6
Clackamas Print
Artydtntertainme
Wednesday, May 16, 2007
-------- -—
ChanneLight but still filling
Sam Irause
. Katirwilson
I Co-Editors-in-Chief
What do college deans do
in their spare time? Do they
even have spare time? Are they
familiar with this concept?
Sometimes they play music
and make CDs.
Never
heard
of
ChanneLight? It’s Dean «of
Humanities Bill Briare’s use
of his spare time.
Take a short trip to Briare’s
office in McLoughlin Hall
and he will give out a copy
of the group’s newest release,
The Meeting of the Soul.
It is a very happy album:
like puppies, only not.
Briare’s experience as a
religion instructor comes out
in the lyrics.
The songs are a mishmash
of life and religion, jumbled
up and eating humus on a
farm together somewhere in
the wilderness. It’s kind of
like being brained by the Ten
Commandments and Kali’s
husband’s severed head all at
once.
Some songs are definitely
geared toward an older genera
tion, but nonetheless, a devoted
and youthful Deadhead might
find some enjoyment. Songs are beautiful.
like “Time Shift” and “New
Forget the vocals for a
Millennium” are
happy and joyous,
and seep maturity.
Briare brought
in
college staff
to help with the
production of the
album, including
Paul
Creighton
from
counsel
ing,
Music
Department Chair
Tom Wakeling and
Science Instructor
BobMisely. Misely
even put in his two
cents on “Weird
Things,” pulling
off a bitchin’ gui
tar solo.
According to
Briare, this is the
first out of the
many CDs he has
released where he
didn’t book any
studio time.
All the mixing
was done in his
own home studio.
“It was tedious,”
he told The Print,
laughing. But the
time he committed
has paid off.
The layers and
CD cover for The Meeting of the Soul,
textures of sound Dean of Humanities Bill Briare’s band,
minute because the music can
stand quite well on its own.
VISUAL
LITERATURE
by David Stark
‘52’proves to be a
year of greatness
the newest release of
ChanneLight.
Days turn to weeks as sequel emerges, wants brains
less Sheppard
The Clackamas Print
Very few sequels live up to
their predecessors, but 28 Weeks
Later makes a valiant effort.
28 Weeks Later employs an
entirely new cast. There aren’t
even any cameo appearances. The
original writer/directors have also
stepped back to the role of produc
ers, leaving the film’s direction to
Juan Carlos Fresnadillo.
The movie certainly trumps 28
Days in the categories of gore,
suspense and all-out horror. It is
also paced much quicker, and thus
there is very little time for charac
ter development or a strong plot
line. Instead, it progresses rapidly
and doesn’t allow the viewer to
become attached to the charac
ters.
Special effects, which are
almost non-existent in the first
film, are still used sparingly. Most
of the edge-of-your-seat drama is
achieved through bizarre camera
angles, the “bouncing camera”
trick and even a sequence shot
through the night-vision scope of
a sniper rifle. All of which give the
film an eerie edge.
The movie begins in the mid
dle of the original outbreak for
a quick and violent scene intro
ducing Dom and Alice, who are
hiding from the Infected, along
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with several others. Then, view
ers are shown a brief synopsis
of the events that occurred in the
28 weeks between the films. The
story returns to Dom, separated
from Alice but reunited with their
two children, as the U.S. Military
attempts to help a struggling
Britain to its feet.
But there wouldn’t be a film
if someone didn’t do something
incredibly stupid to send the
whole situation straight to hell. It
is these annoying, predictable
cliches that beg for the return
of Selena’s no-nonsense attitude
from the first movie.
However, there is no voice
of reason, and the predictable
mishaps almost cripple the
entire film. Its saving grace?
Either everyone is running from
Infected or being shot, bit and/or
horribly mangled.
In addition, the sequel has not
lost the dark humor of 28 Days.
If anything, it takes the humor
from dark to almost grisly. Either
way, the story doesn’t drag.
Unfortunately for some, this
time around doesn’t spare any
moment to splatter the scene
with gore,, and much of it isn’t
for the faint of heart. Whether
it be by a sniper rifle, helicopter
blades, or flesh-eating zombies,
nearly every scene involves
someone, Infected or not, meet
ing a gruesome end.
Although the film follows
the story of a family, there is a
distinct lack of the family ele
ment that the first movie was
known for. In 28 Days, a group
of strangers come to form a fam
ily unit that viewers cared about.
In the sequel, no one really cares
since no time is given to develop
such bonds.
Personal opinions aside, 28
Weeks Later is very clearly a
survival horror story. Fans of the
genre are encouraged to see it
Fans of the first movie should
be able to enjoy the nostalgic
throwbacks to the original, but
keep in mind that 28 Weeks
Later is its own movie.
It’s one year later, and a lot
has happened.
After the end ofDC Comic’s
miniseries Infinite Crisis, the
entire universe takes a one-
year jump. To explain what
happens in the interim, DC
published 52, a weekly series
lasting for 52 weeks. The
nature of the series has led
some to draw comparisons to
a comic book version of 24,
except it’s good.
52 has five major ongoing;
storylines.
Ex-villain Black Adam
attempts to build a superhero
power base to rival that of the
United States.
Paranoid conspiracy theo
rist The Question investigates
an organized crime syndicate
while fighting a losing battle
against cancer.
Detective and former
superhero Ralph Dibny tries
to find a way to resurrect his
dead wife.
Heroes Starfire, Adam
Strange and Animal Man
endeavor to get back home
while on the run from danger-]
ous bounty hunters.
And the last, and argu
ably most important, sto-j
ryline is about time-travel-]
ing hero Booster Gold, who
struggles to fill the shoes left
after Superman’s withdrawal
from the world of superhero- 1
ics, when his partner, Skeets, I
begins to have computer!
errors.
Booster’s story is by far the !
most engaging. His adventures I
as he goes on as a hero after I
the death of his best friend are |
impressive, especially since!
the malfunctioning Skeets isl
his only remaining link to the;
world of superheroics.
The plot jumps around a
lot, and the storylines tend to
intermix, but they remain fair
ly consistent, and by the end
of the comic, the characters
have really grown as people. 1
The pencils are crisp and I
beautiful, and the colors are I
above average, making for
nice art that complement^
rather then overwhelms, the
story.
The writers, Geoff Johns
Grant Morrison, Greg Rucks
and Mark Waid, spin a fan
tastic tale that is nothing less
than epic in scope.
I won’t spoil the end
ing, but suffice it to say, the
final conflict to save the 52
encapsulates everything that
the year-long maxiseries h
about and truly represents its
groundbreaking nature.
So, while 52 isn’t the bes
comic ever made, its innova
tion, art and writing ensure;
that it will stand the test q
time.
Anyone interested cat
probably still pick up the las
few issues at a comic shop
but until DC releases it in a
trade paperback, the easiest
way is probably through file« ■
sharing.