Wednesday, 22 February 2023

Dead Space 3 – Throwback 10

 

Originally published on Set The Tape


The Dead Space franchise is one that very quickly found an audience when the first game was released in 2008. It had been a few years since there had been a big Resident Evil release, with the fifth game a year away, and the last few Silent Hill releases had been pretty poorly received. Whilst there were some action and shooter games that were incorporating horror elements it was a pretty tough times for fans of survival horror.

As such, when a dark, claustrophobic horror game that pitted the player against monstrous creatures set to rip you to pieces it was met with huge acclaim. It also helped that Dead Space was also very, very good. Fast forward several years and the first game had become a modern classic, and the sequel was even more beloved. So, what was the third game going to do to try and top it?

After the second game in the series became a critical success, but failed to become a financial one (an increased budget but similar sales to the first game led Dead Space 2 to make less money than EA wanted), the decision was made to take the planned third game in slightly different directions. Originally the team behind the game wanted to focus on the horror elements, feeling that the sequel had already introduced more action than was best for the series. However, with the popularity of high-octane shooter games at the time, management told them to increase the amount of action.



This resulted in a shift in the plans for the game, with some of the team seemingly aware that the increase in non-horror elements would lead to this being the final game in the series (this would be the last Dead Space game until 2023 when a remake of the first would be released). Many of the elements that were only hinted at in the previous games was brought more to the forefront in this, and the production team decided that they would include many of the answers to questions that fans kept asking for, such as what the Necromorphs were, and where they came from.

The story of Dead Space 3 begins on Earth’s moon, where series star Isaac Clarke (Gunner Wright) is living when the city starts to come under attack from Necromorphs, who have been unleashed by a cult that worships the Markers that create them. Teaming up with a small crew, Isaac heads off to the remote world of Tau Volantis, which is believed to be the home world of the Markers. Arriving on the frozen planet, Isaac and his new companion John Carver (Ricardo Chavira), must fight their way through hordes of undead alien monsters, and human cultists in order to find a way to defeat the Necromorphs once and for all, saving humanity in the process.

One of the biggest changes to the game was the inclusion of co-operative play, which resulted in the creation of John Carver, a former soldier. The original plan for the game would have followed series themes of exploring mental health and how the Markers mess with people’s minds, and would have put the second player in control of Shadow Isaac, a hallucinatory version of Isaac that would appear. However, Electronic Arts informed the creative team that they wanted to move away from these themes, and as such Carver was created instead, in part due to the popularity of soldier-based shooter games at the time.



Despite the inclusion of co-op play, the game still worked pretty well. Unlike other co-op games of the era, which would force the second player character to be there at all times, controlled by AI if no second player was present, Dead Space 3 didn’t do this. Instead, if the player chooses to play through Dead Space 3 alone they will be alone. Instead of having an AI-controlled partner running around on screen getting into difficult situations, Carver and Isaac simply get separated when they don’t need to be together for the story. This keeps the player on their own, and offers an experience that feels a little more like the first two games. However, the increase in action does mean that there are certain circumstances where co-op play is a welcome help, especially on the harder difficulty settings.

Perhaps the worst thing done in the name of trying to make more money, however, was the inclusion of micro-transactions. Micro-transactions and loot boxes are an incredibly predatory system that uses FOMO (fear of missing out) and other psychological trickery to prey upon gamers in order to spend more money. The practice has been criticised for years, and in some countries the practice has been classified as gambling. The way micro-transactions are designed are also specifically made to prey upon people with gambling addiction, mental health issues, and neurodivergent people. And these systems have sadly become so normalised in gaming that most people don’t even think twice about them, even though there have been studies that prove their harm. But, when Dead Space 3 was first released the practice was still quite new, and its inclusion in the game in order to charge player money for crafting materials they could find in game anyway was met with criticism. It’s ironic that a system that is so normalised and ignored now was for a while considered a contributing factor to the failure of Dead Space 3, and the end of the franchise.

Despite the game receiving mostly positive reviews in a number of publications Dead Space 3 failed to meet the expected sales that Electronic Arts were hoping for, and it was estimated that the game made 20% less than its predecessor, Dead Space 2, did. The changes to the game, the difficulty in finding a balance between the new elements forced into it and the original vision, and the low sales, resulted in no further games in the series being given the go-ahead, despite Dead Space 3 ending on something of a cliffhanger (via the DLC) that would leave fans of the series in limbo for the next decade. However, the series would continue to remain popular, and a new remake of the original game has since been released.



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Tuesday, 21 February 2023

The Flash #791 - Comic Review

 

Originally published on Patreon


The Flash moves at super speed, flying through the world at a pace that's almost impossible to see, and reading issue 791 of The Flash feels a bit like I've tapped into the Speed Force too, because it seemed to be over so quick that I had to be going super fast. The One Minute War is under way, and as the shock of the devastating first contact last issue sets in the Flash Family start to gather the troops.

The end of the last issue saw the alien invaders from beyond Earth-0, the Fraction, dropping from the sky and blowing a hole into Central City. We begin with the very stark commentary that the attack has killed hundreds, if not thousands already; that the Flash has already been unable to save everyone. With everyone on Earth who isn't a speedster frozen in place, our heroes begin to do their best to figure out what happened. Wally and his family try to find somewhere safe for their frozen friends and family, Kid Flash and Impulse head over to the huge alien structure in the middle of the city, and Barry weeps over the body of Iris.

Last issue review I speculated that perhaps Iris wasn't dead, that by being frozen in time she only appears to be; but this issue seems to put that idea to bed as Barry, Wally, and everyone else treats it as if she's dead. And they've been handling frozen people for a while at this point, so they should know the difference if there is one. So yeah, Iris appears to be gone, and it's probably going to have a pretty big impact upon Barry. He's already admitted that he'd go back and change it if he could (good old responsible Barry as always).

Outside of this, we get to see the other members of the team coming up against the Fraction forces, beating several of them, and gathering together to form a plan of action. Unfortunately, this seems to put the speedsters on the Fraction's radar. I like that the Fraction acknowledge that they expected to find a speedster or two, that it's pretty common across the multi-verse, but the amount in Central City is unheard of. DC admitting that they've got more speedsters than the average. 

The large number of people connected to the Speed Force gets the Fraction's leader interested in them, and he wants as many as possible captured as a gift for the upcoming wedding of their empress. To this ends, they release Miss Murder, a creature that they 'captured on the dark world'. The woman in question (who's on the cover) bears a mask similar to the Batman Who Laughs; so with the comment about where they found her seems to indicate that she could be from the same universe. 

This is a bit of a meh revelation for me if I'm being honest. I kind of hated the Death Metal stuff and the whole Dark Multiverse stories, and as such don't particularly like the Batman Who Laughs as a villain. I'll acknowledge the design is okay, but this is now the second new Who Laughs type villain we've seen pop up over the last couple of months (with a Harley Who Laughs in Harley Quinn) and the design and concept might be becoming a bit overused. Have an evil speedster thing that the Fraction can send out after our heroes, sure, but maybe be a bit more original in her design.

Overall, though, this was a decent second issue to the event. Things are still in the set-up stage, with the Flash Family gathering the troops and figuring out what to do. But with the team together it looks set for things to start heating up in the next chapter.



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Attachment – Film Review

 

Originally published on Set The Tape


Queer romance, evil spirits, and generational trauma make up the new horror film Attachment: a slowly building character-driven story filled with Jewish culture, from first time direct Gabriel Bier Gislason, that greatly impresses.

Attachment begins not as a horror film, but as a rom-com, with lead characters Leah (Ellie Kendrick) and Maja (Jospehine Park) meeting in a Danish library, with Maja there dressed up as a Christmas elf come to read stories to local children. Literally running into Leah, the two of them instantly hit it off, but are both clearly filled with nervous energy. After some clunky flirting the two of them spend a passionate night together, and then in an experience that many queer people will be familiar with, Leah just never wants to leave.

However, when Leah breaks her leg in the middle of the night during a strange seizure she’s forced to go home to London, finally having to confront the overbearing mother, Chana (Sofie Gråbøl), whose calls she’s been dodging. Going with her, Maja is somewhat taken aback when she meets Chana and sees the stressed relationship she and Leah have. Trying her best to impress her girlfriend’s mother, and to keep the peace between them, Maja begins to suspect that something nefarious is happening when she finds strange things around the apartment, and Chana begins acting strangely.



One of the more impressive aspects of Attachment is that director Gabriel Bier Gislason doesn’t lean too heavily into the horror tropes in order to tell his story. A great deal of the film plays out in ways that feel like it would be more at home in another genre, with moments that feel like a romance and others that feel like a tense familial drama story, yet throughout it all are small hints at something more. This element of horror slowly builds in the background without the audience really noticing it. The film plays a trick on you, having you almost forget that this is supposed to be a horror film, letting you settle into Leah and Maja’s story so that when the horrific does begin to happen it feels all the more shocking. You’re almost put into Maja’s shoes, where you’re expecting a fairly regular story that suddenly takes a sharp turn into the realm of nightmares.

A lot of the success of the film comes from the lead actors’ performances, with the central trio managing to draw you into an uneasy web of relationships. Ellie Kendrick and Josephine Park are wonderful as Leah and Maja, and are completely believable as a young couple; the nervousness of their first meeting, the passion and desperation to be around each other after they finally admit their feelings, and the drive to do whatever it takes to protect each other when things go wrong. The two of them end up going through a huge range of emotions and experiences across the film’s run time, and there’s never a moment where it feels unbelievable or forced. They have an easy and natural chemistry that’s so charming and entertaining that if there were no horror elements in the film and it was just a romance story it would still be wonderfully entertaining.



Sofie Gråbøl, on the flip side, injects so much dark and stressful energy into the mix that she almost feels like an oppressive and malevolent presence in the story. She portrays the overbearing mother wonderfully, and you can understand why Leah initially ran away to another country to get away from her. Every scene between her and Leah ends up with enough awkward energy that even you as the audience kind of want to slink away just to avoid it, and you can’t help but feel awful for Maja stuck in the middle of it, trying to keep her girlfriend happy whilst also trying to win Chana over too.

Gislason uses the visual elements of the film to build upon these emotions, with the early parts of the film with just Leah and Maja feeling bright and open, with more open location and wider shots, but once the film shifts to London the light begins to seep out, the shots get darker, the sets get smaller and more cramped, and the angles get tighter. The entire film shifts to reflect the feelings and emotions, and enhances the experience to the point where you begin to feel desperate for a release from it yourself. And throughout it all there’s a building sense of dread as hints at bigger, darker forces at work are drip fed to the viewer.

It’s wonderful to see more diverse horror stories being told, that we’re not just being given the same kinds of stories and the same kind of monsters from Christian mythology over and over again. Attachment draws upon the Jewish faith and experience, and it helps the film to feel fresh and different. Much like 2020’s The Vigil, it showcases the fact that horror is something that is present in cultures all over the world across history, and incorporating them in respectful ways can only enhance the genre and give it new life.



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Monday, 20 February 2023

Monkey Prince #10 - Comic Review

 

Originally published on Patreon


Monkey Prince is an odd series. It's very silly, it likes to do ridiculous things, and its lead character is kind of a dick; but it's also incredibly charming and manages to be a lot of fun. This issue sees the series, and the titular hero, being dragged into planet-wide heroics when the Lazarus Rain begins to fall from the sky; forcing the teen hero to step out into a larger world of powered beings.

The issue begins where the last one left off, with the Ultra Humanite trying to kill Supergirl with one of his devices, and MP stuck in the middle of it. Luckily, he manages to convince Supergirl that he's not a villain, and even takes an energy blast to prove it to her. Unfortunately he does sexually harass her, which is less cool. (I really wish he'd stop being such a horny teen and would start treating women like people).

As the Lazarus Rain begins it starts to cause chaos around the city as people are given powers, and some are transformed into bizarre monsters. It also results in Supergirl's powers coming and going. Monkey Prince helps her out, using his new power to create tiny versions of himself from his hair, and has to help get her to the Hall of Justice when it's clear that this chaos is a world-wide event. This leads him to be there when several heroes arrive to help, and leads directly into the first issue of Lazarus Planet (which came out last week).

So far this seems like a decent enough blending of the Monkey Prince series and the Lazarus Planet event. Unlike the other Lazarus Planet tie-in this week, which seemed only partially connected and didn't add anything to the main story, it seems like this title could be a key part in the event. Monkey Prince is getting a bit of a push lately, and his experiences with other heroes definitely seems to be having a positive effect on him. His actions in Lazarus Planet: Alpha were my favourite of him since he turned up, mainly because the creepy pervert energy had been toned right down, and he was actually being a caring, decent person to Black Alice. Hopefully more of that will come across into his own title.

The artwork on this issue is pretty decent, and there are some great visual moments, such as MP's new mini-clone ability. However, Supergirl's belt is incredibly inconsistent in size, going from a regular belt to looking almost like a corset at it seems to envelop most of her torso at times.

Overall, this was a decent issue, one of the better ones of the series so far, and I'm looking forward to seeing how the character interacts with the larger DC universe.



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Queen of Deception: A Marvel Legends of Asgard Novel by Anna Stephens - Book Review

 


'All that stands between Hela and control of Elizabethan England are two legendary heroes and an army of Dark Elves, in this action-packed historical adventure from Marvel’s Legends of Asgard.

'A burst of magic from Midgard attracts the attention of Hela, Queen of Hel. The Goddess of Death craves power to enable her ultimate conquest of the Realms, and this new sorcery from Earth is tantalising… Pursuing its source, Hela is appalled to find herself in Elizabethan England. From Asgard, Lady Sif and the valkyrie, Brunnhilde are also dispatched to Midgard, and neither of them have any love for Hela. Yet a still greater threat awaits: the Dark Elves see Midgard as the first battle in war of the Realms. Only a team-up between hated enemies can win the day, but how far can you really trust the Queen of Hel?'

The Marvel Thor comics fit really well into two pretty distinct settings, the world of Norse mythology from which it was inspired (including that time period), and modern day. Whether it's exploring the wilds of Midgard during the 700's, or visiting New York City to help the Avengers beat up some costumed villains, the folks from Asgard feel right at home. But we don't often get to see them really explore other time periods. They manage to fit into stories set in modern times well thanks to their fish-out-of-water type approach, but would the same work in other eras? Queen of Deception gives it a try as a trio of Asgardian women visit Elizabethan England to track down a mysterious artefact.

The story begins on Earth, in the city of London. John Dee, the fabled court astrologer for Queen Elizabeth, is approached by a mysterious hooded figure who wishes to sell him what they claim is a mystical gem and a magical book that are supposed to work together. Dee buys the items, and when he uses them together his body is flooded with magic, and his mind transports to another place where he believes he's talking to angels. 

However, far across the nine realms, the effects of Dee's magics are being felt. Hela, the Queen of Hel, and Goddess of Death, feels the magic stirring in Midgard, and wants it for herself. She sets off to go and claim it for her own, but when she arrives she's shocked when the magic begins to drain her own abilities, reducing her powers. On Asgard, the valkyrie Brunnhilde is having horrid dreams that leave her feeling drained. The nightmares are getting worse, and she's finding it impossible to get any rest. When investigated by Odin and Friga, they feel that magic is at play; magic originating on Midgard. Odin sends Brunnhilde to Midgard to find out what's causing this, sending the warrior Lady Sif along with her to help. Much like Hela, once they arrive on Midgard Bunnhilde's powers are effected in strange ways. Now the two groups must find a way to infiltrate Dee's estate and steal the artefacts before the other does, or before something even worse happens with the ever building magic.

Those who pick up this book hoping for a lot of action may end up getting a bit of a surprise, as Queen of Deception actually ends up feeling much more like a mystery novel than you'd expect. Part of this is down to Anna Stephens depowering some of the characters at various points throughout the story. Which is absolutely a good choice. If that wasn't done the book would be a hell of a lot shorter as Hela would be able to walk in, kill everyone, and leave. As it is, the characters are forced to play it smart, rather than just plowing through any obstacle in their way. 

Brunnhilde and Sif kind of get off the easiest in this regards, firstly because only one of them really suffers any ill effects, and secondly, because they have each other to lean on. The book establishes that the two of them have a relationship already, and once they're together they very quickly fall into a comfortable rapport that makes it clear they're friends. The upshot of this is that when things start to go wrong, or when Brunnhilde starts to unravel a bit she's got someone there for her. Hela, on the other hand doesn't really have this.

Hela definitely gets things the tougher out of the three. Being a figure who's used to be obeyed, to being the most respected and powerful in any room, her coming to England in the 1600's, without much of her magic, is a huge shock for her. It forces her to think smart, to use strategy and deception, and in some ways ends up humanising her a lot more. Part of this is down to the sidekick that Stephens gives her. Recruiting a human lad to take her around London and do her bidding, she ends up actually starting to like the kid, showing a side of her that I can't really remember seeing before. I was slightly disappointed that her companion didn't ask to go with her come the end of the book, as it felt like his growing adoration and worship of her might have been building to that, but the hint at the end of who he actually was more than made up for it, and made ma laugh out loud a little.

Queen of Deception has a lot of fun with the format, and gives the three characters that fans will be familiar with new challenges and situations in which to play. They manage to slot really well into the new setting, and it's a nice middle-ground between being completely alien stand-outs like they are in modern times, and managing to fit in well as they do in the Viking era. They kind of know what the world is like, but are alien enough that they keep doing things to stand out, or keep butting up against the way Elizabethan England works.

This is a really enjoyable read that feels different to the other entries in the series, yet keeps a lot of what makes those stories great.



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Sunday, 19 February 2023

Batgirls #14 - Comic Review

 

Originally published on Patreon


With Steph being held prisoner by her villainous father it's down to Cass to track down and save her friend, so this issue is spent following the more quiet of the two Batgirls around the city as she pieces together the clues she needs in a dialogue free issue that might be one of the best in the series to date.

Cass is one of the more interesting characters in the Bat Family, and her getting the spotlight is always a load of fun. When used right she's one of the best characters in Gotham (the recent story where Jason Todd is fighting his family and claims they don't frighten him until Cass turns up and he then gets scared is a prime example of her being brilliant). And this issue proves that the writers, Becky Cloonan and Michael W. Conrad, know how best to utilise her.

Over the course of the issue we watch Cass as she checks out police files on Steph's dad, follows assassins and gets into a big fight on a bridge, pieces clues together, gears up and heads out to save her best friend. Throughout it all she doesn't utter a single word, and the people around her are silent too as she does what she does. As a character who's never been much for talking and lets her actions speak for her this issue really leans into that.

It does cheat somewhat, in the sense that one of the police files she reads has information for the audience, so we get to read it too, and she gets a letter from Steph (an in case of death type of letter) which we also get to read. Whilst I'm sure there will be some who claim that this means that the issue cheats with the premise there's still no spoken dialogue on the page, and these moments add to the story. Especially the letter.

The letter from Stephanie might be one of my favourite parts, because it gives us an honest insight into her. She never expected anyone to read it if she was alive, and so she gets to be honest in it. We learn how she really feels about Cass, how important her relationship with her is, how much she loves her. She also asks her to tell Tim how proud she is of him, which is honestly wonderful. This culminates in Cass heading out to save her friend, with a torn piece of one of Steph's capes tied around her neck as a purple scarf. It's a really cool look, and I love that she's taking a piece of her friend into battle with her, not knowing if she might find her alive or not.

The artwork on the issue, by Jonathan Corona, is really nice. It's a fairly simple style, with big bold lines, bright colours, and heavy shading and shadow. A lot of the issue often feels like it's being drawn in silhouettes, because Cass is a black shadow moving across the panel. It works really well for a story where Cass and her actions are the focus, and we don't really need panels packed with details and huge backgrounds. It's a story focusing on her, and the art style reflects that.

Batgirls has been a really great series for these two characters, and I've come to adore their relationship because of it. I doubt that Steph is going to be killed off through this story, so I'm not really worried about that. Instead, I'm enjoying the rid of getting to see what this does for the two of them, and how it's allowing for a deeper examination of their friendship.



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Saturday, 18 February 2023

Batman/Superman: World's Finest #11 - Comic Review

 

Originally published on Patreon


I've been enjoying Batman/Superman: World's Finest since it began, in large part due to what feels like the perfect partnership of writer and artist. Waid is telling some really interesting and engaging stories, and Dan Mora is one of the best comic artists around at the minute, able to make any character and any design look awesome. And whilst I at first thought this was just going to be a fun series set in DC's past, it's set up some major events and stories that are happening in DC at the moment with both Batman vs Robin and Lazarus Planet being connected. 

After that you'd think I'd have expected something big to come from the current story arc, the tale of Superman's forgotten sidekick, Kid Thunder. But I didn't. And even if I had I don't think I would have predicted the shocking final page in the last issue; where it was revealed that David would grow up to become the character Magog. Waid was the writer behind Kingdom Come, so him wanting to play with those characters and themes again isn't a surprise. And with those events kind of being pretty separate to the main universe continuity, bringing some of those elements into Earth-0's timeline makes sense.

And whilst we readers now know the shocking truth, the characters don't. As such, we get to spend much of this issue waiting for the inevitable bad thing to happen. We know that David is going to go down a certain road, but now we're left waiting to see how it happens. The result is an incredibly tense issue.

To begin with, David has badly wounded the Joker when he didn't have to, resulting in the Teen Titans, Batman, and Superman all confronting him and telling him what he did was wrong. This being the latest in a long line of things that show that David might be something of a loose canon, the decision is made to do something about it. Superman and Robin take him to the Fortress of Solitude where they'll remove his powers. And so this is the first moment where I was left on the edge of my seat. Was this process going to work, leading to him looking for new powers in the future? Was it only going to partially work? Would this cause him to hate Superman later in life because he did this?

But, this is Clark we're taking about, and he can't strip a confused and hurt boy of his powers, even if it is probably the smartest choice. He tells David that he's going to help him instead. But when The Key attacks the Fortress things spin out of control. The eventual end for David, the thing that takes Boy Thunder away from Superman, ends up feeling incredibly tragic. There's a sense of desperation as it happens, in which Clark just wants to save this poor, hurting young man, but is powerless to do so.

The final page of the book, in which David finds himself lost on another Earth, face to face with the entity Gog. Now, this means that the expectation that David ends up on Earth 22 for Kingdom Come was wrong, and that this is a whole new Magog in the making. This means that Waid gets to have his cake and eat it too, as Kingdom Come remains untouched and untroubled, and he gets to play with Magog all over again in this new incarnation. The fact that the text at the bottom of the splash page reads 'Not The End...' only hypes up things to come.

As I said earlier, Mora's art is absolutely gorgeous, and this issue looks great throughout . The Key looks creepy and terrifying, the old style outfits look wonderful, the Fortress is gorgeous. But more importantly, the characters really emote. You can see the pain and raw emotion on Davids face during the important scenes, and it just heightens the experience.

We get a small tease of what's to come in the next issue, and if things are like the first six issue's we're going to get a decent one-off story before delving into something bigger once again. With this book seeming to be laying a lot of the foundations for big events and shocking changes, I can't wait to find out what it could be.



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Friday, 17 February 2023

Lazarus Planet: Assault on Krypton #1 - Comic Review

 

Originally published on Patreon


The first issue of the Lazarus Planet event seemed to be setting up some interesting things. It looks like some lesser spotlight heroes were getting a chance to shine, and that some new powers and dynamics were being introduced. It also had a pretty clear story, with a group set out on important goals that were leading to an overall conclusion. Lazarus Planet: Assault on Krypton, in comparison, feels incredibly disjointed and disconnected, and raises some concerns for the other event tie-ins.

This book is split into four separate stories, most of which have no connection to the main book events. They seem to instead be looking to set up some new changes for some existing characters. These characters are all tied to the Superman mythology; hence the book's name. And there's one of the first real issues with this one-shot. It's called Assault on Krypton, yet has nothing to do with Krypton, other than featuring some Kryptonians. The opening text for the book seems to try to make the title feel justified by telling us that a volcano did bad stuff to Krypton years ago and was called the 'Assault on Kyrpton', and a volcano is doing bad stuff now, so basically the same I guess.

The first story centres on Dreamer, who finds herself being caught up in the events of Lazarus Planet: Alpha when she's drawn through Batman's dreams as he's being checked over in the medical wing at the Hall of Justice. She, Damian, Supergirl, and Batman figure out that the dream of Doctor Fate's helmet means that she needs to try and track down Doctor Fate. Delving into the dream world she finds Khalid trapped inside a dream world. With the help of a mysterious voice she's led to the Helmet, and emerges from inside it in a Lazarus Pit.

This story seems like it's setting up for some important stuff that's likely going to play a part in later chapters of the story. So, if Nia turns up out of nowhere with the Helmet of Fate, this will be why. But outside of that it doesn't really seem to do anything particularly new or interesting other than introducing Nia and Kara in the comics for the first time.

The second story is all about Jon Kent, who's in the middle of stopping a young shoplifter when the magic storm hits town. It causes Jon to spark with blue lightning, which hits the guy he's with and gives him fiery volcano powers. After Jon recovers he and the shoplifter fly around the city together, helping people out. Come the end the shoplifter steals Jon's lightning charged cape, and leaves a note behind for him with his new code-name, 'Ash'. This story seems to be setting up a bit more of the Electric Blue Jon that we know is coming in his new series; something that has already been teased.

It doesn't really do much with Jon that's not been done elsewhere, and the only real addition from this story is it giving him a flirty antagonist in Ash. Not a full out and out villain by any stretch, Ash feels more like Jon's Catwoman; someone out to steal, have fun, and tease the hero. If Ash doesn't end up playing a part in the new series with Jon I don't really see what this story actually does.

The third tale focuses on mercy Graves, Lex Luthor's right hand woman and bodyguard. When the storm hits she's struck by a huge bolt of lightning, and thrown into a load of Lex's armour. This seems to infuse her body with nanite-like technology, transforming her even more into a robotic entity. It seems like her body is fully machine now, and she's able to shift and shape her limbs into a variety of tools and weapons, including blades, spines, shields, and blasters. With new stuff coming for the Superman family it seems like this newly powered-up Mercy will be able to pose more of a challenge for them.

The final story brings us Power Girl stuff. Power Girl was already in the Lazarus Planet: Alpha, and this tale takes place somewhere in the middle of that. It seems that during her fight with the demons she ends up in some weird kind of other-space; which leads her to think that she might be dead as she sees her life flashing in front of her. After passing through this she ends up coming into contact with Omen, the psychic Teen Titans character. Its here that Karen learns that she's developed psychic powers, and the two heroes fly off together to figure it out. As with the other stories, this is more setting up for stuff outside of Lazarus Planet, though it does promise to tie into the Omega issue.

Overall, this book felt like a bit of a mixed bag, and kind of a let-down. It's mostly only tangentially connected to the events of Lazarus Planet, and other than the magic rain falling across the Earth giving people new powers it's mostly got nothing to do with it. The events in most of these stories are going to be taking place in other titles, and whilst I'm not against all of these changes and the big status-quo shifts that are supposed to be coming it does feel like perhaps expectations of what this book would be based on the title has led to me feeling a bit disappointed. 



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Thursday, 16 February 2023

Wonder Woman #795 - Comic Review

 

Originally published on Patreon


One of the things that I've been finding with the Wonder Woman titles lately, is that books set around the Amazons that incorporate multiple characters and delve into the history and the culture of the people tend to be a lot more interesting than Diana's solo book. Nubia's titles have been great, the big crossover event was good, every time we've paid attention to the folks who just live on Themyscira and aren't really fighters it's been hugely interesting. But Diana having adventures as Wonder Woman tend to fall quite flat for me. As such, I was excited to see Yara Flor, the new Wonder Girl, arrive this issue; hoping it would inject some much needed new energy.

And whilst the issue itself still failed to really do a huge amount for me, Yara was absolutely the highlight. The two heroes have come together to take on a giant statue of the god Eros, a man that Yara has some tough history with and a bit of a vendetta against. The two of them work well together, and the combat is pretty decent. But all of the interesting dialogue and character moments come from Yara.

Eros made Yara fall in love with him in the past, tried to manipulate her, and was the man who murdered her mother; so there's a lot going on between the two of them. As such there's a ton of back and forth and arguing; whilst Diana is pretty silent for most of the issue and when she does speak doesn't add much into things. This issue kind of shifts into a Wonder Girl story. And whilst I have no complaints about that as I really like Yara, Diana has ended up sidelined in her own book.

The rest of the issue sees the Titan (Greek, not the hero kind) Hyperion stomping through Washington. Steve and Sigfried take it upon themselves to jump on the back of a motorcycle and chase after him, with the Asgardian warrior jumping on the back of him to have at him. It's an okay moment, and it gives the guys something to do. The moments leading up to this involving Cheetah are better, with her trying to maintain some kind of distance between herself and the heroes even though she's making a good one herself. I'd kind of like to see something of a shift in her character, to have her stick around with the heroes more if possible as she definitely brings some much needed energy to the team. She doesn't have to stay forever, nor completely reform and become a hero, but I like seeing her on the side of the angels.

The art on the book is really nice, and the action scenes all look big and bold, and are easy to follow. Yara looks amazing throughout, and this issue just reminds me that she doesn't have her own book anymore, and that's a sad thing. 

I'm hoping this story improves a bit over coming issues, as it's still kind of circling around the 'it's okay' area right now. It's getting better, absolutely, but it feels like it could easily slide into uninteresting again if it's not careful.



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.com For Murder (2002) – Blu-ray Review

 

Originally published on Set The Tape


The early 2000s was a strange age for technology. The Internet as it exists now was just entering its infancy, with regular people becoming able to jump onto the world wide web, access chat rooms, buy and sell goods, and even date online.

But, this was a time where relatively little was known about it for the average person, and as such the Internet was also surrounded by an air of mystique, and even fear. Films and television of the era began to explore computers and the Internet more, and hacking, online meet-ups, and the dark web were used in a lot of thrillers. The biggest issue with that was that the people making these projects knew very little about the technology, and as a result you get films like .com For Murder, which ends up becoming more fantasy than realistic thriller in today’s light.

.com For Murder follows Sondra (Nastassja Kinski), a woman who has recently injured one of her legs and is having to stay at home to recuperate. When her partner, Ben (The Who musician, Roger Daltrey) leaves town on business, Sondra decides to have a look at what he’s been doing on his computer and finds out that he’s part of an internet dating chatroom. It’s here that she comes across Ben’s secret lover, as well as a man who becomes obsessed with the woman. Pretending to be Ben, Sondra tries to intimidate him, and earns his ire. Sending her frightening messages through the chatroom, she and her friend Misty (Nicollette Sheridan) start to worry that the man might be dangerous.

Later that night they’re sent a link to a live camera feed from a headset the man’s wearing as he breaks into the woman’s house and kills her in her bed. Realising that they’ve just witnessed a murder, and played a small part in it, the women try to figure out what to do, but little do they know, the killer has now turned his sights on them, and is heading for their home next.



On the surface the plot for .com For Murder isn’t completely awful, and this is in part due to the fact that director Nico Mastorakis is borrowing a lot of inspiration from some more well known thriller films, particularly the work of Alfred Hitchcock. Mastorakis admits this himself in the ‘making of’ special feature, though it’s not hard to pick up on some of these elements. Rear Window and .com For Murder both feature a lead who is using a wheelchair due to having a broken leg, and witness a murder, though one is through a literal window, the other a figurative one via the Internet. The film’s title also give a slight nod and a wink to Hitchcock’s other film Dial M For Murder.

Sadly, the rest of the film fails to imitate Hitchcock in any ways that matter – chiefly in quality. In the behind the scenes features that the Blu-ray provides from the time the film was made, the narrator informs us that Mastorakis is a good pick to make a film about the Internet because he’s spent ‘hundreds of hours’ on it, visiting ‘dozens of sites’. If that’s all the criteria needed then every one of us should be directing films. Despite this lofty claim that he’s spent a lot of time online, Mastorakis seems to not know much about it. Every website featured in the film has voice activated commands, and every piece of text that appears on the screens gets read out by a robot. When the hacker starts messing with his victims he’s able to alter a simple chat room into a red and black screen filled with creepy writing where a CGI snake attacks the camera, before it returns to normal. I’m far from a tech expert, but I’m pretty sure that’s not how the Internet works.

But as I said earlier, this was made in a time where a lot of people had no idea how the Internet worked, so in this film it’s kind of treated like magic, where if you want to be able to do something through the computer you can with just a few clicks or voice commands. Any kind of visual trickery can be done within seconds, reprogramming entire pieces of software into something completely different with a click and a few commands. And in the latter part of the film where the AI-controlled house Sondra lives in (because of course that’s a real thing in 2002) she’s able to get around his programmed restrictions by yelling at him and pressing delete several times. Because shouting and pressing one button enough is the way to get a computer system to know you really mean it when you tell it to illegally electrocute someone.

To go along with the either ridiculously broken or achingly dull script is acting that is average at best. The two female leads have difficulty really selling the emotions of most of their scenes, and the moments where they’re watching people be killed seems to give them little more trauma that them finding out they’re out of coffee. These performances are miles ahead of the male leads in terms of quality though. The main villain of the piece, played by Jeffery Dean, is apparently aiming to be some kind of super-intelligent intellectual who quotes literature and is able to hack into any computer system with ease, but actually comes across as a parody of a modern incel. He fails to be anywhere near threatening, and most of the time he seems fairly bored with being on the screen. The two other male leads aren’t even played by actors, with Mastorakis admitting in the behind the scenes stuff that he wanted to hire musicians instead, resulting in Roger Daltrey and Huey Lewis being in the movie. Whilst neither is offensively bad, you can tell that acting is not their chief profession.



The film, which is only 90 minutes long, ends up feeling like it’s more than two hours of dull back and forth, exaggerated misrepresentation of what the Internet is, and bumbling characters. It even fails to deliver a satisfying conclusion. Usually Arrow Video releases come with some great extras to accompany their movies, but in this case there’s little included here to help improve the viewing experience. There’s a trailer for the film, and a couple of archival interviews with Daltrey and Lewis, along with some behind-the-scenes features. One of these was made when the film first came out, and has early 2000s DVD-extra quality to it. It speaks to a number of the people who made the film, and shows some behind-the-scenes moments. But some of the feature feels off when Mastorakis spends parts of the extras talking about how enjoyable it was to film naked women, and how one of the women in the film who appeared without clothes looked like a young boy, but was still attractive.

These creepy and misogynistic themes get echoed in the ‘interview’ with Mastorakis made for this new release. I put interview in quotes, because it’s really, really not. This interview says it’s produced by Mastorakis himself at the end, so it might explain why it feels wildly different from what Arrow normally provides, and ends up leaving a foul taste. Of the 28 minute run time, 22 minutes are given over to footage of naked women. Mastorakis explains how he shot different openings to the film that feature women being killed. He shows one where a woman is killed in the shower, but complains that she was too voluptuous, and so then shows the footage used in the final film, though a longer cut of it. This is the woman he says looks like a boy to him, yet allegedly still arouses him. Mastorakis doesn’t really provide any extra info, and just lets the footage play, with attention given to all parts of the woman’s body.

The special feature then moves onto the sex site footage that Mastorakis made for the film, where we get several large breasted, scantily clad women dancing in front of a blue screen. Mastorakis talks about how nice it was to direct women to strip, and we then get 15 minutes of various women undressing and caressing themselves as you can hear Mastorakis telling them what to do in the background. These things add nothing to the experience of learning about the film, and Mastorakis barely talks in them, instead just giving the viewer 20 minutes of soft-core porn and a man saying how nice it was to make. The last segment of the extra then turns into a power-point presentation of Mastorakis explaining how there’s a conspiracy against him where people are buying bad reviews for his films to be put onto IMDB. This part is not only baffling to listen to, but the quality is like something you’d expect to see from a weird YouTube channel. The whole thing is baffling, gross, misogynistic, exploitative, and makes the entire release feel like a bad joke. This is miles away from the quality that I’ve come to expect from Arrow, and is frankly awful.

.com For Murder is a film that some may remember from when it was first released as a decent enough thriller film, but the change in how people understand technology has aged this worse than milk left out in a heatwave. It’s hard to look at the film with any level of seriousness, and this coupled with mediocre at best acting creates a film that you’re probably not going to want to watch again. Add in the extras that seem to have been thrown on with no real thought or quality control, and this might be one of the worst Arrow releases to date.



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