Danger: Reading this book will make you smarter!

Dr. David Loren PHD, a former whiz-kid, has been working for the military for most of his life in a DARPA led think tank. However he’s no longer comfortable creating fantastic pieces of machinery that are stunningly efficient killing machines which has lead him to become rather lackadaisical towards his work. This first issue deals with the fallout of his laziness and how this conflicts with his addiction to being scientifically creative.

The thing that strikes you almost immediately about Think Tank is writer Matt Hawkins love for science. The first page is just a quote from Einstein, something that no-one could get enough of, describing the double-edge nature of working in ‘science’, an attitude that Hawkins admits is easily applicable to comic-books. There are also a number of small things, like F=MA leading the first narrative box on every page, which allows the creators love of science to creep its way in. The aforementioned double-edge sentiment is rife throughout the book though, as whilst science is held up to be fantastic, which it is, it is also shown to have horrible consequences. From the obvious perfectly designed killing machines to the dubious morality in using the non-lethal device Loren creates at the end of the book, as well as the petty nature of a scientific college prank seen in a flashback, it’s clear that showing both the good and bad sides of science is important to the creators.

From the obvious perfectly designed killing machines to the dubious morality in using the non-lethal device Loren creates, it’s clear that showing both the good and bad sides of science is important to the creators.

I very much enjoy Rahsan Ekedal’s art though the entire book is black and white, which I would imagine would put some readers off a little, but I think that works in the art’s favour especially the panel toward the end in which Loren explains how his device works which is easily my favourite. I also enjoyed, at the back of the book, the pages labelled Science Class in which Hawkins writes about his inspiration for Think Tank and takes the time to explain some of the concepts and technology featured in the story, as well as a little about some of the characters. I always enjoy it when comic books do this and I hope it’s something that continues in further issues.

There is also great potential in character conflicts, as well as having a lead character who’s a bit of a dick which is always great for character growth, Hawkins mentions disliking one dimensional ‘bad-guys’

Overall I believe Think Tank is something most people who enjoy science, regardless of whether they only know the stuff they vaguely recall from school or truly know their stuff, as it really is ‘love letter’ science. There is also great potential in character conflicts, as well as having a lead character who’s a bit of a dick which is always great for character growth, Hawkins mentions disliking one dimensional  ‘bad-guys’. All in all, I have no difficulty recommending Think Tank even if it is just in the hope I continue to learn more science.

You can follow Thomas on Twitter at @FacetiousBeard

The first issue deals with the sudden arrival of the main character Silas on the titular Planetoid.

The mark of a good-storyteller is the ability to build a rich world seemingly with little effort. Whilst there have, so far, only been two issues of Planetoid, there is more than enough evidence to suggest this is a skill Ken Garing does not lack.

The planetoid surface is covered in all manner of metallic debris pulled in by the bizarre radiation, making the whole place look like a scrap yard.

As a fan of science fiction in a number of guises it was the simple, though somewhat common, premise that piqued my interest about this book and, within a few pages, I was hooked. The first issue deals with the sudden arrival of the main character Silas on the titular Planetoid, a minor planet, or planetoid, with a strange electromagnetic radiation, which causes his ship to crash land. The planetoid surface is covered in all manner of metallic debris pulled in by the bizarre radiation, making the whole place look like a scrap yard. Here Garing’s artwork shines. With a number of pages containing no dialogue it allows Garing’s art to build a truly atmospheric world even if it isn’t an overly colourful one. His artwork is such a delight that it’s a shame there is only thirty-two pages of it. Silas is not alone in this world as he has Ricter, his Interactive Analytical Assistant, a computer program that can give him readings on his surroundings and his supplies, included in which is an unexplained gun, with whom he has relationship that supplies the books humour. With Ricter’s help Silas traverses the world in an effort to find a way off. However, after an encounter with a sizeable robot infected with a rouge A.I., he meets his first human inhabitant of this planet, Mendel. It is through a conversation with Mendel that Garing reveals his fantastic ability to tease. We learn a little of Silas’ past, which is somewhat Firefly-esque, which is no bad thing, a fraction of the history of the Planetoid, of a human civilisation in this junkyard and that there is little hope of escape from the planet, for no-one who has crashed landed there has found a way to do so. It is difficult to pick which of these is the more intriguing concept, which is the thread with the most potential. I cannot remember a time when I was as eager to see the story continue. Thankfully, Garing does not disappoint.

The second issue introduces more A.I. infected robots which vary from one to another, showcasing a range in brutal killing techniques.

The second issue continues this intrigue, raising more questions than it answers. It introduces more A.I. infected robots which vary from one to another, showcasing a range in brutal killing techniques, and makes you wonder how many robot designs Garing has up his sleeve and makes me eager for yet more of his artwork. As Silas heads towards the planets ‘civilisation’ we learn what necessary steps are needed to survive this harsh world. We also meet two characters I imagine may become important, especially considering they grace the front cover, and learn more of both their pasts and more of the planetoids itself, especially the, as yet unseen, all powerful Ono Mao who seem to have ‘oppressive empire’ written all over them, from what little is learnt. Ending with an impressive display of heroism on Silas part, and considering the reward bestowed upon him, the story seems to be headed in a direction I did not expect, but could very easily go anywhere.

Planetoid is easily the finest new comic-book I have read this year, and considering this year’s output that is a sizeable accolade.  It is the first I read in the weeks I pick up the new issue and I would find it difficult to believe that others who read it do not feel likewise. If you, in any way, are a fan of science fiction, I heartily recommend getting Planetoid. I have no difficulty believing that a series with such great artwork and potential will become big on merit alone and I really hope something becomes of Planetoid. Whether it does or not, however, I am certain I shall be with it every step of the way. I can think of no greater recommendation.

You can follow Thomas on Twitter at @FacetiousBeard

A few months ago, when there were rumours that a ‘Guardians of the Galaxy’ film had moved into ‘active development’ stage, I got excited.

A few months ago, when there were rumours that a ‘Guardians of the Galaxy’ film had moved into ‘active development’ stage, I got excited. When it was announced at this year’s San Diego Comic-Con I got decidedly excited, and for more than the usual ‘seeing some of my favourite characters on the big screen’ reasons. I am quite certain that it means that we shall be seeing a new type of comic-book film adaptation, and that, I believe, is something to get rather excited about.

To explain myself, I suggest that, currently, there are two types of comic-book film adaptations. The first type is those that are based on autobiographical or almost autobiographical works. The adaptations that come to mind are those of Harvey Pekar’s American Splendor, Marjane Satrapi’s Persepolis and Daniel Clowes’ Ghost World, all of which I can heartily recommend in both comic and film form. These films need little actual adaptation, especially when it comes to Persepolis, because there is no need for the writers to make the original narratives more ‘film believable’. I say this because, as I imagine you well know, film-goers willingness to suspend belief is not as big as your average comic-book fans, especially those who read Superhero comics. This, however, is not necessarily the case in the other type of comic-book adaptations.

The somewhat naff cartoons, tv shows and made-for-tv-movies of yesteryear paved the way for the success that is todays big box office superhero films.

This second type of adaptation is considerably more common; those that require narrative adaptation to allow them to be better received cinematically. These adaptations are, quite obviously, ones of Superhero comic-books. It is important to remember that, though they are exceptionally well liked now, this was not necessarily the case a little over a decade ago. Any adaptation of superhero comic-books were considered kind of kitsch, save animated adaptions, but they’re ‘for kids’ so were not something to take seriously, apparently. Everything from the 60’s Batman television show and film, to the Burton and Schumacher Batman films, the 70-80’s The Incredible Hulk show, the Christopher Reeve Superman films and The New Adventures of Superman show were all things watched with the proverbial pinch of salt, save by those few who genuinely loved them, and still do, though you will want to seriously question the taste of Schumacher Batman fans. However, you do not, ordinarily, make big bucks with kitsch. You certainly do not get 8 Oscar nominations with kitsch. Arguably, the change in general attitude toward superhero adaptations came around the turn of the century, with massively successful adaptions of X-Men, Spider-Man and, easily the most successful of these film franchises, Batman. Whilst you would not be wrong in saying that all the somewhat naff cartoons, tv shows and made-for-tv-movies that came before these films paved the way for their success, by allowing the tropes of superhero narratives to slowly burrow their way into pop-culture, how else would you explain Superman being that big an international icon?, I believe it is just as fair to say that the ‘film believability’ writing of these franchises allowed them to become financial successes. Batman is, arguably, the epitome of realistic superheroes, though make no mistake about it, no ordinary human could be Batman, and with X-Men being mutants or homo-superior, therefore above humans, it is not that much of a stretch, in terms of ‘film believability’, to believe one person can be a complete master of magnetism or another could control the very weather. But these did not escape adaptation.

Ra’s al Ghul features prominently in Batman Begins yet there is no mention of him being hundreds of years old, his life maintained by a number of Lazarus pits found worldwide.

Ra’s al Ghul features prominently in Batman Begins yet there is no mention of him being hundreds of years old, his life maintained by a number of Lazarus pits found worldwide. X-Men was adapted to make Wolverine far more prominent because he is an astoundingly popular character and who wouldn’t want to see Hugh Jackman without a shirt on. And Spider-Man’s genetically altered spider over a radioactive one was far more topical and, therefore, more believable. (I know this was taken from the Ultimate comics, but the decision to use this over Earth 616 Spidey was obviously a very conscious one.) In all three series there are considerable things changed or left out to make it more believable, therefore more prone to profitability. These three films help paved the way for The Avengers to be a success (though the colossal amount of work, time and money that went into them probably helped, along with the quality of all the tie-in films) by definitively and irrefutably putting superheroes slap bang in the centre of pop-culture, allowing various ridiculous tropes of superheroes, such as ‘being bit by a super-spider will give you super-powers’, to become less ridiculous in the public eye. I feel it is safe to say that a film containing a sarcastic git in a technologically advance suit, a super-solider from the 40’s, a mutated scientist who you might just love when he’s angry and a gloriously bearded Norse-y alien would not have been the success it is without all of this.

Guardians of the Galaxy is completely, wholly, truly and utterly ridiculous. In a good way though.

All of this is relevant to the Guardians of the Galaxy announcement for one reason; Guardians of the Galaxy is completely, wholly, truly and utterly ridiculous. In a good way though. In my opinion, it’s ridiculous in a great way. There is, along with this, the general feeling from those who know ‘Guardians’ that it may be too ridiculous to be taken seriously. The annoying thing is that people with these opinions may be right. When Guardians was first mentioned by Kevin Feige, the President of Marvel Studios, he specifically cited the 2008 ‘revamped’ series as the specific inspiration. To list all of the ridiculous facets of this set of Guardians would take a while but the sizeable character roster includes; Drax The Destroyer, The consciousness of a human placed, by Kronos the cosmic master of time, in a body with super powers that was specifically designed, by Thanos’ father, to destroy Thanos; Moondragon, Drax’s telepathic and telekinetic daughter; Gamora, the last of her race, raised by Thanos and The Deadliest Woman in the Galaxy; Adam Warlock, a man created by scientists as an template for an ideal human race; Phyla-Vell, the genetically cloned offspring of Captain Marvel; Cosmo, a telepathic Russian space-dog; Starlord (Peter Quill), the team’s leader, the son of a human and an alien prince who is partially cybernetic; Groot, a member of a the Flora Colossus (for that read ‘giant sentient trees’), a race believed to be extinct and Rocket Raccoon, a weapons and demolition expert who also happens to be a wise-cracking raccoon.

Rocket Raccoon, a weapons and demolition expert who also happens to be a wise-cracking raccoon.

Add to that the fact they are galactic freedom fighters and are prone to saving the galaxy from invasions by a cybernetic-symbiote race, invasions by a race from other dimensions, the galaxy collapsing in on itself and Thanos having a bad day, there is very little realism to be had. For fans of this kind of nonsense, of which I consider myself one, it is some of the finest nonsense going. It is the sort of nonsense that certainly exists in other mediums, but, I would argue, it’s true home is comic-books. It’s what I imagine people who don’t read comic-books think all comic-books are like. Even if it were adapted to be as ‘film believable’ as possible there is, inherently, a lot of ridiculousness involved. This is the third type of comic-book film adaptation Guardians might usher in: an adaptation almost devoid of any ‘film believability’. ‘Guardians’ could be a film that it is, truly, a comic-book film.

But is it ridiculousness that ordinary film-goers and fans of the Marvel Film Universe are ready for? The best part about all of this is I don’t think anyone can truly know. I am looking forward to seeing all of this magic on screen but I am equally looking forward to seeing how it is received. With Marvel Studios’ previous success at putting these films together, I wouldn’t be surprised if the film watching public at large embrace the manic potential of comic-book nonsense I hope a ‘Guardians of the Galaxy’ film will be. And, if not, at least everyone will become aware of the inherent badass awesomeness of Peter Quill, which is more than enough for me.

You can follow Thomas on Twitter at @FacetiousBeard