Tito and I have worked on a couple of short films together. We co-wrote Not Yet and I moonlighted as a stills photographer on Il Silenzio del Mare, both of which are doing the film festival circuit. Unfortunately I couldn’t make the shooting dates for From the cellar, but I contributed in a very minor way as a script editor.

If you can spare a couple of minutes, please watch From the cellar and, if you enjoy it, please vote.

Ubisoft have unveiled Driver San Francisco at E3 2010.

I was part of SideLines‘ writing team, headed by James Worrall, developing characters and scripts for the game. Hopefully some of the 40 plus passengers I worked on will be taking a ride with you/Tanner later this year.

For a Driver San Francisco hands on shift over to Eurogamer.

It was striking how intimate the comic industry is. Everybody knew everybody. This seemed especially true of the Small Press Expo at the Mercure hotel. If small press comics is a cottage industry it is not made up of isolated dwellings on bleak, wind swept moors but a thriving rural village.

Vicky and I would like to say a big thank you to Nic Wilko, Cy Dethan, Lauren Sharp, Alex Willmore and Martin Conaghan for not only looking after us at our first expo but introducing us to many of the people we met over the weekend.

We walked away with a small horde of reading material: Burke & Hare, Cancertown, Fetishman, Jack Staff, Phonogram… At the rate we’re enjoying it, I’m not sure it will last very long.

Over the weekend I caught a few panels, including Comic Writing for Dummies and Image‘s Creating Creator Owned Projects. Both sessions were informative and funny, the panelists discussing the trials, tribulations and benefits of producing creator owned material.

No matter what stage you’re at in your career, I can’t stress how useful attending such panels are. I firmly believe any creative endeavor is a continuous learning process, that if you think you’ve mastered everything you’re probably not trying hard enough. Right, stepping off my soapbox.

The Comic Book Alliance panel was another highlight for me. Being a newcomer to the industry I expected it to be similar to the WGGB and in many respects it is. Their aim is to promote the comics industry and support the development of it. Of the panels I attended this was probably the most positive and definitely the most forward looking.

Finally, it has probably not escaped your attention, being announced on Insomnia Publications’ The Red Eye blog, that I’ve chosen to resign from my position as a volunteer script editor. It’s been a pleasure working with my fellow creators at Insomnia over the last four months. Thank you all for making me feel very welcome.

Space Monkey from Leo Burnett on Vimeo.

Poignant short about our home. Created as a collaboration between World Wildlife Fund, Ben Lee and Leo Burnett.

For younger gamers we were running Lock, Stock and Two Smoking Daleks, featuring Cybermen, Daleks, Preachers and Torchwood, inspired by the 10th Doctor episodes Army of Ghosts and Doomsday, and using Jelly Babies for luck points. For the matured gamer there was Classic Who with A Rig Too Far, pitting the 3rd Doctor, Jo Grant, UNIT and their Boffins against the Master and his Sea Devil allies, inspired of course by The Sea Devils, and most of them had some Jelly Babies too.

It was my first experience of Salute and it was a good one. Although the setting itself was very spit and sawdust compared to other events I’ve attended at ExCel, it was by far the most friendly and fun. Hours of preparation had been put in by the exhibitors to bring their games to life. The hall was filled with stunning demonstration and participation tables, covering thousands of years of history, alternate worlds, realms of fantasy and far flung sci-fi.

Just want to thank the Crooked Dice team, Graeme, Karl, Ross, Morgan, Tom, Paul, Hayden, Vicky and Matt H, our 10th Doctor impersonator; everyone who stopped by to play or watch; and the South London Warlords for a great day.

So, with everything ticking along nicely, I thought I would point you towards…

Corey Brotherson’s site, where he’s posted an amazing preview of Butterflies and Moths, written by his good self and watercoloured by Jen Gyllblad. I’ve been lucky enough to read the full script, it’s dark, thought provoking stuff, and I can’t wait to see how Jen approaches the later chapters in watercolour.

Cy Dethan has posted a preview of The Ragged Man over on his blog. Neil Van Antwerpen’s artwork, Peter-David Douglass colours and Nic Wilkinson’s lettering look superb, and there’s also a link to an interview on SciFi Pulse radio.

I’ve a childish love of Doctor Who and I don’t see that as a bad thing. I’ve grown up with the series on television and was saddened when the show ended in 1989, arguably when it was starting to turn around with episodes such as Ghost Light and The Curse of Fenric.

When Russell T Davies resurrected the show I was delighted. He orchestrated one of the most incredible comebacks in television history and I’m grateful for what he, the actors and crew have achieved through their hard work.

I’m also glad that they stopped when they did. Towards the end of the fourth season some of the stories didn’t sit well with me, they begun to feel self indulgent, swan songs that went on for far too long.

Change can be a good thing. I’m excited that the show runner mantle has been taken up by Steven Moffat, the writer behind some of my favourite episodes, The Girl in the Fireplace and Blink, and that Matt Smith and Karen Gillan will be crewing the Tardis.

On the Guardian website there is a great interview, Steven Moffat: The man with a monster of a job, that reassures me the show is in safe hands.

Moffat says he doesn’t have an agenda for how his Doctor Who will differ from Davies’ but “these things happen as a matter of instinct” and his instinct led him towards a more “storybook quality”. “For me, Doctor Who literally is a fairy tale. It’s not really science fiction. It’s not set in space, it’s set under your bed. It’s at its best when it’s related to you, no matter what planet it’s set on.”

Safe hands that will push the show’s unique concept – a character that can go anywhere, to anytime. A concept that lets it stride across genres, thrilling us in different ways, while never hanging around too long to become trapped or bogged down in any one.

As Moffat says, it’s a storybook romp. Here there be monsters…

Fascinating video on the possibilities of eye-tracking and tablets via Wired. Same technology could be applied to comics to bring an added depth of interaction.

Trying now to get back on top of all my editing work for Insomnia. Thankfully everyone has been very patient and understanding, and to be honest because the standard of scripts is very high it should not take me long.

Everything else has been on hold with the volume of game writing work recently, so it will be good to get back to my own projects. Work on the feature with Tito is my main priority right now. In the background I’m working up two new comic pitches, alongside work on The Ionmonger’s Daughter and Sun Moon.

A couple of weeks ago, I responded to a script call on Shooting People for, “a simple script, based in the genre of magical realism (e.g. Amelie) that would come in between 5-10 mins.” The director has gotten back to me and it’s good news, they’re interested in making it. Will be meeting up next week to discuss the script and our next steps.

Thanks to SideLines, I’ve been working with a team of writers on a game script for Ubisoft. Four days of sample writing landed us the gig and now we’re well into the project. Can’t say too much about it. Enjoying it and, touch wood, it will lead to future work.

Not Yet has been accepted by ECU The European Independent Film Festival and Bradford International Film Festival. This takes the number of festival acceptances to five so far.

And on the subject of white rabbits, can’t wait to see…