Lyra Zeth from comic book to movie I first became aware of Lyra Zeth in the early 2000s. I was a total sword-and-sorcery sponge — comic book conventions, Dungeons & Dragons, tabletop RPGs, the whole lot. The hobby shop I spent countless hours in used to receive a lot of indie material — artwork, invites to gatherings, stories and stories. So many stories. However, every so often, sitting alongside the 3D newspapers and Drum Media , there’d be a folded A4 sheet featuring an expertly hand drawn image of a dark-age goddess named Lyra Zeth. It could have been straight out of Heavy Metal magazine — when it was heavy, before the dark times, before the Empire. On the flip side, there were three columns — one that told a continuing adventure of Lyra and the first gun, another that provided a riddle...
By T. B. Mindser Pulp Fiction arguably contains one of the most fascinating sequences and stories ever committed to celluloid. In this sequence we see a boxer, or Palooka Butch,not take a dive, due to family pride which causes him to be on the run and later in a showdown with his nemesis, Marsellus Wallace, in a city street and then in pawn shop which becomes the mouth, or orifice of hell. Fascinatingly, the destiny and fate of Butch is intertwined with the watch as this becomes a film about boxes within boxes. Even Butch’s profession sounds like a box: He is a boxer and one that refuses to lie down, whether it be in the ring or in a Gimp trunk. Let’s examine the box in more detail. When we first see the infant Butch, he is watching a “box” a television playing a children’s show about totem poles; symbols of Indigenous pride. He is forced to turn off the box when his mother introduces Captain Koons, a war veteran, close friend and fellow POW combatant of Butch’s d...