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So, as I mentioned in the previous post, I’m dipping my toes in podcasting waters with a little venture called The Wild Episode – which I sometimes describe as a collection of wonders, curiosities and occasionally horrors from the natural world. So far, it’s had sharks, eye-eating bugs, monks, vikings, the rarest insect in the world, shipwrecks, scurvy, my lawn-mowing technique … a mountain of fun and weird stuff, in other words.

You can hear it at the website in the link above, but we live in a more convenient age, so here are a few other ways you can hear it, enjoy it, subscribe to it, all that jazz … All you have to do is click on the button that suits your habits (or your apps, in some cases) …

As I’ve demonstrated here more than once, I have a serious love affair going on with podcasts. I adore the things.

So, possibly inevitably, I’ve eventually reached the point where I just had to have a go at one myself …

Result: thewildepisode.com 

I (almost) literally couldn’t help myself.

Although this show won’t show up in podcast directories for a little while, you (yes, you!) can listen to it now, either in the player above or …

Here’s a direct download link if you just want to grab the mp3.

And if you know what to do with an RSS feed, here’s one that’ll ensure you never miss future episodes.

Would be crazy grateful for any feedback, especially on things like audio quality, volume levels etc – but any feedback would be helpful at this stage, tbh.

It’s been a horribly steep learning curve getting to the launch point – but that was part of the reason for doing it in the first place. Learn new things, push yourself a bit, all that sort of stuff.

And I’ve still got a huge heap of stuff to learn. Neither my equipment nor my podcaster (that’d be me) are exactly what you’d call the professional, finished article … But a start has been made!

 

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… that I’ve played since Christmas, anyway. Prompted by the fact that a) I’ve suddenly played a lot of board games in the last couple of months, and b) it’s the first time I’ve played ‘German-style’ games.

TL;DR : old board games can be good fun, but there’s a reason all the cool folks are playing Eurogames these days …

But first some old classics that got broken out again recently:

Cluedo (Clue in the States, I think?)

It’s kind of fun, this, but being reintroduced to it after decades away makes me think of it kind of as a card-based game that couldn’t quite figure out how to dispense with the board element. All the little murder weapon tokens and the moving round the board is kind of beside the point really; I mean, the way it’s designed they’re technically necessary, but the crux of the game is all in the cards. Just feels like a board game with a slightly cleaner card game hidden somewhere inside it.

Have to admit, it’s possible my slightly ‘meh’ reaction to it may be connected to the fact that I’m no good at Cluedo. And that’s putting mildly. I suck at this game. Epically. My chances of winning are slim to none, even playing against children (and trying!). So there you are.

Monopoly

My theory about Monopoly is that around half the games you play, you can predict the winner from pretty early on. You know how it goes: someone nails down one of the key sets (somewhere in the orange to green zone), and has at least enough money on hand to match anyone else’s housebuilding pace. From that point on, it takes some bad luck, bad trades or general bad judgement, to come out on the wrong end. Everyone else is spiralling the plughole, whether they know it or not (and usually they do).

The other half of the games, though – and even some of the ones that look like foregone conclusions – can turn into long drawn out slugging matches that can be kind of fun, if a little wearing. I like the fact that even though it’s a game that can be analysed mathematically to produce optimal strategies (e.g. like this or like this), there’s enough of the human factor and the chance factor to make it at least a bit unpredictable.

Although I definitely like it rather than love it, it was never really bettered amongst the seriously old school board games. Which is why it’s still around, I guess.

Risk

I like Risk. Honestly, though – even more than Monopoly perhaps – it’s one of those games where you can often see the plughole coming from quite a long way off. There’s a lot of toing and froing, ups and downs, but it seems like maybe 6 or 7 times out of ten, the first third or half of the game is pretty competitive then the rest is playing out a conclusion that’s more or less obvious to everyone. Sooner or later the player who’s been in the strongest position for a while gets to put down a gigantic pile of armies, and that’s it. More often than I’d really like, feels like there’s way less strategy involved than there really should be. Game over, man.

So, as far as those old boardgames are concerned, I’m having fun but probably ready to try something a little bit more … Eurogame-y. Which is exactly what’s happened, the last month or two:

Pandemic

It’s a bit of a one-off, Pandemic. For starters, it’s a co-operative game: all the players are playing together, on one team, against the game itself. You’re trying to save the world from hideous diseases that pop up all over the place. I’ve never played a co-operative game like this before, and I really like both that idea and the premise. Don’t like the execution, in this case, quite so much, although it’s still fun and I’ll certainly be coming back to it.

My main issue with it is that it inverts something which I think of as a Eurogame signature: superficially pretty simple rules that lead to surprisingly subtle or complex play outcomes. In the case of Pandemic, the rules are (comparatively) complicated – or not complicated, maybe, but ever so slightly convoluted; but the play, which initially appears quite complex and multi-faceted, I’m starting to suspect isn’t. How you win (i.e. beat the game) is the same every time, and I’ve got a sneaking feeling the way you get there is too – it’s certainly turned out that way each time I’ve played so far.

Interesting idea; less interesting but not terrible execution, imho.

Catan

Yes, I had never played Catan until these last couple of months. Yes, I am pathetically behind the times. And yes, it’s a good game. Really good. Pretty simple rules lead to pretty fluid and unpredictable gameplay that offers different approaches to winning. You couldn’t ask for much more. I get why it was pretty much the launch code for the Eurogame rocket back in the day. It’s just a completely different gaming experience compared to what boardgames had offered up until then.

Still, I have nitpicks of course. There are too many turns where you can’t do anything (unless another player is willing to trade with you). The dice rolls exert too much of an influence on the course of the game: a bad run of rolls can spoil you day fast, especially since it’s a game that can be over quite quickly if someone’s having a good day.

It’s great, but not perfect.

Ticket to Ride: Europe

Which brings me to Ticket to Ride: Europe. Wow. What a cool, cleverly designed game. Now I’ve got to admit, I’ve only played it once so far, so these are only first impressions, but … A lovely board and cards and pieces (and box – seriously, this is the first boardgame box that makes me feel warm inside). Simple(ish) rules and play mechanics that lead to actual play that’s way less straightforward and obvious than you might expect (although I didn’t win, so possible I was over-thinking!).

Bottom line is it’s easily my favourite of all the games name-checked here. Every single turn you have to make some kind of decision(s), and almost every turn you’re doing something that feels like progress, and trying to plan ahead. There’s certainly an element of luck, but it’s somewhat mitigated by the way the play mechanics force the player to make conscious decisions about various things all the time.

Playing it was great, but the truth is my brain – my nerdy brain – was spending a decent chunk of the time just being amazed at how subtle and clever the design of the game was. Maybe next time I’ll be past that stage and might actually have a chance of winning …

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Not literally all the TV, obviously. More accurately: most of the genre or genre-adjacent TV shows I’ve watched to the end in the last few months. That doesn’t make for a good blog title, though.

Brief reviews only, mild spoilers certainly possible but not guaranteed.

Star Trek : Discovery

Mad as a bag of squirrels. Don’t know quite what else to say, really. A bit like the reflection of something recognisably Star Trek seen in a heavily distorting mirror. Maybe half a dozen major plot twists get thrown at you – the kind of twists most series would probably settle for at most two or three per season. Honestly, I kind of like some of the twists, but not all of them. Two or three really good characters; several that are just OK; quite a few who are just blanks taking up screen space, really. Some really weird production decisions – nothing, from design to costuming to sub-plot to subtitles, about the Klingons works for me. Not one thing. Yet despite it all … I sort of enjoyed it. Sort of.

EDIT TO ADD: Since posting this, I had the misfortune to watch the last episode of ST : D’s first season. I did not like it. Not at all. If they’d all been like that, I would never have stuck with it through the season, I suspect. Ho hum. Fingers crossed for Season Two, I guess. More in hope than expectation. 

Godless

Netflix takes a swing at the Western, and for big chunks of the series I thought it was a home run. Beautiful to look at. Leisurely camerawork and pacing that often worked great for building tone and character. Some really nice scripting, delivered by some really good actors. But … it all got a bit too leisurely at some points. At least one, maybe two, episodes too many.

Still, I was fully on board until the last episode. At which point I was swept overboard by a tsunami of objections and reservations. I still give the whole thing a definite thumbs-up, but I could go on at nutty length about all the ways I disliked the final episode, and the degree to which it undid bits of the smart work done earlier in the series, but I’m committed to the ‘brief reviews only’ thing. So I’ll just say: what they did to Blackdom was, imho, horrifically misjudged; it sucks if you suddenly start relying entirely on coincidence and chance encounters to make your climax work; and the resolution of the various womens’ character arcs almost all left a slightly bitter taste in my mouth. Nuff said.

Punisher

Quite liked it. Just a fraction too violent for my taste on occasion – I’m turning into a big softie – but not enough to put me off. Probably goes in my top three (four?) of the Netflix Marvel shows, and at the very least is a return to some sort of form after the unfortunate misfires of Iron Fist and The Defenders.

Did leave me asking a profound question about TV dramas in general, though: What is it with the apparent inability of so many writers/actors/directors to even slightly conceal the fact that character X, who appears to be a goodie is in fact a villain? Is it deliberate or unintentional? I genuinely don’t know. Anyway, The Punisher contains the most screamingly obvious, borderline cliched, heel turn I’ve seen in … years, maybe. I mean, you know this guy – who’s superficially presented as a good guy for over half the series or so – is on the dark side from the moment he appears on screen. You’d have to have never watched any serialised drama in your life not to spot it, I’d have thought. Is it really that hard to conceal a character arc, or do the creators actively want the audience to know hours before any of the other characters figure it out?

Travelers

Have you watched Travelers? You should watch Travelers. I love Travelers. Fun take on time travel, with teams of future folks ‘possessing’ present day folks in an effort to avert future catastrophe. The genius of the show is in the casting, the acting and the focus on character and relationships alongside occasional outbursts of plot and action. I really can’t remember the last time I found an ensemble cast in a genre drama so engaging, both collectively and individually. Patrick Gilmore, in particular, is acting his pants off in this thing – seriously, I think he’s doing some of the most detailed, precise TV acting I’ve seen in a genre show.

I find myself rooting for every single one of the main seven or eight or whatever characters; and somehow – not sure how – the writing pulls off a spectacular balancing act of selling not only the characters’ total commitment to and support of each other, but also their over-riding and potentially sacrificial (of themselves and others) commitment to their mission. It’s clever TV-making, if you ask me. Slow, at least initially, if you’re expecting slam-bang sf action; but stick with it and it sucks you in. And tragically not yet confirmed as having been renewed for a third season, as far as I know …

The Good Place

Have you watched The Good Place? You should watch The Good Place. I love The Good Place. I mean, who takes a hi-concept, long form genre narrative and turns it into a half-hour network sitcom? And builds it around questions of moral philosophy in the afterlife? And makes it good? It’s not something you see every day. In terms of weird pushing of format boundaries it kind of reminds me of Community, though it’s a very different beast. The twist at the end of the first season is pretty legendary. The one at the end of the second season I’m not nearly so sure about, but the creators have shown they can handle wild shifts of narrative and setting, so I’m prepared to give them the benefit of the doubt. Plus: Ted Danson is cool.

Stranger Things

Specifically, season two of Stranger Things. This, for me, was a demonstration of the power of the first time. It was fine. I liked it. But it didn’t have the impact of the first season, simply – I think – because I knew exactly what I was getting going in. The powerful sense of place and time and tone that the first season smacked you in the face with was a little bit diminished this time around, I think, but at least in part that’s because it’s familiar the second time around. Also, too many new characters; not all of them slotting into the narrative as neatly as the whole crew from the first season did. Still, it’s a distinctive, fun bit of TV and the world would be just a tiny bit duller without it.

The Expanse

Also specifically, season two of The Expanse. I liked season one, but thought it was slightly heavy going here and there (and can vouch for the fact it was more than ‘slightly’ heavy going for at least one non-sf fan of my acquaintance). Season two, though – which I had to solo watch due to that heavy going thing – I thought was great. A blast, on the whole. Much more stream-lined and coherent and almost accessible. Don’t know exactly what their budget is, but I reckon on the whole they’ve got great value for money on their effects and sets. It looks good and it bounced along very nicely and nimbly. Sign me up for season three.

But … I have one over-arching complaint that applies to The Expanse and at least a couple others of these series, which might be going to sound picky but really bugs me:

Basic Military Tactics, People! It’s Not Rocket Science!

Now and again in The Expanse, pretty much continuously in Star Trek : Discovery, in the final episode of Godless, and even in Stranger Things, people who are supposed to be either trained or in some way experienced and even expert in the art of combat – firearm combat of one sort or another specifically – behave during firefights like people who don’t even know which end of a gun is the dangerous one. The most basic notions of deployment, cover, tactical movement, etc etc sometimes appear to be completely unknown to soldiers who are supposed to be elites.

I mean anyone who’s played a few hours of video games could get the better of some of the supposedly fearsome warriors on display in these series. If you’re trying to sell the audience on the idea that these people are dangerous, militarily awesome or whatever, just make them act like they have a rough idea of what they’re doing. That’s all I ask.

Cover, people! It’s right there! I can see it, just a few paces to the side of you! Don’t just stand there blasting away, for … oh, never mind.

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I may have mentioned this before, but I’m a podcast addict.

The list of podcasts I’m subscribed to currently exceeds eighty. Seriously. Not that I listen to every episode they all put out, and some of them are probably dead or at best wildly infrequent.

But there’s fairly continuous churn. I’m constantly dropping and picking up series as I discover new stuff or lose interest.

Here, then, are my five favourite podcasts that I picked up in 2016. Something on this list for most kinds of listeners and they’re all worth your time, at the very least for sampling purposes.

Crimetown
From the podcast empire that is Gimlet Media, this is by far – by far – my favourite true crime podcast amongst those I’ve tried. The genre exploded in the wake of Serial, of course, and I’ve found one or two other decent ones. But Crimetown is astonishingly good. It’s a hugely ambitious serialised documentary about organised crime, local politics and law enforcement in Providence, Rhode Island; mostly in the 1980s. It’s like a true-life audio version of The Wire. Full of recurring characters, interviews, archive recordings. Unmissable.

Liftoff
The place I get 90+% of my astronomy, space exploration etc news and info from these days. A highly accessible, all-encompassing bi-weekly update on all things space-related. Rockets, satellites, probes, planets, exo-planets, moons, stars and so on. A wonderful example of what podcasts can do: plugging a gap in TV and radio output through the simple mechanism of two guys who love their subject and know quite a bit about it talking about what’s going on and what’s caught their attention. If you like space stuff, of whatever kind, this is for you. (Part of the RelayFM podcast network, which has a heap of other geek-friendly shows you might want to check out).

Talking Politics
Perhaps unsurprisingly, I sampled quite a few politics-related podcasts last year. The only one I’m still listening to regularly is Talking Politics. It’s from Cambridge University, and it’s mostly just a bunch of folks talking about big picture issues (and sometimes specific events) in politics around the world. Inevitably, there’s an emphasis on British and US politics, but they talk about European stuff a lot and get into major developments elsewhere sometimes. Kind of non-partisan in that they’re more interested in understanding what’s going on than pushing specific agendas, but the individual participants do, of course, have opinions so possibly not for you if you’re allergic to the so-called ‘intellectual elite’.

2000AD Thrill-Cast
For those who don’t know, 2000AD is a legendary British sf anthology comic that started up in the late 1970s and – kind of miraculously – is still going. A truly formative experience for a big chunk of us Brits whose interests lay in that direction. Even those who don’t know it might have heard of Judge Dredd, it’s most famous character, right? This is their official podcast, loaded with interviews with famed writers and artists, talk about the comic’s history, key past and current stories and characters etc. etc. If you ever enjoyed 2000AD, you should listen to it. If you’re into comics, you should listen to it. If neither of those things apply to you … maybe not?

Imaginary Worlds
A podcast that looks at the culture surrounding sf and fantasy in all media. Sympathetic, smart and rarely obvious, it’s touched on a crazily wide variety of topics: Star Wars, Harry Potter, Avatar: the Last Airbender, LARPing, D&D, fantasy maps, Godzilla, Batman … the list goes on and on. Invariably just as is interested in the people who consume and support the media as it is in the properties themselves, it’s a weirdly unifying approach to all of geek culture.

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Inexplicably (you might think that’s irony, but I couldn’t possibly comment) watching horror movies continues to feel like a not inappropriate way to start 2017. And I got two more under my belt in the last couple of weeks.

Extinction

Misleading trailer alert! Well, slightly misleading. This is a more character-led and less action-driven movie than that trailer would suggest. For big chunks of the movie, it’s two guys and a young girl working out some of their issues in a bleak, wintry, post-apocalyptic world. But there are monsters, and they’re quite nicely conceived and designed. It didn’t blow me away or anything, but it’s a movie with its good points: some decent acting, a cool ice age-ish environment and some effective chills and creeps especially as it gets to the climax. If you like your horror with a healthy dose of character work and a focus on mood rather than all-out action, and your apocalypses kind of intimate instead of wide-screen, might be worth your time.

Train To Busan

Everyone knows East Asia is a bit of the world that knows how to do horror movies, right? Train To Busan is a nice bit of further supporting evidence for that. South Korea gets the zombie apocalypse treatment, and we see almost all of it through the eyes of a train-load of (mostly doomed, obviously) passengers who just want to stay alive long enough to reach some kind of sanctuary. There’s an array of fairly off-the-shelf characters – sports team, neglectfully work-oriented dad, daughter who wants her dad back, selfish businessman etc. – but they’re all made to bounce off each other very entertainingly and the zombie action (fast zombies, my favourite sort) is frantic and fun. And the way the movie uses the train as setting and plot device and action-architecture is great. It’s already slated for an English-language remake, which is rarely a recipe for improving on the original – so if you’re into zombie action, check out this version. I seriously doubt you’ll be disappointed.

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… which may or may not prove to be an appropriate curtain-raiser for the year. We shall see.

Anyway, I’m not that big on horror movies but I do indulge now and again. So here’re the three in which I recently indulged, all very different but all with much (or at least, in one case, something) to recommend them:

Green Room

Part horror, part violent thriller really, I suppose; no supernatural elements as such. Either way, a very tightly and smartly written, well-acted, engaging bit of film-making. It’s unsettling and unnerving rather than utterly horrific on the whole, but there are occasional outbursts of uncompromising and somewhat gruesome violence. It’s all the more effective because the violence just kind of … happens. It’s not artificially sign-posted or artfully choreographed. It just happens. Patrick Stewart and the sadly late Anton Yelchin are great in their roles.

Bone Tomahawk

Well that … that was … that was not a film I’m going to forget in a hurry. A very unusual horror-western. The first three quarters of it are mostly an intense, slow, very involving character study: bringing together four men into a posse and following them out into a harsh and unforgiving landscape. The script is extraordinary, with dialogue that’s both sort of naturalistic (as is everything else about the film – lighting, sound, etc.) and at the same time heightened and a bit baroque. The acting, from Kurt Russell and everyone else, is fairly low key, but brilliant. (In fact, I thought this was as good as I’ve seen Kurt Russell in years. Possibly ever!).

So yes. For the first 3/4 of the film, you’re watching a very good, if slightly odd, Western. And then … then it becomes an at times intensely disturbing horror movie. There is properly appalling violence in here – one scene in particular that I had to avert my eyes from – and it’s all the more effective because the character development has been so strong in what went before. I thought the whole thing was kind of brilliant, in its deeply idiosyncratic way. Despite the full-on horror, it’s in no sense a run-of-the-mill gorefest. This is almost arthouse horror.

I should probably add, I’m not sure the film quite earns the pass it’s trying for on its treatment of Native Americans. It does try, but I’m not sure it quite manages it. That caveat aside, it’s a remarkable piece of film-making. Which some people will hate, some will love. I’m a lot closer to the latter than the former.

The Return of the Living Dead

So, I said at the start of this that all these films have much to recommend them. That might have been stretching things a bit.

Truth is, the reason I watched this one is also the main thing it has going for it, really: nostalgia. I loved this movie when I was a teen. I loved its humour, its soundtrack, its general nuttiness. As zombie movies go, it’s far more interested in making you laugh – or at least smile – than in scaring you or creeping you out. Watching it as an adult, you do kind of notice some slightly dodgy acting among the minor characters, some pacing and structural issues. But it’s still kind of fun. And it’s definitely got that nostalgic kick for those of us (you?) who view the 1980s with a certain sort of affection …

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As 2016 slinks slightly shame-facedly away towards the box called ‘The Past’, I now have three – yes, three! Count them! – novellas out in in the wild and available on your e-reading device of choice.

All three of them are stand-alone stories set in the world of The Free. In fact they’re prequels to the novel, explaining how some of that world’s most famous warriors and magic-wielders wound up as comardes in the ranks of the greatest mercenary company there ever was: the Free. The explaining is dressed up in some fairly full on action and adventure, of course.

Long enough to satisfy, short enough to be easily digestible. Novellas have always been one of my favourite fiction formats, so I’m delighted to have got some under my writerly belt.

And, I can’t help but observe they’re staggeringly good value: currently $1.25 in the US, a mere 99p in the UK. Bargain. Treat yourself for the holidays, that’s what I say …

You can read them in any order, but here they are in what you might call in-world chronological order:

CORSAIR

For years the Free have sold their martial and magical skills to the highest bidder, winning countless victories that have overthrown kings and shaken empires.

Yulan is a newcomer to their ranks, keen to prove himself worthy of the Free’s name. When corsair marauders ravage the Hommetic Kingdom’s coastline, Yulan gets his chance.

His mission is simple: travel to the corsairs’ island fortress, persuade their self-proclaimed king to sign a peace treaty, then head home with sword unbloodied.

Yet the crumbling fortress holds many secrets, and blades speak louder than words. Soon Yulan must fight not just for the glory of the Free, but for his very survival.

Amazon UK, Amazon US, Google Play, and also available everywhere else you get e-books from …

EXILE

Wren is a Clever, someone who can shape the unseen forces of the world. Such powers are more a curse than a blessing, and Wren has been running all of her life – from the consequences of her actions, and from those who would use her abilities for their own ends.

Now she finally has a direction. Rumours talk of a legendary Clever living in the Hommetic Kingdom’s borderlands, a man who can teach her how to control the forces that rage inside her – if she can find him.

Yet enemies from Wren’s past hound her every step, and a horde of ferocious barbarians ravages the very lands that she must travel. Somewhere in this chaos, the Free – the most feared mercenary company in the world – are fighting against the invaders. Surely they would help her in her quest . . .

Or perhaps the Free will need her help even more.

Amazon UK, Amazon US, Google Play, and also available everywhere else you get e-books from …

TYRANT

For years the Free have sold their martial and magical skills to the highest bidder, winning countless victories that have overthrown kings and shaken empires.

Brennan is proud to serve in the Free’s ranks. He has blooded his sword to defend the company’s ideals of honour, freedom and justice, and he will gladly do so again. It is this devotion that now sees him riding hard on the heels of a band of slavers, who have burned two villages to the ground and escaped with sixty prisoners.

It has fallen to the Free to hunt the slavers down and rescue their captives – a simple task for soldiers of their skill.

Yet the Slavers have fled into the Empire of Orphans, a dangerous land of rumour and intrigue, where every step the Free take will bring them closer to the deadliest enemy they could ever face: the Orphanidons of the mad emperor.

But the Free have never backed down from a challenge.

Amazon UK, Amazon US, Google Play, and also available everywhere else you get e-books from …

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Time for a few posts just catching up on various things as 2016 (that was some year, eh?) draws to an end.

First up, my return to writing comics. A couple of years ago I had the great pleasure of writing a Rogue Trooper comic for IDW – still easy to get the collected edition, should you be so inclined (e.g. Amazon US or Amazon UK).

highlander-1-francavillaThat was a huge amount of fun, but now I have the even greater pleasure of writing a Highlander comic, again for IDW. You know Highlander, right? 1980s movie: immortals, swords, a Queen soundtrack. 80s awesomeness, really.

I’ve got to say, writing comics is intensely enjoyable after having spent so much time over the last few years working away at novel-length prose. The collaborative aspect of it – writer, editor, artist, colorist, letterer teaming up and trying steer the ship to a destination everyone can enjoy and be proud of – makes it a profoundly different writing experience. And it causes my e-mail traffic to increase by a factor of ten, easily, which makes me feel important. So that’s good.

The artist for Highlander is Andrea Mutti, and he’s doing an amazing job. Which is high praise, because it’s not an easy job I’ve given him. This is Highlander – immortals battling throughout history – so of course the story I’m telling spans a looooong time; different periods, different looks, different styles. It’s a direct prequel to the original movie, so any fans of that celebration of immortal mayhem should definitely check it out. The first issue’ll hit the shelves of comic book stores, and digital comics vendors, in February 2017, sporting a very fine cover – as you can see up above – by comic artist legend Francesco Francavilla.

You can pre-order it right now, though, at your local comic shop – and if you do you might be able to snag yourself a copy with the special subscription variant cover by Claudia Gironi:Highlander -1-cover-Claudia Gironi

Cool, no? Correct answer is ‘Yes, Brian. Cool.’

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Post title kind of says it all, really. Spider crabs en masse. Cool (rather than creepy, as the video calls it, if you ask me).

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