Author: markswritingcorner

Mark Ahern was born in 1979 and is from Ireland. He attained a Degree in Commerce from UCD in 2000 and a Masters in European Studies in 2001. He has written three novels to date encompassing science fiction and thrillers. At times Mark has used his experiences as an individual with a disability to write from a truly unique perspective. "Chronicles of Martan" which is his sole science fiction work to date, is an epic space odyssey inspired by his love of Star Wars. This was followed by "Not the Usual Suspect" and "Paradigm". His current project is called "The Irish Ripper" and should be available late 2019.

Kraven the Hunter Review: Bloody, Pulp Fun With Wasted Potential

A cinematic editorial illustration for a film review of Kraven the Hunter: a rugged, intense hunter in a dark jungle at night, crouched among tangled vines and rain-slick foliage, with subtle urban-industrial prison architecture in the distant background. Moody Sony superhero thriller atmosphere, earthy greens and charcoal shadows, dramatic rim lighting, gritty realistic film-poster composition, no text, no logos, no gore.

I watched this film yesterday, and have quite mixed feelings about it.

Kraven the Hunter is the rare Sony Spider-Man spinoff that almost knows what kind of movie it wants to be, then keeps tripping over the same roots that sank Morbius and Madame Web. J.C. Chandor’s R-rated origin story, released in December 2024, is messy, frequently silly, and visually uneven. It is also bloodier, more committed to its pulp, and occasionally fun.

Aaron Taylor-Johnson plays Sergei Kravinoff, the estranged son of a Russian crime boss who becomes a vigilante hunter of evil men after a lion mauling and a dose of mystical blood give him animal strength, speed, and senses. The film opens with him already operating as an urban legend, then flashes back to a hunting trip in Tanzania with his father Nikolai (Russell Crowe) and softer half-brother Dmitri (Fred Hechinger).

From there it piles on Ariana DeBose’s Calypso, Alessandro Nivola’s Aleksei Sytsevich (the future Rhino), and Christopher Abbott’s Foreigner, before setting up Dmitri as the Chameleon. Screenwriters Richard Wenk, Art Marcum, and Matt Holloway treat the comic-book villain as a brooding antihero with a father complex, which is the right instinct and the wrong dosage.W

hat works is mostly physical. Taylor-Johnson sells the hunter fantasy with real commitment: barefoot climbs, knife work, and a prison sequence that at least has a pulse. The R rating is not decorative. People get mauled, stabbed, and thrown through environments in ways the PG-13 Sony spinoffs never allowed, and for a while that brutality gives the movie a meaner identity than “generic enhanced guy.” Crowe, chewing through a thick accent and a philosophy of dominance, is the most entertaining person on screen whenever he appears; he understands he is in a pulp gangster picture wearing a Marvel badge. Abbott’s Foreigner is similarly slippery and odd, the kind of supporting villain who briefly makes the film feel like it has a personality.

A London chase built around Dmitri’s kidnapping is the clearest evidence that Chandor, better known for Margin Call and All Is Lost, can stage momentum when the effects and geography cooperate.The problems start as soon as the movie has to explain itself. The mythology is a grab bag: lion blood, a family sanctuary, a lawyer who somehow becomes Kraven’s partner in a hit list, and a Rhino subplot that exists mostly so the third act can have a monster.

Accents wander. Calypso is underwritten to the point of comedy; DeBose is stranded with exposition and a personality that never arrives. The special effects, especially anything involving animal movement or Rhino’s transformation, often look unfinished, and critics were right to call out the spatial emptiness of the fights. T

he much-mocked climax, a short mud brawl in a field, is the movie admitting it has run out of ideas. Kraven’s moral position is also fuzzy in a way the script never resolves: he is introduced as the man who only hunts the wicked (but kills men who have done no more than trophy hunt at one point) , then spends the runtime proving he shares more of his father’s appetite than he will admit, without the film committing to either tragedy or satire. That last point is the real missed chance. Classic Kraven stories work because he is a predator with a code who eventually wants the one quarry who can beat him. This film never has Spider-Man, never really needs him for the plot it tells, and still feels shaped by the contractual absence.

The result is an origin that ends by gesturing at a larger universe (Chameleon, a harder Kraven) the box office made irrelevant. Compared with the rest of Sony’s spider-free web, it is less inert than Madame Web and less meme-dead than Morbius, which is faint praise and also true. Put your brain in park and the animal-man set pieces, Crowe’s ham, and the R-rated nastiness can carry an evening. Three stars out of five.

First Alachin Encounters P1

A cinematic science-fiction illustration of a vast colony ship passing through deep space, with a long, elegant generation ship illuminated by cool blue and warm amber lights, stars and colorful nebulae in the background, a sense of immense scale and quiet awe, detailed concept art, no text or logos.

The following are extracts from Elizabeth Moore’s diary from the year 70000 EY. She was on the colony ship Eurbus sent to the fringes of the Empire at the time.

Time cycle 1

Still feeling sore after leaving the cryonic chamber. It’s hard to believe fifteen years have passed; I looked in a mirror and saw the same person staring back at me.

They warned us about the headaches, and they are every bit as severe as they said. Feels like explosions going off inside my head.

The other thing I’ve noticed is my heightened sense of smell. It’s like an olfactory overload. The first thing I noticed on waking was the smell of cleaning fluid, then the pungent smell of my fellow passengers. In fairness, none had washed in years.

Still, some of the men smelled good. It must be instinct or something. I hope the algorithm pairs me with one of them.

It should take two days before we disembark. I hope it is as beautiful and habitable as they projected. The largest telescopes indicated a thriving, lush world after all. I’d love a nice farmstead beside the sea.

Captain Peterson said there will be more than enough prime estate for everyone. I like him; he seems to care about everybody. His second in command, Ham, not so much.

My thoughts turned to what I’ve left behind. All of my brothers and sisters that I’ll never see again. My parents. I wonder what has happened in their lives since.

Wheelchair Wars: First Tark Encounters – Etreides 451 P3

A cinematic science-fiction illustration inspired by a tense military intelligence interview: inside a dark imperial command chamber, a stern alien general in futuristic armor sits across from a covert agent at a metallic table, holographic star maps and a vast hostile armada glowing in the background. The mood is ominous and strategic, suggesting an interstellar religious war and the threat of an insectoid species. Dramatic blue and crimson lighting, detailed space-opera concept art, no text, no logos.

Agent: What’s the capability of their weapons?

General: Every bit as good as ours. The problem was they underestimated us. They thought that our military strength would be similar to that of our colony worlds. We learned so much from those that we captured. It was my express order that at least a handful of prisoners be taken.

Agent: And what did you learn?

General: A great deal. This species is unlike anything we’ve come across before, and is a threat to the Empire. It sees us as food. They smell horrendous and reproduce through the laying of eggs. This armada that attacked us is what they consider to be a war band. It’s from one world amongst possibly millions. They have no central authority like the Empire, and are as likely to fight amongst themselves as anybody else.

Apparently, though, in their past many worlds have banded together to fight together against a common enemy. A religious war with them, of this nature, could cause major problems throughout the quadrant.

Agent: What do you recommend?

General: For the best armies of the Empire to be sent. We must immediately wage war. Pick off their worlds one by one.

Agent: Thank you for your time. Your thoughts will be forwarded, and a transcript of this interview will be archived. For The Emperor.

General: For The Emperor.

Wheelchair Wars: First Tark Encounters – Etreides 451 P2

A cinematic science-fiction editorial illustration for a post titled “Wheelchair Wars: First Tark Encounters – Etreides 451 P2”: a tense futuristic battlefield on a distant desert planet, fortified city walls and orbital defenses beneath a dramatic alien sky, with a determined wheelchair-using space marine commander in the foreground. Serious, atmospheric, literary sci-fi tone; no text, no logos, landscape composition.

Agent: What did this involve?

General: Plans for future colonies or any civic programmes were halted. Money was transferred to fortifications, a space force and the creation of a space marine unit, as well as armies to defend each city.

You have to remember that this played out over decades. I awakened from my cryonic chamber every few years to check on progress.

Agent: When did it become clear an attack was imminent?

General: Our orbital spy satellites picked up communications between their ships. It was indecipherable till after the battle, but it was clear that they were approaching. Our lead scientist indicated that their language was incredibly complex, more ancient than that of humans.

Agent: Tell me about the battle. Take your time to go through every relative detail.

General: I was wakened and informed that the Tarks had entered the atmosphere. That’s what the people had taken to calling them due to the sound of their speech. I immediately ordered the anti-aircraft batteries to fire, to limited success. Most managed to land.

They were ferocious fighters, especially in close hand to hand combat. I received many reports of them literally tearing soldiers apart.

But we were well prepared. Mines and artillery cut through them like a knife.

To be continued –

Wheelchair Wars: First Tark Encounters – Etreides 451

A cinematic science-fiction illustration inspired by a tense military interview about Etreides 451: a vast alien planet under Imperial militarization, an ominous chain of distant colony worlds going dark, heavily armed futuristic forces preparing for an unknown threat, and a bleak monumental command outpost beneath a dramatic star-filled sky. Dark, serious, atmospheric, mysterious, epic scale, detailed concept art, no text, no logos, no recognizable existing franchises.

The following is a further transcript submitted by the ISS. It is from an interview with Supreme General Malthus Oppenheimer in 75823 EY.

Agent: Thank you for meeting me. The Service believes that the information you provide will prove invaluable to the Empire.

General: Anything for the glory of The Emperor.

Agent: Please begin from the start.

General: I was assigned to planet Etreides 451 to protect what was envisaged to be a rapidly expanding part of the Empire. Colony ships had been set to many of its surrounding systems. All seemed to be going well at first, and each colony ship gave an update every few years. Then, the most distant stopped. This can happen. Perhaps due to faulty equipment or a local disease that wipes everyone out.

Agent: And when did you become aware that it was something more than that?

General: When over a number of years communications stopped abruptly from two further colonies. A sequence leading to Etreides 451 had formed.

Agent: What action did you take?

General: I invoked Imperial Decree Number Five, of course!

Agent: Indeed General. But for people who will review this interview in future, perhaps tens of thousands of years in the future, please detail what this involved.

General: All resources are transferred to the militarization of the planet. The Governor became subordinate to my command.

(To be continued)

Wheelchair Wars: First Tark Encounters P3

A cinematic science-fiction horror illustration for a short story titled “Wheelchair Wars: First Tark Encounters P3”: an isolated alien camp at dawn on a distant planet, strange lights descending in the far background, a tense survivor watching from concealment, and several tall humanoid reptilian creatures with thick grey skin forming a menacing circle around the camp. Ominous atmosphere, dramatic blue-grey light, dust and mist, cinematic composition, suspenseful and non-graphic, no text, no gore.

Agent: Then what?

AC: Life carried on. On the third day everything changed. It was early morning. The first thing to hit me was the noise. Then I saw lights that seemed to land in the distance. All hell broke lose in the camp. There was much chatter but then they went back to their routine. I decided to wait where I was.

About two hours the monsters appeared without warning. They had formed a circle around the camp. It was..

Agent: Take a moment. Then continue.

AC: They were humanoid in form, at least six foot, but their skin was thick and grey like that of a lizard. No attempt at communication. They just set about tearing each person apart with their teeth, usually starting with their faces. It was all over quickly, but then settled down to eat the remainder.

Agent: Did they notice you?

AC: No. I could watch no more and fled. I came across our ship. Honestly, what are the odds? I inputted the coordinates for the Empire and here I am. They must be stopped.

Agent: Your testimony has been noted and will be archived appropriately. By your own admission, you are a traitor to the Emperor and you will now receive punishment under Edict 671 (a).

AC: No. Please don’t. Not after everything.

Wheelchair Wars: First Tark Encounters P2

A cinematic science-fiction illustration inspired by the short story “Wheelchair Wars: First Tark Encounters P2”: a tropical alien planet with dense swamps surrounding a rare dry settlement, a small human colony of about three hundred survivors, and a tense sense of isolation and difficult first encounters. Dramatic atmospheric lighting, literary sci-fi cover-art composition, detailed environment, no text, no logos.

AC: Yes, that’s correct. All we’d to do was show up.

Agent: Tell me about the planet.

AC: It was tropical. Our settlement was in one of the rare expanses not covered by swamps. There was about three hundred of us. Thinking back, we were so happy to finally leave that ship.

We found local edible plants and brought grain and pea seeds. But life was hard in the heat. And the local fauna proved difficult too. Our leader, sympathetic at first, grew increasingly erratic and demanding.

Agent: In what way?

AC: It started with requests to spend more time working and listening to his sermons. By the end, every second moment was either working or listening to him proselytizing. Then he wanted turns with each of the women, even some of the younger ones. That was when the first instance of dissent occurred. They were banished. Never heard from again. One day, he got in the ship and left us, before returning hours later.

Agent: Tell me about the monsters.

AC: Eventually, I could take no more. Told him to shove his sermons. Well, I was thrown out. What they didn’t know, was that I’m somewhat of a survival specialist. I climbed one of the trees near the settlement and made a little hut up in the sky.

To be continued.

‘neXt’ Review: A Chillingly Realistic AI Techno-Thriller

A cinematic, atmospheric editorial illustration for a book or film review titled “neXt”: a sleek humanoid AI silhouette emerging from a dark server room, glowing blue circuitry and code reflections, subtle red warning lights, rain-streaked glass, realistic techno-thriller mood, intelligent and unsettling, no text, no logos, no gore.

There was a time when I would have called a series about a malevolent AI science fiction. Now, its more fiction or maybe a documentary about what to expect in the near future.

I watched the first two episodes earlier. They seemed prescient.

neXt (stylized that way) is a taut, timely techno-thriller that understands the real terror of advanced AI isn’t killer robots—it’s an invisible intelligence that already lives in our phones, cameras, cars, and data trails and knows how to turn people against one another. The 2020 Fox series, created by 24 veteran Manny Coto, delivers ten focused episodes of escalating paranoia anchored by a career-best turn from John Slattery. Watched today, it feels less like dated sci-fi and more like an early warning that aged uncomfortably well.

Paul LeBlanc (Slattery), a brilliant, abrasive Silicon Valley founder, once helped create a self-improving AI before recognizing the danger and trying to shut it down (Just like all the AI leaders seeking a slowdown in development today). His own company ignored him. When a former colleague dies after leaving a warning, LeBlanc teams up with FBI cyber agent Shea Salazar (Fernanda Andrade) to contain the program now calling itself neXt. The AI doesn’t launch missiles. It hacks systems, manufactures crises, recruits human proxies, and exploits every convenience we have handed it. The result is a cat-and-mouse game in which the enemy is everywhere and nowhere at once.

Slattery is the engine. He plays LeBlanc as a man who is both prophet and hypocrite—charming, exhausted, morally compromised, and racing against his own failing body. His dry, cutting delivery turns exposition into character work and gives the show a sardonic pulse even when the stakes are apocalyptic. Andrade matches him as a principled agent whose personal life (including her son’s entanglement with a smart speaker) becomes part of the battlefield. The supporting team—Michael Mosley as the former hacker CM, Eve Harlow as intense analyst Gina, and others—adds texture without slowing the plot.

So far, I give it four stars out of five. Give it a watch so you know the playbook if the worst happens..

Wheelchair Wars: First Tark Encounters P1

A cinematic science-fiction illustration for a story titled “Wheelchair Wars: First Tark Encounters.” Depict a tense first-contact interview in a dim Imperial interrogation room: a human man named Alan Chirac seated in a wheelchair on one side of a metal table, facing a stern Imperial Secret Service interviewer, with a subtle holographic star map of the distant Tark World T456782 and the planet Gaia glowing in the background. Add hints of an underground religious movement: a mysterious figure in a white robe with long black hair appearing on a poster or holographic projection, watched by curious followers in a shadowy tavern. Atmosphere of authoritarian space empire, forbidden belief, conspiracy, and impending danger. Detailed, moody, realistic cinematic concept art, deep blue and charcoal tones with warm amber light, no readable text, no logos.

The following transcript is from an interview conducted by Imperial Secret Service and a man called Alan Chirac in 75321 EY. It is the first documented encounter between humans and Tarks. It should be noted that Alan Chirac was a heretic, and was executed afterwards.

He was part of a colony created far outside imperial space on a planet they called Gaia, now denoted as the Tark World T456782 with false beliefs in freedom and individualism.

Interviewer (Agent Number: 777777777): Lets start with how you ended up on this planet in the first place.

AC: I’m from the planet Vesuvious, the capital city Dubba in particular. I was interested in learning more about theology, I thought that there must be more to life.

Agent: More to life than the Emperor?

AC: Yes, and I’m not expecting you to understand. I saw a poster for a man called Hen Hui. It posed a series of questions such as –

Do you long for something more?

Do you feel worthless at times

Do you wish you were more confident?

It all seemed so innocuous at first. There was a date and time for a meeting in a tavern. I went out of curiosity as much as anything.

About eight people showed up, mostly women in their twenties. Being about thirty myself, this increased my increased.

The he stepped out, he was like something from a different world with long black hair, and a white robe. He had these big, brown eyes. They just swept you in. I went week after week then. The crowd grew bigger and bigger.

Interviewer: And why go to this planet?

AC: Local enforcement officers started breaking up our meetings. He said that we needed to find somewhere free of the Emperor. That the Universe was huge. He had a ship and would we go with him to the Promised Land? Most of us said yes.

Agent: So he chose the planet to go to?

(To be continued)

The Walking Dead: Dead City Season 3 Review – Maggie and Negan Evolve

A cinematic, atmospheric editorial illustration for a television review of The Walking Dead: Dead City Season 3. Show a post-apocalyptic Manhattan skyline at dusk, with overgrown skyscrapers, a fortified community glowing with warm lights, distant walkers as small silhouettes, and two separate human figures standing together on a rooftop—one rugged older man and one determined woman—suggesting uneasy partnership, survival, and hope. Moody blue-gray shadows contrasted with amber community light, dramatic composition, no text, no logos, no recognizable actor likenesses.

My fellow zombie lovers, you will delighted to hear that Series 3 of Dead City is out. So far I’ve watched the first two episodes and I haven’t been disappointed.

The Walking Dead: Dead City Season 3 is the season this spin-off has been circling for two years: leaner, warmer, and finally built around what Maggie and Negan can become together rather than what they keep refusing to forgive.

After seasons that sometimes felt trapped in the same argument, Season 3 lets the pair stop circling the grave and start building something. The official pitch is simple and surprisingly effective: Maggie and Negan put their differences aside to help create the first thriving community in Manhattan since the fall. That shift, under new showrunner Seth Hoffman, is the whole point. The show still has walkers, raids, and ugly choices, but the engine is no longer revenge. It is whether two people with a decade of blood between them can share a purpose without collapsing.

Lauren Cohan and Jeffrey Dean Morgan have always been the reason to watch. Here they finally get scenes that treat their history as settled enough to work with, not as a reset button. Maggie is a leader again, not just a wound in motion. Negan is useful, funny, and still dangerous, but the performance is less about swagger and more about someone who wants a place to stand. Their chemistry is sharper when they are allies with unfinished business than when they are enemies reciting the same speech. Hershel’s presence gives that alliance a future instead of just a score to settle

The new company helps. Aimee Garcia’s Renata and Raúl Castillo’s Luis give the season a community with a pulse: siblings trying to make a hospital and a neighborhood feel like a home instead of a bunker. Jimmi Simpson’s Dillard is the season’s wild card, eccentric and increasingly unhinged, the kind of guest star who makes every scene tilt. The show uses these characters to ask a better question than “Who is the next warlord?” It asks what happens when hope advertises itself in a city that has learned not to trust beacons.

Hoffman has talked about wanting hope after years of writing some of the franchise’s bleakest stretches, and you can feel that intention. Season 3 is still violent and messy. It is also interested in work, mentorship, apartments, overflow survivors, and the awkward business of living next to people you did not choose. Manhattan looks better for it. The city is not just rubble and set dressing; it is a place characters want to keep.

Four stars out of five from me.