way his artwork strikes me as typical of the Dark Horse brand. It lacks detail and definition - especially around the feet I noticed randomly - and spends most of the emphasis in the foreground. The palate is muted and dark but this plays further into the isolation of the comic so together works in its favour greatly. The characters are realistic and not overly emphasised but still invoke the Colonial Marines in their design.

Both of these titles show some great potential and promise and to be honest a lot comes down to personal preference. For me I’ll be following the Dark Matter miniseries and I’ll certainly be keeping an eye on Prophet too.

The two comics are both great and if this is a benchmark for 2012 then I’ll be a happy comic reader.

Matt Puddy is looking forward to Dead Space 3.

The Watcher - Sherlock, Season Two Finale

2012-01-18T12:00:00.008Z

On Sunday night, a nation of viewers sat gripped as Sherlock grappled with his final problem and those events that led to his inevitable fall. The final episode of Sherlock season two ‘The Reichenbach Fall’ seemingly chronicled the last few months of the titular hero’s life, as told by a tearful Watson, as he related a terrible plot by arch-nemesis Moriarty to turn Sherlock’s reputation against him and drive him to the brink of despair.

To say that the impressive twists and turns of the episodes plot is not even the most impressive aspect of Steve Thompson’s script, a clever adaptation of Conan Doyle’s original story ‘The Final Problem’ is actually a compliment, given the context of an episode which is the perfect culmination of the groundwork laid over the last two series.

Beginning with a brief montage which highlight’s Sherlock’s growing fame and Watson’s growing discomfort as his friend simply ignores the increasingly intensity of the press scrutiny, the groundwork is already being laid for a tense finale. We then cut to Moriarty who artfully carries out multiple raids on some of London’s most secure sites, for motives which remain a mystery.

Stars Benedict Cumberbatch and Martin Freeman seem so comfortable in the roles by this point that they no longer simply seem like the latest pair in a long line of actors to portray Conan Doyle’s famous sleuths, but in fact have made these roles their own. The emotional beats and character scenes, which are many and intense in this week’s episode, are heartbreakingly sincere and manage to elicit intense feelings without being overplayed, such is the rapport the pair have built up over the preceding two series. That isn’t to say that Holmes and Watson don’t still get to have some fun, and there are still one or two moments that bring the pair’s physical comedy and easy chemistry to the fore.

Credit also goes to director Toby Haynes who manages to fuse some of the series key visual and musical cues seamlessly into a satisfying whole. A scene in which Sherlock surveys a mental map of London is saved from being routine, as the following events remind the audience, rather shockingly that in Holmes’s world, not everybody takes his genius for granted. The music too, has finally worked its way sufficiently into one’s unconscious that at points you might even find yourself humming along the series trademark theme, proof that composers David Arnold and Michael Price have done their job well. It wouldn’t be surprising to find this theme placed alongside the likes of Doctor Who and The Avengers in nostalgic looks back at British cult television.

Many of the series supporting characters turn in equally charged and suitably weighty performances for this eventful episode, but sadly, Andrew Scott’s Moriarty still remains a frustrating enigma. True to form, the viewer can never quite see what lies behind the camp veneer of Scott’s performance, which is either genius or madness, but never wholly satisfying.

Luckily, this final episode is so thrillingly good that any shortfalls can be easily overlooked. And finally, it may come as no surprise that showrunners Steven Moffat and Mark Gatiss have revealed that season three is in the works. It will however, take a true genius to explain Holmes’s inevitable return.

Robert Barton-Ancliffe is pondering his theories on just how Holmes survived...

New Beginnings - Scarlet Spider #1

2012-01-13T12:00:00.009Z

Christopher Yost is well known within Marvel as a writer on comics such as X-Men, X-23 and X-Force, but he started in animated shows and his credits include Avengers: Earths Mightiest Heroes, Iron Man: Armoured Adventures and Teenage Mutant Ninja Turtles.

There have been other dabblings in Marvel (and to a lesser degree DC) so to see Yost appear on the cover of the new Scarlet Spider title is a very settling thing. The pedigree that he has built for himself in only ten years means that for what could be quite a hit and miss title he brings a certain credibility to it and opens the door for a few possibilities.

As with the Scarlet Spider's past there is a level of confusion that can be expected - this is not Ben Reilly.

For those unaware, there has been somewhat of a clone problem running throughout Peter Parker’s history which has left him doubting who he is, leaving and passing the mantle fleetingly to his “brother”. This was his clone Ben Reilly who became the original Scarlet Spider.

There was also a group referred to as “the Scarlet Spiders” after Civil War, but these were three individuals in armour as opposed to empowered individuals.

The new Scarlet Spider is none of the above though. Instead this is the former criminal Kaine who (as another Parker clone) fought against Spider-Man. This is his chance for personal redemption and he is going to take it, leaving his personal history behind, in so much as any man can ever escape his past. As such this makes the comic’s tagline so much more fitting - "All of the power, none of the responsibility."

Even to begin with Stegman has emulated an iconic cover to try to invigorate this new title right from the word go. Then moving into the comic itself the illustration and layout hold you. It’s almost like a film opening where you get flashes or strips of pictures with the opening credits posted within them. A grand opening for the reader to get stuck into. The continuing artwork and colouring is bright and open on the whole making it for a light “read” on the eyes. At times it can border on, and look a little similar to, work by Ramos (Yuck! BF) but thankfully this is only flashes and hints.

The story itself is tricky. For a new reader the introduction of Kaine is more than a bit confusing. In the past he’s been manipulated and controlled into acts of violence and revenge. He’s a killer (notably of Doctor Octopus for example (though like most comic characters good ol' Otto pulled through! BF)) and a sadistic hunter, but equally he’s been heroic especially in the recent events of Spider Island. When he first became an adversary of Spider-Man he was stronger, faster, tougher and almost precognitive as opposed to simply having a Spider Sense, but now he's working on a reduced powerset following Spider Island. So I have to wonder, was trying to address this all in a first issue necessary? It can’t all be explained and essentially re-inventing the character changes the dynamic completely anyway.

But - and this is important - it was needed. Kaine is not some sort of anti-hero like Eddie Brock has become. He’s also no longer a villain and his removal of his beard and long hair is symbolic of this. Without sounding too clichéd, Kaine’s revival has been exactly that - so he's taking it and using it to try to at least make some things right again.

This is a first issue that opens a new story without sticking to the normal conventions of your friendly neighbourhood spider. It even pokes a little fun at that too. But the underlying sentiment is that things can change but it’s not easy. Kaine is tormented by his past and uses it for a driving force.

I’ve liked the opening as it’s not all squeaky clean and straightforward. I’m concerned that it may not be one that can continue without finding its own path and forges ahead - though something which Yost is capable of - so I hope it happens.

Matt Puddy has been given the gift of a couple of hyphens by his editor.

The first DC New 52 casualties and six new challengers...

2012-01-12T13:35:00.005Z

DC announced today that six titles from the new 52 will cease publication in April. The ending titles are Men of War, Mister Terrific, O.M.A.C., Hawk and Dove, Blackhawks and Static Shock. No surprises there in my opinion - I predicted the end of Mister Terrific in my original write up of the New 52 ("this has cancelled within a year written all over it").

In their place, DC are launching six new comics:

BATMAN INCORPORATED – Writer: Grant Morrison. Artist: Chris Burnham. The acclaimed ongoing writer of ACTION COMICS, Grant Morrison, presents a fresh take on BATMAN INCORPORATED, in which the Batman brand is franchised globally in preparation for a major international threat.

EARTH 2 – Writer: James Robinson. Artist: Nicola Scott. The greatest heroes on a parallel Earth, the Justice Society combats threats that will set them on a collision course with other worlds.

WORLDS’ FINEST – Writer: Paul Levitz. Artists: George Perez and Kevin Maguire. Stranded on our world from a parallel reality, Huntress and Power Girl struggle to find their way back to Earth 2. Perez and Maguire will be the artists on alternating story arcs.

DIAL H – Writer: China Miéville. Artist: Mateus Santoluoco. The first ongoing series from acclaimed novelist China Miéville, this is a bold new take on a cult classic concept about the psychological effects on an everyman who accidentally gains powers to become a hero.

G.I. COMBAT – Writer: J.T. Krul. Artist: Ariel Olivetti. Featuring the return of a classic DC Comics series, THE WAR THAT TIME FORGOT, along with rotating back-up stories and creative teams – including THE UNKNOWN SOLDIER, with writers Justin Gray and Jimmy Palmiotti and artist Dan Panosian; and THE HAUNTED TANK, with writer John Arcudi and artist Scott Kolins.

THE RAVAGERS – Writer: Howard Mackie. Artist: Ian Churchill. Spinning off from TEEN TITANS and SUPERBOY, this series finds four superpowered teens on the run and fighting against the organization that wants to turn them into supervillains.

I'm most excited about Dial H - the previous H.E.R.O. series was a tragically overlooked gem and with an acclaimed fantasy writer on board, this new version looks set to be as awesome as Resurrection Man.

Reservation customers can place their orders now.

The Watcher - Sherlock, Season Two

2012-01-11T12:00:00.007Z

The New Year saw the triumphant return of Doctor Who alumni Steven Moffat and Mark Gatiss’s Bafta Award winning ‘Sherlock’ as the second series made its debut on BBC1. The first series not only received critical acclaim for its clever reinvention of stories and concepts, already familiar to generations of readers from the works of Arthur Conan Doyle, but it also cemented recently appointed Doctor Who showrunner Steven Moffat’s reputation as a master storyteller.

Perhaps the clearest example of the show’s success is its treatment of the central duo of Holmes and Watson, who are thoroughly inhabited by stars Benedict Cumberbatch and Martin Freeman. Transplanting the 19th century duo to the present day both freed the writers from the temptation to be completely slavish to the source material whilst also giving the audience a pair of heroes with who we could firmly identify, with Watson’s sense of bewilderment on his recent return from Afghanistan and Holmes’s constant struggle with addiction and frustration as the glare of the public eye dogs his every step. Supporting characters Mycroft Holmes, ‘DI’ Lestrade and ‘Jim’ Moriarty, also received a welcome shot of modern credibility from Mark Gatiss, Rupert Graves and Andrew Scott respectively.

Having established a successful formula with their first series, episode one of series two, ‘A Scandal In Belgravia’ ups the ante in fine style, as Moffat stitches together several stories to introduce sometime antagonist Irene Adler, played with panache and no little amount of sex appeal by Lara Pulver. The introduction of a character with whom Sherlock can truly match wits draws the character into new territory as the constant one-upmanship is as close as our hero might get to entertaining a love interest, but it also makes for thrilling character development as the breathless double bluff of the closing minutes sees Holmes in positively heroic form.

The episode also continues with the successful reinvention of the familiar, as Holmes’s trademark deerstalker hat is introduced as the pair attempt to avoid paparazzi – a masterstroke which acknowledges the hat’s place in familiar Holmes lore whilst also pointing out that this was in fact not the detective’s particular hat of choice.

If anything, this week’s adaptation of the first full length Holmes novel ‘The Hounds of Baskerville’ (the title a slight tweak of the original in established Moffat/Gatiss tradition), might threaten to stagnate the developments of the series debut as Gatiss tackles the most famous story of all. It seems however that the writer’s desire to get under these character’s skins is a firm decision and the removal of the pair to Dartmoor to investigation the titular ‘hounds’ actually serves to strengthen their bond through adversity.

The story itself is another reinvention that sees traditional elements filtered through modern fears and the series trademark bait and switch style, and so the hounds of the piece are somehow connected with secret genetic experiments - the Baskerville estate in fact a government installation. Ironically, the updating of the stories, a key strength initially might have become the most predicable element of the series, together with the writers’ running gag that the main characters are often mistaken for a couple.

The only real weak link for this reviewer is the presence of fan favourite Russell Tovey, who’s undeniable charisma is somehow stifled either through the rather stiff writing of his character, or his struggles to make a decent fist of the posh accent – a character element which hardly seems necessary given the modern day setting.

All in all, series 2 of Sherlock is a triumph of modern television drama, a flagship British series to sit alongside Doctor Who, who audience figures continue to grow, episode 2 having been watched by 11.16 million viewers. The only question is, will it see a third series given the rather ominous title of next week’s episode ‘The Reichenbach Fall’?

Robert Barton-Ancliffe has decided to forgive the poor CGI as a deliberate conceit of the storytelling rather than shoddy workmanship.

Carrier bags and charity - Shelter

2012-01-07T12:00:00.000Z

Hi folks,

Last week marked not only the end of the calendar year, but also the end of the current financial quarter and the end of the latest period of collecting money for charity from our sales of carrier bags.

This is our third full quarter and together we raised £10.31!

Last time I made a donation to Cancer Research UK. This time, I'm making a donation to Shelter.

Thanks everyone. The next carrier bag donation will be in the just before Easter. If you have a charity you'd like Proud Lion to support, please email me at shop@proudlion.co.uk.

Digital Canvas - On the Subject of Webcomics

2012-01-07T10:00:00.005Z

For someone who’s never read any webcomics, maybe just stuck to physical paper and ink, net-scribbles can seem like a daunting new competitor to their beloved variant covers and trade paperbacks. I hope to enlighten you all with the major pros of this relatively new medium, and hopefully counter some of the cons!

So yes, first of all, webcomics are a major competitor to traditional comics, perceived to be stealing away custom from comic book shops. The way I see it, any competition is good for the marketplace! Just like the storylines comics tell, you need a bit of conflict to stir things up, or risk being stagnant and same-y every week. And also, we’re starting to see some cross-pollenisation cropping up. Dark Horse have recently been releasing trades of popular webcomics such as Doctor McNinja and Axe Cop alongside its usual fare, and of course the bigger boys in the webcomic market have released their own trades through online shops. It's like flicking through pages of the internet in your hands!

The next and most common criticism I personally hear about webcomics is: “Webcomics? Isn’t that just gamer/gaming stuff with in-jokes I wouldn’t get; fanfic of already popular franchises; self-published childish scribbling and pencil porn?”

To which the answer is yes, plus everything else. The true joy of the digital landscape is freedom; freedom to write/draw what you want, freedom to make your comic however you like (including with moving GIFs if you’d prefer), and freedom of choice. It takes very little to start up a webcomic: site hosting, a little bit of technical know-how to make your site look nice and learn how to update with new pages, and a few ad-banners to (hopefully) pay for the hosting. Of course, very few webcomics actually become popular enough to become self-sufficient and start selling collected graphic novels, t-shirts, and merch.

This is because freedom of choice is - of course - a double edged sword. Lurking on the web are examples of all the above complaints, and the dross does unfortunately outweigh the gold. Gaming webcomics do tend to make up the majority of the diversity piechart (in my personal experience anyway, it depends on which corner of the internet you explore). But then internet people are tech-savvy mostly, and poking fun at gaming is easy and fun to do!

And yes, there are a few webcomics that flirt with the danger of copyright infringement, they think they can get someone else‘s character to do all kinds of things. And of course, some are just scribbles of madmen. Do not fret though! There is gold in them thar net-hills! And as I hinted at earlier, the freedom of the internet means that some outstanding designs are possible that could never be attempted on paper. When you have unlimited space to draw, the sky’s the limit. And animation is a wonderful thing in webcomics, as seen in the above strip from Playr 3 by Cool Surface! From simple GIFs to mighty Flash files, it's possible to blend still image and movement to create something better than its parts.

You see, the main good thing about the freedom of webcomics is the freedom to experiment, with very little financial risk and no editor breathing down your neck waiting for an excuse to cut costs. Take for example, Daily Dinosaur Comics over on qwantz.com. Who would have ever thought to keep the pictures on the page the same every day, but just change the speech bubbles! And yet it is one of the most popular websites on the net, and you can actually feel the dino-characters growing in personality as you progress through the archives.

Oh yeah! Another HUGE plus point for webcomics are the digital archives. This is one of those things you wish could work for everything in life, especially paper and ink comics. Just click a button, and you go straight back to the very beginning of the story! No “jumping-on point” required! It’s a simple thing, but to me its one of the first things that attracted me to webcomics. Reading an epic story from beginning to end, without having to root around in car boot sales and secondhand stores for the first issue.

Of course, not everyone has the time to trawl through a vast archive of story, desperately trying to catch up with ‘today’. To those people I say Gag-A-Day comics are the way to go. These are webcomics whose pages rarely follow on from each other, instead providing a new punch line every day for a quick fix of funny. Try to go for the long-running ones, it’s a sign of quality when you can be consistently funny day after day, and not run out of jokes after the first week. xkcd is a great example.

Now I admit, the world of webcomics can seem quite daunting. The best way to start is to see if a favourite comic artist or writer is involved in a webcomic. A few of them use the internet to stretch their writing/drawing muscles, practicing their art and trying out new things whilst building a fan base online. For example; Doug TenNepal, the creative mind who invented Earthworm Jim, has a recently started webcomic called Ratfist that you might like to peruse. And from there, it’s a simple process of checking if your chosen artist/writer’s webcomic site has a page of links called “Affiliates” or “Friends” or “Webcomics You Should Read” etc. This is a great way of building up a portfolio of similar comics (or at least similar quality comics, even if the subject matter isn’t), and if you explore the links pages of those webcomics, pretty soon you’ll have your master list to read weekly. Notice the webcomics that are on several lists of links. Those are the doozies.

An alternative method is to check out the various sites whose main function is to provide a list of webcomics that can easily be skimmed through to find a good one. Places like thewebcomiclist.com, or topwebcomics.com where comics are voted up or down so you can easily see which ones have the best voting incentive - uh I mean which ones are best! Also, check out sites that act as merch shops for many webcomics at once. They usually only accept membership from relatively well known (and therefore financially less risky) webcomics, so their webcomics are more often than not the best the web has to offer. Try topatoco.com, that’s a good collection of webcomics, and a great shop as well!

So that’s it! Your introduction to webcomics, and my introduction to writing articles!

Todd is worried he might have used the word “webcomic” too often.

New Beginnings - Fatale #1

2012-01-06T12:00:00.000Z

I have recently really started to get into new and different comics. Mark Millar struck a chord for me with his creator owned comics - a move away from mainstream Marvel comics that has seen me reading titles like Superior and Nemesis, before branching out into things such as the beautifully crafted Monocyte. So when I see a big name like Ed Brubaker on the front of a new title from Image, I’m immediately interested.

Fatale is one such new comic and is a collaboration with Sean Phillips providing the artwork. For those in the know, the collaboration of Brubaker and Phillips is one which has obviously worked in the past as between them they have created titles such as Criminal, Sleeper and Incognito. For those not in the know, like me, then this is a new experience.

Opening with a current day prologue the comic quickly draws you in and introduces you to the main character Joanne, through the funeral of Dominic Raines. Nicolas Lash is also presented to you but soon takes a back seat as the story flicks back to the 1950’s.

The main story plunges you into a tale filled with normal people and the occult; it’s a semi gothic horror or at least it can or will be. Even though you’re enveloped in the story and get involved with it a lot there isn’t a huge amount that you are given or told. This leaves you with a variety of questions and hooks to drag you in further which is remarkable. One of the other nice things about it is that it doesn’t play itself down to a common denominator or dumb things to a layman's level, it treats the reader like an adult and addresses things in a common way that you can understand because it’s straightforward and realistic.

Sean Phillips’ artwork is very fitting for the piece. This is a dark story surrounded by a murky veil and the palette reflects this completely. There is a lot of work done with the shadows too. I’m happily ashamed to say that I actually caught myself trying to peek around a frame to try and see extra detail that I knew was never going to be there. But how could I resist?

Something else that I think is of merit is the way that the comic physically feels too. Now I’m not sure if this is the normal for Brubaker’s comics but in this instance it only enhances the whole thing. It’s got an almost rough unfinished quality to it and this kind of dates the comic further. Putting this together with the story and the artwork makes quite an emotive production.

Put all this together and what you also have is a comic that quite literally every adult comic book fan should read. Just for something of a contradiction in that it’s new clean and shiny, yet feels odd, dirty and gratuitous. It won’t hit with any of the younger readers but then again it’s not meant to! This is a mature comic for mature people to enjoy maturely.......or at least with a naughty little smirk.

Find this comic, buy it, treasure it and most importantly read it!

Matt Puddy is still peering into the darkness.

Big Game Hunting – Meet the Munchkins….

2012-01-05T12:00:00.004Z

Our illustrious leader, Ben, filled me in very briefly today about the kerfuffle that Fantasy Flight caused when releasing a new game that, apparently, hadn’t been play tested to a rigorous standard. So, instead of talking about characters this week, I thought I’d talk about something that usually comes much later in the design process, but you really need to start planning for from the outset.

Play testing.

It’s actually quite fun. I’ve had one play tester ask for a ‘look good naked’ skill and discovered, while doing the final playtest of another game that falling from a kerb is actually lethal. And apparently, that that newest release for Mansions Of Madness (which is being very quickly errata'd and fixed), needs two rooms... printed on either side of one piece of card. And that’s just one thing I was told about.

It might not seem like much, but play testing is one of my wish list, big-ticket gaming items – and one that I don’t actually do very often. I like play testers to find holes in my games – much like I like my beta readers to find holes in my plots, so I thought I’d share some play testing wisdom – perhaps, it’ll help you design characters and scenarios.

1) Never expect people to play it straight – in fact, if you’ve got a friend that likes to ‘munchkin’, let them. It’ll stop the conversations later on of ‘I can’t win’, which no GM likes to hear. Or worse, a GM having to fill the holes themselves.

2) Deliberately cheat when play testing – how obvious is it if the GM cheats? How about the players? Look at every hole you’ve got and try to drive that MAC truck through it. That way, you know what to adjust.

3) Go to extremes. Play a game where one round the players are lucky (automatic critical successes) – does it make the game impossible to play later because they’ve won stuff that they shouldn’t have. And then, play the same round the other way and critically fumble the rolls. Again, does it really shaft the players? Then, middle of the road? What happens.

Finally, roll actual results a couple of sets of times. What’s the average outcome?

If you do this for several key mechanics in your game, you’ll probably get a feel for where the system is unbalanced, before your players do. Which is a very good thing.

This week, Kai can barely walk, having broken herself. There’s no dice roll to fix that, but, on the bright side, she’s pokemonning for all she’s worth.

Brave the weather and grab a bargain in the New Year's Sale!

2012-01-03T10:10:00.003Z

Proud Lion webcomic #5 - Reflections

2012-01-01T10:00:00.002Z

first

New Year's Sale NOW ON!

2011-12-31T12:00:00.002Z

Lots of bargains now available in store folks - many items half price or better!

Here's a list of what we have available - if you'd like anything reserved please contact me. First come, first served.

Have a very Happy New Year. See you in 2012!

The Watcher - The Dark Knight Rises IMAX Preview

2011-12-31T10:00:00.005Z

Right from the moment I heard there was another Batman movie from Christopher Nolan coming, I’ve been hungrily hunting all possible tidbits of information around it like a ravenous zombie. So as you can imagine I may have been a tad excited to see some footage from the movie and I may or may not have already tracked down said footage and watched it online. But hey, I like spoilers and I wasn’t going to turn down the chance to see it on IMAX!

The six minute preview begins with a van ripping through a field at some speed, this looks very impressive on the IMAX screen. I feel it allows you to become a lot more immersed into the film. The van is carrying hooded hostages - who they are or why they are there, we do not know. It arrives at a small plane where a slimy CIA agent is awaiting their arrival. He is surprised to find the van has more than one prisoner, but as the carrier mentions possible information on the mysterious mercenary Bane he takes them on board.

As the plane is flying through the sky you can appreciate the scale of the shot and how impressive it looks on the IMAX screen. On board the CIA AGENT is trying to interrogate the hooded prisoners with no avail until...

CIA AGENT: A lot of loyalty for a hired gun

HOODED MAN: Well perhaps he’s wondering why someone would shoot a man, before throwing him out of a plane

CIA AGENT: At least you can talk, who are you?

HOODED MAN: It doesn’t matter who we are, all that matters is our plan. No one cared who I was until I put on the mask.

The CIA AGENT pulls off the hood and the man is revealed as BANE!

CIA AGENT: (gesturing to BANE'S mask) If I pull that off will you die?
BANE: It would be extremely painful…
CIA AGENT: You're a big guy
BANE: …for you.

I would like to highlight Bane's voice at this point, a lot of people have complained about the coherence of it. I actually found his voice to be perfectly clear with an added eerie elocution to it.

Bane's plan is to extract the prisoner and leave no survivors. The extraction itself is brilliantly done - they hijack the plane by hooking it to a larger plane; ripping its tail end off so a group of mercenaries can drop in. During this they seem to perform a blood transfusion on the prisoner and a guy in a body bag. At first I couldn’t understand why they may want to do this but I came to the realisation that it could be to make people think that the prisoner was still on board.

As they escaping, Bane tells a henchman to stay behind. This is the only line which I did not understand:

BANE (to HENCHMAN strapping in): No! They expect one of us in the wreckage brother.

HENCHMAN: Have we started the fire?

BANE: The fire rises.

The DOCTOR starts to freak out.

BANE: Calm down Doctor, now isn’t the time for fear. That comes later.

As the wreckage of the smaller plane hits the ground we’re left with a parting shot of Bane and his hostage being hoisted away by the larger plane. Then finally a quick succession of teaser shots are shown. Multiple tumblers being chased by a new Batwing; Bane and Batman fighting on the steps of Wall Street; Anne Hathaway as Catwoman; Joseph Gordon-Levitt; rioting; explosions and a broken Bat Cowl...

Stefan Harkins keeps chanting over and over again.

A Marvel 2011 Retrospective - Mystery Men

2011-12-30T12:00:00.001Z

Every year there is an event within the comic world publishers. It doesn’t matter who the publisher is, there is always a hook. Sometimes it will be localised to a group of titles and other times it will span the entire universe, but, regardless of who or what there will always be something taking the lion’s share of the spotlight.

Now from a publishing - and to an extent a readers view too - it means that there is a focal point for things to revolve around and makes structuring a vast number of things a lot easier. From a revenue point of view as well a publishing house can invest and plan a return.

However, this is not an all encompassing concept. While the spotlight was shining brightly for Fear Itself this year (and in the run up too) it gave the shadows away to a variety of titles and miniseries. One such series which I was seriously tempted to review as my end of year piece was Carnage, a revival of Cletus Kassidy after being ripped in half by Sentry. It was beautifully drawn and a favourite character of mine but the year has had more to give.

The title that really stole the show for me was David Liss’ Mystery Men, a limited five part series set before what readers know as “the norm”.

Established in the 1930’s Mystery Men approaches from more of a classic direction. These are men and women who are pushing themselves to be better and stand up for the good in the world without the benefit of a cosmic ray, nuclear explosion or any type of beneficial accident to gift them with a power set befitting a demi-god. Even their names are down to earth and feel fitting, albeit a little sinister with The Operative, The Revenant, The Surgeon, The Aviatrix and Achilles.

Although the premise may feel a little dated, one thing Liss has done is to take into account the world as part of the story and I feel this gives it extra weight. The role that society plays in the story is shown very well, from the almost religious undertones to the racial and sexual stereotyping that were both rife in that era. This is a time when power and strength are portrayed by the male police forces and armies of the world - not playboys, women and African stage hands.

Putting all the above together gives a refreshing story and series to collect and read which doesn’t follow the obvious generic formula. Yes, there is the very general “good wins over evil” but who couldn’t use that?

The story follows a supernatural plan to raise an earth changing power and our valiant heroes and heroine stand it its way. Simple enough story, however, as I said this is about the world around them and not only do they have to consider the fate of the world but their own predjudices and opinions are challenged in the process.

The whole feel of the comic is also fantastically depicted by Patrick Zircher. Now if honest I am not one for the “older” comic look and feel having only really become a fan in the last decade, but here this only adds to the sensation of the comic. There is a certain welcoming feel to it one seen in films such as the Rocketeer and Sky Captain helping to build the ambience.

When read as a whole it works on more than one level. It’s a well crafted piece that can simply be read or alternatively it can be seen as social commentary in a time that needed to change. Whichever way you would prefer to peruse the page of a comic, book or article it has something for you. It is a limited series though which may make getting copies a little tricky however as someone who was looking for something different and out of the regular trenches then I would say that to make an effort to get these issues is only one that will rewarding if successful and a goal to achieve if they have eluded you this time.

A beautiful multi faceted attraction that all should have or at least aim to attain!

Matt Puddy is hoping to feel well enough to celebrate New Year's Eve...

The Watcher - Mission: Impossible - Ghost Protocol

2011-12-30T10:00:00.009Z

My mission if I chose to accept it. To visit our capital and experience Mission Impossible: Ghost Protocol along with the Dark Knight Rises preview in a way like no other, on the massive IMAX screen. Myself and the other members of the Proud Lion Watchers Council took on this adventure. Of course the challenge was accepted, I mean does anyone ever refuse a mission?

I was in awe of the massive IMAX screen right from the start, wondering why I had not been to do this sooner. The opening prison break sequence leaves the viewer wondering what is happening and why, but as the escape continues the situation escalates, building to its climax and then the theme music rolls - the fuse is lit and I’m ready for action!

Rather unusually as the fuse is running its path, scenes from the movie are played out of sequence in the background, rather like a trailer. Why would I want to see scenes from a movie I am about to watch?

We pick things up in Russia and further plot points are revealed, bad guys, bombs and the need for the launch codes, you know the usual. There are some genuine laugh out loud moments during this as Pegg and Cruise are both trying to infiltrate the Kremlin with the assistance of some very nifty gadgets. (Filling a much needed gap left by the current Bond movies?)

I thoroughly enjoyed the fact that Pegg has now been given a slightly bigger role in this movie, he adds his usual charm and comedy to the role. But I do feel like they could have given his character a bit more to do as it feels like his is the only one without an additional agenda and is left to be just comic relief.

The initial mission has failed and now the IMF (Impossible Mission Force for those not in the know) has been disavowed. Our main group are being blamed for something they did not do and now they have to go rogue to clear their names and stop a megalomaniac blowing up the world in order to try and bring peace.

Our agents are hounded by Russian police, all while trying to track arms dealers, gain information from assassins and media tycoons. Oh and of course stop the main man himself from completing his plans of destruction. Unfortunately this is my main issue with the film, there is a distinct lack of a solid villain. Phillip Seymour Hoffman in MI3 was a tour de force and held the audience captivated every time he was on screen. In comparison this movie is just left wanting.

Don’t let that deter you though, the rest of what is going on is brilliant. As the action moves to Dubai, I believe the movie reaches its high points as we see stunning shots of the Dubai desert, sandstorm chases and the heights of the Burj Khalifa building. This scene is particularly exhilarating to say the least as Cruise himself is hung near the top of the 2716 foot building, even with harnesses I would still call that brown trouser time.

We also discover that there is more to Jeremy Renner’s character than meets the eye, as he is holding a secret from the team. He is definitely one to watch and I personally cannot wait for his role as Hawkeye in the Avengers movie.

I would highly recommend this movie for an entertaining evening, if you can see it in IMAX then do so as your experience will be tenfold. All in all a standard story with stunning visuals and some fun cast, worth a watch. I am counting down the days to my next IMAX trip, The Dark Knight Rises here we come!

Stefan Harkins will self destruct in 5... 4... 3... 2... 1...

Merry Christmas everyone!

2011-12-25T10:00:00.002Z

Have a Happy Holiday folks. Thank you for all your support this year!

Proud Lion reopens on Wednesday at 10am. New comics are Thursday next week.

Cheers!

A DC 2011 Retrospective - Batman Inc.

2011-12-22T12:00:00.005Z

Well, not so much of a retrospective this week, as Batman Inc. returns for one last issue in 2011 - Leviathan Strikes!

It’s meaty, it’s massive, it’s Morrison! But is this weeks Batman one shot worthy?

On first impressions you have to at least admit that being given a one-shot that is the size and feel of a small graphic novel is really nice especially when it’s only $6.99.

For those who aren’t aware, Batman Incorporated was a short run title that was a natural progression from Bruce Wayne’s journey back through time following his “death”. It was Bruce’s vision for setting up an international network of fully backed individuals all under the corporate logo of Batman himself. Dotting across the world, the issues handled the recruitment and review of candidates and their setups ensuring that they were suitable for the big plan.

Unfortunately, in the grand DC scheme of things, Batman Inc didn’t make it through the recent 52 reshaping. Instead we have seen titles such as Batwing appear on our shelves as a direct result and a number of loose ends which the premature pausing of the series created. Now this one shot is giving the reader a chance to tie up some of those loose ends.

Written entirely by Morrison with Chris Burnham and Cameron Stewart providing the artwork for each of the chapters there is a great continuity throughout the entire issue and it tracks back really well.

The first chapter is following Stephanie Brown (back when she was still Batgirl) as she begins a new academic year in what can only be seen as a feeder school. In this case though the feeder school is designed to produce a very special type of femme fatale for Leviathan, Batman Inc’s corporate nemesis. As with many of Morrison’s stories not everything is as it seems.

What’s great about this chapter is that it is non stop. You’re always engaged and even when it slows down the addition of a scenario or a protagonist such as Son of Pyg, a particularly sadistic and twisted individual, keeps you interested.

The second chapter is more to do with addressing where Batman left off with trying to address what Leviathan actually is. It’s twisty and turny with no end of ideas coming from Netz, the post mortem villain, and leads you to think about a variety of different possibilities whilst also piecing a bigger story together behind it. It’s a smart piece of writing to manage it all as well with the reader having to work to keep up. This isn’t a bad thing though as it’s just a different method of storytelling made and is equally as rewarding. Even better still is that it keeps growing and building to quite a significant moment, one which suddenly makes complete sense across so many levels by revealing just who exactly is behind Leviathan and it’s one that hits on so many levels that you can only respect the planning behind it all. Talia Al Ghul, a woman who has affected the Waynes in so many ways and now has an even bigger part to play.

Overall this is a great one-shot. The price may dissuade some readers but all I can say is that Morrison has taken some possibly dubious building blocks from the Batman Inc run and forged them into something with a lot more promise and pretence making this worth the cost. Batman Inc. returns in 2012 and this is an essential read before then.

Matt Puddy is wishing you all a great Bat-Christmas!

The Watcher - Five sci-fi/fantasy films for 2012

2011-12-21T12:00:00.003Z

Superheroes are here to stay, for now. But the year ahead promises so much in the way of non-superhero cinematic goodness, that even if spandex isn’t your bag, you’re still sure to have a cracking good time, with some heavy hitters and potential new favourites looming just over the horizon...

In March, Disney/Pixar bring a genuine pulp hero to breathtaking life. John Carter (of Mars) adapts the adventures of Edgar Rice Burroughs’s American Civil War veteran who wakes to find himself inexplicably transported to the Martian landscape of Barsoom, where his superhuman strength helps him turn the tide in an alien war. Carter’s original tale was a swashbuckling sci-fi romance, and the trailers promise action and spectacle - with some stunning production design and anything but little green men. Leading man Taylor Kitsch Eschews the typical rippling muscles of the superhero stereotype, and it’s a breath of fresh air to see Lynn Collins’s Martian Princess Dejah Thoris wearing clothes for a change. Oh, and Willem Defoe as a seven foot tall four armed green alien? Sold!

Five friends go to a remote holiday home in a forest. Bad things happen. But for the viewer, very very good things might just happen as MGM finally release the long delayed mystery project from Joss Whedon and Drew Goddard. 2012 might just be the year that Joss Whedon goes global, finally earning the recognition his status as a sci-fi fantasy visionary deserves. Although ‘The Avengers’ promises big shiny fun, the recently released trailer for ‘Cabin in the Woods’ promises a mind twisted sci-fi tale that bucks expectations in true Whedon style. Debut director and co-writer Drew Goddard has an equally impressive CV with screenwriting credits including ‘Buffy the Vampire Slayer’ and ‘Cloverfield’, and a cast headed up by Chris ‘Thor’ Hemsworth only serves to boost this project’s coolness factor.

In June, arriving a full 33 years after Ridley Scott’s sci-fi horror classic ‘Alien’ (1979), comes the director’s belated prequel (or is it?) ‘Prometheus’. There has been a lot of speculation surrounding the project ever since Scott and co-writer Damon Lindloff’s pronouncement that the project would no longer be a prequel, instead spinning an original tale that riffs on mythology and the origin of mankind. But let’s face facts here, it’s an Alien prequel, directed by the first and best visionary behind the whole Alien series. And if that wasn’t enough to make you sit up and take notice, the official pics boast gorgeous production design, and the ensemble cast is a veritable who’s who of hot actors, with Noomi Rapace, Michael Fassbender, Charlise Theron and Idris Elba to name but a few. Even the Space Jockeys back on board. WIN? (The trailer is released on Thursday - we'll update this blog post with an embed after that, so stay tuned! BF)

You may recall some buzz about ‘Underworld’ director Len Wiseman’s upcoming remake of 1990’s ‘Total Recall’, but the rumour mill seems to have gone quiet of late. But in August, the Watcher reckons it’s time to get your ass to the multiplex. Starring Colin Farrell and Kate Beckinsale with John ‘Sulu’ Cho and and Bill Nighy in supporting roles, fans are hoping for a fresh twist on Philip K. Dick’s source material with plenty of Arnie homage thrown into the mix. Gone is the Mars setting, instead a tale of global espionage and mind bending reality shifts awaits. There seems to be enough new ideas in play here to make this new take on the material worthwhile, and with Philip K. Dick inspired films proving to be some of the most enjoyable sci-fi fare of recent years, my fingers and toes are crossed.

Finally, December sees a rather expected, but long delayed journey from Peter Jackson and team who return to J.R.R. Tolkien’s Middle Earth this with ‘The Hobbit: An Unexpected Journey’, the first of two films adapting the classic children’s book, and lest we forget, forerunner to ‘Lord of the Rings’. The departure of mooted director Guillermo del Toro due to production delays was disappointing news, but he still receives co-writing credit, and returning director Peter Jackson has been known to direct an excellent fantasy film or three in his time. With many actors returning to their iconic roles and a new leading Hobbit in Martin Freeman - plus Andy ‘Gollum’ Serkis pulling double duty as second unit director - the passion of all involved is clear. Best of all, this has even got me interested in re-reading the book. Roll on 2013 and ‘The Hobbit: There and Back Again’.

As the above list proves, although you might not be able to have so much as a cup of tea without missing the debut of yet another superhero film, there’s plenty still on offer for genre fans. There can’t possibly be any more quality genre flicks to cram an already bursting year of cinema... or can there?

Robert Barton-Ancliffe is looking forward to next year's hidden gem akin to this year's Rare Exports.

Big Game Hunting - System thoughts (this might get a bit complicated)

2011-12-20T12:00:00.000Z

I’ve always thought of system as the bit where people say ‘and here comes the science part’ in the advert (and the character dying as the ‘because you’re WORTH IT’ bit), but system is one of those things that I understand well enough to design, but probably not well enough to explain.

System is complicated, it’s scary, and it’s strange. So why is it, exactly, that I’m trying to reinvent the wheel designing my own? And worse than that, encouraging you, gentle GM to do the same?

Simple – if a system doesn’t work for you, it doesn’t work for your players either. Partially broken systems lead simply to “munchkinning” (where a player designs a character that deliberately breaks the rules) and the only person that doesn’t really enjoy that is well... everyone, there’s no harm in it, right?

Well, right. And wrong. Because if you’re one of the blessed few that can do better, then you should.

Designing a system comes down to ensuring that something is not only balanced, but works in ways that would work, whether you remove the optional parts. It works, whether your player is lower level or higher level, and is balanced to make sense in your universe. It can be a very difficult thing to do – because balance goes beyond players and NPCs and means that if there’s a cause and effect style event, that the rules cover that too. I remember play testing a game once and discovering that for even marginally unlucky to even kinda lucky dice rolls, we had to change the system because tripping and falling off the curb killed!

While you don’t think about that, the important thing when designing a system with balance is to remember that even after play testing, you have to find and apply errata. There are various game companies out there and there are frequently errata issued, so that’s OK. Whether this bothers you or not is your choice, but after extensive play testing you’ll still find something that you haven’t thought of. Which is why system designing becomes more and more complicated as time goes by – and each iteration can introduce complications – so it’s important to build a base system underneath that works. Once you’ve got the ‘solid’ base, it should bend but not break.

Whether it’s diceless, one dice or several dice types, find a system that works for you, then you can quantify – it doesn’t matter what dice you use, as long as it makes some measure of sense.

This week, Kai is getting angry at MS Word’s rigid spell check – munckinning is a word dammit!

NEWS FLASH! Late night opening - Thursday 22nd December 2011

2011-12-19T15:00:00.001Z

Reservation Service customers exclusive offer - lose a bag or gain a board!

2011-12-19T12:00:00.005Z

Firstly, many thanks to all the Reservation Service customers who have kindly supported the decision I made at the start of December to introduce a deposit scheme.

I've been thinking of ways to try to add value to the Reservation Service and after requests from regular customers, I can add two offers starting from January 1st.

A) If you decide in advance to have your Reservation Comics WITHOUT a comic bag, you will save 5p per issue. This only applies if you tell me in advance, you can't decide on the day of purchase! Please contact me if you'd like to take advantage of this offer.

B) Alternatively for an EXTRA 10p per comic, you can have your Reservation Comics boarded. This can be decided on a case by case basis at the time of purchase.

We are currently out of stock of Long Comic Boxes and Current Age Comic Boards. These are on back order with Diamond. Apparently their latest delivery to the warehouse of these items was "held up at the docks".

Diamond have now confirmed these are back in stock. I'm hoping we'll have them next Thursday.

Once again, these offers won't start until the New Year.

A week of promotions!

2011-12-19T10:00:00.005Z

Just a quick reminder that this week Proud Lion is open from Monday-Christmas Eve for all your shopping needs!

In addition, there'll be a new daily promotion each day. These won't be advertised in store, only on our Twitter (@proudlioncomics) and the Facebook page, so make sure you follow or like the Lion. Or both!

Today's promotion is... you know what, I'm not going to tell you here. Go to Twitter or Facebook and find out for yourself!

Later today I'll be back with another announcement about an exclusive new ongoing offer for Reservation Service customers.

Finally, here's a lovely little Christmas cheers from the folks at Image Comics!

One week till Christmas!

2011-12-17T10:00:00.000Z

This time next week it will be Christmas Eve!

Don't forget Proud Lion is open till 5pm today, then open on Monday from 10am. That Monday is a one off for the holidays, blink and you'll miss it!

New comics are Wednesday this week, but don't forget that over Christmas the new release day for comics moves to Thursdays due to the Bank Holidays. It will return to Wednesdays after the festivities.

New Beginnings: Avengers X-Sanction

2011-12-15T12:00:00.004Z

He has been seen as a time traveller and a terrorist, a freedom fighter and a mercenary and most recently a father. Cable has been many things but now how will he be viewed as the main protagonist in the four part miniseries X-Sanction?

Written by Jeph Loeb, the first issue is a varying storyline jumping from present to future and back again, setting up the story. One thing it doesn’t clearly address is how this has all happened, though considering the last we saw of Cable was being fully consumed and ultimately ended by the technovirus he constantly struggled against. This in itself will leave a lot of fans and followers wondering what has gone on, but I also have to ask is it necessary to explain here?

Loeb works very well with the ambiguous nature of Cable by placing him at odds with the Avengers, starting to take them down individually. It only becomes clear later in the story as to why and after seeing him with Falcon and Cap, claiming he will take them all down, it does start you thinking about how he will if that’s the plan (considering there is a Hulk on the team it is certainly an interesting thought)? Cable is a desperate man willing to die once again for the girl he knew as his daughter.

If I'm honest the premise - especially in Cable’s case - is a well used one but the twist to this is the overriding paternal instinct. As Cable is such an intense character it is only amplified which I don’t find to be a bad thing. Using The Avengers as “the Bad Guys” is an interesting move but one which I can’t see carrying considering their high moral standards.

As I’m also aware of the upcoming crossover where the Avengers will be pitted against the X-Men because of the Phoenix Force and using Hope as a vessel for it, I am left asking if this little series is necessary. I feel that this is going to go one of two ways, either as a vehicle which introduces a key factor or as a pointless filler.

Stalwart Ed McGuinness has provided the artwork which I didn’t think matched up to the story. It is true to his previous work but I just felt it lacked depth. Cable has always been depicted as an overly muscular alpha male type with the virus taking a part of him adding to the detail in his persona but here it feels as if the work is unfinished or lacking further detail. It’s only in the close up shots of any character that you get a better look and feel for them. McGuinness is also a foreground artist. The backgrounds are open and are simply there to provide a loose feel to the frame not adding any value.

I think that regardless of the end motivation of the mini-series, anyone who followed Messiah Complex or subsequent arcs will like this. I wouldn’t say it’s a reasonable jump on point but the story is strong enough to carry a reader and possibly hook them for all four issues.

Matt Puddy is gearing up for the end of the year with a look back at some of the best of 2011

The Watcher - Five comic book films for 2012

2011-12-14T12:00:00.000Z

As 2011 rapidly recedes in the rear view mirror, the year ahead in cinema still holds an almost mythical sheen. With all the excitement over the veritable avalanche of quality comic book and sci-fi films over the last several years, it’s all starting to feel like it was simply a warm up for next year’s main event. If the Mayans were correct and next year is indeed to be our last, make sure you don’t miss the Watcher’s pick of 2012. This week, we’ll be looking at the most exciting year yet for comic book films...

In February, director Josh Trank unleashes big screen debut ‘Chronicle’ to a largely unsuspecting public. Though not actually based on a specific comic, ‘Chronicle’ looks set to follow in the dark and gritty tradition of M. Knight Shyamalan’s ‘Unbreakable’ (2000), exploring the real world implications as a group of teen friends discover superpowers. Screenwriter and comic fan Max Landis appears to have hit on a fairly fresh twist as the friends slowly progress from unleashing Jackass style pranks on one another to ever more terrifying extremes. The trailer has a definite ‘found footage’ vibe, but there are intriguing hints of something more epic beneath the surface. In the words of Dave Lisewski from ‘Kick Ass’ (2010) – ‘What would YOU do?’

Next up is a team who need no introduction. Heralded by no less than five solo blockbusters, April sees the release of Joss Whedon’s ‘The Avengers’. A dream project for comic book fans, this promises to be a true ‘pinch me’ moment as Samuel L. Jackson’s Nick Fury assembles the World’s Mightiest Heroes in a series of impressively realised battles filled with plenty of Whedon’s trademark witty banter. The presence of Tom Hiddleston’s Thor-bothering trickster Loki adds a touch of soul to villain duties, and impressively, despite a summer filled with leaked photos and persistent rumours, the true ‘Big Bads’ of the piece have yet to be properly revealed. Say it quietly, Whedon + Marvel Studios = Genius?

There is of course the small matter of Christopher Nolan’s hotly anticipated Batman trilogy capper, ‘The Dark Knight Rises’ coming in July. Bringing the cinematic story of Christian Bale’s Batman full circle, ‘Rises’ promises to up the stakes as the beleaguered and battered caped crusader faces off against the impressive presence of Tom Hardy’s Bane. Nolan faces the unenviable task of following up 2008’s ‘The Dark Knight’, but with the recent revelation that the film picks up eight years later, a despair filled trailer, and advance footage that has been wowing critics, the film makers are clearly striving to bring fans something new. The best advice would be to ignore the dodgy leaked photos and instead check out ‘Bronsan’ (2008) and ‘Love and Other Drugs’ (2010) to see co-stars Tom Hardy and Anne Hathaway at the top of their game.

The recently released teaser poster for Marc Webb’s ‘Amazing Spiderman’ also due in July promises ‘The Untold Story’ or if cynics are to be believed, the director of ‘500 Days of Summer’ (2009) is set to bring us ‘Spiderman for the Twilight Generation’. Despite grumbles that this reboot follows too hard on the heels of Sam Raimi’s beloved Spiderman films, the trailer promises romance and mystery in spades, with a dash of visual inventiveness. Comic books fans should be pleased with the nods to Marvel’s brilliant ‘Ultimate Spiderman’ line of comics, and the cast, led by British actor Andrew Garfield, certainly looks impressive, with Rhys Ifans (Notting Hill, Enduring Love) set to bring true oddball menace to the villainous Lizard.

Finally, this Watcher may well be alone in viewing 1995’s Sylvester Stallone vehicle ‘Judge Dredd’ as an unappreciated classic (you really are! BF), but that doesn’t mean that upcoming reboot ‘Dredd’, isn’t exciting news indeed. Although Director Pete Travis (Vantage Point) is calling the shots, two things are enough to convince me that this is one to watch. Firstly, novelist turned screenwriter Alex Garland (28 Days Later, Sunshine) has a knack for brutal realism and moody atmosphere, and secondly, leading man Karl Urban has bought true heart and soul to such diverse genre fare as ‘Lord of the Rings’ (2001-2003) and ‘Star Trek’ (2009). True, he’ll only get to emote using his chin, but as 2000AD purists will tell you, that’s exactly how it should be.

Looking at the above list, it’s hard to believe that for a time, 2011 seemed like the year of the Superhero, but with what’s in store for 2012, it might just be shaping up the be their decade.

Next week, wizards, warlords, xenomorphs and Colin Farrell, not to mention a long delayed summer vacation with Joss Whedon, as Robert Barton-Ancliffe looks ahead to the best of sci-fi and Fantasy for 2012.

Big Game Hunting - So… you want to design a game?

2011-12-13T12:00:00.004Z

RPG games are some of the most amazing things that people can ever write – they’re more intensely interactive than most books and can take people into new worlds that they’ve never experienced. Give them the opportunity to explore as people they can never be.

As a games designer, it’s YOUR job to give the GM the tools to create the worlds that underpin and support their story. It’s your job to find the best rules set and character design and background to work with what they want, and it’s your job to excite and entice them into playing games.

So, with all of the games and all of the systems out there, why would you design one in the first place, and where do you start?Design is one of those things that can’t really be described – it’s something that you find yourself, but as a game design ‘rule set’, there are a couple of things that you should consider.

And over the next five weeks, or more, I’m going to talk about them. For now though, this post is to get you thinking about why you want to design a game, whether you can adapt an existing system, and if not, what you need to think about.

The why is a very personal thing. Game design comes down to filling a gap, either that you’ve got yourself, or one that you can see in the market. My games have always been designed around my books – because they’re important to me. I could have adapted other games out there, but I always worried that they wouldn’t help. For example, right now, I’m designing a game that requires multiple rolls for certain passes – and that these are always a core set and depending on the rolls, overall, will depend on the result. It’s complex, so it needs thoroughly tested, and I don’t think there’s anything quite like it out there. I’m designing this because it’s a specific thing that I couldn’t overcome in any other way. That’s my why. Yours may be more or less complicated.

If you can adapt a game, you might find that easier – it’s often how designers get into understanding the central ideas around designing games. But remember, sometimes its easier to set up your won stuff, so don’t always bodge systems.

Finally – if you’re designing a game, you need to consider a lot of things – from background to rule set to dice, and structure and system. All mostly interlock, so it’s important to start with the hardest one and bend the easier ones to match. Or at least, that’s how I do it.

Next week I’m going to talk system.

This week, Kai is testing out a three part dice roll system. It’s complicated.

Walking Dead Vol 15 TP - DELAYED!

2011-12-13T12:00:00.000Z

Sorry folks, no Walking Dead Vol 15 till next week. Here's the email I received today form Diamond UK.

Dear Retailer,

Due to a shipping problem Diamond UK did not receive stock of Walking Dead vol # 15 OCT110502 in time for release this week: Wednesday 14th December, this problem has now been resolved this title will now ship next week for release: Wednesday 21st December.

Diamond Comic Distributors.

New Beginnings - The Defenders #1

2011-12-08T12:00:00.004Z

1971 saw a few things in the word happening. Qatar and Sierra Leone gained their independence from Great Britain, Nasdaq opened and the United Kingdom and Ireland changed to decimalisation.

Amongst these events, in December, Marvel launched a new almost ad hoc team built of outsiders known as The Defenders.

Now 40 years on, Matt Fraction has revived the team once more.

The original line up was Dr Strange, Hulk, Namor and Silver Surfer (although the Surfer was added slightly after its inception) and has also had a variety of additional members to the squad and this new issues mirrors that. Fraction’s line up takes a lot from this but also adds a couple of twists such as Red She-Hulk (Betty Ross) - instead of Hulk - and Iron Fist.

The story opens in a promising way, picking up on a piece of the recent Fear Itself arc. Nul, the Breaker of Worlds had been released upon the world and is going to create havoc as the embodiment of rage. After an image of destruction it then randomly changes to an irrelevant page of a postcoital Stephen Strange. I’m sure this must have some impact later down the line but until then I remain wondering. For me, this is how the rest of the issue then went.

If it were not for reading the epilogues in Fear Itself #7 then I wouldn’t have really understood the arrival of the Hulk, except for another random occurrence. Even so the appearance also felt out of sorts as the depiction and demeanour of Hulk, in comparison to the recent new beginning; it's so different that given the dialogue alone you’d be hard to not think of a number of other heroes that it could have been.

The remainder of the issue is then dedicated mainly to the recruitment of the team by Strange alongside a snippet of storyline which tries to develop towards the end. After such a loose build up the final scenes and cliffhanger ending just didn’t have much impact.

Normally I’m a big fan of Matt Fraction and his writing but on this occasion I really think that the mark has been missed. I didn’t feel that engaged and at some points confused. Terry Dodson’s artwork can be quite heavy without too much detail which gives it a similar look in parts to cartoons you’d find on a kids' channel, contradictory to some sexually based scenes giving yet another conflicted feel to it.

On a positive note, the colour work by Rachel Dodson, is full of energy and lifts the frames keeping them feeling open.

I try to be open to most things, especially first issues, but I’m afraid that this hasn’t hit a chord with me. I have come to expect more from Fraction but I’m also saying this from a point of view that doesn’t really know these characters in depth. There could be more to this that I’m missing but I haven’t yet found the hook I need to keep me looking for more.

Matt Puddy gives this one Nul points.

The Watcher - The Thing (2011)

2011-12-07T12:00:00.004Z

If one film in recent years has fallen victim to the seeming scorn towards cinematic remakes and re-imaginings prior to its release, it is director Matthijs van Heijningen Jr.’s ‘The Thing’. Whilst ostensibly a prequel to John Carpenter’s 1982 cult classic of the same name, this new offering is also a remake of sorts, as well as drawing fresh inspiration from the source material, John W. Campbell’s 1938 Novella, ‘Who Goes There’.

Comparisons with Carpenter’s highly regarded film are inevitable, particularly the given the filmmakers’ choice to link with the earlier film, exploring the fate of the Norwegian research base glimpsed briefly in the 1982 story. But given that both films were predated by Chris Nyby’s superior slice of 1950s B-Movie action ‘The Thing From Another World’, Its worth keeping an open mind.

From the moment a familiar pulsing beat - evoking Ennio Morricone’s score for the 1982 film - kicks in over opening shots of the rugged Antarctic terrain, the filmmakers’ wish to homage and evoke Carpenter’s work is clear. The opening does establish some new ideas however, as a team of Norwegian researchers discover the ship which first brought the ‘Thing’ to Earth.

By and large, the film gets off to an impressive start. Leads Mary Elizabeth Winstead and Joel Edgerton are introduced efficiently and the pace picks up as an alien body is recovered and quickly awakened from its 100,000 year slumber. The film excels in the first act, as the creature stalks the hapless team through the cold confines of the base. The physical effects on show are impressively realised, and the brief glimpses of the creature in its early, more insect like form are suitably horrifying.

It is as the realisation of what they are facing dawns on the team and the plot properly kicks in that some of the early promise begins to fade. As the creature starts to evolve and its ability to mimic earthly life forms becomes clear, the plot quickly becomes a barely disguised retread of the first two films. While this inevitable, given the shared source material, several scenes so closely mimic Carpenter’s work that fanboy grumbles start to feel justified, with one particular scene where Winstead performs an identity test involving fillings drawing attention to this rather than winning plaudits for originality.

Of the cast, Winstead or Edgerton are capable leads, but neither brings a true sense of presence to the film, and in many ways they elicit less sympathy than the Norwegian team who rather rapidly, and shamefully, devolve into cannon fodder status. These problems are further compounded as Edgerton’s character is sidelined for most of the second act, and Winstead is forced to carry the film on her own.

The effects too, begin to lose some of their sparkle, as the ‘Thing’ surrenders to the inevitable and somewhat distracting lure of CGI, with none of the visceral horror of Carpenter’s original, exposing rather than correcting flaws in the overall design of the creature.

A final act face off in the ‘Thing’s’ ship provides some welcome divergence from earlier iterations of the story, and while nothing new is added to the mythos here, it does at least prove that the film is trying to bring something new to the table, if only half successfully. It is a shame however, that in trying to both dovetail with the beginning of the 1982 film and still subvert the audience’s expectations that ‘The Thing’ 2011 ends as more of a head-scratcher than a satisfying sci-fi horror in its own right.

Robert Barton-Ancliffe would still like to know how exactly one character survived...

The Watchers’ Council - Zombies

2011-12-03T10:00:00.004Z

When Halloween loomed into view like a shuffling ever-living nightmare - combined with the recent return of The Walking Dead to screens in the UK and US - attentions here turned to the idea of a gathering at Ben’s to watch a few zombie movies and devour a mountain of pizza.

With the monument to Italian dough and cheese established on the coffee table and assorted beverages and extra snacks on hand, Rob, Stef and Ben got cracking with the original Romero zombie film, in many ways the precursor to the whole living dead genre (though of course, not the first zombie movie – I think White Zombie (1932) has that distinction).

Night Of The Living Dead (1968)

BEN: Have you guys watched this recently?

STEF: No.

ROB: Ten years ago at Uni.

BEN: Controversial I know, but I remember this film being pretty bad.

ROB: I remember it being quite atmospheric. All the open spaces, a lot of it is outside which is a contradiction to the claustrophobic zombie movie cliché.

BEN: Well, I last watched it as a teenager with a low attention span!

STEF: The pace of it is what I noticed. We’re used to stuff happening all the time, but it builds the tension.

BEN: They haven’t got to the idea yet of doing gore in this film, it’s almost just a grey pallor to them.

ROB: Which doesn’t help when it’s black and white anyway!

STEF: Extra levels of grey!

And we’re off. Our initial protagonists Johnny and Barbra arrive at the graveyard after a lengthy series of shots of them driving in a car, like a really dull Sixties version of old Top Gear. We debate whether it’s just ponderous or if creates tension. As they pull up, Johnny turns off the radio just as the announcer is beginning to provide some exposition. A potentially vital clue is ignored to the chagrin of Rob and Stef, though Ben is amused by the seeming scorn towards exposition.

Then a tall pale stranger looms into view.

BEN: I'll say this for Romero, it definitely has a sense of immediacy. We've already got to the graveyard and there's our first zombie, less than ten minutes in. A lot of modern films would have started with some sort of unnecessary backstory for these two characters.

ROB: Shaun Of The Dead did that two with subtle appearances of the zombies before you realised.

The iconic line “They're coming to get you Barbra!” is uttered and all present display appreciation for the classic quote. The first zombie is noted for it's lack of gory make up and the fact that he doesn't try to bite them when he lurges at the siblings. Stef declares that he looks a bit rapey. It's the buggy eyes.

STEF: He could just be a desperate guy who's not been laid in a while.

He gets decidedly more animated as he ignores the fallen Johnny and chases after Barbra, he promptly looks herself in the car. We're all surprised when he picks up a rock and tries to smash his way in - the use of tools is something we associate with Day Of The Dead or Land Of The Dead, not this initial Romero offering.

As Barbra flees into the night, culminating in finding refuge in the house that is the primary location for the rest of the film, we begin to discuss the rules of zombie movies – whether it's an infection that is passed through blood or saliva

Inside the house, Barbra finds a dead body and we get our first gory image, which comes as quite a surprise. We all commend the film for having a black male protagonist in the Sixties. Barbra feels like a very unsympathetic character, Ben muses that this may be because she just ran away leaving her brother behind. A motley crew of people find shelter in the house.

ROB: I've never understood how people get caught by zombies in these early films because you just have to walk fast.

BEN: I think I remember reading an interview with Simon Pegg about how that was why they kinda like it. They're not a threat unless you lower your guard. A lot of the time – and in fact in this one – the problem with them is that the humans descend into infighting and then aren't careful.

STEF: It's like The Walking Dead. There's an aspect of that theme in that. It's about the humans really. They get distracted and argue amongst themselves and then they're screwed. There's danger amongst you.

BEN: The under siege mentality of the zombie genre is definitely laid down here.

Noticing that despite the progressive colour blind casting, the sexism of the Sixties remains as the woman goes to pieces and the man is doing all the work. We take a moment to muse how we would cope in a zombie apocalypse, like all good movie fans.

STEF: I'd be one of those people who see it as an excuse to beat people around the head. I'd go a bit nuts I think, I'd probably lose my mind in the mass craziness of it all and cave someone's head in with a hammer.

ROB: Let's not hang out with Stef if this ever happens.

BEN: It's fine, we'll just push him towards the zombies and away from the other people!

Zombie Flesh Eaters (or Zombi 2) (1979)

Eleven years later, we are now entering the era of the video nasty. Sure enough from the word there is a shadowed man shooting a hooded body in the head, boom! brain splatter!

Rob points out that at the time this tried to cash in on the popularity of Dawn of the Dead, they even marketed this as a sequel! Hence the original "Zombi 2" title as Dawn of the Dead was released under the title of "Zombi" in Italy.

An eerily empty looking boat enters New York harbour - the pre-credits are rolling and we try to work out the connection between the very gritty start and this sequence.

BEN: Again very much like Night of the Living Dead it has a very snappy start, just straight into it.

STEF: Well the initial 'shot' as it were.

BEN: Very interesting that this was Italian funded and directed but they set it in America and filled it with American actors.

ROB: Like a spaghetti western, in a way really.

BEN: Strange how they marketed this as a sequel to Dawn of the Dead - at the end of Dawn the world has gone to shit and yet here everything seems fine.

ROB: It's rather like the sequels you find at a market stall.

BEN: Akin to the recent popularity of 'mockbusters'.

As the music continues to mimic a bad episode of classic Who, we get our first zombie reveal. This feels much more like the zombies that we all know and love nowadays, with its skin and flesh decaying. As we witness the first jugular spurting attack, Ben points out how the effects are noticeably fake and Stef mentions the change from the previous monochrome bloodless zombies of Night of the Living Dead to this.

During a scene where our lead actress is on the phone to what appears to be a news editor we pick up on some awful dubbing which makes us ponder if the movie was shot all in Italian and then re-dubbed later but some post podcast investigation proves that in fact the movie was filmed with half the cast only speaking English and the other half only speaking Italian.

ROB: She looks like a young Jamie Lee Curtis.

BEN: Really? She doesn't look anything like a man to me!

As the daughter of the boat's owner boards the boat to investigate she bumps into a reporter who is doing the same, so they join forces to find her father.

STEF: The line "I have a morbid curiosity," does that mean he's into necrophilia?

BEN: In a zombie film?!?

As the main characters meet some tourists who are traveling the caribbean they ask them to take them to the island of Matul. (STEF: Sounds like my-tool!) Ben and Rob discuss how the audio mastery levels on this film seem to be a tad all over the place, some scenes being noticeably louder than others.

The characters, whom we seem to have lost to random conversations about the Avengers movie have now moved onto the island itself. Ben resorts to asking Siri if this movie will get any better but unfortunately gets no answer. Weirdly the next scene of the movie was a topless female scuba diving with some tiny, tiny pants and a swimming cap.

ROB: That bathing cap really spoils the look.

STEF: She's no longer hot.

ROB: It's like a bald man with boobs!

The movie captures our attention further when it introduces an actual live shark into the scene and a underwater zombie!

STEF: Zombie vs shark!

BEN: This guy is holding his breath for a very long time! He must have a buddy diver with a regulator. Woah! That guys properly wrestling a shark!

ROB: Quite impressively done this scene, I will give it that.

We are all sat in shock and awe at actually how good this scene is, also finding out that René Cardona Jr. the actor who was originally cast to play the Underwater Zombie got sick (or chickened out?) at the last minute and had to be replaced by Ramón Bravo, the shark's trainer.

The next scene is very notorious for its eye-impalement section, this made us all cringe but at the same time point out that it was very well cut and shot. Again showing that this movie isn't all bad and definitely fits its gory 'video nasty' reputation.

Ben leaves the room for a brief moment, and the movie enters a flashback explanation of the first scene and that the doctor on the island isn’t a bad guy he is just trying to cure his patients before resorting to shooting them in the head! It is also hinted at that the cause may be a Voodoo Witch Doctor’s curse on the island.

STEF: Definitely has a voodoo feel to the music in these scenes.

ROB: Yeah Ben will be sorry he missed this exposition!

STEF:He's trying to figure it out.

ROB: Science versus religion.

STEF: Isn't that always the way?!

The main group are sent to check on the Doctor's wife (who we know as the eyeball lady), we start to wonder what what has happened to Mr Fardon...

STEF: We seem to have lost Ben.

ROB: Hmm... yes.

STEF: Maybe gone for a number two?

ROB: Or bed?

STEF: Dead to the world, ha!

ROB: He'll come back as the undead Ben!

The pace is upped as our characters find the Doctors’ wife being delicately munched on (by a zombie of course). The conclusion is made that actually this film is not as cheap or b-movie schlocky as we were expecting.

We wonder why the doctor is only now deciding to pack his bags and leave, we would have ages ago! Our group of strangely unaware characters, crash their jeep on the way back from the doctors home and decide to take a lie down in what seems to be a Spanish Conquistador graveyard. And also what a perfect time to try it on with your female friend, as you’re lying on a grave. A hand rises . .

STEF: Looks the dead wants some loving too.

ROB: Yet another rapey zombie!

Ben walks back into the room just as the carnage begins.

ROB: She’s just sat there while it has taken that Conquistador zombie five minutes to get out of their grave.

STEF: Still just sat there?

BEN: Paralysed with fear?

ROB: Or stupidity?

As the woman frozen in fear gets her throat torn out we point out that they do like to use that effect. The remaining survivors manage to get back to the Doctor, he begins to examine an injured member of the group.

STEF: That looks painful, he's pretty much dead.

ROB: That's quite good acting there, while the Doctor is touching his ankle his foot is twitching. Someone went to RADA didn't they?!

All of a sudden the zombies break in and take a massive chunk out of the Doctor's face!

STEF: Well he's dead then!

ROB: Why didn't the doctor inform them about shooting them in the head?

STEF: Good point.

The climax of the movie takes place as the survivors are surrounded and barricaded in a wooden barn and are throwing molotov cocktails at the zombies and then shooting them. Further stupidity abounds as one of the group is attacked, but survives to me taken with them on the boat back to America? Still it doesn’t really matter as the parting credits shot is a traffic logged bridge with a legion of zombies shuffling across.

The Walking Dead S01E06 (2010)

As things begin we recap the season.

BEN: The whole episode with the lake in season one was by far my favourite.

STEF: I do feel this episode wasn't the strongest.

BEN: It is proving that a lot of people are just wanting to watch the graphic novels made into video, they cannot handle it veering away too much.

As we see a flashback to where Shane is struggling to decide what to do with the comatose Rick in all this madness, as armed Special Forces work their way through the building killing all they encounter, zombie or human alike.

BEN: It's always assumed in the graphic novel that he just abandons Rick, but now you can see that he at least tried - he just didn't know what to do.

ROB: He was worried he would kill Rick if he took him away from his life support.

STEF: Very intense.

BEN: This is already more compelling than anything we have watched tonight!

We then discuss wether Robert Kirkman will start writing the novels specifically so they can be transferred to screen due to the popularity of the TV series.

BEN: Kirkman was the first new Image partner to be taken on.

ROB: After the original guys from Marvel Comics?

BEN: Yeah, the first who was not an artist too. And the first thing he did in the position? He hired himself an editor.

ROB: Basically hired someone to give him some self discipline.

STEF: Good idea, keep yourself focused.

The series - even though it takes things in different directions - still manages to capture the characters and the actors who play them seem to fit the bill perfectly.

BEN: I think if Kirkman had known the comics were going to be a success he would have kept Shane around for longer so that it could add further tension to the group dynamic. Which he has obviously now done here in the TV series.

A lot of people struggle with the fact the TV series is different to the comics, but most of the time they have to be due to the difference in medium. If it is done well and keeps true to the spirit like this has then it’s not noticeable.

Our characters have reached the CDC facility and met its only survivor.

BEN: I love this beginning shower scene where you are observing them in a safe environment, Rick and Lori happy to be re-united, Shane clearly still bitter and Andrea completely devastated by the loss of her sister.

A moment is taken to try and ponder who actually within the original group of survivors is left? Spoilers - it's not many.

Dr Edwin Jenner (the only surviving scientist in the CDC) reveals to the group his research into the zombies and what happens to a human brain during the transformation. Ben points out that Kirkman shied away from explaining any details about the zombies in the comics but the average TV audience would become frustrated without it and thus they've got that out of the way early on.

JENNER: The brain stem is re-activated just enough to get that person up and moving but nothing like before. The frontal lobe - the neocortex it doesn't come back, you’re just a shell driven by mindless instinct.

We sit in silence as the very evocative visuals of how the brain's synapses shut down and then spark back into life as the person changes.

STEF: I think having the visual effect helps you grasp onto the idea of what is actually happening.

BEN: Something very powerful about that.

STEF: And linking it to actual diseases.

BEN: It definitely grounds it, like a lighting rod for reality.

ROB: A very modern fear, disease and infection. Whereas Night of the Living Dead, it was radiation – a typical for of that time.

Due to not being anywhere closer to a cure and what with the facilities power rapidly running out Jenner has had enough, he has no energy to try and survive any longer. So he locks the group in to die with him.

He mentions the stupidity of how our world runs on fossil fuels, which is very topical right now due to how we are such a tech-centric generation. If we did find ourselves in this situation (running out of power that is, not the zombies) most people wouldn't know how to cope.

A rather ‘Chekov’s gun’ moment occurs as a grenade which has not been seen since the first episode helps save the day. All while Dale is trying to convince Andrea to not stay with Jenner and kill herself - at the last moment they both leave the building and join the other survivors.

STEF: Even though we have not been completely paying attention, I have forgotten how much I have enjoyed this series as a whole and I cannot wait for more!

No one is safe, do not get attached, everyone can die.

Stefan, Rob and Ben went to see The Thing last night. Rob's review should be up on Tuesday.

The Mane Event - Fantastic Four #600

2011-12-02T12:00:00.006Z

In November 1961 Stan Lee and Jack Kirby created their first superhero team, the Fantastic Four. This month we are celebrating the 50th anniversary with a bumper 100 page issue #600. Bumper is also not a word to be used lightly, especially as there are only six or seven pages that are set aside for adverts and letters. The rest is filled with Jonathan Hickman’s new stories and a variety of artwork by different artists. Unlike other landmark Marvel issues, this isn't filled with reprint material which makes a nice change.

It is also worth mentioning now that this is an issue that both follows on from and creates a divergence in the storyline of the relatively new Future Foundation comics. It’s fair to say that FF has been building to something big with the numerous Reeds, the return of Blackbolt and the Inhumans, The Other Side of Zero or an impending Kree invasion (all of which would merit a storyline of their own) and so it’s understandable that not all of these are addressed deeply within the issue.

However, there is one central point which things revolve around and it’s a good one. The return of the Human Torch.

For those who were not aware, Johnny “died” in the Negative Zone just before the Future Foundation title began, meaning it was an emotional and fraught beginning.

Now if I’m honest I don’t think that anyone was prepared to believe that Johnny was gone forever and his return creates the backbone of the issue, beginning with a trademark quip.

What follows next is a fantastic little retrospective of what happened after the door was closed. It’s vibrant, colourful and engaging. Most of all, it’s all new! It also has enough depth in it that I was left with questions and an unconvinced outlook that everything will just be fine or normal as a result. Given that this could have gone anywhere and potentially created a spin off miniseries on its own, Hickman has done a great job in succinctly covering it all in such a small space of time.

Now with this being the bulk of the issue it would be easy to get overwhelmed by the main story. But Hickman just keeps going. Following on from this major bombshell you still have three more smaller stories. Each of them follows a slightly different aspect and even expands on who Galactus is.

Most intriguingly is the final almost childlike story which looks at Reed's rather gifted son and a mystery character who has taken to guiding him.

When all of the elements come together you are left with a strange mix of satisfaction, from the return, and questions which leads you to want to know more. Knowing that FF is going to continue as a title in its own right with Doom and the kids, whilst Fantastic Four is renewed and recreated leaves you with a dilemma. Is there room for both titles on my pull list? And if not which do I choose?

Personally I am also wondering if they’ll keep the new updated uniforms and what is really going on with Johnny so depending on the calibre of FF stories I could be swayed away and back to the original line up. But whichever the reader chooses there is definitely a huge wealth of stories and action that can, and no doubt will, be called upon.

In a title that isn’t one of my main or favourites it is very easy to say that there are some very exciting and interesting times ahead. Even if you’re not an avid fan I would encourage you to read this issue and it will change your mind too.

Very well worth a read!

Matt Puddy suspects Johnny Storm is in for a rough ride.

The Reservation Service - an important change to the Terms & Conditions

2011-12-01T12:00:00.004Z

It is with regret I'm afraid I have to amend the Terms & Conditions for the Proud Lion Reservation Service. I have always done my best to ensure that that Reservation Service customers never miss an issue and in the rare occasions you might, I make every effort to find one from one of my other suppliers. In return I have asked that customers keep their folders clear, picking up comics in a timely manner and completely clearing their folder out at least once every three months. I've also asked that you give me fair notice before cancelling any titles from your orders, or indeed cancelling your Reservation Folder altogether.

Most of my customers have been really good with this, but some are consistently overdue and a significant few have seriously let me down over the past few years. Sadly, this autumn has been the worst for this. I've had a number of large Reservation Folders go unclaimed, with stories ranging from “I thought you had closed down,” to “I've moved to Cornwall for work.” Seriously, at what point whilst moving does it not occur to a person to pop into their local comic shop and cancel their order? Another customer went travelling for a few months and asked me to keep his folder going for longer than usual. After nine months and numerous attempts to contact him, I was forced to conclude that he wasn't coming back after all.

The problem with this is that US comic books are supplied to me by Diamond on a Firm Sale basis, not Sale Or Return (SOR). I'm stuck with them if a customer fails to collect what they ordered and it means I risk making a loss. Proud Lion will have been trading for four years in March 2012 – in a very, very difficult economic climate. For this to continue though, I have to put an end to the culture of Free Credit that exists within the comic shop community and their pull lists - in my store at least.

You can download new Terms & Conditions here, but I'll quickly summarise the key points.

Most significantly, you will all be required to pay a £10 deposit by January 31st, or your Reservation Folder will be terminated. This is not negotiable, but it will be refunded to you should you choose to cancel your Reservation Folder at a later date – provided you adhere to the additional Terms & Conditions.

The length of time which I will hold onto items in your folder will now reduce to two calendar months for comics and graphic novels (four weeks for magazines). Should you need any longer for holiday, etc. you will need to speak to me in advance so we can make appropriate arrangements.

Finally, should you want to alter your Reservation Folder by removing any titles, I will need a full calendar month's notice and you will liable for any issues of those titles that I cannot cancel with my supplier(s). Should you wish to terminate your Reservation Folder altogether I will also need a full calendar month's notice and you will be required to buy everything that is in your folder at the end of that notice period. Otherwise you will forfeit your deposit.

This is being done to protect myself and all of my loyal customers. No one wants to see Proud Lion close because a few bad apples ruined it for the rest of us.

Please direct any feedback to shop@proudlion.co.uk.

Many thanks.

The Watcher - looking back at 2011

2011-11-30T12:00:00.000Z

Rounding off this year is a tricky proposition. How to wax lyrical about the year’s best genre films after the buzz has died down and said films have already been assimilated or dismissed from the pop culture juggernaught. Instead this week, here are five films of 2011 that might have passed you by, but with the holidays looming - and some extra time on your hands - are worthy of your consideration.

The year got off to a cracking start with the release of masked crime fighter action comedy ‘The Green Hornet’, from director Michel Gondry and starring Seth Rogen. Despite intense scepticism surrounding the rather leftfield choice of director, more commonly known for thoughtful but visually inventive films such as ‘Be Kind Rewind’ (2008) and ‘Eternal Sunshine of the Spotless Mind’ (2004), Gondry’s willingness to experiment with the usual superhero tropes delivered a film that provided both thrilling action and enough neat twists to keep the viewer hooked. Seth Rogen too, while seemingly more at home in slacker comedies such as ‘Pineapple Express’ (2008), nevertheless brought a bemused fish out of water quality which contrasted nicely with the largely uber confident and muscle bound leading men of the summer superhero movies. Villan Christoph Waltz, sidekick Jay Chou, Cameron Diaz and fan favourite Edward J. Olmos bring wit and class to this fun alternative to the mainstream superhero genre.

Drive Angry is a film so wrong that it turns out thrillingly right in almost all respects. Released early this year, Drive Angry is a chase/revenge movie in the ‘Grindhouse’ tradition with a supernatural twist. The film stars Nicholas Cage as hard drinking, hard driving loner who has escaped from hell to save his granddaughter from the clutches of an evil religious cult. Teamed up with relative newcomer Amber Heard, Cage gives a straight up, adrenaline fuelled performance that recalls the heady days of ‘Con Air’ and ‘Face/Off’ (1997), almost redeeming a decade of risible offerings in between. The film's villain, the cunningly titled ‘Accountant’ provides a suave counterpoint to Cage’s down and dirty hero, and is played by possibly the greatest supporting actor you never remember, William Fitchner. Director Patrick Lussier deserves some kudos for fun use of 3D for the cinema release, but even without this extra dimension, drive angry is a reliably raucous fun.

With the ‘found footage’ style of filmmaking proving to be surprisingly tenacious, Apollo 18 went largely unnoticed in a year in which the genre's most celebrated offering was the third in the increasingly ponderous supernatural horror series 'Paranormal Activity'. The aptly titled Apollo 18 take the premise that there was a final manned moon mission, which for reasons of national security and horrendous failure, went unreported. The format is a natural fit for the American space program for several reasons. Not only were all such missions filmed with handheld cameras as a matter of course, but the claustrophobic conditions and familiar yet alien environment on the moon, provide the ideal setting for the films mix of suspense, conspiracy theories and body horror. When the hype and negative buzz surrounding the found footage genre has died down, expect Apollo 18 to remain as a highly regarded sci-fi thriller in its own right.

Riding high on the critical, if not commercial success of 2009's original sci-fi thriller 'Moon', director Duncan Jones found Hollywood calling with the offbeat yet slick 'Source Code'. Starring Jake Gyllenhall, Source Code is a science fiction thriller with a time travel twist, as Gyllenhall's war vet turned Government agent is sent back to the scene of a terrorist bombing time and again in a desperate search for clues. So far, so Groundhog Day. While Gyllenhall gradually earns the trust of both his superiors and the audience after a slightly grating first twenty minutes or so, Jones avoids repetition by injecting a great deal of thoughtful character moments to offset the brutal thrills. It is pleasing to see Jones developing a distinct directorial style, characterised just as much by emotional resonance as the obvious intelligence he brings to his work. Source Code requires concentration, but is ultimately the years most rewarding watch.

Finally, the Watcher would like to recommend a film whose status as a piece of genre filmmaking is questionable, but which will certainly appeal to fans of this type of filmmaking. This film is Hanna, essentially a brutal spy/chase thriller from director Joe Wright (Atonement, Pride and Prejudice), with a cunning streak of fairytale weirdness. Raised by her father in an isolated cabin in the woods, 16 year old Hanna (Saoirse Ronan), has been raised as the perfect assassin following a traumatic event that has forced them into hiding. Forced out into the open, the pair must chase across europe to rendezvous in an abandoned Brothers Grimm themed amusement park (a real location). The action and thrills are as brutal and convincing as anything Bond or Bourne has to offer, and the supporting cast are chillingly portrayed as twisted fairytale archetypes by Cate Blanchet as the wicked stepmother and Eric Bana as the father/saviour. Taking in concepts such as eugenics, conspiracy theories and stealing a dash on this/next years hot topic of fairytale themes, Hanna is quite possibly this years finest thriller.

So, with only one month left of 2011, it will soon be time to look forward to next year's big releases, with a quick pit stop to consider the upcoming 'The Thing' remake.

Robert Barton-Ancliffe is wishing his December away.

Proud Lion webcomic #4 - Frank Mono, P.I.

2011-11-27T10:00:00.005Z

first

The Lion's Share - Nelson (for Shelter)

2011-11-26T10:00:00.000Z

It's getting cold outside isn't it? It's the time of year where we all worry about our own heating bills, then spare a thought for elderly relatives who might be struggling in cold houses with only a meagre pension to get by on.

Then, some kind souls spare a further thought for the homeless, who are trying to find a way to stay warm in the face of the elements themselves. The charity Shelter does great work in trying to help such unfortunate people. Christmas is especially hard for people on the streets.

This winter, Blank Slate Books has published Nelson, a 260 page full colour graphic novel featuring 54 UK comic creators who have joined forces to create a single story, documenting the life of one character, year by year from 1968 to present day. All the publisher profits from the first 4000 copies of Nelson will go to Shelter and I'm matching this by donating 100% of Proud Lion's gross profits from the sale of each copy of this graphic novel as well.

This is a unique and wonderful book - even if it wasn't for a worthwhile cause I'd urge you to add a copy to your collection. But since it is for Shelter, please, please pick one up today.

Below is an eight page preview of Nelson, put together by the publisher. Alternatively you can download the preview ashcan as a pdf here.

Ben Fardon would like to remind friends that he is only buying Christmas presents for family this year. Instead of buying for friends, he will be making a significant personal donation to Shelter. If you'd like to buy him something, why not buy a copy of Nelson (from anywhere!) and add your support. Many thanks.

Gift Vouchers!

2011-11-25T12:00:00.001Z

Just a quick reminder that gift vouchers are available this Christmas, in denominations of £10. Stuck for a gift idea for a comic fan, or wondering how to explain to your family what you want from the store? Gift vouchers are the solution!

The Mane Event - Fear Itself

2011-11-24T12:00:00.009Z

Through 2011 Marvel has launched its cross over series Fear Itself. It has been a seven part story which has also influenced over 20 different titles. Some have been influential, such as Invincible Iron Man, some specifically designed for the event such as The Worthy and others which have been tenuous links to say the least.

It has spawned three epilogue issues (#7.1, #7.2, #7.3) which set up new storylines within the MU and also acted as a vehicle for the reinvention of a new Ghost Rider. Furthermore there are two new miniseries - The Fearless, a twelve part following Sin and Valkyrie in the aftermath and the slow burning Battle Scars.

The architect for the whole story was Matt Fraction, one of Marvel’s big writers at the moment, which is why there is also such a synergy with Iron Man too. That said there is a large emphasis on the relationship and interactions of Thor and Captain America meaning the original Avengers are very prominent. The story is well written and full of big moments but that has also meant that there is a potential for big troughs for the readers to fall into as well. You also have to consider that this is all built on the one shot, by Ed Brubaker, The Book of the Skull which set a very specific tone. This was not an arc that was going to be soft and fluffy with a sadistic and focused Sin leading the way strongly and even more so when Skaadi was forging forward. With such a high pace the question you begin to ask is, “Is this sustainable?”

Fear Itself is the product of a prophecy. One that Odin has been trying to avoid for the sake of Thor. That Odin’s brother will return and in the process of defeating him Thor will die. Unfortunately for earth this means that as the “host” for the event that things are not looking good. Especially when the fuel for Sin is in endless supply from all of the inhabitants, FEAR.

The arrival of the Serpent in the mortal world also ushers in the return of Thor and his brethren to Asgard leaving earth’s hero’s alone in the world to fight an adversary they have no realistic chance against. To compound matters further the second issue is all about the introduction of the Worthy. Seven of earths heroes and villains imbued with the power of mystical hammers that land on the planet at the Serpent’s command. You could make an observation towards the adage that absolute power corrupts absolutely as it matters little if you are considered evil (Attuma/Grey Gargoyle/Absorbing Man/Titania), good (Ben Grimm) or ambiguous (the rehabilitating Juggernaut/reclusive Hulk) because all of them have little or no control over the actions they then take. All of them become harbingers of a fate that will potentially end the world.

Each of the issues has at least one big moment but not all saved for cliffhangers, such as the departure of the Asgardians or the blitzkrieg invasion of America. Some are more meaningful. The best example of this would be issue #4’s cry for help from Tony Stark. For those who are not familiar with Iron Man and his history, Stark has had a huge battle in his past with alcoholism which was captured in the Demon in a Bottle storyline. Following this he has been completely teetotal. But, in this moment of absolute crisis, whilst calling out for Odin, Stark makes a huge sacrifice. When a show and dignity and integrity hasn’t been strong enough to bring down the All Father, Tony gives his only thing of value he has left. His sobriety.

You also have the iconic moments, or the breaking of icons, where we are given death and chaos or the destruction of symbols of hope. These events only go to further feed the beast, making the Serpent even stronger, creating a feeling of even greater futility and struggle.

The final book of Fear Itself is one of strength and hope. If you read Fraction’s Invincible Iron Man as well you will have seen his journey and return to bring the Avengers blessed weapons which can finally stand up to the Worthy, leaving Thor to face his destiny and Odin to see if prophecy and fate can be avoided.

For me, this is where the whole story starts to falter, although some may argue that after the first two issues things had started to slow. After taking two issues to establish such a good base the next four issues open the story out into relevant miniseries. These continued until the final issue where wrapping it all up in one final comic simply seems too fast. The issue is hefty but that is because it also includes three epilogues which only one of them bears huge relevance to the previous arc.

The three epilogues revolves around the original Avengers providing unique perspectives in the aftermath. What I found surprisingly refreshing is that they are not “happily-ever-after” stories. Cap struggles with some of the more harsh realities of modern warfare and the balancing of what is needed and what is necessary. The Thor title is more about rebirth from the ashes of war with the arrival of Thanatos. Finally Iron Man faces up to Odin to receive perspective in the after event and at the same time provided me with my favourite moment and phrase of the entire series. In an attempt to make him understand his lack of significance, Odin shows Stark a glimpse behind the curtain. All Stark can ask is why him? To which Odin coldly replies “Who ever would believe you?” Simple and very satisfying.

Considering that this series will be one of the cornerstones of future events in the Marvel Universe (for instance the new Incredible Hulk title is established at the end of book seven) it is a good read. It’s not necessarily essential but will answer questions readers may have about Thor or Bucky for example. It is hard to completely evaluate it as it started as a strong story which turned a little too much towards marketing other names and future titles. We wouldn’t have The Fearless were it not for this story line and is it a story that can hold twelve issues when the original Fear Itself couldn’t do it for seven?

I can imagine that it’s hard to write a title which revolves around no one specifically but also is in depth enough to hold a reader's concentration. On this occasion I feel that it started really well and petered off towards the end but in doing so set up some very new and interesting titles (and revivals). Fear Itself would be something worth collecting and reading all together as the wait between issues won’t have helped. I enjoyed the premise and some of the cross overs for my preferred heroes but the delivery wasn’t always there. Whereas Fraction may have stumbled, Immonen provided strong and consistent artwork throughout, giving the reader a great visual representation. I’m glad that I have the main story and also that I had Iron Man to read alongside as it filled in the gaps that I found pertinent but be aware not all of the crossovers are as effective!

Matt Puddy is gearing up for the return of the Phoenix in 2012!

The Watcher - In Time

2011-11-23T12:00:00.001Z

In Time is a dystopian science fiction thriller from director Andrew Niccol and starring Justin Timberlake, Amanda Seyfried and Cillian Murphy. The basic concept is that overpopulation has forced the powers that be to genetically alter the human race to live up to the age of 25, thereafter earning further time, which has now become the new currency. The result is that the population has divided between those who live day to day, eking out a living through manual labour, with the ever present threat of their clock running out, and those who have accumulated almost limitless reserves through banking or crime and are now effectively immortal.

The concept provides fertile ground for social commentary and interesting set pieces. From the outset, the threat of living against the clock is clear as factory worker Will Sallas (Timberlake) and his mother arrange to meet the next day after work, as their personal clocks slowly tick away. As we watch Sallas struggle to make it through the day, coping with inflation, low wages and passing the abandoned bodies of those unlucky souls who’s time has expired, while his mother misses the bus, forcing her to race against time to their meeting and inevitably meeting with tragedy.

The opening scenes neatly establish the mechanics of the central concept, but they are also where the film’s emotional content runs out of steam, as Sallas stumbles upon a caches of a hundred years and the film switches to a more breathless combination of James Bond and Crank as he sets out to restore some form of justice to society, snagging Seyfried’s reluctant socialite Sylvia along the way. There are a couple of interesting uses of the time concept, with one particular highlight being a high stakes poker game, where Sallis literally bets his life, going all in against the film’s defacto villain, heartless banker Phillipe Weis.

In time is an entertaining film, and the use of time as an analogue for money as a mean to manipulate and surpress society’s underclass in well handled, with particular resonance in today’s economic problems. It is however not without its problems. The idea that everyone stops ageing at 25 and thus the population appears perpetually youthful is potentially interesting, as character’s real ages are revealed, but this never has the dramatic value that it should, and is in most cases played for cheap laughs. There are also one or two interesting casting choices which rather stretch credibility such as Cillian Murphy’s under written cop/timekeeper Raymond Leon, whos appearance clashes noticeably with the largely young cast, who despite their best efforts, never quite match his innate gravitas.

The script too, as well as being rather thin on the ground in terms of characterisation, rather overplays the puns on the word time. Although a society in which time has become the currency would naturally develop a matching vocabulary, this never comes across as anything other than a slightly clumsy gimmick, however admirably the cast play it straight.

Overall, In Time is a heartfelt thriller, displaying a spark of intelligence. Kudos to writer/director Andrew Niccols for forging a work of intellince and heart of what appears to be a shoestring budget, but it appears sadly that this film could have used a little more time to iron out the kinks.

Robert Barton-Ancliffe is lost in Cillian Murphy's eyes. Aren't we all...

Temporary Revised Opening Times - w/c 21/11/11

2011-11-19T16:00:00.001Z

Just a quick note about next week folks - due to a family commitment I have to revise our opening times for a couple of days next week, as follows:

TUESDAY 22ND NOVEMBER: 10:30am - 5:00pm

WEDNESDAY 23RD NOVEMBER: 10:30am - 6:30pm

THURSDAY 24TH NOVEMBER: 12:00pm - 5:30pm

FRIDAY 25TH NOVEMBER: 10:00am - 5:30pm (business as usual)

SATURDAY 26TH NOVEMBER: 10:00am - 5:00pm (business as usual)

It has also come to my attention that some of you have noticed that the store is occasionally open later than advertised. Please remember that I am the sole member of staff and as such I am on occasion held up at the bank, etc. on my way to work. Despite my best efforts, such things do happen and I ask that you show some understanding on these occasions. It is frustrating for me as well.

Please also remember that I get no guaranteed annual leave, so I do on occasion become quite run down. Again, understanding on these occasions would be greatly appreciated.

Christmas Opening Times 2011

2011-11-19T10:00:00.003Z

Please note that over Christmas the new release day for comics moves to Thursdays due to the Bank Holidays. It will return to Wednesdays after the festivities.

Proud Lion is also open on the last Monday before Christmas, giving you an extra shopping day!

New Beginnings - Marvel Point One

2011-11-12T10:00:00.000Z

There is plenty going on in Marvel comics at the moment and their world is about to change. Some of it is in reaction to stories and events, other parts simply because things haven’t been working, but regardless of the reason as a reader something different is on the way.

This is the whole feeling behind Brubaker’s framing piece “Behold the Watcher”, the story loosely holding the comic together. It’s a retro-looking story revolving around a lesser known fact that the Watchers go offline for a small window of time every three years leaving a brief opportunity for an information heist. Which is exactly what our (semi) anonymous agents of the unseen have done. By delving into the different windows of reality and seeing through their eyes we, the readers, are given a glimpse of what is to come.

The issue gives six stories by a variety of writers and artists across a variety of characters, which is given away a little by the cover but not in its entirety, it still has a few surprises inside as well. Each is a snippet as well which paves the way, quite literally in the case of Nova, who is a herald for one of the most Earth shattering revivals to come. it's no secret for those who read the last issue of fear Itself or have seen the teasers online - the Phoenix is coming...

We also have Doctor Strange and Kaine (Peter Parker clone and incumbent Scarlet Spider) - giving the reader a taste of their current lives, each with their own views and problems. The former is the quite widely advertised new beginning for The Defenders, which is also promoted later in the comic, whereas the latter is a whole new twist with a really interesting identity struggle and internal conflict being prominent, offering a potential redemption common theme emerging.

Interestingly, there is a showcase for a new title (I think as I couldn’t find anything else on it anywhere!) called Yin and Yang. I think I’m almost genetically predisposed to like it as it’s one of my favourite artists working on it, but I wonder if the story will be strong enough. Unlike all of the other tasters you’re given there isn’t really much depth given to this brother and sister combo, so it’s asking a lot of the reader. I also feel like it is vaguely emulating DC’s Firestorm or Hawk and Dove. Still nice and clean but time will tell.

Brian Michael Bendis is taking on the Avengers and also bringing in a big hitter to face off against them. It’s a lovely dark - almost desperate - view we’re given as well and I really liked what was providing. Building on the glimpses of the Age Of Ultron in the first Avengers storyarc and Avengers #12.1, this has great potential to be as huge as the return of the Phoenix.

Finally - and I have taken this out of order for my own selfish reasons - there is an Age of Apocalypse title. I’ve always liked these and this is one of my favourite villains in the Marvel Universe. There is a huge twist to it too. There's a new band of renegades looking to oppose the plans that Apocalypse has strived for - some well known human antagonists from the X-Men stories. This is a really nice version of a future which I am looking forward to.

Overall the Point One is a good little one-shot; the titles are exciting and I’m certainly looking forward to seeing them. It's worth taking a look at and will tease readers, especially as it shows that right now Marvel are happy to build on existing stories, launch new ideas and embrace the future without resorting to a copycat reboot. 2012 looks set to be full of promise.

Matt Puddy questions the marketing of this Point One, but suspects it's an issue we'll all be revisting with fresh eyes next year.

The Watcher - Rare Exports

2011-11-09T12:00:00.000Z

Rare Exports is a Finnish fantasy film directed by Jalmari Helander which is shortly to join the likes of Bad Santa and Elf on your list of alternative Christmas films. Originally released in 2010, this week sees the general release of Helander’s take on the Santa Claus myth on DVD and Blu-Ray, just in time to generate some all important buzz to capture the Christmas market before the big chill sets in and mentioning the C word once again becomes a cardinal sin for months on end.

Set in an isolated community on the Finnish border with Russia, where the annual reindeer cull is threatened by the strange goings on in a nearby mountain, Rare Exports is a film that keeps you guessing. Although from the outset, with the discovery of the ‘largest burial mound in history’ and two children’s speculation about the existence of the real man behind the Santa Claus myth, it seems reasonably clear where the action is heading, the film avoids the obvious. The setup, with its isolated setting, teasing images of the monstrous demon-like Santa Claus of folklore, seems to point towards the traditional gore-fest of films such as Dead Snow and The Thing, but what Helander delivers is a fantasy action film that sits more comfortably alongside the likes of J.J. Abrams’s summer blockbuster Super 8 and the children’s adventure films of the 80s from which Abrams drew his inspiration.

The central concept of a malevolent being, buried in the ice for and age, uncovered by unwitting scientists is not exactly a new one, neither is the idea that figure of fairytale and myth are as innocent as the childhood stories that bear their names, but the hints that the once benevolent childhood figure of Santa Claus was in fact a tormentor of children, trapped at the heart of a mountain by a fearful community give Rare Exports an edge of your seat thrill, as we wait for the full horror to reveal itself.

Some ominously large footprints in the snow, followed by a field of brutally slaughtered reindeer and the mysterious theft of the town’s radiators all keep the suspense coming, but it is the central relationship between father and son Rauno and Pietari, played so convincingly by Jorma and Onni Tommila that really provides the film with ample substance and a nice emotional context that reminds us exactly why Christmas is so important in the first place: family.

As the action progresses, so too does the plot, which goes from suspenseful chiller to a fight for survival, as the dangerous old man is discovered and begins to wreak havoc on our unwitting heroes, who - like the viewer - have an even bigger surprise in store, just as everything seems to be figured out nicely.

I highly recommend, Rare Exports. This is an example of a foreign film that will appeal to the Western market thanks to a familiar theme and setup, and a very impressive overall look despite its modest budget. It’s a shame the film carries a 15 rating, as this could perhaps appeal to a slightly wider audience so easily enthralled by the aforementioned Super 8, but that shouldn’t stop you tracking it down, and for once, being in on the ground floor of an inevitable cult hit.

Robert Barton-Ancliffe is determined to avoid being on the naughty list this year.

New Beginnings - Wolverine & The X-Men #1/Uncanny X-Men #1

2011-11-03T12:00:00.008Z

There has been a great divide throughout the world of X-Men. Lines have been drawn and hearts have been followed. Led by two very strong characters - Cyclops and Wolverine - two distinct teams have formed around, each around a different ethos. (For more info see Schism or the recent Regenesis one-shot)

Over the past fortnight, Marvel have released two of the re-launched titles - going head to head with Wolverine’s School and Cyclops’ vision. Initially after reading Regenesis I felt I was firmly on the side of Wolverine, but has this held after reading them both?

Wolverine & The X-Men has been written by Jason Aaron which was released last week. The story revolves around a very tense and nervous Wolverine who is under quite an assault which is completely out of his comfort zone. For once it’s not an alien force or the horsemen of Apocalypse but it is in fact the new school inspectors. This is the first day and normally it should have been the children who are apprehensive but instead it’s Logan. The issue is also an opener and reaffirms the main characters who are going to be found and also how the new school is structured. There are many familiar faces in unfamiliar roles but also someone who is incredibly comfortable, Beast.

What was nice about the writing was that it was a simple and straight forward piece to read. It was aimed well at an open market for everyone to read. That said there isn’t really a huge amount of depth in the issue either. As an issue one it didn’t really hit me with anything and could have well been a one-shot or even a point one issue.

The artwork is a strange affair. Chris Bachalo has a fantastic way with backgrounds and expansive imagery. There is a particular spread about five pages in which shows the school off in all of its external variety. It’s full of detail and imagination but then conversely it changes when you have a person in frame. The lines become heavy and bodyparts are distorted somewhat, even worse is that over distance lots of detail is lost in the individuals (sounds like Ramos. BF). You do get the general feeling of it all but when I wasn’t impressed by the story, the art didn’t push any boundaries either for me.

Uncanny X-Men takes a different tack altogether. Whereas Aaron wrote to Wolverine’s weaknesses Keiron Gillen has written to Cyclops’ strength. My small knowledge of X-Men has always had Scott as decisive and focused but most of all a tactician and master strategist. His grasps of the bigger picture leads to how he is structuring his entire team for the best possible outcome. It’s a very well planned out premise for the comic which then leaps straight into action.

Now I knew that Mister Sinister would come into the story at some point as he appears on the very first page in the intro. I’ve only recently seen him in the Age of Apocalypse so what appeared to be a revival of a character made me smile and even more importantly is that he sets about doing what he does best. Creates havoc and instigates Scott’s Extinction Team to jump to action.

This is another example of the depth of thought that has gone into the team. It has a bit scary name but there is a reason behind it as well. Scott has realised the position of the team in the scheme of things and understands that as much as the team has to protect humankind it also has to be feared by them. If ever there was an offspring of Xavier and Magneto’s thinking, here it is.

The writing that wraps it all up is incredibly considered and structured very well. You also get the feeling that this then flows into the story itself as well. Gillen has done a good job and also not been shy about getting stuck into the action as well. He’s portioned time out for establishment but then strode headlong into an new opening arc which will span a few issues at least.

The artwork by Carlos Pacheco was also a good choice. A cloudy and indistinct style would have simply watered down the work that Gillen had done. It’s fine and detailed and also has some new takes and slight changes to characters as well. It kept my eye for the whole comic, even down to the peculiar “wonderland” at the end where you can’t help looking to see what else there is.

Considering that before this review I was firmly in the Wolverine camp I have to say I am very pleasantly surprised. Wolverine and the X-Men feels like a good intro title and is an easy read so will be good for new readers. Uncanny X-Men is a little more hard hitting and is more adult in a way. Scott, combined with his control and clarity and also his team (I’m liking the expansion of Collossus’ conflict with the Juggernaut persona from Fear Itself for example) have actually made me cross the line.

Matt Puddy is gearing up for a Marvel's Point One - essential reading out next week!

The Watcher - John Carpenter's The Thing

2011-11-02T12:00:00.004Z

As discussed last week, December sees the release of the long anticipated prequel to John Carpenter’s 1982 Sci-fi Horror ‘The Thing’. Although Carpenter’s film was ostensibly a remake of Chris Nyby’s ‘The Thing From Another World’ (1951) (reviewed here last week), critics and fans alike today widely acknowledge Carpenter’s film as the definitive take on the source material, John W. Campbell’s 1938 novella ‘Who Goes There?’

The extent of fans’ passion for Carpenter’s film belies the fact that unlike its 1951 forbear, ‘The Thing’ was a relative box office failure on its original release, turning off audiences who were dazzled by Stephen Spielberg’s ‘E.T. The Extraterrestrial’ and stalling the director’s still burgeoning career. Although Carpenter himself cites ‘E.T.’ as a factor, it is also true that the R rated ‘The Thing’, while innovative, also displayed a level of violence and gore that shocked even horror audiences in the early 1980s.

On settling down to view ‘The Thing’ today, it still unsettles and it is possible to see why it has since become such a cult hit. From the opening scenes, in which a flying saucer crashes to earth and the title appears on the screen in flames, the roots in 1950’s sci-fi b-movies become clear, with a clear homage to ‘The Thing From Another World’ - a childhood favourite of the director’s. The appearance of the name Ennio Morricone, most famous as composer for spaghetti western ‘The Good, The Bad and The Ugly’ also harks back to the director’s early love of westerns and it becomes increasingly apparent that this project is something of a labour of love.

As the titles fade and we cut to an almost silent scene, as a helicopter desperately chases a husky through the Antarctic. There is an immediate sense of jeopardy, with an unsettling edge, as the silence is punctuated only by gunshots, the low thrum of the chopper and the pulsing score. As the chase unwittingly leads to an American scientific research base it quickly becomes clear that the film’s protagonists are a far cry from the largely clean cut military types who populated the 1951 film. The idea of a disparate collection of working men - similar to 1979’s ‘Alien’ - immediately introduces conflict, and as the horror that has emerged from the ice is quickly revealed the struggle becomes all the more desperate because of it.

Although populated by a fine group of character actors, it is Kurt Russell, as helicopter pilot ‘Mac’ MacReady who provides the films focus, and whilst proving to be a magnetic screen presence, he manages to stay just the wrong side of all out heroic, remaining almost an anti-hero as the situation unravels and the situation quickly goes from bad to worse. It is testament to Russell’s skill perhaps that he holds his own against the full horror of Carpenter’s gruesomely realised monster, which is a tour de force of practical effects work, as it rips its way from Husky to man, ever changing, keeping both the crew and audience guessing.

For all this, two standout moments truly mark Carpenter out as a great film maker, the first being the scene in which MacReady administers a ‘blood test’ to the captive crew, which is a remarkable example of nerve shredding tension as we wait for the thing to be revealed as Russell slowly touches a hot wire to the blood samples of his colleagues. The final scene too, is one of the all time great cliff hangers, as the survivors sit, with little or no chance of rescue, still unsure whether or not they are finally victorious.

To say any more would be preaching to the converted and robbing newcomers of the many delights of this masterpiece of sci-fi horror. With the forthcoming prequel only a month away, now is the time to revisit this sci-fi horror classic, with the lights and the heating off, all the better to appreciate the chills.

One final thought - given what we learn from this film about the ill-fated Norwegian research base, it will be very interesting to see how the makers of the upcoming prequel manages to dovetail and homage with Carpenter’s masterpiece.

Robert Barton-Ancliffe is dismayed by the negative reviews for the prequel - and he's not alone!

Proud Lion webcomic #3 - Oblivious

2011-10-30T10:00:00.004Z

first

New Beginnings Extra - Spaceman #1

2011-10-29T10:00:00.000+01:00

I’ve never really read any comics on the Vertigo label. Not because I don’t like them or think they’re bad, but because I’ve not really taken the time to get to know them. I have enjoyed some of the film adaptations such as Constantine and The Losers but I am aware that the Hollywood influence will have distorted them a little to make them more media friendly. So getting to take a look at the new nine part title Spaceman was a very interesting experience.

Brian Azzarello and Eduardo Risso have worked together to produce the title. Both are well respected and I’m sure most readers may have come across their work knowingly or otherwise. Readers of Vertigo titles will possibly know of their run on 100 Bullets in 2001 where they won the Eisner Award for best serialised story. They recently produced the excellent Flashpoint miniseries, Batman: Knight Of Vengeance.

Spaceman is set at some point in the future with an almost bleak outlook. Man has reached even further out into the stars while at the same time not being able to prevent the world declining. The decline is in every respect as well, economically, ecologically and socially. There is a distinct Blade Runner feel to it, but without the overcrowding or technological impact, but with the exception of genetically engineered beings such as Orson.

The story follows Orson and his new life back on Earth after the Mars mission. Life is hard, especially for someone with a simian appearance and also a lower intellect than others around him. But life continues all the same. Some of the language can be a little confusing at first but it’s consistent meaning you can establish a base and get into it and become more involved in the story. The issue is very much about establishing the world around Orson. Meanwhile there is also a back story running about a kidnapping. Whilst this does become an integral part of the story, in the build up I really liked the poke at celebrity society and reality TV that it makes. You can’t help but feel that very quickly Orson is going to be thrust into the limelight with interesting consequences.

The feel of the comic is further helped by the artwork and colouring. The linework is incredibly fine and there is a lot of detail but without cluttering up the frames either. It makes it a very light and easy read. Each page is also washed with colour too which enhances the feeling of them. Combined together I think Risso’s work really enhances the story.

To mark the new beginning Vertigo have made this title just $1.00 for the first issue. It’s a good way to entice readers as I would also be tempted simply by this fact alone if I was looking for something new and for £1.00 (in Proud lion) you’re not really going wrong at all.

I can see this will get the interest of some readers too, but it needs to develop more and give more of a direction in the story as it is very open and could lead to anything.

Matt Puddy managed to avoid all references to Babylon Zoo...

New Beginnings - Incredible Hulk #1

2011-10-27T12:00:00.000+01:00

Harkanon, Haarg, Holku, The Green Scar, The World Breaker and The Eye of Rage. All names used to describe the alter ego and darker side of Bruce Banner, known as the Hulk. There have been many incarnations of him as well with the most recent being penned by Greg Pak. Now Jason Aaron, one of Marvel’s Architects, takes over the reins.

Over the course of time Hulk has become much more self aware and here we have Aaron taking a further step in that direction. The new start was advertised as "Ripped asunder!" and that is exactly what you are given from the very first page. Hulk and Banner now have their own personal space and inhabit their own separate bodies. This is not the first time this has been done, however it is the first that the Hulk has really decided to make a new life for himself.

Aaron’s writing is a mixed bag for me. Opening with narration is not unexpected for a first issue as this will pave the way for new readers. This fades through the issue as the story eventually takes over and you are given a “man” who appears to have found a semblance of peace and happiness interwoven with a great deal of wariness and almost apprehension. There is overwhelming foreboding sense that the peace Hulk had been searching won’t last. So close and yet still out of his reach.

If anything though it is a little formulaic. You can see where things are going well before they happen, but whether this is bad writing or simply the continuation or a well embedded theme would be for the individual to choose from. I fall more on the side of building on a common theme as I have liked the writing behind the issue. The comparison between this new release and also Planet Hulk is quite clear too. For new readers this is not an issue, likewise I feel for fans of Planet Hulk but anyone who has found the intellectual Hulk out of sorts for them, it won’t sit comfortably.

Banner’s portrayal is also something that has made me think. My favourite comment of all time came from Pak’s run where the question was posed that what if Hulk wasn’t the real monster but it was actually Banner. This has been amplified hugely, almost distorting the character culminating in the Marvel take on Dr Moreaux. Roles have certainly been reversed.

The issue has been pencilled by Marc Silvestri who is a favourite of mine for his work on Top Cow’s The Darkness amongst other titles. His style is totally evident as his gives huge amounts of detail but also manages to keep it almost rough cut. Hulk is rippling and imposing but instead of menacing has a clear look of thought and contemplation, but why the beard and straggly hair? The cover image (also by Silvestri) is more traditional and yet inside you still have the gamma-irradiated, wild man of Borneo look. A little confusing but I have a feeling it’s only temporary.

As a first issue I have not been overwhelmed by what I’ve seen but I am a fan so I haven’t disliked it either. This is a title that is definitely on my pull list but I am waiting for changes to come. Marc Silvestri is an uncertainty for me as he has a number of other projects. Frustratingly I can only see this new beginning and the hunt for Banner being short lived. New arcs will need to be designed, possibly still around two main protagonists. Even so, it’s a good easy beginning for those new to Hulk and a reasonable one for those who aren’t. We just have to see how it goes.

This week Matt has been trying hard to refrain from using phrases like “Matt SMASH!” and “Puny Humans!”

The Watcher - The Thing From Another World

2011-10-26T12:00:00.006+01:00

John W. Campbell’s 1938 Novella, ‘Who Goes There’ will shortly see the release of its third cinematic adaptation in the form of Mattijs van Heijningen Jr.’s ‘The Thing’ - the long delayed prequel to the 1982 John Carpenter film. Although the release date is tantalisingly close, the production has been the subject of intense speculation due to delays, re-shoots and the perhaps inevitable comparisons to Carpenter’s ‘original’.

Despite the degree of scepticism surrounding the project, my own excitement is starting to build for the December release date, thanks in part to positive buzz from a friend who caught an extensive preview in New York last year (That was me! BF). At the same time the wait has also led me to explore the origins and source material behind the new project and its immediate forbear, discovering along the way some classic genre fare I might otherwise have overlooked.

Firstly, for all the debate over the various film versions, the original story is worth seeking out as a classic in its own right. In many ways typical of short fiction from sci-fi’s Golden Age, ‘Who Goes There’ tells the story of a group of scientists in the Antarctic who discover a crashed spaceship and unwittingly unleash its insidious, shape-shifting occupant. Part mystery, part thriller, the piece has a colourfully drawn cast of characters, with an interesting edge thanks to small hints of H.P. Lovecraft in its D.N.A. With its sparse setting and small cast of characters, it is a deceptively simple tale, but ripe for cinematic adaptation. Although Campbell would become more influential as editor of ‘Astounding Science Fiction’, ‘Who Goes There’ is rightly hailed as a classic example of the genre.

Released the same year as hugely influential genre films ‘The Day The Earth Stood Still’ and ‘When Worlds Collide’, Howard Hawk’s ‘The Thing from Another World’ (Chris Nyby. 1951) is often overlooked. A lot of this has to do with John Carpenter’s hugely popular 1982 remake, but it’s interesting to note that Hawk’s film was the highest grossing genre film of that year. Watching the original, it becomes easy to see why the film was a hit with audiences, even given its rather impressive competition.

One of the first things that struck me about the film is the atmosphere. Through rather subtle dialogue and visuals, the first twenty minutes or so is a master class in tension building, as the military are alerted to a plane crash and head to the Arctic research station to investigate. These opening scenes rely very little on music or more obvious emotional cues, letting the isolated setting and suggestion do the hard work.

Once the mysterious pilot is brought back to camp, frozen in a block of ice, the action unfolds rather slowly at first, but there is plenty of room for character moments and establishing the film’s key players. One thing that struck me was that although the film establishes several characters that would soon become genre clichés - including the gruff military type, the reckless journalist and the misguided scientist - these characters, through sympathetic dialogue and easy chemistry, avoid seeming hokey.

Not once does the Robert Cornthwaite’s scientist Dr. Carrington come across as a cipher, even with his overriding desire to preserve the "Thing’s" life at all costs. It is also refreshing to see the military and journalist characters show each other a degree of respect that would be almost unheard of today. As the sole female of note, Margaret Sheridan, as Dr. Carrington’s secretary, has little to do by way of action but it is gratifying to see that the role of women in cinema was subtly changing. Sheridan’s character, despite being largely consigned to the sidelines, does at least hold her own against Kenneth Tobey’s Captain Hendry, and her presence is more than simply a source of screams.

As for the "Thing" itself, there is a slightly disappointing move away from Campbell’s vision of a shapeshifting creature (so gruesomely realised in Carpenter’s film) that absorbs and imitates its prey in favour of a slightly lumbering post-Boris Karloff creation. Thankfully, the director takes the approach that less is more, and the brief snatches of the monster - first introduced simply through character’s crazed description and some brilliantly atmospheric use of harp and theramin in Dimitri Tiomkin’s sparing score - provide some genuine scares. Although the nature of the creature as a highly evolved vegetable form of life provides a good source of humour at the film’s midpoint, it nevertheless is a convincing threat, and as its need to reproduce using blood is slowly realised, its threat becomes all the more powerful. Kudos to the filmmakers for making what is essentially a giant vampire carrot genuinely scary.

Overall, this is definitely a film reflective of it’s time, but its nonetheless quite clearly a hugely influential piece of film making. Cited by John Carpenter as a direct inspiration for his own film, I was struck too by the parallels in both character and plot that would come to define genre films as a whole, in particular the Alien series. Although un-credited, many sources cite Hawk as de-facto director and screen writer on the project, but whether or not this is a masterwork from a hugely versatile and influential director, it stands on its own as one of the very cornerstones of science fiction film making.

One to watch, whatever your thoughts on the remake. Plus, if John Carpenter rated it, its got to be worth a look.

Robert Barton-Ancliffe will turn his attention to Carpenter's offering next week.

Big Game Hunting - Actual Play: Mansions Of Madness

2011-10-25T10:00:00.005+01:00

We’ve been looking for an Arkham Horror-like game to take the place of the Cthulhu horror classic for a while. Although we really enjoy Arkham Horror, it takes forever to set up and play, plus if there’s a lot of people it’s difficult to keep everyone engaged in it sometimes. We’ve been wanting to find a game with that ‘feel’, but not that level of detail or laborious setup. So, when we heard about Mansions Of Madness, I thought it would be ideal.

The first thing I noticed was how neat the game actually is. It’s got a very nice setup system – which means that we could design our own scenarios. Double-sided map tiles (for indoor and outdoor areas) slot together to make up the play area – and there are five scenarios, each with variations already provided. The mechanics within the game for the ‘GM’ (or bad guy) is quite cool – there’s a set of variables within the scenario, but they can be in different areas and used in a variety of ways, depending on the multiple choice answers the GM gives to set up the game. Most maps had two or three Objective cards, depending on those choices, and some of them have additional ‘end result’ conditions linked to your selections during the setup. So, though there are only five scenarios, it’s conceivable that you could play the same scenario, with different events each time.

From the player side, it’s a difficult game. It’s not an easy game to win fights either – they’ve kept a lot of the mechanics from the original Arkham Horror, including dodging and horror values assigned to monsters. The twist now is that they’ve got much more hit points and a way to track that.

Our first play through saw two characters dead within half an hour, and resurrected as zombies, but we won, only just. The second play through saw the GM (me) win, but only because I insisted on setting the whole area on fire.

The models are gorgeous – new sculpts of the old cast that you might have encountered in Arkham Horror, if you’ve played, and lots of good looking monster miniatures, as well as one or two new ones.

I think the thing that had me most excited - and still holds my attention even after a dozen plays of the game or so (we’ve since bought the Season of the Witch expansion, which brings up the count on the game scenarios to six) - are the puzzles. There are several puzzles in the game, where you have to complete basic tasks – rewiring, matching up symbols on tumblers, or reorganising pictures to match diagrams. On the surface, it doesn’t sound difficult, but it’s really refreshing to find a game that actually challenges people to do something other than roll dice. Fighting is still dice rolling in this game, and attributes are pretty much fixed once you've chosen cards, so the ‘puzzle’ mechanic makes this a unique and utterly captivating game that I return to often when I’m looking for a challenge.

We’ve still not instituted the "60 seconds to solve" rule (which they suggest to make the puzzles even more challenging) but to be honest, I don’t think we need to. It’s a lovely game, and well worth taking a look at, especially if you’re a horror or Arkham horror fan. Find a GM with a wicked streak and I promise you, you’ll have a really enjoyable night.

D Kai Wilson-Viola is back where it all began, getting ready for the exciting next step...

The Lion's Share - NaNoWriMo

2011-10-23T10:00:00.002+01:00

November is a lot of things to different people. Bonfire night. The end of Autumn. The beginning of Winter. St Andrew's Day. Remembrance Day. Pancreatic Cancer Awareness Month. Alzheimer's Disease Awareness Month. All important to many.

But back in July 1999, a small group of people in San Francisco began an annual project that has grown to over 200,000 participants last year. National Novel Writing Month sees writers undertaking the challenge of writing a 50,000 word manuscript (a novel of approximately 175 pages) in just 30 days.

One of the biggest draws - other than to chance to write with abandon - is that NaNoWriMo has developed a massive community vibe of support; writers spurring one another on to their determined goal. Between online forums and local meets, the chance to meet like-minded people is quite compelling for potential novelists!

I recently took the time to speak to the two Municipal Liaisons for the local Gloucester & Cheltenham area, Rae Gould and our very own D Kai Wilson-Viola.

Ben Fardon: What does NaNoWriMo mean to you? What's it about and why did you become a Municipal Liaison for the Gloucester and Cheltenham area?

Rae Gould: Caffeine, chocolate, and extension cords! NaNo is when I send my inner editor on holiday with an overflowing box of chocolate chip cookies, leaving me free to write whatever I want for an entire month. It's about getting the words down on paper (or screen, or parchment, or whatever you fancy) as quickly as you can, and having fun doing it.

D. Kai Wilson-Viola: I get more writing done because of the Nano than anything else I’ve ever done. So professionally, it’s ‘freedom’. Personally, it’s basically my whole life in some ways. I wouldn’t have met my incredible GM other half without the Nanowrimo, I don’t think. and without meeting him, I wouldn’t have moved here, and wouldn’t be writing for Proud Lion. In all seriousness, it’s freedom on so many levels for me, even though I’m responsible for the region.

RG: Well I discovered a fondness for encouraging other people to keep writing, and that being a cheerleader for others to reach 50,000 words in 30 days actually pushed me to do the same.

DKW-V: I was an ML for the whole of Scotland before we moved here, so that’s why I’m ML here now. The reason I became an ML in the first place was because I wanted to actually make sure I carried through. This is my first year with an official co-ML, so it’s going to be a lot of fun – Rae’s been my constant helper since I met her, she’s wonderful!

BF: How did you first get involved with NaNo? What's the first thing you ever wrote for NaNo?

DKW-V: I started in 2003. Joined up October 1st 2003, as soon as signups opened, and then volunteered about a week later to be ML. I found out I’d gotten ML about three hours before our first meet, a position I shared with another guy. First thing I wrote for Nanowrimo was Glass Block.

RG: I was introduced (okay, link-bombed) to NaNo after learning I was incapable of finishing more than one chapter of a novel. I needed something to break my cycle of continuously rewriting that first chapter, and NaNo was definitely a solution to that. Getting the words out in time to meet the goal is impossible if you keep changing what's already written! The first NaNo novel I wrote was a reimagining of werewolves and various creatures with the ability to change their forms, based in an ancient fantasy world.

BF: Can anyone take part or is it best suited to people who are already writing prose fiction?

DKW-V: Officially? It’s for unstarted books. You’re supposed to start writing the draft on November 1st, and it’s supposed to be the first thing that you write that isn’t plotting or research. Unofficially? I think it’s important that people go with what works for them. Squish the pesky editor and kick ass.

RG: Anyone can join, but I think to make it to the end, you have to want to write, at least a little bit. Already having some writing experience definitely helps, but it's not a requirement. Some of our fellow NaNo-ists had never written anything before joining up, managed to win their first year, and keep coming back.

BF: What is the most rewarding thing for you about taking part in NaNo?

DKW-V: Helping others slaughter their inner editor, or at least gag him or her for a little while.

RG: The people! Having regular meet-ups with other people taking part has led to crazy conversations, hysterical jokes, and more plot bunnies than any of us can possibly keep up with. All my favourite moments of NaNo come from our write-ins. (Granted, many of those moments were also fuelled by far too much caffeine and sugar, but being surrounded by writers who are just as crazy as we are makes it that much better.)

DKW-V: I love helping other people, I love the meets, and I adore the friends I’ve made via the Nanowrimo. It basically accounts for most of the friendships I’ve picked up in one way or another.

BF: Do you have a favourite NaNo creation thus far?

RG: My favourite project has to be my novel from last year's NaNo. I dropped a modern, rebellious teenager into ancient Egypt, and set her up to cross paths with the Pharaoh. The resulting chaos was far more fun to write than I expect it to be, and the main character got herself into situations I never would have predicted if I hadn't given myself free reign to write whatever I wanted.

DKW-V: My favourite NaNo has to be Glass Block, which - after nine NaNos and four re-drafts during November (as secondary books, because I write more than one!) - is out on November 12th. It’s about a policeman, and is quite a satirical and bloody look at reality TV in some ways. It’s also the start of a massive 22+ book series all set in Elliot’s universe, with Glass Block being the first.

BF: Finally, without giving too much away - what have you got planned for this year's NaNo?

DKW-V: *wince* Up to 75 connected short stories, in sets of 10, or 35 novellas. It’ll shift from short story to novella when it’s over 10k words. My overall goal is 375,000 words this year, because it’s my ninth year. Next year, if I’m still going at it, is 10 books, all from Elliot’s universe (hopefully the final ten), and a massive party.

RG: The plan is to write a story based around the Lost Colony of Roanoke, and giving it a supernatural twist. But it's worth remembering that what is planned for my NaNo projects rarely works out the way I expect it to, so I wouldn't be surprised if aliens dropped in during chapter nine.

NaNoWriMo 2011 runs throughout November. For more information head to www.nanowrimo.org or check out the Gloucester & Cheltenham region's Facebook page for details of local meet ups.

Ben Fardon is going to give NaNo a miss this year, but is planning on trying ScriptFrenzy...

New Beginnings - IDW horror special

2011-10-20T12:00:00.007+01:00

In a change to publishers and genres I have been given two titles on the IDW roster, Monocyte and 30 Days of Night.

To say I’m outside of my normal comfort zone is an understatement as we are venturing away from the realms of superheroes or Japanese supernatural archetypes and sticking closer to the human world.

Having read them both as well they are certainly very different - both in themselves but to what I’m used to as well.

Something to note immediately about them both is the feel of them. One thing I can certainly say is that both of them are beautifully produced and feel lovely under finger. From the glossy slick cover of 30 Days Of Night to the matte and almost embossed feeling of Monocyte, both are a treat to more than just your eyes.

To me, 30 Days of Night was a film I had seen a few years ago featuring Josh Hartnett, a sleepy Alaskan town and a lot of vampires. I wasn’t really aware of its origins but since then I have come to know it was originally a comic. Creator Steve Niles returns to write this new beginning, picking up years after the event.

The opening has a quiet, considered feel to it as a resident of Barrow tries to send a warning message to an as yet unknown character. It’s low impact, short but done in such a way that it feels like it needs to be read in a whisper, a fantastic piece of writing. Niles then moves scene to a new location where the hierarchy of vampires are awaiting a meeting and also showing that racism, in its most basic form, transcends not only race and colour but species too. This proves to be a good mechanism to start the questions of why to take form in the readers mind as you are left wondering where the infighting has arisen and then, as any good story teller should, Niles rewards you with the answers.

For something that has been fabulously written, the area I have trouble with is the look. I know this is an established look, but I simply am not a fan. Aside from the obvious horror element, there are parts that look as if they belong in the cartoon section of the Sunday papers. If Niles had written a paperback I’m sure I would enjoy it, Sam Keith’s work only detracts from this for me.

Moving to something very different is Monocyte. As a creation of Menton3 and Kasra Ghanbari, this is something I have not come across before at all and so for me it is unique.

Taking a whole new approach Monocyte would be easiest described as possibly Highlander meets The Matrix as it is an eternal battle of immortals ruling over humans who are used for their sustenance. The game changer being a new player in the war between the Olignostics and the Antedeluvians.

You can see straight from the word go that this has been thought about in great depth as there are detailed and great depth in the backstories and establishment of the two different civilisations. There are also a number of very clever plays on words too with the best example being the aptness of the title of the comic just for starters.

But, and here is the flaw, too much thought has gone into this. The language is incredibly heavy and overpowering in some areas, bordering on Shakespearean almost which makes it a highly intellectual read just to understand it. I’m not advocating the dumbing down of comics to a common denomination so all can read but the language usage makes it niche as I can see many would be put off by it. It can certainly take a second read to get it all in.

What the comic does stride forward in is the artwork. Simply beautiful. It is dark and foreboding with a very minimal palette being taken from. It adds greatly to the gothic feel, with the background artwork being so full with symbols and signs (like in Priest) and certainly has a very alien feel to it similar in some frames to work by H.R. Geiger. This really adds to the feel of the comic. You are essentially being given an alien world which lies behind the human one in the story and it’s supported fully by the visual effects.

Monocyte certainly views easier than it reads.

Both comics are strong in different areas. If I could have had the artwork from Monocyte with Niles’ writing then I think this would have been a fantastic creation akin to the original 30 Days Of Night. Of the two I am probably more inclined to follow the four part Monocyte as well simply because it is so new and without such obvious cliché and overuse (previously) of a plot type and storyline.

For connoisseurs of work I would strongly suggest picking up Monocyte as something new to test the palate with, especially as I know that, even though I don’t like the look of it, 30 Days of Night is going to be a hit with the fans of the original.

Matt Puddy no am like big words in comics. Especially when he's poorly.

The Watcher - Real Steel

2011-10-19T12:00:00.009+01:00

From director Shawn Levy (Night at the Museum, Date Night), ‘Real Steel’ is the a near future story of a down-on-his-luck ex-boxer (Hugh Jackman), failing to make it in the competitive world of robot boxing until estranged son Max (Dakota Goyo) comes back into his life and re-ignites his dreams of glory.

Considering the potential sci-fi mayhem that the concept of giant robots slugging it out could unleash on the audience, it’s a little disappointing to report that ‘Real Steel’ follows the tried and tested sports movie template, playing like a blow by blow re-run of the original ’Rocky’ (1979), albeit with a little less heart.

As the father and son team slowly and rather inevitably bond as they guide their hopelessly outdated sparring robot ‘Atom’ to the very pinnacle of the Real Steel championships, the robot action gets rather short shrift. Not only is the fight choreography a little uninspired - with the souped up fights displaying a less interesting range of moves than your average Audley Harrison bout - but the robot effects themselves never quite convey a sense of weight or power to these complex machines. At this realisation, I found my mind drawn back to the superb ABC Robot in 1995’s ‘Judge Dredd’, which, considering it predates this film by 15 years, was nevertheless about ten times as convincing.

All this may be a little unfair to a film that is clearly aimed at a family audience. Director Shawn Levy, as with his previous films, keeps a lightness of touch about the proceedings and on a positive note it is refreshing to see a vision of the future that isn’t predictably dark. Jackman’s performance, while not terrible, is a little uninspired, with only his weapons grade charisma eliciting sympathy for a character that would otherwise fall into the category of complete git. Dakota Goya, as Jackman’s son Max does his best with a sparse script that doesn’t give his obvious range a chance to shine, but he nevertheless gives us someone to root for, and it is interesting to see that father son duo form two halves of the perfect fighter. An interesting side note for comic book fans is Goya’s previous appearance in last Summer’s ‘Thor’ as the title character’s younger self in the opening scenes.

I’d like to say that their robotic charge, Atom gives a nuanced performance that leaves his co-stars in the shade, but despite some hints in the script that this robot displays a spark of true sentience, this part of the plot is never developed. Consequently there is an emotional vacuum that makes the fights all the less compelling. He does at least display more in terms of character development than Lost’s Evangeline Lily, whose appearance as the token love interest is a waste considering the range of storylines her character progressed through in the famous television show.

Overall, despite my grumbles, ‘Real Steel’ was an entertaining evening, the kind of film I might have enjoyed watching with my dad and brother growing up in the eighties. It’s a shame that time and tastes have moved on and that ultimately audiences, young and old, expect something a little more sophisticated than this rather predictable beat-em-up. One to rent, and only then if ‘I, Robot’ and ‘A.I.’ are all booked out.

Sorry Hugh, but Real Steel is not the Real Deal. Deliver with ‘The Wolverine’ and all is forgiven.

Robert Barton-Ancliffe continues to enjoy the adventures of Calculon in All My Circuits.

Big Game Hunting - Actual Play: Blood Bowl Team Manager

2011-10-18T12:00:00.001+01:00

Bit of a confession to make before I start this – I really wasn’t expecting much from this game – I’m from a generation of gamers that remembers the polystyrene pitch for Blood Bowl (yes, I’ve been playing a very long time!) and it’s not that I dislike card games, because that’s really not the case at all, but I do find some of them very limiting and tedious.

Not so with Blood Bowl! A game for 2-4 players, we decided to dive in at the deep end and play with four of us, so got two friends over one evening and began to play.

Blood Bowl takes the form of a basic card game, with several piles of cards to draw from, depending on the matches you play in, win or lose. You get something out of every match, and that ‘something’ is split into manager upgrades, team upgrades, new players and fans. There’s also definitively a strategy to how to play, but I’ll get to that in a bit.

Your basic hand consists of a basic team. No Star Players, and no manager/Team Upgrades. You separate out your Star Players, which then go into a pool shared between the OWA (Elves/humans/Dwarves) and the CWA (Chaos/Orc/Ratmen). As you play through, each match has a set ‘reward’ – one for playing in it, and a prize for the winner. It gets to be quite tactical, because sometimes there are three rewards per card – one for each team on each side (which can vary), and a central ‘win’ prize. There are also cards which modify the style of play, and where you can also play in cups.

Overall, it’s a lovely game that takes a little bit of getting used to, but once you do, it can be very fast paced, and hilariously funny. The ‘Cheat’ mechanic is also very nice. You draw from a pool of tokens which you play on any characters that have the ‘Cheat’ icon (because, of course, cheating is mandatory – you can choose to Pass, or Sprint (draw one and then discard one) or Tackle, but you can’t choose to Cheat). You can either end up with fans, extra ‘star’ points (which helps determine the match winner), or get sent off if you’re caught. Much like the game, cheating is often rewarded, but is also sometimes spotted.

The game is quite a riot – and as for tactics? I’d suggest maxing out your team upgrades and match them, if you can, with manager upgrades. Then in the last tournament go all out fans if you can, because the team and manager upgrades *add* fans at the end of the game. Star Players rock, and they mean you can put one of your basic linesmen back in the box (so your deck always remains the same size), but they are also useful on their own for taking the fall, so it’s all a question of balance.

D Kai Wilson-Viola isn't finishing pounding the other players into submission!

The Cat's Whiskers - The problem with exclusivity

2011-10-15T10:00:00.001+01:00

Amazon launched their new e-readers this week. Gorgeous pieces of kit, the Fire is a serious contender to take on the iPad. And that’s when it got a bit messy in the writing world.

It started innocuously enough – there were going to be special editions of certain things bundled and only available on the Fire, in eReader format. Time Warner (DC Comics and all of the imprints), decided to offer 100 of its flagship titles exclusively on the Fire. In a reaction attempt to somehow play hardball with Amazon, Barnes and Noble are now refusing to stock those graphic novels in print. And then Books-A-Million threw a hissy fit.

I know it is not entirely obvious from the outside, but aside from writing content and games, and working as a copywriter/coder, I’m also an indie author. I don’t like the idea of being limited to my choice of book stores, simply because of where I choose to publish, and that’s where this looks like it’s all heading. Perhaps it won’t and it’ll all blow over before then, but it could come to a choice of exclusivity on the Kindle or the Nook. At this point the Nook is going to die a horrible death. The Kindle is the eReader of choice for most people, and the uptake has been incredible.

But, here’s the thing. In other areas of the industry, including gaming, having exclusive deals isn’t only a good thing for customers, it’s a good thing for companies – we don’t read about games companies boycotting one another because one got a better pre-order offer than the other. It’s competition, which is good for business. And so what if the Fire got some comics? While eReaders are huge, they’re not saturated yet. By a long shot.

So, what does it look like, from here? From the perspective of a geek with more toys than sense (iPad, Kindle, iPhone), in the UK, it barely affects me. I get my comics in person from my friendly local comic book store, so that’s not a problem, but what I don’t think B&N realised is they’re not causing a problem for Amazon doing this. In fact, they’re driving the geek contingent, already excited by the prospect of a genuine competitor to the iPad, further into the arms of their enemy.

From a writer’s perspective, this looks horrible – but not entirely unexpected. The problem I guess is going to come if Amazon decides to retaliate, because while B&N and Amazon are probably not going to feel this, it might affect the indies. And given media is all about the diversity that comes from all of the different areas, from large houses to the sole artist that hand produces content, anything that makes people take sides is a bad plan.

D Kai Wilson-Viola is fresh from a much-needed relaxing evening at the spa.

New Beginnings - X-Men Regenesis

2011-10-13T12:00:00.005+01:00

At the end of Schism a desperate situation forced an even more desperate solution which went against everything the X-Men and Charles Xavier ever stood for. With both Cyclops and Wolverine not able to make it to the location a young mutant named Idie was guided through steps that saved hundreds but also killed.

This was the wedge that became driven between Cyclops and Wolverine which has now given birth to new teams sharing opposing ideals.

The line has been drawn in the sand and it is now time for mutants, and essentially some readers, to choose a side and stand for what they believe in. Keiron Gillen brings us the one-shot Regenesis.

As first impressions go I have to admit I was wary. The cover artwork is by Chris Bachalo and Tim Townsend and not my cup of tea at all. (And yet you like the horrors perpetrated upon comic art by Ramos?! BF) It’s loose and cartoony and filled with limbs that are disproportionate with some characters. (Exactly my problem with the 'artwork' Ramos vomits onto our comics! Seriously, I am hating Spider-Island right now! Anyway, I digress, though I should definitely butt in more often! BF) But also on the cover is something I also like the look of, the names Gillen and Tan.

In essence this one-shot is completely about who goes where. With some of the well known team members being approached by Scott or Logan, there is more of an accompanying story. With others it is more of a flash frame and a small quip. As a result it does mean that if you were a new reader then you have to simply accept what is put in front of you with little understanding of why they are saying what they have said.

Most interestingly I found was that for a comic that is trying to show a monumental shift in the X-Men world fairly, you also found a lot of focus was through Wolverine’s eyes. Not that this was a bad thing, but it does almost give a biased feeling towards it all. It does give an open question at the end of “Whose side are you on?” to try and redress the balance.

The most exciting thing for me has to be Billy Tan’s work though. It would have been very easy to have drawn a straight forward strip that simply followed the team creation process.

Instead Tan has, from the very first page, given a raw and primal almost ceremonial imagery to support Gillen’s writing. It makes a big enough impact that you almost don’t notice the complete contradiction that it makes by saying, “This is not a fight,” whilst showing a brutal brawl running through the whole comic too. Moving from this almost dream like state to a crisp and clean strip held in the present punctuates the story very well. There are a few changes here and there made to people such as Colossus which don’t look quite right but this is because it’s a new take and something different. Ultimately it got me interested in what I was reading and seeing which is a very positive thing.

As a one-shot I think that this is well aimed at fans of the X-Men as well as anyone who has followed Schism to its natural conclusion. For anyone looking to pick it up it’s a good grounding as well but worth going back to read Schism first. For me, as someone who doesn’t really follow the X-men, it was still a good read and I’m interested in seeing how the new titles pan out. Some more than others. So who or how do you decide? Read and find out.

Matt Puddy is firmly part of Team Wolverine after reading this

The Watcher - Don’t Be Afraid Of The Dark

2011-10-12T12:00:00.002+01:00

Much like the scuttling, vicious threat that lies at the heart of this fantasy/horror from debut director Troy Nixey, ‘Don’t Be Afraid Of The Dark’ is a curious beast. Co-written and produced by Guillermo del Toro (Pan’s Labyrinth, Hellboy), this film, with its gothic setting, slightly twisted production design and folklore inspired creatures might be the perfect introduction to the Mexican maestro for younger viewers, were it not for the occasional flashes of violent horror that punctuate an otherwise creepy story of alienation and fear.

The set up isn’t startlingly original, as young Sally (Bailee Madison) is sent to live with her estranged father (Guy Pearce) and his new girlfriend (Katie Holmes) in the country mansion they are renovating. As countless such stories should attest, the combination of draughty old country piles and family troubles rarely result in lazy days of sunshine and lollipops for all and inevitably, the terrifying secrets of the mansion soon start to surface, in a largely well realised mash-up of styles evoking everything from ‘The Exorcist’ to ‘The Canterville Ghost’ with glimmers of the writer’s own ‘Pan’s Labyrinth’.

This diverse range of influences also means however that the film is in danger of suffering an identity crisis. On the surface, its child-centric plot that clashes sharply with moments of graphic horror firmly excludes young audiences while offering little that might hold the interest of adults. Thankfully, it is rescued from mediocrity by the presence of its leads. While Guy Pearce is a little underused, he nevertheless turns in a solid performance that avoids cliché, and Katie Holmes too is a surprisingly engaging lead, firmly banishing all memories of rather bland performances in ‘Dawson’s Creek’ and ‘Batman Begins’. Bailee Madison is the film’s real star however, portraying young Sally’s depression and fear so convincingly that I followed her story with rapt attention despite the overall familiarity of the plot.

As a director, Troy Nixey manages to avoid the temptation to ape his more famous producer’s style, juxtaposing del Toro’s fantasy inspired ideas with an overall tone and production design that is played relatively straight. Rather than reduce the impact of the film’s supernatural horror, the combination of un-natural threats with naturalistic settings actually serves to heighten its ghastliness. It’s just a shame the horror lacks conviction. There is also a potentially interesting point here, given that all of the characters live in such fear of the ‘real world’ (with concerns such as money, diet and medication), that they lack a proper respect for the supernatural until it’s too late. Sadly Nixey has missed a trick. Given that the truth of the threat the family faces is so clearly established, there is very little room for interpretation in the final denouement.

If this review has seemed a little ambiguous, this is perhaps a reflection of a film that is ultimately difficult to categorise. ‘Don’t Be Afraid Of The Dark’ is a good but not great film, with one or two decent scares and a plot and cast that hold the interest with ease. I’ll say that while I sat enthralled in the human story, my date spent most of the running time watching between her fingers, surprising given that she is not easily scared by your typical horror fare. Perfect for the Autumn and Winter nights - watch it with someone you trust, and do be afraid of the dark, if only just a little.

Robert Barton-Ancliffe is gearing up for a zombie movie marathon this weekend.

Big Game Hunting - Game design pre-qualification

2011-10-11T12:00:00.000+01:00

Want to design a game? Have you got an idea of the type of game you’d like to do? Good! That’s a great start – but it’s often there that people get stuck. How do you go from idea to game? Concept to completion?

Once you’ve worked out what you want to write – and once you’ve got the idea on paper, whether that’s the key NPC, or the background story, or a mix of a whole pile of notes, the next thing you need to think about is your game system.

Because there are so many game systems out there, thinking about your game system is probably one of the biggest decisions you’ll make. It not only dictates how you’ll design your system, it also gives you the support you need to work out how to take those first steps.

When I’m designing a game, I actually work with my own hybrid systems – partially to do with chance (d10) and partially to do with set attributes - based on various criteria. I’ve seen other games that use chips, dice, or counters, so don’t feel you’re constrained to complicated character sheets – while many people enjoy building characters, it’s often a good idea to make your first game something you could write and play with ease. Most people that decide they want to write a game have been playing for a very long time – so have systems that they like, and don’t like.

One of the other recommendations I was given, when starting game design was not to start with the ‘big’ game I had in mind – I’m still in the process of writing to games that are huge – one forensics based, and one based around the sci-fi serial of books I was writing. But the first game I ever wrote was a 24hourrpg project. It was a lot of fun and was very easily broken, but it gave me the chance to write and play something very silly, and very easy to test. It also showed me the areas that games break, straight away – both games I wrote that year for the 24hourrpg broke exactly the same way.

In the next couple of articles, I’m going to talk specifics. What sort of game systems there are out there? Why you need flavour text (and how to decide how to write it)? And how (and who) to test your games? But for now – what’s your idea? Got one?

This week, Kai is writing furiously, enjoying the peace and quiet of school returns, and is really geeked out about Animal Man. She still can’t fix the problem with her forensics game.

Carrier bags and charity - Cancer Research UK

2011-10-09T10:00:00.002+01:00

Hi folks,

Last week marked the end of the current financial quarter and the end of the third period of collecting money for charity from our sales of carrier bags.

This is our second full quarter and together we raised £9.72!

Last time I made a donation to Comic Book Legal Defense Fund. This time, to mark the passing of Steve Jobs this week, and the struggle numerous friends and family have made (and sadly, some have lost) against cancer, I'm making a donation to Cancer Research UK.

Thanks everyone. The next carrier bag donation will be in the New Year. If you have a charity you'd like Proud Lion to support, please email me at shop@proudlion.co.uk.