The Raw Shark Texts - Book Review

I am a huge reader but recently I’ve been craving something a bit different, something that messes with the very fabric of storytelling, the kind that make you work for the narrative. Think House of Leaves, but with a fresh, intriguing twist. That's what led me to Steven Hall’s The Raw Shark Texts, and boy was it a journey.

The story is quite difficult to describe in a nutshell but I’ll try: Eric Sanderson wakes up with amnesia, only to be contacted by someone claiming to be his past self (or a past self, things get weirdly murky). This other Eric warns him about a ‘Ludovician,’ a Great White Shark made of pure language that hunts memories, traveling through time and space. Yep, you read that right.

What starts as a strange thriller, with Eric desperately trying to outrun this conceptual predator, morphs into a bizarre road movie. Scout, a mysterious young woman, enters and helps guide him to fight back using ‘un-space,’ the power of words, and knowledge gleaned from a slightly unhinged professor and an ancient secret society. And just when you think you've got a handle on things, the book throws you another curveball, evolving into a strange homage to Jaws and Moby Dick.

Author Steven Hall has crafted something truly unique here. You're constantly questioning the reality of what's happening, wondering if Eric is a reliable narrator through this linguistic labyrinth. The book's ergodic design is a real commitment, demanding active participation from the reader. The roughly 40 pages dedicated to a Ludovician attack is not just reading but it's an experience. You have to see it to believe it.

Now, I won't lie, the narrative does get a little sluggish in places and there were moments where I had to push through, but the central premise is so gosh darned intriguing that I always felt compelled to keep going. It's got this mature, slightly unsettling Dr Who vibe mixed with the textual playfulness of Danielewski's House of Leaves, all stirred up with a dash of Simigo’s videogamesque storytelling.

I'd recommend The Raw Shark Texts with a caveat: it's definitely not for everyone. If you like your narratives neat and tidy, stay clear, but if you're up for a mind-bending adventure that challenges your perception of storytelling and isn't afraid to get weird, then dive in.

The Humanoid- Cult Manga Review

So, I was just letting YouTube do its thing, throwing up random anime for me to check out when I came across The Humanoid. Now, I'd never even heard of it, so naturally, my curiosity was piqued. What I found was... well, let's just say it was an experience.

This 45-minute OVA from 1986 feels like a direct product of that wild and experimental energy that was buzzing through the Japanese anime scene during the bubble economy. You know, that time when creators were throwing all sorts of crazy ideas at the wall to see what would stick. The Humanoid, bless its heart, definitely feels like one of those experiments.

There's a certain retro charm to the whole thing, I'll give it that. But if you're going in expecting something that captures the slick, futuristic vibe of Hajime Sorayama – the legendary artist who's worked with everyone from Janet Jackson to The Weeknd – you might be a tad disappointed. While the animation is decent enough, it lacks that distinct, almost hyper-realistic, metallic sheen that's Sorayama's signature.

The story itself throws a lot at you in a short amount of time. We're in the future, chasing after the ‘ultimate weapon’ that some power-hungry General desperately wants. Sounds straightforward enough, right? But then it tries to weave in this sci-fi action with a touch of romance, and honestly, it feels like it's trying to cram too much into its runtime. The pacing feels all over the place, with sudden shifts in tone that left me scratching my head and struggling to really connect with the characters or what drove them.

And then there's the coffee. Oh. My. Gosh! The coffee. I swear, it was mentioned at least five times throughout this short film, and on at least three occasions, we got treated to these surprisingly detailed little monologues about its power, its aroma, its depth... Look, I love a good cup of coffee as much as the next person, but the sheer, almost obsessive focus on it in the middle of a futuristic sci-fi action flick was just… bizarre. It became this weird, recurring motif that felt completely out of left field.

So, The Humanoid is a strange beast but honestly, I think it's worth a watch, especially if you're an anime history buff. It's a fascinating little artifact that really showcases the experimental spirit of those 80s OVAs. It's a reminder that not every creative swing results in a home run, but they all contribute to the evolution of the medium. Just don't go in expecting a polished masterpiece. The Humanoid is more of an entertaining curiosity, a wonderfully weird slice of anime history that will likely leave you saying ‘Boy, that really was something, huh?’

LINK- The Anxious Generation: Book Review (and Some Thoughts)

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

LINK- Toxic: Women, Fame and the Noughties- Book Review (and Some Thoughts)

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

Gods: A Human History of Religion by Reza Aslan- Book Review (and Some Thoughts)

During the most blessed month of Ramadan, I decided I needed some spiritual nourishment. The world is crazy at the moment and the noise can get to be a bit too much so I thought I'd retreat back into contemplation, meditation and self-reflection. I consume a lot of media, as many of you know from this blog where I publish something every 3 days, but I thought I'd take a break. I already had a lot of articles prepared beforehand to keep the website chugging along so I could use the month for working on myself.

Living in a part of South Devon where I am definitely in the minority here, I feel like the standard bearer for Muslims. Don't get me wrong, I'm not a model Muslim but I do my best to represent my religion and beliefs in the best possible light. This is my personal jihad, my struggle, which I hope to improve and get better each day. I am respectful of my cultural heritage but also mindful of the environment and society I am in. I am interested in all people's, faiths and beliefs and thought I'd use this Ramadan to catch up on the theological side and still my monkey mind.

God: A Human History of Religion by Reza Aslan is the first book I thought I'd read. I didn't know anything about the author or book but when I had read Mike Schur's How to Be Perfect: The Correct Answer to Every Moral Question a couple of years ago, this book came up on the Amazon recommended list so I bought it but it has sat untouched in my pile of shame. Finally, two years after purchase, I decided to read it and these are my personal reflections alongside a review.

Introduction

Aslan starts by saying how he grew up in a tepid version of Islam, pivoted to zealous Christianity in his teen years and then did a complete 180 back to a more radical version of Islam. He says, 'Faith is a choice: anyone who says otherwise is trying to convert you,' and states that humanity has seemed to humanise God by making him in our image, flaws and all. This book is not a look at whether if there is a god or which is the 'right' god, there's no way to know that until after death, but Aslan is looking at the creation of God in man-made society, ‘We fashioned our religions and cultures, our societies and governments, according to our own human urges, all the while convincing ourselves that those urges are God's.' As a student of Anthropology at Uni, this is mana for my soul as an archaeological and evidence based look at God sounded very fascinating indeed.

Adam and Eve in Eden

Aslan examines how the idea of God evolved as a concept over time when he looks back at the Homo Sapiens moving out of Africa in waves and settling down into small tribes over 100,000 years ago. He then discusses the burials of people with objects, believing this shows that our ancestors believe in the concept of the soul and that the world contained forces we could not see. Animism gave power to the idea that we are part of the whole and was shown in cave art and the figure of Lord of the Beasts, an ancient figure which may be the first depiction of God.

The Lord of Beasts

Aslan looks at how the Lord of Beasts figure spread across continents and was adapted into different forms including the Zoroastrian god Ahura Mazda, the Hindu deity Shiva, the Babylonian hero Enkidu, Greek mythology through Pan, Yahweh in the Bible and even more modern Celtic myths.

He discusses if this flourishing of religion was distinct to Homo Sapiens or if it started even earlier with the Neanderthals or its precursor. He raises this difficulty as he does not want to conflate burial practices with religion, especially as material goods do not always convey spiritual concepts and beliefs, but there were certain objects and patterns within many of the sites.

During the Age of Enlightenment, many anthropologists sought to find the evolutionary purpose of religion but no-one really nailed it until Emile Durkheim. He posited that whether spirits, God(s) or the soul exists or not does not matter, it is the collective consciousness of people brought together in their belief that creates something profound and cohesive. Aslan discounts this as he says the close knot families and blood ties were more binding than ceremonies, especially with the smaller familial groups that would have existed in the past.

We then get a dive into the psychoanalytic world with Jung and Freud and their explanation about religion offering a moral compass, except when it doesn't as the Greatest Judge of All (God) is angry, moody and often violent.

Aslan ends the chapter stating that most scholars now think that religion is not an evolutionary adaptation but a byproduct of some other preexisting evolutionary adaptation.

The Face in the Tree

Cognitive Theorists have a term for when humans think there is human agency and a human cause behind any unexplained event: Hypersensitive Agency Detection Device (HADD). It is a neurological impulse which is a survival technique to help us look out for predators and to be wary of a hostile world but it may also be a clue to the true evolutionary origin of the religious impulse.

Combined with Theory of Mind, where we project  non-human things with human characteristics, e.g. The way children will anthropomorphise stuffed toys into living characters, animals etc and we can see that there is a combination of factor that lends itself to creating God in OUR image.

Aslan posits that our ancestors created totems from nature as they believe that as humans have souls so must other loving things within nature. Within this, aspects of nature they found anomalous, for example a tree with knots that looked like a face, would be bestowed with powers and supernatural ability like the ability to talk. Thus the creation of rites and rituals linked to special places, especially sacred groves and woods throughout history, literature and pop culture.

This all sounds intriguing until you get to the question: where did the concept of the soul come from? In order for the rest of this theory to work the origins of the concept of the souls must be explored.

Spears Into Plows

Aslan looks at Gobekli Tepi and how the ruins there might provide us with some insight about our ancestors. He discounts the Atlantean and Alien theories of Erich Von Daniken and Graham Hancock and goes the route of religious community.

He discusses how we homonids gave up over 2 1/2 million years of hunting skills to turn our hand to farming about 12,000 years ago- we turned from foragers to farmers in the Neolithic Revolution. The popular theory for this is that as communities settled in one consistent area it had a huge impact on religious beliefs as the gods of the sky became immolated deities whose bodies made up the rivers, mountains, valleys etc. Mother Earth, the power of life within her womb, was the analogy for the life giving fertility of the soil and we see a rise in female deities across much of the world. However, Aslan considers the thoughts of many other scholars who look at Gobekli Tepi and wonder if religious sites, which often require a lot of labour and effort, were the reasons why communities settled in one place. Maybe they wanted to be near to God(s) and that's why communities undertook intense labour and hardship to be near this. He says that the fossil record shows that the change from a protein heavy to crop based diet heavily affected our physiology and we grew smaller by over 2 inches over the proceeding generations.

Whatever the theory, there is no consensus on what caused the Neolithic Revolution but there was a shift from primitive animism to organised religion within this period.

Lofty Persons
The tale of Sumerian figure Atrahasis is the oldest known written flood myth and may be the ur-flood myth from which all other that spread across the world with many variations including Noah/Nuh.
Ancestor worship (Manism) is also considered as there is evidence of the skulls of family members being placed around the family home in Jericho.
In Mesopotamia, a pantheon of gods with personality traits and powers was created and the ziggurat temples were their Earthly homes for when they came to visit from their celestial abode. An idol was placed at the apex and washed, clothed, fed and treated like it had the spirit of the god within. This is not the first case of idol worship but it would be the most prevelent and widespread as paleolithic figures of a plump woman with a distended belly were scattered around Europe and Asia.
Aslan then looks at how the use of hieroglyphics built upon the Mesopotamian pantheon and created its own version of the gods with their own personalities and traits, adding their animism heritage by often giving the gods animal features.
Aslan argues that the myth making of these gods resulted in Hinduism and later, the clearly flawed Greek gods who seemed very human-like in their follies and foibles. The constant psychodrama of this family and their sheer humanness made many to look for something greater, rather than a family a monad, the one true force, "One god, like mortals neither in form nor in thought," wrote Xenophanes. And lo, around 5000 BCE the Indo-Europeans spread the spiritual landscape from which the Abrahamic faiths (Judaism, Christianity and Islam) would arise with the concept one true god.

The High God
Pharaoh Akhenaten
was husband to Nefertiti and during his life from 1356 BCE to 1336 BCE was the world's first recorded monotheist, turning away from the Egyptian gods to Aten, the Sun God. This change was highly controversial but was followed through by use of force against all polytheistic temples across the Egyptian Kingdom. After his death, he was seen as heretical and efforts were made to erase him from history, including his son changing his name from Tutankhaten to Tutankhamun and his monuments and works being destroyed and defiled.
Then, around 1100 BCE, Zarathustra created Zaroastrianism, the unified deification of abstract concepts like Truth, Virtue etc into Ahura Mazda. It was highly ritualistic and Zarathustra became the first known Prophet to receive revelations from God, which he wrote down. The religion was not successful but was revived a few hundred or so years later ('in Pog Form' to quote Simpson-ish) by Cyrus the Great who spread it. The form was more dualistic and the concept of Heaven and Hell were added with your deeds during your life deciding your fate.
Aslan then considers why through the whole of human history, monotheism struggled to take hold until the past 3000 years and he thinks it may be due to the fact that monotheism is exclusivist; it considers all other faiths to be wrong except itself and, as such, other faiths must be ignored or crushed. Additionally, the concept that one single god could encompass all the facets of humanity like light/ dark, mother/ father, good/bad seemed quite difficult to reconcile and so the pantheon provided a much clearer version of these concepts. Henotheism allowed there to be a hierarchy of gods with an all-powerful god ruling over lower gods. As in Heaven, so on Earth and thus the politicomorphism of beauracratic order and hierarchies of Earth were applied to the Gods. This became the favoured form of religion across the world for centuries.

What is God?
This chapter looks at the rise of Yahweh and Israel. Tribes were linked to their gods and so, when empires fought it was thought to be based on the strength of their respective god(s) in a battle of monolatry.
Aslan, looks at the various innacuracies and inconsistencies within the Torah, including the story of Moses, the flood myth and even Adam and Eve. He cites various historians who say that the Torah was an amalgamation of four sources, the Yahwist, Elohist, Priestly and Deuteronomist. Aslan states that he believes the Elohist and Yahwist material was combined but that the traditions believed in different gods so the mashup wasn't smooth- thus the inconsistencies yet also similarities between the Canaanites and Israelites. El and Yahweh merged to become God, a singular deity that smooshed the two separate deities together, combining beautifully like peanuts and chewing gum (together at last) with the creation of Israel in 1050 BCE. Yahweh was not the only god, as there were other gods at the time, but he was considered the greatest god so it was not really monotheism or monolatry, he was more like a patron God of the Israelites.
When the Israelites were defeated by the Babylonians, they couldn't conceive that their god wasn't the greatest and so this led to a deeper consideration of their scripture and a hardened belief in monotheism. The defeat of the tribe meant their god was not all powerful and rather than face oblivion they recontextualised what had been there before and formed a solitary singular god with no form who made humans in his image, sharing many of their emotions and qualities, both good and bad.

God is Three
The deification of humans has been around for a long time, ever since the time of the Mesopotamian ruler Sargon the Great around 2350 BCE. The concept was easy as the King/ ruler was considered to have been a representative of God here on Earth. However, Jesus's deification was different as he was considered the sole human manifestation of the one and only God in the universe. This led to a quandary, was there one god or, if Jesus was who he said he was, were there two? This ditheism led to a philosophical conundrum as the old god of the books was vengeful and angry whilst Jesus's message was one of peace, love and forgiveness. What gives? Were Yahweh and Jesus enemies? Marcion, a rich philosopher thought so and argued this point, even creating a new text but it was ignored. However, his ideas spread much to the chagrin of the Romans who saw interest in their old gods falling. Emperor Diocletian wanted to rid the empire of Christians and the Great Persecution saw many of them killed. When Constantine took control in 312 CE, he stopped the bloodshed against Christians and had the slogan, 'One God, One Emperor.'
However, the nature of Christ was in dispute so the Council of Nicaea in 325 CE sought to clarify the situation. Tertullian came up with the idea of the trinity with the Father, Son and Holy Spirit based on the Greek philosophical idea that God was a 'substance'.
Matters were in a state of confusion until Augustine of Hippo clarified the theological position in the 5th century CE, and thus it has remained with a few tweaks along the way.

God is All

This chapter charts the rise of Islam, which saw off the Zoroastrians belief in dualism and Christianity's trinity to become the superpower with its belief that God was One. Aslan says that Allah was already known to the Arabs before Prophet Muhammed (PBUH) as he rose through the Arab pantheon ranks to be the divine animating spirit who had no form, thus no idols but, like Zeus and other religious pantheons, he did have daughters and sons. This was polytheism and the idols of the gods were the intermingling of Jewish, Christian, Hindu, Zaroastrian and other religious beliefs. However, the Prophet's message was that Allah was the divine force and all the others false idols; an anathema to the bustling, cosmopolitan centre of trade that was Mecca. Islam is aligned with Judaism in many ways including the singularity of Yahweh/ Allah, dietary practices and idea that He has no form so we were not created in his image. However, this tawhid is contradictory as if you are supposed to take the quran literally then how to account for the quran's mention of Allah's face, hands and his very human-like Beautiful Names? This has been the centre of theological debate for many centuries and Sufiism arose as a part of this contradiction.

I liked the broad overview of Sufiism and I know of it, and the poet Rumi (which is one my daughter's middle names) but not much else except the whirling dervishes and trances.

Conclusion

Aslan ends the book by discussing his research and personal journey to get to the realisation that he believes in Pantheism, meaning 'God is all, All is God'; God is in Everything so why stress about rituals, rites and practices as God knows your true soul. 'You are God' ends Aslan.

I loved reading this book as I learnt so much. As an Anthropology graduate, I loved the historical timeline about the evolution of human religiousity but on a personal and spiritual level, I've always been on a quest to know the divine. I've wondered is God the animating for that connects all living things, nature deified, an abstract force that permeates the universe, a personalised deity who acts and looks like a human or is God an actual physical being beyond our current scientific ken? In times of division and uncertainty, the notion of finding inner peace and guidance by looking inward resonates deeply. The concept of personal responsibility and a worldview that encourages universal connection, cultivates self-reflection and positive qualities like compassion and empathy.

So many questions and the answers are not forthcoming so Aslan's assertion that God is within us so we should look within and move forward with light in our hearts in just what I need. In this day and age where people are more stratified and seemingly divided, a message of unity and respect is one we all need to hear and spread. Peace.

Sol Bianca 2 - Cult Manga Review

For 35 years, Sol Bianca lingered on my watchlist. Released in 1990, during the golden age of OVAs and distributed by AD Vision, a key player in bringing anime to the West, it remained an elusive gem until recently. Finally, a couple of weeks ago, I experienced the original OVA and found it a surprisingly solid sci-fi adventure.

The original Sol Bianca presented a straightforward narrative with a charmingly quirky crew. Each female character, from the tech genius to the stoic leader, was distinct, and refreshingly, the absence of excessive fanservice allowed their personalities and skills to shine. While the hour-long runtime limited deep character development, their archetypes were immediately clear, making for an entertaining retro anime experience. It wasn’t a masterpiece, but its unique blend of action, humor, and space adventure remianed appealing even after all these years.

Naturally, I wondered if Sol Bianca 2 would build upon this foundation. I never got to see the OVA here in England as I don't think it was ever released. so, having discovered the sequel uploaded in its dubbed format on YouTube I though I'd give it a watch.

Thankfully, I can say that it delivers a high-octane action experience, focusing on escalating set pieces. The plot centers on the crew's heist of an energy-enhancing Pasha doodat, a device of immense power. However, their plan is disrupted by a rival faction, leading to intense conflicts as multiple parties vie for the same prize. The stakes rise when some of the motley crew are kidnapped, and the Sol Bianca faces a physical cyber worm outbreak, a technological virus corrupting its systems. The remaining members pull a Scottie to fix the ship and rescue their colleagues but meet a mysterious figure, intimately familiar with the Sol Bianca crew, who seeks the Pasha for his own evil machinations. Unfortunately, this intriguing cliffhanger plotline remains unresolved due to the series' abrupt end. We never got closure...

Despite the unresolved plot and increasing unnecessary fanservice, Sol Bianca 2 excels as a fast paced space opera with kinetic action sequences within its brief 45-minute runtime. The OVA showcases fluid animation and dynamic fight scenes, highlighting the stylish ship designs and intense firefights while the story builds on the established world and starts to add some backstory to Feb and April's past. 

Ultimately, Sol Bianca 2 stands as a visually impressive but unfinished OVA. While its narrative potential was never fully realized, it remains a worthwhile watch for fans of space opera action and those who appreciate well-animated fight scenes, even amidst a somewhat fragmented and unrealised story.

Phantom Quest Corp. - Cult Manga Review

Phantom Quest Corp. is a 4-part OAV series which was originally released in the mid-90s. It centers on a quirky, ragtag group of exorcists, pyrokinetics, and spirit mediums dedicated to solving the world’s ghostly woes. I watched it upon release and remember it to be a delightful blend of spooky, supernatural shenanigans and laugh-out-loud comedy. However, revisiting it for the first time in 30 years, would it still hold up or suffer from the usual cringe elements that mar much of the 90s output in today’s light?

The first thing to note is that the animation, a product of its time but still impressive even now, possesses the distinctive charm of Madhouse, the studio behind Wicked City and Ninja Scroll and key animator Yoshiaki Kawajiri. The character designs are expressive, especially that of the lead character, the fiery and fiercely independent Ayaka Kisaragi. She is a powerful psychic with a penchant for collateral property damage, sake, and karaoke, Ayaka leads a team that's equally eccentric and endearing, elevating Phantom Quest Corp. beyond your average monster-of-the-week narrative. The four tales include:

  • Kiss of Fire: The Corp tackles a vampire stalking the women of Tokyo, uncovering an unconventional relationship and an ancient evil.

  • End of World: Ayaka, suspicious after surviving a car accident linked to a strange electrical outage, investigates mysterious scars on the deceased taxi driver within a hospital.

  • Love Me Tender: The Corp looks into problems at an Ancient Saharan Exhibition, where a ghost may be connected to a CEO's harassment of the lead archeologist.

  • Lover Come Back to Me: When a Buddhist cult threatens to steal the Corp's business, Ayaka investigates the group and discovers a hidden agenda.

Watching the show again after so long, I had a great time. Each episode of the series presents a self-contained ghost story but it's the unique way these cases are handled that truly makes the series shine; the sharp banter, teamwork and individual quirks of the characters make them feel like real, albeit slightly unhinged, people. You genuinely root for them as they face angry spirits, mischievous yokai, and often crazy scenarios. Perhaps the most enduring appeal of Phantom Quest Corp. lies in its refusal to take itself too seriously. While the stakes can be Scooby Doo spooky, a healthy dose of humor is always present to ensure you know it’s just for laffs. Also, I was thankful that the series does not have any fan service, until the last shot of the whole series that is…oh dear, so close!

If you're looking for a fun, spooky, and thoroughly entertaining anime that has flown somewhat under the radar, I wholeheartedly recommend Phantom Quest Corp. It's a delightful blend of supernatural thrills and comedic spills that will leave you wanting more ghostly adventures with this unforgettable team.

The Joy of Comics and Passing the Torch

I am a huge comic nerd and have built a sizable collection over my 35 years in the hobby. I started collecting when I was 7 years old from my local comic shop with their cheap packet collections but moved onto graphic novels when I got my first jobs as a newspaper delivery boy and market stall dog’s body.

The collection expanded as I earned more from my weekend job at Peacocks and my weekday evening youth working. Then, a decade ago, a new chapter began – fatherhood. The instinct to share this beloved hobby with my daughter was immediate and profound.

To my delight, she embraced the world of sequential art with open arms. By the time she was eight, she had journeyed through the imaginative landscapes of Lumberjanes, the whimsical charm of Hilda, the intriguing mysteries of Gotham Academy, and the relatable stories of Raina Telgemeier, alongside countless other gems from the Scholastic Grafix series. She became, quite simply, a well-read young individual. Yet, as her guide through these literary landscapes, I couldn't shake the feeling of being the ultimate arbiter of her taste, a contrast to my own early, unguided explorations within the hallowed walls of Rodney's Books and Games, the iconic Forbidden Planet, the always-intriguing Orbital Comics, and of course, the legendary Gosh! Comics (and that other wonderful spot just down from Foyles).

This past week, I went to London with my family and stepped into Gosh! with my daughters. Witnessing their unbridled enthusiasm amidst the towering shelves was a profoundly magical experience. Letting go of that gatekeeper role, allowing them the freedom to wander and discover, felt both liberating and a little poignant. In light of the sometimes toxic fandom, this expression of wonder was uplifting.

Seeing them connect with my wife over the shared humor of Pusheen, their faces lit up by the vibrant covers, was a new kind of joy. That was one of the graphic novels they bought and then my eldest daughter, after some choice paralysis, finally selected The New Girl by Cassandra Calin. I did not know it but saw that it had one of the Gosh Best of 2024! stickers on. Reading the blurb it sounded quite promising so I said if she wanted it she could have it. For myself, but also for her really, I chose Ghost Book by Remi Lai as it looked pretty interesting and had that same kinda tween cartoon feel. My daughter read the blurb and said I should get it. All agreed I gave my daughters the money and they paid, proud of their purchases.

Now, the anticipation lies in the shared act of reading, the conversations that will unfold, the different perspectives that will emerge. My eldest has truly developed her own discerning eye, and I genuinely look forward to her insights. More than just sharing a hobby, it's about witnessing the blossoming of their individual identities, their unique choices shaping the people they are becoming. And in that, there's a deep and quiet satisfaction that transcends the simple pleasure of collecting comics.

Serial Experiments Lain - Cult Manga Review

"No matter where you are, everyone is always connected."

That line, whispered by Lain in the hauntingly prescient anime Serial Experiments Lain, has stuck with me for decades. Back in the late 90s, when I first encountered this strange anime on bootleg DVD purchased from my go-to Goodmayes guy I got to know from eBay, the internet was a relatively new frontier, a weird and exciting wilderness. Now, the 'Wired' is less a frontier and more like the very air we breathe, making Lain's words ring with an almost unsettling familiarity.

Lain’s ephemeral self makes quite an appearance on the Wired.

But, let's head back to the start. Lain, a seemingly ordinary schoolgirl, is drawn into the Wired after the suicide of a classmate, Chisa. She receives a message from Chisa from the great beyond saying she has found God online. Lain wants to know if it is real or a trick of some kind and so, she is propelled into a bewildering exploration of virtual identity, online communities, and the increasingly blurred lines between the real and digital realms.

Revisiting this cult classic after about twenty years, what struck me most wasn't just its cyberpunk aesthetic or its exploration of virtual identity. It was how acutely the series captured the paradox of our hyper-connected age: profound social pressure existing alongside deep-seated isolation. Lain foresaw this strange duality, highlighting how technology, while promising to bridge distances, can ironically amplify our sense of being alone. The relentless barrage of information, the carefully curated online personas, the constant pressure to be connected – it can all lead to a profound sense of alienation. Serial Experiments Lain was diving headfirst into the rabbit hole way back in 1998 with its unsettling foreshadowing of our current internet landscape, where conspiracy narratives thrive with alarming ease. We've all been tempted to follow those winding threads online, even if just for a little while, and Lain was already mapping that territory.

The series also fearlessly grapples with the darker undercurrents of our digital existence: suicide and mental health. Chisa's tragic fate and Lain's subsequent investigation reflect a growing awareness of the mental health challenges facing young people in an increasingly digital world. The addictive pull of screens and the potential for disassociation, themes that felt somewhat abstract in the 90s (with the notable exception of Fight Club), are now painfully real. We're witnessing a generation navigating the psychological toll of constant connectivity, a phenomenon Jonathan Haidt explores in his recent and much-discussed book, The Anxious Generation. Lain was sounding the alarm long before the data backed it up.

Lain tries to connect with the Wired but finds it all too overwhelming.

Underpinning the entire series is a subtle yet potent critique of late-stage capitalism. The commodification of identity, the relentless drive for connection as a product, the erosion of genuine human interaction – it all speaks to the isolating and alienating forces shaping our society. Released in Japan in 1998 against a backdrop of economic uncertainty, a major earthquake, a horrific terrorist attack, and the approaching end of the millennium, Lain tapped into a deep-seated cultural anxiety. It masterfully blended horror and creepiness with the burgeoning internet, pulsating club music, and mind-bending science fiction. Building on the cultural impact of The X Files, episode 9 of Lain goes full on conspiracy theory on the origins of the 'Wired' with Roswell, The Manhatten Project, the sensory deprivation experiments of John C. Lilly, E.C.C.O. and (not the) dolphins and hypertext. In 1998, these unconnected points were connected in Lain in a grand maniacal scheme. It was the right story at the right time, a prescient work that foreshadowed so much of our current digital reality where people see the Deep State and a sinister cabal everywhere.

Special mention must be made of Yoshitoshi ABe's distinctive character designs. They would later grace the ethereal beauty of Haibane Renmei, but this first work perfectly complement the series' complex themes. His style melds seamlessly with the avant-garde, cyberpunk digital backgrounds, where dominant purples and blues amplify the pervasive melancholic atmosphere. The sensory experience is profound – a tapestry woven from the hum of powerlines and the rhythmic clacking of keyboards, punctuated by the vibrant energy of the club scenes at Cyberia and the indie-rock pulse of Boa's opening theme. Even Lain herself is visually presented in three distinct styles, a clever way to illustrate her fracturing sense of self as she navigates the Wired and perhaps even transcends into something akin to a digital deity. Ah, the Japanese and their enduring fascination with Christian iconography in their storytelling!

I love the final episode and have remembered the sentiment of, "If it isn't remembered, it didn't happen," after all this time as it's a thought that continues to echo in our digital age. It's a chilling precursor to our "pics or it didn't happen" mentality and the very real challenges of erasing our digital past, as poignantly explored in Jon Ronson's ‘So You've Been Publicly Shamed.’

Serial Experiments Lain isn't just a piece of nostalgia; it's a vital, unsettling mirror reflecting our present and perhaps even our future. The writer of the series, Chiaki Konaka seems to have stared too deeply into the abyss and seems to be aligned to many conspiracy theories and theorists now - such a shame for someone who looked so deeply at radicalisation and cult brainwashing strategies, only to succumb to them himself, or at the very least, get his information from the same main source.

As we continue to navigate the ever-evolving landscape of the Wired, Serial Experiments Lain remains a haunting and incredibly relevant reminder of the profound questions lurking beneath the surface of our seemingly connected world. It's a call to question, to reflect, and to remember that even in the digital age, our humanity remains our most precious connection. Lain has earned its cult status for a reason. It's not just a cyberpunk anime; it's a philosophical exploration of the human condition in the face of rapid technological advancement. This is a series that demands multiple viewings, each time peeling back another layer of its unsettling truths about our digital existence. It is very much a series about the Present Day, Present Time.

LINK- The Anxious Generation: Book Review (and Some Thoughts)

LINK: Japan: My Journey to the East

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

LINK- Toxic: Women, Fame and the Noughties- Book Review (and Some Thoughts)

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

The Comic Book Pile-Ons and Other Such Nonsense

Ever feel like some fandom spaces are less about celebrating what you love and more about… well, grumbling? You’re not alone. There’s a definite undercurrent in some communities that feels less like joyful appreciation and more like a reactionary incubator full of really bad faith hot-takes. These spaces often have a nostalgia for the apparent ‘golden age’ of yore and a suspicion towards the present, and conspiratorial thinking about the ‘bad guys’ ruining the memory of this cherished IP. This has been a common trend in much of the media landscape, from 2014’s Gamergate, to the weird reactions of the new He-man and She-Ra series (which were both pretty good IMHO) to the social media pile-on when comic guy, Glenn O'Leary, said in a short form video that he thought the American comic industry was dying. What followed was a vicious social media attack as many people criticised him, including comic writers and creatives, on X (née Twitter).

It got me thinking about the comic scene and how I've seen in change since I got into the world about 35 years ago. I fell in love with comics during the late 80s. My best friend at the time showed me his small comic collection and I remember listening to Jean Michel Jarre and reading them. The art, stories and dynamism shown on the page blew me away and I was hooked. I knew many of the characters through TV shows, cartoons and pop culture but this was my first experience of the actual comics.

This shop was the centre of the world in terms of my interests for many years.

I remember vividly going to bed excited to visit our local comic book store, Rodney's Books and Games. The makeup of the shop was strange but cool; at the top was owner Rodney who sold second hand books and in the basement was Ian, the mid-30 pony tailed guy who sold the comics and manga. I'd been visiting this place for quite a while as I was really into the Fighting Fantasy books by Ian Livingstone and Steve Jackson and they sold second hand copies for a very reasonable price a couple of quid. I'd never really ventured downstairs as that was where the men and older teenagers hung out.

There was a connecting space as at the top were rows of comic book boxes with grab bags, £1 a piece, which contained about 4 to 5 comics. The corners were snipped off but it was a cheap way to read loads of comics really easily. Sure, you'd never get a story arc but back then it was a great way to be introduced to a wealth of comics and creative teams. For the shop it was a great way to get rid of back issues and for the customers it was a great way to get a great diet of comics and develop your tastes. It was an excellent idea and worked well I thought.

I loved visiting every Saturday morning with my best mate and spending our pocket money. However, the mid-90’s were when I stopped collecting comics, this was when the comics boom started. I had only a little amount of pocket money and the possibility of getting a girlfriend, socialising with friends by going to the cinema or Pizza Hut buffet whilst collecting all the variants and crossovers made it all too hard for me to keep up with everything.

Also, factor in the price rise in comics (from about 80p to about £1.50 to some being over £2) and I was out of the game. Speculators made it hard to collect the comics I wanted and when I could get it, the comic seller had usually jacked up the price. The biggest example I have is I was a huge Iron Man fan, I'd followed it since reading a mates issue of 270, which I bought and still have. I'd buy monthly issues for months but the Death of Tony Stark was the next issue (#284) and I couldn't find it for love nor reasonable money. The comic guy had backed and boarded it onto the wall for an extortionate price before I'd even been able to buy it.

I also collected Flair Cards and loved them for their stunning artwork, interesting facts and good quality card and foil effects but then that became a speculative bubble too. I knew this was happening when my group of equally geeky friends suddenly saw many more of our student peers collecting the cards in the playground, it became a phenomenon.

After my young cool uncle lent me Akira and Devilman, I got into manga and that was my thing for the next decade or so. I built an impressive collection including Alita, Kare Kano, Death Note and more but the sheer amount of trash meant I fell out of love with that too.

When I got my first proper paid weekend job in Peacocks, as well as saving some, I'd buy CDs, DVDs but also graphic novels. My friend was a Hellblazer fan and I loved it. I found that with graphic novels you'd usually get a whole story arc and the prices wouldn't be speculated on. That's when I discovered the Vertigo line and collected The Sandman, Preacher and also the entire Hellblazer run.

I've amassed a sizable collection of over 700 and have continued collecting, getting only the stuff I want to read. I don't follow trends or hype cycles but follow the creatives or characters I want. Comic shop staff would also recommended me stuff bespoke to my tastes and were rarely wrong.

When Marvel went through a resurgence I picked up many graphic novels, jumping on the Marvel Now imprint. Marvel Now, which ran from 2012 to 2015, offered a gentle step up for people getting into the scene without the 40, 50 or more years of accretion; they were just solid comics done well with characters who we all knew from the pop culture zeitgeist or from our youth. It reinvigorated many of the characters and brought many new readers into the scene. A lot of that was I doubtably from the success of the films but also the runs were amazing with some fresh ideas and super creative teams. Some of my favourites included Squirrel Girl, Ms. Marvel and She Hulk. I visited Gosh, Orbital and Forbidden Planet in London monthly and the comic shops would be buzzing with diverse faces. It was a huge difference from when I would visit these places in the late 90s and 00s and see a pretty homogenous group.

But my overwhelming feeling is that the comic scene is tough now. Marvel and DC keep doing constant reboots with new creative teams and the consistency and quality has reduced. I saw it with the New 52- I loved Constantine but when they wrapped that up into this new homogenous thing it lost me and many other fans. Vertigo was an amazing brand and to collapse that was nuts in my opinion. To lose a run that was in the hundreds returned to a 'new' #1 was heartbreaking as every relaunch only encouraged diminished returns. Fool me once... etc.

Ms Marvel was an important character for me as she represented my world and culture in a way mainstream comics had not shown before. I've collected all her comics but felt her death was lame... It didn't have payoff and felt like a gimmick. Having said that, her death was beautifully done with Kamala’s real culture and Islam represented well and accurately. The characters recite the Al-Falaq or The Daybreak, the 113th chapter of the Qur’an something I never would have dreamt of in my youth.

I only get a few single issues a year and usually they are for the big events like the death of Kamala Khan (Ms. Marvel) or the first appearance of Spider Boy, and even then I don't stress about variants, foils etc... life's too short.

My feeling is that Glenn and many comic book shop owners are correct and I think their passion comes from a place of love and knowledge not hate. The points made are pretty valid but, for me, the big issues here are value for money, space (and lack of it) and overchoice. The cost of living has affected many and so cutback are inevitable.

Covid exacerbated the decline of comic shops so that expert bespoke knowledge was lost. Luckily, I have a comic shop near me and he's a swell guys who I chat to about the scene but he has a limited inventory. I do miss the London hubbub where there'd be late night creator meetups, signings, game sessions, special releases etc. I would be able to meet my tribe and the sense of community was palpable.

I've also realised that much of the fanbase has aged out. Many don't want to lug crates of comics as it's a chore, especially when you are constantly moving places when renting. The marquee names, the Jim Lee's, Alan Moore's, Chris Claremont's, John Byrne's, Grant Morrison's and Neal Adams' of the world have either passed left the industry or moved on to Hollywood or other pastures so the big name draws are gone too. I love the Indie scene and have a healthy amount but the big two are the draw for the regular punter. A high tide raises all ships...

When you throw in the saturation of television and movies you realise that there is a massive problem: if you aren't a Disney + subscriber you miss a lot of the content and possibly continuity. I'm a Disney+ subscriber but I've not watched a lot of the Marvel movies or series as there's simply too much. Streaming has killed patience and people don't want to wait 6 months to finish a 6 part story arc (if they're lucky), especially if it's not a consistent cohesive team you can get behind.

My daughter is into the comic scene and she loves it but I've curated her intake through my knowledge and homespun expertise. She loves The Lumberjanes, Hilda, the work of Raina Telgemeier, Moon Girl and Devil Dinosaur and Rabbit vs. Monkey, as well as The Beano but she is missing the comic book staff expertise and bespoke recommends and I feel sad for her. I feel lucky to have been around when the scene was booming, finding my people and having that sense of community, but I do feel it will pick up again. All it takes is a period of reflection and, like when the derth of lacklustre manga threatened the whole industry in the early to mid 00s, a hard reset.

I know it will happen but when and at what cost we will see. Meanwhile, I'll keep buying the comics by the creatives that interest me and avoid the more toxic online discourse.

LINK- Comics in the Classroom

LINK- What Comics Have Taught Me

LINK- Battle Angel Alita: And So It Ends

LINK- The Moomins 80's Soundtrack Vinyl Review

LINK- Inspector Gadget Retro Soundtrack Review

LINK- Ulysses 31 Retro Soundtrack Review

LINK- The Mysterious Cities of Gold Retro Soundtrack Review

LINK- Sonic Mania Video Game Vinyl Soundtrack

LINK- Thomas Was Alone Video Game Vinyl Soundtrack Review

LINK- Akira Soundtrack Vinyl Review

The Last Voyage of the Demeter - Film Review

I have very fond memories of watching the 1922 Nosferatu many years ago whilst attending university. I've mentioned elsewhere here that my Anthropology course allowed me plenty of free time to  watch films and Nosferatu was one I picked up quite early on. I loved the Murnau classic as it was beautifully shot with stunning cinematography from F. A. Warner and Gunther Krampf. The standout for me was Count Orlok stalking the poor crew of the Demeter, it stayed with me as the synth score on the DVD I had was suitably moody. Little did I know that years later there would be a whole 2 hour film about this scene, which made up a single chapter of the original Dracula novel.

The Last Voyage of the Demeter is more of a slow burn creature feature, dragging you down into the damp, creaking hull of a doomed ship which is selected to take a large cargo of boxes to England from Transylvania. Mr Clemens (ably played by Corey Hawkins), the protagonist and audience surrogate of this story, is a highly educated black man and wants to know the world better, so joins the crew.

"The more I see of it, the less any of it makes sense," he says over the crew's first meal, not foreshadowing the events to come at all.

Captain Eliot replies, "The world cares little for sense... Perhaps it is not meant to be understood but rather experienced and accepted."

As they carry their cursed cargo towards Whitby, the crew grow suspicious of the deaths, turning on the woman, newbie and then each other as the storms and lack of food hits.

Director Andre Øvredal crafts a genuinely unsettling atmosphere, making the dark passageways of the ship into a claustrophobic nightmare echoing the silent terror of early vampire cinema. Make no mistake, this is a creature feature that delivers some brutal thrills as Dracula picks off the crew one by one when his food source, an unconscious woman kept in a trunk of dirt, is discovered and given a blood transfusion to save her life. The foreshadowing with the disappearance of rats in board and a genuinely unsettling jump-scare pretty early on sets the mood pretty much from the off.

However, while the tension is thick enough to chew on and the set impressively oppressive, the narrative can feel like it's treading water at times. There are occasionally clunky lines and bits of inelegant exposition but you can forgive that when the dark vibes are this good. It's a shame the film wasn't streamlined and trimmed as I think there is a lean horror film in here but the poor pacing and overwrought dialogue kills the potential it had.

We all know how this voyage concludes but if you're craving a pretty novel take on the Dracula story, then this is worth your time. This is no Bela Lugosi `Blah Blah Blah' meme stereotype but a more feral and wild thing.

Overall, I appreciated my time with The Voyage of the Demeter more then loved it. At over 100 years old, it certainly makes you appreciate the stark power of its cinematic ancestor and that is the mark of a true masterpiece.

For the Love of Shunji Iwai

Okay, confession time. Back in my formative Uni years, my cinematic heart belonged to the French arthouse scene. A thoughtful gaze into the unknown by Irene Jacobs in Three Colours Red was my happy place but when I tentatively dipped my toes into the waters of South East Asian arthouse cinema, I wasn't quite feeling the same pull. I'd journeyed through the powerful landscapes of Kurosawa and loved it, but the more contemporary offerings from many of these nations just weren't clicking…then came Picnic.

This quirky little film about psychiatric unit inmates taking a wall-adjacent day trip was… okay. It wasn't setting my world on fire but then, about halfway through, an instrumental track washed over a particularly striking piece of cinematography then… something shifted. That yearning piano and synth melody, Remedios' Walk on the Clouds, became the soundtrack to my wistful moments. Suddenly, I got it.

That track sent me down a rabbit hole, and before I knew it, I'd devoured Shunji Iwai's entire filmography. What struck me most about his work is this incredible sincerity, particularly in his portrayal of youth. Forget the overly articulate teens of American dramas or the constant witty banter. Iwai's characters feel real. Their emotions are raw, sometimes messy, and utterly believable. He trusts his audience, allowing scenes to breathe, letting the evocative music carry the emotional weight without needing a deluge of dialogue or clunky exposition. It’s like he understands the unspoken language of feelings.

Take Love Letter, for example. The winter cinematography is simply stunning, painting a landscape of both beauty and melancholy. And that ending? Seriously, could a scene be any sweeter? It's a moment of pure, understated joy that just melts your heart.

Then you have Swallowtail Butterfly. This film is on another level – a legitimate epic, but told with that distinct Iwai touch. It's ambitious, unique, and completely captivating. He weaves together disparate storylines and characters into this sprawling tapestry that somehow feels both grand and deeply personal.

Iwai's films also subtly highlight social issues, not with a heavy hand, but woven into the fabric of the narrative. It adds another layer of depth to his work, making you think beyond the immediate story.

After falling in love with Iwai’s work, I ventured forth and tried out other creatives whose works I hadn’t truly appreciated - through this I found the works of Wong Kar Wai, Zhang Yimou, Park Chan-Wook and Takeshi Kitano.

So, if you're like me, a lover of thoughtful cinema perhaps hesitant about venturing out of your comfort zone, take a chance on Shunji Iwai. You might just find yourself unexpectedly captivated by his honest storytelling, his stunning visuals, and those unforgettable musical moments that linger long after the credits roll. You might even find your own ‘Picnic’ moment that opens up a whole new world of cinematic beauty.

Video Girl Ai- Cult Manga Review

For years, I'd heard whispers of Video Girl Ai. Reviews in Manga Mania and Anime FX painted tantalizing glimpses of a unique romantic drama with a sci-fi edge. I'd never actually experienced it myself so, seeking to right that wrong, I settled down over the course of an evening and watched all six episodes, each lasting only around 30 minutes, to explore a captivating love square story.

The main protagonist Yota loves Moemi but she loves his best friend Takashi. After an earnest admission of her love for the friend, a depressed Yota rents a Video Girl VHS tape (a kinda video girlfriend tape) but a faulty tape player causes the Video Girl to break through to the real world with some glitches including brashness and bawdiness. With a limited time left before she is erased, Video Girl Ai aims to get Yota and Moemi together, but when she starts to develop human emotions what you get is a whole lotta teen drama.

I thought that this was an interesting premise and the setup was pretty quick. In fact, within the first 3 minutes of the series you see the Ai break through and introduce herself. Over the proceeding episodes, you see the run up to the VHS rental as well as the consequences of Ai's constant interference and burgeoning affections for Yota.

The whole series gives off a cheesy 80s Brat Pack vibe but I loved it as, at its heart, it's a story about developing and becoming more than you were. It's a poignant tale looking at the human condition, what is love and how our emotional attachments are affected by our concept of it. In other words, it's the universal tale of unrequited love and heartbreak.

There are moments of existential dread and the Hedgehog’s Dilemma.

The music is great throughout and forms an integral part of the series, as you often get high school montage scenes set to pop songs that give it that quintessential The OC/ Dawson's Creek vibe of people living their lives soundtracked to cool tunes. The art is beautiful and the way it would change for more sepia or watercolour tone interlude was heartwarming and effective.

This series predates Hatsune Miku and the Vocaloids virtual popstar fandom that would come after but it hits a lots of the concerns that have been raised about falling in love with virtual avatars.

However, I believe that this story is not one about meeting your ideal partner but rather a self-examination of a person trying to grow, become better and persevere with life's difficulties despite all the challenges. It's actually Schopenhauer's old Hedgehog's Dilemma way before Evangelion would bring it to the public consciousness 4 years later.

Overall, I really loved Video Girl Ai, and whilst it does have some pervy ecchi moments, it's not too egregious and doesn't detract from the bigger themes and story it is trying to tell. This is a big of a forgotten gem and I'm glad I've uncovered it for myself.

LINK: Japan: My Journey to the East

LINK- Battle Angel Alita: And So It Ends

LINK- The Moomins 80's Soundtrack Vinyl Review

LINK- Inspector Gadget Retro Soundtrack Review

LINK- Ulysses 31 Retro Soundtrack Review

LINK- The Mysterious Cities of Gold Retro Soundtrack Review

LINK- Sonic Mania Video Game Vinyl Soundtrack

LINK- Thomas Was Alone Video Game Vinyl Soundtrack Review

LINK- Akira Soundtrack Vinyl Review

Secret Level- Series Review

Secret Level is an Amazon backed anthology series of videogame world inspired short stories that mixes cutting-edge animation styles with quick fire storylines. Each episode is stand-alone and is set within a different game universe and so, like all anthology shows, some will chime with you more than others depending upon your investment in the series or taste in genre and animation style. I was intrigued by the concept of this series as I am a gamer and have been for a long time so aa animated series, similar in scope to Love, Death and Robots, which gives creatives a chance to use known worlds to create a short narrative experience, intrigued me. The fact that Tim Miller, who executive produced LDR, was leading this had me hopeful. However, I was very aware that while the first LDR series looked phenomenal, pretty much half of the episodes were poor Alien derivatives and I was worried that this would be the fate of Secret Level. Well, I’m sad to say that after watching the series it does suffer the same fate as more than half the episodes are focused on one theme - gritty sci-fi shorts with a focus on gun porn, resurrection and the repetitive lifecycle of the protagonists. What are the episodes like individually though?

Well, uniformly the series is beautifully animated with the color and kinetic energy effectively translating the familiar aesthetics of each game world into the dynamic animated format. With the animation being handed to Blur though, there is a house style that only occasionally is given a chance to branch out. This is a visual feast though, make no mistake, and it is further amplified by the inclusion of celebrity voice talent, adding a layer of star power that, while not always consistently impactful, provides an interesting draw. The standout vocal performance is of a smug character portrayed by Arnold Schwarzenegger in episode 3, a real highlight. The episodes are interesting when looked at individually:

Dungeons and Dragons: The Queen's Cradle

When a party of four meets a cursed man, they take him with them to the dragon Oriel's lair to be cured. However, things do not go according to plan as they are attacked by the Cult of the Dragon.

This is a great episode to kick things off as the animation is spectacular and the story, whilst straightforward, is effective and leaves you wanting more.

Sifu: It Takes a Life

When a young man seeks revenge for the death of his father, he will lose many lives before getting to his goal.

The animation in this episode is brilliantly fluid, bringing the bustling rainy Hong Kong side streets to life in a painterly style. The fight scenes in this are spectacular; a cross between that visceral corridor fight scene in Oldboy and the more recent balletic fluidity of the John Wick series.

New World: The Once and Future King

An arrogant king arrives with a huge naval fleet to conquer another kingdom but, after a storm, washes up ashore all alone except for a single loyal servant. He still tries to take on the King of the land but is constantly defeated and realises that no-one ever dies in this land. Can he take over? Does it even matter

This is a really funny episode and I think this is because Arnold Schwarzenegger nails the character. He adds a lot of swagger and self-confidence to the king who is used to always winning, not because he is any good but because his subjects enabled him for fear of reprisals. The ending is quite beautiful though as it shows the opportunity time provides for self-reflection and growth.

Unreal Tournament: Xan

A group of mining robots turn against their corporate overlords and are punished to face off in an arena. What happens next is mayhem and chaos as everyone struggles to survive.

This episode is brilliant as it captures the vibe and kinetic energy of Unreal. The story is simple but the frantic shootouts are well choregraphed and so, they draw you in.

Warhammer 40,000: And They Shall Know No Fear

Set in the dark and nihilistic future, a squad of 5 marines look for their target on a hostile planet and proceed to hunt him down, bringing the pain on anyone who stands in their way.

I know of Warhammer but I have never played the board or videogames. However, I feel that this episode was a great primer as it's not heavy on lore but is just full of cool fights and set-pieces. I love the nod to Django with the squad dragging a coffin-like object behind them on a chain.

PACMAN: Circle

When an alien wakes up he has amnesia but a flying golden ball named Puck tells him he has to 'Eat or be eaten'. And so our protagonist goes on a journey to feed himself.

This is a weird take on the old Pacman game. The story is accurate to 'lore' but did it really have to be so grim dark? It seems so strange a direction to have gone down but different strokes, eh?

Crossfire: Good Conflict

As a storm hits the coast of America, two mercenary teams fight it out to retrieve a package. Who will win and who are the good guys?

This is an okay short film about the geopolitics of war; no-one thinks they're the bad guys but surely there is one side that is more responsible than the other. Right? I think it's supposed to show that people are just following orders but, irrespective of command, just following orders does not cut it- not when we are seeing real heinous acts happening in the real world. There must be a reckoning for decisions made and followed.

Armored Core: Asset Management

When a mech pilot is given an assignment he is wary as it is an unknown target. When the voice in his head, calling herself a result of obsolete augmentation surgery, warns him that he is pushing himself too far he disagrees and pushes himself to the limit.

Keanu Reeves leads this film and does a great job as a maverick pilot who is addicted to the highs of piloting. It's a quick action filled episode and the world created suitably grimy yet with awe inspiring vistas.

The Outer Worlds: The Company We Keep

When Amos, an orphan on garbage duty, sees a poster for a job he works hard to earn his right to go there and work for the company off-world where his old friend (and crush) left to work for. With his upbeat personality and honest character Amos succeeds and finds her, only to discover she is a chief scientist with designs on being the head of the company, even if it hurts people in its testing process.

I really loved this episode as it had a lot of levity amongst the darker episodes in this series. The message of unwavering brand loyalty in the face of incredible corporate malfeasance is very much front and centre but is done in a humorous and thought-provoking way.

Mega Man: Start

When their base is attacked by Dr Wiley's minions, Dr. Light and Rock discover their true strength and fight back.

This is a very short but cool origin story for Megaman, down to the cool pose with billowing hair on top of a building.

Exodus: Odyssey

When an engineer pursues his runaway daughter he goes through hell and high water to get her back, fighting an alien force and overwhelming odds. However, with time dilation he ages slower than his daughter - can he get her back before she ages too much?

This is quite a powerful episode on how far a parent is willing to go to rescue their flesh and blood. It ends on a note of hope and optimism and by gosh could we use some of that sweet, sweet optimism right now.

Spelunky: Tally

When two explorers keep dying as they try to escape from their subterranean world, they discuss the human cost to their rogue-like powers. Even if you always come back, are you the same person?

This is a good short piece about the meaning of life and why each turn is special, but this subject t has been covered before in New World and Sifu so seems repetitive. The art is stylised in a painterly, blockyish way and I quite liked it.

Concord: Tale of the Implacable

When a free gunner (I'm guessing this is a space swashbuckling type of job) captain is caught, her crew attempt to get her out. It goes South quick and they have to make contingencies on the fly.

This is quite a cool, lighthearted episode with a less accomplished Cowboy Bebop/ Firefly vibe. Watching this episode is a little bittersweet as the game was pulled within several days of release, potentially being the most expensive media flop of all time at a cost of $1/2 billion. Wowzers! The story had potential but, in a crowded market where people are time poor, it didn't stand out enough to build a fanbase.

Honour of Kings: The Way of All Things

When an AI controlled city goes power crazy, a young orphan teen challenges it to a game of Weiqi- a battle with winner takes all. He chooses Go and so, a duel for the soul of city is contested.

This is a gorgeous looking episode that looks at freewill, determinism and self-discovery. I quite liked it but it was not a standout.

Playtime: Fulfillment

A bored courier is sent to deliver a special package and her life is turned upside down by others who want it. The package allows her to manipulate the world around her but a military organisation want it for their own nefarious means.

This is a weird episode with a Colossi, Dad Kratos, Sackboy, Journey dude and others from the PlayStation stable out in force. It's a nice Leo Pointing Meme moment but as an episode, pretty inconsequential fanservice.

Overall, Secret Level is a solid anthology series and this season shows that the format in this style does have some legs. I look forward to seeing the maturity and flowering of ideas as creatives get more confident with the format. Love, Death and Robots honed its craft over a few seasons and I'm sure, given the chance, Secret Level will too. The standout episodes for me were the ones based on New World, The Outer Worlds and Sifu but there will be something here for everyone to enjoy. Roll on season 2!

Treat Yo' Self

Saturdays, once full of possibiity with trips to Barking Library, treasure hunts in Cash Converters for coveted NES, Master System and Megadrive games, and the ultimate reward, a visit to Rodney's Books and Games, have evolved into less frequent but equally cherished pilgrimages to Exeter. Okay, so 30 years or so have passed since then so things gave changed somewhat…

I have such a nostalgia for this amazing shop.

Now, every few months, I indulge in a self-prescribed dose of stress relief: a comic shop visit, a German Doner Kebab, and a browse through CEX, Waterstones and HMV. These are my ‘little presents’ echoing Agent Dale Cooper's wisdom, though my version is a quarterly affair, in case I become bankrupt.

This sentiment has stuck with me for many years.

However, three times a month, I seek solace in the pages of Edge, Retro Gamer, and Infinity. In this digital age, where information has been commoditised and is merely seen as a quick reads to be clicked on for advertising in the churn, the simple act of reading a magazine is a salve. I love the experience of going to my local W H Smiths, browsing the various publications and then picking my trusty three. Over the course of the month I like reading a little of each, working my way through and excited to see what comes next.

I have quite a backlog of magazines but I love them and never miss and issue of my favs.

I don't keep the magazines, giving them to the local charity shop or my school, but the physical act of reading whilst having a nice cuppa does something for me. It holds such a nostalgic feel for me as some of my earliest and fondest memories are of me reading and feeling content usually with Tintin but Edge particularly has figured heavily in my life. Since getting into it in the mid- 2000s (ish) I've never not bought the issues, even paying a premium of £14 per issue in Cambodia for 2 years from 2011 to 2013 as print was very expensive there.

Yes Aziz, I will!

I hope we don't lose the print written form I think it is a valuable experience. Now, I'm not a Luddite as I have a physical Kindle, have downloaded the Kindle App on my phone and have had an Audible subscription for over 7 years, but the feel of a book is special to me. I don't want to lose that special bibliochor scent and sensation. Viva la print!

LINK- The Anxious Generation: Book Review (and Some Thoughts)

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

LINK- Toxic: Women, Fame and the Noughties- Book Review (and Some Thoughts)

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

Fist of the North Star - Cult Manga Review

Fist of the North Star was a huge deal when it came out here in England, selling over 60,000 VHS tapes and being second only to Akira in terms of total manga sales at the time. That's quite an achievement for Manga Entertainment's first ever manga release here.

I saw it all the time of sale as it was pretty ubiquitous but I never watched it at the time, not for any specific reason really but the cover didn't appeal to me as it seemed to be a stupid generic beating up film and that genre had kind of died in the 80s. After snubbing it for so long, I decided to finally give it a watch. Was it any good, even without the rose tinted lens of nostalgia attached?

Starts off with a narration outlining the Yin and Yang of the Universe and how the world was destroyed by a nuclear holocaust. You expect a devastated world to appear but then, as the opening credits roll, you get a 5 minute montage of beautiful imagery and landscapes of our recognisable gorgeous world.

At 5 minutes, we see that there is a nuclear holocaust in 199X and the world as we know it is destroyed as we see the poor huddled masses ripped apart by the nuclear wind. There now exists a survival of the fittest with the poor and weak and the strong headbangers.

Into this world we meet Ken, The Fist of the North Star, a powerful warrior who is betrayed by Shin, the Fist of the South Star. After his beloved Julia is taken as a prize, Ken is thrown into a chasm, believed dead. However, he comes back and, like the Littlest Hobo, goes from town to town fighting hoodlums and protecting the weak and innocent. Along the way, we meet his Iago-like brother, Jagi, who was the one to turn Shin by lying to him of Julia's love for him, and his eldest brother Raoh the Conqueror who wants to rule mankind as a God.

Watching this nearly 40 years after it's release, I can say that it is a proper old skool bits-to-the-wall manga. There is claret everywhere as heads exploded and limbs are sliced off using chi. It's very entertaining and, whilst not highbrow or arty, it is very effective for what it is; a man going through hell to find his one true love. What the manga shows is that families are very complex is alls I'm saying.

Overall, I liked the movie and didn't feel it wasted my time. There are definitely worse ways to spend nearly 2 hours.

LINK- The Anxious Generation: Book Review (and Some Thoughts)

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

LINK- Toxic: Women, Fame and the Noughties- Book Review (and Some Thoughts)

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

Crying Freeman - Cult Manga Review

Crying Freeman was one of the big flagship titles from Manga Entertainment from way back in the early 90s. I never got around to watching it even though I did see it on sale frequently, however I do know a couple of my friends did watch it back in the day and praised its depth.

For those not in the know, Crying Freeman is a mature and violent manga written by Kazuo Koike and illustrated by Ryoichi Ikegami from the late 80s/early 90s. It follows Yo Hinomura, a potter transformed into the 108 Dragons' top assassin after being hypnotised. Dubbed 'Crying Freeman' for his post-kill tears, he's a man torn between his past and his violent present but can he break free from his handlers to have true freedom? Over the course of the series, he finds a partner, then wife, who shows him his humanity - artist Emu Hino - whilst dealing with syndicate crime bosses, corrupt police officers and his own 108 Dragon Syndicate. Over 6 episodes of 50 minute OVAs, we get to see the rise of Freeman and his 108 Dragons Syndicate.

Portrait of a Killer
Whilst out painting in a park, painter Emu Hino witnesses a gang land execution. She sees the killers face and knows that she will be targeted next. That night, the killer find her but they make love as he recounts his tragic fate. However, the gang members of the earlier hit seek vengeance and so Hino and Yo escape and wipe out the threat.

This is a dramatic introductory episode which sets the stall out pretty quickly; there is plenty of blood spilt but the kills are stylishly done. There is also a lot of nudity and two sex scenes which have aged about as poorly as most sex scenes from the era but at least the angles are tasteful and it's not too fanservicey as the people are very much adults.

The Enemy Within
When Yo and Emu marry in a private Chinese wedding ceremony, they are attacked. Sensing a traitor within their organisation's ranks, Yo travels to Macau to get to the truth. He gets his man but Kiche, the sharp shooting assassin girlfriend, seeks revenge.

The episode starts with the marriage but the action escalates very quickly as an assassin attempts to kill Yo. From there we have an action packed episode featuring car chases, bombs, submarines and an island base. The battle between Freeman and Kiche is epic as they battle it out on top of the submarine.

Retribution
Emu proves her worth by not breaking after being tested by the 108 Dragons. Later on, Freeman and Bai Ya Shan are caught up in a plane hijacking from the African Tusk, a terrorist gang. When his base is attacked by the African Tusk and many in his leadership circle killed, Freeman goes on the silent offensive as the enemy think he has been killed too. He pretends to be a hairdresser in an exclusive resort and closes in on his enemy.

Meanwhile, Emu obtains the cursed Muramasa sword and goes to train with a master swordsman but Bai Ya Shan is worried about th curse and goes to dispose of it down a well. However, the curse breaks and accepts Emu.

This episode is quite good as Yo has the foresight to predict the enemy seeing his organisation as being weak. They die to protect him and so Yo goes all espionage to avenge their deaths. Africans have not always been portrayed well in anime or manga over the years, often being caricatures with exaggerated stereotypical features but here they are presented in a more complex light. The African Tusk are terrorists but Bugnug is a warrior with a sense of honour and pride. She and Freeman bond over their fighting skills and part as lovers, with him renaming her Dark Eyes.

The episode focusing on Emu becoming stronger by learning the way of the sword is a good one as we see her want to become more independent and a warrior in her own right. The sword dance she does is entrancing and quite beautiful in its own strange way.

The Hostages
When his daughter, granddaughter and son-in-law are kidnapped by the well trained KO (Kidnapper Organisation - which is a bit too on the nose for my liking), Mr Wong asks Yo for help, playing into the KO groups plan. Yo is aware of this and knows that there is a mole in their midst and so lets himself be captured in order to get close to the captives. On the island, he finds a militia and their leader, an erotically charged woman who wants Freeman as she gets off on killers.

The introduction of this is quite something as we get a minute or so of credits rolling over a writhing naked woman moaning gently. I'm glad my wife didn't walk in whilst I was watching that as I'd have a bit of explaining to do. It is the killer Nina but I didn't know that at the time. This is an intriguing episode as it discusses soldiers who arrive back from war but feel lost in a society that doesn't accept their deeds. However, Nina getting off on watching people being killed and her constant exhibitionism is annoying and very cringey. I was glad to see Emu and Bugnug appear and do their stuff to bring the house down.

The Impersonator
After being defeated by a huge and powerful man named Tohgoku, Dark Eyes is brutally abused and thrown into a river. Yo finds and rescues her and sets out in vengeance.
Freeman takes him on in the wrestling ring and is seemingly defeated, whereupon he is taken to the homebase to recover. He finds the real power behind the throne and sees that it is a cult leader who wants power to spread the word. He seeks to replace Freeman with a clone but Freeman kills the clone and pretends to be the clone instead, luring him into a trap and exacting revenge.

This is an exciting episode but one that features sexualised violence against Dark Eyes. She gets her revenge in the end but her abuse is brutal and she is discarded into the sea at the beginning. Surprisingly for such a macho series, Freeman seems to have a deep understanding of what love and trust is and fights against patriarchy and societal norms with his enlightened attitude.

The Russian Connection
When a Russian Mafia and Japanese Yakuza boss do a deal to join their forces and cut out the 108 Dragons, Freeman is not happy and fights back. However, when he sees Tanya, a woman he seems to recall in a past life, he tries to seek out the truth. Little does he know that the woman, Tanya, is a Russian trained as an assassin through the use of her body. When there is a bloody coup within the Yakuza, as a young wannabe takes over, he fights for ascendency amongst the Yakuza in his quest for power to defeat the 108 Dragons and take over as supreme crime lord  of Asia.

The bloody coup is well realised as the old mob bosses are taken out by young up and comer Tsunaike. It's full of kills but, in the end, Freeman is just better organised and prepared than the crazy indiscrimate killing of mob boss wannabe Tsunaike. It's an intriguing plot about trying to squeeze the 108 Dragons out of their weapon sales arm of business but ends badly. Never bet against Freeman though.

Overall, even though the series has aged quite badly as the animation is quite static and the constant nudity embarrassingly gratuitous, the soundtrack is pretty good and the way the series explores the psychological impact of violence and the struggle for identity is compelling. The kills are interestingly done and remind me of Agent 47 in the Hitman videogame series. Additionally, we have a tragic figure in Freeman whilst Emu is a strong female lead which adds another layer of complexity to this ultra violent and hyper-sexualised series.

Crying Freeman is considered a classic for a reason. It's a must-watch for mature anime fans who appreciate complex stories, but be warned: it's not for the faint of heart. Consider yourself cautioned.

Indika - Videogames As Art

I'm a fan of niche games, and this one definitely fits the bill. In Indika, you play as a young Russian nun tormented by a voice that whispers in her mind, seemingly the devil himself. Is it a genuine malevolent presence, or simply a figment of her imagination? As she embarks on a journey to deliver a letter to a distant church, she'll discover the truth.

The game blends the surreal atmosphere of David Lynch's work with the unsettling experience of a constant, intrusive voice, reminiscent of Hellblade: Senua's Sacrifice. Indika is a bizarre third-person puzzle platformer that juxtaposes stunningly realistic graphics with flights of pixelated fancy.

I had an interesting playing the game over a couple of nights and, at only 4 hours or so, it is a powerful game looking at the mysogyny that exists within society, mental health and what happens when you start to question your faith. It's not all existential dread or intrinsic shoe-gazing as there are genuine laugh out loud moments within the overarching story. I recommend this game as an indie pallette cleanser between the AAA onslaught we've had over the past couple of years.

Decoder Ring's They Blind The Stars, And The Wild Team - Album Review

I knew of Decoder Ring through the 2004 film Somersault. The film starred Abbie Cornish as a runaway teen who fends for herself as she finds work at a ski resort. I thought the soundtrack was beautiful and the film hit me at the time as it was about finding your place in the world when you are an adult but you don't feel ready. I used to listen to the soundtrack all the time back in the day but kinda forgot about it over time.

I had listened to the album on YouTube on occasion but never had the album in CD. I knew of their 2CD follow-up They Blind the Stars, and the Wild Team as I owned it in mp3 format on my old Sanza Clip. I bought the album in Cambodia whilst on my travels and it accompanied me as I travelled across the world over the course of 6 months. I loved it as it was epic is scope and had an expansive, cinematic post-rock sound. It was an album I immersed myself in, luxuriating in its vast sonic landscapes and going on a journey that was both emotionally resonant and deeply atmospheric.

I re-listened to the album for the first time in about 15 years and these are my thought on the tracks:

Beat the Twilight-  starts with a wonderful train type beat before an airy rhythm kicks in. The drum beat is wonderful and driving. A great start.

They Blind the Stars, and the Wild Team- like a music box with soft woodwinds before an electric guitar and rhythmic drums kick in. The finger picking guitar and builds towards a crescendo.

Charlotte Rampling- sharp arpeggios starts and remain across the piece.

And the Grass Will Grow Over Your Cities- starts with discordant strings and a bongo sound and is added upon with a sinister theme which adds mystery to the piece. An electric guitar comes in and wails over discordant sounds before giving way to calming drums, cymbals and gentle keyboard sounds. It ends will a stunning guitar solo that repeats in a shimmering way.

Happy Place- it starts off slow and melodic and remains that way, feeling calm and gentle.

100 Suns- this is a contemplative piece with a bassy undertone covering a high electric guitar arpeggios. The bass takes over and dominates the piece in the end.

Point No Point- this starts off with a distinctly more mellow slow jazz vibe and had me thinking of the Oxenfree soundtrack by Disasterpiece, especially with the strange noises that wend their way into the background.

Let a Thousand Flowers Bloom- this is a conventional track in that it starts off clear and breezy and remains that way with lots of rhythmic guitars, drums and keyboard.

Astronaut Farewell Blues- it starts off with high pitched beeping like sounds before a mellow drum beat and shimmering piano line hits complemented with a bass guitar. The yearning sounds kick in with the glockenspiel and make the whole piece wistful.

CD 2 is more ambient and difficult to describe as it is a more ambient piece that wends and winds its way through the journey.

Same Old Paradise- eerie tones sends it's way through deep foreboding bass that pulsates.

The Horse and the Hand Grenade- the music feels like an intimate soundtrack, either tracking a journey of self-discovery of an individual or the sci-fi film epic loneliness shown in the likes of Interstellar or videogames with the scope and ideas of No Man's Sky or Jett: The Far Shore.

All the Streams Have Little Glitches in Them and The Inland Sea are both calm meditative pieces.

If I had to describe the album I would say airy, wondrous, shoe-gazey, wistful, shimmering and dreamy. In parts it reminds me of Odesza, Jon Hopkins, Burial, Nils Frahms, and Jim Guthrie with its mellow vibe and feel. When I first heard the album, I imagine that as a fan of Jarre, Wakeman, Oldfield and 90s trance it would have been right up my street.

Even with 15 years passing since I probably last listened to this album, I appreciate it and admire the ambition and scope of what it was trying to do. I would have loved to have seen them live but they have been on hiatus since 2009 so there's a slim chance of that happening. It's a shame as I think with the prevalence of the Internet, they could find their tribe and do really well in a live setting.

LINK: Japan: My Journey to the East

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

LINK- Toxic: Women, Fame and the Noughties- Book Review (and Some Thoughts)

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

LINK- The Rise of Retro Gaming During Covid

Sky- Cult TV Series Review

I have a huge affection for the more sci-fi and folklore oriented children television shows from the 70s and early 80s including shows like Children of the Stones, Under the Mountain and Chocky.

The opening credits are suitably weird and spooky.

I'd seen a lot about Sky as it featured quite heavily in my Amazon searches for these type of series so thought I'd finally give it a go. Before watching the show, I did some research and found that this 1975 production was timely as the optimism and hope of the mid to late 60s had dissipated and given way to political unrest, high inflation and strikes here in England. Life was not easy for the masses and this is reflected in the media from the time- including Sky.

In Sky, a trio of teens find a space traveller under piles of leaves while on a pheasant shoot. He takes the human looking alien traveller home to help him in his mission but a malevolent force wishes to do him ill. Over the course of seven episodes, we have a cat and mouse tale of good versus evil but we do not get a view of the larger picture until the denouement. It all involves The Book of Merlin, Glastonbury, messianic figures from history, Stone Henge and stone circles. Y'know, the usual 1970s fare that was in thrall of Erich Von Daniken's Chariots of the Gods.

Watching this with no nostalgia, I can say that it is a typically low budget but atmospheric series. It is of its time and so its economy of design means that the tone is eerie and the pacing languid. However, even with this limited budget, the show is genuinely creepy with eerie music, unsettling imagery, and a pervasive sense of dread. The special effects, while dated by today's standards, must have been surprisingly sophisticated for the era and added much to the show's eerie atmosphere. The distorted visuals, strange lights, and a general air of otherworldly menace through the use of early green screen all adds to the weirdness.

So, nearly 50 years after its release, Sky remains a chilling, unsettling blend of science fiction and the supernatural. It wasn't some whimsical adventure but seemed prescient as Sky's own world was one of ecological disaster and societal breakdown, and his presence in our time hinted at a similar fate awaiting us further down the line. The themes of environmentalism, social responsibility, and the dangers of unchecked technological advancement is one we are all examining now and, while this show was aimed at children, its willingness to tackle darker themes must be what makes it a truly memorable piece of children's television for those who saw it the first time round. 

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

LINK- Children of the Stones: Cult TV Series Review

Kishin Heidan- Cult Manga Review

Kishin Heidan, a seven-part OAV series from 1993-94, was a name I'd often seen in the pages of Manga Mania, its industrial-looking mecha hinting at something unique. Finally diving into the dubbed version, I discovered why it holds such a revered place within the old-school anime and manga community. The series plunges us into an alternate WWII-era, a fascinating blend of retro sci-fi, political intrigue, and visceral mecha action. Here, the Axis powers, Nazis and Japanese, clash not just for territory, but for control of powerful alien technology. Caught in this struggle is the Kishin Corps, a Japanese force determined to destroy the technology, deeming it too dangerous for any nation.

The narrative unfolds through a diverse cast, each character's motivations and struggles driving the story forward. The relationships, particularly the evolving dynamic between twin sisters Maria and Eva Braun, and their interactions with the protagonist Taishi, add significant emotional depth. We witness their growth, aging across the series, which grounds the fantastical elements in a poignant human experience.

The mecha themselves are a stark departure from the sleek designs of later anime. They're brutalist machines, all rivets, filament bulbs, and pistons, their movements more akin to a mechanical rock ‘em sock ‘em brawl than a graceful dance. This analogue, visceral approach to mecha combat perfectly complements the series' gritty, alternate-history setting.

Kishin Heidan also weaves in fascinating historical lore, exploring Hitler's obsession with the occult and otherworldly artifacts, and even featuring a cameo from Albert Einstein. This intriguing mash-up of historical figures and fantastical elements creates a unique and compelling world. However, the series doesn't shy away from ethical complexity. While the Kishin Corps is presented as a force for good, the backdrop of WWII, with its atrocities committed by the Japanese and Nazi armies, creates a moral tension that cannot be ignored. The series, in some ways, risks airbrushing these historical horrors.

Despite this, Kishin Heidan remains a captivating experience. The storyline is compelling, the battles spectacular, and the characters are well-developed. While the pacing is uneven, with a fast-paced beginning slowing to a more languid middle before a stunning, all-out battle finale, the series' unique blend of political drama, mecha action, and thought-provoking themes makes it a worthwhile watch. It's a recommendation for fans of classic mecha anime, political thrillers, and those who appreciate stories that delve into complex characters and challenging moral questions, but with the understanding that it approaches a sensitive historical period with its own unique, and occasionally problematic, perspective.

Venba- Videogames As Art

The tale of first generation immigrants coming to a new country with high hopes and aspirations is an old one but not one that has been extensively covered in videogames.

Venba, a cozy game about a Tamil family immigrating to Canada, is a wonderful experience that beautifully captures the nuances of immigrant life: the longing for the familiar, the struggle to find your place in a new society, and the gradual process of finding a balance between your old and new identities.

Venba is a gentle reminder of the importance of our heritage and a touching tribute to the resilience of immigrant families. Through cooking dishes with the matriarch, you see the bond that develops between the family. This game is food for the soul.