Valhalla cometh!

FEAR AGENT

Comic Valhalla #1: Fear Agent

INTRODUCTION:

This is Comic Valhalla.

Of all the things that Rick Remender has done, this has to be the series that sticks out in my mind the most.

Maybe it’s the almost old-school approach to sci-fi. Maybe it’s the stellar art and character design from Tony Moore and Jerome Opeña. Horror, action/adventure, sci-fi, time travel, eye patches and more. Fear Agent is well written.

BODY:

Through thirty issues (and two MAGNIFICENT hardcover editions put out by Dark Horse), Remender takes you on a journey with Heath; (PROTAGONIST). He has humour (though at time’s dark) and he has a character that will stand the test of time. He’s a character that seems to grab you by the hand and drag you through his crazy life. The character of Heath is deeply flawed and has had a hard go of it, and seems to simply be trying to make the most of the shit hand he was dealt.

The art and colours are beyond reproach. We’re talking about Tony Moore (The Walking Dead), Jerome Opeña (Uncanny X-Force, Seven to Eternity) and Mike Hawthorne (Deadpool). These guys are giants in the industry now.

The writing aspect is amazing. The art aspect is amazing. Fear Agent is a series of said creators to make a story they wanted to, that sci-fi comics really didn’t have shelf room for. 

CONCLUSION:

It’s been over a decade since Fear Agent. Pick this up digitally, physically, in the hardcovers, in the trades.

Remender spoke about the series late last year from the PASTE interview: “…The fans of Fear Agent are real fans, it’s not a casual love affair with the people.” and he couldn’t be more right!

For the original article visit;

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“GOTTA CATCH ‘EM ALL”

who will you choose?

POKEMON: RUBY (2002) — GAME BOY ADVANCE

So you liked DETECTIVE PIKACHU?

DEADPOOL gets reincarnated into everyone’s favourite POKEMON ever, he gets sent to the POKEMON REALM (not hell as you’d assume)…and a lot more shit happens.

EXCELLENT!

But what about where it all began? Or almost died?

That’ right I’m talking about the 2003 GBA 3rd generation POKEMON release; POKEMON RUBY.

It came so close to joining the dying fads of yesteryear, in POKEMON hell…(DEADPOOL absent), that

POKEMON RUBY’S producer and director JUNICHI MASUDA had to go to hospital.

“I got really stressed out and had to go to the hospital and had some stomach issues and had to get a camera inserted and they didn’t know what it was – very stressful,”

Though it was VERSIONS “RUBY” and SAPPHIRE” being the best selling games on the GAMEBOY ADVANCE, It was met with bad critic and is the least selling title in the franchise. Yet it had some stylistic upgrades to the Nintendo consoles subordinates (GAME BOY and GAMEBOY COLOUR).

  • The first Pokémon RPGs for the Game Boy Advance showed off the system’s improved graphics and sound, and introduced now-permanent fixtures to the Pokémon world, such as double battles and Contests.
  • take great leaps in gameplay, particularly during combat. For the first time in a Pokémon game, Trainers can send two Pokémon into battle at the same time.
  • Some Pokémon can learn moves that aid a partner or damage both of the opponent’s Pokémon. And Pokémon have Abilities and Natures that affect their performance in battle.
  • Explore the world of the Hoenn region with a whole host of Pokémon. To make room for all of them, Pokémon Ruby and Pokémon Sapphire can hook up to Pokémon Box™, a storage system on the Nintendo GameCube.

If it wasn’t for the iteration of POKEMON RUBY on the GBA CONSOLE and MASUDA’S STEELIX level iron stomach, pokemon would not exist today.

BANZAI! MASUDA!

VIDEO:

Hyperlinks for more obsessive pokemon madness:

https://www.gameinformer.com/b/features/archive/2017/08/14/why-ruby-and-sapphire-were-the-most-challenging-pokemon-to-make.aspx

https://www.gameinformer.com/b/features/archive/2017/08/10/heres-how-game-freak-designs-pokemon-creatures.aspx

https://www.gameinformer.com/b/features/archive/2017/08/11/game-freak-on-player-freedom-vs-story-in-pokemon.aspxhttps://www.gameinformer.com/b/features/archive/2017/08/16/an-exclusive-look-at-pokemons-early-design-documents.aspx

BIBLIOGRPAHY

https://www.gameinformer.com/b/features/archive/2017/08/14/why-ruby-and-sapphire-were-the-most-challenging-pokemon-to-make.aspx

https://www.pokemon.com/us/pokemon-video-games/pokemon-ruby-version-and-pokemon-sapphire-version/

ENTER THE MATRIX

take the blue pill? take the red pill?

THE MATRIX RELOADED

FIRSTLY; I state the questions;

Is “THE MATRIX RELOADED” truly CYBERPUNK?

Following the aesthetics of cyberpunk; does this translate into film today?

Is the world more prepared for such brevity?

Or does minimal, useless information in the form of story and dialogue, not addressing metaphsyics or complex ideas, mixed with mindless action; serve the only purpose of templated plot, from film to film today?

Does “THE MATRIX RELOADED” prove to be a pacifier of anything intellectual to come (in film; especially)?

     In case point;  the release of —

     ALITA: BATLLE ANGEL (2019)

Trades such insights for a dull, boring, action-fest, set for children rather than the adult intellect.

Does “THE MATRIX RELOADED” simply reside in POP CULTURE? A fossil left as a classic? Untouchable? Unrecreatable?

Take the yet to be released VIDEO GAME; CYBERPUNK 2077 for instance (rooted in influence from THE MATRIX) and CYBERPUNK FUNDAMETALS.

But will it serve the same INFERIORITY as anything that has preceeded “THE MATRIX RELOADED”?

SECONDLY, though “THE MATRIX RELOADED” is definetly CYBERPUNK, it doesn’t exactly tick all the boxes.

According to

https://www.vice.com/en_us/article/ne5jg7/radical-politics-cyberpunk-2077

“Early, seminal cyberpunk novels and short stories of the 1980s saw the future as a bleak one, populated by megacorporate structures that would eventually dwarf the nations that birthed them.”

The Wachowski’s traded megacorpoartions for a post apocalyptic machine/human war that resides in the CYBER SIMULATION, where mankind now exists; a DREAM WORLD, called “THE MATRIX”.

Addressing DECARTESIAN philosophy, kung fu fights, and sentient programs that serve their MACHINE OVERLORDS, not the typical MEGACORP’S.

In the NEON DYSTOPIA ARTICLE;

 “The Wachowskis had always fantasized about creating a comic book that would combine all of their cultural obsessions. Things like making mythology relevant in a modern context, relating quantum physics to Zen Buddhism, investigating your own life. They also loved Hong Kong action movies….”

Are we destined to subside in stupidity? Or does the world have more room for such transcendent information in film like “THE MATRIX RELOADED”?

VIDEO

hyperlinks;

delve deeper into the aesthetic world of

“THE MATRIX RELOADED”

https://philosophynow.org/issues/42/The_Matrix_Reloaded

https://philosophynow.org/issues/42/The_Matrix_Reloaded

http://montalk.net/metaphys/70/freewill-fate-and-causality-in-matrix-reloadedhttps://filmschoolwtf.com/best-kung-fu-movies/

https://philosophynow.org/issues/42/The_Matrix_Reloaded

http://montalk.net/metaphys/70/freewill-fate-and-causality-in-matrix-reloaded

Bibliography

https://www.vice.com/en_us/article/ne5jg7/radical-politics-cyberpunk-2077

HOW HUMBLE DO BOUNTY HUNTERS COME?

Is jazz dead in 2071?

COWBOY BEBOP

SUNRISE! The year is 1998 and what a big year it was for TITULAR DIRECTOR Shinichiro Watanabe. Never heard the name?  SACRILIGIOUS! Synonymous with anything legendary in the anime industry.

The solar system has became a slack jawed, back road, haught of skinny malnourished criminals looking for a fistful of WOOLONGS, and the only thing that stands in their way is the 5 strong crew of the goodship “BEBOP”; an ex hitman of the RED DRAGON SYNDICATE tong, a retired INTER SOLAR SYSTEM POLICE (ISSP) agent, an eccentric young hacker, a gambling addict conwoman and a genetically engineered PEMBROKE WELSH CORGI.

Schematics aside, “COWBOY BEBOP” is one of the most influential pieces of anime ever, and it remains as relevant and visually compelling as it’s first release.

Through the looking glass,

  1. Was COWBOY BEBOP superior to content in anime at the time?
  2. What came before it that influenced what it is?
  3. What came after that in itself influenced?

as mecha anime seemed to be dying or already dead.

The only great pieces to come out of the industry were mediocre at best.

(Clockwise from lop left to bottom left): Initial D, ONE PIECE, Spriggan, TRIGUN, Yu-Gi-Oh!, GUNDAM WING: Endless waltz.

1.

Amongst cars, childhood card games, and the popular pirate swashbuckler ONE PIECE, COWBOY BEBOP had philosophy, science fiction, noir, martial arts, gangsters, crime and everybody smoked.

Said WATANABE to, bebopattic.weebly.com, when asked;

“Actually, In my cowboy universe, tobacco is incredibly cheap. And if I go to say a little bit more, how do you know it’s really tobacco? We’ll leave it at that. (laughs).”

Where the other influential pieces at the time (NEON GENESIS: EVANGELION) succeeded in sombre, COWBOY BEBOP brought LIGHT to a DYSTOPIA.

COWBOY BEBOP was definitely SUPERIOR to other content during it’s year of release.

2.

Seeing its success in the WEST over 20 years ago, SHINICHIRO blended WESTERN POP CULTURE into COWBOY BEBOP.

Did his homeland of the EAST influence his work?

Far from it; 

Such pieces as Dirty harry, john carpenter films, spaghetti westerns, noir, hongkong action, and jazz are accredited in interviews with IGN.

3.

Besides saying the obvious truth that COWBOY BEBOP has influenced work since it’s release,

It has joined the pantheon of the greatest anime ever created.

  1. LUPIN THE THIRD; CASTLE OF CAGLIOSTRO (HAYAO MIYAZAKI; STUDIO GHIBLI – 1979) Which served as the basis for “COWBOY BEBOP”
  2. GHOST IN THE SHELL (MAMORU OSHII; PRODUCTION I.G. – 1995)
  3. NINJA SCROLL (YOSHIAKI KAWAJIRI; MADHOUSE – 1993)
  4. AKIRA (KATSUHIRO OTOMO; TMS ENTERTAINMENT – 1988)
  5. SPIRITED AWAY (HAYAO MIYAZAKI; STUDIO GHIBLI – 2001)
  6. NAUSICAA OF THE VALLEY OF THE WIND (HAYAO MIYAZAKI; STUDIO GHIBLI – 1984)

If it wasn’t for COWBOY BEBOP the western introduction into ANIME would be bleak.

Not even watanabe knew of it’s success in the west.

In an interview with otaku magazine he said:

OUSA: Cowboy Bebop was originally broadcast 15 years ago in the US… Did you anticipate the longevity of it, and how does that make you feel?

Watanabe: I am happy to see fans still remember Bebop. Back when we were making Cowboy Bebop, one thing I told the staff was “let’s make a show that does not feel dated in ten or twenty years,” so I am happy that that has actually taken place. But of course they laughed at me when I said that back then and they said “good luck.”

nuff said?

     “SEE YOU SPACE COWBOY…”

HYPERLINKS FOR 90s ANIME HEAVEN:

https://tvtropes.org/pmwiki/pmwiki.php/Main/AnimeOfThe1990s

11 Forgotten Anime Series From The 90s That Still Hold Up Today

http://bebopattic.weebly.com/

BIBLIOGRAPHY

https://www.anime-planet.com/anime/years/1998

http://bebopattic.weebly.com/watanabe-interviewhouston.html

Cowboy Bebop’s Shinichiro Watanabe and Dai Sato Talk Genre, Storytelling and Sigur Rós

https://au.ign.com/articles/2017/11/24/the-many-inspirations-of-cowboy-bebop-director-shinichiro-watanabe