Friday 26 January 2024

Where the Dead Wait by Ally Wilkes - Blog Tour

 


'William Day should be an acclaimed Arctic explorer. But after a failed expedition, in which his remaining men only survived by eating their dead comrades, he returned in disgrace.

'Thirteen years later, his second-in-command, Jesse Stevens, has gone missing in the same frozen waters. Perhaps this is Day’s chance to restore his tarnished reputation by bringing Stevens­­—the man who’s haunted his whole life—back home. But when the rescue mission becomes an uncanny journey into his past, Day must face up to the things he’s done.

'Abandonment. Betrayal. Cannibalism.

'Aboard ship, Day must also contend with unwanted passengers: a reporter obsessively digging up the truth about the first expedition, as well as Stevens’s wife, a spirit-medium whose séances both fascinate and frighten. Following a trail of cryptic messages, gaunt bodies, and old bones, their search becomes more and more unnerving, as it becomes clear that the restless dead are never far behind. Something is coming through.'

Ally Wilkes seems to have found something that she's really, really good at writing, and I'm super glad that they're sticking to it. After the absolutely fantastic All The White Spaces, one of the best debut novels I've read, I was happy to learn that they would be staying in the realms of historical, queer, arctic horror stories, and Where the Dead Wait is the perfect companion piece to the first book; though this time it jumps to the other side of the world, and gives you a reason to fear the North Pole, as well as the South. 

Where the Dead Wait tells the story of William Day, a young sailor who found himself in a horrific position some thirteen years prior to the main events of the book. Part of a polar expedition, his ship became trapped in the ice, with the provisions running low and the crew becoming sick. When the captain dies, Day is thrust into a doomed command, and tries his best to keep the sick and dying members of the crew alive as they take to the ice. He does whatever it takes to keep himself and his men alive, even doing the unthinkable. 

When Day and his men are finally found the truth about their survival becomes a scandal, with stories of cannibalism splashed across the front pages of the papers. Day becomes a pariah. However, years later, when one of the members of his old crew, and the man he secretly loves, Jesse Stevens, has gone missing in the same icy waters in another expedition. Day is given the chance to redeem himself, and save the man he loves, by leading a rescue party north to find the missing group. But this is no normal expedition, his crew is filled with the superstitious survivors of a disaster at sea, and he has to bring along Stevens' wife, a psychic medium, and her personal bodyguard, a native girl named Qila. 

As they sail into the cold and desolate north, looking for signs of the missing party more and more strange things begin to happen on the ship, and Day has to questions if the strange visions he's being haunted by might not just be all in his mind, but dark forces from beyond the veil come to destroy him and his crew. 



Much like All The White Spaces, I found that Where the Dead Wait became the perfect kind of book for the time of the year I read it. Sitting in the dark of my room, the only illumination the screen of my kindle and a dim lamp, wrapped in a blanket against the cold, whilst fierce wind howled against the side of the house, rattling the windows in their frames. The only thing that was missing were flurries of snow. This book makes for a perfect winter read, one that has you questioning if the chill that just went down your spine was the weather, or what you just read.

And, similarly to her last book, Wilkes doesn't use obvious horror. The book has you questioning what is and isn't real, has you wondering if the characters are going mad, and what kind of dark forces are lurking just out of sight. Much of the book relies on an increasing sense of tension, slowly ramping up the eeriness until you're almost begging for something to happen just to cause a break in the worry that's building inside you. However, unlike the previous book, where that tension never really broke, this time it does. Wilkes throws some truly horrific moments at the readers, and they do so in ways that shock and astonish, moments that leave you wondering if what you read was real, or another dark hallucination in the arctic night.

One of the things that I personally loved about All the White Spaces was the queer representation the book had. The lead character was a young trans man, and it was fantastic to see a lead in a horror story from this demographic. And I know a lot of people were hoping for something similar with this book too, and Wilkes absolutely delivers on that a second time, telling a wonderfully crafted story of hidden gay love, of a man desperately wanting to be with someone society tells him he can't be. There are some wonderful moments in the book that goes deep into Day's head, and shows you how much his love for Stevens has affected him. But, a persons feelings can sometimes hide some painful truths, and our hearts can lie to us, and the more we learn about Stevens the more complex this relationship becomes, leading to some unexpected moments that might be some of the most horrific due to how real it is. 

Where the Dead Wait is a hugely atmospheric book, one that's packed full of dark and disturbing scenes that play with both the characters and readers heads. It demands your attention, and juggles a lot of plot threads and characters, creating an intricate and fascinating tapestry (one that you might want to make notes about along the way just to keep up). With Wilkes having explored the two opposing extremes of the globe, terrifying readers of both tales, I can't wait to see what they have in store for us next. Whatever it is, I'll be reading it as soon as I can.



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Friday 19 January 2024

Crave #2 - Comic Review

 


The first issue of Crave set up an interesting premise, an app that would lead you to the thing you wanted most in the world if you followed its specific instructions step by step. Who created Crave, how does it know the things it knows, and what ulterior motive does it have were all questions that were seeded in the first issue but left mostly untouched. This issue does little to move these mysteries forward, instead taking some time to show the destructive nature of the app, and how people getting what they want isn't necessarily a good thing.

This issue takes place over a relatively short period of time, Albert is still stuck in the lift with Sofia so the events of this issue don't seem to happen over more than an hour at most. The main focus of the issue is David, who finds himself walking through the campus, seeing various people openly hooking up in the corridors, some even having sex out in the open, as Crave begins to get people what they want. 

David finds himself in the library for a study session with Alexandria, where they're the only two there. Everyone else has left in order to go and look at some kind of accident that one of the teaching staff has been in, which begs the question of if Crave caused that accident to get these two alone. After some back and forth flirting the two of them start having sex on the library table, before David runs out of the room, unable to go through with things. Meanwhile, his former girlfriend asks Crave where he is, and it shows her CCTV footage of him almost having sex with Alexandria, and Alexandria masturbating when he leaves, footage that she leaks to the rest of the campus.

And that's about all that happens in the issue. There's a lot of sex with a lot of different people going on, and this issue more than earns its mature rating, and it moves some of the character relationships around a little; but it felt very short in comparison to the first issue thanks to it mainly being pages of people in various states of undress and sexual acts.

The sinister nature of the Crave app is further highlighted in this issue, with the hint that it may have hurt someone, a background character mentioning bad things happening when they didn't follow the instructions exactly, and it being able to access security cameras and sending it to people. It furthers the air of menace and the feelings of bad things coming on the horizon, but I was surprised by how much of the story took a back seat this issue, considering the limited number of issues given over to the story. But, if you came to this series for sex and titillation then this issue certainly delivers on that, managing to be adult and graphic whilst not being too lewd.

As with the first issue, Maria Llovet does everything, from the writing to the art, colours, and lettering. The art on the book is really good, and Llovet has a style that lends itself well to the type of story that she's telling here. A lot of the issue deals with sex and nudity, and most of it happens in the background of panels, mostly covered, in a way that makes it clear what's happening without showing anything graphic. However, when David and Alexandria finally come together that's when the book becomes more open in what it shows. Llovet chooses how much to show and when to match the pace of the story, knowing that it's better to hold some stuff back until David's story reaches a climactic moment (no pun intended), using more graphic material then to heighten the emotions in the scene. 

Whilst I enjoyed the first issue of Crave for the mystery that it established, the focus on the more sexual aspects of this issue left me feeling a little less excited. Whilst I'm still really looking forward to diving into the answers to the questions that I have, this issue didn't really address many of them. I'm hoping that the next issue shifts to cover more of the main story, and finds a nice balance between the plot and the sex scenes so that one isn't given priority over another. Whatever comes next though, I'm definitely still on board to see this series through.



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Mean Streets - Limited Edition 4K UHD Review

 


Martin Scorsese is a well known name in the world of cinema. Having been responsible for creating a number of acclaimed movies, most people will have seen at least one of his films, even if it's Shark Tale and they didn't even realise it's as Scorsese movie (it's about gangsters though, so that should have tipped people off). Whilst Mean Streets wasn't his first film, it is the film that helped to launch his career. And to celebrate it's 50th anniversary, Second Sight films has released a new Limited Edition Ultra HD release.

Whilst Scorsese's filmography is quite a varied one, with the forementioned animated kids feature, and films such as The Last Temptation of Christ, Hugo, and The Aviator showing that he can turn his hand to multiple genre's and tones, a lot of people hear the name Scorsese and think 'gangsters'. And I have to admit, that's where my mind often goes first too, and as such I wasn't surprised to learn that his first big feature film was indeed, a film about criminals and gangsters.

Released a year after The Godfather, Mean Streets is an almost polar opposite in terms of tone and style. Whereas the Francis Ford Coppola feature romanticised gangsters, and presented a visually beautiful film, Mean Streets is a dirtier, and more realistic interpretation of life as a small level criminal in the 1970's New York. The palatial home of the Corleone's is replaced with crummy apartments, the richly tailored suits are instead cheap and at times tacky, and the romanticism of the criminal world is thrown out in favour of a nasty, harsh, and even cruel existence. 



The film mainly follows Charlie Cappa, played by Harvey Keitel, the nephew of a powerful mafioso. Charlie is a man driven by his faith, and his belief that the best way to atone for your sins is through your actions, rather than simply reciting prayers in church. As such, he tries to do his best for the people around him, and is generally well liked. Unfortunately, his drive to help others has landed him in trouble thanks to the actions of Jonny Boy (Robert De Niro), a young punk who owes every loan shark and criminal in the city money, and refuses to get his life together or hold down a job.

Charlie is trying to help Jonny Boy in large part to him seeing Johnny Boy's cousin, Teresa (Amy Robinson), a relationship that he has to keep secret due to Teresa's epilepsy; a condition that has alienated her from older members of the Italian American community, and has her labelled by Charlie's uncle as 'having something wrong in the head'.

Mean Streets has a very loose plot, and a lot of the film is simply following Charlie as he interacts with other people, getting to know him and his friends, and seeing how his desire to help out Johnny Boy is negatively affecting his life. As such, there are a lot of scenes in the film that don't feel massively important, moments that don't really connect to any kind of larger story, and are there simply to flesh out the world that Scorsese is creating. And whilst I imagine some viewers would question this inclusion, caring only for moments that further the story, these moments are in many ways the point of the story.

There's not really much of a goal for Charlie, no grand plan that he's trying to commit to. There comes a point towards the latter half of the film where he's given an opportunity by his uncle, but it doesn't feel like something that Charlie specifically sought out or fought for. He, much like most people in life, simply moves from moment to moment, trying to do his best as he does so. The scenes where it's just him and his friends hanging out are some of the better parts of the movie, and their comradery becomes an important point, especially when Johnny Boy's actions begins to erode that.



That doesn't mean that the film isn't slow in places. Despite only being two hours long (a fairly short film for Scorsese) it does feel a bit longer thanks to the meandering plot and the slow pace. There are a number of storylines and plots that don't seem to really go anywhere, such as Charlie desperately wanting to date a Black stripper and how he dating a Black woman would affect his reputation and standing in the community, comes up a few times, but never really amounts to much. You can definitely see the style of films that Scorsese would go on to make evolving here, experimentations into ways of movie making that would become a staple of his career that don't quite feel perfected yet. As such, it's probably not going to be in your top list of Scorsese movies, but it does make for an interesting examination of his early work.

Alongside the new 4K restoration of the film, the disc includes a newly recorded audio commentary from Demetrios Matheou, author of BFI Films Classics Mean Street, and David Thompson, Co-Editor of the book Scorsese on Scorsese which offers some interesting insights into the film and Scorsese's following career. There is also a scene specific audio commentary with Scorsese himself, along with actor Amy Robinson. Alongside this are new interviews, Q&A's, and documentaries about the film. The Limited Edition also comes with a number of postcards from the film, as well as a 178 page booklet featuring several essays on the movie (the booklet was not provided for review)

Mean Streets makes for an interesting look back at the beginning of a director's career that would span decades, becoming one of the most well known directors in the world. For fans of Scorsese, this new release offers the opportunity to see where it all began, but even those who aren't massively knowledgeable of his work will find an entertaining movie waiting for them.



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Thursday 18 January 2024

Green Lantern #7 - Comic Review

 


I've had some mixed feelings on Green Lantern since it began. Whilst I love these characters, Hal being Earthbound might be one of the least interesting things I'd have wanted to see done with the character. I love the GL books for their space adventures, for the amazing things that can be included, and sweeping, epic stories that just can't be replicated as an Earth based hero. So sticking Hal in one place, with him mostly dealing with relationship woes had me dipping in interest somewhat. However, this issue finally feels like the tiny nuggets of information we've been given up to this point are finally paying off, and that an interesting story has started to form.

At the end of the last issue ended with the appearance of Razer, a fan favourite character from the short lives Green Lantern Animated Series, and the revelation that Kilowog hasn't been on Earth, and that Hal has been talking to a construct of his friend. And why would he be doing this? Because Kilowog is dead. This revelation alone honestly had me going into issue seven somewhat mad. I love Kilowog, and if he's been killed off I'm going to be quite upset about it.

Mostly a flashback issue, the months release takes us back to when the United Planets first start to take over the Green Lantern Corps, and goes into what some of the Earth Lanterns are doing, and why Hal quit. With the news that Sector 2814 is being quarantined, some of the veteran Earth Lanterns begin to voice their disagreement, but quickly agree to stay for a while to see out some special missions that only their experience and strength can deal with. The only one that we learn of is that Guy has been sent to arrest Lobo, something that might bring his character into the upcoming Superman story involving a city full of Czarnians and Brainiac perhaps.

Hal and Kilowog are assigned to guard the president as he travels to Korugar to meet with Sinestro, in an attempt to bring Korugar into the United Planets. Obviously, Hal isn't on board with this, and doesn't trust Sinestro, and his former mentor is able to push his buttons in a way that gets Hal kicked out of the room and sent back to the ship. It's whilst this happens that a trio of Sinestro Corps members attack the meeting, trying to kill the president. Rushing back to help, Hal is able to get the president safely back to the ship whilst Kilowog holds off the Sinestro Corpsmen. 

However, when the yellow Power Battery has a flair of energy it seems to explode outwards, vaporising Kilowog and the three Corpsmen. This, along with Sinestro coming into the United Planets, and Earth being locked off, leads Hal to quit the corps. Whilst this flashback doesn't reveal how or why Sinestro ended up stuck on Earth, it does explain some of the strangeness happening with his ring the previous two issues, where it changed to a Red Lantern ring, and Sinestro was lost to his rage. This is definitely shaping up to be the main mystery of the series, as Razer reveals that the Central Power Battery of the Blue Lanterns has also been destroyed.

I'm very much glad that things seem to have finally began in earnest now, and that we're getting a story that isn't just going to be Hal having adventures on Earth. The problems with the rings and the batteries seems to be the central mystery of the series, and looks to be where things are going from here. I am also holding out hope that Kilowog getting hit by the energy from the yellow Central Battery was not him being killed and vaporised, but perhaps transported somewhere else. I will continue to hold out hope that he will return until they show us a dead body.

Speaking of hope, the inclusion of Razer is perhaps one of the most interesting, and exciting parts of the book too. DC has already teased Aya in the comics, and having Razer just walk up to Hal and talk about their past friendship and adventures is a very interesting development. Is it saying that the show happened, but perhaps in a different way that fits into the continuity we already know? Perhaps. And I'm not even sure that I need a definitive answer to that. Just his inclusion, and the book acting like a continuation of the show is good enough for me.

Alongside the shift in story, this issue also featured a change in art team. Amancay Nahuelpan takes over art duties, and Romulo Fajardo Jr. provides the colours on the book. I think this might be my favourite art on the series so far, and everything looked fantastic. All of the human Lanterns looked really good, and every alien looked especially cool. I think being able to draw really weird stuff in really cool ways is definitely a big plus for good Green Lantern art, and this team do so on every single page. 

I hope that this tone and style of story continue for the series going forward. I'm interested in finding out what's going on with the strange surges of power, and I'm hoping that we get to get Hal away from Earth and get some of the kinds of Green Lantern stories that I love the most. 



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Listmas 2023 – Movies

 

Originally published at Set The Tape


This year I took part in the Set The Tape Listmas articles, sharing my thoughts on some of my favourite media from the last year. I talked briefly about a few of the movies that I enjoyed.



Barbie

Barbies aren’t just for kids, they’re also for kick-ass adults who get that the patriarchy isn’t just about horses and needs tearing down. A toy-inspired film with more depth to it than you could ever expect, rapturously bright colours, musical numbers, and fantastic jokes that help to deliver an important message about the way society treats women and femme presenting people.

I wasn’t sold on the concept of this film, I didn’t know what to expect from it, and was ready to wait until it hit home release. Then I got taken to see it for my birthday, and it became a fantastic cinema experience. The only time I’ve seen a screen absolutely packed, the atmosphere was infectious. The jokes brought the room down, you could hear the sniffles when the film got emotional, and there were moments of quiet introspection, such as when America Ferrera delivered a speech on the contradictions and impossible standards that society puts on women; a speech that a lot of people should hear at some point.

With so many films and shows based on toys being little more than glorified advertisements, it’s easy to dismiss Barbie as nothing more than that, when in reality its introspective look at feminism wrapped up in nostalgic imagery and an intellectual property was what kept that audience coming back over and over again. So don’t just dismiss Barbie (Margot Robbie) because she loves pretty dresses and pink, because she’s got some stuff to say that you need to hear; and a final line you’ll never see coming. 



Godzilla Minus One

I pitched Godzilla Minus One as my film of the year before I’d even seen it, and I was bang on the money. I love the Godzilla franchise, for its wackiness and silly stories, the cheap effects, and odd monsters. But there’s also a lot of depth to be found. Whilst this may have been somewhat diluted over the seven decades since he first emerged from the ocean, the franchise started off as a discussion of the horrors of war, a vein which Godzilla Minus One follows in. Whilst the original was a discussion of the horrors of the atomic bomb and the monstrous attack the US made on Japan (told by people who lived through it), this film puts Japan’s own government and culture in its cross-hairs.

The film follows Koichi (Ryunosuke Kamiki), a Kamikaze pilot who chooses not to follow through with his mission, too afraid to die. Koichi is haunted by the horrors of the war, of his desire to live, which goes in conflict with societal expectations to die willingly. Some treat him like a coward, others treat him like a hero. Through it all, his nightmares follow him. He’s a man broken by war. And when Godzilla emerges and kills thousands a group of civilians band together to try to create a plan to destroy the monster, unwilling to trust a government who have so willingly thrown life away before.

Godzilla Minus One is a film about a giant monster wrecking things (and it does so amazingly), but it’s also a film that says the Japanese government were wrong. It says that not dying in war is nothing to be ashamed of, and that never going to war is a good thing. A film with more depth and heart than you’d first expect, and a film that will move you to cry more than once. 



Guardians of the Galaxy vol. 3

I didn’t see Guardians of the Galaxy 3 in the cinema. I was trying to find the time to fit it in, but then I had people warn me about watching it. My house is full of animals, and I’ve got four bunnies running around it. People who knew I’m a bunny mum told me to go into the film with care. And boy am I glad I waited until home release. This film broke me. There came a part – I’m sure you know which if you’ve seen it – that made me weep. But I had to do so quietly, because it was the kind of crying where if I’d have made a noise it would have been a wail.

I was watching perhaps the most emotionally devastating film in the MCU, one that put animal cruelty at the heart of it, whilst one of my rabbits was staying in our living room, only recently out of life-saving surgery that left her with scars on her head, and a permanent disability. I know it’s very specific circumstances, but it made this film hit all the harder. Bradley Cooper and the other animal actors made me care for a collection of pixels to the point where I couldn’t think of this film without crying. That’s damn good acting.

A film about family, trauma, loss, and the path to healing, this is not only the perfect conclusion to the Guardians story, but for me the most engaging and moving film in the entire MCU. It also showed that it was Rocket Raccoon, not Starlord (Chris Pratt), at the heart of this galactic corner of the universe, and demonstrated how even the most silly comic book concepts can be made into wonderful stories that will stick with you forever. 



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Wednesday 17 January 2024

Miguel O'Hara: Spider-Man 2099 #2 - Comic Review

 


Miguel O'Hara continues to deal with the spooky side of the 2099 universe as he's called to the moon to help the Egyptian god Khonshu, the alter ego of the hero Moon Knight. However, whilst exploring Moon Knights tomb on the moon Miguel learns that there is another who has called that tomb home before, and he's out for blood.

After the somewhat familiar story in the last issue (scientist makes a virus that goes out of control and begins a zombie apocalypse) I have to say I appreciate just how silly this issue is in places. Delightfully so though; it was very much an enjoyable thing.

Donning some armour to give him some space protection, Miguel gets teleported to the surface of the moon, where he finds the body of the mummy Khonshu, near death (of their equivalent), who warns Miguel that the person who attacked them is still around. This leads to the reveal that Dracula is on the moon, and the ancient vampire quickly attacks Miguel, trying to get Spider-Man to transport him back to Earth so that he can feed; and so that he can begin his campaign of revenge.

Whilst the two of them are fighting we learn that decades before the vampire nation of Terra Rubra was attacked by a weapon that fired a gigantic beam of sunlight into the heart of the vampire city. Dracula watched as thousands of his people were obliterated, and he himself was left close to death with burns so intense that they scarred his undead soul. Placed into a special coffin by some of the survivors, he was fired at the moon, where his coffin buried beneath the surface, and he spent the decades between then and now healing. 

This story, and what we learn came next for Earth's vampires, is ridiculous science fiction, it's slightly campy, and it comes up with truly ridiculous ideas; but I really like it. It was the best part of the issue, and was more interesting than the fight between Dracula and Miguel, and I would have liked to have seen more of this backstory as it was definitely the thing that I thought about most after finishing the book. 

Whilst Steve Orlando continues on from the last issue in the writers role, the art team is different this time round, with Michael Dowling and Jim Campbell taking over the art and colouring duties respectively. The art on this issue is good, and isn't too tonally different from what we had in the first issue. This helps to maintain the general feel and tone of the series, and it means that when the series is eventually collected into graphic novel form it shouldn't be too jarring moving from the first issue to this one. There are some great visual moments in the issue too, such as the times that Dracula suddenly appear behind Miguel, his arms raised as he looms over our hero (it's Dracula, so he can get away with doing it multiple times an issue), and there's a a very cool panel of a throat being bitten out during the fight that's super well done. But for me it's the page that deals with the destruction of Terra Rubra that's my favourite visual in the book; one that my mind keeps coming back to.

There's a definite difference in tone between the two issues of the series that we've had so far, and whilst they both try different things I found them being stronger in different areas. The zombie hordes of the first issue were enjoyable to see Miguel deal with, whilst it was the world building of the second issue that took top spot for me. The series seems to be having a lot of fun exploring different kinds of horror stories, and different parts of the 2099 world, and going along for the ride has been a lot of fun too. Looks like next up we're getting werewolves!



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Into The West: The Founding of Valdemar Book Two by Mercedes Lackey - Book Review

 


'The long-awaited founding of Valdemar comes to life in this second book in the new series from a New York Times-bestselling author and beloved fantasist. Baron Valdemar and his people have found a temporary haven, but it cannot hold all of them, or for long. Trouble could follow on their heels at any moment, and there are too many people for Crescent Lake to support. Those who are willing to make a further trek by barge on into the West will follow him into a wilderness depopulated by war and scarred by the terrible magics of a thousand years ago and the Mage Wars. But the wilderness is not as empty as it seems. There are potential friends and rapacious foes........and someone is watching them.'

The second part of the new prequel trilogy that explores the beginnings of the popular fantasy series is now out in paperback in the UK, just in time to get ready for the final part to be released.

Following the dramatic events of the previous book, which saw the brave Baron Kordas evacuating his people from under the nose of a cruel empire, and the destruction of the capital of said empire, the refugees find themselves in a strange new land, searching for a home. The book begins not long after the first ended, with the people of Valdemar living in thousands of barges in the lake where they first found themselves after fleeing the empire. With tens of thousands of people crammed into these temporary homes, in a distant and unknown place, things are tough.

Baron Kordas, having prepared for this moment his entire life, finds that despite all of the plans laid out by him, and his father and grandfather before him, there was nothing that could have prepared them for the strangeness of the place they would find themselves. As the refugees set out down river, hoping to find a land that can safely support them all and not harm anyone else who lives in the area, they begin to discover strange and dangerous threats along the way. With monstrous creatures, giant animals, and spots of intense magic to contend with, Kordas and his people will have to contend with the impossible. And all the while, there is a greater force watching over them, judging their actions.

Into the West is a very different kind of book to Beyond, the first in the series. Where that book dealt with political machinations, secret plans, and a desperate escape against an ever decreasing deadline, this book in contrast feels a lot less tense. There's no looming threat here, and whilst the refugees will encounter dangers along the way there's not constant worry in the same way that there was worry about what the Emperor might do as was present in the first book. This doesn't mean that there's no tension, however, as the book instead focuses on the much smaller, human drama that the escapees have to deal with.

The politics of the high court are replaces with having to keep order amongst a group of people who were forced to feel their homes, who are constantly on the move, and who need to pool together in order to survive. Across the book we see Kordas and his advisers having to deal with this in various ways, from the distribution of food and equipment, to people wanting to leave the group altogether.  It's the kind of stuff that I can see some readers getting a bit glassy eyed over, but I found it really interesting to watch how this group tried to survive on their journey to a new home, and in some ways it felt like the fantasy version of the Battlestar Galactica remake, where you'd see how the convoy were having to work together and how the people in charge dealt with interpersonal issues amongst various groups.

But, not all of the conflict in the book comes from within, and there's a great deal of new and amazing things to discover as the group makes their way down river. There are several creatures that the group come across on their journey that lead to some shocking moments, and some interesting revelations about the place that they've found themselves in. The best of these, for me, was the forest. This part of the book was hugely fascinating, and had some wonderfully tense moments and a few things that made my jaw drop open in surprise, and I'd loved to have seen more stuff like this throughout the book. As it was, this ended up being a big moment, and one that I ended up thinking about for a good long while after finishing the book.

Most of the characters remain fairly consistent across the book, and the journey into the unknown only ends up strengthening them in a lot of ways. Most of the characters that we follow are leaders, and people with the experience and expertise needed to get everyone to their new home safely, and as such they tend not to have moments of weakness, nor moments of doubt. The main exception, the character who gets the biggest arc and goes through the most changes is Delia. Delia isn't much of a character in the first book, and begins this one as a girl used to the life of luxury forced to have to work all day, and who harbours a crush on her brother-in-law. She's the kind of character who I'd have ended up hating if she'd have remained this way. Thankfully, she gets put into an important role early on, and ends up becoming a much better person because of it. As the book doesn't really take the time to look at many of the people in the expedition, Delia kind of acts as their representive, and her journey from someone unable to survive on her own to a hardened and competent member of the convoy reflects what many of the Valdemarian people will have gone through. 

I was also glad that the Dolls feature heavily in this book too, and I adored the changes that they went through  and their evolution. They were one of the things in the first book that really fascinated me, and certain Dolls quickly became some of my favourite characters in the second book too.

There's a lot to like about this entry in the series, even if it's a very different kind of book than the first. And, much like the first book, there are some dramatic changes towards the end of the book that look set to create a foundation for a third book that goes in a completely different direction again. I imagine this book is full of easter eggs and special nods for people who have read other entries in the Valdemar series, but even as someone who came to this trilogy with no experience of the other books it's been a fantastic read throughout.



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Tuesday 16 January 2024

Titans: Beast World #4 - Comic Review

 


I'm going to say something that is likely not too controversial, but I fucking hate Amanda Waller. She's a great villain, a character that has earned people's dislike, and her reputation as one of the most dangerous people in the DC Universe, and whilst I think she's often a great addition to stories, I absolutely hate her here. 

Garro's spores continue their rain, which results in Giganta becoming infected this issue whilst trying to help out in all of the chaos. The result is a gigantic bear person smashing Ivy Town to pieces, with thousands dying in the process. We get a pretty harrowing scene of several heroes trying their best to stop her rampage, a scene in which we see the death and destruction wrought. A parent cradles the body of their child, screaming at the unimaginable agony of your child dying in your arms. The book doesn't shy away from showing the effect this 'event' is having on the regular people, and it makes the book a hard read in places.

And this almost brings Superman to a pause. Jon is sent flying by Giganta, speeding towards one of the buildings, unable to stop himself from crashing into it. As he hurtles towards it his x-ray vision lets him see that it's full of people, that his unstoppable flight towards it is going to result in civilian deaths. And then he hits the building, and he fears that he's killed people. Whilst the Flash managed to get everyone out before Jon hit, there's a moment when the young hero believes that he caused collateral damage, that lives were lost because of him, and you can see how much it hurts him in that moment. 

Frighteningly, this is perhaps the lightest part of the book, because this issue is just filled with awful moments. As the heroes are dealing with other things, Amanda Waller sends Peacemaker to find Chester Runk, the Flash ally Chunk. Chester is being chased by a couple of animal people when Peacemaker finds him, and Peacemaker guns them down to save his target; killing Chester's infected children in front of him. 

Meanwhile, Waller is getting Luthor to get his stolen Justice League transporter tech working, so that she can transport Chunk into space to deal with Garro. Her plan is to transport Chunk inside of Garro whilst the giant creature is hanging above Earth. She enacts her plan, and whilst this kills Chunk there's a moment where in his final, panicked last breath, he instinctually uses his powers, and sucks part of Garro into a black hole, ripping his brain apart, and tearing the out of control hero to pieces. The issue ends on a truly harrowing moment, as Raven is forced to watch, prevented from helping by Doctor Hate, as her partner is killed. 

So yeah, I hate Amanda Waller, and I hate Tom Taylor too. That's a joking hate towards Tom Taylor, he's writing a really good story here, but I'm not happy with this turn of events and am still kind of processing one of my first DC heroes being killed. 

The art on this issue is done by Lucas Meyer, with Romulo Fajardo Jr. doing colours, and it's really nice throughout. The art team really sell the destruction and violence of what's going on, and the panels of cities in ruins, buildings being destroyed, and civilians trying to survive as best they can are beautiful in their awfulness. The full page splash of Jon witnessing the destruction of Ivy Town is a terrible moment, but one that does make you stop and appreciate the craft that went into depicting it. 

With Gar apparently dead, I don't know what might come next. I'd have assumed that the spores would either die, or start acting differently, but with two issues to go the threat is probably going to continue on. I wouldn't be surprised if Waller has another idea for what comes next, and if someone like Doctor Hate used magic to take control of the infected I'd accept that pretty easily. Whatever comes next, it's likely to be hard next issue, as the Titans, and wider DC Universe, deals with a big loss.



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Listmas 2023 – Non-2023 Media

 

Originally published on Set The Tape


This year I took part in the Set The Tape Listmas articles, sharing my thoughts on some of my favourite media from the last year, but one of the lists was about media that wasn't from 2023. I share some of the older media that I've been loving this last twelve months.



Seeing Aliens in the cinema

I’ve already written extensively about how this year I got to see Aliens in the cinema for the first time ever, and lucky for me I can write about it all over again and make you hear it a second time!

I grew up watching Aliens thanks to an uncle who didn’t really police what videos of his I borrowed and watched, and I strongly believe his relaxed attitude helped to create my love of both science fiction and horror (I also borrowed Predator a lot). I don’t know the exact age that I first saw Aliens, but I do remember having watched it as far back as I can remember, and it’s always been a part of my life. It’s a film that I could probably quote near all of the dialogue to if you were to put me on the spot. It’s become lodged in both my brain and my heart in ways that no other film has.

Over the years it’s been shown in cinemas a few times, usually in the kinds of cinemas that show nothing but older genre films. Sadly, I’ve either missed those showings, or have just not been able to travel across the country to do it. But this year it was released just down the road from me, and I jumped at the chance to see it on the big screen. It was an amazing experience, one that took me back to my childhood (weird for that film I know), and made me appreciate how this film helped to shape me into the person I am today. 



Uncanny X-Men

The X-Men are my favourite corner of the Marvel Universe. The huge cast of characters have some amazing creations in them, and whilst some of the stories are more like terrible soap operas, there are some great runs and events across its history. I also think me being part of a minority that is often demonised in the media and by politicians I very much relate to the ‘feared and hated’ and continually treated like sub-human type stories in the X-Men’s catalogue. Magneto was right, by the way.

With current X-Men stuff revolving around the Krakoan Age, and being a huge commitment, I thought I’d wait until it was done before diving in and reading through it all. So, to fill the time until then I decided to go back to where X-Men began as the thing we really know it as now. Not the original Stan Lee stuff, but Chris Claremont‘s Giant-Sized X-Men, which not only introduced characters like Nightcrawler, Storm, Colossus, and Wolverine to the team, but created many of the best stories that people still recommend and adapt.

I’ve been reading my way through the series since that point, covering things like the Dark Phoenix saga, Days of Future Past, Storm becoming the leader of the X-Men, and the introduction of Shadowcat to the universe. I knew Claremont created a lot of stuff, and brought in things others had created, but I was shocked by just how much stuff that is now just an intrinsic part of the X-Men began in this era. Old comics can sometimes be hard reads, and there are times these issues can be tough to get through, but even the worst of this era are still fantastic to read. It’s like reading the true birth of the X-Men. 



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Monday 15 January 2024

Blade #7 - Comic Review

 


Blade meets up with another monster as he's called in to help a small town with a demon problem that the Incredible Hulk is trying to clear up.

Thanks to the Hulk's latest series being centred around monsters and the occult, him popping up in Blade actually makes a lot of thematic sense, and the two characters and their current journeys go well together. There's a scene in this issue where the two of them talk, Banner and Blade rather than Hulk and Blade, and they both voice how they feel like the reason for a lot of bad shit happening at the moment. Hulk is being pursued by an ancient evil that's conjuring up monsters that are hurting a lot of people, and Blade released an ancient evil that's conjuring monsters that are hurting a lot of people. 

It's nice that these two have someone who's going through similar, another person who (perhaps wrongly) puts the blame for a lot of bad things happening on their shoulders. Both of them are kind of loner characters at heart, and neither of them really has a character that they can open up to in this way. It's a good scene, and one that's coming at a good time for both of these characters and their journeys, and will hopefully help them to not get too bogged down in the darkness and despair that keeps surrounding them.

The main conflict of the issue is a small town that the Hulk has stumbled across, one where strange monsters come out at night and attack the local population. It all began when one of the village teens came home acting strangely, became aggressive, and tried to kill his mother. It was then that a monstrous arm burst from his mouth. The boy's family and the rest of the town took refuge in a small church. Blade believes that the boy is possessed, and sets out to try and free him.

The solution for the possession, the way that Blade and Hulk manage to do away with the horde of demons, is delightfully simple and brutal, and made for a gloriously graphic and gross end. The brutality of the Hulk makes for a great counterpoint to Blade, who we're used to seeing acting more precisely, cutting his enemies down as quickly as he can, rather than smashing things up and being the bruiser. 

Valentina Pinti's art, along with K. J. Diaz's colours, make these scenes look really good, and whilst the book doesn't reach the level of gross and disturbing horror that The Incredible Hulk does with it's horror, it does depict the action really nicely, and makes the scenes where the heroic duo are battling demons into very entertaining scenes. Where it seems to excel, however, is in the scenes where it's just Bruce and Blade talking. The looks on the characters faces are great here, and you can really see the moments where they're feeling things such as shame, where they're losing hope in their situations, and the moments when they realise they've got a lot in common and aren't in this alone. It really sells these scenes all the more, and makes for some delightful moments.

Blade has been an enjoyable series so far, and this issue seems to be setting him on a new path in his journey to deal with the Adana and set things right. The inclusion of the Hulk was done well, and nicely connected together these two series that are running on very similar themes and arc for its leads. A great cross-over that knows how to use both characters well.



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Listmas 2023 – TV

 

Originally published on Set The Tape


This year I took part in the Set The Tape Listmas articles, sharing my thoughts on some of my favourite media from the last year. I talked briefly about a couple of TV shows that I enjoyed.



Frasier (2023)

Frasier is my favourite sitcom of all time. Between the DVD box-set on my shelf and TV reruns, I’ve seen the whole 11 series through at least a dozen times and will still sit to attention whenever I find it on a channel. But when it was announced that Frasier would be returning after a 20-year absence, I was unsure about it. The more I learned – that it would be set somewhere else, that only the titular character would be coming back – I began to hate the idea. Spin-offs and reboots are rarely as good as the original, and this would be a spin-off of a spin-off.

But a friend of mine saw the first couple of episodes and advised me to try it. And I’m so glad he did. Though taking a while to find its feet, I soon saw that this was still the show I loved. The first episode had some jokes that made me laugh out loud, and some heartfelt moments that moved me to tears. The Frasier spirit was still kicking. As the season went on, it began settling into itself and became a show that I looked forward to each week.

The new cast bring a unique energy to things, to a degree which may even have worked better than simply just bringing the original cast back. Frasier (Kelsey Grammer) gets put into a new life, forced to adjust to a changed environment and figure out his relationships. It’s great to see the inevitable clashes and hi-jinks that brings, as well as the tender moments too. The various nods to the late, great John Mahoney help, not only reminding viewers of the history, but also showing that the new showrunners care about the on and off-screen history too. 



Star Trek: Lower Decks

I was discussing Star Trek with my partner recently and said that there isn’t a Trek show that didn’t take a while to get good, using the spectacular Deep Space Nine as an example – boy, were the first two seasons bad in places. Yet as I was making that argument, I realised that I actually couldn’t find fault with Lower Decks at all. Since it premiered, the animated excursion has been firing on all cylinders, mixing the Trek we know and love with wacky animated comedy, in a balance that must be hard to do but the show makes look effortless.

The latest season continues to do just that whilst, in addition to adventure-of-the-week antics that add to the overall universe, introducing a season long arc that feels like a genuine mystery. It also turned out to be a surprisingly satisfying season for long-time Trekkies. Not just content to bring back Rom (Max Grodénchik) and show the progress he’d made as the Grand Nagus, the show also connected things back to the original ‘Lower Decks’ episode of The Next Generation in a genuinely heartfelt way.

If you’d have told me an animated comedy Star Trek series that featured evil holographic com-badges out to kill people, a tiny bone-eating monster called Moopsy, and jokes that poke fun at recycling the same actor in multiple roles was going to end producing the most consistently excellent Trek ever made, I’d have laughed at you. But here we are. A show that isn’t afraid to try wild, wacky new things which bring a brand new life to this long running universe. A love letter to the series that came before, Lower Decks might just be one of the most perfect shows in the franchise.



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Sunday 14 January 2024

Kneel Before Zod #1 - Comic Review

 


General Zod is one of Superman's most well known villains, and his appearances in both the 1970's live action films and Man of Steel has made him one of the more recognisable to the general public, likely just behind Lex Luthor. Despite this recognition, it feels like Zod is a character that doesn't actually turn up all that often. Well, now we have a new mini series dedicated to him, following his machinations and family issues on the distant planet of New Kandor, where he intends to reforge the Kryptonian race; and the book is better than I ever expected it to be.


This first issue is mainly set-up, bringing people up to speed on where the character is, and what he's been up to; which as someone who didn't know going into this book is very much appreciated. The book doesn't hold your hand whilst doing this, however, there's not paragraphs of expositional dialogue, nor does the book infodump you with a data page or anything like that. Instead, the we're led through the story in such a way that the book doesn't have to spell things out in simple terms, but you're able to come to the needed conclusions on your own.

We learn that Zod has claimed a world for his own, shutting the native population away into one corner of the planet, where Ursa is conducting work to turn them into soldiers for their coming Kryptonian army, altering their biology to do so. With the help of the Eradicator, who controls a fleet of drone bodies, Zod has been slowly building cities and factories on the planet, preparing for the day when he can release the citizens of the bottle city of Kandor, who will populate what he's built, and then go on to repopulate then species. 


However, Zod is also having to deal with some family issues as his son, Lor (also known as Christopher Kent at one point), discovers a secret weapon that his father has been using, and following an argument about how to use it, Lor is banished. I remember when Lor first turned up, his adoption by Lois and Clark, him becoming Christopher, and it was a story that I really enjoyed; so seeing him having become this cruel and almost evil character is kind of heart breaking. The fact that the argument about using the weapons isn't Lor arguing against it, but wanting to use them to hurt as many as possible just reinforces how changed he's become since that older story. His banishment is also setting up Sinister Sons, so if like myself you're a bit invested in Lor, that's where we'll be able to keep up with his story.

The art on the issue, by Dan McDaid with colours by David Baron, suits the tone of the book well. There's a darkness and moodiness to the art, with a lot of use of thick shadows and blocks of blackness that, along with the dark and moody reds that get used, sell this as almost nightmarish. There's an oppressive quality to things, and it's almost like Zods personality, his very being, is seeping into the book itself. 


This is an interesting start to the series, one that I wasn't expecting to grab me as much as it did. The inclusion of Lor and his changes since I last saw him in Superman: Last Son of Krypton grabbed me and drew me in. The space politics and the United Planets stuff that made me kind of hate the previous runs of Green Lantern failed to detract from the quality, and I'm even a little interested to see what Zod does in regards to them. And Zods hallucinations of Jor-El hint at some kind of mental break or complex inner narrative that the character will be going through going forward. I'm glad I gave this book a shot, and and happy to try out another few issues.



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