So here it is. The first Fantastic Beasts was a good effort for a first screenplay and a crowning achievement for the CGI team, but as a film it was… fine. It went on too long and wasn’t bad, but lets face it if it didn’t have the Potterverse brand it would be pretty much nothing. And yet we’re getting a load more of those films. So, what could help bring them up to scratch? Well here’s my top 7 things I’d like to see in the upcoming films. Warning, spoilers for Fantastic Beasts ahead.


Yeah, JK Rowling knows how to created a brilliantly set up mystery and well executed mystery, but cinema is a very different beast and though FBAWTFT was pretty good for a first screenplay, her lack of experience really shows. The aid of a more polished screenwriter would have gone a long way.



The biggest problem with Fantastic Beasts And Where To Find Them was that it didn’t focus on its main plot. It had one of the darkest moments in the entire franchise- the cruel death of an abused kid with learning difficulties- yet I felt nothing for him because the movie didn’t build that moment up. The main plot was relegated to the sidelines and seemed superfluous until the end of act three where we learnt it was the main plot.

Instead we got endless hijinks with magical creatures which went on for far longer than it needed to. Seriously, the film was less focused on the main quest less than I am when I’m playinjg The Legend Of Zelda. In fact, that’s what this film felt like! It was basically Scamander pissing around trying to round up all the Cucco’s and then thinking ‘oh yeah, Ganondorf Grindewald is trying to take over, better actually do something! Dubious deus ex machina away!’ At the last minute. I bet she could have made that work as a novel, but in the tighter confines of a screenplay it felt unfocused.


Yeah, at least 10 minutes could have been cut from the gotta catch em all magical creature league. A really harsh editor would help. Maybe the lady who edited Fury Road? She did an excellent job and it sounds like she had her work cut out for.


Poor ol’ Hermione. She really was the only female in class worth our attention.

Females often get sidelined in mainstream media (although this is greatly improving), so when you see female writers like Meyers , Rowling and Cassandra Claire create such lackluster female characters, you can’t help but think ‘why’?

Don’t get me wrong, Hermione was great (though mainly because the movies toughened up her character and transformed her from the nag who puts a damper on the boy’s fun to a badass whose friendship is valued equally to Ron’s). But she was the only central female until Luna came along. In the Harry Potter series, if you named the 10 most plot central characters (Harry, Ron, Hermione, Dumbledore, Voldemort, Snape, Sirius, Hagrid, , Draco, Neville), the only female you would get would be Hermione… okay and maybe Professor McGonagal, though all her importance comes from being Dumbledore’s 2IC. In Fantastic Beasts our two female leads included basically Scamander’s sidekick and another beauty who gets paired with an unattractive guy (because you shouldn’t judge on looks… if you’re a woman. Men get to choose mates based on looks all the time, but if women hold men to the same standard, they’re vain).

To be fair, all of the leads felt a bit one note throughout the film- except the muggle. But in future films I hope we have more active and complex female leads who are on par with the complexity of characters like Snape and Sirius Black.



The only thing even more abysmal than her track record for female characters is her track record for POC characters. While if you named the top 10 most plot vital characters you would get one female, you would not find a single POC on there. In fact, I’m not convinced that you’d find one on the top 20 most plot vital characters- as although Shacklebolt became Minister of Magic, lets face it, he was the least prominent Auror and didn’t make too much of an impact by himself. In FBAWTF we have a euthanist and an incompetent Black Boss, as well as some random background characters, and you really can’t pretend to say your series that tackles prejudice if your cast list is whiter than Trump’s cabinet picks. It sounds harsh, but true; allowing the audience to sympathise with the victims of prejudice only when its happening to someone like you does not challenge a damn thing.

Rowling, you are such a good ally on Twitter. Lets see that reflected in your films. Be the change you advocate. Give your POC fans the chance to finally see themselves in your universe, and give POC actors the chance to prove shine alongside their white counterparts. Who knows… perhaps we could have a daring Indian/ middle Eastern guy who could be a jerk with a heart of gold who one day could be future Aladdin.



Yoda once wisely said ‘do, or do not. There is no try.’

Either make Dumbledore’s sexuality a vital, represented part of his character the same way sexuality is important to every straight character in the Harry Potter and FBAWTFT series- or just say flat out it’s not going to happen.

If she doesn’t want to do that, then fine, stop giving LGBT fans false hope and stop with vague statements and taking credit for something that was scribbled on the character notes which failed to make it into the main story (which is what Word of God is).



With everything centred around North America and having to listen to the words ‘white picket fence’ over and over again (most boring fantasy ever), Hogwarts always was a breath of change and fresh air. It was just so British, and even if we’re with the North American wizarding world, a parallel world where the Americans are the grounded, level headed ones (come on, Americans, you know you deserve a bit of ribbing after voting in your new Commander In Tweet!) I hope it remains so.


As much as I love Disney, I have mixed feelings when it comes to the Live Action remakes. On the one hand,  The Jungle Book really benefitted from an update, while on the other, I thought Beauty And The Beast was too perfect to be updated, and the live action proved me right.

However, when I heard of Mulan’s live action update, I felt like it made perfect sense. It’s based on a story that is very maleable and rich for creating new and astonishing interpretations. Plus, while the origin has its charm, it’s far from a perfect movie and there are some updates that this film would really benefit. What updates you ask? Well, here are my top 7 things I would like to see from the Disney Live Action.



Oh Shan Yu, what high hopes we had of thee. He SHOULD have been one of the greatest Disney Villains ever created, but he was so utterly forgettable. While Lady Tremaine had to make to do with turning a teenage girl into a domestic servant, and Shir Khan was defeated by a ten year old, this villain threatened all of China and I barely remember anything about him. He’s a general who’s slaughtered children, and yet the most memorable thing about him was his eyes. This needs to be fixed in the live action.

It’s time to give us the kind of Disney villain we crave, the kind we still haven’t had since Hades. Make him big, powerful, menacing, larger than life… a man who inspires fear the minute he enters the room. A man who’s built up even before he appears on screen. Disney, give the swishy villains a break and make Shan Yu a dark, macho badass: a warlord who’s always calm and calculating, never needing to raise his voice, even as he sharpens his sword while dropping implied threats to his minions if they should fail him.



This is the most perfect choice of films to make a live action. Unlike with BATB, the original was far from perfect and Disney has not told the definitive version. There’s plenty of scope for change and for the writers/ directors to bring something new to the table.

This film lends itself perfectly to a good old fashioned adventure. I would love to see Mulan do some real martial arts and engage in some blood pumping stunts. I mean, Mushuu killed the villain in the original while Mulan mainly flails around wildly. I want to see a big epic climax.


Love the songs, but this film is no The Little Mermaid. Songs aren’t necessary to make this film work and could serve to destroy the tension.

As much as I enjoyed the songs, Mulan is a film that really doesn’t call for it. It is better suited as an action adventure.

Remember when back in the 90s, a live action version of 101 dalmations was made and there was a controversy because the dalmations didn’t talk? Well, in hindsight, it was a good choice. Talking dogs would have been more jarring because it didn’t have the animation to soften the surrealness of it all, and it gave us all we wanted from the original: cute puppies and a GLORIOUS performance from Cruella DeVille.

In this case we don’t really need them. It’s an epic martial arts, swashbuckling, sword fighting adventure filled with girl power! It has a more serious conflict, and the musical element could diminish that.


Forget Mushuu, I always wanted to see THIS dragon in the film.

Comic relief characters like Mushuu are often wildcards. Sometimes they work really, really well (Aladdin, Despicable Me), but sometimes they can turn into a complete nightmare (The Magic Sword, The Hunchback of Notre Dame). I enjoyed Muushu’s performance… most of the time. But he did jarr with the film’s tone and I doubt him translating well to a live action with a slightly less campy tone.

I can see him looking good, but none of the designs which would make him awesome would make him look funny. The last thing I want is another CGI monstrosity on our hands ala Beauty and The Beast. And I don’t want him completely breaking the tension or destroying the Chinese atmosphere.

Disney, if Li Shang is not essential, than neither is Mushu.


Gotta give them credit, Disney does seem to be sorting themselves out on this front.

To be fair, I think Disney has enough sense to do this with at LEAST the leading heroine and most of the cast. I mean, it really did everything right with Moana and Lilo and Stitch, and took a risk and cast an unknown Indian kid in The Jungle Book remake. Plus, criticise it all you will for its treatment of Tiana, Disney  sadly is more inclusive than Pixar or Dreamworks, and has made some of the most genuine efforts to self reflect on what it can do better. With their dependence on marketing Mulan as their one and only Asian Princess, I doubt they would cast a white person to play her.

But yeah, while I’ll doubt it’ll do an all Chinese cast, an all Asian cast would be terrific.



Yeah, Mulan was brave and all, but in terms of personality, she is the typical goofball missfit who sings to their own tune and saves the day. She is Flick, Hercules, Quasimodo in that respect and not too interesting in and of herself.

Even if she starts out unsure of herself (although the heroine from the Chinese poem was pretty damn confident), I wasnt to see some real steel in her performance. I want a complete ferocious badass, a true action hero. I’d also totally want her to full on defeat the badguy without Mushuu’s help, making her the second Disney Princess who full on killed their opponent! The first, of course, being our beloved Tiana.


Pictured here the very beautiful Japanese actor, Jin Akanishi

I get Li Shang won’t be in the movie, and that’s fine as not all stories need a romance. But I think it would be good to include a handsome, macho male lead. Firstly, we all need more handsome Asian guys on our screen.

But more importantly, studies into sexual attractiveness and race have shown that South East Asian men are deemed the least desirable in part due to unfair perceptions that they are less manly than other races. You know, those delicate flowers whose various cultures spawned such feeble warriors such as the Gurkas, Samurai, and the Shaolin monks.

Having a strong, masculine and desirable Asian male lead shown to a wide audience won’t solve the problem, but it would help.


Disney have improved a lot since the Renaissance when it comes to writing race. They incorporated Polynesian culture pretty well into Lilo and Stitch and Moana. Hell, even the European films had a bit more of an identity than just ‘generic fairytale land’, with Brave feeling distinctly Scottish, and BATB at least incorportating more of the 1700s French aesthetic into their live action.

I’m hoping they will include the Chinese culture into Mulan in a more meaningful way, because while the original was good it felt like a Western film with pretty watercolor aesthetics. Maybe they could bring more Buddhist philosophy and martial arts teachings into it, as well as perhaps taking the ancestral spirits a little more seriously.



After the whole mess of an April’s fools joke from Pink News surrounding a Gay Simba, it proves that people are still. But LaFou did not stop Beauty and The Beast’s box office success.


But the problem with LaFou is that he is a walking stereotype and camp joke. What message does it say to gay kids… hey kids, you’ll never be the hero, but you get to be the obsequious mincing side kick who servilely drools over the big manly straight man! Progress!

Mulan is a perfect film to include a proper gay character when you think about it. Mulan already subverts expectations of gender and masculinity by ending with our heroes in drag; I’ll Make A Man Out Of You is a camp classic; there’s some theories that Li Shang was having a big gay crisis thanks to Mulan’s cross dressing and most importantly, people have already seen a gay interpretation of the character of Mulan. The stage is set. And there’s so many possibilities.

If they were uncomfortable with having a gay romance, they could easily do a Persona 4 style ass pull and have a gay male soldier find himself attracted to Mulan, and after he learns the truth he realises that it’s definately only men he’s attracted to. There could be a sad and poignant talk under a cherry blossom tree in spring about how they both knew they were different, but perhaps in different ways and come on! This writes itself!

Representation matters, and after all the work gay staff, musicians and writers have put into making their films the classics they are, I think its time to show that gay men and women are people worth including in their works!

That’s what I want to see from a live action Mulan, and I’m interested to hear your thoughts


BLURB: I don’t remember the first time I changed into a wolf. One night I passed out, and awoke to find my body covered in yellow fur. My brain was beyond reacting. It took this in its stride, as it had everything else in my new life. I got to my feet and went in search of food.

As a curious and independent six-year-old, Clayton didn’t resist the bite – he asked for it. But as a lone child werewolf his life is under constant threat. So when enigmatic Pack member Jeremy Danvers saves him, Clayton is determined to protect his adoptive father, no matter what the cost.

So begins this gripping collection of four tales chronicling the bloody feuds of the American Pack, and the coming of age of Clay Danvers, a very powerful – and very singular – werewolf.

REVIEW: In spite of my gripes with paranormal romance, I love Kelley Armstrong’s writing; she’s funny, descriptive, her action sequences are great and I love her sense of snark. Out of all the different supernaturals that occupy her Women Of The Otherworld series, the werewolves are my favorite creatures. So when I found out this book was all about the werewolves with (almost) no other supernatural creatures, and minimal romance, I was in. Men Of The Other World was everything I’d hoped it’d be. Or at least, the Clay novellas were. The stories surrounding Jeremy’s heritage were a disaster zone, but I’ll get to that.

The two longest, Savage and Ascension,  cover Clay’s upbringing and Jeremy’s rise to Alphadom.

Savage mainly covers Clay’s meeting with Jeremy and his attempts to fit in with the pack, while Ascension covers the pack politics surrounding the power struggle that emerged over who will succeed an aging Dominic as Alpha.

Even though I hated Clay’s relationship with Elena, as a character he was interesting. A man who was turned a wolf as a child ( a sort of modern Mowgli), his story was fascinating and one that begged to be told. And Savage does an excellent job of this.

His meeting with Jeremy is very emotional and shows the patience of the man. Although this story is being told retrospectively from the POV of adult Clay,its still done in a way which employs the thought processes of child Clay. As someone who became a wolf when he was four and left human society until he reached the age of seven, Clay had initially forgotten how to understand human speech and has become a feral, slowly starving in the world.

Even though there’s no dialogue (Clay had forgotten how to speak at this point), and Clay doesn’t understand what’s going on, the emotion is all there. Clay’s mindset is that of well, a cross between a frightened child and scared animal, whose mentality is purely fight or flight, not fully comprehending what’s going on and only coming to Jeremy for food. He sees Jeremy’s attempts to try and dress him as a ‘game’, and it takes a long time to build trust. Armstrong doesn’t rush this, and we have repeated incidents of Clay running away, causing trouble and making Jeremy’s life extremely difficult.

This really demonstrates the compassion of the character, and his patience. Another wonderful thing about this story is that we finally see the werewolves (other than our Italian businessmen) hold down a job. In Women Of The Otherworld, it always felt vague how they were managing to afford this huge property as neither Clay, Elena nor Jeremy’s jobs were shown having much impact on their lives. Here, we see Jeremy having to deal with managing accounts and the inheritance of Stonehaven on his own, and having to deal with translating work to keep the place afloat. This added a lot of authenticity to the book, and it was so wonderful seeing him having to deal with financial issues rather than living in the almost Disney Princess fantasy land where he can just get loads of money selling the odd painting because he’s just that super talented.

It was also great seeing a young Nick growing up with Clay, and their friendship and how his easy going nature clashed with Nick’s loner personality.The power struggle within the pack was fascinating and it was interesting seeing how the different power struggles clashed, although I don’t understand how Malcolm could have ever been a viable contender. Malcolm himself, was just a big, mean ball of macho bile; he doesn’t have a job, is continuously antagonistic to everyone. I honestly didn’t understand why a sensible Alpha like Dominic tolerated him, because he’s such a pantomime villain and a loose cannon. Sure, he’s a great fighter, but he’s nothing that couldn’t be replaced by a good shot gun. What did save him from cartoon villaindoom, however, was his fascination with Clay. I liked how they were both sort of different sides of the same coin, and Malcolm uses his wolf ideology to justify his cruelty, while Clay, allegedly more wolf than human, cannot understand this senseless cruelty.

One thing I did really hate was how quickly Clay went from being behind his peers due to being in the wild so long, to suddenly being extremely gifted and talented and ahead of everyone else. This happened in the space of a year or two. I’m sorry, but this is complete nonsense. There’s no way Clay could have caught up so quickly, and the only reason he does is because he’s meant to be this super special love interest. Clay is impulsive, irrational and lacks judgement and is extremely primal. He has shown absolutely no sign of having a brain for the entire series, there’s no way I buy him as this super special genius.

But all in all, I absolutely loved these novellas and enjoyed them more than a lot of Elena’s books in the main series.

Infusion and Kitsunegari

Now, with a heavy sigh I have to get to the disaster that is Jeremy’s Asian heritage. Oh my, why did she have to do this? You see, in this Jeremy is half kitsune on his mother’s side (which isn’t a spoiler- if a Japanese supernatural turns up in urban fantasy, it’s always a kitsune). So basically, a kitsune comes along, breeds with Malcolm in order to give Jeremy cool Asian mind powers and is killed conveniently when she’s completed her utility. Yeah, that sounds a bit cold but that’s basically all she is- an exotic baby maker that gives her son superpowers.

The problem is that this is the poster boy for badly used mixed race protagonists in urban fantasy, which is excellently deconstructed in this article here. The only reason that she’s Asian is so that Jeremy gets cool exotic powers, and of course after she’s done that, she’s of no further use so she’s done away with. Nothing of her heritage is passed on to Jeremy, she’s never treated as a person, and none of Jeremy’s heritage affects his life or him as a person- you’d think that growing up getting racially abused by his father and being the only mixed race Asian amongst a bunch of white men would have some affect on him. But no, it’s brought up so little in the series this feels like a bizarre ret con. This is even lazier Mixed Race writing than Zoey Redbird was in HoN, who at least acknowledged the existance of her heritage (even if it’s only to justify her super special spirit Pocohontus powers)- and if I’m saying an element is worse than anything in HoN, that’s the most damning criticism I can heap on something.

Worse still, in Infusion, the reason that the kitsune grandmother uses for choosing to throw her grandaughter at Malcolm is because their race is dying and they need ‘strong blood’. Yeah, POC wanting the ‘strong bloodline’ of white people is a racist trope that’s been around for centuries, and though I’m sure Armstrong didn’t purposefully write it that way because she’s not a white supremicist, it sounds so much like this it’s impossible to ignore. Also, having a Japanese woman throwing herself at a white man in the 40s… when the Americans were throwing Japanese Americans into internment camps? Man, that’s pretty bad.

It appears they do at least acknowledge the racism and the mother does say that she was playing on Jeremy’s Racist attitudes… but because she’s given no character it all feels played straight.

It gets even worse in Kitsunegari, as a gang of Kitsune attempt to seduce Jeremy away from Jaime in mangled English saying ‘I for you.’ So basically:

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Yes, we went there: we went full ‘me love you long time’, and it doesn’t even have the excuse Full Metal Jacket did of being written in the 80s. Or Southpark for being Southpark. These creatures are literal submissive sex objects, and apart from being desperate for Jeremy’s superior white- um, werewolf – semen, they’re given no agency, no will of their own compared with the other supernaturals of Armstrong’s world. They are literal sex objects throwing themselves to be used by the white male protagonists, and that is one of the most pernicious, nastiest racial stereotypes surrounding Asian women. This wouldn’t be so bad if there were more Asian characters, but Women Of The Otherworld is whiter than Donald Trump’s porch after a snowstorm. Hope Adams is the only non white narrator in the series, while Zoe Takano is the only asian character in the series… and she wasn’t exactly very competent in Broken.

I mean, why are the Kitsune dying out when the werewolves are doing just fine? Surely there were plenty of other supernatural creatures nearer home they could breed with? Why travel to a country they were on bad terms with for their supernatural sperm doner. Plus, kitsune and shape shifters in Japanese mythology typically try and breed with nobility, so the Danvers would be of low blood and beneath them.

It’s a shame we had to do this, to walk into so many unfortunate racial tropes for no other reason than to give Jeremy a bit of extra magic- which could have been done another way, as to my knowledge mind powers aren’t amongst the typical kitsune skill set anyway ; it was interesting delving into Malcolm’s twisted psyche, and Jaime was her usual awesome sassy self. Plus, it was nice seeing Jaime and Jeremy interacting as a normal couple, having to make time to see each other, working around each others schedules and responsibilities. Damnit, why did we have go there book? You were so brilliant otherwise!

VERDICT: Ignoring the tropey racial disaster zone that were Infusion and Kitsunegari, Men Of The Otherworld was an excellent collection that did everything a set of short stories about a main series should do: they told a story in their own right, and added a lot of depth to the series main characters.

RATING: 4 wolves out of a pack of 5

And on a final note, the English cover looks so much, and so much better than the alternative version. It’s good to know that at least Women Of The Other World is going equal ops on terrible torso pictures:



I’m always on the look out for something new and creative, so when I heard that there was going to be a space opera inspired by African art, I thought ‘count me in.’ I waited for months in anticipation.  So now that it’s finally out, what was it like? Well, so far it’s only really the opening action sequence- but is it one hell of an action sequence with amazing use of art.

As you can probably see from the cover the graphic novel, the art work is extremely distinctive and looks great. I’ve never seen another graphic novel with art quite like that. The aesthetic combines African tribal artwork and designs with your typical star wars space opera design to create a slight variation on your typical space opera aesthetic. Not only that, but he also has an interesting use of colours: using bright reds or blues to give the planets a really unnatural, otherworldly atmosphere.

Stylistically, there’s a lot of improvement from his work on The Packabout how he uses the layout. Part of the strength also lies in how it’s formatted. It will often give you a massive picture of the environment and have a few smaller panels scattered around honing in on certain details or cutting away to a character in the ship. This gives it a really cinematic feel, and you genuinely feel like you’e watching a switching from shot to shot. It’ll often go from a bigger picture of the background . I mean, look at this.


As your eyes dark from image to image it’s like different camera angles.The dialogue is also short, sparse and doesn’t clutter the page. This leads to a very streamlike reading experience and allows you to focus on the artwork and what’s going on in the page. This whole first issue plays out like a storyboard that’s better than the actual movie could ever be. There’s so much improvement from his first issue of The Pack in how he uses the page’s layout to his advantage, and it’s great to see him coming into his own.

However, there is one aspect of the art that changes this comic from flawless to  hit and miss, and it’s a big problem: the character designs. Mr Louise Julie has made this baffling choice of photo shopping a human’s face onto his character model, and it makes them look like some horrendous uncanny valley monstrosity. Like with a lot of his work with The Pack, he manages to cover this up by avoiding having people’s faces close up by focusing on the scenery, obscuring them by shadows or light, or by having the perspective so far away from the characters that you can’t see them properly. He gets away with it for the most part  (and Yohance is in his suit most of the time), but then we’ll get a close up of his badly photo shopped face and oh man….


Look at the gorgeous design of the robot monkey when contrasted against that face. You know what this expression reminds me of?

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I don’t want to be reading this  action sequence and suddenly see angry baby! I mean, my God- the way it’s photo shopped is so awful. It doesn’t help that when we do get a close up he’s always pulling the most derpiest expression and he reminds me of one of those actors on those BBC shows for toddlers. It just pulls me out of the action and I have to try and ignore it before continuing- and that’s something you really don’t want for your main protagonist. It’ll be hard to get emotionally invested in later issues when the main characters are an eyesore to look at.

I’ve pondered why such an obviously astoundingly talented artist could put something so god awful in something so beautiful, and the only solution I can come up is that he’s great with backgrounds and lighting, but either he isn’t an expert at rendering faces or  his art style doesn’t lend to rendering expressive faces and he’s trying to compensate for it. Either way, this is not the way forward.

Now, onto the characters themselves. So far, we don’t know really know that much about them apart from the sci fi archetypes they embody. Yohance so far is the double crossing Rogue with the animal robot sidekick… Yes, he’s your Han Solo, your Captain Mal, your Spike Spiegel and every other galaxy hopping space scoundrel you’ve read about. Our heroine, Cana, isn’t a Black Leia Organa or Padme Amidala (like I was secretly hoping based on the cover art), but  she’s a rogue as well, and she and Yohance have a Captain Mal/ Saffron dynamic going on.

There’s nothing to distinguish them just yet, and their characters are very derivative, but it’s only the first issue and judging from what I’ve seen, the creator clearly has enough writing skill to make them interesting later on. I’m glad he didn’t try to do too much in one issue, and I’m glad he took his time to create a really memorable opening sequence.

Now there’s one other major landmine of a flaw with this book: the  price. I was so excited about this book that I purchased it right away and unusually (suspisciously) it didn’t tell me the page count, but judging by the price I expected it to be around about 130 pages. Yeah, I paid £7.70 ($9.43 for any Americans reading) for 39 pages. 39 pages. I have purchased a lot of graphic novels, comics and manga on and I’ve never had to pay anything like this for a kindle edition.

I mean come on, I know this is an independent project and the guy’s gotta eat, but not only is this insane for a digital copy (the price is what I’d expect for a hard back edition), but this is financially unviable. I don’t know how long the series is going to be (but considering all we’ve had is the opening action sequence and we’ve only barely set up the plot, it’s going to be a good few issues), but who can pay £7.70 for what is essentially an opening sequence? And pay that for each installment? Not many people are going to be able to afford that, and since he’s an Indie publisher without the fan base of companies like DC and Marvel, he can’t really afford to charge a ridiculous amount- especially since he’s not big name yet. I personally don’t regret it- the artwork is gorgeous and it’s something I’ll gladly flip through again- but I can’t pay that price for each future issue.

VERDICT: This is an immensely strong start . However, because of how ridiculously expensive this is, I can’t recommend that anyone by this and I’d suggest either waiting for this to go down in price or for it to be collected in a larger volume. However, if you’ve got the cash to burn and you’re really desperate for an African themed sci fi, than I can assure you the quality is top notch. Also, for more of his amazing art work and a series centred around African aesthetic that’s more sensibly priced, I’d recommend giving his work on The Pack a look.


Ah, before the series devolved into badly written polyamory reverse harem porn (while having little idea what polyamory really looks like), there  . Written in the early 90s, and taking strong  The Vampire Chronicles, and being highly reminiscent of Buffy The Vampire Slayer (which it preceded) Anita Blake is one of the grandparents of Urban Fantasy genre. Not only that, but it really stands up well today and is extremely enjoyable, offering one of the few urban fantasy novels that has a heroine take centre of her own adventure, which centers around action and not romance.

The story is a sort of a film noir paranormal fantasy where the supernatural is known to the world (which is quite refreshing). Anita, known as ‘The Executioner’ to vampires (because Hamilton couldn’t call her The Slayer- although this book predates the tv series but not the movie), has a licence to Slay and is the paranormal expert that works with the police. What’s cool is that Anita has a job (shockers) that relates to the supernatural, which is being paid to raise the dead for various reasons- like to settle disputes over wills. This in itself is a really interesting concept, and it’s really great seeing Anita live a daily life- with work, friendships, gym routines, bills to pay- that doesn’t just stop when supernatural problems come a knocking.

In this novel, her central objective is to track down a serial killer who’s targeting vampires, but lets face it, Anita Blake is no Sherlock. She is a really terrible investigator and one of the clues she only happened to find because a plot important event just coincidentally was taking place on the same night and the same time as Anita was investigating a nearby location. She wouldn’t have found out who killed the vampires basically announced themselves with an evil laugh and then did basically the urban fantasy version of leaving Anita dangling above a shark pit instead of shooting her with a sniper rifle. Yeah, The Girl With The Dragon Tattoo this book is not, but fortunately it doesn’t matter. There are so many interesting things happening that the central mystery- who is the serial killer who targets vampires- was really the least interesting part of this book. This book was interesting for all its multiple sub plots that come together perfectly in the end (although there are a couple of threads that will remain unsolved for later books).

The vampire serial killer is really small potatoes compared with the menace that is Nikolaos, an insanely powerful immortal child vampire (Claudia expy), or this whole ‘human servant’ thing with Jean Claude (super sexy kind of pansexual french vampire? definately Lestat inspired). Now, she really is a fantastic big bad. She’s devastatingly powerful, and commands fear of everyone around her- including Anita herself and even Jean-Claude- who himself is insanely powerful. Nikolaos was brilliantly built up, and like Dominga and The Travaller to name a few, she stands out as one of the most compelling villains in the genre.

This is one creepy child you don’t want to play with

I also like the way that the ‘discrimination’ against vampires is handled. At the beginning, having not read this book in a long time, I rolled my eyes when it went into vampire rights movement. As I mentioned in my list of top 7 gripes against the genre, I hate the way that discrimination against vampire is used as an analogy for homophobia or racism . But Guilty Pleasures avoids this. A vampire tries to use this logic against Anita, he tries to play the victim and claims that she treats his life as nothing, but she strikes back with ‘you killed 23 people’. Go Anita. It does not use this as any kind of analogy for existing prejudice, but treats it as its own unique issue. Dehumanizing them and treating vampires as vermin regardless of their actions is wrong (like hate group Humans Against Vampires did), but they are far from some helpless minority. I liked the way that HAV wasn’t a direct analogue to NOM or the KKK- they went too far in their venom, but because vampires are super powered monsters who seem to operate above the law, a lot of people have very legitimate reasons to hate them.

Of course, they’re still sentient creatures with free will, so it’s not as simple as them being evil hell beasts either. Anita’s Catholic background is also interestingly utilised in this as she hates the idea of vampirism because she believes in the Christian afterlife, and she doesn’t know if a vampire’s soul will go to heaven.

An speaking of Anita, as a protagonist, Anita Blake really is something terrific. At this point (before the Ardeur dragged this series to hell), she isn’t the chosen one and nor is she some super powerful Goddess. She mainly relies on her wits, ferocity and her ability with guns to get out of tough spots. She’s capable, but more so she’s not just ‘grrl power with attitude.’ Her dialogue’s snarky, sure, and I enjoy her remarks, but she’s also compassionate and struggles with moral dilemnas. She struggles with how black her soul is after killing, and she genuinely cares about protecting the lives of innocents, and when innocents are hurt she grieves them.

I also have to mention the side characters who were generally great. Edward – the hitman turned vampire hunter- called Death was a terrifying and brilliant lancer to Anita’s hero, and it’s fascinating how he also represents what Anita fears she’ll become. Then we have Jean Claude, sexy vampire love interest (although he’s so much more than this). We also have Anita’s best friend, Ronnie.

And thank God for Ronnie- Ronnie is Anita’s female friend ( a depressing rarity in this genre) and a private investigator who’s skilled in her own right. Though Anita will eventually become the exceptional woman- the One Strong Woman while all other women are are either weak or evil- Ronnie holds the line of defence against this trope in Guilty Pleasures. Strong, capable, and though still definitely one step behind Anita and her male allies,her role is primarily that of ally and partner instead of victim. I also liked Beverly Chin, an un trope laden Asian woman who’s an ordinary non action woman who was still able to step up and save Anita’s life . They both help to negate the characterization of Catherine, a girly girl who’s into weddings and partying, who only exists to be a victim and to show how uninterested in those feminine pursuits Anita is; and worse still Monica, a woman Anita hates before she’s even done anything contemptible, a girl who’s even sillier and girlier than Catherine and who’s evil and foolish.

It’s sadly rare for an urban fantasy heroine to have important friendships equal to or more important than their relationship to the main love interest, especially if that friend is a female, so seeing Ronnie and Anita hang out was a breath of fresh air.

Also, I liked the portrayal of Rafael, the  Rat King of Mexican ancestry. He doesn’t play a large role in this novel, but he is compelling enough. He commands authority, and although he helps Anita, he does so out of both his sense of right and wrong and in the interests of his own people, so he doesn’t fall into the ‘helpful minority’ role. And speaking of POC, Anita is half Latina- but really, all her Latina heritage does for her is give her cool gothic dark hair to go with her pale skin (it’s so conveniently when your non white mother only passes on the sexy  traits), so I really don’t think she counts.

VERDICT: Even though this book was written in the early 90s, it still holds up well today. Anita is a total badass, who kicks ass and is front and centre of her own story, which is not just a romance. The world is fun and enjoyable, the action sequences were great and it had a fun cast of characters that are definately ones you want to spend more time with.


I’m not going to bother reviewing Deadpool aka Hollywood’s apology letter for X-men Origins. You know it’s awesome. You don’t need me to  tell you what everyone else on the internet is screaming.

Deadpool is box office gold and it has excited Hollywood executives sitting around the table desperately trying to figure out the answer to the question: ‘what is it that made everyone go insane over Deadpool?’ Deadpool is very, very good, but as we know being very, very good doesn’t necessarily make you popular. Well, I have a few theories about why everyone loves Deadpool so much and it begins with the film that made him the man he is today: X- men Origins.

X-Men Origins didn’t ruin him; it made him (No. I’m not joking)

As much as I hate that whitewashed film Avatar the Last Airbender, I never would have seen the cartoon if I hadn’t heard about it during the Internet backlash

Seriously. If X-men Origins didn’t do such an appalling job with his character, I don’t think Deadpool would have been anticipated with anywhere near the same level of hype. In fact, I’m not even sure a film about Deadpool would have been made in the first place. Let me explain:

Before X- Men Origins, almost nobody outside hardcore comic book fans had heard of Deadpool. A lot of us knew of Storm, Wolverine, Rogue, Cyclops, Xavier, Magneto and the Juggernaut (bitch) from the 90s cartoon series, but Deadpool? This  fourth wall breaking joker wasn’t a household name like the others. But Origins changed all that.

If X-men Origins had just reduced him to a cameo like they did with Gambit, sure, there would have been some seething tweets about this being a ‘wasted opportunity’; but there wouldn’t have been a huge outrage and we probably wouldn’t have thought much about him. However, because of how dreadful his portrayal was on every level, the entire comic book  fandom was up in arms. There was article after article on every geek culture website raging about what had been done to Deadpool. That’s when it began. Suddenly, everybody started hearing about this Deadpool; how they ruined his character, how he was the most hilarious character in the Marvel universe and they sewed his lips shut. And the more we heard, the more we wanted to find out more about him. Suddenly, we were pissed off about the treatment of Deadpool too. Suddenly we wanted to see this superhero given his due. And Hollywood knew that. They knew that superhero films were extremely popular; they knew that if they got talented people behind it they had a ready made fan-base. And that’s what gave Wade his catalyst to fame.

He’s a game changer in the same way Batman was

Part of what made Batman Begins so successful was that he was Batman as we had never seen him before. Up until then, the common image of an onscreen Batman was the image of Adam West in his camp attire and later Del Boy and Rodney running through the streets in their costumes; and Batman forever which was just… punishing.

But Nolan approached his film differently. He took the character seriously. He turned Batman into a dark, jaded anti hero who was the last line of defense against a corruption threatening to drag a city into darkness. We had a real battle against good and evil; we had real stakes. And we were loved every moment of it. Soon, the more serious tone became the new normal for superhero films.

James Gunn, director of Guardians of the Galaxy,

“The film has a self-deprecating tone that’s riotous. It’s never been done before. It’s poking fun at Marvel. That label takes itself so seriously, can you imagine them making fun of themselves in a movie? They’d rather stab themselves.”- James Gunn

I’d agree to an extent. Sure, you got a lot of self depracating jokes in previous superhero films (Peter Parker trying to tell Gwen Stacey’s father about the lizard man in The Amazing Spider-Man and being asked ‘do I look like the mayor of Tokyo?’). But not like this; there’s nothing Deadpool won’t mock.

He gets our banter

“I think your crazy matches my crazy.”

How many of us have said something like that to our spouse or best mate? Exactly, all of us. And that’s the beauty of Deadpool.

His acerbic, irreverent sense of humor is our sense of humour. His twisted one liners are like the ones we tell each other on a Friday night when we’re pissed with our friends. That scene with the taxi driver and his romantic rival locked in the boot was so bad, so sick, but so so good because that’s exactly the kind of shit we say with or mates. We love him because he’s hilarious; we love him even more because he’s real as well.

It was just pure entertainment

That is the crux of the matter- while there are a lot of factors that made Deadpool, The Avengers, Batman Begins popular, the elephant in the room is that all of these films were good. Everything about this film was just so perfect and so fun. The jokes had me banging my fist against the chair. The fight scenes were slick and creative and a joy to watch. The characters were likable. Ryan Reynolds was amazing. Vanessa was great (it was wonderful to see a sex worker who wasn’t portrayed as a slut or a victim, but a real person). Collossus was so corny and over the top that he made the perfect foil to Deadpool. Francis was just so real, and so nasty that even Deadpool’s humor  couldn’t undermine the awfulness of his actions.

Everything about it made it a pure joy to watch and that’s what keeps people coming back. If Hollywood can learn any lesson from Deadpool, it should be that if it wants to make money than it should keep on putting its money into good quality people making good quality movies.