Tagged: game

PRO SE ANNOUNCES NEW STAFF ADDITIONS FOR 2012!

  • News
  • January 1, 2012
Pro Se Productions, known for its quality books and magazines since coming on the New Pulp scene in 2010, announced today that due to the company’s past success as well as ambitious plans for 2012 and beyond, new positions have been added to the Pro Se Productions staff roster.
“In order to,” Tommy Hancock, Partner and Editor in Chief of Pro Se stated, “not only continue to produce at the quality and level we have been, but to continually improve and exceed that, it has become necessary to spread the work around a bit.  Fortunately there are those who support and believe in Pro Se’s goal of providing the best possible New Pulp fiction it can that have agreed to fill these positions.   They are no strangers to the company and have proven themselves in various other capacities, mostly as writers.  In at least one instance, we are finally giving a title to someone who Pro Se would not be what it is today without.”
The new staffers and their positions are as follows, according to Hancock-
Director of Art and Design- Sean E. Ali.  Hancock said, “This is a position that Sean has had with me since long before Pro Se existed, along with several others like sounding board, critic, friend, and others.  Sean is one of the best designers in New Pulp today and proves that by upping his game with every single new work Pro Se puts out.”
EBook Format and Design Consultant-Russ Anderson.  According to Hancock, “Russ is a godsend in that this is a direction Pro Se has been aimed at for a while.  Now we’re able to pull the trigger and Russ is firing out our eBook versions at a good clip and great quality as well.”
Assistant Editor-Nancy Hansen.  Hancock stated, “I can’t put into words what sort of support Nancy has been as well as the fact that she is one of the most prolific and consistent writers I know.  And there comes a time when the right person presents himself or herself to any EIC that he has to say ‘It’s time to share.’  It’s way past time that I finally took Nancy up on all her offers to help and could think of no one better to assist me.”
Copy Editor-Don Thomas.  As Hancock put it, “Pro Se looks to continually improve and editing is one area where every single publishing company in the world can always do better.  As a part of that we’ve brought on editors to handle specific duties.  Don has been with Pro Se since before our first magazine hit the stands and has a commitment not only to Pro Se, but also to New Pulp.  Handling spelling, grammar, and other basic copyediting is something he has already tackled with dedication and persistence. “
Magazine Editor in Chief -Lee Houston, Jr.  Hancock reported, “Again one of those who has been with Pro Se since our first call for writers, Lee is an amazing individual.  He tackles every project with excitement and passion and wants only the best from himself and Pro Se.   He definitely displayed a great work ethic as a writer and as a genre magazine editor and has already brought that level of ability and dedication to this new position.”  Houston oversees Thomas’ work on the magazine as well as Frank Schildiner, magazine editor.  “Frank,” Hancock added, “is a top hand and continues to prove an asset to Pro Se’s magazine line, especially now that we have streamlined it to one title.”
Pulp Poetry Editor-Megan Smith.   “This,” Hancock explains, “is a position that we created for two reasons.  One is we get more requests than you would think for poetry, both in book and magazine form.  One of the first queries we got was whether or not we published crime poetry.  We didn’t then, but now we want to.  The other reason is we have the person perfect to head up this potential new line already working with Pro Se.  Megan is an up and coming writer, known primarily for Perry Lell from Pro Se as well as giving her face and skills to The Pulptress, a spokesmodel for Pro Se and New Pulp.  Megan is also a fantastic poet and her real passion lies in working with others interested in that.”  More details will follow, according to Hancock, but there will be at least one magazine issue devoted exclusively to Pulp Poetry from Pro Se this year with Smith at the helm.
Other staff members already working with Pro Se include Hancock (Partner and Editor in Chief), Fuller Bumpers (Partner and Chief Executive Officer), and Barry Reese (Submissions Editor).
“These additions,” Hancock noted, “are not simply to look like we’re bigger than we are.  Pro Se has literally grown tremendously in the last year and these positions have become necessary.   We are also considering other positions as well, related primarily to marketing and promotions, but that’s an ongoing process.”
To follow or get more information on Pro Se, check out www.prosepulp.com and www.pulpmachine.blogspot.com.

The Lone Ranger Returns With A Vendetta

  • News
  • October 4, 2011
lonerangervendetta1-7951361
Cover Art: Douglas Klauba

New Pulp Author Howard Hopkins confirmed the announcement on Amazon today that he has written a new The Lone Ranger novel for Moonstone Books. The Masked Rider of the Plains rides again in a gritty tale of the vengeance from out of his past. The paperback preorder price is $4.99 with a great cover by Artist Doug Klauba.

http://www.amazon.com/Lone-Ranger-Vedetta-Howard-Hopkins/dp/1936814153/ref=sr_1_1?s=books&ie=UTF8&qid=1317752878&sr=1-1

The novel is Black Horse Western length, the first in a new line from Moonstone books. Look for Howard’s novel The Golden Amazon: Ripper, Burning Bright coming from Moonstone as well.

About The Lone Ranger – Vendetta:

The Masked Man in a brand-new adventure! From out of the past comes a mysterious killer systematically murdering anyone with a connection to the Masked Rider of the Pains former identity. When all signs point to Butch Cavendish, a man long dead, The Lone Ranger finds himself trapped in a deadly game of cat and mouse with the life of his faithful Indian companion hanging in the balance!

For more on Howard Hopkins, visit http://www.howardhopkins.com/.
For more on Moonstone Books, visit http://www.moonstonebooks.com/.

MINDY NEWELL: Go, Giants! And You Too, DC!

newell-column-art-111003-6498284

Just some rambling…

DC’s New 52 made the New York Times again. The title of the article is “So Far, Sales For New DC Comics Are Super,” by George Gene Gustines and Adam W. Kepler was published on Saturday, October 1, 2011 issue, and was featured on the front page of the Arts Section. According the article, the first five weeks of DC’s reboot of its universe has increased “the sales of DC Comics by leaps and bounds.” The first issue of the new Justice League – which the authors call DC’s flagship book. Really? I would have thought it was Superman, since the Son of Krypton is the flagship character. But what do I know? – anyway, the first issue sold “more than 200,000 copies, compared with the roughly 40,000 for each of the last few issues of the old book.” Well, I hope it keeps up, but these are the first issues. I think it’s a little early to call it a win – after all, the NY Giants just pulled out a win over the Arizona Cardinals in the last three minutes of the game.

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Upcoming Comics To Video Game Releases

  • News
  • September 7, 2011

This year has seen a ton of comics-to-feature-film releases, and the video game market is not different.  However, the trend to games doesn’t always yield positive results, as many are done as quick cash-ins to support the film releases (“[[[Thor]]]”, “[[[Green Lantern: Rise Of The Manhunters]]]”).  However, every so often, a tie-in turns into a gem (the latest “[[[Captain America: Super Solider]]]” game was a pleasant surprise), but when they work best is when they are using original material to tell the story.  There are three titles coming out later this year that gamers and comic fans alike should be looking forward to.  Below, you’ll find the most recent trailers for “[[[Batman: Arkham City]]]”, “[[[Spider-Man: Edge of Time]]]” and “[[[X-Men: Destiny]]]”, all due out in the next coming months.

[[[Batman: Arkham City]]]

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FORTIER TAKES ON CLIVE CUSSLER (?) AND ‘WRECKER’

  • News
  • September 4, 2011

ALL PULP REVIEWS by Ron Fortier
THE WRECKER
By Justin Scott (& Clive Cussler)
Berkley Books
562 pages

Several years ago best selling writer Clive Cussler created a new turn of the century hero in Isaac Bell, an operative for the Van Dorn Detective Agency in the early 1900s. Bell appeared in Cussler’s excellent novel, “The Chase.” It is the one and only Isaac Bell adventure Cussler has ever written, although there are two more currently on the market with a fourth on the way all bearing his name on the covers. But then again, as most book lovers know, covers do lie.

So here’s more pulp history. Publishers would create characters then hire writers to spin their adventures. Aware their demands for monthly stories would be too much of any one scribe to produce, they would hire several and print their work under a house pseudonym. That’s why all of Walter Gibson’s great Shadow novels were published under the by-line of Maxwell Grant, because he did not write all the Shadow adventures. Likewise, even though Lester Dent did write the majority of Doc Savage tales, he did not write them all. But they were published under the bogus house name of Kenneth Robeson. This was an established practice of the times and as long as their checks didn’t bounce, most pulp writers never quibbled about such aesthetics as fame and glory.

Jump ahead to the early 1980s and this established deceitful tradition was suddenly given a new spin by the publishers’ marketing departments when they realized certain bestselling authors’ names have what is commonly referred in the advertising game as Brand Recognition. That simply means that over a period of time these writers (Stephen King, Dean Koontz, John Grisham, Tom Clancy, Clive Cussler to name a few) have created, via their books, an army of loyal fans numbering in the thousands. Fans who will buy anything with their names on it, regardless of the plots, themes, genres etc. If it says Clive Cussler on the cover, X number of thousands of copies are guaranteed to sell. Thus for Cussler’s publisher the logical next step was to get him to write more books every year to keep those sales coming in on an annual basis. After all the book business is no different than any other, the bottom line isn’t art, its profits.

Unfortunately they soon discovered that poor Cussler didn’t want to be chained to his PC twenty-four hours a day, seven days a week. The guy very much wanted to eat, drink, sleep, spend time with his loved ones and actually have a life. What’s the point of making all this money if he couldn’t have time to enjoy it? Such an awful dilemma to have. So what’s was the solution that placated both the writer and the publisher’s needs at the same? The answer, most likely first originated by some truly ingenious marketing manager, was to use the famous author’s name but hire someone else to do the actual writing. We are not talking about co-writing here, although that is what these money hungry publishers would like you to assume. Oh, no, they went out and hired other writers to take over the series created by the big name authors and then let them write them solo.

Of course not being privy to these inside machinations, we can only speculate. As a reviewer who does enjoy Cussler’s work, I’d like to believe that when he first began whipping up all these spin-off series from his Dirk Pitt books, he did take some time in overseeing the creation of these new concepts and did investigate, as much as time would allow him, who these new writers would be. He may even have contributed an occasional plot or two in the beginning. But that’s it, readers. At present Cussler has his name on a total of five on-going series and the I’m guessing the only one he actually any writing on are the Dirk Pitt books which he now co-authors with his son Dirk Cussler.

The Kurt Austin adventures, the Fargo Adventures, the Oregon Files and now the Isaac Bell adventures are handled entirely by hired guns. If the books are still good, is this a bad thing? Not necessarily. But it remains a deceitful trade practice this reviewer is getting more and more tired of because it does rob the real authors from the full praise they deserve. Thus, I for one, will from this point on list the names of the true writers over those of the “brand name” celebrity. That said, let’s look at “The Wrecker” by Justin Scott.

The year is 1907 and Southern Pacific Railroad is on the verge of completing the last section of its Cascades express line. It is a project the company is heavily invested in and should it fail would mean their ruin. When a brilliant saboteur known as the Wrecker is wreaking havoc and destruction on the line, causing multiple deaths in the process, the company is thrown into turmoil. Finally the president and owner, Osgood Hennessy, hires the famous Van Dorn Detective agency to hunt down Wrecker and bring him to justice before he totally destroys their operations. Because of the prestige status of his client, Joe Van Dorn assigns his best agent, Isaac Bell, to the case and thus the hunt is on.

This book is a fast paced thriller pitting two cunning intellects against each other, with the Wrecker having the advantage as his true identity is unknown to the determined investigator. From one end of the sprawling continent to the other, Bell and the Wrecker play a deadly cat and mouse game like Grandmasters at a chess tournament, each moving his pieces skillfully with deadly intent. Soon both are aware there can only be one victor in this contest; only to who will survive their final conflict. “The Wrecker” is a truly magnificent historical adventure with a relentless pace as speedy as the trains it describes populated by noble heroes and dastardly villains. If you enjoy solid adventure with an authentic historical background, this is one book you do not want to miss. Kudos to Mr.Justin Scott, we can’t wait to read the next book in this entertaining series.

Fortier takes on CONAN THE BARBARIAN and Survives!!!

  • News
  • August 3, 2011
ALL PULP REVIEWS-Book Reviews by Ron Fortier

CONAN THE BARBARIAN

By Michael Stackpole

Berkeley Boulevard

Movie Tie-In

292 pages

It appears you just can’t keep a good barbarian down.  Conan the Barbarian is a hero and well known iconic figure in American fantasy. He was created by writer Robert E.Howard in 1932 via a series of fantasy stories sold to Weird Tales Magazine.  Howard was born and raised in Texas and spent most of his life in the town of Cross Plains.  As a boy he dreamed of becoming a writer of adventure fiction but was not successful until the age of twenty-three.

Howard’s Conan is a character whose literary imprint has been compared to such fiction greats as Tarzan, Count Dracula, Sherlock Holmes and James Bond.  With Conan, Howard created the genre known as sword and sorcery, inspiring a legion of imitators and giving him an influence in the fantasy field rivaled only by J.R.R. Tolkein.  On the eve of publishing his first novel, he committed suicide at the age of thirty. That he remains a highly read author, with his best works continuously reprinted speaks volumes for his place in the ranks of American masters.

As for Conan, he has appeared in hundreds of licensed paperbacks, Marvel comics, films, television programs, video games, roleplaying games, and even a board game.  In 1982 he came to big screen portrayed by bodybuilding champion turned actor, Arnold Schwarzenegger who recreated the role in the sequel several years later.  Producer John Milius had planned a trilogy, but the proposed third film, Conan the Conqueror was never produced.  Now, almost three decades later, the famous Cimmerian warrior from the mythological Hyborian age once again comes to the silver screen in a brand new production from Millenium Films, Lionsgate, and Paradox Entertainment.  And to promote what they hope will be a huge summer blockbuster, their marketing department commissioned a novelization of the screenplay by Thomas Dean Donnelly, Joshua Oppenheimer and Sean Hood.  The writer given the job was Michael Stackpole.

Many book lovers detest such novelizations believing them to be mere carbon copy retellings form the screenplays with nothing new to offer readers who plan on seeing the movie. In many cases, that is exactly all they get. On the other hand, when such a task is given to a true fan of the material, then what results is something much deeper and more complete than the screen treatment.  Stackpole is a gifted professional who clearly knows Conan and his original exploits as chronicled by Howard.  He not only tells the story laid out by the screenplay, but at the same time enriches it scene upon scene with authentic references to the Conan canon which totally elevates the narrative beyond being a mere reflection of the movie.

Born on a battlefield, young Conan grows up amongst the mountain people of Cimmeria and is taught to be a warrior from the day he can hold and wield a sword.  But as he matures, his father relates how his unique birth is regarded by seers as a powerful portent of the fate that awaits Conan. Not only will he be a great fighter amongst his people, but there are signs that he will one day be known throughout the civilized nations as mighty hero of unrivaled strength and daring.

As always, we have to assume that there will be people picking up this book who have absolutely no idea of who Conan is or Robert E.Howard, but have seen the trailers for the movie and are curious about it. For them, this is as good an introduction to Conan as any other that has come along in the past thirty years.  The book is fun and does its job well; it makes you want to go see the film.  So please, save me the aisle seat.

GLENN HAUMAN: The Thirty Year War

“Ladies and gentlemen… rock and roll.”

With those words thirty years ago today, a revolution came to an industry. The old ways of consuming pop culture weren’t dead, per se, but they were being badly eclipsed by what was coming down the coaxial cable into the home. And although it didn’t happen overnight, the old ways of doing business were gone forever. No longer would marketing to individual distributors scattered across the country in fragmented markets work, you had to change to a larger brand identity that relied on visual punch and integration with new media.

The new medium was subversive. Innovators could create for the new communications channel and gain a tremendous first mover advantage, which could then be maintained by fresh content on a constant basis.

In time, a new crop of stars came to the foreground. Some of them were pros from the old guard who learned to adapt. Others were people who couldn’t break in under the old regimes, but found a way in the new uncharted territories. And some of the most interesting work came from people who were immersed in the new ways, who didn’t have any reference for “the way things were supposed to be done” and came in and broke the rules precisely because they didn’t have any idea what the rules were.

This was incredibly disruptive, as you can well imagine. Some people simply couldn’t make the leap– their stuff just didn’t look all that hot. Some were too entrenched in the old system. But the ones who probably got it worst were the stores. First, the mom and pops and the hobbyists got pushed out, or amped up their game and got big. Then the formats changed, and while purists claimed the new digital format leached out all the fire and passion and humanity, most people either couldn’t tell the difference or—heresy!— preferred the shiny new format without scratches or imperfections, copies that were as crisp and sharp the thousandth time as they were the first. Soon, the old format was completely gone from the stores, and for that matter, a lot of the stores were gone too. The stores that carried the new digital format did okay… for a while. But then after a few years, most of them disappeared too, even some of the biggest.

In time, even the new channel lost focus. They started making movies, and dabbled in animation. But after a while, they seemed to stop being as relevant as they used to be, branching off with new storylines and products that seemed to have no connection to what they were once known for– even their name was divorced from their identity. It didn’t seem to be a problem, they were still reaching the demographic they were shooting for, or so it seemed, and they were still making money, although not as much as they were, because times change, y’know? Besides, they’d say, you just aren’t getting it because you’re old, and this is what the kids want now. They ignored the cries of people who said they’d completely gotten away from their original focus, but maybe they had a point– after all, you couldn’t cater to the fans of the old stuff forever. We can still make things for the nostalgia market, but we have to pay attention to the new audience too. And really, have you looked at some of the old stuff recently? It’s downright primitive. These were met with the predictable cries of “Sellout!” Meanwhile, new artists still break through to new audiences any way they can.

Mike Gold’s edict is that these columns should have something to do with comics.

Yeah.

I saw the latest reboot with new 52
We thought it was another crisis to go through
We didn’t know that printer invoices were due
ohh, ohh…
They took the blame for all collector dormancy
Forced to adapt their ways to new technology
and now I understand the problem at DC
ohh, ohh…
What did they tell you?
ohh, ohh…
There was no sell-through…

FORTIER TAKES ON BLOOD OF THE REICH!!

  • News
  • June 29, 2011

ALL PULP REVIEWS by Ron Fortier

BLOOD OF THE REICH
By William Dietrich
Harper Books
417 pages
Available July 2011
ISBN 13 – 978-0-06-198918-6

blood-1692004
You realize there are books reviewers are predisposed to like by the title alone.  When the good folks at the New York Journal of Books offered to send me this book, it was because I’d already reviewed an earlier book by the same author and liked it a great deal.  But being brutally honest here, I’d forgotten what that title was until they showed me the cover image to “Blood of the Reich.”  Ah, yes, William Dietrich, I thought, the fellow who created that Revolutionary version of Indiana Jones in his first book, “Napoleon’s Hero.”  Yes, I had enjoyed that historical romp and was curious as to what this new stand alone offering might contain in the way of a fun reading experience.

Once I read the marketing copy, I was hooked.  Nazis scientists racing to Tibet in hopes of finding a hidden mystical power in the lost city of Shambhala.  These plot elements scream pulp pleasure and I knew immediately this was my kind of book.  Dietrich’s background as a naturalist and historian allow him to create outlandish plots against authentic, real world settings and it is that richness of historical data that catapults “Blood of the Reich” into action from page one.

In 1938 Kurt Raeder, a German archeologist, is given an assignment by Hitler’s personal advisor, SS Chief Heinrich Himmler.  Raeder and a handful of loyal Nazis scientists are to travel to Tibet, seek out the lost city of Shambhala and there retrieve an ancient power known as Vril.  Himmler and the members of the arcane Thule Society believe this Vril could tip the balance of the coming war in Germany’s favor and fulfill Hitler’s mad dreams of a Third Reich world conquest.

Raeder is an intellectual sadist and the temptation to achieve personal glory, maybe even immortality, through the success of such an undertaking is much too great for him to resist.  And so the mission is launched.  At the same time, American intelligence agencies discover Raeder’s purpose and recruit their own academic agent, zoologist Benjamin Hood, to go after the Nazis and beat them at their own game.  Failing that, he is to sabotage their efforts and assure Vril never becomes a German weapon.

Now this rollicking race across the world is exciting enough but Deitrich ups the ante by creating a second storyline; this one taking place today.  Rominy Pickett is a computer publicist living in Seattle when she is kidnapped by a mysterious, handsome journalist, who claims her life is in danger from Neo-Nazis.  They believe her to be the great granddaughter of Benjamin Hood.  These want-to-be Nazis have uncovered the records of Raeder’s Tibetan mission and hope Rominy will lead them to rediscover what was found in those rugged mountains back in 1938.  Thus is a smart, witty, normal young woman suddenly hurled head first into a life-or-death race around the globe accompanied by a charismatic stranger who appears to be a physical embodiment of all her romantic fantasies.  But is he really her knight-in-shining armor or someone with ulterior motives using her to achieve his own dark agenda?

“Blood of the Reich” is a barn-storming novel that sets its sights high and never fails to deliver on them.  My singular criticism is that the convoluted mystery of Rominy’s past and her evolution from frightened victim to pistol toting survivalist challenged even my willing suspension of disbelief.  Deitrich’s prose is much more accomplished when dealing with the 30s whereas his modern sequences aren’t as assured.  Still, this book has so much pulp goodness within its pages, I can’t help but recommend it enthusiastically.  It would make one hell of a great film. 

Video Game Review: “Alice: Madness Returns”

In the year 2000, American McGee’s Alice took the story of Alice in Wonderland and turned it on it’s already twisted head. As a sequel of sorts to the books, the game opens with an accidental fire destroying Alice’s home in Victorian London, in which her parents and sister die. Alice then attempts to commit suicide (due to survivor’s guilt) and is committed to Rutledge Asylum. While there, her shattered psyche has her (and players) revisiting the Wonderland of her childhood, now decayed under the rule of the Queen of Hearts. By the game’s end, she destroys the Queen (who some believe to be a manifestation of her own insanity) and restores Wonderland to its original charm and glory, and is declared stable (or stable enough) to leave the asylum.

Perhaps that wasn’t for the best, however. In [[[Alice: Madness Returns]]] (out now on PC, PS3 and Xbox 360), it’s eleven years since Alice left Rutledge (and, ironically, eleven years after the original game). Alice is living with and being cared for by a child psychiatrist in London (as his oldest patient), and the death of her family continues to stalk her. Her madness has manifested again, and now she finds herself returning to Wonderland – albeit the Wonderland that we now know to be imagined – in order to restore order to its now-recurring chaos. This time, though, there’s an bigger question fueling her madness: was the fire that caused it all accidental?

The game divides its time between two settings: Victorian London, with its bleak, muted color palette, and the visual mind-bender that is Wonderland. Take Tim Burton, throw him in a blender with Dali and Picasso, and add a dash of steroids and heroin, and you’ll have a rough approximation of the visuals here. The settings are stunning, from the steampunk-esque Hatter stage, to the underwater follies of the carpenter and the Walrus, to the card bridge and the Queensworld…it’s all, well, fairly crazy actually. The animation is also fluid, as Alice jumps, twirls and floats through demonic paranoias and her own destroyed psyche, made visual in Wonderland. She can even shrink in size to pass through keyholes, which also gives her a new perspective on the layout of a level, revealing hidden clues as to where to go next, or thing she just couldn’t see at normal size.

At it’s heart, Madness Returns is a platformer, but there’s a heavy bent on action. Alice has many weapons at her disposal to use against the negative densiens of her mind. At first, black slime with babydoll faces known as “ruins” populate the land, and Alice can dispatch them with her trusty Vorpal Blade (which goes Snicker-Snack!) or a Pepper Grinder (basically a hand-cranked machine gun). Later she gains a Hobby Horse, which she uses as a melee club to bash and smash. All of these weapons flow effectively into one another for combos, and when combined with the dodge move, become invaluable in escaping hasty death from an onslaught of enemies. After traversing some areas, the foes become more familiar, namely the Card Guards, only now more…demon-esque.

As a platformer, there’s also a good amount of gathering collectibles, and each one has it’s own use. Scattered throughout the land are memories, which piece together the story for Alice (and the player). There are also teeth, which Alice gathers from fallen foes or smashable objects, and are used as currency in the game to upgrade weapons. It all seems like typical fare for an action platformer, but teh setting and storyline are really what set this one apart. There’s some truly messed-up things here, and the game really pushes the M rating.

If there were one complaint to make towards the game, it’s more about the little hiccups you encounter during gameplay. Sometimes, Alice will get hung up on an invisible wall or something in the floor, usually after releasing the “shrink” button on the controller. It’s a minor setback, but when the animation is usualy so fluid, getting held up in a graphical glitch can take one out of the moment. Also, the level layout is preposterously long. One chapter can have several individual sections, feeling like their own levels, but are really part of the chapter istelf. Sometimes this works to move the story along, and sometimes it gives the player the feeling of the developers trying to drag out the length of the game. Alice herself even comments on this, in a manor, when asked repeatedly by various characters in the game to do tasks for her, acting as though the level would be much shorter had they simply done teh task themselves. But then, it wouldn’t be a game then, would it?

While it isn’t a perfect game, it is certainly a fun one, and visually, one that will take hold of you, with it’s abstract settings and newspaper cut-out style cut scenes. It’s all very stylized and slick. As an added bonus, the original American McGee’s Alice is included on the disc (unlockable by download on an online pass included with new copies of the game). Playing through it is definitely a treat to those not familiar with the original, though I will say, it hasn’t held up well over time.

If you’re looking for solid action, decent platforming and puzzles, and a intriguing storyline, you needn’t look much further than here. While it may seems a bit unfair at times with the number of enemies beset upon you, the story is one certainly worth going through, and the adventure is truly a fascinating one. Horiffic though it may be for our heroine.

Rating (based on a scale of BUY IT, RENT IT, SKIP IT):

BUY IT!

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