Come Find Me: An Autumnal Offering - Graphic Novel Review

LINK- How to be Perfect: The Correct Answer to Every Moral Question by Mike Schur- Book Review

LINK- The Good Place and Philosophy- Book Review

LINK- Utopia for Realists- Book Review

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK- ‘Natives: Race and Class in the Ruins of Empire’ LINK: Elden Ring- Videogames As Art

The Art of Castlevania: Lords of Shadow - Book Review

January 17, 2025

Whilst scanning the sale section at Forbidden Planet, London, I picked up the Castlevania: Lords of Shadow Art Book by Martin Robinson for £4.99. The book usually cost £30 so it was a heck of a discount, but was it worth it even at this low, low price?

The Castlevania videogame series has always been a bit of a sumptious visual feast, and this stunning art book delves deep into the Lords of Shadow trilogy's artistic soul. I played and completed the original LoS, played a little of LoS 2 but fell off after the whole 'you're a rat' insta-kill stealth section early on but I never got around to the handheld offering Mirrors of Fate on the 3DS as I never owned the system. Whatever the case though, the sheer artistry of the game from MercurySteam was clear from that first game this art book highlights the intricate details and the sheer imagination that went into their creation.

Art Directors Juan Antonio Alcazar Redondo, Jose Luis Vaello Bertol and Rafael Jimenez Rodriguez show and explain how they masterfully created the gothic mood in the settings, captured the grotesque beauty of the creatures, and personified the cursed legacy of the intricately designed Belmont clan.

The heavy stock pages are filled with high resolution printings of the gorgeous concept art and sketches that show the evolution of the design to the final game. The commentary included beside the artwork provides invaluable insights into the developers' minds. We learn about the influences that shaped the game's art style, from classic horror films to gothic literature as the developers openly discuss their design choices, explaining the reasoning behind specific monster behaviors and the challenges they faced in bringing these creatures to life. The influences of Guillermo Del Toro, Goya, Spanish architecture and the Spanish light are freely explained.

One particularly interesting aspect is the acknowledgment of the intentional homages to games like Shadow of the Colossus. The book clarifies that the similarities in certain boss encounters were not accidental but rather a conscious effort to pay tribute to a game that had a profound impact on the development team.

With crisp, full-page spreads showcasing the artwork, this book is a must-have for any Castlevania fan. It's a visual treat that offers a deeper appreciation for the artistry that has made the series so iconic.

LINK- The Midnight Library and the Idea That You Can’t Go Home Again

LINK- Mysterious Cities of Gold Season 3 (English Dub) - Complete Series Review

LINK- Manga Exhibition at the British Museum

LINK- The Golden Voyage of Sinbad- Cult Movie Review

LINK- The Transportive Nature of Objects (And the Power of Mini Consoles)

LINK- My One True Gaming Constant in Life- Nintendo

Century Falls- Cult TV Series Review

January 13, 2025

I go through weird flights of fancy as I fall down rabbit holes of interests but this might be me at my most niche: children television shows from the early 90s written by Russell T. Davies. Davies is a name synonymous with modern British television as he is known for his amazing work on shows like Doctor Who and Queer as Folk. However, before he conquered the small screen, he crafted a series of intriguing children's programs, one of which is the lesser-known gem, Century Falls.

Century Falls is pretty creepy, especially for a ‘kids show’.

I fell down this particular wormhole after I'd discovered Dark Season, a 6 part 1991 kids show that looked at the strange sci-fi tinged adventures of a trio of teens in a secondary school. Reading the comments, I saw some people speak of Davies' other spooky kids show called Century Falls, so I thought I'd give that a go.

The 6 part series tells the story of a pregnant mother and her teen daughter, Tess, who move to the quiet village of Century Falls. They find it to be a very strange place indeed as there seems to be a sadness which seems to be linked to a religious ceremony that went wrong 40 years prior. It seems that a curse on the place has meant that no children have been born since that time.

As Tess gets to know the two other visiting children in the village (Ben and Carey) she finds that Ben has special powers which are linked to the eponymous waterfalls nearby. But why are the children all here at the same time and for what purpose? Is it fated or chance? That is the central conceit of this mystery/ folk tale.

The story is intriguing and, whilst I did not recognise any of the cast, all very earnestly and pretty consistently acted. It has that folk tale premise of an isolated community, pagan rituals, and the unsettling presence of the supernatural. The village of Century Falls itself seems to be a character, with its own history and secrets. This adds an extra layer of depth and intrigue to the story.

It's all very engaging stuff and, in places, quite spooky like when the gathering (seance) happens in the second episode. 5:10pm on the BBC might be a bit spicy for this Wicker Man style mystery... Lucky, no-one is sacrificed for a good harvest in a burning effigy but there is an intriguing golden masked figure who seems to have evil intentions upon the world who appears in a temple of fire.

Davies has similar thematic grounding in Dark Season and Century Falls as both deal with encountering the unknown, teenage angst, coming of age and challenging authority and systems of power.

Overall, I liked both series but preferred Dark Seasons more as the script was lighter and more relatable. However, for the curious Century Falls is a show well worth checking out.

LINK- Dark Season Cult TV Series Review

LINK- Children of the Stones: Cult TV Series Review

For the Love of Niche Videogame Magazines

January 8, 2025

The videogame magazine sector has been having a torrid time of it for quite a while now. Back in the 90s and early 00s, the racks were stacked (oi, none of that giggling at the back, we're British!) with mags but with the rise of the internet and access to free information, as well as the recent rising costs of paper and energy, it has been the death knell for many a publication. I still buy my monthly issues of Edge and Retro Gamer without fail but have noticed a severe reduction in the amount of magazines out there.

However, something heartening has happened in recent years; there has been a huge resurgence in the fanzine and bespoke small-press videogame journalism publishing. Niche publishers have been able to create a business for themselves by selling directly to their consumer or by being able to more easily reach their audience through targeted marketing online. It's been wonderful to see the phoenix-like return of the gaming zine scene as these independent publications offer a unique and often passionate perspective on gaming culture, often platforming diverse voices, exploring niche genres, indie games, and allowing for more personal experiences in a way that larger publications have not.

This trend is particularly interesting because it highlights the growing importance of community and shared experiences in the gaming world. Years ago, the only website (and subsequent book) was The Offworld by Leigh Alexander and I loved that. Publications like these can foster a sense of belonging and intimacy among like-minded individuals, creating spaces for discussion, debate, and celebration of all things gaming. There have been two high quality coffee table videogame magazines that have come out recently whixh I have bought and appreciated.

A Profound Waste of Time is a premium videogame magazine which features a who's who of writing talent from across gaming journalism including Simon Parkin, Matthew Castle, Matt Leone and Kat Bailey. These stalwarts of the industry were given a chance to write about whatever they wanted, which is a real boon as we see the fruits of intelligent journalists writing about topics they really care about rather than SEO diktats and clout chasing posts demanded from above.

The presentation of the essays is beautiful with stunning art styles and layouts reflecting the personality of the content. It is clearly a labour of love with an eye on aesthetics.

There are a few standout essays including:
- Simon Parkin speaking to Fumito Ueda about his work on Ico, Shadow of the Colossus and The Last Guardian,
- Ben Bertoli's deep dive into the The Life and Minds of Tim Schafer,
- Xalavier Nelson Jrs comic strip Never Again which looks at game creation, and
- Kat Bailey's Rieko Kodama Loved the World article which looks at Kodama's influence at Sega.

ON, another premium coffee table magazine about videogame culture, is designed and co-edited by former Edge Art Editor Andrew Hind. Not only is it sumptuous to look at but it also contains many wonderful articles including:
- Jen Simpkins' article on playing dress up which looks at the popularity of fashion games (including Barbie Fashion Designer which sold over a million copies and was put into the Videogame Hall of Fame in 2023),
- Youssef Cole's thoughtful piece on Life, Death and Cyberpunk 2077, and
- Nathan Brown's article on the Meditative Joys of Run-based Games.

Publishing is evolving and, while I believe it cannot beat the experience of browsing a well-stocked bricks and mortar store, I appreciate that all tastes can be catered for within this brave new world. It's a brave new world and I appreciate that good long-form writing still exists in some form.

LINK- The Midnight Library and the Idea That You Can’t Go Home Again

LINK- Manga Exhibition at the British Museum

LINK- The Transportive Nature of Objects (And the Power of Mini Consoles)

LINK- My One True Gaming Constant in Life- Nintendo

Parasite Eve- Cult Film Review

January 5, 2025

Back in the mid to late 90s, I heard the hype surrounding a survival horror RPG game called Parasite Eve which was out on the PlayStation. I knew of the game as it was reviewed in various game magazines and the horror story angle from Hiranobu Sakaguchi, creator of the Final Fantasy series, had me intrigued. I never got a chance to play it as there was never a UK release due to rights reasons but weirdly enough did play the two sequels, Parasite Eve 2 and The Third Birthday which did get a release in these territories.

It's always been a regret that I never experienced the first game at the time and, whilst there are ways various to play the English translation now, I think it might be a tough hang to go back to it now, what with its tank controls and old skool pacing. That didn't stop me from buying a Japanese copy from Akihabara when I went to Japan in 2013 though- I just wanted a copy in any form!

Earlier this year, I decided to give the book a try, as the game references events that happened in the acclaimed book by author Hideaki Sena. I liked the book but found that it was a bloated, slow and methodical read until the thrilling final third. I knew that there was a film out and decided to give it a watch... maybe it would be a pacier affair.

The 90s were an extraordinarily successful time for Japanese pop culture in the West as manga and anime broke into the mainstream and Japanese horror and psychological thrillers worked their way into Hollywood with remakes of Dark Water, The Ring, The Grudge etc all proving quite successful.

Parasite Eve was a 1994 production but was not a part of this Hollywood remake boom- I decided to watch it out of curiosity and see why it wasn't remade.

The plot of the film concerns Toshiaki Nagishima, a biology and pharmaceutical researcher and his wife, Kiyomi. When she wraps her car around a telephone pole after having a weirdly prescient dream, she is declared 'brain dead' but Nagishima can't let her go. He donates his wife's kidney to a young girl, Mariko, but keeps the liver to carry out his groundbreaking research on mitochondria. What follows is a tale of body possession as the ever evolving sentient mitochondria takes control of the new hosts body and seeks to become the dominant biological entity on Earth by reproducing and creating a child.

Compared to the novel, the film moves at a much brisker pace and doesn't get too bogged down on exposatory detail; it follow the main story beats of the book but offers focus and brevity to get the main themes of the story across. This is either a positive or negative, depending upon your personal taste.

The direction by Masayuki Ochiai and cinematography by Kozo Shibasaki is spot on; I particularly enjoyed the dolly zoom used as the mitochondria announces it's arrival by giving a dictatorial speech via a poor scientist to a shocked auditorium.

The music is by the legendary Joe Hisaishi and adds much atmosphere to an already handsome and well shot production. The scenes of scientific pottering around looked authentic enough but I studied Anthropology at university so what do I know? The detailed scenes featuring the extraction of the organs and the transplant are quite graphic, not gore porn graphic, but realistic looking enough that it may not be for the squeamish. It didn't bother me and made the whole thing seem quite believable, except the whole sentient mitochondria bit, obviously!

Now, the CGI effects are pretty poor but I'm sure at the time, and with the television film budget this probably had, it would have looked fine - they're not Reboot bad and they've aged better then that infamous Scorpion King uncanny valley CGI but they are rudimentary at best.

Overall, the film covers the same story beats of the book but weirdly enough I prefer the book as it is more scientific based and is a darker take than the film. I get that they couldn't show a young teen girl getting inseminated by mitochondria as that would be problematic but what we have here is very PG compared to the horror 15 rating that I guess the book would be.

LINK- Parasite Eve Book Review

LINK- Pure Invention: How Japan's Pop Culture Conquered the World- Book Review (and Personal Reflections)

LINK- Children of the Stones: Cult TV Series Review

Red Riding Hood in Armchair Theatre- Cult TV Review

January 2, 2025

I do love an anthology series as you are never too far away from a new world and new ideas. By it's very nature, some episodes of an anthology series will stick with you more than others but that's the nature of the beast. I was born in 1981 so had never heard of Armchair Theatre, a series that ran from 1956 to 1974, but had heard that there were a few episodes that were still fondly remembered by those who had seen them. One of these was Red Riding Hood, written by John Peacock, which takes the old Grimm fairytale into a modern setting.

The tale is of Grace, played with wide eyes innocence by Rita Tushingham, who is a put upon librarian. She lives and cares for her elderly annoying father and travels to see her entitled ungrateful grandmother who lives further away. She dreams of escaping the financial pressures of her life and the rut that she finds herself in.

When Keith Barron, the killer/ wolf of this story, moves into Grace's nan's house after killing her, he has designs upon Grace. They bond over their love of books and their dreams of travel when he informs her that his nan has gone away to see family for a fortnight. Grace and the wolf connect and bond over the two weeks but her mental health starts to deteriorate as she reconcile the fact that this freedom and affection is built on the back of her nan's death and her father slowly dying from starvation.

I really quite enjoyed this 50 minute episode. The neat conceit shows that Riding Hood isn't a poor victim but actually a young who wanted to be free from the impositions put upon her by society. Even after finding out about her nan's murder she willingly decides to escape reality with the wolf, even if for a while. The denouement of Grace's fragile mental state and guilt over what may have been real or imagined overwhelms her she suffers a break whilst in the childrens' section if th library.

Overall, I really enjoyed this episode and commend the acting and barebones set design. It shows that with very little budget but a neat idea you can look at the familiar through a slight wonky lens and end up with something quite unique. Fairy tales were always cautionary tales that taught us lessons and morals to keep to the status quo and in this poor Grace tries to buck that but pays the price. This is a fascinating time capsule of 1970s fashion, gender politics and subversion of societal expectations. Women were wanting more autonomy and unfortunately much of society wasn't ready.

LINK- Dead of Night: Cult TV Review

LINK- Children of the Stones: Cult TV Series Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

Parasite Eve- Book Review

December 30, 2024

It's always been a regret that I never experienced the first game at the time and, whilst there are ways various to play the English translation now, I think it might be a tough hang to go back to it now, what with its tank controls and old skool pacing. That didn't stop me from buying a Japanese copy from Akihabara when I went to Japan in 2013 though- I just wanted a copy in any form!

So, all these years later, I've decided to give the book a try, as the game references events that happened in the acclaimed book by author Hideaki Sena. This 1995 horror story has many sci-fi elements in it and on release it won lots of plaudits and garnered critical acclaim. The 90s were an extraordinarily successful time for Japanese pop culture in the West as manga and anime broke into the mainstream and Japanese horror and psychological thrillers worked their way into Hollywood with remakes of Dark Water, The Ring, The Grudge etc all proving quite successful. Parasite Eve was a part of this wave but we had to wait until 2005 to get an English translation of the Parasite Eve novel- there has never a Hollywood movie however. Acquiring a physical copy of the book is expensive, often a few hundred pounds for a paperback, so I bought it on Kindle for £7.99. So, has it been worth the wait?

The story concerns Toshiaki Nagishima, a biology and pharmaceutical researcher and his wife, Kiyomi. When she wraps her car around a telephone pole after having a weirdly prescient dream, she is declared 'brain dead' but Nagishima can't let her go. He donates his wife's kidney to a young girl, Mariko, but keeps the liver to carry out his groundbreaking research on mitochondria. What follows is a tale of body possession as the ever evolving sentient mitochondria takes control of the new hosts body and seeks to become the dominant biological entity on Earth by reproducing and creating a child.

The first 2/3rds of the story is pretty straightforward with lots of medical and pharmaceutical technobable which talked about the beauracracy and systems in place when designating kidney transplantation. It's not so much flavour more than minutaia explaining the process in LOTS of detail, which have been painstakingly researched (as supported by the extensive bibliography).

Interspersed within this we get the stories of Toshiaki and Kiyomi, their childhoods and then their meeting at college and falling in love. However, the pace of the story sags here as whole chapters are dedicated to the scientific process without much else happening. Also, the burgeoning relationship between the pair felt dry as Toshiaki comes across as a boring nerd who fixate on mitochondria to the nth degree. He's not a likable protagonist either. I felt that a lot could have been cut from the first 200 pages without any adverse effect on the story. A short novella rather than the 300 page book is what was required here as the final third is actually very exciting and picks up somewhat as it goes hard into Lynchian weirdness and Chronenbergian body horror. It gets a bit gross and gruesome towards the final act but that is where the excitement is.

Overall, the book is a slow and languid read until the thrilling final third. I can't recommend the book though as it is great payoff from a very slow start.

LINK- Ico and SOTC: Reflections of a Gaming Life

LINK- Shadow of the Colossus (Boss Key): Book Review

LINK- Children of the Stones: Cult TV Series Review

Viy - Cult Film Review

December 27, 2024

I like to look out for quirky, strange, or cult films, as I find that there are often many fascinating ideas or unique themes that many mainstream films do not typically address or explore in depth; these unconventional movies can lead to intriguing conversations and allow for a deeper understanding of different perspectives within the realm of cinema. And so it was whilst looking through folk horror film lists that I first heard of the 1967 film Viy- a landmark of Soviet cinema apparently. With that kind of provenance it'd be rude not to watch it, so with the wood stove crackling away on a dark, cold and windy winter's night, I partook in this film.

Konstantin Yershov and Georgi Kropachyov created this chilling adaptation of Nikolai Gogol's short story, transporting viewers to 17th-century Kiev, Ukraine. The film follows Khoma Brut, a young seminary student (someone who studies scripture, theology and philosophy) who is more interested in revelry than piety, as he is tasked with performing a three-night vigil over the corpse of a suspected witch. This seemingly simple duty soon unravels into a terrifying ordeal that tests the boundaries between the living and the supernatural as he prays over the corpse of a woman who tried to seduce him in her crone form on one of his debauched nights. Over the course of the three nights, the test becomes sterner and the danger greater but will Khoma make it?

This visually arresting film, directed by Alexander Ptushko, delves into profound themes of temptation, sin, and the power of the supernatural and serves as a cautionary tale, reminding viewers of the dangers of straying from their faith and the importance of resisting worldly temptations.

Looking at the film now, with no nostalgia for it at all, I can say that I thought the story reminded me of Jim Henson’s The Storyteller series which also presented many European tales with a dark edge to them. Also, the section where the young men, freed from the seminary, go forth but get lost in the woods reminds me of Rudyard Kipling's The Way Through the Woods- another deceptively simple but incredibly creepy premise.

The film sets themselves are beautiful with vibrant colours and costumes that are lush and detailed. It looks like an expensive production and this lavishness extends to the special effects, which may look laughable now but at the time, and with I’d imagine a tight budget, were impressive. The film has little dialogue so the Russian vocal track shouldn’t detract non-Russian speakers as the visuals and simple story can be enjoyed by all. The actors, Khoma (wonderfully played with drunken indifference by Leonid Kuravlev) and young Pannochka (played by the beautifully feral Natalya Varley) are excellent in their role and are earnest in their portrayal of the respective characters. The soundtrack, by Karen Khachaturian, is wonderfully eerie in places and cheerful with the daytime countryside scenes or the rare moments of levity.

After nearly 60 years, I can see why Viy continues to captivate audiences with its chilling atmosphere and unforgettable imagery. It stands as a testament to the power of storytelling and the enduring appeal of classic horror.

LINK- Dead of Night: Cult TV Review

LINK- Children of the Stones: Cult TV Series Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

Dark Season- Cult TV Series Review

December 22, 2024

Dark Season is a 6 part series that aired in 1991 on the BBC but I never saw it at the time, only finding it recently whilst falling down the YouTube rabbit hole of weird British children's programmes from the 70s to 90s.

The show is about a trio of teenagers in a secondary school who understand something strange is going on within their school. In the first three episodes, the story arc is about an apparent philanthropist who donates computers for each pupil. So far so sweet, but when an EMP wave hits the school the kids get together to thwart a plan to take control of their minds.

In the second three episodes, an apparent archaeological dig on school grounds unearth a tomb of the Behemoth, a monster of lore. Ms. Pendragon and her blonde haired blue eyed crew of Neo-Nazis seek to revive the creature and create a New World Order. But, is the monster real and what are its abilities?

Dark Season is an very watchable series with a strange mix of inspirations: from the Dr. Whoesque opening credit scene, the Lovecraftian plot and a surreal sense of quirkiness in the vein of The Prisoner or Scooby Doo- Dark Season is quite creepy for a kids show.

Considering the limited budget that this show obviously had, it does well by create likable characters in an adventure story you can get behind. This is the first appearance of Kate Winslet and she does a good job of it as Reet, a tom-boyish character with a great sense of gallows humour. However, the standout is Marcie, excellently played by Victoria Lambert, the kooky teen who looks at life a little askew but is prescient in her thoughts. She carries a paddle in case, things go a bit ‘up creek.’ She doesn't always understand the world but does her bit to save it, making her a sympathetic individual who isn't all clean cut heroine material. The teacher, played by Brigit Forsyth is marvellous in her role as the unwitting supporter of the trio. She plays the role of Scully to Marie's Mulder well but becomes game each time when the truth is revealed.

I have no nostalgia for the show as I never saw it on release but I really enjoyed my time with it. It reminded me of early the revival of Dr. Who and it was upob looking further that I saw Russell T. Davis was the writer.

Also, whilst not an influence (as it came out several years later) Eldritch looks like Wesker from Resident Evil, with his sharply flat shock of blonde hair, black sunglasses and long trench coat. Grant Parsons does a great job of making Eldritch sinister and an almost anime-like villain. I wonder if Shinji Mikami was a fan of the series…

Recently, a 13 part radio show was created and the original crew returned, including Kate Winslet. It's an extraordinary victory lap for a cult show that not many people watched but those who did loved it intensely.

LINK- Ico and SOTC: Reflections of a Gaming Life

LINK- Shadow of the Colossus (Boss Key): Book Review

LINK- Children of the Stones: Cult TV Series Review

John Carpenter's Lost Themes- Music Review

December 19, 2024

John Carpenter is the legendary director and musician extraordinaire of such films as Halloween, The Thing, Escape from LA, Assault on Precinct 13, They Live and The Fog. He is a singular talent and his soundtracks are instantly recognisable with their mix of sinister cold synthy arpeggios and driving beats; his musical style, distinctly his own, has influenced much of pop culture.

His Lost Themes is not a collection of B-sides or left-over tracks from previous endeavours but new original tracks, created in his usual style. Listening to them may allow your mind to wander and imagine images from his ouvre that would suit or for as-yet-unmade films.

The tracks are all uniformly excellent and here is a breakdown of each. Please remember that I am not a music critic and neither do I know the correct terms for the different aspects of musicology but I'll give it a go with the vocab I do have.

From the first track Vortex the atmosphere sucks you in to the dark and gloomy atmospheres reminiscent of Halloween, The Fog, Prince of Darkness and Escape from New York. Vortex is all dark and gloomy with a heavy atmosphere. It has a simple repetitive arpeggio with a driving metronomic synth.

Obsidian feels quite prog rock as it starts with shimmering twinkles and then a gentle synth enters before a roar of electric guitar and heavy drums enter. It then goes a bit gentler before a warbling rhythm adds some much needed weirdness and wonk. This is a classy track all the way through.

Fallen has a driving rhythm which is undercut with a gentler arpeggio, combined with a light synth and a driving sound of a train-like beat. This piece is more airy and light; a flute wafts through the piece. Then, nearly 3 minutes in, it changes tack and goes all mysterious and more hair metalish (thankfully without the terrible singing).

Domain is a strange piece as it has Carpenter's distinct synthy sounds but also parts that make it seem like the credits of an 80s game show before going into 'Phantom of the Opera' church organ grandious pomposity and cheery Jingle Bells mode. Not one for me this track as it is tonally everywhere.

Mystery starts off with a quick organ piece before the cold synthy beats kick in followed by airy and, dare I say, a romantic feeling light sound follows before slowing for dramatic effect. Then, about 3 minutes in, it gets faster, more electric guitar and drums drop and the feel gets creepier and sinister.

Abyss is a lighter start with a more cheerful feel as the instruments don't seem so oppressive. The piano is the main instrument here and it is complimented by the synths, but they all play second fiddle to the piano. (Yes, I'm aware of my clever wordplay thanks!) At about 4 minutes a stacatto beat drops and the piano is complimented by more persistent pacing synths.

Wraith is a great track as it has droplets of sounds with a cool electric guitar wending it's way through the piece. Airy sounds and echoes make the track ethereal and otherworldly.

Purgatory is a slower, more meditative piece with lots of space for the notes to breathe. It is piano centres before a stacatto drum beat raises the tempo somewhat.

Night sounds like how you'd imagine a track named this by Carpenter to sound; it has a persistent dark synthy beat and echoing arpeggios that work their way from left to right and back again to create an unsettling yet cool mood, like Hammer' Crockett's Theme.

Overall, I loved this album as it really is great mood music. I was listening to it reading a dystopian sci-fi book and it worked well to create the atmosphere needed.

LINK- Ico and SOTC: Reflections of a Gaming Life

Shadow of the Stone- Cult TV Series Review

December 16, 2024

Whilst trawling through the internet, trying to find a series like Children of the Stones- a compelling sci-fi, mystery, PG/ suitable for kids after school-type folk horror show- I found out about Shadow of the Stones. My curiosity piqued by the term ‘stones’ I thought I’d give it a try.

The 6-part series follows the story of an unhappy teenager called Liz who befriends a sailor from America called Steve who sails upon a yacht called the Marie Lamont. The name of the boat is important as Liz feels that she is a kindred spirit with the person it is named after who lived over 300 years ago.

Liz wishes upon the ancient Granny Kempock stone and finds herself connecting with a 17th century girl, called Marie Lamont, who was tried as a witch. But what connects Steve's ancestor Marie Lamont with Liz

As her divorced mother's relationship with her teacher gets more serious, Liz is understandably upset and takes it out on the family. Will the spirit of Marie Lamont take over and wreak havok?

I recognised a lot of the cast including Shirley Henderson, who is now most famous for playing Moaning Myrtle in Harry Potter and being a friend of Bridget Jones, and Alan Cummings, who plays a jealous young man interested in Liz, who has starred in many shows and films including the original X Men film trilogy, Spice World and loads more. Both are solid in this early career role but Henderson in particular plays a headstrong and arrogant teenager with aplomb.

The series is interesting enough as the folk tale element is intriguing and the story of a connection to the land and ancestry is always ripe for storytelling. The scenery of Renfrewshire is gorgeous to look at and, being a series that was made in 1987, shows a different time in terms of fashion and technology.

The budget is obviously minuscule but the simple story of a young girl feeling isolated and alone in her community is a powerful one. The earnest acting makes this an intriguing watch and Henderson really goes for it, changing from a young precocious girl to angry vengeful timeslip witch seeking revenge on those who wronged her. The folk tale element of Marie Lamont and the Granny Kempock stone is compelling and draws you in as it looks at mental health and whether we do enough to support those at a younger age.

Okay, it no Children of the Stones but then, what is? This is a solid short series and we'll worth a couple of hours of your time.

LINK- Children of the Stones: Cult TV Series Review

LINK: Manga Exhibition at the British Museum

LINK: The Midnight Library and the Idea That You Can’t Go Home Again

2001 Nights - Cult Manga Review

December 13, 2024

I have a strange connections to The Songs of Distant Earth as it has wend its way through my life. I read the book during my formative tween years and enjoyed Arthur X. Clark's vision of man's journey to the stars. Also, I loved Mike Oldfield's album and it is probably my most listened to album as it helped me with my sleep routine during my long bouts of insomnia. I also picked up Yukinobu Hoshino's 2001 Nights graphic novel series way back in the late 90s sometime from my local comic shop. I think it was one of their grab bags I picked up that contained a couple of the books so I collected the lot in one fell swoop. It was hard sci-fi and I loved the various tales of people travelling to the stars and finding a place to call their own.

I didn't know that there was an animation but discovered it by chance through falling down the YouTube rabbit hole. I thought I'd give it a go and was pleasantly surprised that it had been translated pretty well into an animation as Hoshino's work is very precise with lots of technobabble, both real and imagined.

The 57 minute animation is split into three interconnected stories which each takes place over a different period of time.

The Seeds of Earth- An adult couple, the Robinson, make the difficult decision to leave Earth and board a shuttle and that will use the power of a comet to take them outside the solar system. They will take with them a bank of sperm and eggs to create children that will seed their new home, whatever that may be. After 300 years they finally make landfall and settle on their new home, Ozma.

This is a prophetic tale of people truly looking outwards and looking to settle amongst the stars. The difficulties of keeping the spacecraft ship shape is shown and losing children due to fever and disease is shared but the spirit of human endeavour is shown with real passion here.

A Present From Earth- When a 10th planet is discovered, the scientists call it Lucifer. That's not foreshadowing anything right? Well, the planet is resource rich and contains dark matter that can be used to create wormhole that allows hyperspace travel. With the entire universe at its feet, man travels to new planets and starts to terraform apace including Planet Ozma which the Robinsons are headed to. This tale looks at how corporations have to consider the industrial and financial implications of such large scale projects and what they do when things don't go to plan.

Songs of a Distant Earth- The space age is in decline as Earth looks to protect and maintain it's own. Meanwhile, on Planet Ozma, the children of the Robinsons live in harmony with each other and the planet. However, when people from Earth come along looking to settle after ruining their homeworld a tale of conflict starts.

I really enjoyed this OVA as it covers a lot of heady hard sci-fi ground in a intriguing way. Sure, the animation isn't of the quality of the manga but Yukinobu Hoshino is very precise and meticulous and reproducing this in animated form would require a much larger budget than I assume this production was given. Still, the vision and ideas flow through and, even with its issues, I can heartily recommend this slice of hard sci-fi. I hope more people discover this work as its very prescient of where we are headed with Space X, Virgin Galactic and whatnot.

LINK- Ico and SOTC: Reflections of a Gaming Life

Emma G. Wildford- Graphic Novel Review

December 10, 2024

Whilst scanning the sale section at Forbidden Planet, London, I picked up a hardback graphic novel for £2.99. It wasn't just the price but the beautiful cover art and a blurb promising a globetrotting adventure set within the roaring 20s that won me over. So, is it any good or do I have buyers remorse for a book that costs less than a cup of coffee?

In a time of flappers, jazz, and boundless optimism, Emma G. Wildford, a young woman with a thirst for adventure, embarks on a journey that will change her life forever. Fourteen months after her fiancé's mysterious disappearance on a National Geographic Society expedition to Lapland, Emma decides to take matters into her own hands. Ignoring the skepticism of the society's old guard, she ventures into the unknown, armed with courage, determination, and a notebook filled with her poetic musings.

As Emma traverses the harsh Arctic landscape, she confronts both physical and emotional challenges; she learns to navigate the wilderness, face her fears, and embrace her own strength. Along the way, she encounters a cast of intriguing characters, from eccentric scientists to enigmatic locals, each leaving an indelible mark on her journey.

This stunning graphic novel, brought to life by the talented team of Edith and Zidrou, is a captivating tale of love, loss, and self-discovery with one of the most compelling aspects of Emma's story being her exploration of selfloss. This concept, rooted in Slavic and Icelandic folklore, involves a liminal journey to confront one's soul. Emma's quest for her missing fiancé becomes a metaphorical journey of self-discovery, as she grapples with grief, uncertainty, and the complexities of love.

Edith's breathtaking artwork, with its vibrant colors, dynamic compositions, and attention to detail within the city contrasts wonderfully with the stark beauty of the Arctic landscape whilst Zidrou's sharp writing brings Emma's character to life, highlighting her intelligence, resilience, and unwavering spirit. The dialogue is witty and insightful balancing moments of introspection with thrilling adventure.

Overall, I thoroughly enjoyed my time with Emma G. Wildford as it's a universal tale of love, loss, and the power of human spirit, beautifully told through stunning artwork and insightful writing. It is highly recommended and worth well over the £2.99 I paid for it.

LINK- Children of the Stones: Cult TV Series Review

Tsundoku- My Book Addiction

December 7, 2024

My name is Anjum and I am an addict: I collect books. I'm a bookworm who just can’t get enough of that sweet, sweet bibliochor smell. I have tsundoku which is the Japanese term for the act of acquiring reading materials and letting them pile up without reading them. And let me tell you, my pile is massive. I've got books, comics, graphic novels and magazines stacked on my bedside table, dining room table and have a heaving pile on my bookshelf.

It's not that I don't want to read them, it's just that there are so many books I want to read there is so little time to do so. Every time I go to the bookshop, charity shop or newsagents, I come home with some new piece of reading material or two, convinced that I'll have plenty of time to read them later. But "later" never seems to come.

My wife often teases me about my book hoarding, calling me a collector of stuff and, to be honest, she may have a point. However, I do have a wide range of interests and I'm always eager to learn new things but sometimes it feels like I'm drowning in a sea of unread material.

Despite my tsundoku tendencies, I do manage to read a fair amount, especially during the summer holidays when I have more free time. But even then, I can't resist the urge to buy more books.

So, what's the solution to my tsundoku problem? I'm not sure. Perhaps I should try to be more selective about the books I buy. Or maybe I should set aside specific times for reading each day. Whatever the solution, I know that I need to do something to get a handle on my ever-growing book pile. Nah! Life’s short so do what you can to get through it and enjoy the simple pleasures in life.

LINK- Ico and SOTC: Reflections of a Gaming Life

LINK- Shadow of the Colossus (Boss Key): Book Review

LINK- Children of the Stones: Cult TV Series Review

To The Devil a Daughter- Cult Film Review

December 4, 2024

My love for old horror films started in my formative teen years. The BBC would show cult horror films late on Friday and Saturday nights in the early to mid-90s and, when we got Sky, late 90s/ early 2000s Bravo Channel. Some were the more salacious films of 60s and 70s European cinema, often in the horror genre but not always- some were experimental pieces which had a deeply ethereal feel and long moments of quiet where the gorgeous scenery and silence would wash over you. It was here I first saw Circus of Horrors, Twins of Evil, The Pit and the Pendulum and many, many more.

One of the films I'd seen only in passing was the Hammer horror film 'To the Devil a Daughter.’ I'd read the book by Dennis Wheatley in my teens but couldn't remember much about it. The film I only partially remembered as it featured Christopher Lee and a young Natassja Kinski, daughter of the legendary (and later found to be highly problematic for many reasons) Klaus Kinski. I remember her being beguiling in the film but grew to know her later through Paris, Texas. With the dark nights coming in, I thought I'd give 'To the Devil a Daughter' another watch as it had been about 30 or so years since I'd last seen and read it.

The story involves a battle between good and evil, as an excommunicated priest who has turned to Satanism (Christopher Lee as the understated yet evil Father Michael) battles against those who wish to stop his nefarious plans (Richard Widmark playing it straight as occult author John Verney). They want to use a young nun (an ingenue Kinski playing as Catherine) to act as a vessel for Satan's return. There is a constant game of cat and mouse as the opposing forces battle it out during the course of the film for the control of Catherine.

I thought that the premise was interesting enough but it lacks something - a bit of personality maybe. The characters are played straight and there is no hammy acting as in some of the earlier Hammer horror films but it feels very straight-laced and uptight. However, with many great British actors from the time, including a glamorous Honour Blackman and a suitably sweaty Denholm Elliot, so there is still a benchmark of quality.

It's an effective story, feeding into the whole 'Satanic Panic' that emerged from the counter-culture movement in the 1970s but lacks the bite of 'The Exorcist' or 'Rosemary's Baby'. However, the stock footage of old London is quaint and gives me a feeling of nostalgia, even though I was born 5 years after the film was made, as there were many buildings and sights I recognised, even though modern skyscrapers now dominate the skyline.

Overall, it's a strange film and was to be Hammer horror's last before it went into hibernation for over 30 years. It’s an interesting curio and well worth your time.

LINK- Ico and SOTC: Reflections of a Gaming Life

LINK- Shadow of the Colossus (Boss Key): Book Review

LINK- Children of the Stones: Cult TV Series Review

Genocyber- Cult Manga Review

December 1, 2024

Genocyber is an enfant terrible of the manga world. I had never seen it before but knew of its reputation through the fact that it was part of the Cyberpunk Collection boxset, alongside AD Police and Cyber City Oedo 808. I thought I'd correct this oversight and give the series a watch. Woah boy, was it a strange 2 1/2 hour ride.

Coming hot off the heels of Akira, Genocyber offers a pretty similar dystopian vision of the future with mega corporations, kids with psionic powers and violence brought to the fore. The 5 part series looks at how scientific research and corporate espionage leads to the creation of powers beyond human kinds control- yup, it's the old 'man's hubris brings down society' tale.

The first, and most well known episode concerns two sisters who have been scientifically altered. They develop psionic powers and, together, they can form a killing machine called the Genocyber. Their military use is obvious but rather than be blunt tools for violence, the younger girl Elaine fights back with grizzly and gorey results against the older Diane. The story is a pretty straightforward tale of sibling rivalry, revenge and a quest for freedom of choice.

The second and third episodes continue the story arc with Elaine rescued by a navy ship. Onboard, she is befriended by a nurse who lost her own daughter in a tragic accident. However, when a scientist is experimenting on a bio weapon he realises that Elaine has powers and wants to utilise it for his own means. He creates an amalgamation of the Genocyber with is own reaseach but it gets out of control and Elaine uses her powers to become a protective hero to the nurse.

The final story arc of episodes 4 and 5 moved the story forward a few years and we see that society has risen up after the devastation of the previous episodes. The new city looks to be a modern paradise but is beset by an authoritarian leader, a religious cult and a poor, repressed working class. Underground, Elaine's Genocyber is worshipped as an angel of redemption but when a young couple discover the corruption of the city, they awaken Elaine and chaos ensues.

Overall, the premise of a man-made creature losing control and wreaking havok is interesting but the execution is uneven; it is no Akira. Episode 1 is the most consistently animated of the three arcs with use of live action and early CGI but the quality can be varying in quality, even within the same episode. Arc three has the worst animation of the series, which is a shame as its Beneath the Planet of the Apes premise of an underground religious resistance had great potential for artistry but, alas, it's all just dark and murky with no real flair in animation or scene setting shown.

The other issue I had was that the characterisation was paper thin; you don't know who you should root for. When you also factor in a wonky and stilted English dub, the lack of empathy or sympathy for the characters means you don't feel invested in their fate.

Genocyber is rightly remembered as an early example of ‘Japanimation’ hyperviolence and excess but it doesn't move beyond that into something profound. I'm no prude but violence just for the sake of violence seems to me pretty pointless. Overall, Genocyber is not fondly remembered or highly regarded within the anime community and, having watched it, I can see why. I do not recommend this series at all.

LINK- Ico and SOTC: Reflections of a Gaming Life

LINK- Children of the Stones: Cult TV Series Review

The works of Fumito Ueda: A Different Perspective on Video Games - Book Review (and some thoughts)

November 28, 2024

I have a deep love for the trilogy of videogames made by Fumito Ueda. Over the course of two decades, he has made just three games but they are all unique and have pushed forward the argument that videogames can be art. I have read the novelisation behind his first work Ico: Castle in the Mist by Miyuki Miyabe (which I've reviewed here) and the deep dive Boss Fight book about his second game Shadow of the Colossus (reviewed here) but I still do not know much about the artist himself. Author Damien Mecheri looks into the early life, inspiration and creation of this most illusive of auteurs in his book The works of Fumito Ueda: A Different Perspective on Video Games. He does this through trawling through interviews, video footage and research rather than access to the great man himself but what is revealed is fascinating stuff indeed.

We get a brief biography including the fact that he wasn't a keen student but rather more interested in manga and videogames. He became as Art Student and was inspired by the works of Giorgio de Chirico, Gérard Trignac, Giovanni Battista Piranesi and Hiyao Miyazaki. When he got his first job it was with a local television company and then a computer graphics company who used Light Wave 3D. He made his first games with Warp (best know for the cult games D and Enemy Zero) before being given an opportunity to pitch to Sony.

The first section of the book is about 50 pages and is entitled Creation. It looks at the making of the three games Ueda is known for: Ico, Shadow of the Colossus and The Last Guardian.

Ico
Mecheri breaks down the inspiration for Ico and it makes for a fascinating drop down the Google rabbit hole. He discusses the well known games Prince of Persia and Another World (both of which I'd played and completed many year ago) but there were more obscure inspiration that I looked into as I watched the animation The King and the Mockingbird and Galaxy Express 999.

Some facts that I found particularly fascinating were:
- The economy of means and design by subtraction, both Ueda's calling cards, meant the game was created by a maximum of 23 people.
- Rather than photorealism he was looking for emotional realism, the way characters acted and interacted had to have that universality of human connection. I believe it is due to these reasons that Ico is still well regarded and remembered today.
- The lack of lore in the game imbues the architecture, the third character in the game of you will, with a mixture of awe and wonder and some level of menace. The strangely cohesive whole, which starts off looking like many non-Euclidian spaces from gaming back in that era, actually does work as a cohesive space. If you can see it, you will probably go there sometime in the game.

When I played Ico, over 20 years ago now, it was full of intrigue and mystery. Why was there a boy with horns? Why was he being taken to the temple? Why was he placed in the sarcophagus? What had happened to the people of this land? The wonderful thing about this game was that very little is revealed to you, even when you finished the game. The world seemed rich and immersed in a history which I didn't know, no lore was presented in Ico but you could create your own narrative through events and the structures within the castle. A lot you had to interpret and guess and, for someone who likes media that makes you think and question, that suited me just fine.

Playing the game I fell in love with the simple but powerful mechanic of not understanding my partner Yorda, but knowing that I had to help her escape the castle. The game itself is an escort mission but not annoying; you develop a protective bond with this ethereal girl who you can't communicate with. The bond of holding hands is powerful and later on when you are without her it feels terrible, not many escort missions can achieve that.

Shadow of the Colossus
For his next game, Ueda wanted an adventure and action game that did away with superfluous low level minions but concentrated on the boss battles. His idea was that the player should have all the tools required from the beginning of the game and that it would be a matter of skill rather than inventory that would win the day.

When I bought the game on release day I loved the opening. We were given some narrative but events felt bigger than us and the world seemed to have existed before our character even comes into play, it seems like a lived in world yet so very little is told; Why was there a dead girl dead? Who was Wander and what was his relationship to the girl? What was this desolate place and how did Wander know of the prophecy to cheat death and bring people back from the other side? Who were the Colossi and who was the voice guiding you to destroy such beautiful creatures?

There seemed to be a connection and it felt that if you worked hard enough you could understand, but with the economy of design and lack of voice over work and cut scenes explaining the story, you could create your own narrative based on what you saw and felt. There is no ludonarrative dissonance; the world was free to explore and it was only by holding the sword aloft that you were directed where to go. Meeting the different colossi for the first time was such a thrill, very few games have matched the sheer awe of meeting these mysterious creatures for the first time. As you fulfilled your dreaded destiny and killed these mighty beasts there was a feeling of remorse and regret. After each killings there was a sense of futile interactivity as the black tendrils enveloped you and left their mark on our slowly decaying body.

Both Ico and SoTC still resonates with me and this is in no small part due to their phenomenal soundtracks. The SotC score in particular resonates with me still and was created by Kou Ootani, who also soundtracked the wonderful Haibane Renmei (one of my favourite anime).

The Ico OST is scarce but perfectly pitched for key events, like the original Prince of Persia game. SotC has an emotive score full of sadness but also adventure, it suits the mood perfectly and both soundtracks are masterclasses on scoring for a game and how much a score can lend to an overall games impact.

The Last Guardian
Ueda planned his next game to be about the relationship between a boy and an animal, as he noticed a lot of people had reacted very emotionally to the Wander-Agro dynamic.

Some facts that I found particularly fascinating were:
- He wanted Trico to behave like an adolescent, not always reacting to instructions immediately or positively.
- He wanted a quicker turnaround time on the game so pushed for R and D first before going into the planning stage.
- With the game falling behind schedule Ueda left Sony but worked with them through his newly formed company Gen Design.
- Other Sony studios pooled together to get the game back on track and PS4 ready.
- The game did okay but well below expectations. However, it did recoup it's production costs as it wasn't that expensive, especially when compared to Western development costs at the time.

I bought the PS4 and The Last Guardian on the same day. In fact, I got the PS4 specifically to play the game. Now, there were a few other games of interest but this was the one for me.
I found the game to be full of interesting ideas and the art style was beautiful but I did find it lacking. It was a singular game and I appreciated it for trying something very different at a time when games had become a bit safe and less adventurous. The soundtrack was good but it didn't get into my soul like the precious two games. I think it missed the Outani score from the second game in particular.

The next section then looks at Universe, this is the interconnected worlds that can be seen within the game--dependent upon the interpretation of the player. The Castle in the Mist, the Forbidden Lands and the ancient structures with the evil eye of the Nest all seem to be a interconnected world, this was well before Marvel movies popularised this idea

Universe looks at how Ueda's themes are open to interpretation by each player, he doesn't provide definite answers. Like the abstract art he so loves, Ueda has intentionality in his works but how people react and experience the games are all valid. However, there are certain motiffs that cover Ueda's games including horns, Chiaroscuro, fatality and sacrifice,

The chapter, 'In the Shadow of Tales' was fascinating to me as an an old Anthropology student. When Bruno Battelheim and Joseph Campbell are mentioned my eyebrows shot up with interest- this was my bag and what I was looking for within this book.

I like the authors description of the difference between a tale, myth and legend:
'A tale is, first and foremost, an account that only exists for itself. While it has the power to pass on morals or values, it nevertheless doesn’t explain anything. A legend, on the other hand, has a more general basis on actual historical elements, but mostly transforms them to embellish or intensify the reality. As for a myth, it has a superior element: belief. A myth is a symbolic explanation of how the world, or nature, functions and has served as social, philosophical and ethical bases for numerous civilizations.'

The rough gist is stories predate the printing press, libraries and even writing itself. Myths and legends, Fables and folklore are passed down from generation to generation, across the years. We create and share them, and in turn, they create us as well, by becoming the building blocks of our cultures. They teach us our values and what we believe, and they hold us together, across diaspora and against the ticking of the clock. We remember our Ancestors, they world they lived in, and the things they believed through the stories they left behind.

There are myths that millions of people are familiar with-the ones that are shared across an entire culture or religion, that tell us how our world wad created, the origins of life, of gods and Goddesses and spirits. Even though they are written in books now these originated from the oral tradition, stories told around campfires or sung in ballads.
Even though in much of the West, faith in religious institutions has massively declined, the interest in myths has remained steadfast as their power lie not in their truthfulness, but rather what they make us feel and what they inspire.

Chapter 3 looks at the music and the sound design. For Ico, Mecheri discusses the sound spatialisation that compliments the colossal castle structure and cavernous rooms, creating a sense of isolation and foreboding in the echoey spaces. The soundtrack was composed by Michiru Ōshima and Pentagon with a couple of tracks created by Masaaki Kaneko.

The author then looks at the majestic Kou Ootani score for SotC, which is glorious with orchestral swells and contemplative moments.

I own the CD of Ico and Shadow of the Colossus and the vinyl for Colossus too so these are formative videogame scores for me. Mecheri also looks at Takeshi Furukawa's The Last Guardian soundtrack which was performed by the London Symphony Orchestra.

Chapter 4, Decryption, looks at how the games were received amongst different communities, the reviewers, gamers and the public. Mecheri looks at how many fans of Ico and Shadow of the Colossus spoke about "poetic intuition–the impression of experiencing an elegant, magical, touching and inspiring work." And he's not wrong. When I experienced the games I was going through an existential crisis, as many late teens go through, and the games were a salve of sorts for my anxieties. There was the usual heated debate about 'art games' but in a world of Journey, Dear Esther and Gone Home, what constitutes a game isn't set in stone.

He then does a deep dive into art vs Art and it is a thoughtful and considered discussion. He asserts that Ernst Hans Gombrich was correct in his 1959s book The Story of Art, when he says, “There really is no such thing as Art. There are only artists. [...] There is no harm in calling all these activities art as long as we keep in mind that such a word may mean very different things in different times and places, and as long as we realize that Art with a capital A has no existence. For Art with a capital A has come to be something of a bogey and a fetish.”

The focus of art history and how it was thr preserve of the elite, until pretty recently, is fascinating and well presented. We travel through the Greek mimises to Kandinsky, to Cubism to Nouveau Roman. For anyone interested in the whole 'Are Video games art?' debate, this is the book you've been waiting for as both sides are presented is a fairly balanced way respectfully. For me, art is any medium where a unique piece has been created which elicit an emotion, be it deeply moving or introspection inducing. Art can exist in many mediums but can be unique in the specificities of the medium it is presented in be it paint, sculpture, collage, digital imaging or video games.

Mecheri looks at auteur theory and the power of an individual with a stylistic and thematic consistency.

Approaching the end of the book, Mecheri discusses the impact that the games of Ueda have had on the industry. He discusses numerous video games and creatives who cite it as an inspiration including Hideo Kojima, Peter Molyneaux, Neil Druckman, Yoko Taro and many more.

Conclusion
I love Ueda's trilogy of games as they stood apart from what was the prevailing gaming theory and design of the time. In think I prefer his use of narrative through gameplay rather than having an audio log/ diary pages/ weird graffiti on walls as I always find it feels like the need of the authors to assert themselves in games. This can be oppressive at times. Don't get me wrong, I don't think all games need to have stories or benefit from not having stories but there should be careful editing and curation of the information shared.
The influence of his games has been keenly felt across the medium and I am glad that I had a chance to read this deep dive into this enigmatic creatic and true genius.

LINK- Ico and SOTC: Reflections of a Gaming Life

LINK- Shadow of the Colossus (Boss Key): Book Review

LINK- Children of the Stones: Cult TV Series Review

Ico: Castle in the Mist- Book Review

November 25, 2024

The book, Ico: Castle in the Mist is written by Miyuki Miyabe in 2004 and, when it was written, was her first novelisation. In her foreword she states that this book is her interpretation and extrapolation of the story within the game. It is not a walkthrough or explanation according to the game: it is her own narrative which uses the game as a stimulus. I love this idea as it means she can be creative and not ruin the mystique of this singular game that is open to interpretation.

The handholding mechanic was a groundbreaking moment in gaming history, transcending the usual tropes and expectations of the time. The simple act of holding Yorda's hand was not just a gameplay mechanic but a powerful emotional connection that resonated deeply with players. The lack of heavy exposition and reliance on environmental storytelling was also a bold choice that paid off. The mysterious and haunting atmosphere of the castle, combined with the subtle hints of lore, created a sense of wonder and unease that perfectly complemented the emotional journey of Ico and Yorda.

The novel reads like a prequel to the game that gradually flows into the Ico game we know and love. It then continues the game's narrative adding extra detail and dimensions onto those original story beats with more characterisation and detail.

The tale starts with the birth of a horned child, meaning there will be a sacrifice to the castle in the mist when he comes of age at 13 years. It is a terrible sacrifice and the high priest of Toksa Village does not want to do it but the divity of the Lord of Light is contained within and there have been dreadful repercussions beforehand so it is a cost that must be paid.
Inside the castle, Ico meets Yorda, a waifish pale young girl who is kept in an iron cage. Together the young victims of circumstance plan their escape, all the while trying to understand why the castle demands a blood sacrifice.
Ico keeps having visions of a horned knight who calls him 'my son' and sees glimpses of Yorda's life but what can it all mean?

I haven't really read many novelisations since the 80s and early 90s, when they were a huge deal, but this is a solid retelling and enhancement of the game's narrative. We get the story told from Ico's point of view for the first third of the book, followed by Yorda's story and then the final part of the book is the ending with the great escape.

Overall, I liked the novel as it made me reflect on the obscure lore presented within the game but also it is a pretty solid novelisation in and of itself. However, I felt it was overlong in places and the story didn't really need over 350 pages to be told. I enjoyed the book then but, with a greater appreciation of literature and time being more squeezed, it's not one I'd recommend to every reader, just fans of the game.

LINK- Children of the Stones: Cult TV Series Review

Lifeforce - Cult Movie Review

November 19, 2024

A couple of years ago, I watched a documentary about Cannon Films called Electric Boogaloo: The Wild Untold Story of Cannon Films. I watched it as I recognised the logo from the trailer and it tickled something in my memory about a few films I had watched back in the 80s and early 90s. Watching it, I heard about the maverick and unusual lifestyles of Menahem Golan and Yoram Globus.

One of the films that was mentioned was 1985s Lifeforce, their biggest, most ambitious and expensively financed film. Unfortunately, it was not a success and contributed to the studios downfall however it has been reappraised and is considered by some as a bit of a failed folly but also a bit of a throwback gem. With this in mind, I thought I'd dive in a see what all/ lack of fuss (dependent upon your thoughts on the film) was about.

The films starts with an opening crawl about a joint American-British space mission to investigate Halley's Comet. We see the spacecraft approach the comet but an alien spaceship, which looks like a huge nerve cell, appears. The crew decide to investigate and find some giant dead bat-like creatures as well as two naked bodies, two make and one female. The astronauts decide to take the bodies back to Earth but all hell breaks loose as the female alien (played by the beautiful Mathilda May) escapes and seeks to revive her species by taking the life force of Earth's population. She starts off with London and as the apocalyptic events unfold a scientist and remaining astronaut from the initial voyage try to take her down.

I have to say, having watched the film I can see why it is considered a cult classic; it very nearly gets there but it just feels a little off in places to be considered truly great or a genre classic. The story of vampires in SPAAAACE is fun but is let down by wooden lead performances. It tries for John Carpenter but feels so much less so as the cast just can't pull it off- there is no actor of the calibre of Kurt Russell, Rowdy Roddie Piper or Keith David. Sure, we have May, who plays the ethereal alien woman and is naked all the time for sound plot purposes (I’m sure) or for the usual Cannon exploitative element, but there is no gravitas - even when an early Patrick Stewart steps in. What we have is a confusing film which mixes the usual sci-fi tropes with some lightly restrained titilation.

Mathilda May is a beguiling presence in this film.

However, I do have to say that the soundtrack by Henry Mancini is excellent and the VFX, which were supervised by John Dykstra, are amazing. The set design in the first 20 minutes is immaculate and still stands the test of time. The matte painting and miniatures skills of the artists is amazing and makes the alien ship interior look like a cohesive whole. The animatronic zombie husks are pretty effective but the scenes where there are riots and crowd scenes in London look pretty awful though. The background actors flail around and newspaper remnants are whipped up by the wind machine which looks cheap and tacky after the exciting introduction.

Overall, Lifeforce is still pretty watchable and quite entertaining. It hits the same spot as some of Hammer Studios’ lesser works in that you need to see it, at least once.

LINK: Blood, Sweat and Pixels- Book Review

LINK: The Offworld Collection- Book Review

LINK: Shadow of the Colossus- Book Review

LINK: Manga Exhibition at the British Museum

LINK: The Midnight Library and the Idea That You Can’t Go Home Again

LINK: The Transportive Nature of Objects (And the Power of Mini Consoles)

LINK: My One True Gaming Constant in Life- Nintendo

The Curse of Kazuo Umezu- Cult Manga Review

November 16, 2024

Kazuo Umezu is a legendary figure in the world of horror manga, with a career spanning decades. His influence on subsequent generations of horror creators, including Junji Ito, is undeniable. I had heard of Umezu but never read or seen any of his work. Seeking to right this wrong, I thought I’d go check out the work of this respected creative and watchedThe Curse of Kazuo Umezu, an OVA that delves into the disturbing and grotesque world of Umezu's imagination by retelling two of his tales.

The first tale is What Will the Video Camera Reveal? and introduces us to Rina, a new student who joins our protagonist Masami's class. Rina seems to have a strange effect on people, and Masami becomes increasingly frightened of her. In her dreams, Masami sees a horrifying creature that seems to be attached to Rina. She uses the videocamera to record herself sleeping, hoping to capture evidence of the creature but the the video reveals a horrifying truth.

The second tale is The Haunted Mansion and is a classic tale of youthful curiosity leading to terrifying consequences. During a sleepover, a couple of horror fans visit the local haunted mansion before it is torn down but they encounter a terrifying force that threatens to destroy them.

I have to say that I thoroughly enjoyed my time with The Curse of Kazuo Umezu as it is a disturbing and unforgettable horror story that beautifully showcases the dark and twisted imagination of its creator. The animation is beautiful and detailed as Umezu’s experience with shoujo illustrations shines through; the girls have fine, frilly almost gothic lolita like-designs and eyelashes aplenty. The delicate shoujo art style and body horror is a great contrasting combination. The beautiful art and creepy storyline is complimented by the music which is eerie, creating a truly unsettling atmosphere. The stories are both thought-provoking and disturbing, and they will stay with you long after you've finished watching. This feels like an anime version of Tales from the Crypt or Tales from the Dark Side and both stories are thoroughly spooky and engaging