Saturday, February 14, 2015
Fans of the hit AMC show "The Walking Dead" responded to the death of a beloved character with accusations that the show too frequently kills off its minority characters.
Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead. Warning - spoilers ahead.
The show has long been applauded for its diversity. A majority of the characters on the show are non-white, and of the 15 remaining group members, there are only five white characters left. After the untimely death of Tyreese in the recent midseason premiere, fans took to Twitter to express their outrage. Many claimed that the show kills off minority characters too frequently - something that is directly related to its ratio of white and nonwhite characters.
“Look, this is something in this world that we should be cognizant about, so my feeling is: Sure let’s get it out there, let’s talk about it,” executive producer Gale Ann Hurd told E! News. "We’ve killed a lot more white characters than African-American characters. And not only that, I think it’s important to point out that we did cast two African-American actors in roles that were not African-American. In the comic books, Bob was white. And the character of Noah was not an African-American. We just cast the best actor.
"[Executive producer] Scott Gimple basically said to [Chad Coleman], ‘Is there anything we haven’t really touched on in Tyreese’s journey?’ And the truth was, it went from A to Z. They are at a point of total and ultimate despair," Hurd continued. "And if this really would happen, you can’t just spread it out and say, ‘OK, we’ve lost a significant character in the last episode. Let’s wait.’ Tyreese had embraced forgiveness and he’d embraced all of the positive qualities as opposed to despair and rage, and in a moment of pondering that, he was vulnerable. And in this world you can’t let your guard down even a split second."
Friday, February 13, 2015
RegentZ is a satirical zombie game set in the romantic Regency era synonymous with Jane Austen novels. The night is young when Charlotte, daughter of the Montgomery estate, decides to take a stroll in the garden to escape her mothers army of suitors. What she finds in the garden might turn out to be much less pleasant than what she faced inside the manor. The grounds are full of well dressed zombies with great hair, proving that being dead doesn't mean you can't look dashing too. Charlotte will have to take it upon herself to not only defend the oblivious party-goers but also try to gather help to get rid of the zombies for good.
Everyone here at 2Bit Studios is very happy to announce the RegentZ is getting released today for free!
RegentZ is not a game made officially by 2Bit but rather a game that started development before 2Bit was created by many of the members that would form 2Bit. It's a satirical third-person action game set in the Regency period (think Jane Austen) with zombies thrown in. At the time of development, everyone working on RegentZ was still studying at University. The original scope of the game proved to be far too big, so in order to finish the game instead of leaving it in limbo the scope was reduced while keeping the game silly and fun.
If you want to play RegentZ for free, you can download it from the game page.
Go and enjoy! We have a fully polished commercial game in the pipeline at the moment so stay tuned in for more information in the coming months.
The film has its starting point in a typical day for the lead character, David. David is the local marihuana pusher, but he is the kind of dealer that smokes more than he sells. In themeantime the country has been hit by a new deathdrug and when David and his partner in crime Ahmir is offered some exceptionally cheap cocaine they see it as an opportunity to earn big money at the big techno concert the following Friday, but the cocaine turns out to have a terrible side effect that creates a giant zombie outbreak that spreads acrossthe entire Copenhagen. In the film we follow David and his bloody fight out of the city.
Day by Day Armageddon, by JL Bourne
Written in diary form from the point of view of a soldier on leave from deployment overseas, Day by Day Armageddon has a much better sense of bullets-to-kill-shot ratios than one usually finds in zombie fiction. From a purely practical standpoint, Rick & Co. simply cannot be landing as many head shots as they do. While the novel doesn’t particularly address the larger questions of human society in the apocalypse, it does very carefully address the smaller ones: the nuts and bolts of survival.
The Gospel of Z, by Stephen Graham Jones
This may be a harder sell as a traditional zombie novel, as it includes giant constructed mecha-zombies and a cult devoted to armadillos, but the zombies in The Gospel of Z are otherwise pretty traditional. (They do also have a tendency to bear-crawl, which is very alarming.) Done well, zombie stories grapple with grief, as everyone surviving has lost everyone who hasn’t. Jones runs the apocalypse 10 years down the road, from this place of familiarity to escalating weirdness, providing emotionally resonant way to express that loss.
The Reapers Are the Angels, by Alden Bell
Temple, the main character of The Reaper’s Are the Angels, is the harsh, pragmatic daughter of a zombie-blighted American south. In some ways, she’s more comfortable with the dead than the living; the simplicity of their needs is, if not enviable, then at least more legible than those of the living. The novel probably owes more to the Old Testament morality of the Southern Gothic than it does to Romero’s class commentary, but the zombies are the same, down to the fact that anyone who dies, turns. (A surprisingly uncommon detail, even in the most faithful zombie novel.)
This Dark Earth, by John Hornor Jacobs
There’s a lot about This Dark Earth that follows the tropes of zombie fiction very closely, from the zombies themselves, to broader questions often posed by post-apocalyptic fiction: how will we maintain our humanity in the face of relentless savagery? But Jacobs doesn’t have to rely on gimmicks to explore the question of society. The Prince, like Carl from Walking Dead, cannot remember the modern world, and the line between expediency and cruelty grows thin.
World War Z, by Max Brooks
When the film version of World War Z transformed the book’s slow zombies into fast ones, a million voices cried out in terror. Understandably: almost none of the book holds up with the shift to “fast zombies.” While the novel doesn’t hew exactly to Romero, Brooks’ zombies function much like Romero’s in the narrative: they are there to show society’s responses to civic trauma. Not everyone who dies becomes a zombie, leading to the awful military choice to kill the living to create a firebreak against the dead. Contrast this with the opening to Dawn of the Dead, which shows a police force at odds with the residents of an apartment building who are protecting their reanimating dead in defiance of martial law. While the zombies may be slightly different, both writers use them to show the tension between community and security.
Zone One, by Colson Whitehead
In Whitehead’s novel, in addition to the usual slow, collecting mob, there exists a small number of undead called “stragglers,” who are frozen in tableau while doing everyday things—flying a kite, running a copy machine. The characters ruminate on these creatures: was this the action that defined the straggler’s life, or just a random moment caught like a photo? (This results in some mordant comedy, such as when one character blows away a straggler standing over a fast food deep fryer “on principle.”)Zone One is less a genre exercise than a eulogy to a lost New York, and the stragglers, as they stand rotting, fit beautifully into his observations and reflections. Is our memory of the past random or representative?