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Hey, hey, hey, Dacetacular nation! Check out Episode 81 of The Dace Man Show with hosts Dace, Gibby, Nicholas Andrew, and Frank Ward!

::SPORTS NEWS::

• NHL Rankings
• NFL Championship Matches are locked and loaded
• Plus more

::WEIRD NEWS WITH GIBBY::

• He was all whiny.

::ON CAPITAL HILL WITH NICK ANDREW::

• The Future President gives us the presidential decree.

::FRANK'S CORNER::

• How NFL Teams got their names.

::CELEB NEWS::

• The Razzies nominees are...
• Avatar delayed
• Plus more…

::Who Said It::


The Douche Bag of the Week and more, only on The Dace Man Show.



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 comfy seat in front of your computer—and check out what's going on here in the Dace-Sphere. See ya next time!


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On this edition of Channel Surfing, we join Chris "The Dace Man" Dace as he reviews television for the week of January 4th featuring shows like Brooklyn Nine-Nine, Forever, Gotham and Girl Meets World.

He'll give you the scope on this week's episode as to what went down with a hint of Dacetacularness.  So put down that remote control, sit back, and enjoy this brand new edition of Channel Surfing. I'm calling for the few, for the proud, and for The Dacetacular: Let's start channel surfing!

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!

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

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Hayao Miyazaki has written, directed, and produced several powerful animated films for Studio Ghibli, such as Spirited Away (2001), My Neighbor Totoro (1988), and most recently, The Wind Rises (2013). He is, in many ways, a complete artist. In his films, he has the ability to capture movement beautifully, but many people lose sight of the fact that these animations are almost entirely hand-drawn.

Watercolor Sketch for Spirited Away.

Of course, Miyazaki does not draw them all on his own, but he does draw much of the key animation by himself. The key animation is the backbone to the entire movie, capturing the essential movement of the animation. This differs greatly from American animation as established by Disney, which is much more of a spread out process. Disney movies are not as much of a one-man operation as Studio Ghibli's are. So where do Miyazaki's ideas originate? The answer can be found long before the movie takes shape.

A true testament to his skill, Miyazaki draws entire storyboards and sketches to capture his vision, which is what I think is so fascinating about him and led me to study his process. His straight forward technique requires no special supplies or secret tools. Often times, he draws with a basic pencil and paints with any brushes that he can find in the studio. As an artist myself, I am often seduced by the prospect of a secret brush or pencil. It is true that some tools facilitate the process, but Miyazaki's imagination is the real fuel.

If you're a fan of drawing and Studio Ghibli, then you are probably always on the prowl for Studio Ghibli drawing wisdom. The truth is that it's actually difficult to find information on their process, but I have made it a priority to share what I find with you guys.

Below are some images that shed some light on Miyazaki's line quality and process. I will also provide some of my own interpretation, as an artist, further on.

Hayao Miyazaki’s advice on how to use watercolors from the Ghibli Museum Sketching Set booklet.

The image above is fascinating, and for those who cannot read Japanese, here is a proper translation of the text found in this charming little watercolor demonstration via Nausicaa.net:

Title: My recommendation. Transparent watercolor is good.
Transparent watercolor has a strong habit, do not paint stickily and paint after wiping the extra paint and water off. Paint thinly the bright part, had better not use white, paint other color after under color has dried. Let’s mix the color and use it.
Wet the wool (brush hair) which protrudes on a new painting brush.
Anything is fine for a water vessel.
A retractable knife is enough for the pencil sharpener.
One 2B pencil is enough for the pencil.
Divide the palette into seven zones: Bright, Dark, Black, Green 1, Green 2, Blue 2, Blue 1. Do not use the eraser.
Do not draw a guideline for a picture.
Tthese painting materials are enough for a 2-week trip and preparations for a movie.

It's interesting that Miyazaki uses a 2B pencil, which gives his sketches a bold quality since it's a rather soft pencil. Boldness in sketches provides a good starting point for further work. It's difficult to regain the bold and loose quality of sketches later on in the process. Another good point that he raises is to "not paint stickily," which means to have a good balance of water to paint to allow the paint to flow. With watercolor, it's better to start out loosely and thinly. It's also interesting that he says to not use an eraser or draw guidelines. I agree completely to keep the spontaneity within the work. If you are working on a manga or comic, your sketches can always be drawn over with ink to make them less "sketchy," but there is a certain beauty to the sketchy lines.

For his storyboarding technique, Miyazaki also uses watercolors and a bold pencil. I have also seen his storyboards executed in pencil and colored pencil as well. Once again, I think his success relies on his ability to simplify lines and color.

He never uses extraneous lines to confuse the eye. This may be because these storyboards are created to serve a purpose. Like many great artists, Miyazaki is proud of his sketches, but these are not the final product.

If you're curious about buying copies of these storyboards, his untranslated storyboards can be bought on Amazon and sometimes on Ebay for fairly cheap.

Miyazaki's Storyboards for The Wind Rises.

His power of imagination is something to envy, but it's also something to strive for. I personally would love to spend time looking at his sketchbooks to see what he draws and imagines. Maybe one day Studio Ghibli with publish one of his sketchbooks.

The most important thing for a young artist to realize is that Miyazaki never draws without a purpose; he always has a story in mind. Drawing with a purpose guides your pencil to create better sketches. Also remember that these sketches and storyboards (although beautiful) were created as a process. Losing yourself in the process often results in a more beautiful sketch because you don't focus on creating a perfect sketch.

I enjoy Miyazaki's work because he is a real workaholic.  He draws all day and he has begun a new samurai manga, even after his recent retirement, .  This is why I respect him.  He is compelled to work even though he's not at Studio Ghibli anymore; as an artist, he is completely committed to his craft.

Although accomplished, Miyazaki humbly stated in an interview that he wishes he were better at art. "I love some of the great artists of the 19th century and, compared to them, I just felt I lack this technique that they had. They have so much skill."

What do you guys think of Miyazaki's sketches? Did you know that he worked so much with watercolor? Let us know by leaving a comment below or on the Fanboys Anonymous Facebook or Twitter!

ODY-C #2 cover by Christian Ward

Matt Faction's prose, (and let's call it what it is) is fantastic. The only way it could be topped is by the art Christian Ward provides; and it is visually ravaging. ODY-C #2 was such an overwhelming reading experience that I had to literally pause for a moment after I finished reading the issue, to sit back and take it all in.

The density of the story and art is staggering.

Fraction's plot is straightforward yet full of complexity. It is not only entertaining for the longtime and die-hard comic audience who wants to pick up a different sort of book, but for anyone new to the comic experience. While ODY-C may seem at first glance, to be a bit much, the story is so immersive that to miss out on it would be a disservice as a reader. As we have moved past the first issue, returning to this series seemed easier the second time around, as familiarizing yourself with the ideas makes the reading deeper and more enjoyable as a result.

Now that we are past the initial origin setup, the story flows naturally here. The continued context provided by the likes of Zeus in issue two grounds the story further. This 'playing out' of the visual and narrative story elements is crucial to the series and leads the reader along a poetic path that both challenges what we take for granted about the genre and enhances it with a new dimension, all at the same time.

Zeus rips her father apart to gain ultimate power

Christian Ward's art continues to feel like a cool trip. It induces a sense of cosmic symphony with style and flair as shown here. This is brought about by not only by the fluid lines, but the flamboyant colors as well. Ward's work in his issue matches the cosmic brilliance the story calls for. As a space odyssey, ODY-C needs to look and feel submerged in a finer layer of details to pull of the grandiose adventure it is, and this is overwhelmingly achieved.

Promethene suffers Zeus's wrath

The panel and page layout that Ward has used compliments Fraction's approach to the story. For instance, as Fraction guides the ODY-C and her crew to the Phage-World, Ward immediately strikes a different tone from the preceding pages. This seems to match the change in narrative as Fraction begins to employ the dactylic hexameter. By following the spiraled journey of Odyssia and her sebex, Ero, down the labyrinth of the Lotus-fueled pleasure palaces, Ward displays such wanton exuberance for artistic talent it practically oozes from the page.

Zeus destroys all men in the universe

Odyssia and Ero descend the Phage-World

The pinnacle of the art in ODY-C are the colors. They explode from the pages. The water wash style color palette used is beautiful. Every comic book needs a hook. When a new reader goes into a shop and picks up a random comic from the stand, it needs to hit them instantly, so that they will be more inclined to buy it. With this series, the art speaks for itself, but the colors really grab you. Their vivid use and arrangement has a pull that is enticing.

This series makes an outstanding contribution to the comic book field. It is experimental, in your face, pure flair. The creators involved are showing why such an endeavor needs to be done; to challenge an industry that thrives on creative new approaches. While I admit, ODY-C is a heavy read, it is intended to be so. There is so much more that is gained as a reading experience because of this fact.

While this book continues to impress me, what do you think of it? Do you like the writing and narrative style used? What do you think of the art?

Let us know by leaving a comment below or on the Fanboys Anonymous Facebook or Twitter, and come back next time for issue 3 of ODY-C

ReedPOP, the world's largest producer of pop culture events, has come a long way since its first event in 2006—the sold out New York Comic Con which has since grown to 151,000 fans at the Javits Center. Expanding its national portfolio, which now includes C2E2, Penny Arcade Expo (PAX) family, Star Wars Celebration, and UFC Fan Expo, ReedPOP and Emerald City Comiccon has joined forces to produce the "premier comic book and pop culture convention in the Pacific Northwest."

The company announced today that the partnership will take effect next year, and, according to the ECCC website, producers of the Seattle-based convention reassures fans that the show will continue to be run by the same people with the benefit of having ReedPOP's marketing and administrative resources to make it 'bigger and better.' The arrangement, however, will not include Rose City Comic Con which partnered with ECCC last year.

Founded in 2003 by local comics retailer Jim Demonakos, Emerald City Comic Con opened to 2,500 fans in their inaugural year and steadily grew to a record 70,000 in 2014. This year's event, which takes place March 27-29 at the Washington State Convention Center, has an expected attendance of 80,000 with 3-Day passes already sold out.

Demonakos said in the press release that, "We are huge fans of what ReedPOP is doing across the globe in this pop culture space that ECCC also occupies and are excited to have them help us continue to deliver an amazing fan experience to our attendees. Moreso, we're very much looking forward to bringing the ECCC brand of fan-focused attention to help amplify their events even further as well."

Some fans have already voiced their opinions on Emerald City's Facebook page, weary of the growth the convention has already shown and hoping it "won't become more corporate," while others hoped the partnership will bring in bigger entertainment guests.

ECCC has built its success by providing a unique experience for fans with new comic and celebrity guests each year, becoming highly regarded in both national and international circles as one of the most fan- and family-friendly shows around, largely due to its focus on the artistry of comics without the overcommercialization. Additionally, ECCC has created a charity art book each year since 2009—Monsters & Dames—which has raised more than $75,000 for Seattle Children's Hospital.

Although ReedPOP and ECCC differ in terms of rules and regulations and how they are enforced, Lance Fensterman, ReedPOP's Global Senior Vice President, told ComicsAlliance that he is "excited to be a part of what they've built with Emerald City, and to incorporate that approach into what ReedPOP does." Last year, Emerald City became the first convention that took a firm stance against sexual harassment, posting flyers throughout the convention that boldly stated, "Costumes Are Not Consent"—an effort that was echoed by New York Comic Con in October.

"The addition of ECCC to the ReedPOP family is a huge win and we couldn't be more exited to see how we can make each other better," Fensterman said in the announcement. "The ECCC team is remendous and have put together an amazing show. I know there are things we can introduce to the mix and look even more forward to what the ECCC team can bring to all our events around the world."

Aside from last year's launch of Special Edition: NYC, ReedPOP has recently been turning its attention to the international market, recognizing pop culture audiences throughout the world with events set in London, Germany, and Singapore. Last year also marked their biggest global event in Australia, launching PAX Australia and a partnership with Oz Comic Con series. ReedPOP's efforts in India has recently been announced following a partnership with Comic Con India with events in Delhi, Mumbai, Bangalore, and Hyderabad.

ReedPOP also announced at New York Comic Con last year that they will be further expanding with the first Paris Comic Con in 2015. The three-day event will be held in October at the Grande Halle de la Villette in Paris, France.

Welcome to the latest edition of Making the Grade—a new review format segment here on Fanboys Anonymous where we break down the five major components of something and give it a score based on the standard report card lineup: A, B, C, D, and F for a total failure.

The next report card is for the most recent installment in the animated DC Comics continuity entitled Justice League: Throne of Atlantis.

Justice League: Throne of Atlantis—directed by Ethan Spaulding; written by Heath Corson (screenplay) and Geoff Johns (story); starring Matt Lanter (Aquaman / Arthur Curry), Sean Astin (Shazam), Rosario Dawson (Wonder Woman), Nathan Fillion (Green Lantern), Christopher Gorham (The Flash), George Newbern (Steve Trevor), Jerry O'Connell (Superman), Sean Patrick Thomas (Cyborg), Sumalee Montano (Mera), Sirena Irwin (Queen Atlanna), Steve Blum (Computer Voice) and Jason O'Mara (Batman).

CHARACTERS: B–

I have never cared about Aquaman. The character has always been a bore or something that I found silly. This is partially because of the whole "talking to fish" thing being one of his primary powers (so lame), but a big factor is how I'm just not a fan of magic and classic warriors. However, this story is without a doubt the best that I've seen or read in terms of making me interested. The downside to this film, however, is that there are many characters and it is too short to give all of them something worthwhile. As with Justice League: War, The Flash is essentially pointless. Batman is on point, as are Wonder Woman Orm, but Superman is a tad underwhelming. Black Manta is nothing but an underling, so there isn't much to talk about there, and if it weren't for them being the comic relief, Green Lantern and Shazam wouldn't have much to say or do. As a part of a series, this is somewhat okay, but as a standalone film, it leaves much to be desired. I still maintain that Cyborg is not worthy of a spot in the Justice League series, but more so than ever, I get the point of having him be the "everyman." I just wish that spot would go to Martian Manhunter instead.

 ACTING: B–

Animated films are a little tough to judge on the acting side of things. For the most part, unless the voice acting is horrible, there isn't much to review. Some lines were delivered a bit cheesily than I would have preferred, but this is a film for kids, so it's more likely to feel "over the top" than if it were targeted toward adults. The strongest performances would be those given by Sean Astin and Nathan Fillion, in my opinion. I still miss Kevin Conroy as Batman, and I still think having George Newbern here as Steve Trevor instead of Superman is a mistake. I wouldn't mind seeing Rosario Dawson return to the role of Wonder Woman in the future, although I'm still partial to Susan Eisenberg and even Maggie Q.

VISUALS (FX, MAKEUP, COSTUMES, SETS): B+

For the most part, I like this animation style. There are still some clunky character figures, and sometimes you can tell when they transition between different CGI formats (I'm looking at you, lighthouse destruction scene), but everything is pretty solid overall. In the past, there have been DC animated films in which people have beady eyes and huge lips, or their torsos are the size of mountains and incredibly disproportionate to their actual body size, but those aren't really flaws here.

MUSIC & SOUND: C

When it comes to the sound and the music, none of it was memorable or offensive. Both aspects were perfectly fine in a generic sort of way. That's a positive with regard to sound; you shouldn't be taken out of the environment by it. With regard to music, however, that's a negative, because I should want to listen back and get the soundtrack, yet I can't recall a single note from this score.

TONE (ACTION, ROMANCE, COMEDY): A–

A film like this should balance out all of these elements but mostly focus on the action to appease its target audience.

ACTION: No complaints here. It's gritty enough to feel somewhat realistic, but not so gritty as to lose the fantasy element that makes it fun. Blood would be shed in this kind of a scenario, and it's nice to see that that is neither ignored nor amped up to ridiculous levels just for shock value.

COMEDY: Almost every joke lands well for me, particularly when delivered by Green Lantern. For example, his dubbing Arthur "Aquaman" just because Arthur hates the codename is fun.

ROMANCE: Arthur Curry and Mera's relationship feels a bit more natural than what I've seen before and is definitely the highlight in terms of romance, although I did like the flirtation between Wonder Woman and Superman as well. The very short subplot romance of Cyborg with the doctor (whose name I don't even know, that's how miniscule it was) was forgettable and basic.

FINAL GRADE: B–

When you pop this movie in to watch, you know what you're setting yourself up for. Naturally, it is nowhere near on par with some epic Oscar-worthy feature film, but that isn't what it strives to do. As a movie for the comic book audience to merely sit and enjoy, this does its job admirably. It feels like watching a really good two-part episode of an ongoing Justice League series with better animation. Fans of the comics should have no problem liking this, unless they are too concerned with it not being a 100% perfect adaptation. If you can put that aside, and you're up for this style of film, I definitely recommend it.

In retrospect, 2014 was a year filled with departures from various celebrities and Hollywood talent, Robin Williams being the most often noted. Unfortunately, 2015 didn't begin with its right foot in place, either. Taylor Negron passed away on January 10, 2015 after a long battle with cancer.

The smash hit of last year's entertainment industry was Marvel's Guardians of the Galaxy and without a doubt, one of the reasons for its success was the character of Rocket Raccoon.

Voiced by Bradley Cooper, Rocket's got a chip on his shoulder and a mouth on him that fans immediately fell in love with, making him easily one of the two most popular characters of the year alongside his screen partner Groot.

As part of a promotional giveaway, Fanboys Anonymous is partnering up with TV Store Online for a special contest wherein you can win your very own Rocket Raccoon hoodie. All you have to do is show you support for Fanboys Anonymous by subscribing to our social media accounts and sharing/retweeting our links to this contest (or more) to enter multiple times for a chance to win.

Marvel Guardians of the Galaxy I Am Rocket Raccoon Costume Hoodie

Show your love for Rocket Raccoon with this officially licensed costume hoodie!

• Brown
• 60% Cotton / 40% Polyester
• Standard Fit
• Officially Licensed

"I need that!" - Rocket Raccoon

HOW TO WIN

1) Share the Facebook contest image post

Post by Fanboys Anonymous.

2) Retweet the Twitter contest post

RETWEET this to enter our contest to win a free #RocketRaccoon hoodie from #GuardiansoftheGalaxy http://t.co/Ow0TjkJstt
— Fanboys Anonymous (@FanboysAnon) January 12, 2015

3) Share this link throughout the geek community (post a comment below linking to the forum, message board, subreddit, or website's page that you shared it to show proof of this)

You must be following at least one of the following accounts — but you earn multiple chances to win by following each one of them.

Like the Fanboys Anonymous Facebook page
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The more points you earn, the more chances you have to win! The winner will be chosen in a random draw and contacted through their social media account.

DISCLAIMER: The prize(s) that may be awarded to the eligible winner are not transferable, redeemable for cash or exchangeable for any other prize. If the winner has not redeemed his or her prize in 7 days, a new winner will be chosen. No points will be awarded to contestants who unsubscribe and resubscribe to an account. Only one point is awarded per account subscription. No members of the Fanboys Anonymous team are eligible to win.

Men of Wrath #4 cover by Ron Garney and Matt Milla

My father's house.

The future is the key to the survival of the Rath men.

Seeking to be finally redeemed from the curse of the Rath family men, Rueben and Ira go toe-to-toe as their worlds collide in a series of violent acts that will leave blood spilled over the floor.

Issue #4 of Men of Wrath is extremely focused. Writer Jason Aaron brings together Ira and Rueben Rath again, following their showdown at the church in the previous issue. Rueben is in the driver's seat, in a type of role reversal that lets readers solidify an understanding of the central character's motives as we move toward the final issue.

This has been such a phenomenally dark series so far, strikingly different from what Aaron is producing in more family friendly titles for Marvel. It is a return to the Aaron of Scalped ilk, and we are fortunate to experience his unfettered nature here, where he is showing a truly diverse range of writing abilities.

A young Rueben Rath wants his momma back home

Men of Wrath #4 examines the personal restraints of Ira Rath. Thus far we have seen Rath men killing members of their family mercilessly, yet here we get a glimpse of a man at a crossroads. Much of this is also to do with Rueben and the next stage of the Rath generations. In a move that I had hoped to see, yet wasn't guaranteed, both men strike out to save their children, but the consequences of their actions leave a lasting cliffhanger for the final issue.

I love how Aaron is displaying the core theme of family as important to the story, yet he has flipped it on its head. Conflicting with a notion of the importance of family, Aaron is debunking a central tenant of this argument as the family being responsible for how a person turns out, but upholding the fact that the family is an important influence on how members can be driven from childhood to adulthood.

Ira Rath takes care of family business

Ron Garney and Matt Milla's art remains consistently gripping as the previous issues. Garney is instrumental to the pacing and tense action in this issue. It is easy to be drawn in by the panel work Garney employs to keep readers in a constant state of tension. The dramatic and bold ink work is heavy to match the tone of the drama. The thick lines provide an emphasis for the boldness of the characters, with their gnarly and at times grizzled lives.

Aaron and Garney provide a brutally fantastic experience. Men of Wrath is a gripping story that is emotionally dark, violently honest, and brilliantly delivered by creators at the top of their game. As we look to the final issue next month, this will leave a big hole in my pull list. One positive of this will be the opportunity to sit back and read the entire series from the first issue to the last.

I have enjoyed this series, but we want to hear what you think so far. How have you enjoyed Men of Wrath? What do you think about it now compared to the first issue? How good is Garney's art? Make sure you leave a comment below and come back next time for the final issue of Men of Wrath.

Storm #7 cover by Stephanie Hans

Ororo Munro, aka Storm, is caught in a whirlwind of trouble.

Storm #7 jumps straight into the consequences of Storm's actions from the previous issue, where she saved a plane of VIPs. Having been set up by the nefarious Eaglestar corporation, Storm was physically spent as she carried the broken plane back to safety, collapsing shortly after landing the craft. The tension has been ramped up, with Storm's enemies closing in on her. Her past actions have made her a target and now branded her a public enemy.

With the current issue, writer Greg Pak is showing readers that he can carry an ongoing arc with the same emotional weight and dynamic storytelling as the earlier stand-alone issues in this series. Truth be told, it is a strong series, a model of what a solo series for an X-Men character should be like.

This issue has lifted my already raised hopes from the previous issue. As mentioned in the review for Storm #6, I anticipated that the story was developing across issues, with the setup issue being a wait-and-see. Well, we have done just that, and we weren't disappointed. The creative team has hit its mark in issue #7.

Storm has a lot of support

In this issue, Pak enlarges the supporting character base, drawing on the staff from the Jean Grey School to help Storm in her plight. What is also great to see is the bridging of earlier issues from the series with a full page dedicated to glimpses of characters from issues 1–4. Pak's style in bringing out the story has been methodical and deliberate. The pace has been building steadily but is punctuated with anticipation at the end of each issue.

The art by Al Barrionuevo and Tom Palmer feels as though it has matured in this issue compared to the last. The line style is tighter, magnified by more focused inking from Palmer. The cleaner lines allow a smoother reading experience.

Barrionuevo's depiction of the supporting X-Men characters—Rachel Grey, Beats, and Nightcrawler—are great. Rachel is full of relaxed confidence, Nightcrawler is mischievous looking and even a little proud, and Beast remains fraternally concerned yet supportive of Storm's rogue actions.

The choice of shots is a lot more varied in Storm #7. This is a lift from the previous issue, and we see a lot more panel work, which is a direct result of the new setting for this issue. The confidence of the artists is refreshing.

Storm is interrogated for her part in mid-air incident

Ruth Redmond's colors are the stalwart of the artistic team. The colors enhance the pages with subtlety, yet are dramatic when called for, such as when representing Storm's ferocious powers. Redmond's consistency in this series provides a great ongoing sense of familiarity; however, if a new reader to the series were to pick up any issue, the colors would feel as natural to the series as Pak's writing and dialogue are.

Pak and the artistic team have set up an ongoing solo series for a dynamic character that has been a constant source of enjoyment. This is one of the strongest X-Men comic series currently being offered by Marvel.

It is coincidental that at this point a social media campaign is running to #SaveStorm when in this issue the best person to do this is the character herself. As a series and character Storm has the ability to reach out to others and lift them up, and more awareness can bring this campaign to a positive conclusion. I highly recommend this series, and if you want to help #SaveStorm, see your local comic book shop today.

We want to hear what you thought of this issue, Fanboys and Fangirls, so leave us a comment below. Do you like this ongoing solo series, or do you prefer to see Storm in the other team X-Men books? What do you think of the artistic team on Storm? Hit us up with your thoughts, or head over to Twitter or Facebook and leave your mark there.

Assisted suicide was a hot topic in 2014. Last November Brittany Maynard, a 29-year-old terminal brain cancer patient, ended her life under Oregon's "Death with Dignity Act," and the video explaining her choice amassed more than 9 million views on social media. Today, according to the Death with Dignity National Center, mentally competent, terminally-ill adult residents of Oregon, Washington, and Vermont can "request and receive medication to hasten their death, [which] is one of many end-of-life care options available." Among these options, however, one would never consider using an amusement park ride to do the deed.

Model of the Euthanasia Coaster.

Julijonas Urbonas, a Ph.D. student in Design Interactions at the Royal College of Art in London, designed a plan for a roller coaster that "humanely—with elegance and euphoria—takes the life of a human being."

Named the "Euthanasia Coaster," the hypothetical rides uses concepts in mechanical engineering, airspace medicine, and gravity to create intense motion that ultimately would deprive the brain of oxygen, causing the rider to expire. Before meeting his or her death, however, the rider would experience a range of sensations "from euphoria to thrill, and from tunnel vision to loss of consciousness,"which is commonly known as G-LOC, or acceleration gravitationally induced loss of consciousness, and often affects fighter pilots of high performance or aerobatic aircraft and astronauts.

Urbonas, who has worked in amusement parks since his childhood, explains the whole experience in great detail:

Seated, harnessed with a health monitoring system, and strapped to the seat of a single-seat coaster vehicle, you are slowly towed to the top of the drop-tower. It takes a while, as the ride is about half a kilometre long! Hence, you have a few minutes to contemplate your decision and your life in retrospect. You even find enough time to adapt to the height and get through a series of imaginary fatal falls, while realising that the objects on the ground are getting smaller. Slow lift is an important illusion that intensifies the perception of height. The slightest movement of the car triggers drumming heartbeats and tests your decision (...) If this test has not changed your mind yet, then at this point you have no choice but to submit yourself to the very last fall. Yet you still have a few minutes for the last words and goodbyes, or just enjoying the exhilarating bird’s-eye view of the surroundings. You relax and press the FALL button (...) Your body spins around the heart while you fall (...)The scooting gust of wind, goose bumps, suspension of breath, and vertigo — a set of experiences comprising a sort of fairground anesthesia.
(...) You feel your body as if supported by an air pillow. Just after this point, the track smoothly straightens forward, entering the first loop of the coaster, a continuously upward-sloping section of the track that eventually results in a complete 360-degree circle, completely inverting the riders at the topmost part (...) Breathing requires more effort, as the ribs and the rest of the internal organs are pulled down, which empties air from the lungs. But most probably you are already unconscious, as this force rushes the blood to the lower extremities of the body, thereby causing oxygen deficiency in the brain. It is exactly this cerebral suffocation, also known as cerebral hypoxia, that is going to kill you. 

If you are still conscious, you are more resistant to the high g-forces than the majority of people, but don’t worry (...) the second loop will definitely do its job. In the meantime, if you are lucky, or, rather, g-force-resistant enough to be awake, your vision may blur, lose colour (greyout) and peripheral sight (tunnel vision), or even disappear completely (blackout), together with hearing. Eventually, this experience—accompanied with disorientation, anxiety, confusion, and, most importantly, euphoria—is crowned with G-LOC (g-force induced loss of consciousness), during which the body is completely limp, and vivid bizarre dreams occur, such as being in a maze and unable to get out, or floating in a white space, not knowing who you are, why you are here, etc.

(...) The rest of the ride, six or five loops, proceeds with your body being numb, ensuring that the trip ends your life. You die, or, more accurately put, your brain dies of complete oxygen deprivation, a legal indicator of death in many jurisdictions. The biomonitoring suit double-checks if there is a need for the second round, which is extremely unlikely, as the result is guaranteed by seven-fold repetition.

Interested in seeing what this G-LOC deal actually looks like? Take a look at this compilation of pilots going through their G-force training.


Though this might look scary, most people describe feeling euphoric afterward. Maybe this coaster would really be the most humane way to go...

What do you think? Would ever see this becoming a reality in a near future? Let me know by leaving your comments below!

Ant-Man #1 cover by Mark Brooks

Wow, what an issue. What a great start to a new series.

I'll backtrack slightly. I was at my local comic book shop (great people by the way—check out yours now, if you haven't already) picking up my weekly pull list. On the counter is a stand for notable new comics the shop wants to make everyone aware of (and try to sell more of). This week's spot light was none other than Ant-Man #1. While my pile of books was scanned for purchase, I quickly flicked through a copy, I had heard good things anyway. Seeing me do this, the owner remarked how funny it was and highly recommended the read. So there I was, cash in hand, just a little bit left to splurge, it wasn't going to break the bank, so why not? On a whim, I got the book.

Best decision this week!

I digress, let's get back to the task at hand, there is so much more that can be said of Ant-Man #1.

From the start writer Nick Spencer makes bold, decisive choices about characterization. The setup is smoothly achieved, all the while presenting a rough-hewn Scott Lang as Ant-Man. Ultimately, though, this is a story about personal redemption.

The job he didn't know he wanted, but needed.

While reading this comic, I couldn't help but smile like a Cheshire cat. It has such a good feeling to it. There is real accessibility to the story, despite the audience seeming to be a matured readership, as they would understandably relate to the central character's plight more easily than younger readers. Spencer has taken a tongue-in-cheek approach to Ant-Man. He is self-deprecating, sarcastic, yet heartfelt and down to Earth.

There are pure moments of loveliness here. The relationships explored of Lang's immediate family are a fantastic touch to the narrative and only enhance this book. In this regard, Ant-Man #1 has the feeling of being Hawkeye-esque. Following in the award-winning style of Matt Fraction and David Aja, Marvel may be onto a winner here.

The book has a familiar superhero feeling, but places the central characters squarely in reality, akin to what we would expect from today's New York setting. The modern pop culture references and down-on-your-luck tone combined with a narrative style and artwork that is dramatic in an incredibly accessible way are a recipe for a hit series.

Ant-Man shows why its size that matters

Ramon Rosanas provides great art in Ant-Man. While there is a lot of panel work, this made the issue seem longer; I kept feeling like I got a lot for my money. It just didn't stop. The choice of panel-by-panel transitions and the angles and shots has a balanced finish. What this means for readers is that they are taken deeper into the story in a more seamless manner, helping the story's effective points get across without undue interruption. The honesty of the story not only transcends the lettering, colors, and art in a graceful way but is completely supported by the artistic approaches utilized by the creative team.

Acknowledgement must go to the letterer, Travis Lanham, for allowing the story to flow. Given the scope of the narrative, backstory, and setup involved in a first issue, there was a lot of work here for Lanham, which he pulled off superbly. Mention should also go out to colorist Jordan Boyd on this issue. The colors of any comic have a profound effect on the final book, and with Ant-Man #1, the right approach has been utilized. The colors are not grabbing for attention. They are grounded: soft and subdued, supporting the final product, not clamoring for showmanship. Please understand is a skill from any colorist. The tone and feel Boyd provides is spot-on.

Ant-Man takes on Iron Man

All-in-all, if you haven't read this comic yet, you must. It was a highlight of the week for me. It is clear from the work involved that a lot of thought, planning, and attention to detail has gone into the final product. I genuinely look forward to the next issue (I just added this to my pull list) and hope this is the start of something great.

As always, if you have read Ant-Man #1, please tell us what you thought. We want to hear your thoughts and opinion, so leave a comment below or head on over to the Fanboys Anonymous Facebook or Twitter depots and make your mark there. Make sure you come back this way next next month for issue #2.

Hey, hey, hey, Dacetacular nation! Check out Episode 81 of The Dace Man Show with hosts Dace, Gibby, Nicholas Andrew, and the return of the immortal Frank Ward.

::SPORTS NEWS::

• NHL Rankings
• NFL WildCard is in the books!
• Chris Christie in hot water?
• Plus more

::WEIRD NEWS WITH GIBBY::

• He was all whiny.

::FRANK'S CORNER::

• Frank is back! And he has new laws in 2015.

::CELEB NEWS::

• DareDevil to debut in April and Puss In Boots in January on Netflix.
• Movies being greenlit left and right.
• Bill Cosby is touching way too many people.
• Plus more…

::Who Said It::


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



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 comfy seat in front of your computer—and check out what's going on here in the Dace-Sphere. See ya next time!


Follow on Facebook: Mega Powers Radio | Fanboys Anonymous | The Dace Man Show | Nerd Court | Sports Talk Weekly | Addicted to Anime

The first official trailer for Ant-Man is here. The movie hits the big screen on July 17th as part of the Marvel Cinematic Universe's Phase Two. The movie stars Paul Rudd who plays Hank Pym, a thief who can use secret technology to shrink down to ant size. Corey Stoll also costars as the film's villain, Darren Cross, also known as Yellowjacket.

The trailer originally premiered during Marvel's Agent Carter, but you can view it below.

I originally thought the movie sounded ridiculous, but the trailer doesn't look half-bad. I'm also a huge Paul Rudd fan and am kind of excited to see what type of humor he will bring to the movie.

What do you think of the trailer? Will Paul Rudd play a good superhero? Leave a comment and let us know your thoughts.

What is up Dacetacular fan nation? The Dace Man is here to bring you some more movie news! FOX has been mighty busy this week, first releasing the new Peanuts trailer, and now word from the X-Men franchise.

Twentieth Century FOX made the announcement today that everyone's favorite Ragin' Cajun, Gambit, will make his solo appearance on October 7, 2016. This announcement now racks up more comic book movie releases in 2016 than Marvel, DC, and those sad sacks at Sony.

Channing Tatum is set to fill the shoes of Remy LeBeau in a script currently being penned by Joshua Zetumer, the dude who did the RoboCop reboot.

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 cybernetic implant—and check out what's going on here in the Dace-Sphere. See ya next time!

Follow on Facebook: Mega Powers Radio | Fanboys Anonymous | The Dace Man Show | Nerd Court | Sports Talk Weekly | Addicted to Anime

2015 began on a rather interesting note when Neill Blomkamp, District 9 and Elysium director, added more than a handful of gorgeous pictures to his Instagram and Twitter accounts. The pictures seemed to be concept art for a secret Alien sequel, which Blomkamp was allegedly working on without any studio's knowledge or approval.

The images depict Ellen Ripley (Sigourney Weaver) and Corporal Dwayne Hicks (Michael Biehn) working together again, a look at the mysterious Weyland Corporation, innovative takes on the infamous Xenomorph, the Alien Queen, and more.

#ripley #hicks

A photo posted by Brownsnout (@neillblomkamp) on Jan 1, 2015 at 5:49pm PST

Though it is not completely clear if the project, referred to as Alien Xeno, was indeed intended to be developed as a film, Blomkamp is a confirmed fan of the Alien franchise. Back in 2013, he told Comingsoon.net: 

"My favorite film of all time is Aliens. Period. James Cameron’s Aliens. What Elysium doesn’t have that I’d like to put into the next film is slime and eggs. It’s missing slime and eggs."

And Doug Williams - maybe I'll go back to it ....love the world

Ein von Brownsnout (@neillblomkamp) gepostetes Foto am Jan 1, 2015 at 9:44 PST

Awesome Art by Geoffroy Thoorens #hicks

Una foto publicada por Brownsnout (@neillblomkamp) el Ene 1, 2015 at 9:43 PST

And finally, my home desk #xenomorph

A photo posted by Brownsnout (@neillblomkamp) on Jan 1, 2015 at 8:54pm PST

Una foto publicada por Brownsnout (@neillblomkamp) el Ene 1, 2015 at 8:49 PST

#weyland corp

Ein von Brownsnout (@neillblomkamp) gepostetes Foto am Jan 1, 2015 at 5:56 PST

Woulda rocked. Was a mental stroll into the world Ridley Scott created.

Ein von Brownsnout (@neillblomkamp) gepostetes Foto am Jan 1, 2015 at 5:40 PST

Wtf?

A photo posted by Brownsnout (@neillblomkamp) on Jan 1, 2015 at 5:32pm PST

Blomkamp isn't clear if he ever pitched the project to Fox, but he did tell one of his Instagram followers: "Fox never said no."

Blomkamp's next film Chappie, about a robot that gains its own intelligence and emotions, will be released on March 6th.