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Review – Here I Stand: A Benefit + Awareness Show – Opera Mariposa

Culture, Events, Performance, Reviews

May 26, 2017

Review – Here I Stand: A Benefit + Awareness Show

I recently had the pleasure of attending Opera Mariposa’s “Here I Stand” benefit and awareness concert for Myalgic Encephalomyelitis/Chronic Fatigue Syndrome and Fibromyalgia (ME/CFS & FM).

Soprano and Artistic Director, Jacqueline Ko, tells her inspirational story of living with ME/FM through a variety of musical theatre songs and opera arias with highly accomplished pianist Angus Kellet.

A big part of Jacqueline’s story is the chronic pain and emotional struggles born out of the many obstacles she has faced. That struggle was explored through carefully chosen songs and arias. The song “Anyone Can Whistle”, by Stephen Sondheim, was an insight into what it feels like to not be able to do normal things the way someone without ME/FM would.

So why not do extraordinary things? Jacqueline became an opera singer and started an opera company. She mentioned this with pride, and rightfully so.

I know how much work goes into putting on a show like this, but I was blown away when Jacqueline said she will spend months recovering from this one night. “You Learn to Live Without”, from If/Then by Tom Kitt, alluded to all the adjustments Jacqueline has had to make since she became ill at just six years old. Yet you can see how much joy singing brings to her life, and how it radiates to the other people around her.

Her musical numbers showcased how versatile her voice can be: delightfully sweet and intimate, yet also powerful and raw. It was a welcome surprise to hear her sing “Wait For It” (complete with an Opera Mariposa chorus) and “That Would Be Enough” from the highly acclaimed and very popular musical Hamilton by Lin-Manuel Miranda.

However, two pieces were absolute standouts for me. “To This, We’ve Come” from The Consul by Gian Carlo Menotti, requires a solid classical technique, while still conveying an utterly tragic frustration with how immovable bureaucracy can be to the disenfranchised. It’s chilling to hear Jacqueline sing lines like “I’m asking for help, and all you give me is papers” as she sings with her whole body and every ounce of emotion.

The second standout piece for me was “Elle a fui, la tourterelle” from The Tales of Hoffman by Jacques Offenbach. Jacqueline makes a quick joke about how she just had to sing this aria. It’s about a woman that is forbidden to sing because of her illness, but she sings anyway. I was very moved with how graceful, lyrical and resonant her voice was. It was as if the aria was written for her.

This concert was a unique experience, with a very important purpose. I’m grateful to have been there.

Photography by Diamond’s Edge Photography: https://michelledohertyphoto.smugmug.com/


Kathryn grew up in Vancouver as a proud geek & nerd. Her love of sci-fi led to her first big dramatic dream of becoming the blue alien from the Fifth Element. Instead, she graduated with a Bachelors of Music degree as an opera singer. She is also a regular photographer for various performing arts groups and recently has been most interested in fun boudoir & body positive photo shoots. You can contact her here.

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1168

Multiple Views: Geekenders’ Star Wars – The Empire Strips Back

Burlesque, Events, Showcase

May 22, 2017

Geekenders recently returned to the Rio Theater with an entirely rewritten script from the second of their Star Wars parodies for a remount. Three members of the Living Myth offices were invited to come in and take a look: CEO and founder, Aaron Golden, COO and head of everything, Anne Honeycutt, and newcomer Meghan Duffy. All three loved what they saw, though they came at their enjoyment from very different places.

 

Aaron Golden says: 

Star Wars Episode V: The Empire Strikes Back shouldn’t work.

Narratively, it looks like nothing happens: Luke leaves his friends and goes to a swamp, then goes to Cloud City and walks into a trap. Han and Leia and the rest leave Hoth, run from the Empire, run from the empire some more, and then get caught by the Empire. That’s it. That’s the movie.

And yet people seem to think it’s the strongest of the Star Wars films.

With only a bare scrap of plot, Empire has managed to carve a place for itself in the cultural consciousness, digging deeper than Episode IV did and only facing arguable competition for “Best of the Star Wars” movies by Rogue One.

The reason for this?

Character development.

Empire is nothing but character development. There’s enough nuance and subtext in that movie to make the first movie stronger and set the stage for Return of the Jedi and everything to follow. We learn how powerful the Empire is and that a single military loss isn’t going to slow them down. Luke learns about himself, his family, and the Force. Han and Leia develop an actual relationship that looks to end in heartbreak. Lando…

Lando is introduced and becomes one of the most subtle characters in the whole series. A con man forced into an untenable position, he tries to drive Han off through insults while not putting his city in danger. When the Empire betrays him he’s got plans and backup plans ready. He’s a perfect shade of gray, a character in the heart of Han Solo, and he adds complexity to an already complex series of relationships.

The problem with parodying Empire, then, lies in its threadbare story. This lack has haunted previous attempts to lampoon this movie, but Geekenders does the tale right by not only acknowledging the weak plot but outright attacking it while focusing on the main characters and giving them even more depth. This is a new, punnier script, and once the curtains go up and the text crawls up you know you’re in for some insanely funny sensuality.

Luke’s farm boy idiocy, his “I’m playing a barbarian and maxed out my charisma stat,” is in full effect here as Draco Muff-boi returns to the role with their usual charm and makes Luke irritably likable. Stephen Blakley adds a note of desperation to his relationship with Jayne Fondue’s regal Leia, creating balance in their relationship and making his world-weary sense of genre-savvy impossibly more wry.

R2DoubleD and David Ten-Inch add surprising pathos to the droids and Androsia Wilde plays Lando with all of the aforementioned complexity that the character deserves. Veronica Vamp slays as Darth Vader, Kitty Glitter is riotous as Chewie, and Lithium Little adds a touch of spiritual sexuality as Yoda, but it’s the comedic turn of Seamus Fit-It-In as Boba Fett that hit the audience out of nowhere, pushing the crowd into a fit if hysterical giggling.

This was perfect. The Empire Strips Back takes everything great about the source material and celebrates it while adding a unique spin to each character and giving everyone a moment to shine. Even the Storm Troopers have personality here, and every moment Susan the Storm Trooper is stepping out of line is an utter delight.

Geekenders returns to the Rio Theater with two performances of the Empire Strips Back on May 26th and 27th, with doors opening at seven and the show starting promptly at eight. The showing we saw was completely sold out, so you’ll definitely want to order tickets in advance, which you can do by clicking here. Tickets are $20 from the interwebs or $25 day of the box office.

Anne Honeycutt says:

I have said this before but I don’t think I will ever get tired of saying it, this is the best season Geekenders’ has ever had. It is not an easy feat to sell out The Rio theatre, and it is certainly not easy with doing a remount but the Geekenders Star Wars shows are an institution.

With a newly punched up script, revamped choreography and dazzling costumes the show has been transformed into a delightful geeklesque masterpiece. You can tell that they worked so hard on this and it has paid off. They have been tireless in their goals to make burlesque a safe welcoming experience for all involved. Risque but respectful humour; permission to explore and enjoy the human form in all shapes, sizes, creeds and ability; and above all else celebrating the spirit of rebellion from oppression one shimmy-shake at a time.

Meghan Duffy says:

You won’t find their number written in a bathroom stall, but if you are looking for a good time I would highly recommend Geekenders’ Star Wars Burlesque: The Empire Strips Back.

Somewhere over the roaring of the crowd, amidst the whistles and woos, the sound of my proverbial burlesque cherry being popped could be heard as I squealed with delight. It was a scream, a blast, a show I hoped would never end. Squishy feelings aside, I want to talk about the performers. This is a production where you can really feel the amount of dedication and hard work poured into it.

Spoiler – it’s a lot.

I really felt the passion, the love, and the joy from everyone who was on stage, regardless of how much time they spent up there. It was the epitome of heart and soul.

Vader’s performance is one that stands out to me. Played by Veronica Vamp, Vader’s act was one that will be hard to dominate. There is something to be said about seeing Darth Vader played by a drag queen strutting and bouncing across the stage to NSYNC’s “Bye Bye Bye”. Whatever that thing was, it seems to have escaped me as I was – and still am – totally lost in amazement.

Though I have to say my heart could not remain faithful this evening – among the fabulously sexy Stormtroopers, the smoldering Han Solo, the raunchy Chewbacca, there was R2D2 (Played by R2DoubleD). Bouncy, bodacious, beautiful R2D2. Gliding around the stage like some sort of sexy droid angel, equipped with roller skates for the entire performance – an impressive feat. The skates definitely added a special flavor to dance numbers and general background tomfoolery.

There is a scene where the song “Somewhere Out There” (as many of us know from An American Tail/Fievel Goes West, and part of me wishes they had used those versions) comes on, and it’s something special. As seriously as you can take a blue haired woman on roller skates whipping around with a gold-clad man in tow, this really tugged at my heartstrings.

Judging by the audience, it tugged them too. There were a few people around me singing along to the music, and I won’t lie, I did as well. There were quite a few songs to sing along to. Each number inspired a silent – and sometimes not so silent – cheer from me, the nostalgia is strong with this one. There was a perfect level of audience interaction that I found delightful, just enough to make it fun but the performance didn’t depend on it.

I don’t want to spoil anything, but make sure you get your throwing arms ready. The only thing that didn’t quite sit right with me was one small joke where C3P0 was compared to Sheldon Cooper, but then again I was never a fan of Big Bang Theory.

Overall this was a fantastic performance. A wild ride, much like a mechanical bull bucking ‘twixt your legs on a steamy Friday night.

All photos credit Pierre Chum

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333

Fiction – My Bad Dream

Books & Writing, Culture, Short Fictions

May 13, 2017

Beyond the end of the world, the end of all the worlds, is a place where they all meet. All manner of creatures and beings come here; it is a place of refuge, of shelter from the storm. And there is always a storm somewhere.

Among them, strangely even for this strange place, is a child. A girl of eight or nine in a nightdress, flaxen-haired and blue-eyed, the very picture of innocence. One might be worried in this place that she is somehow a trap, a monster hiding, but it is not so. Goldie really is a little girl, but she is a dreamer.

Goldie fell asleep one night. It was a strange falling asleep, but she remembers nothing more about it. Then the terrors began. Night after night, week after week. The teeth in the woods, the house of blood, the gray faces, each more terrible than the last, the nightmares haunted and tormented her. Even in sleep, there was no rest.

But time passed. It always does, even if it moves strangely beyond the veil of worlds. One can eventually get used to anything, and though Goldie really is a little girl, she had been a little girl now for a long, long time. One day, with the teeth snapping at her heels again, she tired of the chase. She sat under a gnarled, blackened tree, picked up one of the fallen branches, and waited.

The snarling and howling stopped the moment she sat, and in short order, intrigued, the nightmare appeared to her, taking the form of a tall, dapper man whose body seemed to be made of black fire.

Why do you not run? it said, the words being remembered without ever being spoken.

“I’m tired.” she replied.

But you are asleep, it said, For years now. How can you be tired?

“Not sleepy,” said she, “Tired. Tired of running. Why do you torment me?”

The nightmare paused. This was something it had never considered. How could it? Do fish wonder why they swim, or flames wonder why they burn?

Finally, it spoke, without speaking: I am your Nightmare, it said.

“Mine?” Goldie asked.

Yours and yours alone, it said, as long as need be.

The girl stood. “You… are mine? You belong to me?”

Confused, the nightmare nodded, for was that not what it said?

Years of darkness change anyone, even someone who really is a little girl, and there in the gloom and the dark Goldie smiled for the first time in years, and ran forward, embracing the burning man who did not really burn.

“You’re MINE!” she said. It was the first time she could remember that anyone or anything was truly hers, even from before the strange sleep began. And the Nightmare, for it was made of her dreams as much as her fears, to its surprise wrapped its burning but not burning arms around her and hugged her back.

This, gentle traveler, is how you may meet the dreamer who has been young for so long in the place beyond the end of the worlds. Beside her always is her traveling companion, her Nightmare, which brings her from dream to dream wherever darkness touches, teaching her now the joy and laughter that lives where light doesn’t reach, for it already taught her everything it could about fear and pain. The nightmare is itself, himself, young in many ways, and does not always understand the places they travel. But it knows two truths that are clad in iron.

Firstly, he is HER Nightmare. Without her, he does not know what he would be, perhaps the nameless dread in the dark again, and it would be awful to go back to that sort of nonperson after finding this richer life.

And secondly, he looks really good in that hat.

 


Abbey St. Brendan is the sort of monster that would bake you a pie. She improvises, acts, performs regularly in the comedic end of geek fandom, and in this case writes. Her collaboration with Living Myth Magazine is kismet. You can contact her on Twitter @abbeykadabra.

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496

Robin Hood: Prince of Tease

Burlesque, Events, Reviews

April 30, 2017

It’s a cool night in late April, dark skies threatening rain, but we’re braving the weather to go to Granville Island and check out the latest offering from Toofly Productions, Robin Hood: the Prince of Tease. It’s a punny name being produced by a punny company and promises to be a punny burlesque take on the classic tale of a thief that robs from the rich and gives to the poor.

There’s something about this story that makes it persist – the idea of the rich stealing from everyone and giving to themselves has plagued western society since before the dawn of scarcity economics, and the tale of a man stealing from those wealthy thieves to give back, of fighting a corrupt system that steals everything and leaves no voice to the most helpless, is just as relevant these days as it has ever been.

So, we’re excited. Toofly is a recent invention, the dream of Alan Pronger. He wanted to create a means of producing the weirdest ideas he could find, of taking concepts too strange for other companies and making them reality. They’re a non-profit for emerging artists that specializes in exploring the absurdity of modern life.

This makes the Performance Works Theater a perfect venue for them – a place located on the tail-end of Granville Island, it was a machine shop that opened almost a hundred years ago and changed into a rehearsal and performance venue a little under thirty years ago. You might say the building’s purpose was stolen, it’s meaning gone for practical to absurd, and you would be right.

Robin Hood: Prince of Tease lives up the expectations set by both

The story takes quite a lot from the old Keven Costner movie with gender-flipped characters: Prince Joan has taken control of unspecified European country after hearing the news that King Richard and Robin of Loxley are dead. She kills Robin’s father, blinds his man-servant Winkin, taxes people into near death and spends all the money on himself. The opening set-up borrows as much from Game of Thrones as from its source material and is self-aware enough to call themselves out in, self-awareness being one of the best parts of Burlesque performances.

We then follow Robin as she escapes from BDSM land with the help of a Benny Hill sequence, meets Oddman Out, and the two of them travel together to get back to unspecified European country. They discover what’s happened in Robin’s absence, Robin recruits her people, and they start robbing from the rich and giving to the poor – but the conceit here is that everyone fights through dance, a thing that Robin excels at and Oddman Out doesn’t quite get. It makes for some cute sequences and story progressions and leads us up to the climax, where Oddman Out gets the final show-stopping number.

There’s some strong performances: anyone familiar with the Vancouver scene has seen Andrew Lynch perform, and his Sheriff lives up to the high standards his presence demands. Emily Pangburn’s Robin is graceful and cocky and her facial expressions are as perfect as the choice to cast her as the lead. Isabella Halladay’s Will Scarlet demands attention and earns it, and she’s got presence enough to make her every moment on stage count.

Of note is Katherine Alpen’s Winkin – this is her first burlesque and she carries herself with a refined dignity in almost every scene, acting as the narrator and liberally ignoring the fourth wall. She’s great. Joseph Spitale’s Mann Marian is an utter delight from start to finish, a clueless dude-in-distress caught between political machinations he has little understanding of. Finally, the dry delivery of Jennifer Doan’s Oddman Out makes her the conscience of the show and the person who grows the most, a quiet presence that shadows the rest of the story until she’s ready to take center stage in the final number.

All of the male performers took some serious risks here: Jared Arthur, Joseph Spitale, Kenneth Tynan, Matthew Fedorowicz, Andrew Lynch, and Rafael Ruiz did some amazing things with the material they were given and the routines they worked out, and fans of boylesque are going to love the things they do.

The script has some very clever one-liners about its source material, the limitations of the set, and the limitations of the stage. It criticizes itself – how do you have a Robin Hood show without bows and arrows?!? – and a strong opening sequence that sets the stage for what’s to come.

A handful of minor technical choices can be excused – with the amount of glitter being used, one wonders why we don’t just replace blood with the stuff? It would have made for a much more dramatic (in every sense of the word) performance. There’s also a beautiful silks performance that, while gorgeous, comes out of nowhere and adds nothing to the story as a whole.

Which segues nicely into one of the problems with Robin Hood: Prince of Tease – the writer promotes comedy over character and loses out on the chance for more comedy because of it. The pacing is a bit weird, and without strong enough character motivation we’re left cheering for people because of the source material rather than the characters as they stand here. Traits come out of nowhere and pay-offs come without build up, making them feel hollow.

Even worse is the queer-coded villains; Mann Marian being forced to marry the fabulous Sheriff and being in horror of it and then being rescued by the female Robin is played for laughs, sure, and there’s an attempted rescue of the concept with a gay marriage between Little John and Marian’s manservant, but it feels like a last ditch effort to cover a mistake. Marian’s efforts with Robin are stymied by sexual fluidity, which comes off as a bit of bi-erasure.

Neither issue is large enough to mar the performances or the show as a whole. We’d recommend seeing it – it’s funny and a good time and the few flaws are evidence of inexperience more than maliciousness. Toofly Productions is still maturing as a studio and will continue to do so – and if this is what they’re early efforts look like, well, we can’t wait to see where they end up.

A word of warning: if you are going to see this (and if you like musicals, burlesque, or Robin Hood, then you should), reserve a table. The Performance Works Theater has limited seating and looking for a place to sit can be difficult. We’d recommend trying to get a seat in the center aisle – there’s a shower sequence that happens towards the back at the end of the second act that you’re going to want an unobstructed view of.

You can learn more about Toofly by clicking here, more about Robin Hood: the Prince of Tease by clicking here or buy tickets by clicking here, and learn more about the Performance Works Theater by clicking here. The show runs from now until May 13, 2017, with each show starting at 8pm.

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515

Instant Theatre – The Actor’s Nightmare

Comedy, Events, Improv, Reviews

April 21, 2017

At the Havana Restaurant on Commercial Drive there lies a small black box style theatre space hidden at the back. This is where you will find players from Instant Theatre strutting their stuff. On the third Saturday of every month is when Instant improvisers and five guest actors bring you The Actor’s Nightmare – Scripted Theatre and Improv Collide!

As the title suggests, an actor’s nightmare is not knowing their lines, or worst, not knowing what play they are even in. This is exactly what happens in Actor’s Nightmare. Each improviser is paired up with a guest actor who will act out their memorized scripted lines. The improviser then must react to the scripted lines and make a cohesive-ish act. The result is a series of unexpectedly hilarious one act plays.

 

Allie Entwistle doing audience warm ups

 

The night began with host Allie Entwistle introducing the show with an explanation of what to expect and some fairly standard improv audience warm ups. The first actor-improviser pair, Abbey St. Brendan and Janet Davidson were then invited onto the stage. Janet started with asking for audience suggestion of an object: a whisk. The scene began with Janet whisking a bowl of something (a cake!) and Abbey’s Mary Aldin burst in exclaiming something about a murder in the house. The ensuing entertaining chaos of trying to find out who was murdered, who was the murderer, and how Janet’s character became an inadvertent accomplice had the audience in endless laughter. After the act was over, Abbey revealed that her scripted part was from Agatha Christie’s Toward Zero.

 

Abbey and Janet discussing a murder and cake!

 

 

Next was an original piece by Bennett Taylor and improviser Trang Nguyen. Trang’s 12 year old farm girl entered the scene with bucket of milk from their old cow, Betsy, and presented it to her father (Bennett) while contemplated whether the boy from next farm over would take her to the dance. We come to learn that Father worked as a cashier at a restaurant, Bob’s Big Ol’ Steaks. Unfortunately, Betsy succumbed to some sort of ailment involving a ball which resulted in a field full of cow blood.

 

Bennet and Trang investigating Betsy’s illness

 

Third set of the evening was a dramatic observation of bird behaviour by Vuk Prodanovic and Maddy Rafter as Captain and Miss Pennywise. This short half-improvised act started on a submarine, with the Captain’s overreaction to Pa, his seagull friend’s antics, but later was revealed that Captain and Miss Pennywise were criminals on the run. Criminals with a heart, having a heart to heart. There was also a giant heart in the sky, or possibly crows…? Vuk’s scripted part was from Urinetown: The Musical.

 

The second to last pair was Ella Berger as Niki (Curtains) and Mark Sears. The scene took place during intermission of a high school play, Macbeth: The Musical. Mark’s character, a drama teacher named Frank Gower was texting when Niki, whom Mr. Gower embarrassingly misnamed Amber multiple times, barged onto the scene. Niki was reluctant to replace the lead actress who fell off the stage and injured herself as Lady Macbeth. Revelations of death threats and forbidden romances followed, as Mr. Gower was trying to get someone to carry the injured girl off the front rows.

 

Ella and Mark having a crisis during “intermission”

 

Lastly, Julie Casselman and our erstwhile host herself, Allie Entwistle. Allie was given the audience suggestion of “a rack of watermelons”, and thus, Jacob the Watermelon Merchant was born. As the scene progressed, we learn that Mary Snow (Julie), a kumquat seller, and Jacob were once engaged, but Mary promised herself to Jerome since Jacob ran away a year ago. Apparently Jerome was quite the mansplainer and told Mary all kinds of things, such as all the pretty names of the moon’s mountains and valleys, and that bald men are very potent. Yes, potent. There was also a dog ghost. The act ended with Mary sliding her engagement ring off and making suggestive eyebrow movements at Jacob. Julie’s excerpt is from Salt-Water Moon by David French.

 

Julie and Allie at the watermelon rack

 

All in all, The Actor’s Nightmare – Scripted Theatre and Improv Collide! was very entertaining and kept the audience in stitches, which is par of course for Instant Theatre improv shows. The scenes held up surprisingly well though it is not without a dash of chaos, but what’s improv without a healthy dose of entropy. I would highly recommend The Actor’s Nightmare if you are in the mood for some comedy on Saturday night.

The next showing of The Actor’s Nightmare – Scripted Theatre and Improv Collide! will be on May 20th at 10:30 PM, tickets available here.

 


Eva Mak is a local producer, artist and lady about town. You can tweet at her @originalevamak 

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884

Geekenders’ Nintendance at the Odyssey

Burlesque, Culture, Events

April 18, 2017

It’s a warm Vancouver night, clear and expectant, and I’m walking towards one of the most storied venues in the city. The Odyssey was opened in 1987 and continues to operate as one of the city’s most prominent gay bars and that makes it the perfect spot for Geekenders to expand into.

A line had already begun to form at seven o’clock, the curious and familiar of both venue and troupe coming to see what the official mingling of both would result in. The answer was a smashing success, with a good crowd that was hot and ready for everything the Geekenders had to offer and a Geekenders crew fully prepared to take advantage of everything that their hosts had on hand.

People got settled, got drinks, got comfortable, greeted old friends and made new ones before the show began. The Odyssey provided a host of Nintendo-themed drinks and entertainment, including several iterations of Mario Kart and Smash Bros., letting the bar fill with classic remix video game tracks that set the stage for what was to come.

And what came? Veronica Vamp and the incomparable Stephen Blakley took the stage as Jesse and James of Team Rocket fame, accompanied by stage kitty Chantini. The two set an immediate rapport, riffing off the game and the cartoon and one another as they set the tone for the acts to follow with typical Geekenders flair.

Dee Luscious set things off as Bowser, King of the Koopas, prancing out to Amy Kurcharik and Friends’ Like a Boss and showing everyone that she had come up with an ironclad plan to finally conquer the Mushroom Kingdom: kidnap Princess Peach and put her in a castle. Dee made the stage her castle and every last audience member was captivated by her performance. It was a strong showing, equal parts funny and sensual, and it set things at ease and relaxed the crowd for whatever was to come.

With Princess Peach out of the picture, Jayne Fondue stepped up as Princess Daisy and let us know why she should be the new ruler of the Mushroom Kingdom and not just Luigi’s heart. Rocking out to How to be a Heartbreaker by Marina and the Diamonds, her facial expressions let everyone know that they were watching royalty – and when she came into the audience to thrum along with her loyal subjects, we were surprised to find her take someone on stage with her. This lucky player two was fed the freshest sort of block-fare, turned from another face in the crowd into the most famous plumber this side of Mario. The two of them stepped off, triumphant, and everyone’s heart went with them.

Artemis Lark had a difficult act to follow, but she managed. Coming out as the Kaepora Gaebora- the Great Owl from the Legend of Zelda games – she took a wild breath and claimed the space around the stage, flapping her wings and moving her head like an owl to Who Are You? by the Who, an inspired choice that Artemis turned into the ultimate audio/visual pun. Her facial expressions were, once again, perfect, and she became the show’s twilight princess as attention focused from performer to crowd.

The fine folks behind the upcoming Robin Hood: Prince of Tease were given a chance to strut their stuff while hosting the Geekenders costume contest. They’re performing an entirely gender-bent take on the classic fable and will be at the Performance Works on Granville Island from April 28th to May 13th. You can find out more by clicking here.

We were treated to two separate contests, a Nintendo-themed and a non-Nintendo themed follow up. A man wearing a full on Pikachu costume claimed the former, while the birthday-celebrating Draco Muffboi and companion Ginger Femmecat shared victory Hogwarts-bound Sailors Uranus and Pluto. Their victory was greeted with a rousing chorus of Happy Birthday sung at Draco, and a Happiest Birthday to you.

With that island of calm behind us, we returned to the world of burlesque with Kitty Glitter proving that everyone loves a dinosaur. Appearing as Yoshi, she gobbled down every last morsel of attention with a fun and energetic showing that had the Odyssey in good spirits and ready for more.

The crowd was rocking and rollicking and feeling the passion of that performance, and so we were treated to an intense tournament of that most skill based of challenges: rock paper scissors. Contestants were culled from the crowd, their glory to be claimed or lost on stage for all the Odyssey to see. The battle was fierce and the prizes for victory mighty, with the final winner taking home the Master Sword.

You could take that prize home, maybe. You should come to one of these shows.

Donna Jazz flounced on stage to bring us back to the show as Kirby. She started things innocent, with some light instrumental that led to a nice rendition of Don’t Put in Your Mouth, the songs following the action as Kirby, of course, ate something… and we all know that Kirby takes on the power of those that are eaten. The music was swallowed and so was Donna, allowing her to transform into a very different kind of dreamland resident, Beyoncé’s Partition marking this as the perfect song to sum up the stunning performance as a whole.

As Kirby ended, the King returned: one can’t keep a bad Koopa down, and one does not turn away from a second showing from their King. The debuting Johnny Wildcard eschewed the stage entirely, showing as incredible athleticism as he swung along and pole-danced to Ain’t no rest for the Wicked by Cage the Elephant. Johnny hit every beat perfectly, ruling the land and the world and making the Odyssey his kingdom, and by the time his performance ended and we had managed to pick our jaws up off the floor we were certain we had seen the show-stopping number.

We were wrong.

Saffron St. James flew out from Ottawa to take part in this show, donning the yellow cap and crooked mustache of Wario. She stepped on stage and, like Wario, was greedy for our attention – but unlike Wario, she knew how to hold it once she had it. Setting herself to Crown by Angel Haze, she brought the house down, a perfect presence that proved that majesty comes from so much more than a crown.

Jesse and James saw us off and kicked off a massive dance party mingled with video games and good times, as the crowd that was there stayed and new faces showed up. A good time was had by all, and Stephen Blakley gave us some magic as he took the stage to reprise the Han Solo routine from the Star Wars burlesque. What else was he going to do? Maroon 5’s Moves Like Jagger was playing. The Geekenders crowd knew what was up, and the new faces from the Odyssey clued in quickly.

Geekenders continues to break new ground and expand their venues and fanbase. This was an awesome show with a great turnout for a Sunday night, and there’s sure to be more to follow both at the Odyssey and elsewhere. We know for certain that the Geekenders are returning to the Rio this May the Fourth (and the Fifth~!) with Star Wars: The Empire Strips Back. For our new friends that saw tonight and want more, click here and grab some tickets.

You won’t be disappointed.

All photos provided for by Zemekiss Photography, who you can learn more about by clicking here. You should do so; Zemekiss Exanto is awesome people and will capture your event with class and skill.  

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Geeks Versus Nerds Vancouver Episode 33 – Outta This World – A beautiful tribute to the ’90s and Alien...

Comedy, Events, Reviews

March 30, 2017

It was announced earlier this year that Geeks versus Nerds Vancouver will be shuttering up this year only to see the light of day once in awhile during convention season. It will be sad to see a Vancouver institute of unbridled fandoms come to an end, especially after such a solid showing from the debaters for Geeks vs Nerds episode 33 “Outta This World!”.

The night started with Sonic vs. Spawn for the best mascot of the 90’s. With time-traveling past selves, marketing executives, and even a Spice Girl sighting, it was a hard-fought battle to decide a winner. In my own flipping from side to side, I was joined by one of the debaters’ 8yr old self, presenting an interesting way to argue for your hero, by arguing for the other hero more often. The tactic worked in their favor as Team Sonic sped away with the win as the best mascot of the 90’s. The can of Sonic energy drink and dunkaroo bribes must have clinched it.

The main event was Autobots vs. Crystal Gems  for ‘Which team of aliens best defends the earth from their own kind?’  Yes, it is a mouthful. The best kind of mouthful if you are going to name a debate about teams of aliens.

The Nerd side was strong with appearances from all of Steven’s parents and creator, facing off against the Geek team of a walking encyclopedia of Transformer facts, Les Grossman, and a super fan who seemed to have all the toys. I’ll give the Geek team a mention of really knowing their facts, but the presentation of such felt like regurgitated information, especially in an entertainment debate. The toys they brought though? Fantastic. It’s hard not to cheer though when the Nerd team busts out poetry, musical numbers, and Steven himself. With thunderous applause, the Gems captured the win, and many hearts.

A great night out and a ‘fan’-tastic experience.

 

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Jalyn Euteneier is a co-founder of ZeroD20, a gaming addict, and a fan of creativity. She is a sucker for discussions of community, inclusion, and mobile games, so if you are inclined to want to talk about that, find her on Twitter @CrazeeJay

 

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1201

Dark Nexus Arena

Uncategorized

July 21, 2015

Dark Nexus Arena has blown our collective minds. This is a big deal – Games Workshop might have done something good for once and let’s not kid ourselves – Warhammer 40k video games, by and large, suck. They’re pretty much universally terrible, despised by reviewers and fans of gaming and the franchise alike, seen as nothing more than cash grabs with maybe a passing respect for either gaming or the lore but never both. Every time a new game is announced we still come around, hoping not to be sorely disappointed yet again by an inferior product given maybe a passable paint job over a rotten core.

notsayingbutsayin

Conversely, this is one of the reasons we love Whitebox Interactive. They love Warhammer 40k as much as we do, and there’s not a single table in the dev pit that isn’t littered with paint, codex books, models, and art work. In those quiet moments before the dev team trickles in, the office looks like a gathering of fans that have come together to share tips and play some table top.

Whitebox Interactive Office Decorations

Even after the offices fill up, there’s banter about the armies and their strengths and weaknesses, arguments over color schemes, heated discussions about bits of the lore. It’s pretty great, and lets us know that these are people that love Warhammer 40k as much as we do.

It’s a good place to start understanding why the game is so damn playable.

We’ve been part of the beta testing team for a few weeks now, delving into the depths of the characters on offer and learning the mechanics of the game. We sit in, mostly, but the hardcore mechanics are there, melded with the lore in such a way that the whole experience traps you and feels authentic.

play testing Dark Nexus Arena

Dark Nexus Arena isn’t a Warhammer 40k MOBA; it’s what every Warhammer 40k video game dreams of being when it grows up. It’s not even a real MOBA, not as they’re currently understood. DNA is to the fastest growing genre in video games what Doom was to the first person shooter in the early nineties – such a giant leap forward in technology and application that every other game feels like a fading echo.

Here’s why:

MOBAs grew out of real time strategy games. They started as Warcraft III hacks. A lot of the control mechanisms are still designed around real time strategy, when the simple truth is that interface is dated and has no place in the modern scene. It’s a vestigial organ that DNA does away with, giving us complete control over our character in a way that is both intuitive and groundbreaking.

Warhammer 40k has developed the most complex lore in all of gaming. Starcraft? Warcraft? Diablo? Cool games with interesting lore that they cribbed from Game Workshop. Amazing how the Tyranids / Zerg and the Eldar / Protoss are still invading Imperium / Terran territories, isn’t it? Forsake? Vampire Counts. Prime Evils? Gods of Chaos, C’Tan, take your pick. And they’re not the only ones that have done this.

The point is, everyone cribs off the grandaddy of them all, and everyone falls short of capturing the true scope and majesty that Warhammer 40k brings to the table. The technology was never there to grasp it until this very second. Because here’s the truth: Whitebox Interactive has done it. Every faction. Every major character type. Everything. It’s all in this game, it’s all drawn from the lore, and it is perfect.

Now, we should note that one game came close – Dawn of War. A game that came out of the now defunct real time strategy genre, it brought all the armies to the table. Every faction was represented, and it added an engaging story that drew on the lore Games workshop has established to tell a hell of a story. It’s PvP was some of best of its time, but it failed to take advantage of one of the best and biggest parts of Warhammer 40k. It did not give you the ability to customize your army.

Customization has been a part of Warhammer 40k from the get go. Creativity is a big part of that culture, and that customization has recently found a place in video game lore. From the create-a-wrestler modes of the wrestling games to the hats of Team Fortress to the conversational models of Dragon Age and Mass Effect, a personal experience has become part of what video gamers crave. Dawn of War couldn’t give them that. Dark Nexus Arena can.

Over sixty character types are planned at present. Each character has 5 basic skins for players to choose from, and every skin can be customized with symbols or colors of everything – armor, weapons, symbols, even explosions and attacks. There is no part of the player’s character that cannot be customized to fit the player’s taste, making each character as unique as the player wishes.

Better still, there’s no need to invest in characters the player isn’t interested in. Real time strategies forced you to manage resources so that you could get to the characters you wanted to play with, whereas Dark Nexus Arena starts you off with what you want. No wasted time. No milling about, farming, prolonging the experience. No, this is exactly what you crave from start to finish.

KharnPreview

Yeah, sure, there’s only Orks and Tau and some Imperium in play now, but we’re starting to see the Chaos and Necrons that Whitebox Interactive has planned, and they’ll blow you away with their detail and differences in play. We’ve only seen them being tested, but we can’t wait to get our mitts on them and rampage through the Dark Nexus Arena with them, and we wait with baited breath to see what Whitebox Interactive plans on unleashing next.

As Games Workshop abandons an expansion of lore for the quick cash grab of ever more expensive models, Whitebox Interactive has picked up the torch to provide a lore-intensive, intuitive, and immersive experience. They have the love of the lore and skill of development, and they’ve combined both to make a game that is going to rock the grim darkness of the future, there is every other MOBA vying for second, and Dark Nexus Arena shining like the favored Primarch of the God Emperor himself.

 

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1048

Roll for Crit – Dixit

roll for crit, Videos

July 17, 2015

Strange things about to come out of our mouths, as we try to get each other to guess which card we played in Dixit! Wanna know how to play? The cool kids from Roll to Crit have you covered:

And here’s what the game looks like when you’re playing it, and this one? This is is great:

You are intrigued, no? You wish to play the game. You need to. You must. Click here to purchase this best of all games and check out the expansions that have come out to make it even better…!

Buy Dixit from the store page: http://www.rollforcrit.com/product/hanabi/
The Roll for Crit homepage: http://www.rollforcrit.com/
And go say hi to them fine folks on twitter: https://twitter.com/rollforcrit

 

 

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689

Nerdcouver Comics Episode 10

nerdcouver, Opinion, Reviews, Videos

July 7, 2015

Those kooky kids from Nerdcouver filmed Episode 10 this past Wednesday, which was Canada Day! Yay, Canada!


Naturally, they had to talk about the new comics series, “We Stand On Guard,” which is set in a futuristic Canada overtaken by America, where they won the upcoming mech duel with Japan and went a little conquer crazy!

The Nerdcouver crew also talks about The Spire, The Woods, Princess Leia, Deadly Class, Groot, Squirrel Girl, and X-O Manowar.

 

Nerdcouver is and can be found at:

Aaron Golden @lastswann

Jenna Táralóm @novavandorwolf

Nathan Rayes @natemayes

Reva Dawn @maplebunnie

 

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