by Keith Daniels

Dungeon Siege 3 diverges from its forebears to such a degree that it should almost have had a different title. Players expecting the traditional PC RPG trappings of the first two games: character creation, large parties, pause-and-go strategy, mouse and keyboard oriented gameplay, will almost certainly be disappointed. That’s what this game isn’t. What it is, however, is a polished and addictive button-mashing action-RPG that succeeds in creating a story-oriented co-op fantasy dungeon crawler for modern console audiences in the tradition of Secret of Mana or Baldur’s Gate: Dark Alliance. In fact, the game’s lead designer, Nathaniel Chapman, mentioned both of those games by way of comparison in our recent interview with him.

Dungeon Siege 3 returns the series to the first game’s Kingdom of Ehb, a fairly generic fantasy setting once protected by a group of honor-bound warriors called the 10th Legion. At the opening of DS3, the Legion has been all but obliterated by the armies of a religious zealot called Jeyne Kassynder, who holds the Legion responsible for the murder of the former King of Ehb and has dedicated her life to vengeance against them. You and the other playable characters are part of a mere handful of surviving Legionnaires, and your quest involves reuniting the various splintered factions of Ehb with the remnants of the Legion. All this game’s talk of Legions actually led to a few humorous moments for me when NPCs would celebrate how, “The Legion has returned,” and I’d think, “Well, yes, but it’s basically me and this other guy.” The abstract arc of the story is superficially similar to that of Dragon Age: Origins: as a new member of an elite but dwindling order you recruit allies amongst the kingdom’s squabbling factions by doing quests for them until you have enough force to march against the Bad Thing. But what has been will be again, what has been done will be done again; there is nothing new under the sun.

[..]

by Blogbot

This Sunday (June 19th) our very special in-studio guests will be DTLA’s ultimate good time band, The Weekend Pilots, who’ll be performing tracks from their new album ahead of their record release party at The Viper Room on June 24th.

Warning: The extreme silliness of this show could seriously split your sides.

SG Radio’s “Nude Music” Acoustic Sessions – Because songs are better naked.

Listen to SG Radio live Sunday night from 10 PM til Midnight on Indie1031.com

Got questions? Then dial our studio hotline digits this Sunday between 10 PM and midnight PST: 877-900-1031

Busy on Sunday? Then find all our podcasts at http://suicidegirlsradio.blip.tv/ and listen at your leisure.

And don’t forget to follow us on Twitter.

by Nicole Powers

On the surface, The Last Mountain is a documentary about the dirty business of coal, the highly destructive and toxic practice of mountaintop removal mining, and one community’s fight to preserve their homes, their livelihoods, their health, and the last great mountain in the region. However, the story of Coal River Mountain in West Virginia is allegorical of much that is wrong with America, which is why during our roundtable conversation with the film’s champion, renowned environmental lawyer and activist Robert F. Kennedy, Jr., he barely mentions the four-letter word that is coal. Instead, Kennedy focuses on the underlying history and climate that has allowed corporations to rape and pillage our environment, and poison and kill our citizenry with impunity.

In The Last Mountain, Don Blankenship, the former CEO of Massey Energy (he retired at the end of December 2010), is typecast in the role of modern day robber baron. As the largest coal producer in Central Appalachia, his company is only able to function on the scale it does by subjugating democracy. Mountaintop removal mining is cheaper and less labor intensive than traditional underground coal extraction methods, but it causes such an affront to the landscape, water and air, that it can only be done when the authorities charged with protecting the public interest are willing and able to look the other way.

Between 2000 and 2006 Massey chalked up a staggering 60,000 EPA infractions, but has suffered little in consequences beyond much belated and pitifully low fines that serve the government’s need to be seen to be doing something while maintaining the status quo. Of course, Massey is not the only corporation and coal is far from the only industry that is using and abusing our severely compromised shell of a democracy. In light of the Citizens United Supreme Court ruling allowing corporate campaign donations (and a subsequent one that makes direct-to-candidate payments permissible), our government couldn’t be for more up for sale if it were posted on eBay.

Though there will inevitably be dark days ahead for our democracy, it’s not all doom and gloom thanks to a groundswell of grassroots activism as witnessed in Coal River Valley and documented in The Last Mountain. As for the environment, Kennedy points out towards the end of this interview that there’s an (LED) light at the end of the tunnel, and ironically it’s capitalism in its cleanest and purest form that may end up saving the day.

Read our interview with Robert F. Kennedy, Jr. on SuicideGirls.com.

The Last Mountain opens in Los Angeles* on Wednesday, June 15, and in Irvine, Pasadena, Philadelphia, San Francisco*, and Berkeley on Friday, June 17.

*Bill Haney and Robert F. Kennedy, Jr. will appear in person at the Landmark opening night screenings in Los Angeles and San Francisco – visit the Landmark website for more details.

by Daniel Robert Epstein

It’’s 2007 and Simon Pegg has become a bonafide movie star. Pegg’s breakout role in the surprise cult hit Shaun of the Dead has led to bigger roles such as the lab tech in Mission: Impossible III and the lead in the Run, Fat Boy, Run written by Michael Ian Black. But Hot Fuzz is the film that Pegg and his long time collaborator, director Edgar Wright, have wanted to do since they wrapped Shaun.

Shaun of the Dead is one of my favorite films of recent years, but Hot Fuzz surpasses it in acting and humor, and technically the film is a marvel. Wright and Pegg have crafted a tight screenplay that lovingly satirizes elements from some of the best/worst action films of all time. Amazingly they’’ve incorporated those ideas into pivotal and often emotional scenes.

In Hot Fuzz, Pegg plays super cop Nicholas Angel, who does such a good job of arresting bad guys that he is making his department pale in comparison. He is then transferred to the rural sleepy hamlet of Sandford. At first he spends his time trying to whip the lazy police department into shape but soon Angel realizes that Sandford is hiding a dark secret…

Read our exclusive interview with Simon Pegg on SuicideGirls.com.

by Morgan

I’ve spent long stretches of time the last couple of months without a computer, which means that when I had a working one in my apartment again I devoured new games with more enthusiasm then usual. And I usually have a lot of enthusiasm for games! I also spent a lot of time playing games on my brand new iPad. So for this casual game review column, I’m going to offer a grab-bag of different games for both PC and iPad. Also, to make up for the absence of a column last month, I’ll include a few quick recommendations at the end of this one!

1. THOR: Son of Asgard

First, there’s THOR: Son of Asgard. I know, I know, games based on movies are most often somewhere from mediocre to gorram terrible, but I really enjoyed this one. The tutorial level will get you comfortable with the easy to use, intuitive controls that allow you to use basic attacks and awesome foe-smashing special powers. The graphics are excellent and the game play engrossing. One of my favorite aspects is the storytelling cinematics, which play out in comic-book art form and are very nicely rendered. There are some downsides here though. I got the game for $.99 on sale, but it usually costs $4.99. The game does feel short and I generally do not like dropping five bucks on a shorter game, but for this one I probably would have as I could see myself replaying it several times. Also, from my understanding the game currently does not work well with iPods, so buyer beware if you don’t have an iPad!

[..]

by Nicole Powers

There’s nothing pretty about coal mining at the best of times, but mountaintop removal mining is downright obscene. The process is ugly in every sense of the word, but is less labor intensive, and therefore cheaper and more desirable for the big energy corporations who do it. However the hidden expense in terms of the environment, public health, employment, and subsidies mean that it’s something that the American public is paying dearly for. The cost of mountaintop removal mining is something that is literally and metaphorically killing us.

The sordid details involve deforestation to prepare the site. The ‘overburden’ – in this case a euphemism for the top 250 to 500 feet of a mountain – is then removed using dynamite to reveal the underlying coal seam. The rubble created as the mountaintop is blown away is generally pushed down the mountainside, covering flora and fauna, rivers and streams, and anything else in its wake. Once the coal has been removed the mining companies are supposed to restore the site, but this requirement is at best broadly interpreted, and at worse blatantly flouted with few repercussions.

Fifty percent of the electricity produced in the US comes from coal-powered plants, and thirty percent of the coal used comes from Appalachia. As a result, 500 majestic Appalachian mountains have been destroyed. The biggest perpetrator of this destruction is Massey Energy, who proudly proclaim on their website that their ‘vision’ is ‘to be the premier supplier of quality coal from Central Appalachia to worldwide markets.’

The physical removal of coal however, is only the first stage in a highly toxic chain of events. The coal then has to be prepared, a procedure that uses vast amounts of water to wash off the soil and rock. The byproduct of this is a filthy sludge, which contains all manner of heavy metals and other such carcinogens, that is stored in vast impoundments. These sludge ponds are generally lazily constructed using dirt that is blasted off the mountaintop to damn a valley below. For the most part, there’s no concrete or steel reinforcement as would befit dams built on such a scale. Because of this, many of these impoundments are leaking, and, furthermore, because these structures are not lined, the pollutants even in the sound dams leak into the surrounding water table.

The environmental impact of such mining practices is supposed to be mitigated by the Clean Air and Clean Water Acts, which in turn are supposed to be enforced by the Environmental Protection Agency (EPA), the Department of Environmental Protection (DEP), and, to some extent, the Army Corps of Engineers. But a Bush-era single word change to the Clean Water Act arrested its ability to control pollution, much to the delight of the polluters. Known as the Fill Rule, the definition of allowable fill material that could be dumped into lakes, rivers, and streams was essentially broadened to include all manner of waste. Thus, the Clean Water Act now serves as a license for big business to pollute.

Because of the intrinsically dirty nature of coal mining and the cozy relationship the industrialists have with those in power (George Bush famously called his election to office ‘a coal-fired victory’ because of the extent of the industry’s contributions to his cause), pollution is an inevitable part of the process and polluters are rarely brought to task. For example, according to Environmental Protection Agency records, Massey Energy committed over 60,000 violations between 2000 and 2006, but has paid a pittance in fines, which when compared to the company’s profits barely even register as a tickle on the wrist, never mind the slap they’re supposed to be.

In the lieu of the government acting in the interests of the people it’s supposed to represent, the battle for clean air and water, and sustainable energy and jobs is being fought on the ground by those Big Coal directly adversely effects. The struggle of one such community in West Virginia’s Coal River Valley, whose homes, land, health, and employment prospects have been blighted by Massey’s mountaintop removal mining operations, is documented in a new film, The Last Mountain.

A collaboration between filmmaker Bill Haney (whose previous credits include the Academy Award-shortlisted Price of Sugar) and renowned environmental lawyer and activist Robert F. Kennedy, Jr., The Last Mountain should be mandatory viewing for anyone who’s ever switched on a light. The film not only tells the inspiring story of the grassroots fight against the Goliath that is Massey, but also underlines our implicit culpability, which can be summed up by one simple yet staggering statistic: sixteen pounds of coal is burned each day for every man woman and child in the US.

SuicideGirls participated in roundtables with Haney and Kennedy. The following is excerpted from the interview with Haney (our conversation with Kennedy is posted here).

Read our interview with Bill Haney on SuicideGirls.com.

The Last Mountain opens in Los Angeles* on Wednesday, June 15, and in Irvine, Pasadena, Philadelphia, San Francisco*, and Berkeley on Friday, June 17.

*Bill Haney and Robert F. Kennedy, Jr. will appear in person at the Landmark opening night screenings in Los Angeles and San Francisco – visit the Landmark website for more details.

by Mur Lafferty

SuicdeGirls presents the eleventh installment of our Fiction Friday sci-fi series, Marco and the Red Granny, which is brought to you by SG columnist Mighty Mur a.k.a. cyber commentator Mur Lafferty.

Marco and the Red Granny is set in a not-so-distant future where an alien species, the Li-Jun, has transformed the moon into the new artistic center of the universe, where the Sally Ride Lunar Base soon gains the nickname “Mollywood.” These aliens can do amazing things with art and the senses, allowing a painting, for example, to stimulate senses other than sight.

In the previous installments, Marco, a writer whose career has long been in the doldrums, gets a surprise call from an agent he thought he no longer had, informing him that he had received an offer from Mollywood for a much coveted Li-Jun patronage. Keen to catch up career-wise with his ex-GF Penelope, who’d unceremoniously dumped him after being recruited by the Li-Jun two years earlier, Marco jumps on the next shuttle to the moon. Once aboard, he finds himself sitting next to a seemingly unassuming old lady called Heather, who turns out to be The Red Granny, a legend in Li-Jun’s reality show world for being a three-time champion of The Most Dangerous Game (which requires contestants to sign away the rights to their life).

After settling into his new accommodations at House Blue, Marco has a brief meeting with his new patron, a Li-Jun called Thirteen. It’s only then that Marco realizes he’s never been shown the terms of his employment, and a sense of unease sets in. That evening, Marco is taken on a trip to see The Red Granny in action in The Most Dangerous Game. After a bloody battle, the senior reality TV star is again victorious. The viciousness of the game however, leaves The Red Granny unconscious, and Marco shocked, disturbed, and in need of a stiff drink. Unfortunately stiff drinks are frowned upon by the Li-Jun, so Marco settles for an early night

The next day, Marco learns first hand about the process that enables the Li-Jun to put taste into paintings, music into pie, and stories into (nonalcoholic) beverages. Having had his deepest and most depraved memories dredged and thoroughly probed by the aliens so they can be monitored and recorded, Marco finally sees the terms of his contract.

Having accepted the Li-Jun’s too-good-to-refuse offer, Marco settles into his new life at House Blue. However, though he’s been handed everything he ever wanted, somehow the reality of it is hollow. Twenty thousand words into his new graphic novel, with his first deadline looming, Marco is suffering from a severe case of writers block. Looking for inspiration in the bottom of a glass that’s had something actually worth drinking in it, he heads to the seedier end of the Moon and stumbles across an illicit establishment which turns out to be run by a collective of folks who are strictly persona non grata as far as the Li-Jun are concerned – The Alcoholic’s Guild.

Taking a sip of gin, Marco looks up and sees a couple enter the bar. The man catches the attention of most of the establishment’s other patrons, but it’s the woman beside him that Marco can’t stop staring at.

“Penelope?”

[..]