Fanboys Anonymous

After five years of promising a new album "soon," myriad producer changes, and a shift from longtime manager Paul McGuinness to Guy Oseary, U2 makes a better return than anyone had a right to expect with their brand-new album, Songs of Innocence.

Dropped by surprise (and for free!) just days ago at the already-legendary Apple unveiling, the Irishmen's thirteenth studio album is packed with pieces of their past: from lyrical allusions to growing up rough in the streets of '70s Dublin, to their inspirations and influences, to their loves and their lost. U2 has always mined their inner selves for material, but this album is notable for using their history to frame what's almost a concept album, tracing their development from kids into the biggest band in the world. Despite the number of cooks in U2's kitchen this time—from producer Brian Burton, a.k.a Danger Mouse, Adele's producer, Paul Epworth, and songwriter/producer Ryan Tedder—the result is a remarkably cohesive, joyous, and energetic sound of four guys who have nothing left to prove and just want to make music they enjoy.

This isn't to say U2 is no longer concerned with being "relevant," the buzzword that Bono has consistently returned to over the years when he feels U2 being overshadowed by the quick, punchy pop music dominating the radio and people's i-whatevers. There are clear and mostly successful attempts to draw from the structures of electronic music, territory U2 has toyed with for years. However, the rock 'n' roll is still there, in the snappy, pounding drums of Larry Mullen Jr., in Adam Clayton's stalwart, throbbing basslines, and the Edge's ever-reliable shimmering and echoing guitar textures. And Bono himself is in fine form, loose and comfortable playing with melody, with some of his best lyrics to date.


The album opens with the first single, "The Miracle (of Joey Ramone)," an unabashed homage to and celebration of the Ramones, the band that showed U2 the way. No doubt included as tribute to the passing of the final surviving member of the Ramones, Tommy, earlier this year, the song opens with a fuzzed-out, driven guitar riff from Edge before Bono opens up. "I was chasing/ down the days of fear/ chasing down a dream before it disappeared," he begins. "I woke up at the moment when the miracle occurred / the most beautiful sound I ever heard/ and a song that made some sense of out of the world." While Edge's punky, in-your-face guitar gets most of the standalone moments, the true standout might be Larry Mullen's absolutely stomp-your-feet drumming propelling the song. "We were pilgrims on our way," Bono sings, and so they were and are.

"Every Breaking Wave," a song the band tested live through parts of their U2360 tour, opens with a bassline and light guitar reminiscent of their beautiful "With or Without You." The simply-strummed backing track sounds like it could have been culled from leftover material from their '80s catalog before it opens into a bright, yearning chorus like only U2 can deliver: "If you go/ if you go your way and I go mine/ are we so, are we so helpless against the tide?/ Baby, every dog on the street/ knows that we're in love with defeat/ Are we ready to be swept off our feet/ and stop chasing every breaking wave?"

As with many U2 songs, it can be read in several ways. Bono and his wife Ali met as teens in Dublin, and the singer has made much of his restless spirit, despite having been with Ali as long as he has been with the band. The aforementioned "With or Without You" deals with themes of devotion to your work, or to your love, and similarly there's a sense of held breath before the deciding plunge running through the song. At the same time, it could be another piece of U2's origins. The band nearly broke up while recording their second album, 1981's October, despite being poised for rock stardom. Opening yourself to feeling—that's what's in this song.

The third track, "California (There Is No End to Love)" opens with the sound of the previous title—breaking waves on the shore—before an improbable Beach Boys-derived harmony of "Ba-ba-Barbara, Santa Barbara" rises. In many ways, this is as simple as a rock song gets. It speaks of U2's first pilgrimage to California as young men, youthful exuberance and excitement at this strange new place pouring from the music and the singer. Again, bits of the memory of that experience are scattered throughout the song. It's simple fun, "whoa-a-oh-a-oh" choruses and sunlit imagery.

And then things quiet down for the best love song any band has delivered in a long time, U2 included: "Song for Someone." It's not about meeting at a party and dancing the night away; it's not about the heated passion of a one-night-stand. It's deeper than that, speaking to, from, and about the heart's mysteries when it finds a kindred spirit. If any song has been about Bono's relationship with Ali, it's this one. "You've got a face not spoiled by beauty/ I've got some scars from where I've been/ You've got eyes that can see right through me/ You're not afraid of anything they've seen." It builds to a celebratory peak, and Bono tweaks the bridge verse slightly toward the end. "If there is a light, you can't always see/ and there is a world we can't always be/ If there is a dark within and without/ then there is a light, don't let it go out." It's a song of devotion, and the enigmatic title keeps it personal to everyone who hears it.

U2 perform their new single, "The Miracle (of Joey Ramone)" at Apple's release event.

Bono's mother, Iris Hewson, collapsed at his grandfather's funeral when the singer was fourteen. She died not long after, and Bono has never quite come to terms with it. She can be found on nearly every album the band has put out, from the first track on their first album, "I Will Follow" off 1980's Boy, through to this fifth track "Iris (Hold Me Close)." Bono plays with the double-meaning of his mother's name, Iris, throughout the song. "The ache in my heart/ is so much a part of who I am/ Something in your eyes/ took a thousand years to get here," speaking of the distance starlight travels to shine in one's eyes. "I've got your life inside of me," he cries, before the song builds to a kind of dance break featured in so many songs today. The chorus deflates a little, choosing to highlight muddled vocals instead of Edge's platinum guitar. I won't be surprised if someone remixes this song into a solid dance hit. The fundamentals are there, and it's just the chorus that needs a punch.

Drums and bass open "Volcano," something of an oddity but a fun one. It's a jangly song admitting to the rage inside—and doubtless inside the singer, who again has spoken often about the anger to which he can cling too tightly, especially as a young man after his mother's death. It follows "Iris" almost chronologically. At the end of the song, he sings "You were alone/ now you're not alone/ you were alone/ but now you are rock and roll," singing about the salvation he found in his band mates and their music. The song becomes about the reckless and fiery energy that drove the young pilgrims on their way.

That energy continues in the next track, "Raised by Wolves," a series of first-hand experiences of Irish terror. "Face down on a broken street/ there's a man in the corner in a pool of misery/ I'm in a white van as the red sea covers the ground/ Metal crash and I can tell what it is/ but I take a look, and now I'm sorry I did/ 5:30 on a Friday night, thirty-three good people cut down." Adam Clayton's bassline grounds the song, letting Edge cut through with quick and angry bursts of guitar in addition to the propulsive shine of his main guitar melody. As the band takes us through the violence of their teenage years, it doesn't have the political fury of, say, "Bullet the Blue Sky," but that's to the song's credit. It's a tension-building song spliced with animalistic vocalizations, presenting those times as just a way of life, albeit an uncertain and dangerous one. "The worst things in the world are justified by belief... I don't believe anymore," Bono croons.

Bono in "The Miracle" promotional music video, overlaid with his hero Joey Ramone.

The journey through their past continues in "Cedarwood Road," another stomping, almost twangy number named for the street on which Bono grew up. Edge's anthemic guitar opens the song immediately in a kind of mournful, descending cry before Larry Mullen joins in and transforms the song into a tough rocker. The song is dedicated to Guggi, a friend of Bono's from childhood through to this day. It speaks to the ties of friendship (surely directed at the band as well) but also to the "foolish pride" that gets you out the door, keeps you coming back for more, all teenage bombast and unabashed full-throttle emotion.

"Sleep Like A Baby Tonight," the ninth track on the album, is strange and wonderful from the first second. U2 has a few oddities in their catalog, and this song joins their ranks proudly. Opening with an odd techno-tonk throbbing, Bono describes an early morning which could be dominated by a hangover, similar to "In A Little While," off of 2001's All That You Can't Leave Behind. It speaks of the healing power of day over long nights, and the temporary hideaway sleep provides. "Tomorrow dawns like a suicide," Bono promises, "but you're gonna sleep like a baby tonight." Much of this song speaks to pain and forgiveness, both others' and one's own. The Edge bursts in periodically with an angry buzzing guitar, his sound from "The Fly" as a migraine. The song finds a kind of measured peace as it develops, ending with Edge's fading-headache guitar solo coupled with twinkling chimes and a pulse-beat rhythm from Larry Mullen.

Then the pulse picks up, and seagulls start crying, to open "This Is Where You Can Reach Me Now." A light piano and acoustic guitar lead into an opening chorus that breaks into a little jam backed by a Wonderland spiral of a guitar sound that coalesces into a funky swing. Dedicated to Joe Strummer of The Clash, another influence on U2's formative years, the tune acknowledges the "outsider" feeling that drove the band in their early years. "If you won't let us in your world/ your world just isn't there," Bono sneers. "Old man says that we never listen/ we shout about what we don't know/ we're taking the path of most resistance/ the only way for us to go," he continues, perhaps alluding to his father, with whom he consistently had a rocky relationship as a young man. It's a brush-off: this is where you can reach me now. We're moving on, diving into a larger world both as a band and as growing individuals. The music takes some time to find itself, but the track is lyrically strong.

U2 has a history of excellent album-closers, and "The Troubles," featuring guest vocals from Swedish singer Lykke Li, is no exception. It could be an intimate metaphor for the actual Troubles, the Northern Irish conflict that dominated much of the second half of the twentieth century. Or, it could be a steely goodbye to a person you don't need anymore. "Somebody stepped inside your soul/ Little by little they robbed and stole/ 'til someone else was in control." The backing string section harkens back to U2's Oscar-nominated "The Hands That Built America," and while it's not as bombastic as that track there is a gentle power to this song. "I have a will for survival/ so you can hurt me, and hurt me some more/ I can live with denial/ but you're not my troubles anymore."

U2 then, U2 now: forty years as a band.

Songs of Innocence derives its' title from the William Blake poem, Songs of Innocence and Experience, and Bono has hinted (as he has before) at a follow-up album, titled Songs of Experience, naturally, to be released sometime soon. Any new U2 album naturally means a new round of detractors coming out of the woodwork, wondering what happened to the "old" U2 sound and decrying an apparent lack of willingness to push their audience anymore, to challenge us with reinvention as they've done several times before.

Sure, some of the choruses are lesser than their verses, and some of the verses don't quite earn their soaring choruses. Peruse the reviews, though, and it seems to this reviewer that the detractors enjoy bits of the album that the devotees are unsure of, and vice versa. No one can seem to agree whether 2009's No Line On the Horizon was a creative failure or success, and the much-maligned (at the time of its release in 1997) but forward-looking Pop is now being treated as a successful part of their "experimental" '90s years.

Like their songs, U2 has never been just one thing. With a catalog as lengthy and diverse as theirs, they're sure to mean different things to different audiences. They're a band of big ideas and big noise, always striving for that sound they hear in their heads. U2 returned to their deepest roots on this album, and with groundwork like this, U2 could be preparing to take another leap of faith in the near future. Let's just hope the next one doesn't take another five years.

It's almost a foregone conclusion that anyone reading this has the album now, whether they wanted it or not. Put in your two cents! Is Songs of Innocence worth the wait, or were you expecting something different? Or are you too preoccupied with how the album was released in the first place? Your voices will be heard... in the comments below.

Hey, hey, hey Dacetacular Nation! Chris "The Dace Man" Dace here to honor some of television's hit shows as we roll into the 2014/2015 season! Join me on this quest as I bring to you some must see TV shows this year!

To kick off this event, we will first examine a show I recently binged watched on NetFlix and has currently entered into it's sixth season! The League premiered on FX on October 29, 2009 and is set in Chicago, Illinois. The Show follows a group of six friends as their lives revolve around their fantasy football league. The show was created by Jeff Schaffer and Jackie Schaffer and stars Mark Duplass (Pete Eckhart), Nick Kroll (Rodney Ruxin), Stephen Rannazzisi (Kevin MacArthur), Paul Scheer (Dr. Andre Nowzick), Jon Lajoie (Taco MacArthur), and Katie Aselton (Jenny MacArthur).

The show immediately caught my attention due to the style of humor they portray. It originally starts off as a group of guys who get together every Fall to hold their fantasy league drafts and concludes at the end of the season with a winner of The Shiva! The guys use most of the episodes to taunt and trash talk each other, as well as play into scenarios of trying to capture free agents and adjust line ups which usually goes horrible wrong.

To me, the best part of the show is usually the side stories not involving the league. The side stories that revolve around Taco and his Taco Corp. usually ensue with a misunderstanding on how business works or an invention that really makes no sense. Taco, being one of the members of the fantasy league who expresses zero interest in the league and has somehow won The Shiva in the past, usually has side stories that are very entertaining. Another side character who is a complete wild card is Ruxin's brother in-law Rafi. Rafi is a character where you come to expect the unexpected with him, ranging from a shady background to unpredictable reactions to events currently happening.

The sixth season of The League premiered September 3, 2014 on FX.

As always, check back regularly to see what Chris "The Dace Man" Dace is looking at (and no, not just porn), as well as all of the other bloggers here at Fanboys Anonymous. Remember, keyboard warriors: leave your feedback! Until the next time, for the few, the proud, and, of course, the Dacetacular, grab a beer—and in this case a TV remote—and check out what's going on here in the Dace-Sphere. See ya next time!


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This is big news to me as a big Doctor Who fan. I've only seen a couple series from the original run starting in the 1960s, but with this new incarnation, I rarely miss an episode. The Doctor is hip, fun, and exciting now. What I love is that anything and everything can happen, and usually does. Though my favorite Doctor of the reimagining is David Tennant, I really liked Christopher Eccelston and was disappointed we only got one season from him as the Doctor.

When people were first telling me about the show and that I should watch it, very few people said anything great about Eccelston in the role. Oh, just get through the first season, and then the show gets great. Well, on that I agree. But then again, it's the show itself that becomes better, as both writers and directors were getting the feet underneath them and understanding what this new incarnation of the Doctor would be. I thought Eccleston's Doctor was spirited and in command, adding just enough of the manic energy and drive that would characterize Tennant's run while adding his own flavor that still stands out. In a way, Eccelston was the baseline the others have followed. I think he was much better than Matt Smith's weedy, weak-willed version. I don't like him much at all, sorry. The less said about Rory and Amy Pond the better. Ugh.

Though initially Eccelston said he left so as not to be typecast, he recently sated this:

Magneto #9 Cover by David Yardin

The March to AXIS begins here!

Magneto has returned to Genosha in search of uncovering the what the Red Skull is doing on the once-upon-a-time mutant refuge. But what Magneto discovers leaves him first shocked and then resolved to put an end to more mutant atrocities.

What happens when a magnet loses it magnetism? It leaves behind a rusty lump of old metal. Magneto surely must be feeling similar given the latest issue (nine) of Magneto.

As Magneto sneaks onto the former island he once ruled firmly, he discovers a scene that is all to familiar to the concentration camps he was confined to in his youth.

The contrasting of atrocities from the camps of Nazi Germany and the camps of the Red Skull are a deliberate aspect explored in the plot. The fact that the Red Skull is a World War II relic heightens this fact.

However, as was the case in the camps of his youth, Magneto is struggling again with his mutant powers when confronting the X-Men in Magneto #9. The events of AXIS are poised to hold a lasting impact for both the Avengers and X-Men, and Magneto is going to play a large role in this. As the first to discover some of the intricacies of the Red Skulls actions on Genosha, Magneto is on center stage to the first act of AXIS.

Magneto returns to Genosha.

It remains to be seen if he will survive the experience in one piece though.

Cullen Bunn has set up a strong narrative line in the Magneto series and this is going only enhances by Rick Remender's AXIS. The dark feeling Bunn delivers is matched my the tight rope that Magneto must walk as he strives to right wrongs against mutants. All thought of redemption has long been pushed aside, the only thing that matters now is the future for all mutants.

Bunn's collaboration with Remender is pushing some of the ideas that were proposed for Magneto however, the story so far has been a great read. There are surprising twists and developments that were unexpected.

All of this is strongly supported by a unique artistic style from Gabriel Walta and Jordie Bellaire.

Bellaire's colouring is overwhelmingly appropriate for the setting of prisoner camps. The use of dark colors, shadows, and light play provide a stark contrast to other titles in the Marvel X-Universe. It is a positive to be recognised in this manner.

The horror hits home to Magneto.

Walta's artwork is likewise characteristically sombre and dark for the story material. The artwork evokes the anguish of concentration camps and the struggle against oppression that needs to be demonstrated for audiences to buy into the need for Magneto to be the 'good guy' in this series. Magneto is an anti-hero, but we are provided the right reasons to know why we should be on his side through Walta's interpretation of Bunn's scripts.

The end of the book leaves hanging to hope for more out of Magneto's noble determination to right the wrongs being perpetrated against mutants on Genosha. It doesn't look up for him though.

I can't get enough of this series, it seems to be riding a strong wave of artistic endeavor that I hope will continue strongly after the events of AXIS. We have one more issue before the major Marvel event proper hits us in October, but what did you think of Magneto #9? What have you liked about the series so far? What do you think the future holds for Magneto? Leave your thoughts and comment below.

All-New X-Men #30 Cover by Immonen, Grawbadger and Gracia

There's been a lot going on for the All-New X-Men lately.

The number of teams of future mutants, alien encounters, and general all round bad guys trying to send them back to their own time or put them down has meant that they have seldom had any time to bond or just take stock of their situation.

All-New X-Men #30 provides an uncanny look at how the teams dynamics are changing amidst their current situation.

It is great to see Brian Michael Bendis take this step and to witness the interesting relationships that are developing as a result.

Not everything has to be about grand adventures through outer space or through time. Sometimes it is good enough (and more interesting) to see what happens in between the grand missions. Case in point is the relationship of Angel and Laura (X-23) in All-New X-Men #30. We have seen this set up from the last issue but I wouldn't have seen it happening a lot further back than that.

Earlier in the series we saw young Cyclops and X-23 begin to form a friendship, but with the formers sojourn around space with the Star Jammers in his own solo series, any development here could not be realised. The absence of Cyclops from the team has in turn paved the way for Angel to step up.

Angel and X-23 spark a relationship.

Angel and X-23 has been through a lot, as we are reminded in the opening pages of issue #30, so the chance to kick out and blow of some steam is a great piece of characterization. This is couple with the role of Jean Grey and Emma Frost back at the new Xavier School.

Emma has confronted Jean and is attempting to help train her and overcome some insecurities herself. The momentum and build up provides a nice counter weight to the Angel/Laure setting in this issue. The pace of the story feels right and enough attention is paid to the imagery, a employed by Sara Pichelli, to direct us to the end result. This is not surprising given the artistic collaboration between writer and artist is well established at this point (they have worked together for a number of years now on this and other Marvel series).

All-New X-Men #30 is by no means a fill in issue, but a transition from the Brotherhood of Mutants arc to the coming Ultimate Universe arc. In using this issue to reflect on the relationships in this lead characters, something Bendis is known for, we will need to keep these in mind for later issues as the relationships will be tested.

Sara Pichelli's art is, as per usual, top quality. The artists are changing on All-New X-Men and Mahmud Asrar will take over the art duties from issue #31. The transition looks like it is going to be quite seamless and painless for us as an audience from the preview art of the next couple of issues that Marvel have released.

Jean Grey vs. Emma Frost

Marta Gracia's colors remain dynamic, I particularly liked the hologram imagery of Star Lord in this issue. There are other ample panels where Gracia displays great colour use but the standout would have to be the Emma Frost/Jean Grey split panels.

All-New X-Men continues a strong run as a series and it will be interesting to see if any other main characters have an influence in the up-coming AXIS event from Rick Remender in October.

What do you hope for these characters?

How did you like this issue of All-New X-Men?

Leave your comments below.

Death of Wolverine #2 Cover by Steven McNiven

Poison.

It can take a while for some poisons to kill a man, let alone a mutant.

Wolverine is still with us, hanging in there, but not without a little help from an old friend.

We are now half way through the Death of Wolverine by the end of this issue.

Lets take stock of the story so far by Charles Soule. Wolverine has very limited time left, he is resigned to this fate. He has battled a cybernetic Nuke to find out he has a huge hit on his head. This in turn leads him to Mardripoor to find out who wants him dead and why.

This issue of Death of Wolverine plays an important role in connecting the pieces of the story together. We are introduced to further characters to the tale but ultimately part two of the story aims to lead us further along rather than resolving the narrative. Key to this is the exchange Wolverine has with Deathstrike.

Following Deathstrike's realization of Wolverine's new found weakness due to his loss of the healing factor, we are surprised to see Kitty Pride backing him up as the issue comes to a close.

The Madripoor night line beckoning to Wolverine.

The highlight of Death of Wolverine #2 has to be the pitched battle that could have been, between Sabretooth and Wolverine. The animosity and history behind such a fight would be epic at this point, however Soule has taken a great route in teasing this only to have it finish with Sabretooth being allowed to walk away. This will undoubtedly have ramifications for the Logan Legacy series which will continue to explore the relationship between these two characters further after Wolverine's demise.
The production quality remains at a high standard, I certainly don't have any qualms about paying the little bit extra on this series. The layout has returned to a more standard comic variant with advertising inserted back into the format. Although we still get a few pages of bonus material at the back. This is the same as the first issue; some script to art transition pieces and 'directors cut' narration.

Steve McNiven, Jay Leisten and Justin Ponsor don't drop a beat artistically. In fact it is great to see such wonderful collaboration in play. Ponsor's colors are bold and dramatic to compliment the sense of drama we are witness to in the Death of Wolverine.

Sabretooth vs. Wolverine

A stand out spread in issue #2, is the Sabretooth versus Wolverine 'dream' sequence. This vision from Wolverine of what could be viewed as the coming showdown or a combination of previous encounters, showcases the pencil work of McNiven and the inks of Leisten fabulously. It also great to see the pacing of the story manipulated to the tenth degree to drive home the story being told. Where fewer panels are required, fewer are used, but when action is needed, the count goes up. The variation of pace works so well that the story flowed without hesitation. This is balanced in the same manner by the lettering of Chris Eliopoulos, as he puts Soule's dialogue to the story.

The continuation of the sense boxes being employed embeds this dimension as a unique aspect of this series. It is the little surprises like this that make this such a great read. Another example is the depiction of Wolverine himself in this issue, when compared to the last. In Death of Wolverine #2 he is a wearing a cleaner, sleeker look than I was expecting, the 'disguise' fooled me and made me do a double take.

I continue to look forward to the next issue, which skips next week and is out on September 24th. The anticipation only heightens the sense of satisfaction as I get to enjoy this series. Are you looking forward to the next installment also? What have you thought about the Death of Wolverine so far? Leave you thoughts and comments below and catch us back here next time for issue #3.

Yeah, boo-hoo, Andrew Garfield. You can't have it both ways. That's not how storytelling goes. There's been plenty of chatter about a potential director's cut of The Amazing Spider-Man 2 (ASM2), even an online petition to get it released on Blu-ray and DVD. It hasn't happened, partly because director Marc Webb doesn't have the pull with Sony to make this possible. Webb also doesn't have a clue about pacing or storytelling.

If you want proof of that statement, watch the deleted scenes for this film, whose omission Garfield blames for the mediocre reception the film had upon release. Sorry Andy (can I call you Andy?), stuffing more into an already overstuffed mess will NOT make it better. What the film needed was more cutting, more streamlining of scenes that went nowhere. The film lacks focus, not extra exposition, which is what the deleted scenes are.

Garfield claims the entire "whole" of the picture worked in the script when they filmed it but during the cutting process, taking out those pieces is what doomed the final cut. No, no, no a thousand times no. I've watched the deleted scenes, they add nothing of any value to the film, only a longer running time. ASM2 clocks in at around 2:22. You really wanna add another half an hour + or more? Really? It should be three hours long!? C'mon, Andy, you're smarter than that.

I know what he meant, and I appreciate him defending a film/character he loves dearly, but blaming the studio for "interference" is a cheap way out. Understanding good pacing, streamlined storytelling techniques, and proper editing is what was needed. Not his fault at all. It goes back to the screenwriters and the director who approved the shooting script as it was.

During the commentary of the deleted scenes, Webb addresses none of the problems inherent in the scenes, either from a storytelling/writing perspective or a directing viewpoint. He only repeats the same thing, that every scene was awesome, that the acting was great, that it was painful to remove them... which in some respects I agree. The actors did the best they could, and Webb isn't bad with actors, he does okay with that aspect. It's just everything else that's poor. Which is sad because Garfield is a great Spider-Man who is committed to the role. There are some nuggets within ASM2 I really liked, it was less dour than the first film in this rebooted series, but it's all buried under extraneous bloat that should have been cut down, and subplots that aren't worth exploring.

Is Garfield right? Did Sony's tampering with the final cut ruin the film? Going forward with this series, what can save the slide into mediocrity? Sound off below.

Nightcrawler #6 Cover by Todd Nauck and Rachelle Rosenberg

Nightcrawler #6 is a swashbuckling romp for its title character and the young student from the Jean Grey School, Nico. There is a good amount of action, and the art, by Todd Nauck and Rachelle Rosenberg, is at its usual high standard.

Chris Claremont picks up the story from the last pages of Nightcrawler #5 providing us a seamless transition between the issues. I really enjoyed the previous issue and found the story more grounded as I reread it. Issue 6 sets the conclusion for this arc of the series.

In this issue, Nightcrawler and Nico intercept the Crimson Pirates and attempt to stop their nefarious plan to kidnap a new mutant named Ziggy Karst. What ensues is a great display of rescue action. The main set piece is split between Nightcrawler, who fights the pirates, and Nico, who rescues the trapped bystanders and Ziggy.

The story itself is very straightforward, although it does seem to wrap up very quickly. It is obvious that this issue is making way for a new story, as made clear at the end, for the fallout of the Death of Wolverine. This means that the plot stops abruptly and leaves aspects of the narrative that I would like to have seen explored further.

The role of Ziggy as a new mutant is left hanging by the book's end. Nico and Nightcrawler both seem to hint at her being able to fit in it the JGS, but this is not bought to fore in the overall story. The resolution of the rescue setting in this story, while a logical outcome, doesn't bring much development to the plot, with the bad guys vowing to exact revenge in a clichéd move.

Nighcrawler and Nico en route.

What the story leaves unanswered aside, the promise of the impact of the death of Nightcrawler's best friend is tantalizing as a fan. I hope Claremont can bring his wonderfully insightful storytelling abilities to the fore for the next issue. Nightcrawler #6 was filled with classic Claremont narration from the first person. The pages are filled with narration boxes and a lot of dialogue, giving letterer Joe Sabino plenty of work in this issue.

For their part, Nauck and Rosenberg continue to show great form on this series. The pencil and line work from Nauck has an lovely appeal for younger audiences, but is easily able to satisfy older readers also. Nauck uses an average panel count of 4-5 panels per page through this issue. That pacing is just enough to keep things ticking along, though this combination with the heavy dialogue means that at times the page may read longer than it could have otherwise.

Rosenberg's colors are perfectly suited to the style of art from Nauck. The appropriate blues and purples that are associated with Nightcrawler's character are used to effect. A true test for an artist's work in comics is to compliment the story and not distract from the overall feel of the narrative. This is what Rosenberg is doing in Nightcrawler #6. You don't have a sense of stopping during the story to decipher the art, the transition and flow of imagery being such that you can just keep reading. Ultimately this is what any publisher wants for its audience.

Nico and Nightcrawler are an unlikely pair.

Nightcrawler #6 continues a good run for the artists involved. This is a nice solo X-Men series which expands the x-universe and lets its characters develop for current audiences. This is just part of a rise in solo series featuring X-Men that have enhanced Marvel's repertoire. I have enjoyed reading each of them so far, and hope they continue to last. With the impending loss of the stalwart Wolverine and the game changing event in AXIS, it will be interesting to see how the X-Men come out on the other side.

What did you think of Nightcrawler #6? How have you found the series so far? Given that we have already dealt with the death and resurrection of Nightcrawler, do you think Wolverine's death will have a lasting impact for this Nightcrawler? Let us know and leave your thoughts below.

What is up Dacetacular Nation? The Dace Man is back to bring you the latest trailer news and trailer from Rockstar Games!

In our current time of next generation systems such as PS4 and Xbox One, we are seeing many of our previous generation games getting the old high definition makeover in order for gamers to pay fifty to sixty bucks for the game once again. Today, I bring you the latest makeover re-debuting on the shelf! Grand Theft Auto V is heading to our next generation systems and boy am I pissed. Yup, I just bought GTA V maybe six months ago and beat it on PS3. Thank you Rockstar, for re-releasing it on PS4, because clearly I need another version of the game.

Well Fanboys and Fangirls, here is the trailer. Will you be turning in your previous generation versions to get this crisper version with a few additional features? The Dace Man won't be.

As always, check back regularly to see what Chris "The Dace Man" Dace is looking at (and no, not just porn), as well as all of the other bloggers here at Fanboys Anonymous. Remember, keyboard warriors: leave your feedback! Until the next time, for the few, the proud, and, of course, the Dacetacular, grab a beer—and in this case money you can throw away—and check out what's going on here in the Dace-Sphere. See ya next time!



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Hey, hey, hey, Dacetacular nation! Check out Episode 64 of The Dace Man Show with hosts Dace, Gibby, and Frank Ward. This week they are joined by very special guests from the game Semag Studio.

::SPORTS NEWS::

• Current MLB standings
• NFL week 1 is in the books!

::WEIRD NEWS WITH GIBBY:: 

• Weird stuff going down.

::FRANK'S CORNER::

• What do rock stars request before shows?

::CELEB NEWS::

• Celeb birthdays from August 21st to August 27th
• The Stache' is back on Jeopardy!
• Celeb Death :(
• And much, much more!

All that and more, only on The Dace Man Show.





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Some news about the next Pirates of the Caribbean movie reminds me of why I've been disappointed about this series for a long time. On one side, I get excited in the back of my mind when they announce another entry into the franchise. Then I see the movie, get crushed by disappointment because it wasn't any good, feel disgusted that they tricked me into shelling out cash to see it in the theaters, and vow to never let this happen again.

Well, here we are with the announcement of Orlando Bloom perhaps joining up with the other primitive screwheads involved in making more films, in particular Pirates of the Caribbean: Dead Dead Men Tell No Tales, coming out in 2017. Bloom has confirmed he is in discussions to reprise his role from the first three films. He says he is open to the idea, has been in some talks about it, and that he would love to work with Johnny Depp once more.

Johnny Depp is confirmed to play Captain Jack Sparrow in the film, and that's fine. So is Geoffrey Rush joining up with the crew. What's not okay is the slipshod writing, and bloated mess of a movie the third one was. I was fine with the second, it's bloated too and unfocused, but there's just enough of the goodness from the first one present to be passable. Watching the third one, At World's End, was one of the worst theater experiences of my life. Ugh. Painful, pointless, and awful.

The fourth entry in the series, On Stranger Tides? Well, at least it was shorter so the pain didn't last as long. I knew it would be bad, I knew it would be disappointing, even before I went to see it. Why did I go? Because I falsely believed the franchise would redeemed itself. I am a big, big fan of the first Pirates film, The Curse of the Black Pearl. I keep hoping they get back to that level of fun, exciting adventure on the high seas. But hey, hope in one hand, you know what in the other....

Is there hope left for the Pirates franchise? Can they ever regain their mojo or are they lost at sea? Can I think of some more ocean related cliches? Sound off below.

Another iconic piece has been added to the puzzle that is Batman v Superman: Dawn of Justice. After a Twitter photo gave a grainy look at Zack Snyder and Co.'s take on the Batmobile, a publicity photo was released showing off Batman's ever-present vehicle in all it's armored glory.

Of course, minutes after the reveal, the internet started complaining. "What's with the turret on the Batmobile? Zack Snyder is ruining my life again!" (That's actually just what I imagine it sounding like. I've seen some of the commentary and much of it is unprintable without heavy censorship.) People are taking issue with the violence the Batmobile design suggests Batman is willing to perpetrate. Other people are taking issue with those people, pointing out that the Dark Knight's pretty much always been well-armed, especially when it comes to his vehicles. Let's examine this predicament like sensible fans.

Toys, but a good representation of Batman's arsenal. And they're COOL toys.

At some point, he swore to the reader that it only fired rubber bullets. Uh...

A better view of the beast.

Miller brought a hard and jagged edge to Batman's entire world, and returned a darkness that was channeled into 1989's Batman film directed by Tim Burton. That, too, featured a Batmobile with bombs, rockets, and machine guns, in addition to the Batwing, an aircraft with more of the same. The vehicles of the later films, Batman Forever and Batman and Robin, displayed fewer capabilities of Batman's means of travel, instead morphing into increasingly flashy disco-cars. The well-regarded Batman: The Animated Series in the 90s kept all of Batman's vehicles, all featuring less weaponry.

Christopher Nolan's trilogy didn't shy away from heavy weaponry. Indeed, the famed Tumbler was built as a military vehicle, as was the airborne Bat from The Dark Knight Rises. Both vehicles bore rockets and cannons, but were (mostly) shown to be used for non-lethal means. Think on Batman speeding the Batpod toward Joker in The Dark Knight. For all that weaponry, he never used it on a person—not even his ultimate villain. Sure, he blew walls, doors, cars and trains to smithereens, and machine-gunned an armored car carrying a bomb in an attempt to divert it, but Batman generally shows restraint in his usage of heavy firepower.

For everyone who has a problem with guns on this Batmobile, what sticks in their craw is Batman's otherwise ironclad rule against using guns. That's the weapon that killed his parents, so Batman chooses not to use lethal force and not to use firearms. Again, in The Dark Knight Returns, the Caped Crusader stops an army of young Batman devotees from using guns. "This is the weapon of the enemy," he declares, breaking a shotgun in half. "We do not need it. We do not use it." In more recent comics, he teaches his born-and-bred assassin son Damian that their way, the non-lethal way, requires more discipline, control and strength than if they were simple killers.

One of the original images. A dusty, bird's-eye-view look at the new Batmobile.

I too admit to some discomfort with the idea of lethal weaponry deployed by Batman, but only insofar as the filmmaker understands the character. Some have pointed out that Batman may need the extra firepower to combat Superman, as the title of the upcoming film suggests, which makes sense. But there have been plenty of technological innovations comic creators have gifted to Batman's vehicles that are non-lethal and just as effective against Batman's usual roster of baddies. That kind of thing speaks not only to Batman's vow and aforementioned discipline, it speaks to something I feel has almost always been missing from live-action adaptations of the character: his intelligence, not just as a detective, but his brilliance as an innovator and crimefighter.

My ending thoughts? I think the design is pretty cool. It's a sleek tank of a machine, an armored drag racer made for cutting through the Gotham streets. I dig it. It has to be properly utilized, however, and that's what we all must wait to see. Who knows—this Batmobile might be loaded with rubber bullets too. If this is going to be one part of his arsenal against Superman, though... probably not. Do you like or hate the design? Do you think it says anything about the character of Batman in this iteration? Fire away in the comments.

What is up, Dacetacular nation? The D-List is a weekly Top 10 countdown with me, The Dace Man, and I'll run down my top 10 picks!

After a week hiatus, join me in the sixth episode as I give you my Top 10 Weird Al Parodies! I will sound off on the comedic songs that morphed me into the weird individual I am today! Fanboys and Fangirls, jump on board the crazy train as I venture across generations of Al Yankovic. I'll journey through time to bring you some of the classic parodies as well as current parodies from the man, the myth, and the legend that is "Weird Al"!

Did I mention one of your favorite parodies? Am I listening to the right songs? Lastly, for the sixth week, did I manage to outrage the interwebs? Go grab a drink, maybe some snacks, and kick back and enjoy The D-List  for the week of September 8th!

 

As always, check back regularly to see what Chris "The Dace Man" Dace is looking at (and no, not just porn), as well as all of the other bloggers here at Fanboys Anonymous. Remember, keyboard warriors: leave your feedback! Until the next time, for the few, the proud, and, of course, the Dacetacular, grab a beer—and in this case a list—and check out what's going on here in the Dace-Sphere. See ya next time!

Listen live to The Dace Man Show every Wednesday at 8 p.m. EST on Mega Powers Radio.

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I've dealt with a great deal of confusion and consternation over the next Terminator film coming next summer, entitled Terminator: Genisys. Is it a reboot, a remake, a re-imagining? What is this thing? I initially thought it a remake/reboot of the franchise and didn't like the idea because I feel like there could be one more in the core series, one more film to link up the promise of the first one; I want to see John Conner and the survivors of Judgment Day smash Skynet to bits, and win in the end finally, thus setting off the chain of events that leads to the original T-800 terminator going back in time to kill Sarah Conner in the first place.

Thanks to director McG's shoddy work on Terminator: Salvation, that is not happening. The rights to the film franchise were sold off soon after because the company that owned them, The Halcyon Company, filed bankruptcy. So the man who claimed would be "bringing back respectability to the franchise" McG, killed the franchise in its initial form. Nice going, bub. Just the fact he threw a dig at Terminator 3: Rise of the Machines by the above quote irks me to no end. Shut your mouth and do your movie and stop talking smack about others. What kind of name is McG, anyway? Are you still in Junior High?

So what is a franchise to do? Wipe the slate clean, of course. Not only will Terminator: Genesys kick off a new trilogy (fingers crossed), but it will also spin-off a TV series, a la The Sarah Conner Chronicles. Ever since the massive success T2, the franchise has been desperate to somehow capitalize on that success. I liked T3, it was a slam bam, well made action film that fulfilled the promise of the original film: they blew everything up. Judgement Day happened. That's hardcore.

What will this next film be? I'm calling it right now: it will be nothing but a fan appeasing, PG-13 rated, sissified version of the story that will appeal to the widest possible audience. All I've seen of it thus far points in that direction. Arnold will play an "older" T-800 model, a machine that has worn its human skin for so long it has wrinkled and aged. Huh? This is so stupid. The skin on the Terminators in the first three films doesn't last long at all, the machines are too busy fighting and killing. Plus, can't they replace it? What kind of wussy world is this that the skin lasts for 30 years? See what I mean? They are starting weak by using fan service by including Arnold at all, and this is the lame compromise.

The director, Alan Taylor, has stated the film will tie directly to the original 1984 film. He says there is a scene where we see that early scene with Arnie's Terminator screen with Bill Paxton and the punks he kills to take their clothes. Right after, the older Arnold comes on screen, bearded and whatever, and off we go I guess. Taylor is suggesting it will be like the second Back to the Future film, where we see Marty McFly running around during events of the first film, in the background.

They are attempting to piggyback the first film, audiences' nostalgia for it, and what they think will appeal to new comers to the franchise. They might do some CGI chicanery with Arnold's face on a younger stunt double like bodybuilder Aaron Williamson, who has posted online about working on the film, but has given no further details. See, there is a lot of secrecy surrounding the film. What are they hiding? The lagoons of offal?

However, despite this, we do know most of the core cast and the parts they will be playing. Sarah Conner, an older, grown-up John Conner, Kyle Reese, his father, Arnold's T-800, and the T-1000. Why would the T-1000 be in this? Is this a reboot of T2? This is what gives me a bad feeling about this film. It's like they have to stuff everything they can into it because they want to cover their bases. Now, if it were Christopher Nolan direction something this potentially complex, I would have hope. But when it's the director of the mediocre Thor: The Dark World, my heart sinks.

Am I wrong? Will it all come together and blast the Terminator franchise back into the heights of box office success? Sound off below.

My favorite Bond villain has passed away at age 74. Richard Kiel was one of the few recurring villains for the vaulted franchise, playing the monster/henchman Jaws for two films. Considering his massive frame, he topped out at 7' 2", 74 years of age is pretty robust. Andre the Giant only made it to 46. These big guys aren't built to last and it makes me sad.

In The Spy Who Loved Me and its follow-up, Moonraker, Kiel played menacing Jaws, the giant with the metal teeth, capable of killing you with his bare hands by strangulation or biting your neck like a vampire. I'm serious. He did that a couple of times. Playing opposite Roger Moore's Bond, Jaws was completely frightening. Moore was a big guy during his peak, around 6' 1", but looked tiny compared to Kiel. YouTube some of their fights, Moore looks like a baby compared to him.

Richard Kiel also played a great part in Happy Gilmore. He played Mr. Larson, freakish boss to Adam Sandler's golf maniac Gilmore. In addition to this, he played a bad guy in Silver Streak, starring Richard Pryor and Gene Wilder. Kiel was scary in that part too, but always struck me as a sweet guy during interviews. It's always that way; the big guys look scary but are softies underneath.

Some Bond fans take issue with Jaws switching sides at the end of Moonraker and becoming a "good guy," but I think it's great. It's a complete character arc, from shallow, one dimensional thug to someone that understands when he is being used and decides to step up and do the right thing. I'll also remember Kiel as the giant alien in one of the best Twilight Zone episodes, To Serve Man. It's a great one.

Any other favorite roles/memories for this unique actor? Sound off below.

Is the fact that zombies are still lurking amongst our top-picked pop culture franchises a sign that the reanimated fad is literally undead? If you're a follower of the Resident Evil games, this is good news for you.

Capcom confirmed last week that a follow up to their 2013 HD-version of Resident Evil Revelations will be coming to consoles and PCs for the US and Europe in early 2015.

Resident Evil Revelations 2's familiar survival horror story unfolds with time-honored character Claire Redfield, who we've seen survive the challenges of Raccoon City. She is employed by Terra Save, an anti-bioterrorism organization, along with company rookie Moira, the daughter of Barry Burton. The two protagonists are taken against their will to an unknown and solitary setting where weapons and ammo, not unlike in previous games, are strewn throughout halls and rooms where enemies lie in wait.

With an episodic release that players may recall of previous versions, Resident Evil Revelations 2 will be phased out in various formats in a progression very suitable for suspenseful gameplay. Four episodes, each replete with the gasps and thrills one would expect of RE notoriety, will be available for weekly digital download at $5.99 each. Once all four installations have been rolled out, the Complete Season with additional game content, will be available digitally for $24.99. A retail version of the Complete Season will simultaneously make its debut for $39.99. The retail version will include the same additional game content found on the the digital version, yet with even more gameplay. Further details about the extra content are soon to be announced.

The game is playable by 1-2 players, with the assistive co-op play mechanic found in past titles. One can switch between Claire and Moira to take over the nimble and threatening "Afflicted" in single player mode with AI, or offline co-op. Along with Moira’s introduction to the story is her ability to blind enemies with her torch before Claire sweeps in to finish them off.

Find out which mode works best for you when Resident Evil Revelations 2 comes to PlayStation 4, PlayStation 3, Xbox One, Xbox 360 and PC in the beginning of next year. Need more specifics than that? Keep your finger on the pulse (or lack thereof?) of Resident Evil action with Capcom's updates on the official website and the Resident Evil Facebook page.

Do you think you'll pay to play each weekly episode of Resident Evil Revelations 2 as they are released, or for the price, just wait for the Complete Season? Let us know in the Comments section below, where you can continue to converse with our survival horror fans on what the game has in store for us ahead.

One of my favorite science fiction movies of all time is getting a TV adaptation. Directed by my favorite director, Stephen Spielberg, and starring one my favorite actors, Tom Cruise, Minority Report was a seminal experience, a fantastic thriller/drama/sci-fi pulse-pounding ride from start to finish. There are shots and scenes in this film that resonate with me to this day, in particular the part with Cruise's John Anderton and precog Agatha shoulder to shoulder speaking on the future, and how he still had a choice. It's so simple yet so effective, as many of Spielberg's shots are.

If this complex, dystopian future world is to be revisited on the small screen, the writers and production designers have a difficult job ahead of them. In the film, the world feels real and lived in. It is as if you could walk directly into the screen and feel at home; maybe not comfortable, but it would feel like our world only pushed forward in time. The details and depth of this social and judicial configuration could be done well in another medium like television. The original story was written by Philip K. Dick so there is built-in sociopolitical complexity that I pray they employ and expand upon.

Based on what we know about Fox's commitment to a pilot for a show about this film, I think only the bare bones of the concept will make it to TV sets around the world. It will be set 10 years after the events of the film, putting it around the year 2064. This is after the precrime unit has disbanded in Washington, D.C., and the show will follow one of the precogs who is struggling to lead a normal life. Supposedly this precog is a male so it won't be Agatha; but regardless, he is haunted by visions of the future, then meets a female detective with a troubled past. So I guess they are flipping the gender roles on us in relation to the film. Further details are unknown at this time.

Will this show work? Does it have legs to make it long on the air? Sound off below.