Yesterday, 25/04/2020, Geek Pride lost one of it’s Editors, to Cancer.
Her name was Hani Fearon and she was only 30.
Hani was one of the original group who helped start Geek Pride and despite the tumult inherent in sites like ours, she was always there, always helping, always positive and every time I saw her.. always smiling. In fact, thinking about what I could say about her last night , I closed my eyes and the first image to enter my head was her smile.
It wasn’t toothy and wide, like some, more a warm, gentle, and affirmative one, framed wonderfully by her wide and beautiful bright eyes. Both bathed you in a welcoming warmth that couldn’t help but make you smile in turn when you saw her.
I have a lot of fond memories of Hani; her starting Geek Pride, the life bar tattoo on her wrist, her wonderful cakes and crafts, our first time meeting at Wales Comic Con, our charity events, and her round-ups of the Oscars and E3. But for some reason, and I don’t know why, my favourite one was a time she randomly appeared at Play Expo.
I was running around like a blue arse fly trying to sort things for our booth and was feeling slightly stressed. Hani, I had no idea was going to be there, but suddenly, in my tiz, I got a tap on the shoulder and there she was. Smiling, slightly shy, and waving. We spoke briefly, I gave her a big hug and said it was great to see her. We talked briefly and then she smiled, waved again, and went off to play some games.
It was a brief moment, a brief exchange but it was honestly great seeing her. I was stressed and in that moment her warm smile and shy demeanour made it all go a way and gave me clarity. I remember going back to the booth and telling them “I just saw Hani.” Only to realise that the reason I was off in the first place had been completely forgotten… I don’t even remember what I was stressing about now, just that I saw Hani.
She was a wonderful person and I, and everyone in Geek Pride who had the honour of meeting her, will miss her deeply. We lost one of the good people, too soon, but in our short time as friends, she was able to enrich my life and will have no doubt done the same to countless others of friends and family.
Thank you for everything Hani, thank you for you time, your passion, your reassuring smile. I’m lucky to have called you a friend and I will cherish the memory of you and your smile until my dying day.
Last weekend was the inaugural ‘D&D at Elvaston Castle’; a day of playing the tabletop roleplaying game Dungeons & Dragons (D&D) at Elvaston Castle. In total, there were nine DMs, each running games of D&D for five players. As such, tickets were strictly limited.
Elvaston Castle had set aside several rooms for the event, with tables covered in black cloth and decorated with stuffed animals and battery-powered lanterns. DMs also brought further props to accompany their games. Costuming was encouraged, ergo there were dozens of people in a variety of costumes, which added to the atmosphere.
The gothic grandeur of Elvaston Castle is an amazing venue for events involving the fantastical. The vaulted ceilings and delicate woodwork of the rooms are incredibly atmospheric. It is the finishing touches, like the pillars and double doors, which reinforce that it is no ordinary stately home.
As this was my first time as a professional DM, I suspect that I over-prepared the adventure. We had six hours in which to run a mini-campaign, which needed to have a beginning, a middle and an end.
A core design decision for the adventure was that it needed to be accessible for all players, regardless of how inexperienced they may be. Therefore, the scenario avoided established lore within the settings (of which there are many) and the use of complex characters. Instead, it incorporated local folklore, such as the Drakelow Vampires and the history of Elvaston Castle. It was there that I discovered how Charles Stanhope, the fourth Earl of Harrington, caused scandal when he married the much younger actress Maria Foote, how he became a recluse after they lost their young son and it is rumoured imprisoned his wife.
I took these historical elements to weave into a tale about grief and how it could be exploited; in this case by a vampire, as Derby is celebrating the 100th anniversary of Dracula being performed on stage for the first time.
The operations team at Elvaston Castle were kind enough to share a copy of the floorplans of Elvaston Castle, which I printed off and aged (using a teabag) as a prop for the players. This allowed me to set the game within Elvaston Castle itself, adding to the immersion of the game.
The player characters were created in advance, rather than spending time at the start creating characters, thereby reducing the amount of time to tell the story. Classic archetypes were used, such the half-elf wizard or halfling rogue, in order for the game to be accessible for all. A valid criticism could be that the characters were overly generic, but characters are defined by their actions during play rather than their character sheets.
Each player character was distinct from the others, with limited skills and abilities overlap, but did not delve too deep into specialist character classes or rare species. Magic items or weapons were also minimally used, as the focus of the game was on the characters’ actions, rather than items. Each character was Level 4, allowing them a degree of survivability, but without any of the powerful abilities from Level 5 onwards.
An additional element is that the player characters were an elite branch of the city watch, called SWAT (Special Wizardry And Tactics). This allowed me to give them direction and focus via their commanding officer (based on the Lord Lieutenant John Manners).
Before starting the scenario, there was a discussion of the themes and content of the story, which included historical child mortality and grief. When playing with friends, you already know what is and is not acceptable, but when running a game for complete strangers, we do not have that understanding.
It was initially nerve-wracking running a game for people that had never met each other. But, as everyone became familiar with each other and settled into the game, we started to relax. The game was structured into three acts. A short mini-adventure acted as an introduction to the style of play. This was followed by the core storyline, which kicked off with the players needing to infiltrate a black-market auction taking place at a high-society ball. A natural pause in the storyline allowed a break for lunch, before concluding the story as the player characters raced to retrieve a powerful magical item.
All of the games needed to finish by 4.00pm, as Elvaston Castle closes its doors at 5.00pm and time was needed to pack everything away. The later battles were streamlined and dropped a few hints in order to guide the players, but without doing it overtly so that it was leading the players, rather than letting the players lead the story. The encounter with the main villain commenced with fifteen minutes left, which meant there was time for the player characters to interact with the villain before combat. The game concluded with just a few minutes to spare, allowing us time to be there for the raffle.
There were some amazing prizes on offer from the raffle, including sword-fighting lessons from a local HEMA group and fantastic head pieces that would not have looked out of place in Lord of the Rings.
The staff of Elvaston Castle and volunteers helping at the event were all fantastic, providing a relaxed atmosphere to play D&D. Wyatt’s café at Elvaston Castle soon became busy, but there was a food festival on site, which came highly recommended.
The question is whether I would do it again and the answer is; most definitely. Where else could you play D&D in a venue as rich in atmosphere and history? Would I run the game any differently? Absolutely.
The whole event was a learning experience and I am already considering how the game could have been improved, as well as exciting new stories that could be told.
All photos are by Simone Stocks and are used with permission.
Doctor Who makes a grand return. After the mixed reception of the Chris Chibnall era, Russell T. Davies has returned in a big way. Being the head writer and driving force behind the revival in 2005, RTD knew he had a big job at hand. When Jodie Whittaker’s Doctor regenerated into a familiar face (David Tennant), it was clear Russell wanted a big comeback. 2023’s 60th anniversary specials was both a tribute to the show’s history and an introduction to the new Doctor; Ncuti Gatwa.
*Mild Spoilers Ahead*
With the backing of Disney, Doctor Who is now working with a higher budget and a potentially bigger audience. Being marketed as season one, this series begins with the Christmas special ‘The Church On Ruby Road’. Being the first Christmas episode since 2017, this appreciated by many long-term fans. The episode also introduced Ruby Sunday (Millie Gibson), a young girl abandoned by their parents on Christmas Eve. We had mystery, goblins and even Anita Dobson‘s Mrs. Flood breaking the fourth wall in a mid-credit scene. Russell delivered and the hype for the full series began.
Being only eight episodes long, the season is over quickly. Unfortunately, the opening episode ‘Space Babies‘ is middle of the road and rehashes a lot of story elements from 2005 RTD era Who. The opening scene, though hilarious, was the only highlight. ‘The Devil’s Chord‘ wastes a great premise. Despite Jinkx Monsoon’s excellent performance as Maestro, episode 2 just felt flat. There is an argument for how could an episode focused on The Beatles, not feature their music? We also do not talk about that terrible song at the end…
‘Boom‘ sees the return of Steven Moffat to writing duties, and he knows how to steer this ship to its correct course. Episode 3 delivers great tension throughout. The Doctor on a landmine for 45 minutes was genius. There are callbacks to previous work by Moffat in the show, including the church and the Villengard company. We also get an introduction to actress Varada Sethu, who will be joining the TARDIS crew next year as a full time companion.
A big highlight was ‘73 Yards‘. While Ncuti was still making Sex Education at the time, this allowed for possibly the most intriguing episode of the season. Doctor Who has never been shy to experiment, and the story of a curse impacting the companion throughout her life was haunting. A mysterious woman is always at a distance away from Ruby no matter what. Anyone who goes near the woman run away, but why? For what could have been a throwaway episode, it later becomes integral in a big way.
Next we had ‘Dot and Bubble‘, an episode that went with a Black Mirror vibe. We have seen technology go wrong in many shows, but this episode is genuinely unnerving. A society that lives on social media, few knowing anything but their screens. The themes of racism and elitism smack you in the face, especially on a re-watch of the episode, and consider all of the actions of Lindy Pepper-Bean (Callie Cooke).
With ‘Rogue‘ there is Kate Herron and Briony Redman as the only other guest writers for this season. But, the Loki Director and her writing partner produce a fun 1800’s romp with ease. Jonathan Groff stars as the titular Rogue, a love interest for The Doctor and one of the best guest stars in the whole season. Bridgerton fans will love the episode, as it certainly makes itself known as a homage to the show with a string arrangement of popular songs and the high drama.
Finally, the two-part finale throws everything in and more. ‘The Legend Of Ruby Sunday‘ begins with revealing the indentity of the mysterious woman following them through time. Former companion Mel Bush (Bonnie Langford) and UNIT Commander Kate Stewart (Jemma Redgrave) also return. The episode also deals with who is Ruby’s birth mother, using intricate technology. The episode’s conclusion finally reveals “The One Who Waits”, first teased in ‘The Giggle‘ last year.
“It was the wrong anagram”
‘Empire Of Death‘ begins with the ultimate evil released, as the TARDIS taken over and yet one mystery stops the complete annihilation of all life. The Doctor has to find out if this mystery can save the universe. Tales of the TARDIS ties in quite nicely to this episode. The BBC unveiled a new episode that deals with ‘Empire Of Death’ and a certain classic story. With the concluding revelation for this episode, it is some of RTD’s best writing to date.
Following from the excellent Christmas Special, this season of Doctor Who initially struggled to find its feet. However, the seeds planted in the earlier episodes helped the show as it reached its finale. Callbacks to a certain family member of The Doctor, the growing lore around the pantheon and knowing there is another mystery to solve. Although Ruby’s story appears to have concluded, that are now questions as to what happens with their character?
There are many burning questions left for fans to ponder. Who is Mrs. Flood? Will Varada Sethu be back as Mundy, or will she return as a new character? Will we ever find out who picked up the gold tooth that was holding The Master captive? There is a lot to ponder, but that is part of the fun. The build up to “The One Who Waits” works well, so lets see if Mrs. Flood or a potential Susan return gets the same attention.
The increased budget has allowed complex ideas to become reality. The time window was one of the most stunning visuals ever shown in Doctor Who. The costumes and make-up, especially the skull masks and bogeyman monster, are excellent. This season was also not afraid to go to dark places when needed. Leaving Ruby alone in ’73 Yards’ and losing everyone around her was hard to watch. The interaction between The Doctor and the unnamed woman in the finale was chilling; not the usual teatime fun.
Previous seasons of Doctor Who could see as many as eight writers contributing, but this season only has three. With Davies writing six of the eight (or seven of nine, including the Christmas Special) leads to great stories, but he also creates tales which just don’t do much. The beauty of Doctor Who was its various writers giving different voices and angles to the narrative in the previous seasons. Let’s hope that the next season will see greater diversity in the writing staff. Eight episodes go by fast, not allowing the arc a lot of time to breathe.
The biggest win by far was in the casting. Bonnie Langford shines as Mel, particularly in the finale. Jonathan Groff is a delight as Rogue and will hopefully return soon. There were no bad parts this season, but the highlight is definitely Ncuti and Millie in the lead roles. They are similar to David Tennant and Catherine Tate, as the duo bounce off each other and shine in every scene together.
While certain outlets claim Doctor Who is Too Woke”, it would appear that this corner of the internet has nothing better to do. Season 14 was a great collection of stories, with a few skips in its otherwise high quality. What is on screen is impressive, both from the acting stance and the visual aspect. The arc centring on the many appearances of actress Susan Twist is possibly one of Russell’s best pay-offs to date. It’s not a perfect season, but the show has found its feet once again. Let’s see what Christmas and 2025 bring for the show.
One of the fundamental joys of playing a roleplaying game (RPG) is that the players are not themselves. As such, the players can experience what it is like to be someone else in a completely different environment. By enabling participants to play someone else, RPGs are a natural tool for exploring gender identity (eg male, female, trans or non-binary) and sexuality (eg heterosexual, homosexual, bisexual, pansexual or asexual), as well as unconventional relationship dynamics.
RPGs, like Dungeons & Dragons, Traveller and Call of Cthulhu, are games where the players take on the roles of characters within the story. They are akin to stories of make believe, where the characters are not bound by the physical limitations of their players.
At their core, participants are able to embody any type of character within the setting of the RPG (it is unlikely – but not impossible – that a space marine will be found in a fantasy setting…) Players are no longer bound by the gender they were assigned at birth, or to conform with socio-normative relationships. Instead, the freeform nature of RPGs allows players a safe space in which they can create characters of different gender and sexualities, thereby allowing them to experiment in the safe space of an RPG’s scenario with different ways of expressing themselves.
None of this is new. RPGs have always been a collaborative fantasy free from the constraints of reality. They are a crucible for experimentation; free of judgement and preconceptions, because at their core they are ‘just a game’.
Players can portray characters of any background they like, regardless of gender or sexuality. It is akin to trying on clothing to see how well it fits. Although players assume the role of a character within the game, they need not embody the character’s values or attributes in reality. Instead, it becomes an educational experience for the participant, where they can incorporate different perspectives and points of view, which they might otherwise not be able to experience for themselves.
By playing different characters within a variety of settings, players get to experience moments of self-discovery. They are able to experiment with exhibiting different personalities and alternative ways of interacting with people.
Yet, for all this insight, the liminal nature of RPGs means that there are no consequences in the real world. The character is different to the player. When the game is over, the shared game world is dissolved. Thus, RPGs allows players to experience different outlooks and identities within a safe environment.
Unlike MMOs and LARPs, which typically involve interacting with strangers, tabletop role-playing games are usually played with friends around in a table. They provide a safe and supportive environment. As a consequence, tabletop role-players generally experience less abusive behaviour than they would online (although that does not prevent gentle mocking and mirth whenever a critical failure is rolled).
Ultimately, role-playing games create liminal spaces in the shared imaginations of the participants. They are games that are played outside the normal pressures of modern life, allowing players to reflect on what is, and reimagine what might be.
If you’re feeling down about the recent collapse of the Insomnia Gaming Festival, the Odyssey Video Games Festival 2024 might be just the convention to lift your spirits. Geek Pride recently had the pleasure of speaking with the organisers behind this highly anticipated event. Set to take place on 6th and 7th July at the Crown Hotel in Harrogate, the Odyssey Festival promises to stand out on the UK convention scene.
Unlike many other conventions that focus heavily on commercialism, Odyssey is a unique experience, centred on community and the shared passion for gaming. It’s not just a convention, but a celebration of gaming culture.
A passion project with heart
Odyssey isn’t just a business venture for its organizers; it’s a labour of love. Their dedication to creating an inclusive and engaging event is evident in every detail. They’ve made sure that the convention isn’t about how much money you can spend, but about the quality of your experiences. This commitment is reflected in the ticket prices, designed to make the festival accessible to all and the inclusion of dedicated chill-out areas for relaxation and connection.
Adding to the community spirit, is a town-wide scavenger hunt with collectable monster cards based on local children’s designs. Participants can search for these unique cards throughout Harrogate, culminating in a battle with the big boss;an exclusive foiled card available only at the convention. This interactive activity is not just a part of the festival, but a chance for players to be a part of it, to explore the area, connect with others and have fun. It highlights the festival’s focus on local creativity and fostering a sense of adventure and collaboration among attendees.
The organizers are hosting a series of community events in the run-up to the main festival. These pre-festival activities are crafted to bring people together, ignite excitement, and strengthen the local gaming community, making Odyssey more than just a convention.
Exclusive products and merchandise
One of the most exciting aspects of Odyssey is the opportunity to get hands-on with exclusive products. Such opportunities are becoming increasingly rare in the UK convention scene. Attendees can expect high-quality prints and designs created with the wearer in mind, ensuring that every piece of merchandise is stylish and functional.
An independent project with major backers
Despite being supported by corporate sponsors, Odyssey remains an independent fan project. This unique blend of support and independence allows the organisers to bring their genuine passion for gaming to life, creating an event that feels both professional and personal. The organisers’ commitment to the gaming community shines through every detail, from the meticulously planned events to the welcoming atmosphere.
Event Highlights
Odyssey offers a range of exciting activities and attractions for gamers, families and tech enthusiasts:
Live Fortnite tournament: Compete in a thrilling Fortnite tournament for a chance to win a top-of-the-line Odyssey Gaming PC. F1 2024 Racing challenge: Race against the pros at Silverstone and win fantastic F1 2024 prizes. Ultimate Street Fighter 6 tournament: Test your skills in daily Street Fighter 6 tournaments with fantastic prizes. Classic arcade zone: Relive the golden age of gaming with various classic arcade games. Retro console area: Challenge friends on retro consoles and enjoy a nostalgic gaming experience. Indie games showcase: Discover innovative games from local indie developers and learn about breaking into the gaming industry. Online Safety Q&A: Attend sessions on online safety presented by HSBC and North Yorkshire Police. Exclusive game screenings: Get a sneak peek at upcoming games and industry insights. Gaming merchandise: Explore unique gaming merchandise that is perfect for any gamer or collector. Live RPG plays: Immerse yourself in live RPG adventures in the Secret Lair. Family zone: Relax and recharge in the family zone with delicious food and drinks.
Join the celebration
Odyssey is set to be the most exciting gaming event this summer, with a mission to unite gamers, developers, and enthusiasts, this festival celebrates the joy of gaming and explores the latest industry innovations.
Geek Pride is offering one weekend family pass (two adults and two children over 7 years old) worth £75 to one lucky winner of our charity raffle!
Tickets are £1 each, or 11 for £10, and the prize winner will be drawn on Friday, 5th July at 12pm
Electronic Entertainment Expo (E3) left a hole in video gaming following its demise. With an ever changing world, the way we consume gaming news and updates needed to change too. The Summer Games Fest is part of the digital future we have heard so much about. Developers and publishers share their work through the event, without incurring the costs or logstical challenges that the physical events would bring.
The trade show still lives on with UK Games Expo, Gamescom and PAX to name a few examples. While they may not be as prolific as E3, they continue to enjoy hundreds of thousands of fans every year. However, thanks to the internet, the way we experience and play video games has evolved greatly. But is the potential “digital future” a good thing? Is physical media as we know it doomed?
Originally, E3 was one of the prominent ways for game developers to have gamers play their demos. The official Playstation magazine had demo discs, providing a way to try a new game before making a purchase.
With modern internet speeds, most demos for games are available within a matter of minutes. Whilst a demo will begin from the start of the game, many will allow you to carry over your progress, should the player choose to purchase the full release. This avoids replaying the opening section and throws them straight back into the action. Steam offer a full refund if people play for less than two hours. This is a great incentive for titles that don’t have a playable demo.
Up until the early 2000s, video games were primarilyreleased on physical disc and cartridge. Online sales were present but had challenges such as slow download speeds and unreliable connections. The broadband age resulted a wider investment in digital media. Instant access to a game from the comfort of your own home was a big step for PC gaming. Over time, console games have seen their sales equally split between physical and digital media. On the PC side, very few titles now get a physical release. A digital future was seen in PC before it became the talking point it is today.
Digital releases of video games provides many benefits to gaming companies. A digital title lower scosts for distribution. Many indie titles will also use early access to build interest within gaming communities. Recent titles Hades and Carrion both received high review scores, with Hades in particular winning multiple Game Of The Year awards.
While indie developers rely on digital to get their games out, AAA companies are now breaking away from physical releases. Sony and Microsoft have both released variations of their current consoles that have no disc drive. The XBOX Series S saw praise for bringing next-gen gaming at a discount price. Many outlets sold the console as a package with Game Pass, giving it almost as many sales as the Play Station X. Microsoft have chosen to not develop physical discs for recent games such as Hi-Fi Rush and Senua’s Saga: Hellblade II.
In 2024, GAME announced it was to end trade-ins, which had previously allowed gamers to keep costs down with their purchases. Game also confirmed they were ending their Elite Membership which allowed subscribers to get up to 10% back in vouchers on purchases. Game has decreased its high street presence in recent years, with many of their shops relegated to the back of Sports Direct stores. With fewer places to obtain physical games, online shops and digital store fronts are now more important than ever.
The previously mentioned Game Pass offers a Netflix-style subscription service for gamers. For a monthly fee, subscribers can download and play over hundreds of titles. This offers fantastic value for your money. The similar PS Plus also follows the same service, presenting many first party and third party titles in its service. Game Pass brings all its first party games to the service on the day of their release, whereas PS Plus is usually adding a title 12 months later. There are also streaming games, where no download required. A robust internet connection today opens gaming like never before.
Netflix users can see titles disappear at any time, which is also true for the video game subscriptions. Xbox Game Pass has maintained the majority of its first party releases on the platform, but regular rotations see other titles drop. Playstation also has the same issue. A game removed from the service means there is no guarantee you will ever play it again. In comparison, the Nintendo Switch Online service has so far seen its library continue to increase.
The biggest issue when it comes to the digital age is video game preservation. Away from subscription services, many video games are available to purchase on their own. However, factors such as licencing and developers shutting down can see games disappear from the online storefronts. Recently, live service games such as Babylon’s Fall, have seen their servers close less than a year after its release. Delisted titles, such as Marvel’s Avengers, means they are no longer available to purchase it digitally.
In recent times, more games have received HD remasters or full remakes in an attempt to bring them to a new generation. In 2021, Rockstar Games brought back Grand Theft Auto III, Vice City and San Andreas with reworked graphics and updates. The release of these titles saw their counterparts delisted, which upset many fans. Recent remakes such as Resident Evil 4 and Dead Space expanded from their original titles and created experiences that were both new and familiar.
There are many titles that cannot be played on current generation consoles or PCs. Microsoft has been praised for the backwards compatibility offered by the Xbox Series X, as the console can play discs from all four generations of Xbox. To experience older titles, an older console or computer is needed, which can incur a greater cost. Owning a current PC may be unable to play physical PC games, due to lack of disc drive and changes to system requirements.
Video gaming has recently seen issues with preservation of newer titles. Microsoft have made numerous titles digital-only. If the games were to ever be delisted, they may be lost forever. Physical release can be kept forever, but there is no guarantee of their playability if the title requires online servers. Older systems no longer in production will eventually break down and become harder to find.
No matter how far digital goes, many will still prefer physical media. Remedy recently changed their mind and announced a disc release for Alan Wake II. Companies such as Limited Run Games offer physical editions to games that would normally be relegated to digital download. These often come with a hefty price increase for the physical edition over the easily obtained digital.
While preservation may be an issue with many companies, gog.com specialise in providing access to many older titles. The site offers an opportunity to rediscover classics games at a reasonable price. At the time of writing, Thief: Deadly Shadows and Tomb Raider: Legend were both £1.09. GOG have made a commitment to keep games that can no longer be found elsewhere playable.
Video gaming is a passion for many of us. Some are happy to play games through their phone, some may like to blow the dust out of a cartridge. The world is never going back to gaming as it used to be. The various internet platforms that enable us to discover new games and purchase them will always be here. However, physical media endures, but times change. If companies can agree to take steps to ensure older titles are available through different channels, then our preservation worries will be unfounded.
The digital future is here, but are we ready for it?
Gen V, which was one of our favourite shows of last year, is not a subtle series. Like its parent show The Boys, people are doused in blood and other bodily fluids, bodies are torn apart and superheroes engage in abhorrent activities. The series takes celebrity culture and applies it to the superhero genre, delivering some of the most over-the-top scenes. And yet, Gen V also portrayed on television one of the most accurate representations of what it means to be transgender.
Enter Jordan Li. Jordan seems to have everything; smart, handsome and a star pupil at Godolkin University. However, Jordan can switch genders, appearing as either male or female. In their male form, Jordan is nearly indestructible. As a female, Jordan can fire energy blasts and has superhuman agility.
It is worth pointing out that the character of Jordan is not transgender in the typical sense. Jordan is described in Gen V as being bi-gender, in that they can instantaneously switch the gender of their body. Jordan is portrayed by Derek Luh (male form) and London Thor (female form). However, the writers of Gen V use Jordan’s bi-gendered nature as an analogy for transgender issues.
“I’m no bigot and I get a lot of kids don’t have a choice, but you do. You can be a boy forever if you want. Sometimes I think you change into a girl just to spite me.”
Paul Li (played Peter Kim) in Gen V episode #ThinkBrink
It is mentioned several times throughout Gen V that Jordan should be ranked higher. At the start of the series Jordan was ranked #2, but when Luke (who was ranked #1) is killed, Jordan is demoted to #5, despite being able to withstand Luke’s rampage for a short while.
It is later implied in the series that someone who can change their gender is insufficiently marketable by Vought, the corporation that creates superheroes and runs the university. Therefore, Jordan’s abilities are never fully acknowledged, just because of the potential for reputational harm from certain demographics in response to Jordan’s ability to change gender.
Jordan’s discussion with their parents in the episode #ThinkBrink is particularly moving. The writers deliberately and delicately portrayed the nuanced complexities of coming out to family members who may not accept that someone is transgender.
“I’m just the kid, addicted to their PlayStation, goes to Olive Garden just for the breadsticks, who binges Property Brothers, I’ve never changed Dad. I’ve always just been me.”
Jordan Li (played London Thor) in Gen V episode #ThinkBrink
The scene is short, but packs a lot in. We have the declaration of how proud the parent is, just because their child is the gender they were assigned at birth. We have claims that the parent is willing to compromise, but without doing so, and we have the ultimatum that they should remain their original gender.
It is a powerful scene, which London Thor portrays brilliantly, and Jordan’s final statement of defiance is a moment of beauty. The ache that the exchange caused Jordan is apparent, but their determination to be true to who they are is just as powerful. They are who they are, and their refusal to accept their parents’ denial is wonderful.
Amidst all of the violence and bloodshed in Gen V, Jordan Li’s exchange with their parents is a touching example of the struggles that transgender people experience every day. It is credit to the writers and actors for sensitively presenting the complex realities of coming out in one of the most powerful scenes of Gen V.
The UK Games Expo is the biggest tabletop gaming convention in the country. Unlike other conventions, where the focus is traders and merchandise, the UK Games Expo remains dedicated to celebrating gaming and showcasing the hobby.
The UK Games Expo is now the third largest gaming convention in the world, with people travelling from all over the world to be there. It should therefore come as no surprise that this year was the busiest it has ever been.
In previous years, the Friday was usually a relatively quiet day. However, this year the Friday was just as busy as the Saturday. There were times when the exhibitor halls became incredibly crowded due to the sheer number of people. That said, Sunday remained comparatively quiet, which at least gave the exhibitors some breathing space.
The UK Games Expo is effectively divided into different sections. Two halls at the Birmingham NEC were dedicated to exhibitors and traders, and a third to gaming. Meanwhile, the Hilton Hotel had dozens of rooms set aside for some of hundreds of gaming sessions on offer; such as games of Tales From The Loop and sanctioned tournaments.
The UK Games Expo is huge. Whilst it is possible to go there for just a day, a lot would be missed. It can take a whole day to see all the exhibitors and traders, but there are a lot of other events throughout the weekend.
John Robertson was there with his live action video game The Darkroom. He also played through Deathtrap Dungeon onstage, with the author Sir Ian Livingstone. Sir Ian was also signing his book Dice Men; a fascinating insight into the creation of Games Workshop – and the country’s gaming industry. Steve Jackson of Steve Jackson Games was also present, talking about their upcoming games.
For many, the highlight of the weekend was exploring the exhibits, which ranged from household names like Rebellion Unplugged and Catalyst Game Labs to independent games developers. There were also authors and artists, as well as industry-focused manufacturers and project fulfillment managers.
It was interesting to note that since last year’s OGL issue, companies have returned to using the 5E system, albeit with some caution. There was some discussion about potentially moving games currently using 5E to a new game system.
The independent studios are where the true innovation in gaming lies, and there are some sophisticated games being developed. Flick Fleets is a fun space combat game that has a surprising amount of depth, whilst Mappa Mundi is an exploratory-based roleplaying game where none of the player characters can harm their opponent. There are also smaller pocket-sized roleplaying games, such as the wonderfully silly Samurai Goths of the Apocalypse.
The UK Games Expo remains the biggest and best convention in the UK dedicated to celebrating tabletop gaming in all its forms. Anyone with even just a vague interest in gaming will find something to enjoy. It was great to see families being actively welcomed, with a dedicated family gaming zone and children under ten having free entry.
Jessica Jones: Breaking the Dark by Lisa Jewell is the first in a new series of crime thrillers by Marvel. Private investigator and former super hero Jessica Jones is hired to investigate the sudden change in behaviour of a pair of twins. Traveling to the UK, Jessica uncovers a plot to ‘make the world a better place’, without caring who gets hurt in the process. Can Jessica unravel the mystery before it is too late?
Although based on the superhero comic book series Alias, Jessica Jones: Breaking the Dark is a detective thriller. At the core of the story is a delicious mystery that keeps the reader gripped until the final page. Although her superpowered strength is acknowledged, there is little in the way of Jessica Jones using her abilities. Instead, she relies on her wits and investigative skills.
The story is set in Marvel universe, without explicitly stating which particular universe (there are many). Breaking the Dark feels aesthetically similar to Marvel’s former Netflix shows, as the novel includes appearances by Luke Cage and Danny Rand, but also characters from Alias.
‘She throws him what she really hopes is a kind smile, but she is also aware that kind smiles aren’t a part of her physical repertoire, and sure enough Gavin’s face drops, and he says, “You didn’t have to be so patronizing. I was only trying to be friendly.” Jessica breathes in hard, holding back the urge to really show him patronising.’
Jessica Jones: Breaking the Dark, by Lisa Jewell
The novel is split into three sections, beginning and ending in Jessica’s native New York City. It is in the second section, when Jessica travels to the UK, where the writing truly sings, as Jessica is very much a fish out of water. Jewell wonderfully contrasts Jessica’s New York background with the provincial life of a traditional English village.
Flashbacks are peppered throughout the narrative, which soon identify the main villain of the story. Whilst the flashbacks partly remove some of the book’s sense of mystery, it remains a fascinating tool for exploring the villain’s motivations. Reading the flashbacks first before reading the rest of the book could be an interesting exercise.
Breaking the Dark’s overarching themes are used to explore a variety of subjects, from social media to teenage life. This fitted well with the story, but lacked subtly on occasion. However, the choice of themes makes it a down-to-earth and relatable story. We do not know how it feels to be superstrong, but we all know what it is like to be a teenager.
One of the elements of Breaking the Dark is the use of mind control against Jessica. The experience of this is used to explore Jessica’s past trauma from when it was previously used against her. However, the use of mind control also feels derivative of what has come before. It would have been interesting to see Jessica encountering a different form of coercion.
“What sort of clothes do his fans wear? What do they look like?” He looks her up and down, at the black-on-black-black outfit she wore to meet Amber, and shrugs. “Kind of like you, I guess,” he says. “Except young.”
Jessica Jones: Breaking the Dark, by Lisa Jewell
Breaking the Dark is an incredibly well written thriller, with an awesome mystery at its centre and some distinctly unsettling moments. Humour is carefully used to contrast these darker points with moments of levity. Lisa Jewell obviously knows and loves the character, portraying Jessica Jones faithfully and honestly.
Overall, Jessica Jones: Breaking the Dark is a fantastic debut novel for the Marvel Crime imprint. Although set within the Marvel universe, it remains sufficiently accessible for all readers. The core mystery is carefully unravelled and the characters are realistically portrayed.
The forthcoming Marvel Crime novels Luke Cage (written by S.A. Cosby) and Daredevil (written by Alex Segura), have had a high bar set for them by the strength of this novel and it will be interesting to see how they develop.
HorrorCon is one of the UK’s largest conventions celebrating horror. Held every year near Sheffield, it has become a regular event for fans of horror and things that go bump in the night.
The event is held in the industrial-gothic edifice of the Magna science museum. The choice of venues is inspired, as the colossal former steelworks makes for a wonderfully atmospheric location.
Those claiming that horror is dying have not been to HorrorCon , as the event was filled with fans of all ages. It was so busy that – on the Saturday – cars were being turned away from the car park. Fortunately, the surrounding roads were quiet, on-street parking was free and the weather was distinctly pleasant, which made the short walk no hardship.
This year’s special guests featured icons from the world of horror, including David Morrisey, Britt Eckland, Griffin Dunne, Mira Sorvino and Kane Hodder. There seemed to be a nostalgic slant to the selection of guests, as the focus seemed to be on what was, rather than what is.
A late addition to HorrorCon was Mira Sorvino, the star of Mimic and Replacement Killers, but her presence was not widely publicised. It was especially disappointing that Sorvino was not interviewed on the stage.
Much of HorrorCon took place in the main hall, which was dedicated to guest signings and trader stalls. Rooms in Magna were also set aside for guest interviews and as a theatre for screening short horror films.
The interviews were very good overall and hosted by an interviewer who asked some excellent questions and clearly knew his subjects well. However, the interviews felt too short, with the guests having to rush off at the end.
There were a lot of traders; so many that they were spread into the surrounding corridors and smaller rooms, which meant some traders were only found after exploring the event. There was also a lot of variety of what was on offer, from taxidermy to tattooists, as well as RPGs, authors and artists. A greater presence from horror authors, plus interviews with them about writing horror fiction, would have added a lot to the event.
HorrorCon took over Magna, but navigating the building felt like exploring a maze. There were signposts indicating where everything was, but it could be quite easy to miss where things were happening. There were maps in the event programmes, but they were not effectively distributed.
As the afterparty at the Showcase cinema in Sheffield was on the Saturday night, and the guest interviews were same on both days, returning on Sunday did not feel necessary. It is probably for this reason that Sunday was much quieter. The only other variation between the two days was the screenings, which included a special screening of the documentary Children of the Wickerman on the Saturday and a Q&A with Cult Screenings (makers of the RoboDoc documentary) on the Sunday.
Everyone, from attendees to traders, was incredibly friendly. There was a genuine sense of coming together to celebrate a shared passion. However, there was little in the way of a communal gathering space. The food hall soon filled up and had long queues. The bar was in the main hall next to the traders, which only added to the crowding. Thankfully, due to the glorious weather that weekend, attendees migrated outside to get away from the crowds.
Overall; HorrorCon was a fun day out. With greater consideration and focusing on more than just film and television, it could have been excellent and offer a satisfyingly rounded event that celebrated all aspects of horror.
Whilst many are still recovering after Sci-Fi Weekender (SFW) last month (reviewed here), plans are already being made for next year’s SFW.
Unlike other conventions, SFW is more akin to a festival, where people descend on a caravan park in Great Yarmouth for a weekend-long celebration of science-fiction, fantasy and horror. The days are filled with a variety of interviews, panels and gaming, whilst the evenings are filled with live music. John Robertson, of the Dark Room, once described SFW as “Space Butlins”, whilst others simply refer to it as “Geek Camp.”
Headlining next year’s event will be actor Paul McGann. Most famous for playing the 8th Doctor in Doctor Who, McGann has also starred in Withnail and I and Alien 3. Joining him will be variety of actors, including Daphne Ashbrook, who played the 8th Doctor’s companion, as well as appearing in Star Trek: Deep Space Nine and other shows.
Cosplaying will be coming to the fore once again at SFW, with the cosplayers Tabitha Lyons and Samii Jinx. They will be presenting a series of talks and panels, as well as hosting cosplay workshops and live demonstrations.
It is never SFW without live music and 2025 will feature Sci-Fi band. Paying tribute to Star Wars, the SciFi band have a huge repertoire of songs, and an eclectic mix of musical styles that has seen them appearing at Star Wars events and exclusive parties worldwide.
John Robertson will also be returning with his award-winning live-action videogame The Dark Room, which is best described as a combination of comedy and retro gaming compered by a gloriously deranged heavy metal host.
Another first for SFW will be Life Sized DnD. Combining atmospheric scenery, exciting stories and engaging soundscape, players explore a life-size dungeon in order to experience what it be like to actually be in a D&D Game. It is like LARP, but with giant dice.
The SFW Awards ceremony will take place on the Thursday. There will also be the authors, cosplay competition, retro gaming, board gaming and the usual glorious insanity that can only be found at SFW.
2025’s Sci-Fi Weekender will be held on 20th-23rd March, and tickets are selling fast for what promises to be an amazing geek fest.
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