Saturday, 30 July 2022

DC vs Vampires: Killers #1 - Comic Review

 

Originally published on Patreon


When I first heard about DC vs Vampires I wasn't completely sold on the idea. I thought it could be a fairly decent horror themed series that was just a silly bit of fun; but, only a handful of issues in it had quickly become one of my favourite series the DC are producing, with some incredibly tense moments, some horrific scenes, and a plot where I honestly don't know if the heroes are going to win.

Whilst the main series has been going on strong there have been a few one-shots coming out alongside it to expand the story. DC vs Vampires: Killers is the second one so far, and focuses on Harley Quinn as one of the last humans left alive in Gotham as the vampires have taken over.

When we meet Harley she's teamed up with Clayface, Solomon Grundy, and Catwoman, and is running a small, underground crime ring. She's managed to walk a fine line between making a comfortable, and profitable, existence for herself, and keeping off the vampire's radar. However, when she's approached by Jim Gordon, who has the vial of Lex Luthor's blood that the vampires are after, her carefully built world starts to fall down around her.

Luthor's blood is something that was an important plot point in the early issues of the main series, and amongst all of the panic of trying to figure out who is and isn't a vampire, and the trauma of seeing so many beloved characters either become vampires or be brutally killed by them, I'd kind of forgotten about it. So it's nice to be reminded of it here.

I like the little life that Harley has built for herself, and how two of her main allies are characters that I imagine can't be turned into vampires and betray her. It shows that she's trying to think smart, despite clearly not being smart enough to just get away from the city. With the way that this issue ends it's clear that she's going to be playing a bigger role in the series, and may be a pivotal piece towards actually beating the vampires.

However, there was something about the book that just didn't feel as exciting as the main title. I had a similar issue with the DC vs Vampires: Hunters one shot. The stories in these one-off's are good, but just not as good as the main title. I don't know what it is, because Matthew Rosenberg wrote the main series issues too. Maybe it's because the art, provided by Mike Bowden and Eduardo Mello, is very different from the main book.

I can't put my finger on why I don't enjoy this issue as much as the main series, but that doesn't mean it's a bad issue. It's a four out of five compared to the main title's five out of five, so it's not a huge drop in quality.

For those who are enjoying this series there's some good stuff here, and it seems to be setting up some important things for later on in this story; so if you're looking to get every part of this series I don't think you'll be let down.


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The Road To Prey: Ranking The Predator Films

 


Prey, the latest entry in the Predator franchise is almost here. In a bold move, the new film will be jumping backwards in time, to tell a story about one of the alien hunters in a historical setting. But before we embark upon this new journey, it seems like a good time to take a look back at the films that came before.



6. The Predator

The latest entry in the series, The Predator is easily the worst that the franchise has to offer. The plot sees a former marine coming up against two rival factions of the Yautja creatures The first, the most similar to what we've seen before, is revealed to have human DNA, and we learn that the aliens are hybridising themselves using other species genetics. This hunter, however, is killed by a larger Yautja who has adapted himself using other alien DNA to become a huge, nigh unstoppable killer. 

This new predator sets out to retrieve it's missing tech, which has fallen into the hands of an autistic child. The boys father and a team of soldiers and mercenaries with mental health issues make it their mission to stop the creature.

The story for The Predator is pretty awful. Part of this is down to the fact that the film went through an extensive rewrite close to release, with the entire last act of the film being changed. There is still some evidence of this original ending online, with small clips and images available that show the human team working with a pair of Yautja in human combat gear. There are also alternate versions of the final scene, in which the humans receive a ridiculous Iron-Man Predator killer suit from the Yautja, where the film seemed to try other weird set-ups for possible sequel films, including having Ripley and Newt from the Alien franchise appear.

The behind the scenes of the film seem to, frankly, be a bit of a cluster-fuck, and it's no surprise that the film we ended up with felt all over the place, without real purpose, and with a weak script. The story makes little sense, and even having seen it a few times now I'm left wondering why what happens happens most of the time. The film also has what a lot of viewers feel to be an offensive depiction of autism in the movie. There was also major controversy before release when it was revealed that writer/director Shane Black put his friend in the movie in a role where he harassed the lead female actor. It came to light that the man was in fact a sexual predator, and the stars and public demanded his scenes be cut from the movie.

I know everyone's tastes vary, and that I'm sure there are some people out there who can overlook the massive flaws in this film and may even enjoy it; but I doubt that there will be anyone who would name The Predator as their favourite entry in the franchise.



5. AVP: Requiem

I have a lot of mixed feelings about AVP: Requiem It's not a good film by any means, and it's executed pretty poorly, but there are some cool things in here too.

The film picks up where the previous Alien vs. Predator film left off, with the fallen Yautja Scar giving birth to a Xenomorph hybrid. Loose on the Yautja ship, the Predalien causes it to come crashing back down to Earth, where it crashes in the US, just outside a small town. The creature, which we learn is also a queen, begins to build its hive and spread Xenomorphs throughout the town.

Back on the Yautja home world, an expert Xeno-killer is dispatched to destroy all traces of the Xenos and Yautja on Earth. With vicious alien creatures killing or infecting all in their path, and an Yautja who will kill anyone who gets in his way without hesitation, a small group of survivors will try desperately to find a way out of the town alive.

The plot for the film isn't too bad, and it's a jarring thing to see the Xenomorphs in suburban settings. It's like a creature out of your nightmares coming into your real life, and there are times where it feels truly terrifying seeing how quick and easy it would be for the creatures to destroy life on modern day Earth. I also liked The Wolf, the Yautja sent to clean things up. He's an old, grizzled hunter, who's less about the honour of the hunt and killing for sport and is more there as an exterminator. Because of this he's less inclined to follow the 'rules', and will just kill anyone who gets in his way, making him one of the more deadly Yautja we've seen; and he sometimes feels close to what the Bad Bloods in the comics felt like. The Predalien also looks pretty good, and the scenes where it's impregnating pregnant women with dozens of 'belly burtsters' is one of the more horrific things the series has ever done.

But, all that being said, the film isn't good. The quality of the writing is pretty poor, and a lot of time is given over to the lives of the people of the small town, yet none of them ever feel like people that we should care about. The pacing and the big set pieces also fall kind of flat, and there's never really any moments of excitement. The humans never feel like anything but passengers, just along for the ride, rather than payers in the story. They don't pose a threat to either side, and are just barely surviving. There's little here to get excited by or attached to, and the end result is a film that's pretty flat and uninspired.



4. Alien vs. Predator

Having faced each other in games and comics many times before their big screen outing, there was a lot of excitement for 2004's Alien vs. Predator. I was one of these excited parties. Seeing these iconic monsters sharing the screen together was an event, and whilst the film itself wasn't terrible, there were issues to be had.

The plot sees a group of scientists and explorers being brought together by the rich businessman Charles Wayland, who has recently discovered a huge pyramid-like structure buried deep beneath the ice of Antarctica. With the promise of one of the biggest scientific discoveries ever, the team set out to explore. However, what they don't know is that the temple was created to act as a hunting ground for the Yautja, who would use it as a right of passage for their young hunters who would take on some of the deadliest prey imaginable, the Xenomorph.

Trapped beneath the surface, in a twisting maze of moving tunnels and chambers, the small group of humans find themselves stuck between the two alien factions. In order to survive, the lone survivor will have to try and make a deal with one of the alien hunters.

Whilst there's nothing hugely wrong with the story of AvP, I found that the execution is what really lets the movie down. At just over an hour and a half long, it's a pretty short movie, and it really does feel like it at times. Whilst some time is given over at the start of the movie to the set up, watching the team coming together and making their way towards their destination, once the characters reach the temple the film moves at a pretty fast pace, and the result is that the story feels rushed. This is a film that could have benefited from having an extra half hour of more added to it, so that we could get some more scenes with the characters, so that the tension could be kept up once the alien monsters arrived, and so that the film doesn't end quite so abruptly as is does.

That all being said, the film isn't bad, and there are some great moments to be found here. We get to see multiple Predators on the same hunt for the first time, and of course, seeing them going up against their big rival is always a treat. Personally, I also loved seeing how the Yautja interacted with ancient cultures and came to Earth in the past, and hopefully we might get more of these kinds of stories if Prey does well.



3. Predators

The third and second place entries in this list were easily the hardest to decide, and it's very close between the two films. That being said, I think that 201's Predators falls just behind for a few reasons.

Possibly the boldest of the stories in the Predator franchise, the film takes a big risk by moving the action away from Earth for the first time. We begin by meeting a motley band of soldiers and killers that have been airdropped into a strange jungle. With no memory of how they ended up there, the group, which comprises of mercenaries, soldiers, gangsters, a death row inmate, and a doctor, learn that they're not on Earth anymore, and have instead been dumped on an alien planet.

A trio of larger, more aggressive Yautja begin hunting them through the jungle, using traps and other alien creatures to try out different tactics and scenarios against their displaced prey. Realising that they have little hope of making it back to Earth unless they can kill the deadly aliens, the group sets out to turn the tables on their captors.

In some ways it feels like Predators takes some of the best bits of the first two movies and tries to mash them together with some new ideas. We go back to a jungle setting, albeit an alien one, with a group of people that are competent fighters, and we learn some shocking new things about the Yautja in the process. The biggest change to the formula is that there is more than one hunter, with three of the new aliens pursuing the protagonists at the same time. Each of these super predators brings something different to the table, and have their own unique designs and combat styles.

The reveal that there are different factions within the Yautja, different subspecies who don't always get along and have different morals and rules around hunting is a fun reveal, and one that adds a little flavour to the species without being too big a change. The cast of characters and actors are also really good, and we've got a few cult favourites like Danny Trejo in the mix alongside legit Oscar winning actors such as Adrian Brody and Mahershala Ali. Perhaps the only real missteps in the film as the inclusion of Lawrence Fishbourne, who whilst a great actor doesn't really fit the part he was paying, and Topher Grace, who's turn into 'I'm a killer' was painfully bad.




2. Predator 2

Predator 2 is (so far) easily the best of the sequels to the original. Taking the action away from the literal jungle to the figurative urban jungle, the movie takes the titular creature and places it in a Los Angeles during a heat wave.

The film follows police lieutenant Michael Harrigan who's a bit of a rogue element, but always manages to stop the bad guys. When a violent shootout with police and two rival drug cartels is ended when a mysterious assailant enters the building and kills all of the gang members, the police think that a new player might be in town. Though when members of both gangs are targeted it becomes unclear who they might be working for.

But when a special government unit expresses interest in the case it becomes clear that there's something more going on. And when those around Harrigan start being targeted he becomes determined to stop whoever, or whatever, is behind it.

Whilst Predator 2 didn't receive many positive reviews upon its initial release, the film did soon develop a cult following, and fans began to flock round it. Some people may have been upset that the film differed greatly from the first film, but the new movie offered a lot of new and interesting developments to the franchise, and further fleshed out the Yautja. One of the biggest things the film did was to show that the alien hunters had codes and ethics. This was hinted at in the first film, when it became clear it was only hunting armed prey, but in this film this was expanded upon by showing the Yautja refusing to harm pregnant prey, even if they were armed and a threat. 

The Yautja in this film was also given a lot of personality, and rather than simply hunting people it seemed to take a personal interest in Harrigan, following him, leaving him messages, and targeting those close to him. This was the first time that the Yautja were given any kind of motivation outside of simply hunting, and is still one of the most interesting interpretations of the creature. Personally, I found this obsession it had with Harrigan to be more frightening, and made for a scarier adversary.



1. Predator

The original is still the best. Whilst there are some great entries in the series, the first film is still an unbeatable action romp filled with great set pieces, some cheesy one-liners, and some tense moments.

Following a group of special forces soldiers, Predator takes the audience deep into the South American jungle as a rescue team sets out to save a diplomatic team who've become captured by guerrilla fighters. Along with their CIA handler, the team manage to find the hostages, but fail to save them as the guerrillas have executed them all. Discovering that the entire mission was a set-up to eliminate the fighter before they can launch an attack, the team sets out to reach their rendezvous point for extraction. However, they soon discover that there's something hiding in the jungle, stalking them, and it begins to pick them off one by one.

One of the reasons why Predator works so well is that it's a complete subversion of the expected action movie tropes. We have a group of muscly men with guns who walk into the jungle, take on an armed compound, and kill everyone inside without losing any of their men. They're the action heroes. They're the good guys. So when it turns out that there's something bigger, badder, and more frightening than them in the jungle, and that nothing they can do can stop it, it flips the formula on its head. It suddenly doesn't matter how strong you are, how good your weapons are.

And this is part of why the film is very scary too. There are parts of the movie where the soldiers know that something's hunting them and they're forced to simply wait, unable to track it or find it. The tension builds as they wait for the creature to show itself once again, hoping that they'll have a chance at striking back against it. And the film knows that it's scary, and holds back on revealing too much about what's in the jungle hunting them to further keep that tension there. We simply see things through the predators eyes, or catch glimpses of its camouflaged form as it moves through the trees.

Predator takes many of the tropes and cliches of the 80's action movie genre and takes it in a new direction by adding horror into the mix. It's one of the few movies where you're not sure if the hero is going to be able to make it out alive. The final act, where Arnie is left alone to try and fight the creature is one of the best parts of the film. It's quiet and tense, and he doesn't speak through most of it, but it's up there as some of the best stuff the actor has ever done because you're so sucked in and so invested that you're on the edge of your seat.

From what I've heard from people who've been lucky enough to see Prey already it's a great movie, but it may still struggle to top the original film for the sheer creativity of it, and for being a bold, and daring film that's incredibly well made.


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Friday, 29 July 2022

Aquaman & The Flash: Voidsong #1 - Comic Review

 

Originally published on Patreon


Certain characters get teamed-up a lot in comics. Batman and Superman. Green Lantern and Green Arrow. Blue Beetle and Booster Gold. These duos are so much a part of the characters that we don't even blink at them happening now. But two characters that I'm not sure I've ever seen leading a book are Flash and Aquaman.

To be honest, there's not really any characters that really come to mind as working with Aquaman a lot other than Mera or Jackson, and the Flash certainly wouldn't be on the list of ones that I'd think of. Arthur and Barry are quite different people, and their powers set them apart further. So teaming them up feels like a bit of a gamble for sure.

Writers Jackson Lanzing and Collin Kelly have a plan to make this gamble work, however, in Aquaman & The Flash: Voidsong, which sees the two of them as the only people left when strange alien ships appear in orbit around the world.

The first issue begins by giving us some solo time with each of the heroes, giving us insight into their personal lives and their heroic deeds. They both have confrontations with their wives, and get to fight some of their more iconic villains. It's a nice parallel that shows that despite being vastly different, each man shares a lot with the other.

After arguing with his wife, and looking like a bit of a dick in the process, Flash goes out for a run to blow off steam, and heads into the speed force. Deep below the surface of the ocean, Aquaman has been drawn into a fight with Black Manta, who manages to hurt the hero, which makes him sink deep into the Mariana Trench.

When Flash comes out of the speed force he's shocked to find everyone standing around, frozen, singing this strange alien song. Deep in the ocean, Aquaman regains consciousness, and finds Black Manta frozen. Coming to the surface, he finds the Flash (who's been running around the world looking for anyone unaffected). The two of them learn that everyone on Earth has fallen under this strange alien spell, that objects have become frozen, and that huge alien ships hover sinisterly over the surface of the planet. With everyone else under this strange control, it's down to the two of them to find a way to save the day.

Aquaman & The Flash: Voidsong has a pretty inventive way of making sure that only the Flash and Aquaman are left conscious when the aliens arrive, especially with the Flash being in the speed force at the time. I'm not sure on Aquaman though, as he was apparently deep enough to not get affected by the signal, but the folks on the JLA Watchtower were. I'm guessing he must have gotten very lucky, as it feels like he should have been caught in it too.

Once the two characters meet up there's a bit of tension between them, and this is my only real criticism in the book. Arthur blames Barry initially, and even when he sees that it's nothing to do with the Flash he still butts heads with him a lot. There's a level of aggression around the character that feels a bit forced at times. These two are friends and teammates, and I'd have expected them to work together a bit more smoothly than this if I'm honest.

There's not a huge amount more that happens this issue, as this is very much setting the stage. We don't learn anything about the strange alien invaders, their technology, or why everyone's singing; but this is only the first entry in the series, so that's definitely something that will come in time.

The artwork by Vasco Georgiev looks really nice, and there are some fantastic moments, particularly when the Flash is fighting his rogues, or running around the world. My one criticism of the art is that Barry's eye holes on his mask are big enough to see his eyebrows. I guess it probably makes it easier to draw his expressions as eyebrows are used for that a lot, but it looks kind of weird seeing these blonde brows poking out all the time. 

Overall, I enjoyed Aquaman & The Flash: Voidsong and am looking forward to getting some answers to this mystery over the coming issues.


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Universal Terror: Karloff – Blu-ray Review

 

Originally published on Set The Tape


Boris Karloff is a name that many film fans will know. Even if you’ve never seen one of his films, there’s a good change that you will know of him, due in large part to his iconic performance in Frankenstein. Karloff’s version of the creature was so iconic that the green skin, flat head, and bolts in the neck that was introduced in that version would go on to become better known than the original novel’s description. Karloff not only left a mark on cinema, but on pop culture as a whole, that will probably never go away. But Boris Karloff was more than just Frankenstein, and Eureka Entertainment has presented here three films from across Karloff’s career to show off some of his other work.

The first in this trio is 1937’s Night Key. Karloff plays the elderly inventor David Mallory, whose work was stolen from him decades before by the unscrupulous businessman Stephen Ranger (Samuel S. Hinds), who used the technology as the basis for his security company. When Mallory presents Ranger with a new technology that he’s hoping to sell, he gets swindled in a new contract, whereby the technology can’t be used and Mallory is left with nothing. Wanting revenge against Ranger, Mallory teams up with small-time crook Petty Louie (Hobart Cavanaugh), and they use Mallory’s technology to break into various businesses under Ranger’s protection in order to embarrass Ranger and lose him business. However, when a local gangster learns of Mallory’s tech he wants it for his own evil ends.

Night Key is a fun and enjoyable movie, but one that doesn’t really fit with the title of Universal Terror. Less a horror film, and more of a crime comedy bordering on science fiction, it proves to be a rather entertaining tale of this elderly inventor. Having been swindled twice by the same man, he sets out to get revenge, yet never wants to cause any real harm or damage. He’s a sympathetic character throughout, and this is in large part to the way Karloff plays him. The film has some good comedic moments too, and manages to have some decent tension when the real gangsters get involved.



The second film in the collection is 1944’s The Climax. Originally conceived as a sequel to Universal’s hugely popular Phantom of the Opera, it tells the story of the Vienna Royal Theatre, and the dark deeds of their physician, Dr. Friedrich Hohner (Karloff). Right away we get a handy flashback that gives us the most important information: that ten years before Hohner was obsessed with the theatre’s prima donna, Marcellina (June Vincent), but killed her in a jealous rage. Hohner was able to cover up the crime, and secreted her body away. Now, when Hohner hears a young singer named Angella (Susanna Foster) singing it sounds exactly like Marcellina. Hohner’s obsession starts once again, and he sets his sinister, murderous sights on this young performer.

It’s easy to see how The Climax was related to Phantom of the Opera, and a few viewers will make  that connection even before finding out that there was a connection to that story. But, The Climax stands by itself as its own project, and does so surprisingly well. Karloff is perfect in the role of the sinister doctor, and many of the scenes with him in it are some of the best in the movie. The film also spends a decent amount of time with the rest of the cast, and has full musical numbers, lavish set and costume design, and character drama all separate from the main story, as we get to see the workings of this theatre house. This is the only film of the three here that’s in colour, and it really does help the bright costumes and huge sets pop on screen. It’s easy to see why it was nominated for an Academy Award for its art design.

The third and final film in the set is The Black Castle, a Gothic horror from 1953 that doesn’t actually feature much of Karloff at all. It tells the story of Sir Ronald Burton (Richard Greene), a powerful British gentleman who’s investigating the disappearance of two of his friends. Burton suspects that his friends were killed by Count Carl von Bruno (Stephen McNally), a evil Austrian lord who was driven out of Africa by Burton, his friends, and the native people. Having gone missing near Bruno’s castle, Burton takes on an alias, and heads there to investigate. Infiltrating the Count’s castle, he sets out to find proof of his friends’ murders, but begins to fall for the Count’s wife. Realising that the Count knows who he his, and that he’s in a trap, he has to find a way to save himself and the Countess before it’s too late.



Black Castle might be my favourite of the three films on offer here, and it feels like a Gothic swashbuckling horror story. There’s a large, foreboding castle, secret passages, a dungeon filled with traps and a pit of crocodiles, sword fights, and a villain with an eye-patch. It’s a bit arch, and a bit on the nose at times, but it manages to be thoroughly entertaining whilst doing it. It feels similar to a lot of the Edgar Allan Poe films of the 1940s and 50s. Karloff has a relatively small part in the film, playing the Count’s doctor; but still gives a decent performance as a man stuck in a tough position, but trying to do the right thing. The Black Castle has a lot about it to like, and is easily the one I’d most likely go back to of the three.

Each of the three films comes with a feature length commentary track, with Kevin Lyons and Jonathan Rigby providing decent behind the scenes information and extra insight into Night Key and The Climax, and Stephen Jones and Kim Newman doing so for The Black Castle. The commentaries are pretty decent, and give a good insight into the Universal films of the era, the making of the movies, the careers of the stars, and the historical impact of the movies. If you’re interested in film history, these three commentaries make for some good, informative insight.

As someone who has heard a lot about Boris Karloff over the years, but watched relatively little of his films, this set provided a great opportunity to do so, and it gave a decent sampling of the different types of roles Karloff has played over the years. So whether you’re new to his work, or a long time fan, this set makes for a good experience.


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Thursday, 28 July 2022

Moon Knight Episodes 1 & 2 - TV Review

 

Originally published on Patreon


I knew very little about Moon Knight going into this series, other than the ridiculous memes that are shared around the internet about the character. I knew he has a connection to the Egyptian gods, and the he's not the most 'normal' of people, but that was it; so once the first episode of the Moon Knight series began to unfold I found it to be a really fascinating premise.

I loved that we're dropped into the story part of the way through, and that this is not an origin story. Yes, we get an inexperienced audience vehicle in the form of Steven as out gateway into this bizarre story, but you kind of feel like you're on the back-foot a lot during this first episode. There's a big sense of mystery here, and it's a great way to draw you in.

Luckily, by the second episode we've been given a lot of the important answers. We know what Moon Knight is, we understand his reason for being and how he relates to Khonshu, and we learn why the villain of the series is targeting him. There are still a few things left unanswered, such as why or how Mark and Steven are two personalities in the same body; but it does seem like the show isn't playing it too tight with answers, and that we'll find these out at some point too.

Oscar Isaac is very good, in both of his roles. We don't get much of Mark, but he seems to be the competent action type of role that we've seen Isaac in before. His most impressive acting comes in the form of Steven, however. This perpetually tired, confused, and kind of sad man who's just trying to get through life, who suddenly finds everything he thinks he knows thrown completely on its head. He sells it really well, and this is very much a story where casting the lead would make or break the series. 

When the series first started and it became clear that we were following a personality that was not the competent hero I was a bit worried, I didn't know how well that would work across multiple episodes. But even before the first episode had ended I found myself really liking Steven. He was fun to spend time with, and had a lovely charm to him. I hope as the series progresses we don't lose him to the more competent and cold Mark.

Ethan Hawke was really good in the role of series villain Arthur Harrow, and makes for one of the more interesting antagonists yet. A former avatar for Khonshu, he's found a different approach to fighting injustice and whole-heatedly believes he's doing the right thing. The whole argument of whether or not it's right to condemn someone for something they haven't even done yet is an interesting one.

On one hand Harrow has a point, that by stopping someone after they've committed a crime doesn't do much, you can't bring back a murder victim after all; but, to condemn someone for something they could do decades in the future is also a terrible thing. If this remains to be the main 'villain' of the series, this slightly different stances on the same subject, I think that this has the potential to be one of the more interesting and grown-up stories in the MCU.

Overall, I really enjoyed the first two episodes of Moon Knight and think that the show has a lot of promise. Here's hoping it continues on like this. 


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The Road to Prey - Predator: Concrete Jungle

 


Predator: Concrete Jungle is a third-person action game that puts you in the shoes of the Yautja hunter ‘Scarface’ on his mission for redemption. Beginning in the 1930’s, the Yautja hunter stalks and kills mobsters across New Way City. When the hunt goes wrong, leaving the hunter badly scarred, and some of his technology in human hands, he’s exiled by the rest of his clan. However, 100 years later, his clan give him the chance to redeem himself as he returns to Earth to retrieve his technology.

The story of Predator: Concrete Jungle is fairly basic, and is easily one of the strongest aspects of the experience. It uses some of the established lore from the Predator books and comics and delves into the idea of the hunters honour system as it’s core plot. Sadly, this is probably the highlight of the game, as the actual game-play and level design lets the whole experience down.

The game progression is mission based, with 27 in total, each of them having multiple objective which you will need to accomplish. The mission objectives for each level aren’t always the clearest either, with you having to go into the menu in order to find out what you need to do. Added to that, they sometimes feel quite disjointed and make little sense within the context of the universe. For example, in the middle of your quest to undo your past mistakes you have to interrupt a mugging, then take refuge in a church. Why? Well, the game never really explains why.


The game also doesn’t move from one mission to the next, instead returning you to the main menu after finishing one, making you select the next mission rather than just taking you to it. Scarface is fairly well equipped during the game, armed with a variety of combat spears, explosives, plasma caster, vision modes, and stealth camouflage.

Whilst you do have the iconic stealth camouflage the game’s stealth mechanics are not the best, sometimes you will be hidden, yet other times the enemy will suddenly be able to see you, with little warning that this is happening. There seems to be no clear rule as to when you are and aren’t visible, and coupled with some unexpected difficulty spikes leads to a game that can often be unforgiving. Poor camera controls and a lack of mission checkpoints, meaning that if you fail you have to replay the entire level again, round out a game that should have been good on paper, but thanks to some poor mechanics lets the whole experience down.

Predator: Concrete Jungle is a great concept, and the story itself is fairly good, but you have to work your way through a lot of difficult and poor game-play in order to experience it.


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Wednesday, 27 July 2022

The Raiders of Bloodwood: A Descent Legends of the Dark Novel by Davide Mana - Book Review

 


'A handful of heroes stand between a monstrous horde and the destruction of the mystical heart of Terrinoth, in this nonstop fantasy novel from the world of Descent: Legends of the Dark 

'The invasion of Terrinoth has begun. Brutal Uthuk Y’llan hordes swarm across the land, ravaging everything in their path. A great champion has arisen in the Darklands: Beastmaster Th’Uk Tar, bent on destroying the wild and mystical Bloodwood as his first step in conquering the great forests of the Aymhelin and annihilating the elves who call it home. If the Amyhelin burns, so will Terrinoth. Trapped between his army and the forest are a misfit band of elven, orcish, catfolk, and human refugees. To repel the murderous Beastmaster, they must overcome their differences, embrace their skills, and learn the secrets of the Bloodwood. They are the realm’s only hope.'

Before reading this novel my only experience with Descent Legends of the Dark was the recently released Zachareth book. I was given a taste of this fantasy world, and the kinds of people and creatures that inhabited it, but The Raiders of Bloodwood really expanded that into new, exciting directions as Davide Mana introduced a lot of new things.

The story begins as all dire fantasy stories do, with the forces of darkness having risen to threaten the world. In this case, it's in the form of the vicious Uthuk Y'llan, a horde of monstrous people who have begun to slaughter their way cross the land of Terrinoth. Many have been killed, and those that want to survive have had to flee their homes and lives in order to escape the oncoming threat.

We meet our main group of 'heroes' as part of a refugee caravan, trying to reach what they hope will be the safety of a walled city before the Uthuk Y'llan can catch up with them. The half catfolk, Brixida, is fleeing the home she's been working in as a governess for a rich family, travelling with the family and their closest servants in their carriage. One of these servants is the elderly human scholar Arnost Emery, the children's teacher. The two of them get on well enough, but it's in seeing the casual cruelty of their employers when the carriage breaks own and they abandon them, that really brings the two of them together.

Left on the side of the road, Brix and Emery end up befriending Grimald of Guyot, a merchant forced to pack up what he could salvage from his shop into a small cart. Travelling together along the road, the three of them hep to defend each other when the caravan comes under attack from a group of Uthuk Y'llan raiders. Luckily, they receive some aid in the form of a militiaman orc named Tharadax Tanner, and a mysterious elven ranger called Laurel. After the attack is repelled the survivors agree to continue on along the road to what they hope will be safety; but not everyone thinks its a good idea. Brix, Emery, Grim, and Tanner, decide to go with Lauurel, who's heading to the elven controlled Bloodwood. But little to they know that a vicious Uthuk Y'llan warlord and his small army are heading the same way, and that this small, motley band of survivors will find themselves all that stands between him and total destruction.

The Raiders of Bloodwood is a story that doesn't feel like your normal tale about a group of heroes fighting to stop some kind of apocalypse. The group of heroes for this story aren't warriors for the most part. One of them is a highly trained warrior, yes, but the others are fairly normal people. They have a smattering of training in their pasts, or sometimes none at all, and have simply found themselves thrown into this situation beyond their control. And this makes for a really engaging story. These aren't big, heroic archetypes, they're tired old men, and young women grappling with the pressures her parents put on her. Before this they had normal jobs, and worried about getting their next meal.

The central group of The Raiders of Bloodwood are a lovely bunch though, and the fact that they're mostly just normal people makes their interactions and their journey the real highlight of the story. The small moments when they're travelling together, telling stories around the campfire at night, or helping each other down a steep hill without falling down, make for some of the best moments. Mana gives you a chance to get to know them, to see them as regular people so that you come to like them and care about them; and so that you begin to worry about them when their lives come into danger.

And there is a lot of danger in this book. There's a constant looming threat hanging over our heroes the entire book, and you never really feel that they're safe. There are a few times where you think that they've reached a place that should be safe, where the horde have already been, or where you believe they couldn't possibly reach, so you begin to let your guard down; but these are the moments when it's its most dangerous. When the characters begin to let their guard down is when the worst happens, and they end up fighting for their lives. Mana does a fantastic job at never letting you feel like you can take it easy, or expect safety, but never lets it feel too oppressive or tense.

When things do go badly though, our heroes have to take up arms and defend themselves; and the action scenes are very well done. The descriptions of what's happening are always clear and precise, allowing you to keep track of where everyone is and what's happening. And there are a fair few moments where you find yourself holding your breath for a moment because you become so sucked in to what's happening that you're on the edge of your seat.

The Raiders of Bloodwood has a lot in it to enjoy. Whether you're looking for big, epic fantasy action, scary monsters, awe inspiring sight, or fun, character driven moments, they're all here in spades. It's a book that has a lot of offer, and that can be picked up and enjoyed by someone completely new to the franchise, or a long time fan.


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Tuesday, 26 July 2022

Nightwing #93 - Comic Review

 

Originally published on Patreon


My god, Nightwing might be one of my favourite comic series ever. This book is so consistently, ridiculously good every month. I need more of it!

This issue picks up where the last left off, with Heartless having attacked Blockbuster's offices. Rather than fighting the villain, however, Heartless makes the criminal businessman an offer. He wants to buy out his stake in Bludhaven. Unfortunately for him, Blockbuster isn't ready to quit this city yet.

The fight that ensues between the two of them is great, and really sells Blockbuster as a figure not to underestimate in a fight. So far this series we've seen him prove to be an effect villain behind the scenes, but I think this might be the first time we've seen him get physical; and it's very impressive. I think it's an easy comparison to say he's the DC version of Kingpin, but I don't think that's entirely inaccurate either. He's huge, powerful, and can either crush you physically, or with his power and influence. 

Elsewhere in the issue Dick is trying to remove the graffiti that was put on Alfred's statue in Haven last issue, and gets attacked by some crooked cops. This gives us a nice bit of a chase, where we get to see Dick don an awesome Nightwing leather jacket that I absolutely need. 

Following this, it seems like the police, who are in Blockbusters pocket, are stepping up their harassment of Haven, having their officers harass anyone there in the guise of 'protection'. Part of the set-up is the Police Commissioner turning up and giving an impromptu press conference, where he tries to use the unrest in Haven as an excuse for shutting it down, even blaming those Dick is helping as 'biting the hand that feeds them'.

Thankfully, Dick has Barbara and Haley on hand to fuck up this mans day, as they upload footage of the criminals who vandalised Haven; several off-duty police officers. The press conference ends up with the Commissioner having to defend himself from accusations of police corruption, and Dick walking away with a smile on his face.

Honestly, having Dick win not by throwing punches or doing any heroics, but by revealing a corrupt police force in a public and highly embarrassing way like this was one of the most fulfilling moments I've ever read in comics. Cops are corrupt and evil as a whole. and seeing them get the punishment they deserve, even if only in a fictional setting like this is just sublime. The fact that Haley got to release the footage with a tiny 'boop' of the keyboard was the cherry on this exquisite cake.

The artwork on this series, by Bruno Redondo, is just lovely. Everything is neat and clean and clear. You're never lost, or left wondering what' going on. There are tons of detail and things to look out for. It's a genuine pleasure to pick this book up and just stare at the artwork every month.

This is a series that is doing so well, and Tom Taylor is a huge part of that success. This book, along with his Superman: Son of Kal-El are some of the best books that DC has put out in years; and should be read by everyone.


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Hooked by A.C. Wise – Book Review

 

Originally published on Set The Tape


Hooked is the new sequel novel to last year’s Wendy, Darling, which told the tale of an adult Wendy Darling and her life after Neverland, and what happened when Peter Pan kidnaps her daughter. Now we catch up with infamous pirate Captain James Hook, who managed to escape the clutches of Neverland decades before.

Hooked tells the story of James Hook, the man who fought against Peter Pan for decades in the mystical world of Neverland. Whilst other stories would have you believe that Hook was nothing but a villain, this story takes a different approach. We discovered in the first book in this series that Pan was more than simply a boy who couldn’t grow up, and was in fact a monster himself; and here we discover more of his monstrous acts as we meet an older James Hook living in 1930’s London.

Hook is an old, broken man. He walks with a limp, using a cane to get around, his missing hand has been replaced by a wooden prosthesis (his famous hook long since gone), and he scrapes by where he can, living in poor conditions and fighting the nightmares of his past with opium. He has escaped from Neverland, but Neverland hasn’t let him live in peace since. He’s a man with too many ghosts in his closet, too much pain to carry on his own. He’s not the monster that Pan made him out to be, but another victim of the real monster behind Neverland.

When something terrible escapes from Neverland and starts stalking Hook, the bodies begin to mount up across London, including the roommate of Jane, Wendy’s daughter. It appears that anyone who has been to Neverland may be being stalked by this monster, and only by working together can they hope to find a solution. Now, Wendy and her daughter have to put their misgivings aside and work with the infamous Hook in order to survive.

I really enjoyed Wendy, Darling, and thought that its dive into what happened to the character after leaving Neverland was interesting and at times heartbreaking, and as such, I was intrigued to see that same treatment be given the Captain Hook. And it very much does feel like a similar treatment, as this book follows some similar patterns and themes as the previous novel in the series.

The book begins by introducing us to our protagonist after they have left Neverland, showing us the life that they’ve managed to build for themselves. We get flashbacks to previous times in their life, showing both their time in Neverland, and their past after leaving before this point in time. The two characters who get this focus across the two books, Wendy and Hook, go through some ordeals after leaving Neverland. Wendy was locked in a mental asylum, Hook goes through drug withdrawal and addiction. Both of them have a queer romance in their lives. Both of them struggle to get over their time in Neverland. And both of them end up facing the prospect of returning in order to face their past.

I’m not entirely sure if I like this repeat of the formula or not. There are aspects to Hook’s story that I really like, particularly his romance with the man who helped him escape Neverland, but it does feel as if A.C. Wise is following a similar story pattern even if the details have been altered. And whilst that’s fine for the first half of the book because we’re getting to spend time with Hook and get to know him better, by the latter half of the novel it felt like too similar a retread. Some slight spoilers, but when the characters end up going to Neverland the quality really seemed to drop for me. I was really enjoying seeing this small group having to work on this strange, magical problem in the real world, but going back to Neverland to beat the villain felt like a retread of the first book in a less entertaining way.

That being said, there are things that I enjoyed about the book. It was nice to catch up with Wendy and Jane again almost a decade after the last book, getting to see how things had changed for them over the years. Jane had clearly been affected by her experience, and grown into a headstrong and independent woman, and seeing how the events of the previous book had shaped her was a nice touch. Though there is one character that was an important part of Wendy’s life who seems to have disappeared with no mention here, that I was sightly disappointed in.

There’s some good queer representation here, like with the first book. James Hook has a same sex romantic relationship before the events of this book, and is clearly still deeply in love with the man years later. Considering that Hook was more than a hundred years old, thanks to his time in Neverland, and that he was living in the 1930s once he escaped, it’s a pleasant surprise to see gay romance in a book set in that period. With queer romance often being removed from historic tales, it’s wonderful to see this series embracing these stories and putting them at the forefront.

A.C. Wise has delivered a decent sequel to the last novel, but one that falls a bit short of being quite as enjoyable. Thanks to an ending that I felt dropped in quality and became quite repetitive of the first book, Hooked ended up feeling like two very different stories combined together, and not always with the best results.


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Monday, 25 July 2022

Black Adam #1 - Comic Review

 

Originally published on Patreon


I was really looking forward to this book. I've been a fan of Black Adam since he was a part of the Justice Society run written by Geoff Johns, and have enjoyed the character across multiple books for years. As such, him getting his own limited series is something that had me excited. Unfortunately, this first issue left a poor taste in my mouth.

The book opens with Adam in his mortal form sitting in a meeting with the US government, answering questions. And it doesn't take many panels for things to feel a bit iffy, as we're bombarded by tech speak and acronyms galore so that we're left lost as to what's happening. But, perhaps this is a deliberate choice, telling us that Adam himself isn't really following what's happening.

The meeting is inter-cut with flashbacks to Adam fighting Darkseid, and killing him. It's them revealed that it was some sort of construct created by Desaad, and that it has infected Adam with some kind of deadly necrosis and burns. Back in the meeting, Adam eventually gets tired and just walks out. 

The action then cuts to a body of a Kanhdaki man in Washinton, who it's revealed was the head of the rival political movement against Adam. hiss death could look bad for Adam, so he has his people find out his last movements, which leads Adam to meet Malik Adam White, a junior doctor who is one of the most insufferable people around. 

His initial introduction is quite good, breaking the news to a white supremacist that his life is being saved by a Black man, but he quickly turns into someone who's constantly quoting movie lines, making bad jokes, and ending sentences halfway through and jumping onto completely unconnected points. Half of his dialogue felt broken and disjointed, and completely off-putting. He came across like a film where the audio track was having issues and kept jumping around and jumbling everything. That, coupled with him seemingly trying to pressure his best friend into being a sexual partner despite her telling him no repeatedly ended up with me hating him by the end of the issue.

And here's the big problem, he's the guy this book looks to be centring around, as Black Adam is dying, and he plans to pass his powers on to Malik because he's a descendant of his. Great.

This story isn't necessarily bad, and sounds interesting, but the execution of pretty much everything in this first issue put me off. I hated the dialogue because it was either technobabble, half sentences, or bad one-liners. The character of Adam felt like it was someone else, and not the Black Adam I'd come to know. The new character of Malik was just terrible. Unless there's a drastic shift next issue this is going to end up being a painful twelve issues to read.

The artwork, provided by Rafa Sandoval looks decent, and the action scenes are very well drawn. Adam looks great here, and you can see the pain and stress he's under whilst fighting the fake Darkseid, and can see the toll its taking on him. But, decent artwork can't save a series if the writing just isn't there; and I don't think Christopher Priest did anywhere near a good enough job.

Maybe I'm judging too harshly, and I'm hoping this is a first issue jitters and that things will improve. If they don't, though, I'm not sure how I'm going to make it through another eleven of these.


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