#Monsters vs Aliens (15 Years Too Late) | Explore Tumblr Posts and Blogs

aion-rsa · 3 years

Text

The Best Games of 2020

https://ift.tt/eA8V8J

Despite how almost every other aspect of the year went, 2020 was a landmark year for video games. Not only did it see the release of highly-anticipated titles like The Last of Us Part II, Animal Crossing: New Horizons, Ghost of Tsushima, and Cyberpunk 2077, but 2020 also marked the beginning of a new generation of console and PC gaming with the release of the Xbox Series X/S, PlayStation 5, and new GPUs from NVIDIA and AMD. We even got a new Half-Life game this year!

What would’ve made the gaming year ever better? Big-name video game companies could have done more to eliminate development crunch and be more transparent about their business practices with customers and the press. And we definitely could have all been nicer to each other.

But video games also helped keep us connected when we couldn’t see our friends and loved ones in person. They helped us travel to new and interesting places when we couldn’t leave our homes. Most importantly, all 20 games on our best-of-the-year list made us feel excited about this medium at a time when it was so difficult to enjoy anything else.

To that affect, Den of Geek is celebrating 20 video games our contributors and critics, as well as our community of readers, voted as the very best of 2020.

20. Star Wars: Squadrons

For the last decade or so, most Star Wars games have focused on the power fantasy of being a lightsaber-swinging, Force-wielding Jedi. That’s all well and good, but for a long time it seemed like everyone forgot that some of the most beloved Star Wars games of all time were actually space shooters like X-Wing vs. TIE Fighter and Rogue Squadron. In many ways, Star Wars: Squadrons is a throwback to those games, both in terms of gameplay and design. Controls are a pitch perfect mix of arcade simplicity and strategy, requiring quick thinking about whether to focus your ship’s power on attacking or defending.

Squadrons is also much more tightly focused than other recent games from large publishers, with a breezy yet enjoyable single-player campaign, and a multiplayer mode that, while light on modes, eschews the more annoying modern conventions of the online PvP like invasive microtransactions. But Squadrons is not stuck in its old school ways.

If you have the hardware for it on PC or PS4, you can jump into the cockpit of any of the playable ships for one one of the most immersive VR modes around. Similar to how The Mandalorian has rejuvenated the live-action side of the Star Wars media empire, Squadrons is a perfect mix of all of the best things we’ve always loved about Star Wars video games, and everything we want them to be going forward. – CF

19. Journey to the Savage Planet

Science fiction writers have long held on to this idea that, if and when humankind eventually colonizes the universe, it will do so as some sort of united, utopian entity, like Starfleet. But that future seems less and less likely every day. If and when humanity spreads across the stars, it will likely be messy, absurd, and profit-motivated. Journey to the Savage Planet wallows in that type of future. As an unnamed human (or dog, if you choose), you’re dropped onto the planet AR-Y26 by Kindred, the fourth biggest intergalactic exploration company with the simple goal of collecting as many resources as possible and leaving.

The Metroidvania gameplay loop of crafting equipment to access new areas is compelling, a rarity for 3D games in the genre. And it offers plenty of surprises too. You’ll start off with the typical blaster and scanner before eventually unlocking a grappling hook that lets you swing around levels like Spider-Man. But it’s style that ultimately lifts Journey to the Savage Planet above so many other games released in 2020. For one thing, the world and the fauna you’ll encounter are incredibly unique, and well, alien. And the regular live-action updates from Kindred beamed directly to your ship are among some of the funniest and most bizarre cinematics out this year in any game, providing plenty of motivation to see this journey through to its end. – CF

18. Half-Life: Alyx

As VR gaming continues to evolve, it’s becoming clear that the technology is more than just one truly great game away from widespread adoption. If that were all it took, then Half-Life: Alyx would have put a VR set under a lot of Christmas trees.

It’s truly wild to think that we got a new Half-Life game this year and that it sometimes feels like the game’s release was barely a blip on the cultural radar. While its somewhat muted debut can be attributed to its VR exclusivity (and the fact it launched at the onset of a global health crisis), Half-Life: Alyx surpassed all possible hype by offering a truly incredibly narrative-driven adventure bolstered by some of the cleverest uses of VR technology that we’ve ever seen.

Half-Life: Alyx isn’t the first great VR game, but Valve’s glorious return to form does shows how VR can advance fundamental elements of gameplay and storytelling rather than just show familiar games from a new perspective. – MB

17. Carrion

The indie game space is where you typically see the most experimentation, and this year proved no different when the gruesome and morbid Carrion released back in July. Highly inspired by the likes of John Carpenter’s The Thing, Alien, and other cult classic horror films known for their excellent use of practical SFX, this platformer cleverly flips the script, putting you in the role of the monster to dispatch helpless scientists in the claustrophobic depths of an underground lab as an ever-growing amorphous blob creature. What follows is a brief but effective 2D platformer that is fast paced and delectably gory.

The controls could have made controlling the creature a real pain, but Phobia Game Studio recognized that the key here was letting you move swiftly through the levels. As such, gliding through vents to take down scientists from above or underneath quickly becomes second nature. Encounters still pose a good degree of challenge, however, thanks to the heavily armed soldiers that show up later in the game, but this never stops Carrion from fulfilling every horror aficionado’s devilish fantasy of being the bloodthirsty monster. – AP

16. Kentucky Route Zero

Calling Kentucky Route Zero an homage to classic point-and-click adventure games is technically correct, but it doesn’t come close to doing the experience justice. Kentucky Route Zero is more like a poem or fable in video game form. It’s a feeling, a distillation of what it’s like to come of age in the Great Recession and its fallout over the last decade. Kentucky Route Zero is an epithet for rural America told through a fever dream, an examination of a version of rural Appalachia where talking skeletons and robotic musicians live alongside gas station attendants and truck drivers.

Nothing about Kentucky Route Zero fits the typical confines of what we expect from a video game, and that includes its release. Developed by a team of only three, the first episode of the five-episode experience was released in 2013, but the final product was only realized in early 2020. That lengthy development cycle meant that the game’s scope and story could grow to only better encapsulate this moment in time, and the final product stands out as one of best games of the year. To say more is to spoil its excellent story. – CF

15. Tony Hawk’s Pro Skater 1+2

Though it’s been a hot minute since skateboarding games dominated the console space, Vicarious Visions’ excellent remake collection of the first two Tony Hawk’s Pro Skater titles was a reminder of how the entire series captured a whole generation of players in the late ’90s and early ’00s. Whether it’s grinding down rails, performing kickflips, or landing the gravity-defying 1080 on a vert ramp, everything in Tony Hawk’s Pro Skater 1+2 feels and looks exactly as you remember it but touched up with modern flare. That’s the mark of any great remake, and why this game in particular was the best example of the practice this year.

Classic skating locations like Warehouse, School and Downtown have all been faithfully remade from the ground up for a 21st century audience, effortlessly delivering the same thrills and balanced challenge as they did before. The fact that select mechanical features like reverts, which wouldn’t arrive until later entries, have been retroactively added is also a nice touch, instantly making Tony Hawk’s Pro Skater 1+2 the definitive way to experience these skateboarding classics. – AP

14. Ori and the Will of the Wisps

The fact that Ori and the Will of the Wisps managed to usurp the critically acclaimed 2015 original in most design aspects speaks to just how well Moon Studios has mastered the art of the Metroidvania. Whisking players off on another tight 10-hour journey set within a mystical forest full of secrets to discover, this 2D adventure gives off a fantastical vibe in a way few others do. It’s an expert blend between smart combat mechanics, highly polished platforming, and emotional storytelling. That it runs at a silky 60 fps both on Nintendo Switch and Xbox is the cherry on top.

The major improvements Will of the Wisps makes over Blind Forest relate to saving and combat. Whereas previously it was the responsibility of players to lay down specific checkpoints, progress is now more in line with other 2D platformers and less punishing. Combat, meanwhile, has been completely revamped with the inclusion of special charms and upgradeable skills, most of which result in more flexible enemy encounters. These tweaks are implemented without ever compromising on Ori’s core hook of magical exploration and challenging platforming, instantly making it one of the best Metroidvanias out there. – AP

13. Call of Duty: Warzone

Call of Duty: Warzone was a natural and perhaps even necessary evolution for the long-running shooter franchise, carving out a space for it in the ever-crowding battle royale genre. While it’s largely derivative of battle royale titles that came before, the staggering 150-player count, always excellent CoD controls, top-notch presentation, and flexible cash system have made it eminently popular and fun for casual players and series vets alike. The CoD fan base feels vibrant again after years of stagnation in the shadow of breakout titles like PUBG and Fortnite, and that’s without going into how Warzone has revitalized the franchise’s presence in the streaming space.

One of the best facets of the game’s design is that the large player count all but ensures that, even if a player is new to the genre or series, the chances of them being the absolute worst player in the field is very low. Better still, the “Gulag” respawn mechanic opens up the possibility for ultimate revenge should you earn your way back into the match, which is a nice way to up engagement for those who suffer disappointing deaths.

The game doesn’t feel quite as dynamic or high-stakes as some of its competitors on the market, but it’s definitely one of the easiest to pick up and play. It’s no wonder Warzone has expanded CoD’s already enormous audience over the course of 2020. – BB

12. Astro’s Playroom

With launch lineups mostly filled with graphically enhanced releases of last-gen games, the release of the PlayStation 5 and Xbox Series X has been more than a little underwhelming. The one bright spot is Astro’s Playroom, a little first-party Sony game that received virtually no pre-release hype and comes pre-installed on every PS5.

While at first glance a typical 3D platformer, Astro’s Playroom soon reveals itself to be a fantastic showcase of what’s possible with the new DualSense controller. In one level, you’re feeling the resistance from the controller’s adaptive triggers as you spring jump through obstacles dressed as a frog. In another, you’re expertly moving the controller back and forth to climb walls in a robotic monkey suit. Even just standing in the rain causes the controller to pulse ever so slightly with each drop. And all of this takes place across worlds celebrating the entire history of PlayStation, where you collect classic consoles and accessories, culminating in an unexpected boss battle throwback to an original PSX tech demo.

Astro’s Playroom may be short, but it’s an oh so sweet and exciting taste of what’s possible with the power of next-gen consoles. – CF

11. Doom Eternal

It would have been easy for Doom Eternal to be more of the same. After all, 2016’s Doom became the surprising gold-standard for single-player FPS games by virtue of its clever writing and gameplay that blended the best of classic and modern design concepts. Yet, Doom Eternal proved to be something much more than “the same but bigger.”

With its arena-like levels and resource management mechanics, Doom Eternal sometimes feels like a puzzle game set in the Doom universe. While the transition to this new style can be jarring, you soon find that Doom Eternal is speaking the same language in a different dialect. The brutal brilliance of a classic Doom game remains but it’s presented in the form of a kind of FPS dance that puts you in a state of pure zen once you figure out how to make that perfect run through a room full of demonic baddies.

Four years after Doom showed this old franchise could pull off new tricks, Doom Eternal proves that this series is at the forefront of FPS innovation once more. – MB

10. Demon’s Souls

Although initially released in 2009 for the PlayStation 3, Demon’s Souls would help define the next generation of gaming by establishing the Soulslike genre, which has influenced everything from recent Star Wars games to The Legend of Zelda. The “problem” is that the legacy of Demon’s Souls has been sort of eclipsed by the accomplishments of its successors.

That’s the beauty of the remake for the PS5. Aided by the power of the console’s next-gen hardware, developer Bluepoint Games pays homage to one of the most historically significant games of the last 15 years while wisely updating it in ways that show that the foundation of FromSoftware’s breakthrough hit remains arguably the best entry in a genre that isn’t exactly lacking in modern classics.

In a year where finding a next-gen console proved to be more difficult than any Soulslike game, Demon’s Souls remains the best reason to battle the bots at online stores in the hopes of joining gaming’s next generation as soon as possible. – MB

9. Fall Guys: Ultimate Knockout

There were multiple times this year where couped-up players relied heavily on “bean” games to help maintain a human connection. Before Among Us dominated the Twitch streams, it was Mediatonic’s intentionally clumsy and hilarious Fall Guys: Ultimate Knockout that had us competitively raging with our friends. It did so by merging the wildly popular battle royale genre with the inflatable-fueled antics of early ’90s game shows, where dodging swinging hammers and battling giant fruit against 59 others became the norm for a few weeks – all in the pursuit of winning a highly coveted crown.

Needless to say, making Fall Guys free to PS Plus subscribers for a month turned out to be a genius marketing move, urging everyone to hop into the game’s inventive gamut of levels and make a fool of themselves. Much of what sets it apart from other battle royale attempts is its low-skill barrier to entry, and thanks to frequent seasonal updates, new unlockable outfits and fresh mini-games always being added, bumbling to the top of the pack as a colorful bean remains consistent fun. – AP

8. Animal Crossing: New Horizons

It’s not an exaggeration to say that Animal Crossing: New Horizons should be included in history books about the Covid-19 pandemic. Releasing just as lockdowns were being instituted across the globe, New Horizons provided the escapism we so desperately needed while quarantining, attracting not just the usual Nintendo fanbase, but even those who had never played games in the past but were now looking for something to occupy their time at home. Whether we played it with friends or alone, New Horizons provided the routine and distraction that so many of us needed in a world suddenly thrown into chaos.

Of course, it helped that New Horizons is the best Animal Crossing game to date, with tons of new ways to customize your island (and yourself). And as Covid-19 restrictions have stretched much longer than many of us anticipated, New Horizons has kept pace, with Nintendo releasing a steady stream of new fish to catch, fruits to harvest, and events to participate in throughout the year. It may not be the game that everyone wanted, but New Horizons is the game that 2020 needed. – CF

7. Cyberpunk 2077

When Cyberpunk 2077’s legacy is written, there’s no doubt that the opening chapter is going to focus on the bugs, technical shortcomings, and empty promises that have turned what looked to be one of 2020’s guaranteed hits into one of modern gaming’s most debated debuts.

Yet, the reason that this game’s initial issues will likely not ultimately define it is that Cyberpunk 2077 reveals itself to be a special experience whenever you’re able to play it without crashes or bugs ruining your experience. From its stunning side quests that revive one of The Witcher 3’s best elements to its shockingly human narrative, Cyberpunk 2077 regularly showcases the undeniable talent of the individuals who battled internal and external factors to deliver their vision.

Cyberpunk 2077’s technical problems wouldn’t hurt as much as they do if there wasn’t a truly great game at the heart of them that people are begging to be able to play as intended. – MB

6. Final Fantasy VII Remake

The pressure was on for Square Enix from the moment it announced Final Fantasy VII Remake back in 2015. For those who obsessed over the original back in 1997, the prospect of a remake was the stuff dreams were made of, and this year we finally got to relive Cloud, Aerith, Barret, and Tifa’s grand adventure (the first act of it, at least) with fully updated, well, everything. Astonishingly, the remake actually lived up to expectations and delivered not just a faithful update to the original game but a modern RPG that stands as one of its generation’s best regardless of nostalgia.

The key to Square Enix’s success was its approach, which aimed not to duplicate the experience of the original game, but to capture the essence and spirit of it while using modern game design to deliver the story in a way that doesn’t feel retro or rehashed at all. The game looks dazzling by 2020 standards (Midgar never looked better) but doesn’t compromise the integrity of the original designs, and the real-time combat—arguably the biggest departure from the original—is a blast to play.

Time will tell how exactly Square Enix will follow through with the rest of the remake as we enter a new console generation, but in the meantime, they studio has left us with a terrific reimagining of the most celebrated title in the studio’s expansive oeuvre. – BB

5. Assassin’s Creed Valhalla

Ubisoft deserves credit for keeping a franchise like Assassin’s Creed, which is 13 years old at this point, thriving in an industry that is flooded with more open world games now than it ever has been. The series is always competitive in the genre, and Assassin’s Creed Valhalla proves why: it’s as refined as any of its predecessors and delivers a balanced experience with a rich world to explore, tons of strange stories to uncover, and a mash-up milieu that combines the eerie atmosphere of 5th-century England with the otherworldly spectacle of Norse mythology.

No open world game is perfect, and Valhalla certainly has a handful of shortcomings. But it’s a bloody good time to play, and there’s so much to do that there’s no question that you get your money’s worth. Eivor’s quest for glory and domination is also arguably the most cinematic story in the entire AC catalog, with some truly breathtaking cutscenes that rival those found in more linear games that can’t sniff Valhalla’s scope. Some of the more otherworldly moments in the back half of the game are pure, unadulterated, nonsensical fun, and overall, this is one of the best entries in the series. – BB

4. Marvel’s Spider-Man: Miles Morales

Insomniac is one of those studios that you can always rely on to deliver fun, polished games that shine in every category, and Marvel’s Spider-Man: Miles Morales only adds to the team’s sterling reputation. Building on the already brilliant formula the studio created with the original Marvel’s Spider-Man, Miles’s story is one of loss, friendship, identity, and the strength of the Black and Hispanic communities of Harlem.

The side-quel is also one of the best launch titles arguably ever. While it is a cross-gen game, the PS5 version is currently the best showcase of what next-gen gaming is capable of from a visual and performance standpoint. You won’t find a better-looking New York City in any other video game, period, and Insomniac’s outstanding animation work looks insanely good when bolstered by the PS5’s considerable horsepower. Miles plays differently than Peter Parker did in the original game as well, with his Venom Powers giving enemy encounters a new feel and rhythm.

Insomniac outdid itself with an excellent follow-up that would’ve been a forgettable DLC expansion in the hands of a less ambitious studio. But Miles Morales is one of the best modern-day superhero characters ever created, and it’s only right that he get a game that lives up to his greatness. – BB

3. Hades

The popularity of roguelikes has been calmly bubbling up for years now, yet only in 2020 did it truly become mainstream thanks to an ideal balance between gameplay and story as demonstrated by Hades. Players who previously took umbrage with the genre’s nature to wipe out all progress at each run’s end suddenly had a reason to jump back in, now inspired by Zagreus’ various tries to escape hell and overthrow his eponymous father. This alone sees Hades tower over most of its peers in terms of balance, further backed up by rewarding gameplay and a gorgeous comic book art style that makes the well-worn mythological Greek milieu feel fresh.

Developer Supergiant Games proved its penchant for creating flexible mechanical loops in prior titles, and in many ways, Hades feels like a culmination of all those ideas distilled in one neat package. It’s a great example of semi-randomized systems layering perfectly on top of other systems, until players eventually find themselves completing runs using distinct weapons, upgrading persistent abilities and slowly discovering which of the god’s many boons gel best with one another. Hades is always a hellishly good time. – AP

2. Ghost of Tsushima

The concept of honor has never been explored in a game as lyrically and philosophically as it is in Ghost of Tsushima, Sucker Punch’s story-driven samurai epic. Jin Sakai’s grand adventure is both brutal and beautiful, stretching across the grasslands and snowy peaks of the titular island, as he pushes the oppressive Mongol army out of his homeland, all the while wrestling internally with the kind of man, warrior, and leader he ultimately wants to be.

This game is outstanding on so many fronts that it’s difficult to list them all here. Visually, it looks so stunning that anyone who walks past your TV as you play is all but guaranteed to stop and stare for a while. The combat is fast and challenging, the stealth mechanic is on-point, the score is sweeping and sentimental, the character models are incredibly realistic, the online multiplayer mode “Legends” is actually a blast to play…and the list goes on. This poetic, pitch-perfect modern masterpiece is emblematic of the soulful, cinematic storytelling PlayStation Studios is known for, and it’s a wonderful way to send the PS4 off into the sunset. – BB

1. The Last of Us Part II (Also Reader’s Choice)

You can’t even say the name of our 2020 game of the year without sparking numerous debates that often make it nearly impossible to have a productive conversation about the game itself. That makes it that much more tempting to somehow find a kind of middle-ground that will “justify” the game’s lofty position to everyone regardless of where they stand.

The thing about The Last of Us Part 2,though, is that its divisiveness is very much part of the experience. Naughty Dog’s follow-up to arguably its greatest game is a bold attempt to live up to the franchise’s legacy by furthering what came before while trying to find its own way. Much like Ellie herself, The Last of Us Part 2 doesn’t always make the right decisions. Yet, at a time when bigger budgets are seen as an excuse to play it safe, The Last of Us Part 2 impresses through its willingness to present a big, bold, and personal adventure that is often anything but what was expected.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Anyone can generate a little controversy by saying something stupid, offensive, or hurtful. The beauty of The Last of Us Part 2’s controversy is that it stems from a heartfelt attempt to advance the conversation through indie-like passion and big budget production. – MB

The post The Best Games of 2020 appeared first on Den of Geek.

from Den of Geek https://ift.tt/2KKY9QG

#aion-rsa #Den of Geek

3 notes · View notes

nomadicism · 6 years

Text

The Blue & Orange Morality of the White Lion and the Life Givers of Oriande

Prompted by an Ask, this very long post examines the White Lion and its condition for obtaining the knowledge of Altean Alchemy.

“Hi! I can't stop thinking about White Lion. Why is the condition for obtaining the knowledge so stupid? Give up your life? If anything, Allura wanted that knowledge for personal reasons (being Altean, father's daughter etc.), while Lotor went there with a purpose—he needed that knowledge so his own “Voltrons” would work with Alteans from Colony. It seems natural to fight, when lives of people depend on your success. And how did Haggar get that knowledge?”

My answer as to these questions—especially the White Lion and its condition for obtaining knowledge—is to deep dive into some meta and analysis by:

Skimming some literary and mythological concepts that relate to the Life Givers of Oriande and the White Lion via the basics of the Quest for Secret & Sacred Knowledge

Comparing VLD and the Prometheus and Alien: Covenant films where this quest appears

Exploring the requirements for entry to Oriande and the price of obtaining Secret & Sacred Knowledge in VLD

And how that applies to Lotor, Allura, Haggar, and Alfor

First, some context: There is a Reason™ why certain tropes, and certain types of plot lines, and certain types of character arcs are bundled together and progress in certain ways. These combinations are Timeless. Generally speaking, they work well so long as one follows the unwritten rules that bind them together. Their predictability can be offset by a skilled and clever writer. These combinations are the building blocks of Ur Stories, and many Ur Stories (and their contemporaries) involve Quests for Secret & Sacred Knowledge.

The White Lion’s strange condition for obtaining knowledge is one found in many such stories, told in myriad ways, and is one of the oldest concepts in human story-telling, hence why it almost always appears bundled with certain tropes, plot lines, character arcs, etc.

From Odin’s unyielding quest for knowledge and willingness to pay any price for it, to Prometheus’ defiance of the Gods to give mortals the Gift of Fire, to Victor Frankenstein’s ‘dangerous pursuit of knowledge’ resulting in the tragic creation of a monster, to Enkidu’s tryst with Shamhat leaving his physical prowess diminished but his mind expanded, and throughout many more such stories; the following theme emerges: When knowledge is gained, something is lost.

The loss can be intentional (e.g. sacrifice) or unintentional (e.g. consequences).

In many stories with a similar setup, the White Lion and the Life Givers of Oriande would be a case of Blue & Orange Morality (this is not the same as being “morally gray”). In these kinds of stories, the Keepers of Knowledge often judge worthiness in a completely different way from that of the Knowledge Seeker, and they may even be pulling the strings for their own purposes that are incomprehensible to those who seek their knowledge. Their requirements for the gift of knowledge fulfills their own morality, and one to which they adhere, but that morality has little resemblance to what a Seeker of Knowledge may believe in…unless that Seeker learned their ways and began to practice them.

The Secret & Sacred Knowledge is for the taking by whomever is willing to pay the price, meaning that even the most vile and evil being that ever lived could gain the Knowledge for their own use. Thus the Keepers of Knowledge are not bound by a morality that would require them to prevent access by the evil and wicked. The only time the Keepers will care (e.g. divine retribution of some kind) is when the rules for gaining or using that knowledge are broken or some line is crossed by a prideful mortal. While there are stories where the morality of Keepers of Knowledge align with a general black-and-white morality of good and evil, Oriande and associated Altean-related concepts (not to mention, the Voltron lions) do not consistently give off the usual and unambiguous signals of black-and-white (e.g. good vs evil) morality.

Part I: Breaking the Keeper's Rules (two examples).

The titan Prometheus’ punishment for defying the Keepers (e.g. Zeus and the gods) is to be bound to a rock for an eternity as an eagle eats his constantly regenerating liver each day; and

Victor Frankenstein has no deity to punish him for his God-defying scientific experiments, but tragedy finds him anyway.

In both of these examples, the knowledge gained came with a heavy and tragic price.

In example of Prometheus, (there are several versions) he is moved by the plight of mortals, their hard lives could be made better with the Gift of Fire (e.g. Knowledge), a gift that is jealously guarded by Zeus and the gods on Mt. Olympus. In some versions, the mortals already had the Gift of Fire, but Zeus took it from them out of anger of a trick played by Prometheus which benefitted the mortals in the form of sacrificial offerings. Either way, Zeus and the gods have a Blue & Orange morality. Prometheus’ intentions were noble and good, but his means via trickery broke the arbitrary rules of the gods (e.g. the Keepers of Knowledge). Why would the gods withhold this gift if it could do good? Because in the wrong hands, Fire can be weaponized and used for destruction. Remember that because we’ll return to this as VLD gives us a subtle Promethean character arc.

In the example of Victor Frankenstein—from Mary Shelley’s “Frankenstein; or The Modern Prometheus”—he takes his obsessive pursuit of knowledge, the secrets of life and death, too far in the name of science. He realizes too late the horror that he has created, and abandons his creation (the monster that is erroneously called Frankenstein outside of the story). Frankenstein's monster gradually destroys his life by murdering friends and family, even framing him for it. Shelley’s use of “The Modern Prometheus” as the subtitle of her novel intentionally invokes the myth of Prometheus and the divine retribution he suffered for his transgression against the Keepers of Knowledge. The punishment delivered to Frankenstein is a strange kind of black-and-white morality, as it is the price paid for transgressing Natural Law through science. One could call it “natural retribution” in absence of the divine. Here, the Keeper of Knowledge is simply Nature itself.

Above, Honvera rebukes Alfor’s caution: “The ancients thought that lightning was shot from the bows of the gods until science proved otherwise. We must always push into dangerous territory in pursuit of knowledge.”

In VLD, Honerva’s Frankenstein-like obsession with quintessence, and her willingness to push further—to break natural boundaries in pursuit of knowledge—is her undoing. Honerva’s tragedy does not stop with herself and her family, as the price of knowledge gained is paid for by the entire universe for 10,000 years.

Part II: The Quest for Secret & Sacred Knowledge In Space.

In Season 5 of VLD, the basic template of a Quest for Secret & Sacred Knowledge appears in the form of the journey to Oriande. The same basic quest template also appears in the Prometheus and Alien: Covenant films.

Above, a summary: A pretty, well-spoken, ageless, pale-haired man with a British accent is used-and-emotionally-neglected by his powerful father whom he grows to despise and is treated badly and distrusted by his father’s kind. The father is prideful and has a bit of god complex. After his father’s well-deserved death, the man embarks upon a Quest of Secret & Sacred Knowledge held in a far-off utopia guarded and/or inhabited by Ancient Keepers of Knowledge. His companion to this utopia is his love interest, a petite and well-spoken woman with a British accent who is stronger than she looks, and is instrumental to finding the star map that initiates the quest to begin with. The sought-after secret knowledge has themes of life and creation. These secrets are yielded through life sacrifice and prove to be dangerous in the wrong hands.

I’m not saying that VLD ripped off Prometheus and Alien: Covenant but here we are...

The starting premise of Prometheus is that an exploration mission to planet LV-223 is organized by Peter Weyland, an old and dying CEO who bankrupts his corporation to pay for this mission. He is desperate to find humanity’s creators—called “Engineers” by Elizabeth Shaw and Charlie Holloway—firm in the belief that they will grant him immortality. The location of LV-223 is revealed through the discoveries of star maps in the form of cave drawings by Shaw and Holloway.

Above: Upon arrival to LV-223, the crew discovers a temple and within it are urns containing a mysterious black goo, as well as long dead remains of some Engineers. They quickly discover that this black goo has strange and unexpected properties. It doesn’t go well for them, after all, this is the prequel to the Alien franchise.

youtube

Above, content warning: None. The video clip above shows the discovery of the mysterious urns within the Engineer temple.

So we’ve got cave drawings that function as a star map, a temple constructed by ancient creators keeping the secrets of life, and a mysterious substance that can create powerful monsters via its transmutational properties.

Above: in addition to being an unobtanium power source, some forms of quintessence can have transmutational properties as with the black goo in Prometheus.

Below: a xenomorph derived from a chain of gradual evolutions that began with the black goo and an unlucky victim, and Ranveig’s super weapon, the horror- monster-esque result of experiments with the strange quintessence.

In both Prometheus and Alien: Covenant, this black goo—called “Chemical A0-3959X.91 – 15”—is a weaponized mutagenic pathogen that delivers a modern sci-fi twist on transmutational alchemy and transformation potions. Chemical A0-3959X.91 – 15 evolves non-botanical life, by first destroying it, and then creating something new out of that which it comes into contact.

Above: Krolia tells Keith about the quintessence that the BoM have been tracking (two separate scenes). “We’re going after the enriched quintessence that created Ranveig’s super weapon. [...] It was unlike any other quintessence we’d seen. [...] and it has some very unexpected effects.”

How strangely familiar all of this is! Let’s continue.

The Engineers, creators of human life, and their morality:

Throughout Prometheus, the Engineers—the Ancient Keepers of Knowledge—are revealed to embody a Blue & Orange Morality and are the creators of human life (among others) and they sometimes return to judge their creations.

Above: An Engineer asks, “Why does he [Weyland] want more life? What makes this man so great as to ask such a thing?”

youtube

Above, content warning: Video clip of extended/deleted scene where David 8 speaks with an Engineer and Weyland asks for immortality. There is a quick decapitation (bloodless because David 8 is a Synthetic) and some quick impact deaths. No gore. Use the YouTube gear/settings icon to turn on subtitles to see what the Engineer is saying.

Addition/Edit: The video clip above doesn’t link anymore and Tumblr wont’ let me add another video, so here’s the URL until I can re-edit this properly to fix it.

Above: the Engineer directs his cold stare at Elizabeth Shaw who wants answers as to why they were lured to LV-223 to find the weaponized pathogen. She asks “Why do you hate us?”

The Engineers created humanity and have a detached will to wipe the slate clean and start all over again, sacrificing their own lives in the act of new creation. Within their their beliefs and morality, creation and destruction are intertwined. It is death that begets life. What Elizabeth Shaw sees as hate, is just the Engineers’ way of perfecting their own flawed creations. Nothing personal.

The morality of the Engineers later corrupts David 8 (who was already morally gray) during his years of studying them, as he learns their ways during The Crossing, which takes place between Prometheus and Alien: Covenant.

Below: David 8 and Elizabeth Shaw operate the navigation system of the Engineer’s ship in The Crossing.

Above: after Shaw is put to sleep in a cryobed, David 8 is left alone to study the Engineers for the remainder of their journey. When they arrive, he has learned their ways and has come to a grim decision of what to do with their weaponized mutagenic pathogen.

youtube

Above content warning: None. This promo video ends just before David 8 unleashes the Engineers’ own weapon against them upon his arrival to their utopia.

Above: If y’all thought Lotor was dramatic... David 8 overlooks the destruction and cries while reciting a line from Ozymandias. “Look on my works ye mighty, and despair.”

Below, content warning: Video clip with body horror and abstract gore, slightly obscured by dim lighting and desaturated colors during David 8’s destruction of the Engineers.

youtube

As these video clips and images show, the ways of the Engineers—their philosophy and morality—lead David 8 into crossing the Moral Event Horizon. He becomes both a God-Slayer (destruction of the Engineers) and a Creator of Life (cultivation and creation of the Xenomorphs).

About mid-way through Alien: Covenant, David 8 is revealed to have betrayed the person he loved, Elizabeth Shaw, by using her for organ harvesting. The harvesting was necessary for the creation and cultivated evolution of the perfect life-form: the Xenomorph (I’ll spare y’all the images of that).

Through his mastery of the Engineers' knowledge, David 8 becomes the Greater Scope Villain of the Alien franchise. His story is one of triumph. He wins against those who wronged him, against the father that used him and considered him soul-less (thus less than a human), against the humans that created him to be used, and against the Engineers that created a humanity that he sees as unworthy of the gift of creation in the first place. A gift denied to David 8 because he is a Synthetic. All it cost David 8 to gain this gift of knowledge was the sacrifice of the only person who was kind to him (and possibly loved him, that's unclear).

The loss-and-sacrifice of Shaw fulfills the Sacred Knowledge Quest rule that: when knowledge is gained, something is lost.

Above: an Engineer uses the black goo to transmute his own body in order to seed non-botanical life on Earth.

The off-screen sacrifice of Shaw’s life echoes the beginnings of human life shown in the opening of Prometheus where an Engineer seeds life on Earth by sacrificing himself via the pseudo-alchemical transmutation of his own body.

youtube

Above content warning: Abstractly graphic. Not bloody, but the Engineer’s body is slowly disintegrated while being transmuted by the black goo. No gore.

An eerily similar Quest for Sacred & Secret Knowledge mixed with horror appears in VLD, spread out between Lotor’s actions prior to the start of the series, the journey to Oriande in Season 5, and the events in Season 6.

The Life Givers and Altean Alchemy:

In VLD, the Keepers of the Secret & Sacred Knowledge of Altean Alchemy are called the “Life Givers” by Lotor, and the “Sages” by Allura. As shown in the image above, they are described by Lotor as “the first Alteans to unlock the secrets of Oriande, the beginning of Altean Alchemy.”

One of them—presumably a Life Giver—is later shown without corporeal form when speaking with Allura after she passes the White Lion’s trial. Allura is told that she is in the realm of her ancestors—the Alteans and Life Givers—implying that she is one of them for she is “home”.

Above: the cosmic voice tells Allura “You have returned to the realm of your ancestors, the Alteans and the Life Givers who came before. [...] You are home, and the secret is already within you.”

For those keeping score: Life Givers = Engineers.

The morality of the Life Givers is unclear as story events—and the aforementioned bundle of Timeless tropes and concepts—suggest Blue & Orange morality, while the implied traits and other in-story associations thus far (ahead of S8) with the Alteans and Alfor suggest that the Life Givers of Oriande embody a morality of Perfectly Good Pureness in opposition to the Galra’s presumed Horribly Evil Darkness. It’s upon examining the actions and beliefs of the Alteans—and thus the Life Givers—that a superficial black-and-white morality starts to give way to a Blue & Orange morality that is incomprehensible in various ways (e.g. the White Lion’s strange condition for obtaining knowledge).

Like David 8, Lotor learns of the Life Givers’ ways prior to arrival at the utopia, only in his case, he does so without realizing it and his understanding is warped by being raised in the Galran belief system. Here, their ways—to give of one’s life, and/or that life must be sacrificed to obtain knowledge—are associated with the Alteans and Lotor's study of Alfor’s work, Altean culture, artifacts, and ancient drawings (until the story unambiguously shows otherwise). Unlike David 8, Lotor’s sacrifice and quintessence harvesting of those who loved-and-worshipped him occurs before entering the utopia (if the events described by Romelle are true). Also, unlike David 8, Lotor’s story is not one of triumph against those who wronged him and others, but like David 8, Lotor was on the path to attaining something greater than his nature would have otherwise allowed.

Above: David 8 delights in the unexpected unlocking of the Engineer’s star map, and both Lotor and Allura are shown the same way when Allura unlocks the star map to Oriande from the compass stone.

In both Prometheus and VLD, the clues to the location of the utopia comes from a combination of ancient cave drawings and navigation devices left behind. These clues form star maps and the like, but are mostly unusable until they are unlocked, by David 8 in Prometheus, and Allura in VLD. As shown above, their respective unlocking and reveals are very similar.

The big difference here is that in Prometheus, there are two star maps: (1) the initial star map—derived from cave drawing to reveal the location of planet LV-223—is discovered and deciphered by Elizabeth Shaw and Charlie Holloway; and (2) the star map in the navigation room that reveals the location of the Engineer’s home world (a utopia called ‘paradise’ in their language). Thus, in Prometheus, the Quest for Secret & Sacred Knowledge is divided into two parts, with the second part to be completed prior to Alien: Covenant in The Crossing.

Above: that’s one hell of a mouth on these monsters (Hammerpede and Deacon from Prometheus, and Ranveig’s super weapon from VLD).

Given how closely Oriande and Lotor’s role in that part of VLD’s story parallels David 8’s in Prometheus, I would not be surprised if Ranveig’s Super Weapon was informed by Xenomorphs, especially since the transmutational properties of the black goo would find a correlation in the strange effects of the quintessence found by Ranveig.

Above: Allura passes the White Lion’s trial by being non-violent and speaking to its philosopy. “I seek the secret of life. I give my own.”

For Allura’s part, unlike Shaw, she survives the Quest for Secret & Sacred Knowledge. Her willingness to self-sacrifice during the White Lion's trial, for the sake of knowledge, relates to Shaw’s unwilling sacrifice in Prometheus. Both sacrifices lead to knowledge. Allura for her own gain (in addition to Lotor’s), and Shaw for David’s gain.

The key here is that both stories demand a sacrifice of life for knowledge, and the knowledge obtained has to do with the power of creation and life with alchemical themes (transmutational).

That’s heavy stuff. It’s mythic level. These are themes found throughout humanity’s oldest stories, myths, and religions. It’s the stuff of Warring Gods, Capricious Fair Folk, Geas and Mystic Debts, and Divine Retribution, and Tragic Fates.

Which brings us back to Anon’s question about the White Lion:

“Why is the condition for obtaining the knowledge so stupid? Give up your life?”

Superficially, the White Lion is just another DotU reference. There’s nothing deep or meaningful about it on its own.

Thematically, the White Lion’s Trial is similar to the Blade of Marmora’s Trial. The BoM’s creed “Knowledge or Death” is informed by the Galra creed “Victory or Death”, both of which are contrasted by Allura’s words to the White Lion: “I give my own [life].”

It’s most likely that’s all there really is to the White Lion and Oriande, and thus there is nothing else here to dig at as far as the story is concerned. “Give up your life” for knowledge is merely a part of the aforementioned package of Timeless tropes and concepts that are frequently found in Quests for Secret & Sacred Knowledge and other Ur Stories.

But for the sake of meta, I’ll pretend that there is more to the White Lion and the Life Givers of Oriande.

To recap: within the context of Ur Stories, the White Lion and the Life Givers of Oriande are Keepers of Knowledge. The White Lion is the kind bound by some form of morality that dictates who gets access and how it tests those who seek it, while the Life Givers bestow it. Prometheus and Alien: Covenant are a recent example of this kind of story, and a similar tale plays out in VLD.

Part III: The Case for Blue & Orange Morality.

From the start, the White Lion’s requirements have their bias in Altean-ness, but not just any Altean-ness. A “worthy” Altean. Given that Alfor, Lotor, Allura, and Haggar were all worthy to enter Oriande, their past actions or goals/desires were less important, or not even a consideration. Thus, worthy Altean-ness is arbitrary from the outside, but must suit the Blue & Orange morality of the White Lion in some way. Additionally, only the worthy can pilot the lions of Voltron (depending upon where we are in the series and when the requirement lore is discussed or retconned), and yet none of them could enter Oriande. Why is that? What made Lotor—a half-Altean who Did Bad Things™—more worthy than Lance who was chosen to be the paladin of two different Lions? This arbitrary worthiness contradicts the symbolism of the Guardian being a “White Lion” that ties it to Voltron (and possibly the Lion Goddess worship of the Arusians). Such contradictions are reasonable to expect out of Blue & Orange morality.

However, if the White Lion and Oriande were meant to embody the Perfectly Good Pureness of the Alteans, then that raises a lot of questions about why Lotor and Haggar were able to enter while the paladins were not. While Haggar is shown to be using her magic, and possibly over-powering the White Lion and the Life Givers, I’ll explain why that might not be the case. Alternatively, this contradiction reveals a huge plot hole.

In the case of Blue & Orange morality, anyone being allowed to enter is questionable, as typically, Powerful Eternal Entities Protecting Sacred Knowledge who adhere to Blue & Orange morality often have their own motivations, plans, goals, etc that involve the use of the Knowledge Seeker in some way. In other words, the White Lion and the Life Givers may have their own agenda, and any who enter Oriande are at risk of being used to further it (either knowingly, unknowingly, cooperatively, or uncooperatively).

Oriande calls back to those Ur Stories, because one doesn't set up Blue & Orange morality behind a Quest for Secret & Sacred Knowledge in a setting like VLD without a plot twist revealing Something to embody that morality as an obstacle to the protagonists at the 11th Hour (if consistency in world-building and adherence to genre conventions were to apply). Thus, we are looking at Playthings of the Gods, or a Greater Scope Villain scenario that has something to do with Oriande. This also means that at least one of these four: Alfor, Lotor, Allura, and Haggar, were lured to Oriande for the purpose of Something Else.

Above: Haggar emerges from the temple, sparkling with divine purpose, and is restored as Honerva.

Haggar’s restoration into Honerva all but seals Blue & Orange morality for me. She got a huge pay-off from Oriande, and from the protagonist-centered morality PoV, she was the least worthy to enter, and so far appears to have paid no price. Additionally, in some stories with Blue & Orange morality, Haggar’s 10k years of reaping quintessence from the destruction of planets (and every living thing) would be seen as a necessary process to maintain the balance of creation. As in Prometheus, Death begets Life.

Above: Honerva equates quintessence with life twice in The Legend Begins. The Komar is used to reap quintessence from a planet in Taking Flight. And when Zarkon powers himself up during his fight with Lotor in Blood Duel, he does so with the quintessence that has been collected for the use of the Empire.

Thus, when Zarkon says “the strength of the Empire flows through my veins” he means that literally and symbolically. He is made stronger through all of the life energy reaped within his empire, every living thing which has died is within him. Through Honerva’s work, Death begets Life (a cursed life perhaps, but life all the same).

Why Perfectly Good Pureness doesn’t work:

If the White Lion and Oriande were meant to embody Perfectly Good Pureness, then that makes the entrance of Haggar and Lotor highly questionable.

Either that’s flawed writing, or there is something else is going on that’s not adding up:

Lotor is revealed to have harvested quintessence from Alteans (which may not be the full story), and Altean-ness is a pre-requisite to enter Oriande, and Allura is Altean while Lotor is half-Altean. But Allura is also implied to be a Life Giver and that Oriande is her home, meaning that the Life Givers and Altean-ness are closely-related. If what Romelle said about Lotor was true, by any stretch of Perfectly Good Pureness morality, the White Lion should not have given Lotor the all-clear signal in the form of Marks of the Chosen due to Lotor's past sin of evil acts against Alteans. So either his past with the Alteans at the Colony do not qualify as evil (which contradicts Perfectly Good Pureness), or those actions didn’t happen in the way that Romelle described them.

If Lotor wouldn’t have been worthy to enter Oriande due to his past actions, then that could mean that he was allowed to enter for the sake of having brought Allura there, his failure of the White Lion’s Trial foreseen and thus no risk of him gaining the sacred knowledge. This means that he was used by the Life Givers to serve their purpose.

Further, being half-Altean wasn’t a barrier to Lotor, which means that he must have something else in common with Allura to qualify in this scenario which brings us to...

If Life Givers and Altean-ness are closely related, and if Allura is both a Life Giver and an Altean, then either all Alteans are Life Givers, or only some are, as implied by Lotor in the temple. That it was those first Altean alchemists who to came to Oriande and they are the Life Givers. But the Life Giver that Allura speaks to says that the secret is already inside of her. Why would she even need to go there? Was that true of the first Altean alchemists as well? This smells a lot like Allura is host to a cosmic entity and those stories don’t usually end well for the host (e.g. Dark Phoenix from the X-Men). In which case, the Perfectly Good Pureness morality doesn’t work, as why are the Life Givers using Alteans as hosts? And if they use Alteans as hosts…do they discriminate against half-Alteans? And why do they hide their knowledge behind an arbitrary test?

Haggar should not have been able to get anywhere near Oriande for obvious reasons.

Above: Allura embodies the Life Givers’ philosophy when she risks herself to heal the dying Balmera in Rebirth. Coran says “To heal an entire planet, it could take more energy than you possess. You may not live through it.”

Even before entering Oriande, Allura had enough quintessence—life energy—to heal a dying Balmera. Do all Life Givers have that much quintessence within them? Does this mean that the Life Givers were on par with Allura prior to her entry to Oriande? If so, what power is Oriande giving them that they didn’t already possess? Within the context of Quests for Secret & Sacred Knowledge, it appears that the secret knowledge is about how to use that power to its fullest extent. Surely that comes with a price?

Anon also asks: “How did Haggar get that knowledge?”

Haggar gets the knowledge in the same way that Allura did, by being worthy to enter, and, either by knowing the philosophy behind the White Lion’s trial or by over-powering the White Lion and the Life Givers. The former can appear to be a stretch, but the latter doesn’t make a lot of sense.

Above: Haggar at Oriande, her own Marks of the Chosen, and the difference between her encounter with the Sage Statues and Allura and Lotor’s encounter.

In Season 6, Haggar arrives at Oriande’s location, her Marks of the Chosen appear, thus she gets the ‘all clear’ signal from the White Lion. Haggar is worthy of Oriande. She then enters the temple where we see her doing one of her casting circles as the Sage Statues (e.g. the Life Givers in statue form) are poised to attack.

In the case where the White Lion and Oriande embody Perfectly Good Pureness, it would be necessary for Haggar to over-power them in order to enter as she could not be considered worthy unless Blue & Orange morality applied. At the very least, Haggar was deemed worthy by the White Lion’s arbitrary requirements. So did Haggar over-power the Sage Statues, or did she offer them a gift as Allura did?

Above: Haggar and her druids transferring quintessence to Zarkon, and Allura and the Balmerans transfer quintessence to heal the Balmera.

We’ve seen Haggar and her druids use similar orientations and positions as Allura and the Balmerans do when channeling their quintessence into another being such as Zarkon, or in the case of Naxella, a planet. When they attack with quintessence, and when they reap quintessence via the Komar, their positions are different. This channeling position is used by Haggar in Oriande when she meets the Sage Statues (again, the Life Givers in statue form).

So either Haggar gave them a gift, or she over-powered them. But if Haggar can overpower the Life Givers…then why does she need the secrets of Oriande?

To put it another way, if Haggar can over-power beings capable of (at a bare minimum) restoring a Balmera as Allura did, but after they have ascended to be part of Oriande (so even more powerful right?) then what Secret & Sacred Knowledge could the Life Givers of Oriande possibly bestow upon her that would make any of that effort and risk worth it? Is there something else in Oriande that she may have been after instead?

What secrets are so powerful, that Haggar—who by this line of logic may as well be all-powerful herself—needs them to fulfill her goals?

These same secrets are also now known to Allura, though the argument can be made that Haggar-now-Honerva had much more time to study them properly. These secrets have unlocked Allura’s potential, giving her—as Lotor says during their battle in S6—“all the power in the universe”. Hypothetically, Honerva has unlocked this power within herself as well.

And this is why we've got a case of Blue and Orange morality. For so long as one fulfills some arbitrary requirements, then one is allowed in. The next parts, getting past the Life Givers in the form of the Sage Statues, and passing the White Lion’s Trial relate back to the Blade of Marmora. For the BoM, one has to be thinking like them to pass (Knowledge or Death). For the White Lion and the Life Givers, one has to understand the philosophy underlying their Blue & Orange morality, which in this case, is giving up life for knowledge. Piece of cake for Allura, quite likely easy for Haggar too, not so for Lotor. Understanding their philosophy is alignment agnostic, both the good and the evil can know it and put it to use.

In Lotor’s case, he failed the White Lion’s alignment-agnostic philosophy exam. Even though he learned their ways enough to replicate some of Alfor and Honerva's accomplishments, and got as far as he did, (and I’d argue to understand the bigger picture of what is necessary to bring peace to the universe). He failed because the Galra philosophy of “Victory or Death” came out in him as the White Lion’s threat triggered that philosophy in addition to his desperation to achieve his goal (which in S6E1 we see hints of his anxiousness towards not being delayed further from). He did not fail due to moral alignment.

From Lotor's PoV—as stated by Anon—“It seems natural to fight, when lives of people depend on your success.” This natural way can easily fall under the Galra’s “Victory or Death”, and leads Lotor to fail, therefore it must be at odds with the morality and/or philosophy of the White Lion and the Life Givers. If not, then it at the very least, it must be at odds with how the Life Givers intend for Altean Alchemy to be used, just as Prometheus’ use of the Gift of Fire went against how Zeus and the gods intended for it to be used.

Thus, Lotor is a Promethean character, setting him against Life Givers' and the White Lion’s morality as he wants to take their Gift (e.g. Altean Alchemy via Allura) for another use, as Anon said: “He needed that knowledge so his own “Voltrons" would work with Alteans from Colony.”

Above: Lotor lights the flame at Kral Zera and double-dipping into flame symbolism.

That other use, what amounts to Altean Alchemy For All, is one that the White Lion’s trial exists to prevent by way of only allowing worthy Alteans to enter. Those worthy Alteans are ‘sacred’, and it is not much of a stretch to assume that they may have once derived their social status from being the only Alteans who can wield this secret power.

While I’m not completely sold on “Voltrons with Alteans” being Lotor's reasoning (definitely for Honerva though), that still aligns with his Dark Savior obsession underlying his desire for power to defend the Alteans himself, or, to enable the Alteans to defend themselves (remember his words to the Puigian leader about how Voltron left the Puigians defenseless). However, Lotor's stated goal—giving unlimited quintessence to the universe for the sake of peace—is analogous to Prometheus taking Fire from Olympus so that the mortals could use its heat and improve their lot. Further, like Prometheus, Lotor is divinely punished for his actions, for via Allura, Lotor stole the means to unlimited quintessence for all (e.g. the Fire) from Oriande and the Life Givers (e.g. Olympus and the Gods).

Divine Punishment:

Above: Allura attacks first while Lotor pleads with her. Lotor responds by ordering his generals to hold their fire.

Lotor's divine punishment comes from Allura. Allura takes up a “fight first” instinct multiple times throughout the story, the same instinct that caused Lotor to fail the White Lion’s trial. Allura fights first even though she is from a race that we’re told are excellent diplomats, whose culture and mythological beings (e.g. White Lion and the Life Givers) appear to embody a “giving one’s life rather than fighting” philosophy. This philosophy is what motivated Allura to restore the Balmera at risk of her own life, but her fight first moments throughout the story contradict that philosophy, as well as her readiness to fight rather than embrace a diplomacy-first approach in the case of Ulaz and Kolivan. Allura embraces diplomacy-first when it is easy and convenient.

Two of these fight first times—yeeting Lotor when he was no threat, and attacking Lotor when he was pleading with her—occur after she gained the knowledge of Altean Alchemy from Oriande. I’m not saying that Allura was’t emotionally justified, but part of being the Special Sacred One, is that one is usually required to control those impulses in exchange for the sacred power and knowledge.

In stories where there is a “Here’s this Mythic Sacred Thing you got because of a Quest to a Special Place” event, there are usually conditions upon the continued use of the Thing. Acting against the precepts or philosophy or morality embodied by the Bestowers of the Thing is a Big Deal. It is such a Big Deal, that this conflict appears in stories from nearly every mythology or religion, even if only in the form of the smallest side-story of a minor hero or prophet (e.g. Enkidu from Gilgamesh, or “Don’t look back” for Orpheus and Eurydice).

Above: Allura’s power over life on display.

Allura’s got this awesome power now, and it didn’t cost her anything.

That breaks the Quest for Secret & Sacred Knowledge story code (risking her life to not defend against the White Lion barely counts). Allura can bring Lance back to life, shift Shiro’s soul into the body of another person a clone, and myriad other all-powerful plot-friendly things. Yet there is no geas placed upon her? No requirement that she continue to embody the philosophy that allowed her to pass the White Lion’s trial in the first place?

It appears as though Allura's awesome power is inconsistent for when it’s available (cough Plot cough), as in Season 7, she’s a quintessence power house during the fight with Macidus, but she couldn’t save Sanda as she did with Lance?

In the context of Ur Stories, when a Seeker of Knowledge has gained a gift of knowledge and not immediately paid a price—such as when Odin gives an eye for a drink from Urd’s Well of Knowledge—then that Seeker usually has to continue to embody what made them worthy to get the gift in the first place. Or, they must complete some kind of Task or observe a taboo, otherwise they risk the wrath of those who bestowed the gift or lose access to the gift. As Allura does not yet appear to have lost her power, then she may have a Task to complete instead. Violating the seemingly pacifist philosophy of the Life Givers to deliver divine punishment to Lotor may have been permissible given the circumstances.

Finally—Part IV: Payment is Coming Due

While I still doubt that there is anything more to the White Lion than a nod to DotU combined with a basic Quest for Secret & Sacred Knowledge (thus explaining the White Lion’s strange condition for such knowledge), it’s still possible that this is leading to something mythic inline with Ur Stories, especially given VLD’s hellscape setting, dark tone, and love of tragedy. Season 8 could bring us a Playthings of the Gods scenario pitting Allura versus Honerva for reasons beyond the obvious (e.g. a plot twist), or, a tragic fate awaits Allura due to something as classic as Alfor flaking on a Task or Debt asked of him for the knowledge he gained at Oriande (another plot twist).

In many stories where a similar arc or backstory occurred, Alfor should have come back with a Task or a Debt to be called upon at some later date (often tragic and inconvenient). That Task could have been the creation of Voltron, that Debt could have been Allura’s life.

Remember the “I give my life” philosophy?

Time to pay up.

Alfor may have hidden Voltron and Allura from Zarkon, if doing so meant that they would avoid a Tragic Fate for which they were intended by the Life Givers, in exchange for bestowing the secrets of Altean Alchemy upon him. His actions then—in classic Greek tragedy fashion—made the situation immeasurably worse, and the universe paid the price.

Tragic endings are what happens when you back out on a Mystic Deal, or when you try to avoid Fate.

#white lion #allura #lotor #haggar #honerva #voltron meta #voltron: legendary defender #here there be meta

176 notes · View notes

thenightling · 5 years

Text

NOPE BOOK TAG!

Tag creator (A BookTube Book) - https://www.youtube.com/channel/UCQt_…

1. NOPE Ending: A book ending that made you go NOPE either in denial, rage or simply because the ending was crappy.

This is a tough one. I rarely hate how literature ends. I’ll name a few comics and then move on the literature.

Novels: The Man who fell to Earth by Walter Tevis (Love this novel but hate the ending.) The Dresden Files: Changes The Frankenstein Papers by Fred Saberhagen (He writes Dracula so well but his Frankenstein Monster... Spoilers, he’s a f--king alien with amnesia. That’s the twist. He just THOUGHT he was created by Victor Frankenstein. It’s so... Stupid. The Last vampire by Whitley Strieber. Lilith’s Dream by Whitley Strieber On my Honor

Lolita. WHY is this a classic?!?

______________________________

Comics: The Sandman: The Kindly Ones. I know it’s a classic but out of all of the original Sandman this is the one I liked the least, loved the rest. The Dreaming (1990s to early 2000s version). It’s just... awful. Madman & Monster (written by Steve Niles and published by IDW). I hate the ending but like the premise.

Nineteen eighty-four by George Orwell. Great novel, just very depressing.

Manga:

Return to Labyrinth. The author (Jake T. Forbes) just wanted his cake and eat it too. He establishes that Jareth is Sarah’s true love but at the same time decides that they can’t be together “For reasons” and has Toby give a “I learned something today” speech that lasts several pages to justify it. No, if it’s true love, they’re supposed to be together. Don’t try to placate both the shippers and the fans who want them to not be a couple, you won’t appease anyone if you try to appease both.

Wolf’s Rain: It’s just so sad. Why!??

_______________________

2. NOPE Protagonist: The main character you dislike and drives you crazy.

Novels: Miriam from The Hunger, The Last Vampire, and Lilith’s Dream by Whitley Strieber.

The Vampire Armand from Anne Rice’s The Vampire Chronicles. He’s too much of a Sadist. I don’t understand the appeal. Lolita. WHY is this a classic?!

Comics:

Echo from The Dreaming (Late 90s / early 2000s version)

Riri Williams, the current writing of the Captain Marvel comics, actually pretty much all of Marvel at the moment... _______________________________________________

3. NOPE Series: A series that turned out to be one huge pile of NOPE after you’ve invested all of that time and energy on it, or a series you gave up on because it wasn’t worth it anymore.

Novels:

The Hunger book series by Whitley Strieber

Anne Rice’s The Vampire Chronicles, most everything after Tale of The Body Thief and Tale of the Body Thief wasn’t that good... The Dresden Files. I don’t know, my interest just kind of waned and also I came across a few unpleasant fans who legitimately believe women and men “talk differently” and “use different language” when speaking and told me a woman can’t write male characters and visa versa. Mary Shelley begs to differ! Comics: The current Sandman Universe comics...

Morbius: The Living Vampire (1990s run)

Manga:

_________________________________

4. NOPE Popular pairing: A ship you don’t support.

I don’t really hate many pairings...

Oh, wait. Lolita. Do I really need to explain? Comics: Joker and Harley Quinn (original versions as created for Batman The Animated series.) Cain and Abel and their sister-wives in The Dreaming (late 90s to early 2000s comics). That was just... Oh, my God. Was that just to be edgy!? For God’s sake, Abel’s fraternal twin sister was Cain’s wife and locked in attic!? WTF?!? Lucien and Nuala (also in The Dreaming late 90s and early 2000s version). Essentially “Hey, the people we’re in love with are dead. Why don’t we hook up?” “Okay! You’re good enough. Let’s settle on each other.”

Does Caitlin R. Kiernan have any concept of love, at all? Steve and Bucky. Not because it’s a bad ship or because it’s gay but because the fans who support it are so rabid and if you suggest it’s not canon they immediately assume you’re a homophobe and send you hate.

SwanQueen (Emma Swan and The Evil Queen in Once Upon a Time) similar reasons as above. ____________________________

5. NOPE. Plot twist: A plot twist you didn’t see coming or didn’t like.

The Frankenstein Papers by Fred Saberhagen.

(He writes Dracula so well but his Frankenstein Monster... Spoilers, he’s a f--king alien with amnesia. That’s the twist. He just THOUGHT he was created by Victor Frankenstein. It’s so... Stupid. _______________________________

6. NOPE. Protagonist action/decision: A character decision that made you shake your head NOPE.

Faust and his hornness for FOURTEEN-YEAR-OLD Gretchen and almost everything he did because of that horniness.

7. NOPE. Genre: A genre you will never read.

I don’t think there’s a genre I’d never read. But I’m not a big fan of young adult romances or bodice rippers and torture porn. I’m not into errotica or graphic violence even though I adore Gothic Horror.

8. Nope format:

Umm.... I prefer hardcover to paperback but I don’t avoid any particular format. I do hate when the new Barnes and Nobel classics call things like Edgar Allan Poe and H. P. Lovecraft, Mary Shelley, and Bram Stoker “Gothic fantasy” written across the cover. It perpetuates the idea that horror is lowbrow and it angers me that we refuse to consider good quality horror to be horror anymore.

Anne Rice’s Prince Lestat (when I read it with wet hands and the dust jacket off) the color on the cover started to turn my fingers dark blue. I never want that to happen again.

9. NOPE. Trope: A trope that makes you go NOPE.

Long lost child that the protagonist didn’t know they had because the mother (or in rare cases someone else) thought it would be best the child never know they are related to the protagonist because their life is too dangerous / cursed / ect... I hate when parental rights are stomped on for plot, and especially when “it’s okay because it’s the mother who did it and the mother just wants whats best for the child.”

10. NOPE. Recommendation: A book recommendation that is constantly hyped and pushed at you that you simply refuse to read.

I’ve never refused to read a recommendation but I have later thought “Why did you think I’d like this?!”

Twilight “Because you love vampires.” Oh, and Frankenstein’s Monster: A Novel by Susan Heyboer O’keefe. Just because he looks like the version from the Shelley novel doesn’t mean he acted like it. That as awful.

______________________________

11. NOPE. Cliche/pet peeve: A cliche or writing pet peeve that always makes you roll your eyes.

Wasn’t this already number 9? I thought we covered this with tropes. Many tropes are cliches. Oh, well...

Oh, and “He’s blue collar so we’re going to use him as the serrogate racist / bigot now even though he wasn’t before.” (Cough) Merv Pumpkinhead in the new version of The Dreaming. (Cough.)

12. NOPE. Love interest:

I thought we established this with the ship conversation?

I don’t feel like re-writing it, just re-read that one. Same answers apply. I guess I can add The Corinthian from Neil Gaiman’s The Sandman. You know if it ever gets a film or TV series adaptation someone somewhere will find him attractive and start making errotic art and fan fiction about him...

13. NOPE. Book: A book that shouldn’t have existed that made you say NOPE.

The Dreaming Late 90s early 2000s version. I don’t really like saying any book shouldn’t exist. But there are some that are really awful sequels or insults to an established lore because of how subpar they are. ___________________________________

14. NOPE. Villain: A scary villain/antagonist you would hate to cross and would make you run in the opposite direction.

The Corinthian from Neil Gaiman’s The Sandman and pretty much any antagonist created by George R. R. Martin.

15. NOPE. Death: A character death that still haunts you.

Morpheus in Neil Gaiman’s The Sandman.

And even Abel’s death even though he comes back later.

___________________________

16. NOPE. Author: An author you had a bad experience reading and have decided to quit.

Anne Rice. She doesn’t even remotely write the way she used to . It feels vapid now. And i have trouble reconciling myself that the angry bird aliens from Brevena and the Replimoids exist in the same universe as Interview with the Vampire.

Also she’s been very cruel and unprofessional in her behavior to those who have criticized her work and “I didn’t know I was sicking people on anyone” shared negative reviews with direct links to pages on her Facebook over the years. it got nasty. She even dug up one of my old reviews for Blood Canticle that I wrote FIFTEEN years ago!

And to a lesser extent, J. K. Rowling. Her views of Americans and especially “Nomaj” (linguistically) just makes me cringe internally. Americans are the more old fashioned with language, not hipster (i.e Elevator vs. Lift, Cellular phone vs. Mobile). Not to mention cloistered religious-style orders (like Catholicism) use the same terms from country to country. This is also true with Wicca. Linguistically the American terms in Fantastic Beasts do NOT make sense.

@sorry-for-the-chocolate @thesaramonster @zal001 @missghostlymoonshadow @kaimaciel @endlessemptynight @deathlyendless @vagaryhexxx @thegreatvampirekiller @unnecessaryhorns @sweatyeddieandaliengoo

#Nope book #Nope book tag

6 notes · View notes

isas-identity · 5 years

Text

Lance Vs Shiro: Same ending??

Or what I like to call: Why you should be more mad about Lance’s ending than Shiro’s ending in the clusterfuck called “Voltron’s horrible writing”.

Shiro and Lance had very similar endings in the last episode of Voltron, to put it in simple words: They decided to live a quiet life after the war.

This is kinda long, so i will add everything under the cut, i just want to say sorry for any gammar mistakes beforehand.

How, Lance decided to live in a farm with his family and “Surround himself with The Things He Loves”. Meanwhile Shiro got last-minute married with a dude and “Found his happiness and left the War Efforts Behind”. There’s been a LOT of negative reactions from the fans though, because these endings seemed lazy, out of character, etc. But there’s always a big difference in the spectrum:

People who are upset over Shiro marrying a “nobody” who talked like 2 times, and after Shiro being so happy being the captain and leader of the ATLAS, was being pushed aside to live a quiet life, dont care about Lance’s ending.

People who are upset about Lance’s lackluster ending of working on a farm after being clear about his liking of adventure, giving him a clearly racist ending, and never forgetting or moving on from Allura, don’t mind Shiro’s.

Though they DO think the other’s ending wasnt executed nicely, they don’t think the ending itself is bad per se.

And i know it’s been almost a month since VLD finished, but i found myself wondering why is that i am madder about Lance’s ending tha Shiro’s. So let’s break it down point to point and compare them.

Execution:

When we get to the time-skip, before the explanations of what happenned in the rest of their lifes, we see:

Shiro working as an embassador between planets, still a captain of the ATLAS, traveling through the universe to try and unify planets alongside Hunk who uses his food to help leaders see eye-to-eye.

Lance talking to some kids, telling them about Allura’s sacrifice, and telling them he now works and lives helping out on a farm.

Wich, together with their end cards, gives us the conclutions that:

After their last fight with honerva, Shiro was still Captain of the ATLAS for a few years, he married and decided to retire. We do not know if he married BEFORE or AFTER retiring though. Also, we do not know if he kept working or not after his retirement, since it was only said that he left the “War efforts behind and found happiness”. You can see a lot of things happened during his life as he moved on though.

Even if we, as audience didn’t see it, Shiro spent a few years dating his husband before marrying him, and event though it was pulled out of nowhere as a band-aid, it didn’t felt rushed since it was something that happenned years down the line and out-of-camera. So we are left without any kind of opinion about his relationship with his husband. This also means he spent more time as a captain of the ATLAS than some people seem to believe.

After their last fight, Lance retired from being a paladin and started working on his family’s farm, who suddenly have a family farm,before the war was even completely gone. And then he...kept working on his farm and sometimes talked to little kids about Allura.... thats about it.

It is not said if he “found love” or “happiness” or did anything else than farm and plant junniberries.

Their struggles before retirement:

Now, In this one we need to take a minute to compare these two characters during the show.

There are two things people say when discussing about their endings: “He loved adventure, it was his dream to pilot!! why the heck would he retire!!!!” and the more understanding “Well, he went through a LOT during the war, maybe he had enough and wants to take it easy from now on!".

Let’s start with the “They want adventure!” point:

Starting off with Shiro, they say: “He left his fiance because he wanted to be in space that bad! he didnt care if he died!” But i think people misunderstand some things about Shiro in this regard, principally: he was fucking dying.

Shiro had an illness that would leave him unable to move his body before it killed him.

He wanted to prove himself, and go to space, before his body stopped working.

He wanted to leave his mark on history, before he was bound to be stuck on a wheelchair unable to even go to the bathroom, cook or dress himself, so he had something left behind.

So i think people are misplacing his “wanting adventure”, it was more of a cry to wanting to do something with his life before being a vegetable. He was scared of getting nothing done and live his life never doing anything that amounted to anything. Afterwards this problem was solved, wich is not to say he wasn’t happy being apointed being the new captain of the ATLAS and traveling the universe. He WAS. He is a responsible leader and he deserved that position, but he never gave up being a captain after the fight with honerva, again, he was the captain for a few years before retiring when he chose to.

Now, going to Lance’s side, now this kid DID love adventure, breaking the rules, attention, etc. During the series you could see:

Him sneaking out of the Garrison and breaking rules.

Getting inside of alien ships and proceeding to pilot them before the others could finish reacting to seeing an alien ship for the first time.

whooping and hollering while flying in battle.

Actually looking very happy to help others and not backing down at the oportunity to do so.

and that was... like, in the first 3 episodes.

Now to the “They went through a LOT, they want a quiet life now!

Ok, bear with me and let me just run a thing through you all first.

Shiro is in his late 20′s, probably already 30, an adult and was Captain of the ATLAS for a few years before retiring.

Lance is fucking 18, maybe 19, he’s still a fucking embryo, and probably still has a lot of things to figure out about himself, but still decided to run a farm the instant they defeated Honerva i guess.

Now, during the war Shiro:

Was taken against his will and made a slave in space, was made to fight in the arena for entertanment and fought monsters and probably other aliens, probably even had to kill during this time.

Lost his arm and was experimented upon.

Crashed into earth and lost his memories.

Became the leader of a rag-tag tem of teens in space that was the only hope for the universe.

Suffered of PTSD during all of this.

Almost died a lot of times.

Died.

Became a clone.

This clone proceeded to: Betray his friends, help and spy for Honerva, almost killed Keith, who’s the closest person to him at the time.

Lost his arm again.

Almost got killed by Keith too.

He got his consiousness trasspassed from the Black Lion into the body of his clone, wich, almost rejected him and made him die. Again.

Found out his ex-fiance died and earth was almost anihilated.

We never knew anything about his family, but im sure they died since they never appeared???

etc.

Now, with Lance:

He almost died once, and the fandom is pretty sure he died one time after that but since Allura’s powers are weird we are not even sure what the hell happened there.

He felt doubtful about his position on the team.

He missed his family a lot

The girl he liked didnt like him back...?

His girlfriend of a month and a half sacrificed herseld and died.

uhhh... yeah.

And, like, no. I dont mean to say Lance is a cry-baby because he didnt go through as many things as shiro, or the others. The problem with this, is that it makes no sense because fucking lance never had an arc. The writers never cared about giving him some usefulness, or something that made him shine through, and when he was left at the end, they had nothing for him to do. So they gave him a farm.

But like, even after all the bullshit shiro went through, he moved on with his life, he found happiness and love, was still the captain of the ATLAS for some time before retiring, etc.

But Lance, someone who was so cheerful and up to help other people, who didnt left anything bring him down, just... decided to work on a farm for the rest of his life. Not moving on or anything, wich... yeah, it’s weird.

Keith, who almost died in space 971283678 times, found out he was Fucking Galra, was left alone by his parents, found his mother, was stuck in a space whale’s back for 2 years, was stuck on a leadership position he didnt want?? after uniting the Galra and helping put an end to the war he made a Humanitary Relief Organization, to help people with low resources in the universe.

Pidge? She lost her brother and father, ran away from home, got stuck on a war at fucking 15, had to learn how to fight and pilor, since, you know, she wasnt even a pilot in the first place. Almost lost her father to Zarkon, and believed for some time her Brother was dead. Bue she founded a Space Defenders organization to fight for justice in fucking space, and kept inventing tech to keep helping the universe and fight for the weak.

Hunk? He was a coward, he didnt even wanted to sneak out the garrison, much less get stuck on a space war! He didn’t want to fight, he didn’t want to die. His family was even captured on earth, unlike Lance’s. But he learned to be brave, and fought for people’s freedom. He became a diplomat, and learned how to hone his cooking skills to bring people together, so he became a Culinary Embassador to keep the peace in the universe.

They all are doing something with their lifes to help heal the universe after the war. Even after all they went through together. Even shiro helped for a few years before retiring, exept Lance. Who’s a farmer for some reason.

And i’m not saying that fighting on a War isn’t traumatizing enough, I’m just saying that if someone deserves to find love, retire, and live in the fucking bahamas on eternal vacation for the rest of his life, is Shiro. poor guy needed a break a long time ago.

WICH brings me to the last point of this really long essay:

It’s Implications:

It is sad that the only reason we got a wedding with shiro was like a bandaid from the lash-back they had from Adam’s death and the constant Bury Your Gays trope. But let me tell you something: it wasn’t badly done. Yeah, I woul’ve liked to see more of Curtis to get to know him, or maybe see Shiro and Him having some kind of interaction before being slapped with a wedding a few years down the line, but that was it. The point of it (appart from rebuilding the bridge with the LGBT+ comunity) was to make it clear that Shiro found love and happiness in his life, wich im happy he did, and this does not contradict anything his character is about:

It makes it clear that it doesnt matter how dark things are right now, it will pass and you will be happy someday, you can still make your dreams come true, you have to fight for it.

It doesnt matter if you lost your arm, got a horrible scar across your face, got white hair, etc. You can find love, you can still lead a happy life.

Now with Lance is way more jarring. He has this “good boy” storyline with his girlfriend, wich sucks since he could’ve been made into an “anyone can be a hero, it doesnt matter if you’re not specially good at anything!” but alas they missed that mark. He really didn’t had any storyline for himself perse, he became The Boyfriend and stayed that way.

He went from “Ohh, I dont feel like i have a place in the team since everyone is awesome and has abilities and I dont” one season to “The girl I like doesn’t like me back!” on the next.

In the last season we got this “The girl I like is finally dating me!” to “oh no, the girl I loved died after dating me for a month”

Then proceeded to “Let me go work in a farm and plant her favorite flowers on it, while I never stop loving her and never move on and keep telling everyone about her sacrifice forever and ever! War who?? My girlfriend sacrificed herself for peace but let me just ignore the war exists still!”

Wich is... sad. They literally never gave anything to Lance to apport to the team or the universe apart from being there for Keith and Allura when they needed cheering up. And even if he himself says “oh im happy, i have a quiet life and that’s how i like it now!” when you think about his ending, you dont feel that way. He literally has nothing, exept his family and flowers.

So yeah, i dont mind Shiro’s ending. It was one of the last things wrong with the ending of the show, even if it was made for the wrong reasons. And i do believe, people should stop hating on it only because they wanted him to happy his little brother whom is almost 10 years younger than him

And yeah, I do think Lance’s ending was racist. I myself am latina, even have a grandfather who owns a farm. Would i go work in his farm for the rest of my life after losing someone i loved? Fuck no. I do not know shit about farms, or farming. He isnt even shown to be specially good with animals, no more than the rest of the gang. And sincerely, that he cut’s himself from the universe and his friends anddoesnt even do anything to help or reconstructing the universe only sounds like depression to me.

But alright then, to each their own in what they want to believe.

#lance #shiro #voltron season 8 #vld spoilers #klance #because i know the klance fandom feels this #I JUST HAD TO GET THIS OUT OF MY CHEST OK BYE

6 notes · View notes

nathanielwharton · 5 years

Text

My 2018 in Pop Culture

Same plan here as usual. This is what meant most to me last year in pop culture.

Top Forty Things From 2018

40. King Kong on Broadway I wrote about this as an adaptation of the Kong story over at SportsAlcohol.com, but here I'll just say that while I was really disappointed with this as a musical, the execution of Kong himself on stage was breathtakingly rad.

39. Rhyming "is nae" with "Disney" in Anna and the Apocalypse In theory, I don't have much of an appetite left for a zombie comedy, having been well and truly sated by Shaun of the Dead, Zombieland, and the wave of imitators that followed them. I felt like I'd seen all of the moves that are possible with that particular genre mash-up, and then I read about a Scottish zombie comedy that ALSO threw in the musical and the Christmas movie. So it was almost with a sense of grudging obligation that I accepted the inevitability that I'd see Anna and the Apocalypse. It won me over. It's got a winning cast, catchy songs, and a surprisingly effective melancholy tone. But I have to admit, the moment that really won me over was a moment in the song "Hollywood Ending" where "is nae" ("is not" in a Scottish accent) is rhymed with "Disney."

38. The Conners/The Roseanne Revival This was a real roller coaster in 2018. I was excited and apprehensive about the revival, and only slightly relieved when it began and was mostly pretty good. Still, there was an uneasiness with the way that the Roseanne character had been conceived for the revival and that basically exploded thanks to the behaviour of the real Roseanne. Still, overall I've enjoyed the revival and The Conners, and while I'm sad about what happened to TV Roseanne and real Roseanne(for different reasons)

37. "The Queen" episode of Castle Rock I liked the show pretty well overall, but oh man did this episode stand out. For most of the run, I'd just thought it was a cute bit of casting to have Sissy Spacek playing what seemed like a strangely minor role. Then this episode happened. It's a real acting showcase for Spacek and it satisfies with suspense and emotion in equal measure.

36. Kurt Russell performing "Santa Claus is Back in Town" in The Christmas Chronicles I'm a sucker for a Christmas movie, and this one is agreeable enough. There is some attempt at telling an emotional story that might hit you if you're in the right mood, and there is pleasant hint of Gremlins in the movie's portrayal of Santa's elves, but mostly it is a pretty satisfying expansion of the thought, "what if Kurt Russell was Santa Claus?" Russell is a hoot in the role, and the movie hits a peak when his Santa ends up in jail and breaks out into a jailhouse rendition of "Santa Claus is Back in Town." Downloaded and added to my Christmas playlist.

35. Jesus Christ Superstar Live in Concert This new wave of live musicals on TV hasn't always resulted in a great show (I honestly have forgotten a lot of the Peter Pan and Rocky Horror broadcasts), but sometimes they end up with some really cool television. Grease Live still reigns as the champion of these things, but this production of Jesus Christ Superstar was exciting and energetic and featured some neat ideas in its staging. It's shows like this that keep me hoping they'll continue to try these live musical shows.

34. The Death of Stalin Wrote about this for SportsAlcohol.com.

33. Isle of Dogs The visceral aesthetic pleasure of this film might outweigh the delicate emotional effect all of Anderson's films tend to achieve, but even if the complicated story and worldbuilding in the film kept it from succeeding for me fully on a first viewing, it did get me to want to watch it again (and again).

32. Keira Knightley in The Nutcracker and the Four Realms The movie as a whole is a good enough time in the way that all of these lavishly produced live-action Disney fantasy movies tend to be. But Keira Knightley, as the Sugarplum Fairy, single-handedly drags this movie up a notch with her fantastically daffy performance. To explain all the ways that her performance delights would be to spoil what happens in the movie, but I'll just say that she finds a few different registers to play in the film and she is amazing in each one. Think of this snub when you watch the Academy Awards.

31. The Favourite A three-hander where each leg of the triangle is different and spectacular. Turns out that acidic dialogue works just as well in the Yorgos Lanthimos world as alien affectedness, and the cast he's got for this one hurl barbs with aplomb.

30. Ash vs. Evil Dead Series Finale The third season of this show lost a bit of a step for me, not quite balancing the goofs and the horror quite as deftly as the show had done at its best. But it really brought it back around for the last couple of episodes. The finale in particular had some surprisingly big action and an ending that felt perfectly Evil Dead. If that's the last we see of Ash, it feels right.

29. DuckTales The first season wrapped up with some good adventure and some ambitious emotional storytelling. And the second season has seemed, if anything, even more confident so far (including an excellent Christmas episode).

28. Eighth Grade What a lovely, humane, gem of a movie.

27. The Old Man and the Gun I was head-over-heels in love with this one like halfway through the opening scene. If it had ended after that scene, I might have been satisfied, but the rest of the movie was truly wonderful too.

26. A Series of Unfortunate Events Season Two There's no twist for book readers as great as what they did with the Parent characters in the first season, but this second season of the show continued to be really great.

25. Rusty Lake: Paradise & Rusty Lake: Paradox This year I played all of the Rusty Lake/Cube Escape games, and it's probably a good thing that it takes a while between game releases or I might just burrow into these Twin Peaks inspired puzzles and not come out.

24. The last 20 minutes of Halloween I pretty well loved the entirety of this 40-years-later sequel, but the last twenty minutes or so were just next-level great. Basically, once everybody gets to Laurie's compound, this film was as scary as I wanted and as fist-pumpingly thrilling as I didn't know I could have expected.

23. Lost in Space Season One Might have loved this if it was just the one thing after another space survival show, but when you layer on an intriguing mystery and then add on Parker Posey's slitherly Dr. Smith? Yep, loved it.

22. The Haunting of Hill House Mike Flanagan has been doing cool horror work on smaller movies for a few years now, and I'm glad he seems to have found a patron in Netflix. The broader canvas of Haunting of Hill House allows him to do pretty much everything he's so good at, and even allows for some new tricks (like that "one long shot" episode, or the creepy background ghosts that go uncommented on in the story).

21. Creed II Creed was so great, and the notion of Stallone returning to the Ivan Drago well so worrisome, that I was a little apprehensive that this one would disappoint me. What a great surprise, then, that this was basically a best-case scenario for how this could have worked out. Even the Drago stuff is pretty compelling! I'd love to see more with Adonis and Bianca sometime, and I certainly still love Rocky himself, but for this round of playing with fire, I am satisfied.

20. Godzilla: Planet of the Monsters & Godzilla: City on the Edge of Battle The first two (out of three) animated Godzilla films hit Netflix last year and they were much more curious and idiosyncratic than I expected when they were first announced. Slowly paced, with an intentional disregard for the expectations of kaiju fans, they take a brilliant concept and proceed to use it to explore the perils of various belief systems. Each of these ends on a cliffhanger, so the success of the whole thing might depend a bit on how Godzilla: Planet Eater wraps things up, but for now it's a fascinating experiment.

19. The Last Drive-In with Joe Bob Briggs I can't say I sat around missing the horror host thing (I also love and regularly watch the family-friendly Svengoolie), but I was still surprised by how enjoyable and how nostalgic I found the experience of sitting back down with Joe Bob to watch a trashy horror movie. I didn't watch this as a marathon, but it did make for a bunch of swell weekends catching up with some movies I'd never seen and a charming film buff I hadn't seen in a while.

18. Bad Times at the El Royale Everything about this, from the cast to the aesthetic to the story, was just right up my alley. There was a moment late in the film where Maggie and I turned to each other, our jaws literally dropped, and we burst into nervous laughter.

17. BlacKkKlansman Wrote this one up over at SportsAlcohol.com.

16. Three Identical Strangers This documentary knocked me out. It's an amazing story with a bunch of incredible twists and turns and fascinating characters. It also poses some really intriguing questions and left me with a lot to think about. Don't read anything about it, just see it!

15. Disenchantment As a big fan of The Simpsons and i (and knowing the similar arcs they followed pretty well), I was pretty excited for a new Matt Groening animated show, and the first season of Disenchantment might have surpassed my expectations. It's funny, visually appealing, and takes some effective swings at the kind of emotional storytelling that it took the earlier series a couple of seasons to really nail. The finale sent me scrambling to the internet to see if it had been picked up for more episodes.

14. Nancy by Olivia Jaimes As a regular and avid comic strip reader, I propose that I was more blown away than most of the internet by the new Nancy. I regularly checked in on the soggy Gilchrist version of the strip, so imagine my surprise and delight at the change! It is neat to see a newspaper strip make any kind of impact in the culture again. Plus the strip is really fun!

13. Star Wars Star Wars: Rebels came to a close with a run of really exciting episodes and a really excellent finale. The comics continued to be really good. And Solo: A Star Wars Story showed up with smaller, not so fate-of-the-galaxy stakes and still just nailed the iconic characters it was digging into in exactly the ways it needed to. In a year where Star Wars fandom was showing itself to be home to a lot of the same toxicity as other fandoms, Star Wars itself kept up its end with lots of fun stuff.

12. The Last Best Story I thought I had a good idea what to expect from a high school newspaper riff on His Girl Friday, and this book certainly (thoroughly, delightfully) satisfies that. But I wasn't exactly prepared for the emotional depth and lovely observational detail in Maggie's book (I mean, I probably should have been, but it still sneaked up on me). I finished and just wanted to read it again.

11. "The Lost Art of Forehead Sweat" episode of The X-Files This second (and seemingly final) revival season of The X-Files boasted a more confident ratio of hits to misses than the previous one (even the nutso mythology episodes showed a stronger grasp of how the show works and what it means in the current moment) but the highlight, again, was a virtuosic episode written and directed by Darin Morgan. It was brilliantly funny, very X-Filesy, and sneakily provided a hilarious alternate series finale for fans in the event that Chris Carter would botch the actual one a few episodes later (luckily, he did as well as I might have hoped, really).

10. Arrested Development - Season 5, Part 1 I disagreed with most of the complaints people lobbied against the fourth season of Arrested Development, but I do think the batch of fifth season episodes released last year did fall prey to some of the shapeless storytelling and clunky greenscreen they were accused of before (I thought the fourth season did wonders with having the characters separated, while they flailed to meaningfully integrate Lindsay in the fifth season). And because episodes weren't as clearly defined in their storytelling, it left some of the character stories feeling both too dragged out and thinly developed (thinking here of Gob's struggle with his sexuality and Tobias's relationship with Murphybrown) by the time the half-season ended on a slight cliffhanger without really building significant momentum. But for all that, I love these characters so much and the show particularly really does right by the way that Michael and George Michael try to navigate their relationship with each other after the events of the fourth season.

9. Mary Poppins Returns This movie had impossible shoes to fill, and you can tell that everybody involved took that seriously. I saw this one twice. The first time, I really enjoyed it. The second time, it made me cry.

8. Marvel Cinematic Universe Black Panther was so fantastic, Avengers: Infinity War felt like a really special theater experience, and Ant-Man and the Wasp was a delightful trifle with an amazing, playful gut-punch of a stinger. Really, I had a great time will all three movies they put out this year and I loved the ride they took us on all the way through to the final text card in the Ant-Man credits.

7. Surprise, it's The Cloverfield Paradox! Sure, this is easily the least of the Cloverfield movies so far (it's still a fun haunted-house-on-a-space-station movie with an overqualified cast), but I don't imagine there'll be a more fun way to see one of these. I was already feeling that familiar Cloverfield excitement as the online marketing game started spooling up, but I pretty much leapt off the couch when Katie and I saw the Super Bowl ad that announced it would be dropping soon on Netflix, and freaked out even further when I looked on Netflix and saw the tag that it would debut after the game ended! We stayed up and watched it that night, and I went to sleep in the glow of a new Cloverfield. Gonna be hard to top that for excitement next time, but I'm looking forward to seeing them try.

6. Support the Girls Basically a "day in the life" movie about a manager of a Hooters-style sports bar, this movie (starring a perfect Regina Hall) is warm and human and reassuring because of the way it eschews the normal reassurances of this kind of thing and just plays it real. It's a beautiful movie.

5. GLOW I loved the first season of GLOW, and I think this second season is even better. It digs a little deeper into the supporting cast, doubles down on its resonance with things happening in the culture right now, includes that delightful episode within an episode, and ends on a perfect and delicate emotional note.

4. American Vandal Here's one of those shows with a perfect first season taking a shot at a follow-up, and they nailed it. Whatever trades are made in taking on a case with less personal involvement for our investigator leads are made up by the incisive observational writing (and hilarious bathroom jokes), this time throwing race and class into the mix. I'm sorry we won't get to see them take on another case and format, but these first two seasons are perfect.

3. Ready Player One I am in the tank for pretty much any Spielberg movie (I've loved the dramas he's done in the last few years) and here he's made a movie with cameos from King Kong and Mechagodzilla. I enjoyed the book this was based on, but I loved the movie even more. The visuals and action (and that amazing Shining sequence) are terrific, but the way that they restructured the game tasks build to make a moving argument for the ways even popular art are used for communication and connection, and Mark Rylance's portrayal of the Wonka-esque Halliday makes it all land.

2. The Ballad of Buster Scruggs I wrote about this one over at SportsAlcohol.com. I loved it.

1. Harry Potter and the Cursed Child Parts One & Two To be quite honest, this would be hard to beat in any event since I got engaged to be married between Part One and Part Two. Luckily, the show was a really special event even beyond that personal association. A surprisingly moving epilogue to the Harry Potter stories (and more satisfying in performance where the performances of the actors makes up for some of the ways the supporting characters seemed more thinly conceived in the script than they did in the books), it was also a dazzling theatrical experience. The variety of tricks employed to bring the wizard world to the stage meant that just as you figured out how they pulled off one big effect you were met with three other nifty flourishes. I dig Rowling's continued noodling around in her wizard world through things like this play and the Fantastic Beasts films (I enjoyed Crimes of Grindelwald) as a way to tell new stories and explore nerdy minutia without undoing the lovely bow of that original series of books. (Side note: Because my pleasure reading time has been so heavily curtailed as I get through this first school year, I'm only about a third in on Lethal White. Really digging it, but don't feel like I can include it on this list properly.)

Top Twenty Things I'm Excited About in 2019

Godzilla: King of the Monsters Never would I have believed that we'd be getting a big-budget American Godzilla film that would prominently feature Mothra, Rodan, and King Ghidorah as the third film in a shared Godzilla/Kong movie universe. Now it is happening, and everything they've released to do with the film (trailers, posters, etc) have looked incredible. Gonna be hard to top this one for excitement this year.

Marvel Cinematic Universe Captain Marvel looks like a lot of fun, I'm sure Spider-Man: Far From Home will be great, and I'm pretty interested in whatever Marvel Studios ends up doing for the Disney+ streaming service, but the main event this year is obviously Avengers: Endgame. Whatever form this big finale for the first decade of MCU stories takes, I cannot wait to see it.

Star Wars As with Marvel, there's plenty to look forward to this year, with The Mandalorian presumably accompanying the debut of Disney+ along with the revival of The Clone Wars, but the biggest deal will of course be Episode IX, the grand finale of the main Star Wars saga and the story of the Skywalkers.

Arrested Development The original run of the series was nearly flawless. The fourth season is, in some ways, even more ambitious and special. And even though the first half of this fifth season was, to my eyes, guilty of some of the baggy, formless storytelling that season four had been accused of (and splitting the season like this meant that the first half felt weirdly unsatisfying), it still had a ton of joke that I really loved and developed the relationship between Michael and his son in a way that I did find satisfying after the fourth season cliffhanger. Excited for more of the show and crossing my fingers that it nails the landing.

Stranger Things III This one drops on my birthday! Setting the story in summer sounds fun to me, and I'm pretty excited to see these characters again after a year off.

The Twilight Zone The original series is a deep foundation of my pop culture world and I even found things to like about the UPN revival in the early 00s, so I'm predisposed to be interested in this. But giving it to Jordan Peele (also so psyched for Us) seems like a masterstroke and the trailer they just released is so perfect (both for the obvious love it displays for the original and the new energy it promises) that it's driven me to distraction. Cannot wait for this.

The Addams Family I was obsessed with The Addams Family back when the two Barry Sonnenfeld films came out in the 90s. I loved the 60s sitcom, the movies, and the animated series (and more recently was bitterly disappointed by the Broadway musical). But most of all I adored the Charles Addams cartoons. This latest animated film has been kicking around in some form of development for a while now (there was a time when it was reported that they were trying to get Tim Burton to give it the stop-motion treatment) and I'm a little apprehensive that it ended up with Illumination Studios. Still, a new animated Addams Family film is a must see.

The Dark Crystal: Age of Resistance This sounds pretty special, and in any case it is exciting to get an ambitious new puppet project from the Henson Company delivered right to my Netflix queue this year.

Once Upon a Time in Hollywood & The Irishman A new Tarantino film would be on this list no matter what, so those photos they released a while back were most exciting to just get a look at what he's going for aesthetically. And of course I'm intrigued and excited to hear that Netflix is throwing money at Scorsese to make a crime film starting De Niro, Pacino, Keitel, and Joe Pesci.

The French Dispatch Not sure if this one will actually hit this year or end up seeking out some awards-friendly release next year, but it's a Wes Anderson film about journalism with a predictably great cast. Exciting whenever it comes out.

Knives Out Rian Johnson writing and directing another mystery film with this cast? Let's do this now.

Little Women Lady Bird was sooo good that I'd be pretty into whatever movie Greta Gerwig made next, so the incredible cast she's assembled for this follow up is just icing.

The Righteous Gemstones When Jody Hill and Danny McBride make another HBO show, I'm going to watch it. Make it about a family of televangelists and make John Goodman the patriarch, and I can't wait to watch it.

My Favorite Thing is Monsters Volume 2 The first volume was a surprise highlight of 2017 and it was a bummer to see this follow up slide further and further back on release calendars. Hoping it finally arrives this year, but the original was so wonderful that I'm ready to wait as long as it takes.

Missing Link There are other animated movies I'll be really excited for by the time they come out this year (Toy Story 4 and Frozen 2 will surely be huge events) but I'm probably most excited that Laika is back with a new feature.

Star Trek It looks like, as an attempt to get people like me to actually keep up their CBS All Access subscription outside of the two months they're offering new episodes of Star Trek Discovery (and I am pretty psyched for this second season!) they are planning on keeping us in new Star Trek as often as possible. An animated Trek comedy! A new series about Picard! More of those very cool Short Treks! I'm pretty into seeing what they have in store this year.

Looney Tunes Cartoons After years and years of grousing about Warner Bros' treatment of the Looney Tunes characters (even when they have something that kinda works, like Wabbit or New Looney Tunes, it has felt like they're on the C-list; and no, Space Jam 2 does not make me feel better), I'm intrigued by this series and am anxious to see some footage to see what they're cooking up.

Penny Dreadful: City of Angels I loved the original series, I'm a sucker for stories set in America in the 30s, and I like the cast they're lining up, so I'm definitely into this.

Amazing Stories I don't even know if or when I'll get to see this (we already have so many streaming services and if I'm adding another one this year, it'll be Disney+), but I love the idea of a new Amazing Stories and if Spielberg directs an episode or two it'll make this a must watch somehow.

3 notes · View notes

league-of-light · 6 years

Text

Week 4 Pick’em

Look, I know I’m late on the picks this week. I wanted to get them in yesterday, but other things came up and I didn’t get to it. I’m sorry, ok? To make up for it, I have written quite the long pick’em for this week. I’m not entirely sure if I will be able to make them this long every week, but I think I should be able to.

Why would I spend all this time writing the pick’em? Great question. Isn’t there a more productive use of your time? Probably. Will, you’re moving next week, shouldn’t you be packing or something? Are you just spending way more time writing picks as a means to delay the inevitable anxiety you’re going to feel about starting a new job and moving? Do you think this is the healthiest way to deal with that? Psh, you’re not my therapist.

Anyway, here goes

Yerboi vs Brenner? I hardly know’er

This Will vs. Brenner bout, should be promotionally billed as “Chronically Injured and Underperforming” vs “Complete Lineup Ineptitude”. Both teams come into Week 3 at a resounding 0-2, and are looking to get their season on track after some of high profile trades in the first couple weeks of the season.

There are always big expectations when you make a trade in Fantasy Football. Typically speaking, you hope and expect that the players you got are going to outperform whomever you traded away (or at the very least perform somewhat similarly). Unfortunately, that won’t always be the case. Sometimes there are weeks like last week, where JuJu outscored T.Y. Hilton and I am forced to sit there and reflect on how I would have won if I just kept JuJu. Other times, there are weeks like this week, where Brenner ensures he doesn’t have to deal with the emotional trauma of a trade gone awry because he benches the players he traded for. (No there aren’t, this literally never happens)

I pick myself, simply because I don’t think I’ve actually ever seen a team projected to score as few points as Brenner.

Story To Watch: How quickly it will take Drew Brees to score more than the 3 points Brenner got from Tyrod Taylor. My guess is 4 plays.

Tangiphil vs Hewie and the Hashslingers

After a fairly explosive first week of the season, we can all finally exhale — Phil’s team is bad again. Shockingly, his 3-headed Running Back Monster is down a head. Unlike the legend of the Hydra, instead of another head growing in it’s place, Phil decided to chase last week’s bench points and play Nelson Agholor. If you check his bench this week you may notice Joe Mixon outside of the IR slot, Isaiah Crowell’s wasted 18 point TNF total, and another Jets receiver. That’s right folks, it’s week 3 and Phil is already in midseason form.

But enough about Phil. Steve is 2-0 and I expect his win streak to continue this week. In my humble opinion, his team is underprojected with only 98 points, as Big Ben, Melvin Gordon, and Marvin Jones all look poised to be playing catchup in potentially high scoring games. Look for Steve to hopefully rise in the power rankings after squashing Phil.

Story To Watch: He may be the second head of a three two-headed running back monstrosity, but Adrian Peterson is going to look more like Mike Wazowski than James P. Sullivan this week. The Packers offense comes to FedEx Field with an offense that looks like two-day expedited shipping, while the Redskins offense has been looking like the Pony Express. Game script gets away from the ‘Skins and they abandon the run.

Kyle vs Sean

Close to half of this league isn’t from Rockland, so I’m going to use this opportunity to tell a story. To the hometown heroes - some of the overarching details may be incorrect, but I don’t care I have the talking stick. If you want accuracy you can write the damn blog post next week. Anyway, in sixth grade every middle school student has to take World History. The curriculum is geared towards ancient civilizations, and a decent chunk of time is spent on Egypt. As such, every year there was (is?, not sure if they still do it) a grade-wide Egypt project where students had to use their knowledge of Egypt, make something, and showcase it to the class. Think of it like a science fair, but with crappy Egyptian dioramas instead of baking soda volcanoes. Since I was a bright eyed ambitious young man who loved art and mythology, I knew I would do great on this project. I chose the ambitious task of making a sculpture of Horus, the Falcon-headed man prince of the Egyptian pantheon. It wasn’t long before I realized my doodling skills didn’t translate well into making 3D models, but I was in far too deep. I molded the clay as best I could, and then “accidentally” left it in the oven too long so it burned to a crisp and was nearly unidentifiable. Needless to say, I didn’t do very well on that project.

Why am I telling you this? Because look at Sean’s team. Does it look real good on paper? Sure. Does that mean he is likely going to win this week? Probably. But has his overconfidence blinded him into creating a team made of glass with absolutely no depth in a 16-team league? 67%, yes. (Because that is the grade I got on the project.)

Story to Watch: Alex Collins has become the running back equivalent of Hillary Swank. Hot or not? Stay tuned this week and find out…

You Guys Again vs. Johnson Ertz

The moment you’ve all been waiting for is here folks. I…..I can’t believe it’s finally happening. After almost two full years, the day has finally come. Dylan Feldman vs. Dylan Costa are facing off in a fantasy football matchup which I am officially dubbing “The Battle for the Right to be Called Dylan in the Fantasy Football League Group Chat” (and since we love our acronyms here, aka TB4TR2BCDITFFLGC). Two Dylans enter, only one Dylan leaves. This matchup is arguably one of the most important matchups we have ever seen in this league, and has a chance to change the history books forever.

Unfortunately for Dylan Costa, his squad isn’t exactly striking fear into anyone these days. I’ll have to go with Dylan Feldman, but his lineup has more red letters than Hester Prynne after an all weekend slumber party at Arthur Dimmesdale’s Dimmesdale Dimmahome.

Story to Watch: With the return of Aaron “I smoke Marijuana so Bowers thinks I’m a bad person” Jones coming back to Green Bay, Jamaal Williams’ usage should be monitored. As the kids say, he hasn’t been very good over the past two weeks, and Aaron Jones is ready to come in blazing *~!420!~*

Bearkley vs. Watch Me

Imagine my shock when I saw I won the bidding war for Ryan Fitzpatrick. I immediately rushed to find the owners of the Tampa Bay WRs so I could celebrate our good fortune as Fitzmagic showers us all with fantasy points. Now imagine my shock when I saw Samantha has benched Chris Godwin, not only a rookie (we all know my irrational hype with rookies), but a rookie whose name is lit a combination of God and Win. I don’t know about you, but doesn’t it feel like Samantha has renounced God and doesn’t want to win this week’s matchup?

On the flipside, Nico runs our Dungeons and Dragons group, and if the 80s taught me anything it’s don’t feed weird aliens after midnight, and that D&D is for devil worshipping heathens. With any hope of good Christian fun squandered for this matchup, it really is anybody’s game. I want to believe in the underdog, but more favorable matchups lead me to believe that Nico will pull out the W.

Story to Watch: Saquon Barkley caught 2 of 6 targets week 1 against the Jags. That number increased to 14 of 16 targets last week as Eli Manning completely lost interest in holding on to the football for more than 1 second. Is it possible that Saquon receives 28 targets this game as Eli Manning has to look JJ Watt and Jadaveon Clowney in the eyes?

Washington vs. Walshington

I want to take a second here and pour one out for Walsh, who didn’t answer my trade offer or my text message regarding Dalvin Cook and Allen Robinson. Walsh, you took an injury bullet for me and I will forever be grateful. It’s appropriate that I mention taking a bullet, because rumors have it Frank Gore was actually there when the first metal bullet was shot in 1425. Between Gore and Kerryon Johnson, Walsh will be lucky if he gets 14.25 points from his running backs this week.

Andy surprisingly continues to ride or die with Andrew Luck, despite Luck being unable to throw the football more than 15 yards. At this point I assume he is just taunting Arielle with Bortles on his bench, and we have to assume that if Bortles continues putting up 30 point games, eventually Andy might start him. The biggest story on this squad is how Andy managed to get two of the best big play boom or bust WRs with John Brown and Will Fuller, while also having Amari Cooper and Mike Evans. That’s a solid receiving core you got there pal, and I just want you to know I see it and appreciate it.

Story To Watch: C’mon, it’s Philip Lindsay. Every week it’s Philip Lindsay. Everyone loves a hometown hero and I have greatly enjoyed watching this kid ball out.

Bowers v Arielle

I’m high on Dylan Leone Arielle’s team this year. How could you not be? It was drafted by a man who has $45,000 in fantasy football great young woman who has shown her commitment to the league. For whatever reason, ESPN’s site stopped working just as I was going to look at this matchup, so unfortunately I am going to have to give an abridged write up of my pick. I have played these teams back to back so you would assume I know who is on their rosters, but I can’t remember anything other than Russell Wilson and James Conner on Arielle’s team, and Golden Tate and Kirk Cousins on Bowers’.

Based on this limited memory alone, I suppose I am going to pick Bowers in what will likely be another close matchup for the Reikland Reavers

Story to Watch: The story of life as I take this momentary absence from ESPN’s Fantasy Football to reflect on the finer things in the world. Like Yahoo Fantasy Football.

Jason v Harnsowl

ESPN is still not working for me, neither on my phone nor my computer, so I can’t really give much analysis here. However, not much analysis is needed. Unlike his godless sister, Jason is a man of faith. And if George Michaels taught us anything, it’s that you gotta have faith. You gotta have faith, faith, faith. Carson Wentz returns this week and I don’t care whoever Harnsowl is playing, it doesn’t really matter. I mean, as far as the matchup is concerned it might matter, but emotionally speaking, Jason has already won this week.

I can’t be expected to pick a winner in a matchup that already has a winner, so instead I’ll take this time to remind you to spay or neuter your pets. Bob Barker used to do a fantastic job of reminding the American people to do so, and if I am being completely honest I just don’t think Drew Carey delivers the message with the same panache. Like sure, I know Drew still says it at the end of the show, but does he really even believe it? Only Drew can really answer that question, but if I had to guess I would bet $100 $101 Drew. While we’re on the topic, if any of you ever manage to go on Price is Right and you do that thing where you bid one dollar higher than someone else did, you can consider our friendship over. Not only is it the worst strategy ever, it’s also rude as hell to the other contestant. In some cases I’m sure the people legitimately don’t know what to bet after someone else bet around the same thing they did, but for the love of God at least bet like $10 higher so there is some tension in the room.

But yeah, back to football, I pick Jason

Story to Watch: The next episode of Price is Right, Monday September 24th

3 notes · View notes

amwilburn · 6 years

Text

Good 3D Bad 3D part 1

(Reposted from my Trueachievments.com blog Sept 2015)

Let's get it out of the way: if you wear glasses, or have a problem in 1 eye, you won't get to truly experience the difference between eye-straining poorly done stereoscopic imaging, and the truly stunning opposite end of the spectrum. Which sucks.

Movies:

Best 3D I've experienced in a film was so good, you could actually see which surfaces were bump-mapped and textured, and which were simply flat textured. Beowulf. Photorealistic CGI coupled with really well thought out stereoscopic rendering, I wish I could find a copy of this in 3d, but I only saw it once in theatres. Naked Angelina Jolie didn't hurt.

2nd best, Avatar. The story was identical to Ferngully, Dances with Wolves, Pocohintas, very derivative... It's pretty clear the focus was the 3D, and it shows.

How to Train Your Dragon, Frozen, both Avengers Films, clearly we're directed with 3D in mind. All really good examples of 3D tech, and totally worth watching in 3D if you've only watched them 'flat'.

Worst 3D in films:

Ice Age 3D was clearly a film they finished first, and then thought "Hey let's make more money by converting it to 3D and charging the higher ticket price". When rendering a 3D movie in flat non stereoscopic imaging, it doesn't matter how far you place the farthest plane, representing the sky / backdrop.

But when you force that rendered image into a stereoscopic image, you have to render it at the appropriate plane depth. The sky and horizon are *not* 3 feet away from you.

The result? there were scenes where they had foreground rendered trees, then drawn flat 2d trees on the far plane, along with a painted sky... Instead of looking like the Ice Age characters were walking in a desolate frozen forest, it instead looked like they were walking in a tiny shoebox, with trees and sky painted on the back wall. Terrible.

Iron Man 3 actually suffered from this as well: there's a fireworks scene at the beginning, where everything else is in 3D but the fireworks were exploding in a single 2D plane, rather than in a swelling spherical pattern. Considering how well the 3D was handled in both Avengers films, this was a let down (the film was entertaining though, and *most* of the film has properly handled 3D)

Despicable Me: great film, but suffers from the 2 perspective points being too close together, the end result being that nothing really pops out from the film at all. It might was well be non-stereoscopic.

Similar criticism for Monsters vs Aliens, nothing really popped out at you.

Captain EO: on the other end of the 3D spectrum, when films move the 2 perspective points too far away, you get eye strain, as well as image ghosting... All for a messy 3D result. Yes this Disney ride film starring Michal Jackson is 25 years old, and currently only available at Tokyo Disney (it was showing at Disney World no Disney Land in the late 80's and early 90's) and was one of the first examples of the current polarized lens 3D instead of the old horrible blue and red method.

It was also a collaboration between Spielberg, Scorcese, and Lucas.. Go figure.

I was going to include stereoscopic games as well here, but this is long enough; I'll make a separate follow up blog soon.

*spoiler: Air Conflict Secret Wars is the worst stereoscopic video gaming ever. I don't think it can be topped.

Posted by Evil Toast on 15 September 15 at 23:49 | Last edited on 17 September 15 at 16:22

#stereoscopic #stereoscopic reviews

1 note · View note

goldenshowerrequiem · 6 years

Text

@wayne-rike tagged me in a post asking me 15 questions, so here are my answers!

1: What’s your Chinese/Lunar Zodiac?

Apparently I’m a dragon

2: Preferred gaming device?

I pretty much only use my laptop for video games these days

3: Do you have a Minecraft Account?

Nope, not a huge Minecraft fan I’m afraid

4: What are your top 5 favorite video games?

Now this is a tough question, there are a bunch of video games I’ve come to love over the years. This list changes a lot but overall I’d have to say:

The Elder Scrolls III: Morrowind

Mount and Blade: Warband

The Elder Scrolls IV: Oblivion

Halo: Reach

Pokémon Mystery Dungeon: Red Rescue Team

The last 2 may be partially due to nostalgia but I’d feel bad not putting them there

5: Do you have Stem? (Steam)

Yup

6: (If yes to previous question) Do u vant to beh meh Stem frand? :3 (What a way to ask, ik.)

Sure my dude, my Steam name is Sap Licker (the username I usually go by), anyone reading this can feel free to add me if they want

7: Would you say your voice is more high-pitched or low-pitched?

I’d say high-pitched but that might just be how it sounds to me, people have told me it isn’t particularly high-pitched or low-pitched

8: What’s your Blood Type?

No clue, I should probably check that at some point

9: Your top 5 fav shows?

I’m about to out myself as a filthy weeaboo cuz they’re all anime:

JoJo’s Bizarre Adventure (no surprises here)

Dragon Ball (DB > DBKai > DBZ > DBS > DBGT)

Fate/Zero

KonoSuba

Prison School (yes, I know it’s trash but I’m immature enough to find it hilarious)

10: If you could have sex with an Alien- regardless of what it looks like-, would you?

Fuck yeah I would, alien kink is a very good kink

11: Sex Pistols vs Josephu Joesta. Who’ d win?

As much as I love my boi Mista and his stand we all know Joseph would win because he’s fucking Joseph

12: What’s your least favorite Stand? (Be it because you think it’s the weakest, stupid, etc.)

Goo Goo Dolls because it’s just a less interesting version of Little Feet that’s uncomfortable to look it.

13: If you could have one Stand from each Part, which ones would they be?

Part 3: Khnum

Part 4: Heaven’s Door

Part 5: Gold Experience

Part 6: Underworld

Part 7: Scary Monsters

14: In your opinion, rank the Jojos from best to worst. (Well- ya can’t rank Gappy (Part 8 Jojo) and you haven’t finished Part 7 yet, so this can’t be a full-blown estimate of the Jojos.)

Johnny (I know I haven’t finished part 7 but he’s already my favourite)

Joseph

Josuke

Jolyne

Giorno

Jonathan

Jotaro

15: What are your favorite kind of game? (Not just genre but any misc. aspect of a game. Be it First Person, Third Person, Story Driven, Story Rich, Turn Based, Open-World, 2D, etc.) (You obviously don’t have to say every single aspect. Just the ones that you like the most are fine.)

As you can probably tell from my top 5 games, I really like single-player open world fantasy RPGs. I like having the freedom to choose who I want my character to be and what I want to do with them.

I’m afraid I’m gonna refrain from tagging people to do this one, partly because I’ve bothered my mutuals enough with this stuff lately and partly because I’m too lazy and unimaginative to come up with 15 questions to ask someone. Still, thanks again to @wayne-rike for tagging me!

#Getting personal with Piss-kun #I appreciate the questions my dude

8 notes · View notes

celestialmazer · 7 years

Photo

The Everglades, White Sands, and Carlsbad Caverns. PHOTOGRAPHS BY RYAN MCGINLEY Brad Pitt Talks Divorce, Quitting Drinking, and Becoming a Better Man by Michael Paterniti VIDEO

“Summer is coming and, in America, that means it’s time to hit the national parks. So we took Brad Pitt and photographer Ryan McGinley tumbling across three of them: The Everglades, White Sands, and Carlsbad Caverns. Then we sat down with Pitt at home in L.A. for a raw conversation about how to move forward after things fall apart.

Brad Pitt is making matcha green tea on a cool morning in his old Craftsman in the Hollywood Hills, where he's lived since 1994. There have been other properties in other places—including a château in France and homes in New Orleans and New York City—but this has always been his kids' “childhood home,” he says. And even though they're not here now, he's decided it's important that he is. Today the place is deeply silent, except for the snoring of his bulldog, Jacques.

Pitt wears a flannel shirt and skinny jeans that hang loose on his frame. Invisible to the eye is that sculpted bulk we've seen on film for a quarter-century. He looks like an L.A. dad on a juice cleanse, gearing up to do house projects. On the counter sit some plated goodies from Starbucks, which he doesn't touch, and some coffee, which he does. Pitt, who exudes likability, general decency, and a sense of humor (dark and a little cockeyed), says he's really gotten into making matcha lately, something a friend introduced him to. He loves the whole ritual of it. He deliberately sprinkles some green powder in a cup with a sifter, then pours in the boiling water, whisking with a bamboo brush, until the liquid is a harlequin froth. “You're gonna love this,” he says, handing me the cup.

Serenity, balance, order: That's the vibe, at least. That's what you think you're feeling in the kitchen of Brad Pitt's perfectly constructed, awesomely decorated abode. Outside, children's bikes are lined up in the rack; a blown-up dragon floatie bobs on the pool through the window. From the sideboard, with its exquisite inlay, to the vase on the mantel, the house exudes care and intention. And it carries its own stories, not just about when the Jolie-Pitts were a happy family, but also from back in the day, when Jimi Hendrix crashed here. It's said he wrote “May This Be Love” out in the grotto, with its waterfall (Waterfall / Nothing can harm me at all…). “I don't know if it's true,” says Pitt, “but a hippie came by and said he used to drop acid with Jim back there, so I run with the story.”

And yet Pitt is the first one to acknowledge that it's been chaos these past six months, during what he calls a “weird” time. In conversation, he seems absolutely locked in one moment and a little twitchy and forlorn in the next, having been put on a journey he didn't intend to make but admits was “self-inflicted.” The unfortunate worst of it surfaced in public this past September. When he was on a flight to Los Angeles aboard a private plane, there was a reported altercation between Pitt and one of his six children, 15-year-old Maddox. An anonymous phone call was made to the authorities, which triggered an FBI investigation (ultimately closed with no charges). Five days later, his wife, Angelina Jolie, filed for divorce. By then, everything in Pitt's world was in free fall. It wasn't just a public-relations crisis—there was a father suddenly deprived of his kids, a husband without wife. And here he is, alone, a 53-year-old human father/former husband smack in the middle of an unraveled life, figuring out how to mend it back together.

And yet the enterprise known as Brad Pitt inexorably carries on. In November, the movie Allied came out, starring Pitt and Marion Cotillard. At the premiere he was described as “gaunt,” and rumors of an affair with Cotillard, and an on-set encounter between her and Jolie, had been so virulent that Cotillard took to social media to deny them, underscoring her love for her own partner, with whom she was pregnant with their second child. Meanwhile, Pitt's production company, Plan B Entertainment, found itself winning an astonishing third Oscar for Best Picture, with Moonlight. (Pitt spent the Oscars ceremony at a friend's house.) This month Netflix will release Pitt's War Machine, a satire based on the incidents surrounding the firing of General Stanley McChrystal. In the film, he plays a gruff, ascetic stand-in for McChrystal, General Glen McMahon, with both big-gestured comic panache and an oblivious unknowingness that seems to be a metaphor for the entire American war effort.

But on this overcast spring morning, catching Pitt at this flexion point, I would say he seems more like one of those stripped-down Samuel Beckett characters, in a blank landscape, asking big questions of a futile world. Even the generalities he employs for protection seem metaphoric. (He mentioned his estranged wife's name only once, when referencing her Cambodia movie, First They Killed My Father, telling me, “You should see Angie's film.”) The loneliness of this new life, he said, is mitigated by Jacques, who spent most of the interview beached in a narcoleptic reverie at my feet, snoring and farting. (“Did you ever have the uncle that came over with emphysema, and had to sleep in your room when you were 6?” he says. “That's Jacques.” And then: “Come here, boy. Friends for life!”)

When I ask Pitt what gives him the most comfort these days, he says, “I get up every morning and I make a fire. When I go to bed, I make a fire, just because—it makes me feel life. I just feel life in this house.”

GQ Style: Let's go back to the start. What was it like growing up where you grew up? Brad Pitt: Well, it was Springfield, Missouri, which is a big place now, but we grew up surrounded by cornfields—which is weird because we always had canned vegetables. I never could figure that one out! Anyway, ten minutes outside of town, you start getting into forests and rivers and the Ozark Mountains. Stunning country.

Did you have a Huck Finn boyhood? Half the time. Half the time, yeah.

How so? I grew up in caves. We had a lot of caves, fantastic caverns. And we grew up First Baptist, which is the cleaner, stricter, by-the-book Christianity. Then, when I was in high school, my folks jumped to a more charismatic movement, which got into speaking in tongues and raising your hands and some goofy-ass shit.

So were you there for speaking in tongues? Yeah, come on. I'm not even an actor yet, but I know… I mean the people, I know they believe it. I know they're releasing something. God, we're complicated. We're complicated creatures.

So acting came out of what you saw in these revival meetings? Well, people act out. But as a kid, I was certainly drawn to stories—beyond the stories that we were living and knew, stories with different points of view. And I found those stories in film, especially. Different cultures and lives so foreign to mine. I think that was one of the draws that propelled me into film. I didn't know how to articulate stories. I'm certainly not a good orator, sitting here telling a story, but I could foster them in film.

I remember going to a few concerts, even though we were told rock shows are the Devil, basically. Our parents let us go, they weren't neo about it. But I realized that the reverie and the joy and exuberance, even the aggression, I was feeling at the rock show was the same thing at the revival. One is Jimmy Swaggart and one is Jerry Lee Lewis, you know? One's God and one's Devil. But it's the same thing. It felt like we were being manipulated. What was clear to me was “You don't know what you're talking about—”

And it didn't fuck you up? No, it didn't fuck me up—it just led to some eating questions at a young age.

The best actors blur into their characters, but given how well the world knows you, it seems you have a much harder time blurring these days? I have so much attached to this facade. [gestures]

But then, in War Machine, you find the little gesture that makes the Glen McMahon character ours. Like the way he runs, which is hilarious. The run to me was important because it was about the delusion of your own grandeur, not knowing what you really look like. All pencil legs, you know. Not being able to connect reality to this facade of grandeur.

The other equally distinctive characteristic is Glen's voice. Where did it come from? You know, it's a little bit of a cliché, but I just enjoyed it too much: There's, you know, of course, Patton in it. But I could not get Sterling Hayden out of my mind. I'm just fascinated with Sterling Hayden, off-camera, between films, and I couldn't escape that. There's even a little bit of Chris Farley in mannerisms. And then Kiefer Sutherland in Monsters vs. Aliens, you know, doing the cartoon voice. It just wouldn't go anywhere else; it kept coming back there.

Have you ever felt the need to be more political? I can help in other ways. I can help by getting movies out with certain messages. I've got to be moved by something—I can't fake it. I grew up with that Ozarkian mistrust of politics to begin with, so I just do better building a house for someone in New Orleans or getting certain movies to the screen that might not get made otherwise.

You're good at playing that kind of character, the one that doesn't have a truly accurate vision of himself. It makes me laugh. Any of my foibles are born from my own hubris. Always, always. Anytime. I famously step in shit—at least for me it seems pretty epic. I often wind up with a smelly foot in my mouth. I often say the wrong thing, often in the wrong place and time. Often. In my own private Idaho, it's funny as shit. I don't have that gift. I'm better speaking in some other art form. I'm trying to get better. I'm really trying to get better.

And the movie really pokes at this, too, right—America's hubris? When I get in trouble it's because of my hubris. When America gets in trouble it's because of our hubris. We think we know better, and this idea of American exceptionalism—I think we're exceptional in many ways, I do, but we can't force it on others. We shouldn't think we can. How do we show American exceptionalism? By example. It's the same as being a good father. By exemplifying our tenets and our beliefs, freedom and choice and not closing borders and being protectionists. But that's another issue. You want me to tell you something really sad? I thought this was so sad. We were looking at—let me say, a certain war film that was looking to promote itself. The European posters had the American flag in the background, and it came back from the marketing department: “Remove the flag. It's not a good sell here.” I was, like, Man, that's America. That's what we've done to our brand.

You've played characters in pain. What is pain, emotional and physical? Yeah, I'm kind of done playing those. I think it was more pain tourism. It was still an avoidance in some way. I've never heard anyone laugh bigger than an African mother who's lost nine family members. What is that? I just got R&B for the first time. R&B comes from great pain, but it's a celebration. To me, it's embracing what's left. It's that African woman being able to laugh much more boisterously than I've ever been able to.

“For me this period has been about looking at my weaknesses and failures and owning my side of the street.”

When did you have that revelation? What have you been listening to? I've been listening to a lot of Frank Ocean. I find this young man so special. Talk about getting to the raw truth. He's painfully honest. He's very, very special. I can't find a bad one.

And of great irony to me: Marvin Gaye's Here, My Dear [Gaye's touchstone album about divorce]. And that kind of sent me down a road.

Intense. But beautiful—and quite honest.... You know, I just started therapy. I love it, I love it. I went through two therapists to get to the right one.

About These Parks: To choose the locations for this summertime celebration of America’s national parks, Brad Pitt, Ryan McGinley, and GQ Style all collaborated on potential destinations. Pitt requested the lunar dunes of White Sands National Monument. Ryan McGinley had previous experience shooting in the underground labyrinths of Carlsbad Caverns National Park. And we nominated the swamps of Everglades National Park. Then we came together and covered all three over a stretch of eight days in March.

Do you think if the past six months hadn't happened you'd be in this place eventually? That it would have caught up with you? I think it would have come knocking, no matter what.

People call it a midlife crisis, but this isn't the same— No, this isn't that. I interpret a midlife crisis as a fear of growing old and fear of dying, you know, going out and buying a Lamborghini. [pause] Actually—they've been looking pretty good to me lately! [laughs]

There might be a few Lamborghinis in your future! “I do have a Ford GT,” he says quietly. [laughs] I do remember a few spots along the road where I've become absolutely tired of myself. And this is a big one. These moments have always been a huge generator for change. And I'm quite grateful for it. But me, personally, I can't remember a day since I got out of college when I wasn't boozing or had a spliff, or something. Something. And you realize that a lot of it is, um—cigarettes, you know, pacifiers. And I'm running from feelings. I'm really, really happy to be done with all of that. I mean I stopped everything except boozing when I started my family. But even this last year, you know—things I wasn't dealing with. I was boozing too much. It's just become a problem. And I'm really happy it's been half a year now, which is bittersweet, but I've got my feelings in my fingertips again. I think that's part of the human challenge: You either deny them all of your life or you answer them and evolve.

Was it hard to stop smoking pot? No. Back in my stoner days, I wanted to smoke a joint with Jack and Snoop and Willie. You know, when you're a stoner, you get these really stupid ideas. Well, I don't want to indict the others, but I haven't made it to Willie yet.

I'm sure he's out there on a bus somewhere waiting for you. How about alcohol—you don't miss it? I mean, we have a winery. I enjoy wine very, very much, but I just ran it to the ground. I had to step away for a minute. And truthfully I could drink a Russian under the table with his own vodka. I was a professional. I was good.

So how do you just drop it like that? Don't want to live that way anymore.

What do you replace it with? Cranberry juice and fizzy water. I've got the cleanest urinary tract in all of L.A., I guarantee you! But the terrible thing is I tend to run things into the ground. That's why I've got to make something so calamitous. I've got to run it off a cliff.

Do you think that's a thing? I do it with everything, yeah. I exhaust it, and then I walk away. I've always looked at things in seasons, compartmentalized them, I guess, seasons or semesters or tenures or…

Really? So, this is the season of me getting my drink on.… [laughs] Yeah, it's that stupid. “This is my Sid and Nancy season.” I remember that one when I first got out to L.A. It got titled afterwards.

So then, you stop yourself, but how do you—I don't know why this comes to mind but I think of a house—how do you renovate yourself? Yeah, you start by removing all the decor and decorations, I think. You get down to the structure. Wow, we are in some big metaphor here now.… [laughs]

Inside Brad Pitt’s GQ Style Cover Shoot

Metaphors are my life. You strip down to the foundation and break out the mortar. I don't know. For me this period has really been about looking at my weaknesses and failures and owning my side of the street. I'm an asshole when it comes to this need for justice. I don't know where it comes from, this hollow quest for justice for some perceived slight. I can drill on that for days and years. It's done me no good whatsoever. It's such a silly idea, the idea that the world is fair. And this is coming from a guy who hit the lottery, I'm well aware of that. I hit the lottery, and I still would waste my time on those hollow pursuits.

That's the thing about becoming un-numb. You have to stare down everything that matters to you. That's it! Sitting with those horrible feelings, and needing to understand them, and putting them into place. In the end, you find: I am those things I don't like. That is a part of me. I can't deny that. I have to accept that. And in fact, I have to embrace that. I need to face that and take care of that. Because by denying it, I deny myself. I am those mistakes. For me every misstep has been a step toward epiphany, understanding, some kind of joy. Yeah, the avoidance of pain is a real mistake. It's the real missing out on life. It's those very things that shape us, those very things that offer growth, that make the world a better place, oddly enough, ironically. That make us better.

Would there be art without it? Would there be any of this immense beauty that surrounds us? Yeah—immense beauty, immense beauty. And by the way: There's no love without loss. It's a package deal.

Can you describe where you've been living—like, have you been in this house since September? It was too sad to be here at first, so I went and stayed on a friend's floor, a little bungalow in Santa Monica. I crashed over here a little bit, my friend [David] Fincher lives right here. He's always going to have an open door for me, and I was doing a lot of stuff on the Westside, so I stayed at my friend's house on the floor for a month and a half—until I was out there one morning, 5:30, and this surveillance van pulls up. They don't know that I'm up behind a wall, and they pull up—and it's a long story—but it was something more than TMZ, because they got into my friend's computer. The stuff they can do these days.... So I got a little paranoid being there. I decided I had to pick up and come here.

“If I'm not creating something, putting it out there, then I'll just be creating scenarios of fiery demise in my mind.”

How are your days different now? This house was always chaotic and crazy, voices and bangs coming from everywhere, and then, as you see, there are days like this: very…very solemn. I don't know. I think everyone's creative in some way. If I'm not creating something, doing something, putting it out there, then I'll just be creating scenarios of fiery demise in my mind. You know, a horrible end. And so I've been going to a friend's sculpting studio, spending a lot of time over there. My friend [Thomas Houseago] is a serious sculptor. They've been kind. I've literally been squatting in there for a month now. I'm taking a shit on their sanctity.

So you're making stuff? Yeah, I'm making stuff. It's something I've wanted to do for ten years.

Like what? What are you working with? I'm making everything. I'm working with clay, plaster, rebar, wood. Just trying to learn the materials. You know, I surprise myself. But it's a very, very lonely occupation. There's a lot of manual labor, which is good for me right now. A lot of lugging clay around, chopping and moving and cleaning up after yourself. But I surprise myself. Yesterday I wasn't settled. I had a lotta chaotic thoughts—trying to make sense of where we are at this time—and the thing I was doing wasn't controlled and balanced and perfect. It came out chaotic. I find vernacular in what you can make, rather than giving a speech. I find voice there, that I need.

All the bad stuff: Do you use it to tell your story? It just keeps knocking. I'm 53 and I'm just getting into it. These are things I thought I was managing very well. I remember literally having this thought a year, a year and a half ago, someone was going through some scandal. Something crossed my path that was a big scandal—and I went, “Thank God I'm never going to have to be a part of one of those again.” I live my life, I have my family, I do my thing, I don't do anything illegal, I don't cross anyone's path. What's the David Foster Wallace quote? Truth will set you free, but not until it's done with you first.

Is the sculpting a Sisyphean thing: rolling the rock up the hill, action obliterating all thoughts? [Jacques interrupts, nuzzling] I know you've been lonely. I know you've been lonely....

I find it the opposite. Well, I guess so, in that there's a task at hand. You have to wrap your stuff up at night and bring order back to your chaos for the next day. I find it a great opportunity for the introspection. Now you have to be real careful not to go too far that way and get cut off in that way. I'm really good at cutting myself off, and it's been a problem. I need to be more accessible, especially to the ones I love.

When you go dark, do you retreat, disconnect? I don't know how to answer that. I certainly shield. Shield, shield, shield. Mask, escape. Now I think: That's just me.

You were talking about the Glen character in War Machine and the idea of delusion, that we have to create our own mythologies, our own stories, to explain the things we're not proud of. At a real cost to ourselves.

How do you not delude yourself? I worry about that— You don't have to worry about it. [laughs] Delusion is not going to let you go. You're going to get smacked in the face. We, as humans, construct such mousetrap mind games to get away from it all. You know, we're almost too smart for ourselves.

Okay. But if you had a slideshow of all your worst moments as a human, you wouldn't want anyone to see that slideshow. The way you've had to live for years, that slideshow has been public. But so little of it is accurate, and I avoid so much of it. I just let it go. It's always been a long-run game for me. As far as out there, I hope my intentions and work will speak for themselves. But, yes, at the same time, it is a drag to have certain things drug out in public and misconstrued. I worry about it more for my kids, being subjected to it, and their friends getting ideas from it. And of course it's not done with any kind of delicacy or insight—it's done to sell. And so you know the most sensational sells, and that's what they'll be subjected to, and that pains me. I worry more in my current situation about the slideshow my kids have. I want to make sure it's well-balanced.

“People on their deathbeds don't talk about what they obtained. They talk about their loved ones or their regrets—that seems to be the menu.”

How do you make sense of the past six months and keep going? Family first. People on their deathbeds don't talk about what they obtained or were awarded. They talk about their loved ones or their regrets—that seems to be the menu. I say that as someone who's let the work take me away. Kids are so delicate. They absorb everything. They need to have their hand held and things explained. They need to be listened to. When I get in that busy work mode, I'm not hearing. I want to be better at that.

When you begin making a family, I think you hope to create another family that is some ideal mix of the best of what you had and what you feel you didn't have— I try to put these things in front of them, hoping they'll absorb it and that it will mean something to them later. Even in this place, they won't give a shit about that little bust over there or that light. They won't give a shit about that inlay, but somewhere down the road it will mean something—I hope that it will soak in.

It's a different world, too. We know more, we're more focused on psychology. I come from a place where, you know, it's strength if we get a bruise or cut or ailment we don't discuss it, we just deal with it. We just go on. The downside of that is it's the same with our emotion. I'm personally very retarded when it comes to taking inventory of my emotions. I'm much better at covering up. I grew up with a Father-knows-best/war mentality—the father is all-powerful, super strong—instead of really knowing the man and his own self-doubt and struggles. And it's hit me smack in the face with our divorce: I gotta be more. I gotta be more for them. I have to show them. And I haven't been great at it.

Do you know, specifically, logistically when you have the kids? Yeah. We're working at that now.

It must be much harder when visitation is uncertain— It was all that for a while. I was really on my back and chained to a system when Child Services was called. And you know, after that, we've been able to work together to sort this out. We're both doing our best. I heard one lawyer say, “No one wins in court—it's just a matter of who gets hurt worse.” And it seems to be true, you spend a year just focused on building a case to prove your point and why you're right and why they're wrong, and it's just an investment in vitriolic hatred. I just refuse. And fortunately my partner in this agrees. It's just very, very jarring for the kids, to suddenly have their family ripped apart.

That's what I was going to ask— If anyone can make sense of it, we have to with great care and delicacy, building everything around that.

How do you tell your kids? Well, there's a lot to tell them because there's understanding the future, there's understanding the immediate moment and why we're at this point, and then it brings up a lot of issues from the past that we haven't talked about. So our focus is that everyone comes out stronger and better people—there is no other outcome.

“I know I'm just in the middle of this thing now—not at the beginning or at the end, just smack-dab in the middle. And I don't want to dodge any of it.”

And the fact that you guys are pointing toward that—that clearly doesn't always happen. If you ended up in court, it would be a spectacular nightmare. Spectacular. I see it everywhere. Such animosity and bitterly dedicating years to destroying each other. You'll be in court and it'll be all about affairs and it'll be everything that doesn't matter. It's just awful, it looks awful. One of my favorite movies when it came out was There Will Be Blood, and I couldn't figure out why I loved this movie, I just loved this movie, besides the obvious talent of Paul T. and, you know, Daniel Day. But the next morning I woke up, and I went, Oh, my God, this whole movie is dedicated to this man and his hatred. It's so audacious to make a movie about it, and in life I find it just so sickening. I see it happen to friends—I see where the one spouse literally can't tell their own part in it, and is still competing with the other in some way and wants to destroy them and needs vindication by destruction, and just wasting years on that hatred. I don't want to live that way.

What in the past week has given you immense joy? Can you feel that right now? It's an elusive thing. It's been a more painful week than normal—just certain things have come up—but I see joy out the window, and I can see the silhouette of palms and an expression on one of my kids' faces, a parting smile, or finding some, you know, moment of bliss with the clay. You know, it's everywhere, it's got to be found. It's the laughter of the African mother in my experience—it's got to come from the blues, to get R&B. That'll be in my book.

Are you going to write a book? No! I find writing too arduous.

But do you worry about the narrative others have written for you? What did Churchill say? History will be kind to me: I know because I'll write it myself. I don't really care about protecting the narrative. That's when I get a bit pessimistic, I get in my oh-it-all-goes-away-anyway kind of thinking. But I know the people who love me know me. And that's enough for me.

Do you remember your dreams? Yeah. A few months ago I was having frightening dreams and I'd consciously lie awake trying to ask, What can I get out of this? What can I learn from this? Those ceased. And now I have been having moments of joy, and you wake and realize it's just a dream, and I get a bit depressed for the moment. Just the moment, just glimpse moments of joy because I know I'm just in the middle of this thing now and I'm not at the beginning of it or at the end of it, just where this chapter is right now, just smack-dab in the middle. It's fucking in the middle of it and, you know, I just don't want to dodge any of it. I just want to stand there, shirt open, and take my hits and see, and see.

There's obviously incredible grief. This is like a death— Yeah.

There's a process— Yeah, I think for everyone, for the kids, for me, absolutely.

So is there an urge to try to— The first urge is to cling on.

Then? And then you've got a cliché: “If you love someone, set them free.” Now I know what it means, by feeling it. It means to love without ownership. It means expecting nothing in return. But it sounds good written. It sounds good when Sting sings it. It doesn't mean fuck-all to me until, you know—

Until you can embody it. Until you live it. That's why I never understood growing up with Christianity—don't do this, don't do that—it's all about don'ts, and I was like how the fuck do you know who you are and what works for you if you don't find out where the edge is, where's your line? You've got to step over it to know where it is.

For the photo shoot you went to three national parks in a week. It sounds like a boondoggle. What's the definition of a boondoggle?

I think of it as a sort of ridiculous adventure— Sounds very Ozarkian. Like something I should know but I don't. Yeah, it was great. Ryan [McGinley, the photographer] had us jumping in the Everglades, you know, like gators. I figured, Well, if they do it on Naked and Afraid, I can do it. But they had the old wrangler, he's got his snake pole and it's got this grabber, like something Grandma would use to pick something off the top shelf, but fine. He took a little walk-through, and if he didn't get eaten, then reportedly I wouldn't get eaten. At least that was the logic behind it all, but he said to me, “When you get to be my age, never pass up a bathroom. Never trust a fart. And never waste a boner.”

Whoa. Then White Sands? I've never seen anything like it. I mean the dunes are so sculptural and modern and simple and vast and just incredible shapes. To see them white and reflecting white—the sky's actually darker than that ground. It's an odd, beautiful place.

And then the third? We did Carlsbad Caverns. If we're going to do a celebrity shoot, let's make something, work with an artist, see what we come up with. It's always more interesting.

After all this, do you feel constrained as an actor in some ways? No, I don't really think of myself much as an actor anymore. It takes up so little of my year and my focus. Film feels like a cheap pass for me, as a way to get at those hard feelings. It doesn't work anymore, especially being a dad.

On the pie chart, what is acting? Acting would be very small slice.

Do you see yourself as having been successful? I wish I could just change my name.

Come out as a new person? Like P. Diddy. I can be Puffy now or—what is Snoop? Lion? I just felt like Brad was a misnomer, and now I just feel like fucking Brad.

What other name would you have put on yourself? Nothing. When outside success comes, the thing I've enjoyed the most is when there's a personal discovery in it. But when I find it repetitious or painfully boring, it's absolute death to me.

When you're talking, you kinda rub your thumb against your fingers a lot—it's just an observation. I don't know. I'm tactile—I'm a tactile individual. “I like to feel things up,” he said. [laughs]

Yeah, in high school he was the boy voted most likely to— To feel you up. [laughs] I don't know, I guess it's back to feeling. I think I spent a lot of time avoiding feelings and building structures, you know, around feelings. And now I have no time left for that.

When is the acting still exciting? I would say more in comedic stuff, where you're taking gambles. I can turn out the hits over and over and I just—my favorite movie is the worst-performing film of anything I've done, The Assassination of Jesse James. If I believe something is worthy, then I know it will be worthy in time to come. And there are times I get really cynical, you know. I spend a lot of time on design and even this sculpture folly I'm on, I have days when—it all ends up in the dirt anyways: What's the point? So I go through that cycle, too, you know? What's the point?

Oh man, that's a big question. I know what the point is—it's communicating, it's connecting. I believe we're all cells in one body; we're all part of the same construct. Although a few of us are cancerous. It's helping others. Yeah, we help each other, that's it.

So what's on the agenda later? I'm anxious to get to the studio. I think it was Picasso who talked about the moment of looking at the subject, and paint hitting canvas, and that is where art happens. For me I'm having a moment of getting to feel emotion at my fingertips. But to get that emotion to clay—I just haven't cracked the surface. And I don't know what's coming. Right now I know the manual labor is good for me, getting to know the expansiveness and limitations of the materials. I've got to start from the bottom, I've got to sweep my floor, I've got to wrap up my shit at night, you know?

A metaphor again. But it works. Right now I've got to hammer my own nails.

Michael Paterniti is a GQ correspondent. This is his first piece for GQ Style.

This story appears in the Summer 2017 issue of GQ Style with the title “Monumental.””

3 notes · View notes

aion-rsa · 3 years

Text

Godzilla vs. Kong: A Brief History of Mechagodzilla

https://ift.tt/3sB2eYO

this article contains spoilers for godzilla vs. kong.

It may not have quite the cache or iconic status of Mothra or King Ghidorah, but Mechagodzilla has managed to become a consistent element in the Godzilla movie universe for years. And now the metallic wonder makes its Hollywood debut (not counting Ready Player One) in director Adam Wingard’s Godzilla vs. Kong, the fourth film in the modern MonsterVerse that kicked off in 2014 with Gareth Edwards’ Godzilla.

Ever since making its first appearance in 1974’s Godzilla vs. Mechagodzilla, the gigantic robotic reptile has stuck around as a relatively constant thorn in the side of his flesh-and-blood counterpart. If Ghidorah, Rodan, and Mothra are the Joker, Penguin, and Catwoman to Godzilla’s Batman, then Mechagodzilla hovers near the top of the second tier of rogues, the equivalent to a Two-Face or Mr. Freeze.

Mechagodzilla’s first appearance some 47 years ago came during the Showa era of the original Toho Studios series of Godzilla films. It was the result of some creative brainstorming following two absolutely terrible entries in the series, Godzilla vs. Gigan (1972) and Godzilla vs. Megalon (1973), which featured two of the big lizard’s more uninspiring enemies–a cyborg with a buzzsaw in its stomach and an oversized beetle, respectively.

Faced with the task of freshening up the Godzilla movies via some better antagonists, Toho execs were intrigued by the success of the robot anime genre in Japan at the time, and also wanted to recycle the idea of Mechani-Kong, the android Kong seen in the animated 1966 series The King Kong Show and the largely disastrous 1967 film, King Kong Escapes. Between Mechani-Kong, Gigan, and the robot Jet Jaguar, mechanical monsters already had a presence in Toho’s kaiju films, paving the way for Mechagodzilla.

Toho

Mechagodzilla in the Showa era

In Godzilla vs. Mechagodzilla, the title villain is the creation of alien invaders from the “Third Planet of the Black Hole,” who plan to use the robot to conquer Earth. Mechagodzilla’s initial rampage–in which it’s actually disguised as Godzilla–sets it against veteran Godzilla ally Anguirus, before Godzilla himself gets involved and goes head to head with the robot. A third monster–the massive protector deity King Caesar, also making his screen debut–gets involved in the action as well, helping the big G defeat his metallic counterpart in a rousing finale.

Godzilla vs. Mechagodzilla, which didn’t arrive in the U.S. until 1977, under the name Godzilla vs. the Bionic Monster, earned somewhat more at the box office than Godzilla vs. Megalon, even though the franchise was well past its glory days. Critics were a little kinder to the movie too, although not that much: Monthly Film Bulletin pointed out that it could have been “much less shambling than it was.”

Nevertheless, Toho tried again the following year with Terror of Mechagodzilla, the 15th film in the Godzilla series and the last of the initial Showa era. Even though it marked the return of director Ishiro Honda, who had helmed some of the franchise’s biggest classics, Terror ended up becoming (relative to inflation) the lowest grossing entry of all the Godzilla films–a distinction it sadly holds to this day.

The story followed a plot hatched by a mad scientist and the same aliens from the previous film to rebuild Mechagodzilla and team it up with a new monster called Titanosaurus in the hope of defeating Godzilla and wiping out humankind, but our fire-breathing hero and his human allies eventually smack that scheme down.

Interestingly, the screenplay for Terror of Mechagodzilla was written by Yukiko Takayama, who won a contest to provide Toho with an original story for its next Godzilla movie. Takayama’s initial concept for Titanosaurus was a pair of creatures called Titans–which is, of course, the overall name given to the giant creatures that now inhabit the MonsterVerse movies, including in Godzilla vs. Kong. The Titans in Terror were combined into one monster due to budget concerns.

Two Titans, or one lonely Titanosaurus, it didn’t matter much, because the financial struggle of Terror led to Toho ending the Showa era and putting the entire Godzilla franchise on ice for nearly 10 years. But while the big G re-emerged in 1984 with The Return of Godzilla (a.k.a. Godzilla 1985), it would be another nine years until a shiny new version of his mechanical opponent turned up in the Heisei era.

Toho

A new Mechagodzilla for the Heisei era

1993 brought Godzilla vs. Mechagodzilla II, the 20th film in the franchise and, strangely enough, not a sequel to the 1974 film of the same name. This time out, the United Nations’ military anti-Godzilla unit, G-Force, uses the remains of Mecha-King Ghidorah from the previous film, Godzilla vs. King Ghidorah, to create two machines capable of battling Godzilla: a weaponized aircraft called Garuda and a robot named–you guessed it–Mechagodzilla.

G-Force also has another advantage: it’s in possession of a new Baby Godzilla and uses the infant’s cries to lure Godzilla into battle with Mechagodzilla and Garuda. The latter two ultimately merge into something called Super-Mechagodzilla, and just when it looks like the big green guy is on the ropes, Rodan (who had been nearly killed by the machines earlier in the movie) shows up for a late assist.

Movies

Godzilla: First 15 Showa Era Movies Ranked

By Don Kaye

Movies

From Skull Island to Godzilla vs. Kong: A Complete MonsterVerse Timeline

By David Crow

As with the other films of the Heisei era, Godzilla vs. Mechagodzilla II benefits from a more serious approach and better special effects than were available in the 1960s and ‘70s, earning the film good reviews and decent box office. The Mechagodzilla suit itself was much more rounded than its predecessor in the earlier films, although still played by a man inside.

Toho

Mechagodzilla enters the Millennium era

It was another nine years before Mechagodzilla showed up again, and it was after the Heisei era had ended and the Millennium era began. The movie was 2002’s Godzilla Against Mechagodzilla, and like the other movies in this era, it ignored the events all previous movies except the original Gojira and essentially rebooted Mechagodzilla.

In this case, Mechagodzilla, nicknamed Kiryu, is literally built on the skeleton of the original Godzilla by the Japan Self-Defense Forces. It’s piloted remotely by humans, but the plan to use it against Godzilla backfires when memories of the original Godzilla’s death are triggered in the robot, causing it to go on a rampage of destruction. The Self-Defense Forces eventually regain control of it and send it into battle against its counterpart, although this time the movie ends in a draw.

Mechagodzilla seemed to strike a chord with audiences and critics again, as reviews and box office for the film were among the strongest of the Millennium era. That is perhaps also why Mechagodzilla returned a year later for Godzilla: Tokyo S.O.S., the 27th Toho film and second to last of the Millennium era. It was also (unusual for this run of films ) a direct sequel to its predecessor, picking up with Kiryu being refitted following the damage it sustained in the previous movie.

It’s theorized that Godzilla keeps coming back to fight Kiryu because of the bones that are part of the robot’s design, so plans are made to shut down the robot and instead let Mothra defend the human race from Godzilla. But when Mothra herself is defeated by the giant fire-breathing dinosaur, the Self-Defense Force has no choice but to let Kiryu get back to work. The film ends with monster and robot plunging to the bottom of the ocean, with a sequel strongly hinted at.

Toho

A modern Mechagodzilla in the Reiwa era

There was one more live-action Godzilla film from Toho in this sequence, Godzilla: Final Wars, but Mechagodzilla sat that one out. Yet a new edition of the cyborg would show up in the so-called Reiwa era, making brief appearances in two of the films from the anime Godzilla trilogy.

In the first, Godzilla: Planet of the Monsters (2017), it was built by humans and aliens to counteract Godzilla, but is never activated after the latter destroys the construction facility. In the follow-up, Godzilla: City on the Edge of Battle (2018), nanometal remnants of Mechagodzilla are used to rebuild the facility as well as three battlesuits, but the complex itself, dubbed “Mechagodzilla City,” begins absorbing everything around it under the direction of the aliens, until Godzilla destroys it.

And that was it for Mechagodzilla until it was revealed only recently that a new version of the robot was created for Godzilla vs. Kong. While the previous versions of the robot had solid metal bodies–albeit changing over time from a very mechanical to a more organic look–the new Mechagodzilla is harsh, skeletal and chain-like, powered by the surviving neural network of a severed Ghidorah head and piloted through the combination of a remote control panel and a telepathic human–until a new power source makes it self-aware and able to control itself.

Just as its appearance has changed over the years, so has Mechagodzilla’s arsenal of weapons, which started with missiles and energy rays and graduated to more powerful and plentiful versions of those, while adding plasma grenades, laser cannons and shock anchors in later movies. The “Absolute Zero” flash freezing cannon also came later, while the new Hollywood edition uses a red proton beam, plasma fists, and shoulder-mounted missile launchers, along with a nasty-looking drill on the end of its tail.

“The idea of Mechagodzilla in a big MonsterVerse version, in a Hollywood kind of grounded reality, just sounded so cool,” enthuses Godzilla vs. Kong director Adam Wingard about including the robot in the new movie. “To be a director that gets a chance to put their own spin on the design of that, it was just like I had to do this movie from there. They would have had to convince me not to at that point.”

Mechagodzilla has regularly made lists of Godzilla’s most fearsome enemies, so it’s easy to see why it was selected to become the one antagonist that could possibly take on both Godzilla and Kong. Some 47 years after the robot first came clanking to life, it’s getting to, pardon the pun, prove its mettle once again.

Godzilla vs. Kong is currently in theaters and streaming on HBO Max.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post Godzilla vs. Kong: A Brief History of Mechagodzilla appeared first on Den of Geek.

from Den of Geek https://ift.tt/3dhsnFC

#aion-rsa #Den of Geek

0 notes

yahooben · 7 years

Text

Fall games guide 2017: Your free time is history

Hope you had a nice outdoorsy summer, because for the foreseeable future, you’re going to have a hard time leaving the living room. The fall video game season is just about underway, and the 2017 edition is keeping with tradition by slinging enough massive games your way to tax both your wallet and your eyesight. From Mario to Marvel, here’s what the next few months have in store.

“Destiny 2”

Destiny 2 will a new story and weapons to Bungie’s popular online shooter.

PS4, Xbox One – Sep. 6 | PC – Oct. 24

There are tons of cool games coming out in September, but for “Destiny’s” legion of fans, there can be only one. “Destiny 2,” sequel to Bungie’s insanely popular online shooter, offers a new story, baddies, weaponry, subclasses and features, though mostly it means once again zipping around the galaxy, blasting stuff in the face and rooting around for that sweet, sweet loot. PC players can finally get into the action as well, though their destinies will have to wait until late October.

“Metroid: Samus Returns”

You’ll be able to hunt alien monstrosities from the comfort of your daily commute with ‘Metroid Samus Returns.’

3DS – Sep. 15

Nintendo (NTDOY) broke the internet when they revealed a logo for the long-awaited “Metroid Prime 4” during their E3 presentation back in June. But while that game won’t arrive any time soon, fans can get their hands on a 3DS remake of a Game Boy hit this September. “Samus Returns” hits all the right “Metroid” notes: it’s a 2D side-scroller set in a massive labyrinth that you slowly unlock by collecting awesome new abilities.

“Marvel Vs. Capcom Infinite”

Pit your favorite gaming and comic heroes against each other in ‘Marvel vs Capcom Infinite.’

PS4, Xbox One, PC – Sep. 19

Doctor Strange vs. Chun Li? Mega Man vs. Spider-Man? Mahvel, baby! The legendary brawler is back this time letting 30 characters from the Capcom and Marvel universes slug it out. It’s also packing a full cinematic Story mode, addressing a major complaint fans had with Capcom’s “Street Fighter V.” Boasting a multi-character tag-team system and Infinity Stone power-ups, it’s aiming to be both deep and accessible. That’s a tricky combo. Here’s hoping these heroes step up to the fight.

“NBA 2K18”

2K is going to have to change Kyrie’s jersey for ‘2K18.’

PS4, Xbox One, Switch, PC – Sep. 19

2K’s basketball blockbuster has led the league for the past decade, and it looks to return healthy and motivated to keep its crown with “NBA 2K18.” So how do you improve the top-rated sports game in the world? How about overhauling the controls, tightening up the graphics and adding tons of features to MyCareer and MyGM modes? This year’s model will also include All-Time teams, letting gamers finally figure out which NBA franchise is the best ever. (Hint: It’s the Lakers. Or maybe Celtics. Um, Bulls?)

Super NES Classic Edition

To say you’ll have trouble getting your hands on Nintendo’s SNES Classic is an understatement.

Sep. 29

While Nintendo’s pint-sized, plug-and-play version of the beloved Super Nintendo console technically releases on September 29, the chance of you walking into a store and buying one — or even just adding it to an online shopping cart — is effectively zero. Due to Nintendo’s inability (planned or otherwise) to meet demand, the Super NES Classic has turned into a pre-order nightmare. That’s too bad, because this $80 box gives gamers 21 Super Nintendo classics in beautiful HD, including all-time greats like “The Legend of Zelda: A Link to the Past,” “Super Metroid,” “Super Mario World,” and the never-before-released “Star Fox 2.”

“Cuphead”

‘Cuphead’ promises to be a gorgeous and difficult good time.

Xbox One, PC – Sep. 29

Inspired by 1930’s cartoons, “Cuphead” is one of the most beautiful games you’ve ever seen. But don’t let its sweet, surreal look fool you – this is also a brutally difficult side-scrolling shooter. If its looks don’t kill you, a wave of cheerful bullets most certainly will.

“FIFA 18”

You might know EA’s ‘Madden’ as the company’s premier football game, but ‘FIFA’ is far more popular around the world.

PS4, Xbox One, Switch, PC – Sep. 29

EA Sports might be best known in the U.S. for “Madden,” but their other football game is a lot bigger. “FIFA 18” heads to the pitch with a revamped version of its acclaimed story-based Journey mode, tasking gamers with guiding Alex Hunter through another tale of redemption. With over 80 stadiums and just about every major (and not so major) soccer club in the world, it’s as authentic as video game soccer gets.

“Forza Motorsport 7”

‘Forza 7’ looks like the perfect game to show off your fancy new 4K TV.

Xbox One, PC – Oct. 3

Ferrari on the fritz? Lambo in the shop? Don’t fret! Microsoft’s (MSFT) simulation showstopper will let you live out your fanciest automotive fantasies. This year, “Forza” gets a hefty 4K upgrade, meaning shinier cars, prettier tracks and physics-ier physics. Best of all, it’s about .05% the cost of a new Porsche.

“Middle-earth: Shadow of War”

‘Shadow of War’ brings back all of the over-the-top battles from ‘Shadow of Mordor,’ while upping the ante through an improved ‘Nemesis’ system and new Ring of Power.

PS4, Xbox One, PC – Oct. 10

The sequel to 2014’s incredible “Shadow of Mordor,” “Shadow of War” puts you back in the ethereal boots of Talion the ranger, who has forged a new Ring of Power and wants to use it to take down Sauron. That means slicing, dicing and enslaving lots of orcs, though you’ll get much more control over your hero thanks to a deeper role-playing and expanded “Nemesis” systems that turn the entire world into a personalized playground. In a year filled with open-world games, this one really could rule them all.

“The Evil Within 2”

Believe it or not, this is one of the tamer screenshots for ‘Evil Within 2.’

PS4, Xbox One, PC – Oct. 13

A few years ago, “Resident Evil” mastermind Shinji Mikami transported gamers to the gory glory days of survival-horror with “The Evil Within.” This follow-up expands the nightmare with a bigger world, deeper customization and an emphasis on psychological terror. And probably a couple dozen super gross monsters.

“South Park: The Fractured But Whole”

‘South Park: The Fractured But Whole’ is the follow-up to the award-winning ‘Stick of Truth.’

PS4, Xbox One, PC – Oct. 17

Cartman and company are at it again, this time transforming into superheroes for another hysterically NSFW RPG. “The Fractured But Whole” picks up after 2014’s excellent “The Stick of Truth,” giving gamers a dozen new character classes and (butt)loads of turn-based combat hijinks set in and around the not-so-sleepy Colorado town. Will there be strippers? You can bet your space cash on it.

“Super Mario Odyssey”

‘Super Mario Odyssey’ takes Mario back to a 3D open world. And yeah, seeing him next to a real person is strange.

Switch – Oct. 27

The biggest video game day of 2017 is headlined by the world’s most famous mustached mascot. The first main “Mario” game for the Switch looks spectacular, a return to the open-ended form of all-time greats like “Super Mario 64.” Thanks to a stirring combination of classic “Mario” platforming and inventive new mechanics – you can possess enemies using your hat, for instance – the game won countless awards at the E3 2017 conference in June. If it isn’t on your wishlist, you must be Bowser.

“Assassin’s Creed Origins”

This origin story takes you back to ancient Egypt and sports big improvements to combat, which could make ‘Assassin’s Creed Origins’ the best yet.

PS4, Xbox One, PC – Oct. 27

If you don’t own a Switch, October 27 will be a fine day to clamber around the rooftops of ancient Egypt. Telling the origin story of the Assassin’s Brotherhood, “Assassin’s Creed Origins” is a departure for the long-running (and climbing, and stabbing) series, adding a deep looting system and completely revised combat to the parkour-inspired action.

“Wolfenstein II: The New Colossus”

‘Wolfenstein II: The New Colossus’ looks every bit as gory and intense as its predecessor. And that’s a good thing.

PS4, Xbox One, PC – Oct. 27

Remember when protecting an America overrun with emboldened Nazi scum seemed like a perfectly ridiculous basis for a shooter? Despite its headline-grabbing, white-hot premise, this over-the-top fragfest looks incredibly fun. Once again shoot futuristic fascists in the face as famed Nazi hunter BJ Blazkowicz, though the real star of “The New Colossus” is the game’s sharp writing and insane cast of Nazi evildoers. Who you get to shoot. In the face.

“Call of Duty: WWII”

Activision is hoping to put the ‘Call of Duty’ back on top by bringing it back to World War II.

PS4, Xbox One, PC – Nov. 3

After flexing its sci-fi muscles for a few years, the world’s biggest shooter returns to its roots. “Call of Duty: WWII” takes gamers back to the trenches of the European theatre, trading the impossibly mobile exosuits of recent Call of Duty games for the physically grounded realism of World War II. Boasting a full solo campaign, five classes, various multiplayer games and another co-op take on the popular Zombies mode, it’s shaping up to be another big year for “Call of Duty.”

Xbox One X

The Xbox One X is purpose-built for 4K, HDR gaming with a beefy graphics chip.

November 7

The video game console arms race is about to get another jolt. Tailor-made for 4K gaming, Microsoft’s Xbox One X outmuscles Sony’s PS4 Pro to become (upon release) the world’s most powerful home console. Fully compatible with all current and future Xbox One software, it’s built to last. That power will cost you, however: it’s $499, and you’ll need a 4K TV and a fresh new game like “Forza 7” to show off all that new juice. But if you’re in the market for a new system, you won’t find a burlier one.

“Need for Speed Payback”

EA is hoping to get the ‘Need for Speed’ franchise back on track with ‘Need for Speed: Payback.’

PS4, Xbox One, PC – Nov. 10

The next iteration of EA’s speed demon takes a turn for the “Fast and the Furious,” pushing you to drive like a maniac while taking out enemy vehicles in the most explosive ways possible. Cop chases, deep customization and sprawling environments should hopefully wash the taste of that terrible “Need For Speed” movie out of our mouths.

“Star Wars Battlefront II”

Finally, ‘Star Wars Battlefront II’ will let you wage arial battles in space.

PS4, Xbox One, PC – Nov. 17

How do you follow a hit as big as 2015’s “Star Wars Battlefront?” You add a full single-player campaign set between “Return of the Jedi” and “The Force Awakens”, for starters. You also add new multiplayer modes, characters and locations spanning the original, prequel and sequel eras. Luke vs. Darth Maul! Rey vs. Boba Fett! Thankfully, this shooter’s release date isn’t far, far away.

More gaming news:

‘Mario + Rabbids Kingdom Battle’ review: An insane mix of strategy and absurdity

Microsoft’s mixed reality headsets could save VR

Fitbit’s Ionic smartwatch is here to take on the Apple Watch

Galaxy Note 8 preview: Samsung’s big bet

Norton’s Core wants to be the ultimate watchdog for your home tech

Your next smartphone’s camera could get a huge improvement

Google drops neo-Nazi site out of ‘immediate concern of inciting violence’

5 ways you get ripped off when buying a new TV

Email Daniel at [email protected]; follow him on Twitter at @DanielHowley.

0 notes