Luke Matthews is a writer, board gamer, beer drinker, and all-around geek. He currently lives in the Seattle area with his wife, two cats, and two German wirehaired pointers.

Review: Danger Girl and the Army of Darkness #1

In April of 2011, IGN Comics began allowing MyIGN users to submit articles for their weekly review roundup. Any that live up to IGN’s editorial standards are be published alongside IGN’s staff reviews. Any that I write, I’ll post here, whether they get published or not.

This review was published, and included in the April 27th IGN Comics review roundup.

Story by Andy Hartnell
Art by Chris Bolson


Anyone who’s read Danger Girl knows what to expect out of a Danger Girl comic, and the same can be said of anyone who’s seen Army of Darkness. It’s hard to make an intellectual analysis about a comic blending two properties that are so intentionally and successfully cheesy. So what happens when Abby Chase is sent on a mission to find a mysterious book on a raid in southern Africa? It can be best described by the phrase “hilarity ensues”.

This first issue follows Abbey, recruited to rescue the kidnapped brother of her most dangerous enemy in exchange for eliminating the price on her head. It opens like a typical action movie sequel (or perhaps an episode of Human Target), by introducing Abbey and the Danger Girl organization in a shower of explosions and carefully detailed shards of shattering glass.

The rest of the book is primarily setup, and reads like the first 20 minutes of the aforementioned action flick (which is surprisingly not a bad thing). Andy Hartnell’s scripting is passably cheeseball, complete with the requisite bravado and one-liners one would expect from a book with this title. It never makes you groan, but never really makes you laugh, either. Chris Bolson’s art is straight out of a 1997 Image book, full of bright and slightly overdone digital colors. The art solidly average, with the exception of the two-page title splash, which I found rather striking.

If you’re looking for intellectual, Eisner-nominee material, you won’t find it here. On the other hand, fans of either of the two series that combine in this book will find a fun, brainless action romp. I’m interested to see if Hartnell can live up to the task of not descending solely into fan service as the series continues.

The PSN Outage and Gamer Entitlement

Earlier today, I got into a rather lengthy argument on Twitter with a good friend of mine over the current PSN outage. For those of you living under a rock in the Australian outback, the Playstation Network went down last Wednesday and has been down ever since. PS3 owners have been up in arms for days, demanding information.

The timing of the outage is horrible for Sony, coming during the week of three major game releases that all use online functionality. Gamers who purchased SOCOM 4, Mortal Kombat, and/or Portal 2 are understandably perturbed that they can’t get online with their new games, but the outage also affects all online-capable PS3 games, the Qriocity service and the Playstation Store. As the outage continues, gamers are becoming more and more upset, lighting up the internet with complaints.

Sony initially identified the source of the outage as an “external intrusion”, and let gamers know that they shut down the services in order to identify the breach and determine a course of action for fixing it. This backed people off for a day or two, but then began the complaints of Sony’s vagueness in identifying the problem to consumers.

On Saturday afternoon, Sony posted the following update to the Playstation Blog:

“We sincerely regret that PlayStation Network and Qriocity services have been suspended, and we are working around the clock to bring them both back online. Our efforts to resolve this matter involve re-building our system to further strengthen our network infrastructure. Though this task is time-consuming, we decided it was worth the time necessary to provide the system with additional security. We thank you for your patience to date and ask for a little more while we move towards completion of this project. We will continue to give you updates as they become available.”

This time, gamers were not appeased. Since this post, people have been complaining about every aspect of how Sony has been handling this situation, but primarily about the perceived lack of details regarding the process of restoring PSN service. Many feel that Sony should be providing more information – on any number of fronts – and that we as gamers and Sony consumers are entitled to more information. But are we actually entitled to anything?

Absolutely not.

First, people want to know what caused the outage. Of all of the different aspects of this issue that people are complaining about, this is the least valid, and least likely to get answered in any meaningful way. Gamers don’t need to know exactly what caused the issue, and Sony is under absolutely no obligation to publicize that information. If the problem was internal to Sony, releasing that information does them no good whatsoever, and if the problem truly was caused by a breach, then that information just points other hackers in the direction of a successful hack.

Sony has to be very careful with what information they release, and whom they release it to. It is fair to say that the PSN is a selling point of many products, and that a lack of the PSN would constitute the removal of a feature integral to those products. This argument would be valid, if Sony were permanently removing the PSN. But they’re not – it’s just an outage, caused by external forces out of Sony’s control, which is something everyone should expect with any service. Sometimes shit happens.

Besides, Sony is still smack dab in the middle of dealing with this crisis. If their info is to be believed (and we really have no reason to disbelieve them), they’re working around the clock to restore service and plug the holes, lest another incident occur and cause another extended outage. Why should any of us expect to be spoon fed information about their processes? Giving gamers minute-by-minute updates of their progress would do nothing but open them up to further scrutiny by a community of people who have no real knowledge of the problem. They’ve told us they’re working on it, and that’s what we need to know.

Similarly, people are bitching that Sony has not offered any kind of timetable for the return of the service, and are vilifying Sony for it. This is like saying “My favorite restaurant closed down because someone blew up their kitchen with a pipe bomb, but the owners aren’t telling me how long it’ll take to fix or when they’ll reopen, SO FUCK THEM.”

I’m going to sound like a broken record here, buy how are they even supposed to have a timetable? Building an infrastructure like this from scratch takes months, if not years, and rebuilding, testing it, determining a re-launch strategy, and re-launching it is not going to be an instant (or even fast) process. They’re not just deciding to flip the switch mid-stream to sate our hunger for gaming – they’re going to put the service back up when they’re damned good and sure that they’ve done everything humanly possible to ensure that we, their consumers, don’t have to endure something like this again.

Then there’s the question of compensation. Most of the complaints lie along the lines of “What are you going to do for me?”. I won’t deny that Playstation owners are probably due some sort of compensation for lost time. As I said before, the PSN is an advertised feature and a selling point for the console and a great many games. Playstation Plus subscribers have the most valid complaint, since they actually pay for the service directly and can’t partake. Is now the right time to be asking that question, though?

The outage hasn’t even ended yet, and Sony likely doesn’t even know the extent of the damage or cleanup time. With the amount of work they’re doing to fix the problem – namely rebuilding the PSN from the ground up – they likely don’t even know when it’ll be fully back up and running again. If they don’t know how long the outage will last or what it will take to fix it, how exactly are they supposed to determine a proper course of compensation for the affected users?

Probably the worst part of all of this, to me, is that the gaming media are fanning the flames of discontent. Gaming journalists repeatedly lambast gamers for their hot-headedness, even to go so far as to make fun of them (us) for flying off the handle at the tiniest little thing or for making entirely uninformed complaints. This is a time when users need to calm down and back off, and the media is a) making the PR hit that Sony’s taking from this even worse than it would have already been and b) acting just as reactionary as the gamers they make fun of.

What does this all boil down to? Under normal circumstances we, as consumers, are entitled to one thing: to get the product we pay for, as advertised, and to not be misled. That’s pretty much it. Sony hasn’t misled anyone, they haven’t engaged in false advertising, and – most of all – this is all out of the ordinary. Concessions must be made for off-the wall situations such as natural disasters or hackers or other situations out of Sony’s control.

We, as consumers, are not entitled to any specific amount or frequency of information from the companies from which we consume. How Sony handles its consumer service is entirely up to them, based on how they (not we) think it will affect their business and their consumers. Once the problem is fixed and they can take a step back and look at the big picture, they’ll determine a course of compensation and let us know how they are going to try and make it up to us. It would be stupid of them not to, because we are the reason they’re in business in the first place.

Complaining about the flow of information while still in the midst of the issue displays a frustrating sense of entitlement amongst the gamers making the complaints.  If, after all is said and done and we know Sony’s post-outage course of action, you feel that Sony has not treated you the way you want to be treated as a consumer of their products, the solution is simple: stop consuming their products. That is your recourse, and it is available to every single citizen of this wonderful capitalist society.

My Finished Game Room

This weekend, my big project was mounting my game room TV to the wall, opening up space on the top of my entertainment center for some of my classic consoles. The project is complete, and now my game room is officially made of win and makes me very happy. The setup: 50″ Panasonic Viera 1080p plasma, SNES, NES, Genesis, PS3, Wii, XBox 360. To the right of the setup is a shelf of classic games and memorabilia, to the right of that is my shelf of current-gen games, blu-rays, and DVDs. The Nintendo sign was acquired at a garage sale a while back.

Comic Book Review: The Sixth Gun #11

In April of 2011, IGN Comics began allowing MyIGN users to submit articles for their weekly review roundup. Any that live up to IGN’s editorial standards are be published alongside IGN’s staff reviews. Any that I write, I’ll post here, whether they get published or not.

This review was not published on IGN.

Story by Cullen Bunn
Art by Brian Hurtt


A few months ago, The Sixth Gun took me by surprise. It was recommended by friends but back issues were scarce, and some local shops hadn’t even heard of it. When I finally picked up the first trade paperback (entitled Cold Dead Fingers) I was introduced to one of the finest examples of graphic storytelling I’ve ever run across.

The book follows Drake Sinclair, a pitiless scoundrel searching for the last of six mystical revolvers in the years following the Civil War. The first story arc told of Drake’s fight against the undead General Hume and his encounter (and eventual partnership) with Becky Montcrief, the reluctant new owner of number Six. The second arc sees Drake, Becky, and Gord Cantrell holed up in New Orleans while Drake attempts to find a way to break his unwelcome bond to the four pistols he’s already acquired.

Issue 11 concludes the arc with a hairy confrontation between the trio and Marinette of the Dry Arms, a vicious loa who enters the physical realm through one of her worshipers to pursue Drake and the guns. Cullen Bunn seamlessly blends historical and fantastical, and his use of Haitian voodoo mythology adds a welcome and unique flavor to the conflict – a flavor I’m sure many readers (myself included) were previously unfamiliar with. Brian Hurtt’s artwork is a revelation of simplicity, evocative of ‘40’s Sunday comics (Dick Tracy comes to mind). Although verging on cartoony, his artwork never detracts from the book’s gravity, and smaller details (look for the panel inside the streetcar) add an immediacy that ramps up the tension nicely.

Although not the best issue to date, #11 is still an exceptional read and it continues to be one of the best books on the market. If you’re not reading The Sixth Gun, you should be.

Comic Book Review: Generation Hope #6

In April of 2011, IGN Comics began allowing MyIGN users to submit articles for their weekly review roundup. Any that live up to IGN’s editorial standards are be published alongside IGN’s staff reviews. Any that I write, I’ll post here, whether they get published or not.

This review was published, and included in the April 20th IGN Comics review roundup.

Story by Kieron Gillen
Art by Salvador Espin


After the first story arc in Generation Hope, I was struggling to find a reason to continue reading. The characters at the story’s foundation were sidelined, none of them defined well enough to develop any attachment. If I had begun to find a connection to the book, issue #5 killed it, beginning with McKelvie’s simplistic and repetitive art and ending with Kieron Gillen’s rambling and overly angsty script.

The latest issue is a mixed bag for me. The first third of the book flips between Hope and her five newly-rescued Lights, giving us little snippets of each as individuals. This section is unfocused, never allowing time for the dialogue or story to develop enough for us to get to know any of the characters. It would have been better housed in issue 5, which was clearly a filler issue to bridge the first and second story arcs.

The last two-thirds of the book, however, make solid strides toward finding the story’s voice. Hope and her new unit are given a purpose, and thus more of the spotlight than they’ve seen so far. We see more of their interaction as a team and delve into Hope’s role as their leader, giving us clear looks at both her strengths and her very obvious failings. Gillen seems to have finally hooked into a direction for Generation Hope, and more of this type of dialogue and interaction would be very welcome. Salvador Espin’s artistic return was also a pleasant surprise; his lines are cleaner and his style more clear than in previous outings, giving the book a more defined personality.

It’s a shame that it’s taken 5½ issues to get here, but if the last half of this issue is a glimpse of the future, Generation Hope could find a solid place amongst a sea of X-books.

Comic Book Review: Wolverine & Jubilee #4

In April of 2011, IGN Comics began allowing MyIGN users to submit articles for their weekly review roundup. Any that live up to IGN’s editorial standards are be published alongside IGN’s staff reviews. Any that I write, I’ll post here, whether they get published or not.

This review was published, and included in the April 20th IGN Comics review roundup.

Story by Kathryn Immonen
Art by Phil Noto


Wolverine and Jubilee began as the tale of a girl who had lost her way, and the mentor who was trying to help her find it. The first 3 books focused almost exclusively on the relationship between Jubilee and Wolverine as her father figure, and did an admirable job of representing her as a young girl caught in a dreadful upheaval. Likewise, Wolverine was well handled as her guardian, in moments that were less action and more interaction. This issue picks up after Wolverine is confronted by the woman who betrayed Jubilee during a moment of vulnerability in order to bait Wolvie into her service. Having successfully drawn the pair into her scheme she kidnaps Jubilee, giving Wolverine little option but to do her bidding.

Issue #4 is a departure from what was previously a dialogue- and introspection-heavy series, replacing that interplay with an action set-piece that is, overall, a little disappointing. I feel that there were single pages in earlier issues that did more to advance Jubilee’s character than the entirety of this final issue, and even Rockslide’s side-plot feels shoehorned into this final battle. It’s not entirely terrible, but it feels like the creative team struggled to find a solid wrap up, relying instead on a tried-and-true X-Battle to bail them out. Even Phil Noto’s art – which has been clean and subtly beautiful leading up to this – feels rushed and almost sloppy.

There’s a brief moment of introspective revelation for Jubilee here, but it’s fairly quiet and doesn’t overcome what is otherwise just a big battle in a goofy environment. As a conclusion to the limited series it feels somewhat anticlimactic, and might be a disappointment to anyone who’s read this far. I know it was for me.

Review: The Sixth Gun #11

Story by Cullen Bunn
Art by Brian Hurtt
A few months ago, The Sixth Gun took me by surprise. It was recommended by friends but back issues were scarce, and some local shops hadn’t even heard of it. When I finally picked up the first trade paperback (entitled Cold Dead Fingers) I was introduced to one of the finest examples of graphic storytelling I’ve ever run across.

The book follows Drake Sinclair, a pitiless scoundrel searching for the last of six mystical revolvers in the years following the Civil War. The first story arc told of Drake’s fight against the undead General Hume and his encounter (and eventual partnership) with Becky Montcrief, the reluctant new owner of number Six. The second arc sees Drake, Becky, and Gord Cantrell holed up in New Orleans while Drake attempts to find a way to break his unwelcome bond to the four pistols he’s already acquired.

Issue 11 concludes the arc with a hairy confrontation between the trio and Marinette of the Dry Arms, a vicious loa who enters the physical realm through one of her worshipers to pursue Drake and the guns. Cullen Bunn seamlessly blends historical and fantastical, and his use of Haitian voodoo mythology adds a welcome and unique flavor to the conflict – a flavor I’m sure many readers (myself included) were previously unfamiliar with. Brian Hurtt’s artwork is a revelation of simplicity, evocative of ‘40’s Sunday comics (Dick Tracy comes to mind). Although verging on cartoony, his artwork never detracts from the book’s gravity, and smaller details (look for the panel inside the streetcar) add an immediacy that ramps up the tension nicely.

Although not the best issue to date, #11 is still an exceptional read and it continues to be one of the best books on the market. If you’re not reading The Sixth Gun, you should be.

Comic Book Review: Carbon Grey #2

In April of 2011, IGN Comics began allowing MyIGN users to submit articles for their weekly review roundup. Any that live up to IGN’s editorial standards are be published alongside IGN’s staff reviews. Any that I write, I’ll post here, whether they get published or not.

This review was published, and included in the April 13th IGN Comics review roundup.

Story by: Hoang Nguyen, Khari Evans, Paul Gardner & Mike Kennedy
Art by: Khari Evans, Kinsun Loh & Hoang Nguyen

After Carbon Grey #1, I’ll admit I was lost. I gleaned that it’s set in a WWI inspired sci-fi world with a steampunk sensibility, and that the sisters Grey are the protectors of a ruler called The Kaiser. There are dirigibles, Lugers, swords, boobs, and lots of blood… but very little story development. At its heart, the story is about Mathilde and Giselle Grey, the first twins born to a line of protectors that was traditionally a set of three. Issue #1’s disjointedness must have been apparent, though, since #2 starts with an entire page of expositional history, picking up with Giselle as the prime suspect in the Kaiser’s murder.

Upon finishing #2, I’m as lost as when I finished #1. Although the art is above par (with three credited artists, though, I’m not sure who’s responsible), the writing fails to draw me into any of the characters in the book. We’re still unsure of the purpose of side characters, aside from Dina Cumming attempting to steal “level 5 Comsec clearance” from Elliot Pepper (posing as a dead officer), and their bloody escape from a pursuer (the “Baron”). Their story intersects with Giselle’s, but we’re waiting to see where it leads.

Overall, I found Carbon Grey incoherent. The art is pretty but shallow, the plot is buried so deep that it’s difficult to follow and, frankly, they’ve failed to make me care. It could develop into something more cohesive, but right now it feels almost as unintelligible as the original movie version of Akira. Almost.

Semantics Rant: Retro vs. Classic

In weeks leading up to building Geekerific.com and recording the After The Fact podcast, I did a lot of research on the online community surrounding classic gaming. I looked at websites and forums, listened to a few other podcasts, got some information about classic gaming shows & conventions, and spent some time just checking up on what my fellow geeks were up to. In that time, I’ve come to the conclusion that the vast majority of the gaming community has no clue whatsoever about the difference between “retro” and “classic”.

Retro, by definition, refers to something that is new, but is created in an old style. The 2010 Dodge Challenger, for example, is a retro car. A 1969 Dodge Challenger, on the other hand, is a classic. A game is not retro if it’s an originally from a classic era, even if it’s being played on a new system. Playing A Link to the Past on a Wii doesn’t make it retro – it’s still a classic game. New games made in an old style (i.e., Mega Man 9 and Gradius ReBirth) can reasonably be called retro games.

Don’t call real classics “retro”. The ones we truly love are classics – the ones that got us into this silly hobby in the first place. It’s the true classics that inspire the retro games that come out now, and it’s the classics that built the foundation of the industry. Don’t confuse the two.

Literary Popularity

In the new(ish)ly added forward to Stephen King’s revised editions of the first 3 Dark Tower novels, he writes:

I think novelists come in two types… Those who are bound for the more literary or ‘serious’ side of the job examine every possible subject in light of this question: ‘What would writing this sort of story mean to me?’ Those whose destiny is to include the writing of popular novels are apt to ask a very different one: ‘What would writing this sort of a story mean to others?’ The ‘serious’ novelist is looking for answers and keys to the self; the ‘popular’ novelist is looking for an audience.

King identifying himself as the latter was somewhat of a revelation to me. It probably shouldn’t have been, but nevertheless it was… Somewhere inside me was a bug that believed that the “popular” novelist was somehow lesser, somehow incomplete.  This bug prevented me from actively pursuing a writing career, because I believed (incorrectly) that my ideas were bigger than my talent – that somehow I wouldn’t be able to find the words to do my tale justice.

The reality is: if the story resides in my head, I’m the only one who can tell it. No one else would be able to make the world real, or infuse the characters with the same life that they have deep within only me. I may not be the best-equipped writer, literarily (yeah, I just made up a word), but the story is mine alone to tell, and all I have to do is step into that other place in my mind where the story is real, into that other me, and let it tell itself. Hopefully that guy can at least make it entertaining…