Next week we’ll find out whether or not Resident Evil Revelations 2 is everything fans of the series want it to be with the debut of its first episode. The original Revelations is arguably the most well-liked entry in the series in some time, not counting remasters, so it’ll be interesting to see how Capcom builds off that.
Back in January, I wrote about some of my favorite horror game sequels, and with the launch of Revelations 2 just around the corner, I figured I’d turn the question to you.
What’s your all-time favorite horror game sequel?
It’s a tough question to answer, especially since there are so many great sequels to choose from in the horror genre. Silent Hill 2, Dino Crisis 2, Resident Evil 2, Condemned 2: Bloodshot, System Shock 2, Dead Space 2, Diablo II, Fatal Frame II: Crimson Butterfly, the list goes on…
Uncork’d Entertainment will release the critically acclaimed Avenged (read our review) in theatres and on VOD on March 6, 2015, and on DVD on April 21, 2015.
In a very The Crow-esque story, after a gang brutalises a deaf girl (Amanda Adrienne), her lifeless body is inhabited by the spirit of a revenge-seeking Apache warrior.
A lethal injection of scares, thrills, romance, and the supernatural, director Michael S. Ojeda’s confronting revenge film “delivers on all levels” (Bloody Disgusting) and “deserves to be viewed, discussed, and then viewed again” (The Horror Honeys).
“While traveling across country, Zoe, a lovely deaf mute woman, stumbles on a horrific crime – a gang of rednecks slaughtering two Native American boys. Zoe’s brave attempt to save one of the boys seals her fate. She is captured, raped and left for dead. When an Indian shaman finds her clinging to life in a shallow grave he attempts to save her – but something goes horribly wrong. The spirit of an ancient Apache warrior takes host of Zoe’s dead body. So now she walks amongst the living, hell-bent on getting revenge. One by one she slaughters the men who brutalized her, while the clock ticks away on her quickly decomposing body.”
Amanda Adrienne, Rodney Rowland, Marc Anthony Samuel and Tom Ardavany star.
Check out a ton of stills and the cover art below!
Last February, an allegedly haunted mirror sold on eBay for $155. The sellers claimed that the mirror hung in their London flat for five months and during that time, they suffered terrible misfortunes and witnessed supernatural activity like flickering shadows reflected in its surface. One owner claims he woke up with red scratches on his midsection. That was the final straw and the duo put the bastard mirror up for sale on eBay, fully disclosing the experience they’ve had with it.
Edward Boase’s The Mirror is apparently inspired by this story. In the film, three London flatmates purchase an antique mirror on eBay and set up 24-hour cameras to capture whatever may go down. They’re doing so in hopes of winning a prove-ghosts-are-real contest with a hefty cash prize being offered by the James Randi Foundation (a real life magician and sceptic who has fiercely challenged paranormal claims throughout his career).
Despite some solid performances from the three leads (Jemma Dallender, Joshua Dickinson, and Nate Fallows) The Mirror is as mundane as found footage can get. There are SO many found footage flicks nowadays that the envelope really needs to be pushed to stand out amongst the dung heap (Open Windows and Exists are two recent examples). The Mirror brings nothing new to the table and even manages to snake some beats from more successful entries like Paranormal Activity. The film actually starts out pretty hopeful, with a sense of unease from the start, but this quickly dissolves into a tedious story where it feels like nothing happens for painfully long stretches.
Much of the film’s 80-minute running time is consumed by the three flatmates bitching one another out. Their dynamic is boring: one wants to believe in ghosts, one doesn’t, the girl whines and cries a lot. It’s deep characterization, man. There are some moments of decent gore, but for some reason they chose to spoil the goriest moment on the movie poster. There’s also an attempt at providing the mirror with some mythological backstory, which would’ve been interesting if it was explored further. When the crux of the film is a haunted object, I wanna know more about its history, dammit! Take The Possession for example. It wasn’t the greatest horror film, but at least it was interesting thanks to all the backstory surrounding the Dybbuk box. I would’ve loved to see more of that detective work in The Mirror. Instead Boase on flirts with its history.
The Mirror is available now on various VOD outlets.
To celebrate the UK release of The Babadook (review, review #2) on Blu-ray, DVD and Digital, the monster himself flew half way across the world to haunt the streets of London. We have pictures to prove it.
“Six years after the violent death of her husband, Amelia (Essie Davis) is at a loss. She struggles to discipline her out of control 6 year-old, Samuel (Noah Wiseman), a son she finds impossible to love. Samuel’s dreams are plagued by a sinister monster he believes is coming to kill them both. When a disturbing storybook called ‘The Babadook’ turns up at their house, Samuel is convinced that the creature in the book is the monster he’s been dreaming about. His hallucinations spiral out of control and as he becomes more unpredictable and violent, Amelia is genuinely frightened by her son’s behaviour.
But when Amelia begins to see glimpses of a sinister presence all around her, it slowly dawns on her that the thing Samuel has been warning her about – The Babadook – may be real after all…“
Directed by visionary first-time director Jennifer Kent, The Babadook looks set to be the most terrifying release of 2015, as well as one of the most critically acclaimed.
Images: ©Rex Features / Tom Dymond
Graphic designer Nick Barclay found inspiration in his hatred of Interstellar.
“I came up the idea while sitting through Interstellar and hating it,” Nick tells My Modern Met when we asked him how his new series came about. “It got me thinking about how in 2001: Space Odyssey a circle could be a main character in a film. So I wanted to see how many popular movies I could break down into circles and still be recognizable.”
The result is a series of minimalist posters for famous films created using only circles. And it’s wonderful.
All are available for purchase here, while other link will take you to the entire series.
Directed by Marie Lechevallier, check out this gorgeous stop-motion animated short that was created old-school using puppets.
“Frankulstein,” a reimagining of the 1931 Frankenstein, was done in cooperation between Volda University College (animation department) and ULSTEIN (a provider of ship designs, shipbuilding and solutions in power and control systems, heavylift, crane & barge services).
Check out some behind the scenes photos.
Bloody-Disgusting has teamed up with electronic group KNTRLR to bring you the music video premiere for “Halogen”, a grindhouse-style video that is definitely NSFW. The track comes from the band’s upcoming album The Great Filter, which comes out February 24th via Goodnight Records (pre-order via iTunes).
The video shows a man who becomes obsessed with a gorgeous woman (portrayed by model Sarah Varacalli) at a bar/dance club. He then pursues her to the local motel, where things become a bit violent and naughty. The video is NSFW due to nudity and strong sexual themes, so be careful where you watch it.
If you dig the track as much as I did, it’s available for a free download. Just click on the download button on the Soundcloud stream below and it’s yours!
2/18/2015 Wednesday Los Angeles CA The Lexington Theater
2/19/2015 Thursday Long Beach CA The Prospector
2/21/2015 Saturday San Francisco CA Submission
2/28/2015 Saturday New York NY Gutter
Mike Pereira raved about Big Game (review) when he caught the World Premiere at this past September’s Toronto International Film Festival.
Said to be like a PG-13 Ambling adventure film, “The fate of the most powerful man in the world lies in the hands of a 13-year old boy. Plunged into a deadly game of cat and mouse with only hours to spare, Oskari and the President must team up to survive the most extraordinary night of their lives.”
Empire has a second trailer for the film starring Samuel L. Jackson, Onni Tommila, Ray Stevenson, Jim Broadbent and Mehmet Kurtulus.
Directed by Jalmari Helander, eOne will release in the UK on May 8, 2015. Hopefully a U.S. date is following.
If the trailer doesn’t load, click here to watch.
Coming very soon via Mondo/Death Waltz will be the vinyl release of Cannibal Holocaust, which was composed by Riz Ortolani. This release marks the first time that the soundtrack will be available on vinyl. It will feature art by Jock and be released on a stunning “Green Inferno” variant.
Death Waltz/Mondo label manager Spencer Hickman states:
One thing that always stuck out like a sore thumb when viewing Cannibal Holocaust was Riz Ortolani’s score, which is beautifully composed, and recorded, offering a mix of traditional orchestration and early synth work. As a stand alone piece of music it’s staggering and I honestly think that if Cannibal Holocaust had a more traditional horror score it would be even more uncomfortable to sit through. As it stands, Maestro Ortolani’s score offers some respite from the violence onscreen and the juxtaposition between the sights onscreen and musical soundtrack have in my opinion never been bettered.
To tease the upcoming release, three tracks from the soundtrack have been made available for streaming, which you can listen to below.
Mondo will also be hosting an “Anti-Valentine’s Day” feast during a screening of the film. More details on that can be found here.
Yesterday we were the very first to share with you international trailer and poster for Academy award winner Alejandro Amenábar’s (The Sea Inside, The Others) Regression, although the trailer wasn’t in English. Now, below we have added for you an English-language version that was released on the heels of our discovery. Again, watch closely and you’ll see the Reaper from Bogus Journey.
Academy Award nominee Ethan Hawke (Before Midnight, Training Day) and Emma Watson (Noah, Harry Potter) star in the film that looks to be heavily based around a cult. Regression sees the return of Amenábar to genre, where he previously had great success with Dimension Films’ The Others, which grossed over $200 million worldwide.
“Minnesota, 1990. Detective Bruce Kenner (Ethan Hawke) investigates the case of young Angela (Emma Watson), who accuses her father, John Gray (David Dencik), of an unspeakable crime. When John unexpectedly and without recollection admits guilt, renowned psychologist Dr. Raines (David Thewlis) is brought in to help him relive his memories and what they discover unmasks a horrifying nationwide mystery.”
Regression also stars David Thewlis (The Fifth Estate, Harry Potter), David Dencik (Tinker, Tailor, Soldier, Spy, The Girl with the Dragon Tatoo) , Dale Dickey (Winter´s Bone, True Blood), Lothaire Bluteau (The Tudors) and Devon Bostick (Diary of a Wimpy Kid).
TWC-Dimension will distribute the film in the United States.
In this new clip from Relativity Studios’ The Lazarus Effect, opening in theaters February 27, 2015, Olivia Wilde returns from the dead only to ask, “Did I just die?” Creepy!
Evan Peters and Donald Glover also star in the pic about a group of medical students who discover a way to bring dead patients back to life.
David Gelb directs.
“THE LAZARUS EFFECT follows a group of researchers led by Frank (Mark Duplass) and his fiancée Zoe (Olivia Wilde) who’ve achieved the unimaginable- bringing the dead back to life. After a successful, yet unsanctioned, trial on a newly deceased animal, the team is ready to unveil their breakthrough to the world. When the dean of their university learns of their underground experiments, their project is unexpectedly shut down and their materials confiscated.
Frank, Zoe and their team (Donald Glover, Sarah Bolger and Evan Peters) take matters into their own hands, launching a rogue attempt to recreate their experiment, during which things go terribly wrong and one of their own, Zoe, is horrifically killed. Fueled by terror and grief, Frank pushes them to do the unthinkable: attempt to resurrect their first human test subject.
Initially, the procedure appears a success, but the team soon realizes something is wrong with Zoe. As her strange new persona reveals itself, the team quickly becomes stuck in a gruesome reality. They are no longer faced with the question of whether they can bring someone back to life- but rather, the wrath of her return.”
The pack of “Scream Queens” is growing as the series has added actress Skyler Samuels to its ensemble cast as a series regular, Variety writes.
Samuels joins previously announced stars Lea Michele, Joe Manganiello, Abigail Breslin and Keke Palmer. Nick Jonas and Ariana Grande are set for guest roles.
Samuels had a recurring role on Ryan Murphy’s “American Horror Story: Freak Show,” playing Bonnie.
“The first installment in the new anthology series revolves around a college campus which is rocked by a series of murders.”
The Fox comedy-horror anthology series hails from 20th Century Fox TV and Ryan Murphy Television. Murphy will exec produce with “Glee’s” Brad Falchuk, Ian Brennan and Dante Di Loreto.
Originally set to release this past December, Dimension Films has yet to set a new release to the James Wan-produced Demonic. Brazil, on the other hand, will see it open in theaters tomorrow. We have a poster, trailer and new stills to prove it. It’s called A Casa dos Mortos, in English that translates to House of the Dead.
Maria Bello, Scott Mechlowicz, Frank Grillo (The Purge: Anarchy) and Cody Horn star. Will Canon directs with a screenplay by Max La Bella.
“The film centers on the aftermath of a horrific massacre where five college students were brutally murdered inside an abandoned home. Detective Mark Lewis and psychologist Dr. Elizabeth Klein question one of the few survivors who explains they were amateur ghost-hunters, seeking out paranormal phenomenon at the abandoned house, which was believed to be haunted. But what started out as a harmless activity turned into something truly terrifying.“
We’ll update you with release info as soon as it arrives.
Reviewed by Brady Steele. In this premiere issue, we’ve Russian Cold War secret missions, time looping potential paradoxes, and one man who encompass all things mysterious and unknown in the universe. Welcome to “Divinity” #1.
WRITTEN BY: Matt Kindt
ART BY: Trevor Hairsine and Ryan Winn
PUBLISHER: Valiant Entertainment
RELEASE: 11 February 2015
If your life feels like destiny heading towards the inevitable, what does that mean? Are you meant for big, world changing things? Do you know exactly what you’re supposed to do? If your dream becomes your reality, how can you possibly rejoin the rest of us on Earth? There are so many mind-fluxing concepts and ideas in Matt Kindt’s debut of Valiant Next’s newest character it takes some time for it all to sink in. After re-reading this mind-bender of a first issue, it feels like page one of a self-fulfilling prophecy. That makes it one of the more distinctive introductions I’ve read ever.
The visuals of this new god on Earth named Abram Adams are deftly handled by Trevor Hairsine and Ryan Winn. Hairsine and Winn make everything look as real or as surreal as it needs to be without going over the top anywhere. Abrams’ imagination comes through the pages as genuine wonder. What he does when he gets back to our planet looks like whatever he can think of becomes reality. This makes him a brand new powder keg in the ever-growing Valiant Universe. I can’t wait to see how the rest of this world reacts to his arrival.
Like Ivar, Timewalker and Imperium before it, Divinity #1 comes out of the gates strong. All of these debuts from the Valiant Next line have been very compelling reads indeed. Get a copy of this first issue (Prestige Format for regular price ta boot!) and let your mind bend to this new deity on Earth.
Mr. Steele enjoys all things comics and imagination-based. Using his lifetime of comic-fu-dom for good, he imparts his knowledge for the universe to enjoy and for you, dear readers, to pass it on.
Reviewed By Jorge Solis. A mix of sci-fi and a trippy acid dream, “The Empty” #1 is visually stunning with its artistic choices, but raises a lot of questions. The first installment lays down essence of the plot, but lacks character development. Too weird for its own good, “The Empty” #1 is definitely eye-appealing, but leaves readers wanting more from its main protagonists.
WRITTEN BY: Jimmie Robinson
ART BY: Jimmie Robinson
PUBLISHER: Image Comics
RELEASE: Feb 11th, 2015
In a post-apocalyptic world, Tanoor tries to survive in her hostile environment against the scorching sun and the hungry mutant beasts. Living in a barren wasteland, the last remains of humanity are struggling to find a new source of water and food. A stranger, who comes from “The Green,” suddenly drops into town. Tanoor has to ask herself if this creature is an angel sent to help them, or the devil come to finish them off.
I like how writer/artist Jimmie Robinson took the time to build his fantastical world. You understand why Tanoor has become hardened because of her harsh surroundings. Robinson then lays out the religious themes when Lila shows up and is quite eloquent when he has something to say. Because of their lack of chemistry though, I’m left wanting more from Lila and Tanoor as they wander off together onto their road trip.
In his art duties, Robinson has mapped out specific locations, from the desert landscape to the Green. In her character design, Tanoor looks like a mummy with the torn bandages around her body. The secondary characters all look strange with their bug eyes and exaggerated necklines. Robinson does a great job taking readers to another world, but everyone is so odd-looking.
“The Empty” #1 is off to a descent start. Hopefully, the protagonists will be fleshed out in the next installment.
Reviewed By Eric Switzer. “Southern Bastards” #7 brings us one step closer to connecting past to present and revealing Coach Boss’ rise to power in Crawford County. As a book that has already established that I can change directions at a moments notice, the “Scarface” plot arc has an added layer of foreboding. This issue takes Euless to his lowest point possible, perfectly setting up very desperate measures in next months finale.
WRITTEN BY: Jason Aaron
ART BY: Jason Latour
RELEASE: February 11, 2015
This second arc, “Gridiron” has humanized Coach Boss in a way I didn’t think was imaginable at the end of the first. Boss represents a familiar archetype from the perspective of Earl Tubbs: a powerful, ruthless kingpin with an army willing to act on his behalf out of fear. His troubled upbringing and sympathy-inducing backstory is not unexpected, but what is (and perhaps shouldn’t be) is the finesse and nuance Aaron brings to the villain’s origin story.
Young and old Coach Boss have the same blind tenacity and righteous indignation and his relentlessness on an off the field are clear indicators to his eventual rise to power, but Boss has a binary mind; he is steadfast and committed to the choices he makes. This, I think, is his fatal flaw and part of what makes Boss such a complex and interesting character.
Altogether, I’m glad Daddy Boss’ involvement seems to have come to an end. His part of the plot is surprisingly flat for this book’s standards, and as a spine for Euless, I found to be rather weak. The abusive drunk daddy that will never be proud can be understood and acknowledged through even the subtlest context clues, I’m not certain how much his extended stay has benefitted to story at this point and I’d just as well be rid of him as Euless would.
I called “Southern Bastards” one of the best new series of 2014 because the book simply drips with authenticity and this issue is no exception. This book is a good ol’ home cooked meal. Deep fried and full of flavor. It consistently rich with strong dialogue, perfectly executed story beats, and beautiful, blood soaked panels. Consistently one of my favorites.
Eric Switzer is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at email@example.com.
After five months, four separate series, and 16 issues the “Fire and Stone” saga comes to a double-sized finale. This cross-over event, years in the making, has managed hit the mark at just about every point and showcased the talent of a dozen incredible writers and artists. It is hard to overstate just how much “Fire and Stone” has set the bar for quality of Alien and Predator books. It all comes down to this, and with only slight hesitation I’m here to tell you it is a satisfying and worthy conclusion.
WRITTEN BY: Kelly Sue Deconnick
ART BY: Agustin Alessio
PUBLISHER: Dark Horse
RELEASE: February 11, 2015
Kelly Sue Deconnick, who has served as a sort of show runner for “Fire and Stone”, pens this finale with art from Agustin Alessio and the first thing I want to talk about is just how god damn beautiful this issue is. There has been some great art in this event, especially in “Predator” and “AVP”, but I was pretty blown away by how much life Alessio brought into these now familiar characters, how terrifying and disgusting the baddies are rendered and, though I’m not 100% on board with the ending (a point I’ll get to) Alessio really drives home a sense of hope and beauty. The artwork here is almost moving and alone is worth the price tag.
There is a lot of story that needs to be told here and the extra pages do a lot to keep it from feeling too rushed. Galgo and Angela have been barely surviving for some time now (along with a couple others whose purpose I’m not quite sure of) and Ahab has gotten in the habit of showing up just in the nick of time. As far as Predator stories, this is the most I think we’ve ever gotten to know a Predator. Giving him a name emphasizes how much personality and individuality this Predator has. It is a departure, but not a jarring one. He has just enough characteristics without violating the form and function of a Predator. It works.
The crew is pretty terrified when Elden crash lands, and rightfully so, but something has changed: Elden has mellowed having completed his task to meet his maker and his perpetual existential crisis is wearing on him. He is less bloodthirsty and more ready to get the fuck off of LV-223, and the crew, as well as Ahab, are on board.
This team up, and especially Elden and Ahab’s meetup, is so intensely satisfying after this long violent journey that the book almost gets full points just for bringing them all together and providing a moment of solace before heading into the fray for one last deadly mission. Unfortunately, that final mission is a bit of a non-starter. The stakes aren’t very high, there are a lot of questions left unanswered, and the whole thing is over before you know it without having accomplished anything at all. Elden receives a fitting conclusion but as for the rest I was a little let down. Things are left open for a possible return of Angela, Galgo, and Ahab in the future but I found this to be an unwanted adherence to comic book conventions. It isn’t the events I’m questioning, but the execution. We needed to spend a little more time in the mountain I think, it was in and out for kind of no reason.
“Fire and Stone” has been some of the most fun I’ve had ready comics in a long time. It was action packed and nostalgic and innovative and added so much to the mythos of these franchises. “Fire and Stone” will be remembered for the careful crafting and interweaving of the different books and I can’t wait for more ambitious projects like this.
Where the fuck was the engineer though?
Reviewed By: Katy Rex. “Edward Scissorhands” #4 deals with old idea that adults are incompetent and the concept that their incompetence interferes with a child’s autonomy. This is, in fact, one of the favorite themes in children’s media; probably because the children to whom it is targeted find it as exasperating as Megs does when the adults in her life won’t listen to her about Eli and jump to some VERY WRONG conclusions.
WRITTEN BY: Kate Leth
ART BY: Drew Rausch
PUBLISHER: IDW Publishing
RELEASE: February 11, 2015
This issue follows Megs as she attempts to do what’s right: protect Edward’s preference not to leave his castle, but save the kidnapped boy from Eli anyway. This again falls solidly in the realm of giving children credit, allowing them agency, acknowledging their autonomy and motivations. Megs is a great character; she hasn’t been developed as much as one might like, this far into a series, but she’s strong, driven, and relatable. And after all the setup, exposition and background, this issue finally features a major conflict. Sure, it’s worrisome given that this series has been advertised as a 5-part arc, but if you love where this is going, it’s definitely a strong indicator that Edward Scissorhands can– and must– continue beyond this arc.
The art continues to be strong and consistent, creating an eerie feeling in the empty town even as the dialogue sets it up as off-putting. Travis Lanham’s letters do the work of giving Edward a voice. His strange, small, stilted letters convey Edward’s strangeness, his unaccustomedness to speaking, but also his childlike innocence. Rausch’s character design of the police officer behind the desk, to whom Megs is reporting Eli’s involvement in the kidnapping, is both a caricature and not out of place. His exaggerated and grotesque features are not jarring, but they set him up as a formidable barrier: he is characterized by his trope-ness, and is unlikely to budge his perspective in the face of reason (especially if it’s from a child).
The review from last issue was about the filler, a Third Issue Itch situation, and both because this issue continues to build the action and because the solicit for this series claims 5 parts, I can’t help but be nervous about a single wrap-up issue after so much build-up. But I’m hopeful that this is an ongoing series, beyond the fifth issue, and these recent turns of events certainly redeem last issue and give hope for great things going forward.
—Katy Rex writes comics analysis at endoftheuniversecomics.com, comicsbulletin.com, and bloody-disgusting.com. She also writes scholarly articles for various academic journals. She really likes butt jokes, dinosaurs, and killing psychos and midgets in Borderlands 2. She has a great sense of humor if you’re not an asshole. Twitter: @eotucomics Tumblr: katy-rex.tumblr.com Instagram: @katy_rex Email: firstname.lastname@example.org
Reviewed By: Torin Chambers. “Shutter” #9 is another high point for the series that constantly polarizes me. Some of its longest standing questions are starting to unveil themselves, and damn if it isn’t an exciting read. When Shutter has concluded this will be looked upon as the issue where the story took a definite turn. The world has opened up in a way the series hasn’t done before, alternate realities are coming into play in a small way but one that won’t stay small for long I’m sure.
WRITTEN BY: Joe Keatinge
ART BY: Leila De Duca
RELEASE: February 11, 2015
Opening on Paris, France in 1889 during The Exposition Universelle. (A World’s Fair) We follow Jean-Paul Mignet and Magali who’re on their way to something much more exciting than The Exposition Universelle, they’re going to Prospero. Magali is more cautious and concerned about what they are venturing into but Jean-Paul inversely is ecstatic about the idea of Prospero. Seeing it instead as a fabulous and astonishing look into the future. An especially sinister looking man, machine or possibly a little of both takes them into Prospero, he/it’s possibly the one in charge.
He gives them a brief and foreboding introduction to Prospero, showing off a few key sights before unveiling the magnificent ‘Porticullis Hypnos’ of Professor Harold Rathborn. A magical machine that acts as an entrance to dreams! That’s really quite amazing and will be very key to future events but there’s a particular statement that the man/machine makes that intrigued me indefinitely. He states “Our impossible creatures, stolen from unknown realities…” Could this be a subtle hint at why Shutters world is so similar yet also fantastical? Could it be that their earth was just as ours but then sometime around the turn of the century a massive discovery was made that brought all those wondrous creatures to our world? It’s not 100% proof but it’s an alluring thought.
Leila De Duca’s visuals are on point as always, especially during the opening within Prospero, which looks absolutely stunning. The issue gets a wee bit psychedelic towards the end that I loved. If that is any indication Shutter #10 will be an absolute visual delight.
“Shutter” is back in top form this month.
Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers
Reviewed By: Torin Chambers. “Wild’s End” has finally come to a close that’s sure to polarize readers. It’s decidedly rough around the edges, you’d figure the finale would have most of this ironed out but that’s just not the case. There’s some strange writing choices that I still can’t wrap my head around and a few visual choices during the action that don’t portray what’s actually supposed to be happening all that well. It’s not a conclusion without merits though.
WRITTEN BY: Dan Abnett
ART BY: I.N.J Culbard
PUBLISHER: BOOM! Studios
RELEASE: February 11, 2015
The ending is ultimately a brave choice and one that I believe pays off, although I’m sure many people will be put off by it. Your opinions about Wild’s End and your overall enjoyment of this series will hinge on how you take that final page.
Wasting no time Wild’s End #6 picks up right in the thick of it. Our heroes are still being chased by the alien light post but have put a fair amount of distance between them and the beast. They pull up onto the old Squire’s estate and quickly formulate a plan. Use his wheat harvester against the alien as Mr. Fawkes bravely volunteers to be the distraction, hopefully giving them enough time to figure out how to operate the machine.
Now Fawkes and Alph’s subplot here is one of my biggest gripes with this issue. For an incredibly frustrating and confusing reason Mr. Fawkes chooses Alph to ride shotgun and be his loader, for the shotgun. Out of everyone available he chooses the one person who has incredibly damaged hands, so much so that Alph couldn’t even use them at all last issue. He then only uses the shotgun once so what was the point? Why leave to be the distraction with an unloaded gun and then why force the one person who shouldn’t be physically able to load the gun, load the gun for you? Even with that mess aside why does Fawkes drive to the middle of a field, shoot at the alien lamp once then just sit there waiting there to be blasted? You could say this is all because Fawkes is a vagrant fool, but he’s proved himself quite capable numerous times leading up to this moment so that’s no excuse. Then on top of all that the alien lamp shoots their car, it flips over and that’s that. [SPOILER] Or apparently not, several pages later Fawkes just casually shows up to help finish the alien with no explanation of how he and Alph escaped their fate. I guess the alien just gave up and turned around after it flipped the car.
I have a couple other gripes, such as how the attack on the alien lamp doesn’t make sense visually, but that’s getting real nit-picky. Abnett and Culbard have overall created a delightful tale of Peter Rabbit meets War of The Worlds. It may have faltered in this final issue, but as a whole it’s a strong, original piece of work that I still wholeheartedly recommend.
Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers