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[Review] NECA’s Ghost Predator is Another Worthwhile Figure

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Images courtesy of NECA

Beginning in the late 80s, toy companies started creating toy lines for R-rated films. Leaving the irony of marketing products for mature films to kids aside, those of us who remember had figures based on Rambo II, Robocop, Swamp Thing, and of course, the Alien and Predator films. Kenner toys handled the latter two franchises, as well as expanded into a line based on the Alien Vs. Predator comics by Dark Horse. Being their awesome selves, NECA has done more than a few Kenner-inspired figures for both Aliens and Predator. The latest for their long-running Predator line (Series 16) includes two direct homages to past figures, as well as one that’s a unique design all its own: The Ghost Predator.


Packaging:

The figure comes packaged in a blister card package replicating the look of the old Kenner package, right down to the stylized NECA logo in the lower left. The front of the package includes new art for the figure, as well as boasting of the “all new additional articulation”. The back of the package has the bio for the figure, including pictures of the other figures in this series.

Sculpting/Paintwork:

NECA continues their amazing knack of cramming as much detail into their figures as possible, and the Ghost Predator is no exception. Based on the Jungle Hunter mould (aka the Predator from Predator, the figure stands just over 8 inches tall, and features a couple of new pieces. As with other Predator figures, the Ghost Predator has the same netting sculpted over much of its body, along with the scaly skin. The armour is also very detailed, featuring some great textures worked into the sculpt. One of the more prominent new pieces is the shoulder pauldron, with tubing that connects to the chest armour and the wrist gauntlet. The necklace for this figure is also a neat touch, showing off a spinal column and finger bones, again with texture sculpted in. Of course, the new mask is another big addition. Again, great design and textures worked into the sculpt, but since this mask is removable, the inside of the mask also has some awesome detail worked in as well.

As for the paint, the skin is decked out in a pearlescent white in keeping with the “ghost” motif, along with some pale orange and black stripes. It’s pretty cool once you get light bouncing off of it. Details such as the inner flesh colour of the mouth and teeth are nicely painted, as well as some dry-brushing for the armour, included a “tarnished” look for the mask. Again, while most of the sculpt is reused, the paint is what really makes this figure stand out.

Articulation:

That “all new additional articulation” is part of NECA’s new Ultimate Predator sculpt, and it used here to great effect. The head is on a ball joint, but because of the dreadlocks and Plasmacaster (once it’s plugged in), you won’t be getting as much range as you normally would. In addition, the way the figure is sculpted, it has a “hunched over” look that limits how far he can look up. Still, the head can move side to side and rotate far enough that you’ll still have a good amount of range. The arms are on pin-and-socket joints, and can move forward and back, as well as in and out. Due to the shoulder armour, you will end up with limited range (particularly on the figure’s left side). And because of the tubing on the left side, be careful when moving things, as there is a potential for the tubing to break off. The arms also feature a biceps swivel, and double-jointed elbows which offer more than 90° of bend. The arms also rotate at the gauntlets (again, be careful), and have a nice balljoint at the wrist. The upper torso features a balljoint that allows for more range than the past Predator figures, along with a waist twist.

The legs are on pin-and-socket joints, and allow for forward and backward movement, as well as moving the legs in and out, and a thigh swivel. Again, because of the armour on the legs, you will have limited range when it comes to moving the legs out. The knees have a great double joint (hidden by the kneepads), that allow for more than 90° of bend. Lastly, the feet are on balljoints, and can rotate all the way around, with a bit of a pivot. In spite of the obvious hindrances, there’s definitely some great amount of articulation to get this figure in the pose you want.

Accessories:
As is the norm for almost all Predator figures, the Ghost Predator features wrist blades that can extend. As well, the opposite wrist gauntlet features the flip-up display. As mentioned, the mask that this figure comes with is removable, and fits on the head snugly. The figure also comes with a Smart Disc that can be held in the right hand, and can also be plugged onto the right leg. The Plasmacaster is removable, and fits snugly onto the left shoulder, with a small hinge and balljoint for the blaster to be aimed. Also included is a machete-type blade that can be held in the figure’s left hand, and a Combistick that can also be held in the left hand.

Overall:
While the figure isn’t as visually-unique as the other two in this series when compared to past Predator figures, the details, paint and accessories still make the Ghost Predator a worthwhile pickup if you’re into the Kenner homages. Even if you’re not, compared to the other two, this is a nice “toned-down” version that would fit in with the regular Predator figures.

Big thanks once again to Northmen Collectibles for making this figure available.

Writer/Artist/Gamer from the Great White North. I try not to be boring.

Books

‘In Search of Darkness’ Book Review: A Must-Have for ’80s Horror Fans

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In 2019, the documentary of 80s horror In Search of Darkness became an instant hit with horror fans. Now, a beautiful coffee table style companion book is available and is a must-own for all fans of one of horror’s greatest eras. The book is a walk down the horror aisle of the best mom and pop video store in the heyday of VHS, featuring full color photos, poster art, insightful essays and more. More than just a nostalgic throwback, In Search of Darkness is the kind of book I wish I’d had back in my years as a burgeoning horror fan but is also satisfying for the film fanatic I have become in the years since.

The format is beautifully and simply laid out, with at least a dozen (usually more) movies from each year of the decade presented in order of release accompanied by informative and insightful essays by the authors Heather Wixson and Patrick Bromley. Both authors have been mainstays of film journalism, specializing in horror, for many years. Wixson began her career in 2007 with Dread Central and has spent the past ten years as the Managing Editor of Daily Dead, from which she recently retired to focus on books and other projects. She has devoted the past several years to interviewing and writing books about the Make-up and Special Effects wizards that have brought so much to film over the years, specifically the horror genre.

Bromley is a film journalist and critic whose work can be found all over the place including right here on Bloody Disgusting. He recently provided the commentary for the Vinegar Syndrome release of The Texas Chainsaw Massacre 2 and is known as something of a Tobe Hooper expert. He is also the founder and editor of F this Movie!, an eclectic film website, and host of its accompanying podcast. So, to be clear, the authors know their stuff.

Wixson and Bromley divide writing duties roughly in half and though each has a distinctive voice, their writing styles dovetail beautifully into a cohesive whole. Each author plays to their strengths. Being familiar with both their work I didn’t even have to look at the bylines to know that Heather covered Christine and Terror in the Aisles and Patrick took on The Funhouse and Hollywood Chainsaw Hookers. Wixson’s passion for make-up effects is clear and comes through in many of her contributions. In general, Wixson takes on the “big” titles, the movies that defined the decade the most, and Bromley covers what the more cynical among us might call schlock, but he would likely call pure cinematic bliss. There are exceptions and surprises, of course, as there should be (Patrick covers The Shining for example). Each essay dives into the history behind the film, the major players involved, the reception, and legacy with often surprising aspects drawn from interviews with the filmmakers from various sources and insights from the authors.

For all their in-depth explorations of each film, in general the authors keep their critics’ hats safely stowed, keeping in mind that every entry on the book has its fans. In fact, they may well have sold me on finally hitting play on some of the schlockier offerings of the decade like Evilspeak, Nightbeast, and Blood Diner. Hell, I may even give The Beast Within a spin for shits and giggles. The point is that this book is a celebration through and through. The authors are honest about the critical receptions of the films, which were often unkind, and sometimes let their own opinions shine through, but recognize how beloved even the schlockiest films can become given time and availability. And that is an ongoing theme of In Search of Darkness. What may have been dismissed in its day often becomes revered as the years pass. Variations on the phrase “the years have been kind to…” referring to various maligned projects like The Thing, Halloween III: Season of the Witch, The Blob and many, many others, can be found throughout the book for good reason.

Each chapter of the book also includes a rundown of the top horror movies at the box office for the year as well as the top movies of all genres for context. The final page for each year highlights some of the major news and pop culture events including the top songs, albums, and television shows. There is a large central section that pays tribute to the talent involved with the greatest horror films of the 80s including directors, actors, effects artists, and more. This section includes brief biographies of John Carpenter, Wes Craven, Stephen King, Tom Savini, Barbara Crampton, Robert Englund, and many others presented in a dynamic and engaging fashion.

One of the beauties of the book is that it covers so much ground. Sure, you’ll find Friday the 13th, A Nightmare on Elm Street, Hellraiser, and the Halloween sequels in it, but you’ll also find deeper cuts like The Changeling, The Being, and Tetsuo: The Iron Man. I was happy to find the same love given to Frank Henenlotter and Larry Cohen as to George A. Romero and David Cronenberg. In other words, In Search of Darkness is extraordinarily eclectic, highlighting the diversity that truly defined what is often viewed as a homogenous decade. The authors make the case that the 80s was horror’s greatest decade, and with what they lay out throughout this book, it’s tough to argue against that. I even came across a film or two I hadn’t even heard of before, which has become increasingly rare as the years go by.

At just shy of $85, the cover price may give some horror hounds pause, but believe me, it’s worth every penny. This is a beautiful volume that every fan of 80s horror will want on their shelf or prominently displayed on their coffee table. Filled with favorite titles, hundreds of full color photos, insightful and informative writing, this is simply a must own.

You can order your copy now.

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