The Complete “Video Nasty” – All 12 Pages Of The New Horror Comedy Comic By C.A. Brown

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Happy Halloween again 🙂 In case you missed any of it, I thought that I’d provide all twelve pages (including the cover) of this year’s Halloween comic in one easy-to-read post 🙂 Links to many other comics featuring these characters can also be found here.

All in all, this was probably a slightly over-ambitious project. Normally, when I make A4-size narrative comics (like last year’s Halloween comic), I make them in black & white for time/enthusiasm reasons. But, I wanted to make a full-colour comic this year and, although it started out well, I started to get comic fatigue near the end – so, the art quality suffered slightly from about page seven onwards or so. Still, thanks to planning the whole thing out in advance, the dialogue wasn’t affected by this.

As usual, all twelve pages are released under a Creative Commons BY-NC-ND licence. You can also click on each page to see a larger version of it, if it’s too small to read.

"Video Nasty - Cover" By C. A. Brown

“Video Nasty – Cover” By C. A. Brown

"Video Nasty - Page 1" By C. A. Brown

“Video Nasty – Page 1” By C. A. Brown

"Video Nasty - Page 2" By C. A. Brown

“Video Nasty – Page 2” By C. A. Brown

"Video Nasty - Page 3" By C. A. Brown

“Video Nasty – Page 3” By C. A. Brown

"Video Nasty - Page 4" By C. A. Brown

“Video Nasty – Page 4” By C. A. Brown

"Video Nasty - Page 5" By C. A. Brown

“Video Nasty – Page 5” By C. A. Brown

"Video Nasty - Page 6" By C. A. Brown

“Video Nasty – Page 6” By C. A. Brown

"Video Nasty - Page 7" By C. A. Brown

“Video Nasty – Page 7” By C. A. Brown

"Video Nasty - Page 8" By C. A. Brown

“Video Nasty – Page 8” By C. A. Brown

"Video Nasty - Page 9" By C. A. Brown

“Video Nasty – Page 9” By C. A. Brown

"Video Nasty - Page 10" By C. A. Brown

“Video Nasty – Page 10” By C. A. Brown

"Video Nasty - Page 11" By C. A. Brown

“Video Nasty – Page 11” By C. A. Brown

Today’s Art (31st October 2017)

Happy Halloween everyone 🙂 Here’s the final page of my Halloween comic, but don’t worry if you missed any of it since there will be a full retrospective posted here later tonight 🙂

Surprisingly, the final panel of this comic was the most challenging to make. Since, even though I used the same materials that I used in 2012 (yes, before this blog, when I only used to post webcomics on DeviantART) it was surprisingly difficult to draw the kind of “bad art” that I used to make back then, since I kept wanting to draw it using my current style LOL!

And, for those who are wondering why only Derek recognises Rox in the final panel – she made her first appearance in December 2012, but there was also a prequel comic (which can be found on page two of this gallery) featuring Derek and Rox when they were at university. Ironically, it’s probably more well-written than some parts of this comic were, although the art looks really old though. And Derek’s surname is apparently “Goff” (I’d totally forgotten about that. Yes, he used to be more of a goth).

And, yes, this page is also a subtle parody of the alternate ending to “Army Of Darkness”. Ironcally, when I first saw this film on ex-rental VHS when I was a teenager, it had that ending (I think that the canonical “Hail to the king” ending was only included in US releases). So, for quite a while, I thought that it was the “official” ending.

As usual, this comic update is released under a Creative Commons BY-NC-ND licence.

[CLICK FOR LARGER IMAGE] "Video Nasty - Page 11" By C. A. Brown

[CLICK FOR LARGER IMAGE] “Video Nasty – Page 11” By C. A. Brown

Top Ten Articles – October 2017

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First of all, Happy Halloween everyone 🙂 Have a ghoulishly great day 🙂

Anyway, it’s the end of the month and that means that it’s time for me to make my usual list of links to my ten favourite articles about writing fiction, making art and/or making comics that I’ve posted here in the past month (plus a couple of honourable mentions too).

All in all, this month’s articles turned out fairly well – even if I was either busy or uninspired when writing a few of them.

ANyway, here are the lists 🙂 Enjoy 🙂

Top Ten Articles – October 2017:

– “Three Reasons Why Sketches Are More Useful Artistic References Than Photos When Painting From Life
– “Four Ways To De-Mystify Making Art (If You’re An Absolute Beginner)
– “Things That Splatterpunk Fiction Can Teach Writers (Even If They Don’t Write Horror)
– “Three Reasons Why It’s Foolish To Compare Yourself To Other Artists
– “Three Tips For Writing Subtle Horror (That I Learnt From Playing A Computer Game)
– “Two More Things That Artists Can Learn From Playing Computer And Video Games
– “Three Things That (Visual) Artists Can Learn From Heavy Metal Music
– “Three More Things That (Visual) Artists Can Learn From Heavy Metal Music
– “Three Basic Tips For Making Cyberpunk Art (If You’ve Never Made It Before)
– “How To Draw Literally Anything (Using Two Basic Skills)

Honourable Mentions:

– “Four Benefits Of The Non-Interactive Nature Of Art, Comics And Prose Fiction
– “Four Things To Remember When Watching Time-Lapse Art Videos (If You’re Learning)

All Ten Of My “Retro Sci-Fi” Halloween 2017 Short Stories :)

Well, in case you missed any of them, I thought that I’d provide a list of links to all ten of my “retro sci-fi” Halloween 2017 short stories 🙂

This series was kind of an interesting one, although I was super-inspired when I started it, I ended up battling writer’s block at several points during the series.

This resulted in the series having slightly less of a consistent atmosphere, style and “world” than I’d orginally planned. Even so, I was still able to include some consistent details (eg: instead of the internet, there is phone-in radio etc..) and a couple of occasionally recurring characters (eg: Oakfield and Chekhov).

Likewise, the quality of the story varies somewhat. The best stories are probably “Procedure“, “Community Spirit“, “Haul” and “Nice Things“.

Another interesting thing about this series is that, for the first time in ages, I actually started using third-person narration occasionally. Although I was still getting used to writing in this style again, it opened up a few new storytelling possibilities for me.

Anyway, here are the stories 🙂 Enjoy 🙂

– “Community Spirit“: A newspaper editor decides that what his paper really needs is some community spirit.

– “Lacunae“: John has found an apartment that isn’t on the city maps and, at five hundred credits, it’s an absolute steal!

– “Details“: On the way home from the pub, a slightly nerdy guy notices something strange about the city’s advertising posters.

– “Procedure“: Detective Prest is a loose cannon, a “shoot first, ask questions later” kind of cop. But, after angering Chief Oakfield and getting reassigned to a fraud case, he’s in for a surprise…

– “Service“: A well-to-do couple are invited to a robot-run restaurant by their friends. What could possibly go wrong?

– “Broadcast“: Gianna is having a boring shift at the freight park terminal, so she decides to pass the time by listening to some public radio…

– “Haul“: Two gangsters have scored big! But, after shooting down a flying cop car, they need a place to lie low. And quick!

– “A Night Out“: Dillhale is a P.I., an old school gumshoe. So, when a glamourous lady arrives at his office and leaves a mysterious envelope, he’s in his element. Of course, it isn’t long before he realises that something isn’t quite right about the case…

– “Another Time“: Emily is worried about her colleage, Dr. Yelport, and the mysterious time travel experiments that she has been conducting…

– “Nice Things“: Accompanied by the rookie Detective Stevens, Chief Oakfield is summoned by the Mayor to personally investigate a bizarre disturbance at a recently-opened shopping centre.

“Nice Things” By C. A. Brown (Halloween 2017 Sci-Fi Stories #10)

This is the final Halloween story, stay tuned for a full series retrospective later tonight 🙂

It’s an honour to have you with me, sir.‘ Detective Stevens banked the ground-car to the left and activated the siren. The sea of headlights ahead barely even moved in acknowledgement.

This isn’t the military, Stevens.‘ Chief Oakfield sighed. ‘Though I have to admit that it has a certain… gravitas.

Sorry, sir. I mean, Chief.‘ Stevens stuttered. ‘It’s still an honour.

Ah, if only they were all like you. But, if you must know, I got called out personally by the Mayor. I thought that I’d dodged the old bastard’s invitation to this shopping centre opening. But, they only bloody have to turn it into a crime scene.‘ Oakfield sighed and leant against the passenger window, watching the neon signs crawl past slowly.

Stevens glared at the headlights ahead ‘Do you want me to turn the siren up, Chief? I mean, they should be clearing a path for us. Section seven of the…

Forget it.‘ Oakfield waved his hand. ‘I’m still in two minds about whether this whole thing is an elaborate ploy on the part of the Mayor. But, for future reference, you don’t crank up the siren. Just keep it on low and, eventually, people get too annoyed by it to get in your way. Works every time.

But, what about emergencies sir? I mean, Chief? For all we know, there could be a hostage situation or a…

Oakfield let out a quiet laugh: ‘If it was an emergency, Stevens, they’d have called for the tactical squad or sky division. Not a rookie and an old man. But, again, for future reference – the bumper of a standard police car generally tends to be tougher than the rear of a civilian car. Just give ’em a gentle tap and they tend to get the message. No! Not now!

A loud mechanical clank and the furious bleeping of a horn echoed through the car. Stevens muttered an apology. Oakfield rubbed his forehead and smiled. The police car began to accelerate slowly.

——–

By the time the Agora Shopping Centre gradually sailed into view, the crowds had already begun to disperse. Whilst Stevens honked the horn at the remaining pedestrians, Oakfield stared at the constellation of flashing red and blue lights ahead.

Gonna be a long night.‘ Oakfield sighed, before picking up the car radio and barking an order for a status update. Stevens almost jumped out of his seat. A second later, nothing but radio static filled the car.

I can check the maintainance logs when we get back, Chief.‘ Stevens stuttered. ‘I thought that the equipment got checked every..

Don’t bother. We’re nearly there anyway. Just pull in over there, and try not to hit anything.‘ Oakfield pointed into the mass of flashing lights.

Whilst Stevens nervously began to park, Oakfield reached for his hat and said: ‘Just leave the talking to me.

————-

Oakfield had braced himself for the worst, but nothing could prepare him for what he saw. The Mayor actually smiled at him. Gaunt and huddled under a blanket, the old man rushed eagerly towards Oakfield: ‘Oh, thank god! I’ve never been more glad to see you.

What… What is going on here?‘ Oakfield said, hiding his trembling hand in his coat pocket.

The Mayor let out a rattling sigh and said: ‘Derren DeVor started acting strangely. We’d hired him to put on a show for the opening. But, after the first song, he started muttering something about the walls.

Stevens smiled enthusiastically: ‘Derren DeVor was here?

Oakfield glared at Stevens, before returning to the Mayor. He was leaning against a wall and had wrapped the blanket even more tightly around his shoulders. For a second, Oakfield could swear that he saw fear in the old man’s steely eyes.

In a trembling voice, he continued: ‘At first, we thought he was just joking. Or crazy. Then he ran off of the stage. A few seconds later, the walls started to crack. Like an earthquake, but without the tremors. There was mass panic, looting, violence. I saw someone literally bludgeon a man to death over a designer radio.

Oakfield nodded silently. Stevens looked dumbfounded. Finally, the Mayor said: ‘I know that your officers have probably started going over the place already, but I’d feel better if you were on the scene. The press are going to get here soon, and it’s only a matter of time before they find a way in. We need to show the public that we’re in control.

Standing up straight, Oakfield said: ‘Yes, sir!

———–

The first thing that Oakfield noticed as he stepped inside the gloomy shopping centre was the smell of burning rubber. The next thing he noticed was the rust-coloured stains and smeared grime that covered every surface. If the shopping centre had been buried underground for a decade, it would still be in better shape.

Stevens followed hesitantly, before suddenly tripping over something. A wet squelch echoed around the cavernous hall. As soon as Stevens got up, a single glance downwards soon filled the hall with tortured retching.

Finally, coughing slightly, Stevens said: ‘What the hell happened here?

Without saying a word, Oakfield walked over to a cracked information stand and pulled out a pamphlet. He handed it to Stevens. Squinting in the gloom, Stevens looked at the pristine photograph on the cover. The immaculate white walls, the sparkling fountains, the verdant palm trees and the shiny storefronts. Stevens looked at the centre, then at the pamphlet again.

Finally, Stevens muttered: ‘Hard to believe it’s the same place.

Not really.‘ Oakfield sighed ‘It’s this city. It just can’t have nice things.

Today’s Art (30th October 2017)

Woo hoo! I am very proud to present the tenth (and penultimate) page of this year’s Halloween comic 🙂 Stay tuned for the final page tomorrow 🙂 In the meantime, you can catch up on previous pages here: Cover, Page One, Page Two, Page Three, Page Four, Page Five, Page Six, Page Seven, Page Eight, Page Nine

Unlike previous Halloween comics, this one will hopefully be in full colour and I’ll be using the ‘rectangular’ format that I used in my previous webcomic mini series. But, unlike that mini series, this one will be a narrative comic, like last year’s Halloween comic. More comics featuring these characters can be found here.

As usual, this comic update is released under a Creative Commons BY-NC-ND licence.

[CLICK FOR LARGER IMAGE] "Video Nasty - Page 10" By C. A. Brown

[CLICK FOR LARGER IMAGE] “Video Nasty – Page 10” By C. A. Brown

Three Reasons Why Sketches Are More Useful Artistic References Than Photos When Painting From Life

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The night before I originally wrote this article, I made a painting from life. Or, rather, I saw my reflection in part of a beer bottle and thought that it would make an interesting painting. Since I didn’t have a digital camera or my full art materials with me there and then, I made a quick sketch of it with the nearest pen, pencil and scrap of paper I could find, before turning it into a proper painting a while later.

Here’s a chart showing the sketch and the painting it turned into:

[CLICK IMAGE TO SEE A LARGER VERSION] The full-size painting will be posted here on the 8th December.

[CLICK IMAGE TO SEE A LARGER VERSION] The full-size painting will be posted here on the 8th December.

But, you might ask, why should any artist make sketches these days? After all, most people have digital cameras these days. Well, yes, photo references can be fairly useful for painting from life (not to mention that photos are very quick to take too). Likewise, even learning how to memorise images can be a good quick way to “save” something you see in order to paint it a while later.

But, why are good old-fashioned sketches even more useful than photos? Here are three reasons:

1) It forces you to think like an artist: When you take a photo of something, you point a camera (or phone) at it and press a button. When you take a sketch of something, you literally have to work out how to turn it into a drawing there and then.

What this means is that you have to focus on only sketching all of the really important details (this allows you to see the focal points of your painting, and to leave room for artistic licence in your final painting). It also means that you have to work out how to fit everything into your sketch (which helps you to plan things like perspective and composition for your final painting).

Likewise, it also makes you think about the palette that you will be using in your final painting. If you look again at the rough sketch at the beginning of this article, you’ll see that I’ve written down what colour various parts of the painting will be. Having to write down the colours you will use is good practice at recognising realistic colours and it also allows you to simplify your palette if you want to do this too (for example, I only used something like 5-7 watercolour pencils for the final painting).

But, most of all, it gives you some practice for your final painting. It gives you a quick “trial run” that helps you to see if the painting that you’ll make later is as easy to make as you think or whether it’s even worth making at all.

2) It allows you to record things that cameras can’t: The painting that I showed you at the beginning of the article is a perfect example of an image that couldn’t be taken easily with a camera. This is for two reasons – the reflection in the bottle was really small (in real life) and because I didn’t want a photo of myself holding a camera. In addition to this, a camera flash would have messed up the lighting slightly too.

Here’s a totally unscientific mock-up of what the painting would probably look like if I’d used a digital camera to record the image, compared to the painting that is based on a traditional sketch:

[CLICK IMAGE TO SEE A LARGER VERSION]

[CLICK IMAGE TO SEE A LARGER VERSION]

For things like very fine detail, lighting, poses in reflections etc… sketching from sight will often give you far better results than taking a quick photo often will. Likewise, using a pen and paper to record an image means that you aren’t pointing a camera around – which may not be appropriate in some situations (eg: if you’re in a cinema, a museum, a theatre etc..).

3) It’s a memory aid: A sketch isn’t supposed to be a 100% accurate recording of something that you’ve seen. Instead, it’s meant to be a tool that helps you to memorise something. Although I can’t remember where I read this, I remember reading somewhere that physically writing information down (with a pen or pencil) helps you to remember it a lot better than merely tapping it into a phone or memorising it does.

By physically making a sketch, you create a much clearer and more vivid memory of what you want to paint than you will if you just point a camera at it for two seconds. Whilst you’re making the sketch, you’ll also be focusing on recording the most important parts of what you see, which will also help you to memorise the image too.

———-

Anyway, I hope that this was useful 🙂

First Impressions: “Blade Runner 2049” (Film)

Although I originally hadn’t planned to see “Blade Runner 2049” at the cinema, I had a sudden spontaneous moment of inspiration yesterday and decided to see it.

But, since I’ve only seen it once, this won’t be a full review. No doubt, after I’ve rewatched it at least once more when it comes out on DVD, I’ll have formed a suitably detailed opinion about and understanding of the film to be able to review it fully (although I’m not sure when I’ll post said review). But, I wanted to write about it now too.

So, this is a long, rambling “first impressions” article – based on just one viewing of the film. I’m still forming my opinions about the film, so this article will also help me with this too. It might also explain why this article is such a long ramble as well. This article will also contain a lot of comparisons between this film and the original “Blade Runner”.

“Blade Runner 2049” is a different film to the original “Blade Runner” in many ways. I’m still not entirely sure if it’s as good, better or worse. Although many of my comparisons here will sound negative, this is only because they’re the easiest comparisons to notice. But, even though some parts of this article may sound cynical, “Blade Runner 2049” is a very good film. But it is also a sequel to a perfect film.

This article will contain SPOILERS, but I’ll mostly try to avoid major ones.

Firstly, the story of “Blade Runner 2049” is really good. It’s deep, compelling and confident enough to move at a pace that feels right.

Yes, there are a few elements of the story that I don’t fully understand (I’ve only seen the film once, after all) but it keeps the complexity, humanity and depth of the first “Blade Runner” film. The film’s story also has several plot threads that are left intriguingly ambiguous too, such as a group of replicant rebels that the main character encounters at one point.

Like the original film, this sequel raises more questions than it answers. Interestingly, the film’s conclusion focuses entirely on a powerful moment of human drama, with the after-effects of both this moment and the greater significance of the film’s events left unshown – kind of like in the director’s cut of the original “Blade Runner”. So, it’s good to see that the film doesn’t spell literally everything out, and still leaves a lot to the imagination.

This film is actually a lot slower-paced than the original “Blade Runner”. Although there are some frenetic moments, most of the film has a surprisingly slow and contemplative tone to it. But, even though the film feels longer than it’s gargantuan 163 minute running time, this actually works in the film’s favour, since it almost feels like a TV mini series.

There are lots of lingering close-ups, silent moments and slow conversations. Whilst this is in keeping with the original “Blade Runner”, that film tended to use these kinds of moments slightly more sparingly in order to give each one a greater level of dramatic significance. By contrast, the cumulative effect of all of the many “slow” moments in “Blade Runner 2049” is to give the film a more intimate, artistic and human tone. This also makes the film feel more modern too.

The atmosphere of the film is very different to that of the original “Blade Runner” too. Although I still can’t think of a way to articulate this fully, it feels very different in many ways.

One example of this is how the city in “Blade Runner 2049” feels like a much sleazier and more vicious place (eg: nude holograms, high street brothels, anti-replicant graffiti, sweatshops, utilitarian architecture etc..) than the coldly indifferent, but warmly old, city in the original “Blade Runner”.

One interesting thing about the film is that the location design feels a lot more spartan than the intricately cluttered locations of the original “Blade Runner”. Although it is really awesome that this film reveals a lot more of the “world” of Blade Runner, it feels like all of this extra breadth sometimes comes at the expense of depth. The smaller number of locations in the original “Blade Runner” (due to the budget limitations) left a lot to the imagination and allowed for a much more focused aesthetic and atmosphere.

The set design in this film often feels a lot more spartan, post-apocalyptic and utilitarian when compared to the complex aesthetic of the original film.

Yes, there are still beautifully bleak cyberpunk cityscapes (including the Tyrell building 🙂 ), a kipple-filled “old future”-style casino (where Deckard now lives), some 1960s/70s style brutalist architecture and some interesting use of orange mist. But, on the whole, the film feels like a more minimalist “Blade Runner”, grounded more in post-apocalyptic realism than in awe-inspiring visions of the future.

A good example of this is Officer K’s apartment. Although the kitchen looks a little bit like the kitchen from Deckard’s apartment (and there are a few wall tiles that are similar to Deckard’s apartment), it is a rather stark, cramped and featureless apartment.

The bare walls are a cold shade of grey/blue, and the room feels cramped rather than cosy. Again, this might reflect the fact that Officer K is clearly a replicant. A fact emphasised by the fact that the only company he has in his apartment is a hologram.

But, saying all of this, the film’s stark location designs also serve as something of a blank canvas that places a much greater degree of emphasis on the characters and the story than on the world of the film. So, I can understand this creative decision – and, from this perspective, it works fairly well. This film is a lot more story-focused than the original “Blade Runner” was.

“Blade Runner 2049″‘s depictions of violence are both in keeping with and different from the original “Blade Runner”. One of the central themes of the original “Blade Runner” is that violence is almost always presented as slow, painful and ugly. It is meant to be shocking and aversive, rather than slick or thrilling. Whilst “Blade Runner 2049” stays true to this philosophy in many scenes, the violence in the film sometimes has a cruel quickness to it that sometimes feels a little bit too slick (but, other times, brilliantly emphasises the cruelty of certain characters).

Surprisingly, although I’ve been comparing this film to the original quite a lot, there are some interesting connections between the two films.

Deckard (who probably isn’t a replicant) actually makes a few appearances later in the film. However, the events between the first film and the sequel have turned him into a grumpy, bitter, paranoid old man who seems like a tragic shadow of his former self.

Likewise, the scene with Deckard, Wallace and a clone of Rachel is unsettling and shocking – but the dramatic value of this scene is left somewhat understated.

But, on a lighter note, the scene when Officer K visits Gaff in an old folks’ home is a pretty cool scene (with Gaff even making an origami sheep, perhaps as a reference to “Do Androids Dream Of Electric Sheep”). Plus, one central object in this film is a small wooden horse that Officer K finds – which is a rather interesting parallel to the unicorn from the original “Blade Runner”.

Officer K is a really interesting protagonist. He’s a replicant Blade Runner, who knows that he is a replicant. This has a huge effect on the style, tone and narrative of the film. Although the film briefly shows him encountering anti-replicant bigotry during a few early scenes, his replicant nature is often a much more subtle and understated part of the film.

As a character, he’s also shown to be something of a blank slate too – often being something of a nice guy who is also brooding and tough. His curiosity, artificial memories and quest for self-understanding is also one of the main driving forces of the film.

The film’s main villain, Niander Wallace, really doesn’t get enough screen time. Yes, he’s meant to be an evil version of Eldon Tyrell, but he only appears in a couple of scenes – which kind of makes him seem a bit more like a cartoonish villain. An evil hipster with a god complex, a sadistic personality and a love of slavery. Yes, there’s something to be said for leaving his character slightly more mysterious. But it is interesting how he stands in contrast to the more paternalistic, but seemingly benevolent, character of Eldon Tyrell.

The film’s police chief is both similar and different to Bryant from the original film. Although she’s a lot more professional than Bryant, there’s a paranoid bleakness to her character which fits in really well with the atmosphere of the film. She mostly treats Officer K as an equal, even helping him escape from scrutiny at one point. But, she’s also something of a complex character since, during one drunken conversation, she almost seems to view Officer K as a novelty or a machine when asking about his memories.

A more interesting parallel between the old and the new film is how the film’s artificial memory designer seems to be a lot like J.F. Sebastian. The memory designer is ridiculously talented but, due to an auto-immune disease, she cannot leave Earth and also has to live in a futuristic glass bubble that is reminscent of the holodeck from “Star Trek: The Next Generation”. As a character, she’s really interesting (and I’d love to talk about her more), but she really doesn’t get enough screen time.

As you would expect, the film has a lot of rather interesting themes and motifs that can’t be fully deciphered on a first viewing. For example, there’s probably some significance to the fact that one character is called Joi and another is called Luv.

Joi is shown to be a companion hologram who is designed to please her owner (and she goes from being a 1950s-style housewife who makes holographic food for Officer K near the beginning of the film to being the kind of brave co-investigator/companion that Officer K needs during later parts of the film).

Luv is shown to be a coldly cruel and sociopathic replicant who seems to be completely devoid of all love or emotion (other than perhaps anger or fanatical loyalty to Wallace). On a side note, she’s also something of an “evil detective” character, who contrasts perfectly with Officer K in this regard.

There are lots of interesting comparisons to make between Joi and Luv, but one is that they both represent opposite extremes of the concept of obedience (which links in to the themes of slavery, exploitation etc.. in the film). Joi is willing to risk her life for Officer K, and Luv is willing to kill if it furthers Wallace’s objectives.

There’s probably a lot more parallels and thematic stuff going on in this film but, again, I’ve only seen the film once. Hence the limited number of examples here.

Musically, the film is interesting – containing things as diverse as loud dramatic music, Elvis music and even a rather dramatic use of the “tears in rain” music from the original film. However, although the music fits the film reasonably well, it doesn’t quite have the consistency of Vangelis’ soundtrack to the original “Blade Runner”.

All in all, I’m still forming my opinions about this film. It’s a very good film. It’s a work of art. But it is also very different to the original “Blade Runner” in terms of characters, themes, atmosphere, visual design, pacing etc.. too.

“Another Time” By C. A. Brown (Halloween 2017 Sci-Fi Stories #9)

Stay tuned for the final short story tomorrow night 🙂

Time travel is a one-way trip, or at least that’s what received wisdom tells us. My colleague, Dr.Yelport, had other ideas though.

Although her lab door was always locked, it was pretty obvious that her experiments didn’t involve the near-light speed travel that classical scientists like Einstein had suggested were required for altering the passage of time.

Occasionally, you’d get a sign that something was going on in there. The frosted glass windows in the door would occasionally flicker bright blue or the cleaners would whisper about some kind of mysterious bleeping sound when they were mopping the corridors at night.

Once, the entire building trembled and shook. Our in-house seismologist had been quick to dismiss it as the results of an illegal hydraulic drilling operation somewhere within a three-mile radius. He’d even gone so far as to report it to the police. But, there was nothing in the papers about it, and public radio was oddly silent about the matter.

Over time, Dr.Yelport’s appearances in the staff canteen became less and less frequent. Although she looked more and more dishevelled every time I happened to spot her in the corner, there was no denying that there was something in her eyes. A keen brightness that hadn’t been there when she’d first pulled me to one side and muttered wearily about how the only real funding left was for temporal research.

One day, curiosity got the better of me. Getting an extra cup of tea, I sat at her usual table in the corner and waited. My algae cultures were in a dormant phase, so it wasn’t like I’d have to rush back to the lab or anything like that.

I was halfway through the second cup when she showed up. After filling a metal tray with food, she shambled over to the table like one of the robots on the ground floor. With a flash of her keen eyes and a wonky smile, she said: ‘Emily, your timing is perfect.

Did you travel into the future and see me here?‘ I laughed ‘Am I talking to a version of you from two weeks ago?

Dr. Yelport let out a crackly chuckle: ‘It’s theoretically possible, but no. Still, I wouldn’t rule it out. I’m nearly finished – in fact, I’ll be running the first full test tonight.

Oh, wow. Can I watch?‘ I finished my tea.

Dr.Yelport ate in silence for a few seconds, before sighing: ‘I wish you could. I really do. But, it’s all a bit hush-hush. I’ve probably said too much already.

Military contract?‘ I said.

She sighed lightly: ‘I can’t say. But, you should really apply for a temporal research grant. Your talents are wasted on that algae. Let’s just say that I never have to look at the expiry dates on petri dishes or anything like that.

I’ll think about it. But, good luck with your test… unless, of course, you’ve already done it and I’m talking to you from the future.

Dr. Yelport smiled at me before glancing at her watch. ‘I’m afraid not. Anyway, I should be getting back to the lab. Tempus fugit, and all that. I’ll see you.. in the future.

Leaving her meal unfinished, she got up and waved goodbye. I waved back. She scurried out of the canteen. I looked at my own watch, I was already late for the next status report on culture seven.

When I arrived at the facility the next morning, the doors of Dr.Yelport’s lab were wide open. Nervously, I poked my head inside. The sharp smell of disinfectant caught my nostrils as I stared at the bare shelves and the deserted desks.

Barely even thinking about it, I rushed to the canteen and made a beeline for the table in the corner. Dr. Yelport sat in front of a steaming cup of coffee. The spark had vanished from her eyes. Nervously, I said: ‘I just saw your lab. What… what happened?

With a heavy sigh, she turned to me. ‘I scrapped it. Put my notes in the furnace. Dismantled the equipment and sent it back to stores. Scrubbed all traces from every surface. They aren’t expecting a report for another two days. I’ve still got enough grant money for a ticket out of here. You should go too.

Why? What happened?‘ I stuttered.

Staring blankly into space, she just said: ‘It worked. I saw the future.

Today’s Art (29th October 2017)

Woo hoo! I am very proud to present the ninth page of this year’s Halloween comic 🙂 Stay tuned for the next page tomorrow 🙂 In the meantime, you can catch up on previous pages here: Cover, Page One, Page Two, Page Three, Page Four, Page Five, Page Six, Page Seven, Page Eight

Unlike previous Halloween comics, this one will hopefully be in full colour and I’ll be using the ‘rectangular’ format that I used in my previous webcomic mini series. But, unlike that mini series, this one will be a narrative comic, like last year’s Halloween comic. More comics featuring these characters can be found here.

…And, yes, the glowing portal/sigil thing on the wall in the third panel was originally supposed to be red (it was meant to be a “Silent Hill 3” reference) but I ended up digitally changing it to green instead, so it would stand out better against the purple background.


As usual, this comic update is released under a Creative Commons BY-NC-ND licence.

[CLICK FOR LARGER IMAGE] "Video Nasty - Page 9" By C. A. Brown

[CLICK FOR LARGER IMAGE] “Video Nasty – Page 9” By C. A. Brown