tag:blogger.com,1999:blog-18312761941381099482024-03-14T18:45:06.906+00:00The Good the Bad and the InsultingReviewing books, films, video games and all things science fiction.Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.comBlogger1503125tag:blogger.com,1999:blog-1831276194138109948.post-43822385878128341012019-10-22T19:27:00.002+01:002019-10-22T19:27:34.121+01:00A Temporary Retirement<span style="font-family: Arial, Helvetica, sans-serif;">So things have been quiet on this front for a long time. Given how long I have been writing on this, and how long many of you have stuck with me, it seems fair that you should all know why things have gone quiet.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">I'll be blunt here - At this moment I simply do not have the time to write anything as of yet. While I have been reading plenty of novels, armybooks and ideas that I would like to put to paper, life has not permitted me to sit down and do anything. Part of this is my own fault I will admit, but a lot of it has to do with outside influences. I make plans, I set down back-up plans and I aim for long term schemes. Then someone decided to go through things by "winging it" constantly sets down new ideas, changes goalposts and directly makes life difficult for me. This has been the same song and dance for months now, and it has reached the point where I do not think I will be able to contribute any significant works until it is all over. That's the bit at home, but there are also other issues.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The other big problem is, as you might have guessed, the UK crashing out of Europe. While I have done my best to keep politics out of this website and focus upon other things, most of you will know that I have been forced to become increasingly active in protests. The efforts by our unelected Prime Minister May to shut down the internet 'cause reasons was the big one, but Brexit looks ever worse by the day. The UK makes nothing for itself, it's almost entirely reliant upon trade for everything, and yet despite that we have done little to actually make sure we can survive after leaving Europe.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">I'm actually not against leaving Europe itself. There are many reasons to leave along with staying, but I always had one stipulation for doing so: A ten-year process of extracting the UK from the European Union by some very competent people to make sure we survive. We have instead had three years of extremely incompetent people with no oversight fighting one another. Our leaders are opportunists, career politicians who have earned their places through nepotism and incompetents who would have been sacked from any other job. Most of those backing this are either doing this out of a personal desire to have their own "Battle of Britain" moment, or because they stand to make a personal fortune through hedge funds. These are, after all, the same bastards who have been killing off the National Health Service because they have financial investments in private healthcare firms.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The top one percent stands to win everything, while the wider population looks ready to lose all that we rely upon to survive. And now we are set to have an orange-faced aging bastard fleece us for all we own at the beck and call of his Cold War relic of a pimp. I can't ignore that. I can't simply spend my time praising or criticising the grim darkness of the far future when it relies upon me ignoring the grim darkness of the present day.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">This won't be the end for the website. I will be back, if it requires weeks or months for me to do so. But for the moment this blog is on hold. To those who kept reading over the years, I thank you for doing so and I hope that you will not be left waiting long for me to see new articles, and that I can read your comments.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Until that day, goodbye and have a good life.</span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com9tag:blogger.com,1999:blog-1831276194138109948.post-52963933339645433012019-07-20T02:15:00.000+01:002020-07-27T12:26:40.646+01:00John Carpenter's The Thing - Who Died First?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgizJpSNsngXGSv86rsHklbovuIbbA9xeyKJAORDUJG9-70WKhlojFSh_IOg7m6GNbdnRzE6gVl5bKOQPIUHbDtOeFpewL7Ir0DYrPaDxQB1oQlASTRMSjBpg215Xxy0uCKUGkny0r-Gwfi/s1600/Thing.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="487" data-original-width="325" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgizJpSNsngXGSv86rsHklbovuIbbA9xeyKJAORDUJG9-70WKhlojFSh_IOg7m6GNbdnRzE6gVl5bKOQPIUHbDtOeFpewL7Ir0DYrPaDxQB1oQlASTRMSjBpg215Xxy0uCKUGkny0r-Gwfi/s320/Thing.png" width="213" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">One of the more irritating questions that keeps coming up about John Carpenter's <i>The Thing</i> surrounds its ending. Namely if any of the characters left alive at the end are even human. However, that isn't the right question to ask. In fact, the scene's major strength hinges upon the fact no one can be sure if anyone there is even the "good guy" anymore. However, so many clickbait pieces or theory videos have focused upon this at the cost of a much better question: Who died first?</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This article will naturally be delving deep into <b><i>spoilers </i></b>from here on. As such here is your one and only warning to leave and watch the film now. Really, that's not an <i>"If you wish to watch it"</i> warning so much as a <i>"Please go and watch this!"</i> Even as someone who has a love-hate relationship with most horror films, <i>The Thing</i> is easily one of the single best productions I have watched. You owe it to yourself to see it. Because of this fact, this article is also being written with those how know the film in mind. We'll skip the recap here, and just delve headlong into it.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Alright, so, for everyone who is left, let's consider the following - We never see the film just who it was that the alien creature infected first. The entire premise of the film focuses on the idea of a hostile entity being able to perfectly disguise itself as a human being. Because of this, much of the early story leaves many details extremely vague. Even once an effective countermeasure is devised to pick out the creatures and pinpoint who is still human, we are still in the dark. Once you do re-watch the film however, one detail becomes clear: Those initially infected were likely either Blair, Norris or Palmer. So, let's break down how and why.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Blair is the most obvious of the three to comment upon due to his role within the film. After the point where it becomes clear that something is wrong, he behaves erratically, violently destroying equipment and attacking anyone in sight. This reaches the point where he is ultimately isolated within a shed and kept away from the others for much of the film. When we do see him toward the finale, it becomes clear that he <i>has </i>been infected, and he ends up serving as the proverbial final boss.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9F6WmG9CBIlZVVKCW68o7OvEb0CtU3d7D4cL3Cyd_mO9uuEuXFg3MMAIrL-NB2SlBUpsbRUZXqrQgVmArPamToMoJ6IM_WYQFB85dx4oFLioJ3NDurNbs41XRz25eMaSBh-hYlTJnRhQ2/s1600/The_Thing_Blair.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="960" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9F6WmG9CBIlZVVKCW68o7OvEb0CtU3d7D4cL3Cyd_mO9uuEuXFg3MMAIrL-NB2SlBUpsbRUZXqrQgVmArPamToMoJ6IM_WYQFB85dx4oFLioJ3NDurNbs41XRz25eMaSBh-hYlTJnRhQ2/s320/The_Thing_Blair.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The main arguments in favour of Blair being the first to be infected boil down to several basic points: His knowledge, his skillset, and the result of his brief rampage. As one of the two primary medical experts on the artic outpost, he was a major threat to the alien and one of the two most capable of possibly devising a countermeasure against it. He was, after all, the one who performed the autopsies of the initial bodies and outlined how the bodies had been twisted entirely out of shape. Equally, he was also the one that came to the conclusion of just how rapidly the alien would spread across the planet, as seen with the computer simulation. Once he was tied up, that forced the remainder of Outpost 31's personnel to effectively restart from square one and go over his notes. This ended up giving the alien time to claim another of their number due to the delay.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The rampage - specifically the damage he deals to the radio - is typically the key point in all of this. Because of his efforts, Blair ends up doing so much damage to the equipment that it becomes effectively inoperable for the rest of the film. This leaves them isolated, and allows for any other nearby outposts to perhaps mistake radio silence from simple interference from the weather. As some have argued, this would leave the alien with the freedom it needs to quietly infect them all and to avoid wider civilization being alerted to its presence. Even if it was found out, as we saw in the film, it would leave more options open for it to succeed. There would be no way to call for help, and no way to alert the next outpost if its efforts there proved to be a repeat of the Norwegian camp.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The primary reason that Blair seems unlikely out of all of them comes down to several key reasons. The first among these is simply how much of a paper trail he leaves in his wake. Fuchs is able to steal a number of notes outlining how the alien infects others and overcomes their cells. This becomes the key focal point in understanding the alien and combatting it over time. If Blair was infected, it and a number of other elements seem like the first things that would have been quickly destroyed. Furthermore, while Blair's behaviour following his discovery is suspect, it is also one other thing: Attention-grabbing.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp9prsDE6OG3y7HCs-LkAaejZJVg3ALNeSO-HV7uwSge223qhHUb_0HVMbyu3pxf5a2WZqLVRcEM5a6lvdWKgH4M9NoUqRzFRKbUUbjqX44jBUCRftxnarqcTc4N94F5CEfuo6-1SiOvxm/s1600/Blair%2527s_UFO.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="667" data-original-width="1600" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp9prsDE6OG3y7HCs-LkAaejZJVg3ALNeSO-HV7uwSge223qhHUb_0HVMbyu3pxf5a2WZqLVRcEM5a6lvdWKgH4M9NoUqRzFRKbUUbjqX44jBUCRftxnarqcTc4N94F5CEfuo6-1SiOvxm/s320/Blair%2527s_UFO.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Blair could have acted in any number of ways to do the damage that he did. He could have convinced Windows to leave the room, or even waited until he was distracted, before sabotaging the equipment. He could have even just infected Windows in a quiet moment. Instead, he picked up a fire axe and decided to switch from calm and quiet to embracing a full-blown berserker rage. By the time that we see him, Blair has inflicted so much damage on the equipment that everyone has been drawn to his location. Then consider his other actions. Killing the remaining dogs? If anything, given how well adapted they were to the local environment, the alien would benefit from infecting more of them. Sabotaging the vehicles? What benefit would that give him besides robbing the alien of an easy means to reach the coastline.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Combined with how quickly Blair pulled a revolver on the others, it seems more likely that he was acting out of terror. Given how many of his methods ultimately ended up undermining the alien's efforts, it's more likely that he was driven half-mad with paranoid fear and trying to prevent it spreading to the rest of the world. Plus, even if you argue that he might have made for a good distraction, that would still require at least <i>one </i>more infected individual to be present at the time. Combined with how Blair was isolated for much of the film, and the chaos that followed later segments, and it seems more likely that he was infected at a later date.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Of course, one more thing to consider is also the production side of things when it comes to this detail. The scene in which the infected sleigh dog finds someone isolated and takes them over was only filmed from outside of the room. It was also left as an extremely ambiguous scene due to the angle that Carpenter chose, and also the shadow left by the person in the room. The room itself was intended to show Norris' shadow on the wall, but this was switched at the last minute, only for it to be switched over to what looks like Palmer's quarters in the final cut. As a result, this further diminishes the possibility of Blair being the suspect.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVRJ_64sPVmyN5Af5Zmgjos-f32YQEiCkSfA3usFNdKL3tWVAwVxw57POxSeSU1qnWI_Au2sjbYW3v0z862W0BsTunbjHuu5IXoH39glg_b3zgi0pLjXq5High8cXMNld5Dxo7260NbLD/s1600/The_Thing_Survivors.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="620" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVRJ_64sPVmyN5Af5Zmgjos-f32YQEiCkSfA3usFNdKL3tWVAwVxw57POxSeSU1qnWI_Au2sjbYW3v0z862W0BsTunbjHuu5IXoH39glg_b3zgi0pLjXq5High8cXMNld5Dxo7260NbLD/s320/The_Thing_Survivors.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, of the last two, who is the more likely to be infected first? The dog had plenty of time to walk about the station, judge each one and then find the person it needed most when it came down to it. These two seem like the most obvious ones as they were both quiet, kept to themselves quite often, and unlike with MacReady or someone else, it did not need to leave the base to get them.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Palmer seems like the obvious one due to his behaviour. Throughout the film he does many things which can easily throw suspicion off of him, such as his outlandish conspiracy theories and habit of smoking weed in his spare time. These elements give a reason for the others to just ignore him unless it is absolutely necessary. This is also further compounded by the fact that he also retained skills that would benefit the alien itself. He was a mechanic within the base, after all, and he had easy access to most of the machines. Furthermore, when it comes down to it, he could very easily invent any number of reasons just to walk around the base or head off at odd times without question. Perhaps he could claim that something needed to be repaired, or even that he was checking for supplies. This is given further credence by the abrupt nature of the blackout.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">However, there are multiple circumstances which offer strong implications that he was not the first person to be taken. The strongest point in favour of this was how he shared a room with Childs much of the time. This left few points in which the alien could get Palmer alone for just long enough - at least during the quieter periods - to assimilate him and move on. Furthermore, the knowledge that he retained should have been enough to help him offset Blair's damage. If he was taken very early on, it seems likely that he could have found extremely easy excuses to begin repairing the various vehicles. This is to say nothing of the fact that - while Palmer might have had the know-how to sabotage the generator - its location was hardly a secret on the base. Everyone and anyone seems to know exactly where it is.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz44_6WHWGi35DXNd6czb8HidHV4tKAcXPKD5j7Yx2BH9XJqKsEbge9ccdaIL8OFNaMgnwaq0aSaCWtgDGb59605KZBedhFCAmAuHD2aUjiKcJqD24Z7r7zVIvYFCxGV8giMyFz-GDojPM/s1600/The_Thing_UFO.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="634" data-original-width="1433" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz44_6WHWGi35DXNd6czb8HidHV4tKAcXPKD5j7Yx2BH9XJqKsEbge9ccdaIL8OFNaMgnwaq0aSaCWtgDGb59605KZBedhFCAmAuHD2aUjiKcJqD24Z7r7zVIvYFCxGV8giMyFz-GDojPM/s320/The_Thing_UFO.png" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Perhaps a final point which seems to cement it more than anything else is how there were definite points where Palmer could have easily exited the film. Were he infected, the point in which they visited the UFO could have easily allowed for him to just take the helicopter and leave. Even if he returned to the base it would have left both Norris and MacReady stranded in the middle of nowhere, and unable to return to the base. This scene, in particular, is also a reason why I personally feel that both were not infected at this time. They could have easily killed and/or overpowered MacReady and then flown off together with no one being any the wiser. Even if you discount that, if Palmer was infected first, the alien could have easily used his mechanical knowledge to sabotage the flamethrowers which were used against it.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, that just leaves Norris. However, there is more than merely a simple removal of possible alternatives to back up this point. Norris was quiet, was isolated and did keep to himself quite often. However, in addition to that fact, he also had weaknesses that the alien would find a hindrance. He was a geologist, which did not help the alien in any way beyond perhaps understanding the Earth somewhat more, and he suffered from a heart condition. With Blair and Palmer, there were at least skills it could absorb and then utilise in order to carry out its plans. With Norris it had no such luck, and the addition of a physical weakness it likely could not have detected before then only further limited its options.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiatEtNFKbmPzQPj_O5I6vTD85otcy5_TPizLX3uhQeKe4wctlKCfdg9mquIfkWuevWHLCIKJpfrRDqiyRfOr_yhdb9T8EQV2X2fvJFHx1aJEjlEebOw0dvf_eF8GJWNJksC1R5TVNMCobM/s1600/Norris_The_Thing.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiatEtNFKbmPzQPj_O5I6vTD85otcy5_TPizLX3uhQeKe4wctlKCfdg9mquIfkWuevWHLCIKJpfrRDqiyRfOr_yhdb9T8EQV2X2fvJFHx1aJEjlEebOw0dvf_eF8GJWNJksC1R5TVNMCobM/s200/Norris_The_Thing.jpg" width="200" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">If you think about it logically, the idea that it made a tactically poor choice early on only helps to justify its initially slow progress. It needed more time to consider its options, and to also single out people to help infect without its heart giving out in a physical struggle. Sure, that likely would not have killed the alien, but it would have been a weakness which could be used to turn the tables against it. It's for this reason that it seems unlikely that it would try to take MacReady even when they were alone at the UFO, or when it was alone against both MacReady and Palmer.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Finally, then consider Norris' responses to certain scenes. When Garry steps down, Norris is instantly offered up for a promotion to the leader of the group. He reacts with almost total surprise, and then outright refuses to take the position, claiming that his heart could not handle the stress. Keep in mind, this is someone who had just earlier climbed up and down a towering ice wall on a rope, raided a UFO and taken multiple helicopter rides. Sure, there might be some science to this, but it strains belief that this could be a justifiable reason.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Between all of this, Norris is the one who seems most logical. It would give the alien reason to keep infecting others to find a means to escape, and also to keep playing the long game as we saw in the film. Combined with the difficulty it faced in trying to overwhelm the Norwegian camp, it only further justifies a more cautious approach when it was in a more precarious form.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, those are just my thoughts overall, and my verdict. This is admittedly a fan theory rather than a set-in-stone idea, so if you have a few issues with this logic or your own ideas, please feel free to list them in the comments. As always, I'm interested to read what others say in such subjective matters.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-naujR57OyQdoY_FjcJFMilknvLxx4KhHlTsRrSiUB5NXUVxNn1i2tYR3CcEVX6O-Hmqo7A-jA9aeENseWDlYq0Kb36afDXa5PDc2JlLVrXjKANgTrfCPJ5GT9vWyHfF_NbfheAJ_2OGB/s1600/john-carpenter-the-thing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="825" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-naujR57OyQdoY_FjcJFMilknvLxx4KhHlTsRrSiUB5NXUVxNn1i2tYR3CcEVX6O-Hmqo7A-jA9aeENseWDlYq0Kb36afDXa5PDc2JlLVrXjKANgTrfCPJ5GT9vWyHfF_NbfheAJ_2OGB/s320/john-carpenter-the-thing.jpg" width="320" /></a></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-24332775145110109012019-07-18T01:20:00.002+01:002020-03-31T16:40:52.375+01:00Fan Backlash & Accusations of Entitlement - A Brief Modern History<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH4ckxgAvasMXMjL3HV537cfFF0zkUeXmEFSmw7XKqAd4PRUD8CXzTrorpLbt7oSL9UbUtlciyK0Rrw2iktGiGgTN6wJbBUKePzG3BPb4atj-icz9jlpGH_mK4ad2Rgawm2b_jq4pErAFy/s1600/Mass-Effect-3-Ending.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1400" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH4ckxgAvasMXMjL3HV537cfFF0zkUeXmEFSmw7XKqAd4PRUD8CXzTrorpLbt7oSL9UbUtlciyK0Rrw2iktGiGgTN6wJbBUKePzG3BPb4atj-icz9jlpGH_mK4ad2Rgawm2b_jq4pErAFy/s320/Mass-Effect-3-Ending.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Well, this is going to be fun for the comments section.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The subject of fan entitlement has become one which seems to be brought up with everything at the moment. It was discussed with <i>Game of Thrones, Avengers: Endgame </i>and even <i>Fallout 76</i> of late. In fact, it's to the point where it's as often rightfully brought up due to people demanding unreasonable things (like petitions to re-do <i>Game of Thrones' </i>entire final season) to deflections of criticism. It's a debate worth going into detail on, but this article isn't going to be focusing on that. Instead, this is going to be a short history looking into the events which led to this subject reaching fever pitch, and the serious problems which pushed it to this point.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The short answer to this is simple - The internet is responsible.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, you might laugh at that, and yes it is a cheap answer. However, there is no denying that mass connectivity between fan groups has caused at least as many problems as it has benefits. It is something that has been discussed a number of times on here - usually in relation to the current fandom war which plagues <i>Star Wars</i> - and the echo chambers which are formed thanks to forums and the like. However, these are just the obvious answers. A greater emphasis needs to be made upon how it allowed for different forms of communication, not simply broader ones, both in terms of criticizing industries and altering the industries themselves.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">One of the major things which is seemingly killing print media is the existence of the internet, and the addition of singular critics, journalists and the like. You know the sort, the people who have a one-man Youtube channel or even just a small network which was willing to go into detail on a single medium or even a single game. These have even come to overshadow more than a few of the major websites which have largely muscled out the major magazines over the years, and it has only snowballed from there. Part of what drew people to them was the convenience of it, and a preference for video over written word (yes, I am aware of the irony of writing this fact) along with a single unified platform. However, another defining factor was how the "by fans, for fans" approach earned far more trust among viewers.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The writers of major websites were always journalists and, no matter how much enthusiasm they put into a work, they would always be separated. In addition to this, the fact that they were so closely tied to the very industry they covered meant that there was a lack of trust among them. This only simmered and increased over time, and even various scandals among the Youtubers who replaced them - Projared being just the latest in a long line of these - has done nothing to reduce this disconnect. All too often, articles and pieces on the media we consume lack a critical edge of it. Instead, they come across as puff pieces and free marketing for many such pieces of media. It allowed one to seem far more trustworthy than the other, and because they were seen as being "fellow fans", it seemed to set a general mentality of following such examples and pushing for change.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">To focus on gaming for a moment, you can see how this trend </span><span style="font-family: "arial" , "helvetica" , sans-serif;">heavily</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">impacted that medium over the better part of a decade. While there are no shortage of examples to find, perhaps the most famous among these can be seen in Bioware's games, specifically <i>Dragon Age II </i>and <i>Mass Effect 3</i>. While the latter is certainly far more infamous than the former, <i>Dragon Age II</i> was where the cracks were truly starting to show for Bioware and even that gaming generation overall. The game was buggy, suffered from a rushed deadline pushed by Electronic Arts, and was so utterly on-rails that it abandoned everything which made its predecessor so engaging.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Every fan was ware of <i>Dragon Age's</i> flaws, and yet if you were to look into most gaming press or even basic reviews, it was treated as a near-perfect sequel. While it isn't a perfect measurement by any means, take a look at the differences in Metacritic scores <a href="https://www.metacritic.com/game/pc/dragon-age-origins"><span style="color: red;">here</span></a> and <a href="https://www.metacritic.com/game/pc/dragon-age-ii"><span style="color: red;">here</span></a> between those games. The difference in their treatment is obvious, and while one barely dips in critical reviews, in terms of fan reactions there is a far more negative response. This trend only continued in the months that followed, with article after article coming out to defend <i>Dragon Age II </i>against any scorn. A few were better balanced, but more often than not it lacked a willingness to actually call out the game for its own failings.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">When <i>Mass Effect 3 </i>was released, the responses on both sides were only amplified due to the negativity surrounding it. The fans railed against it, and gaming journalism seemed to treat them as the great unwashed masses who wouldn't know a good product if someone beat them to death with it. This lack of trust at all only amplified the problems present, and it led to a feeling of the product being made to satisfy its creators over its customers. The "artistic vision" comment has become a joke due to how often it is brought up to defend poor decisions, from limiting a game to 30 FPS or poor colour choices. This was wheeled out again with <i>Mass Effect 3</i> to defend its original endings, and every decision which ultimately undermined Bioware's own strengths.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Even once <i>Mass Effect 3</i> was given a revised series of endings, the subject continued to remain a flashpoint. In fact, it might have even made the situation worse. You see, there is nothing wrong with listening to fans. In fact, listening to fans for general ideas is generally a good way to navigate your way about a minefield of possibly poor decisions. However, if you are actually seen to be openly caving to their will or - as was the case in previous months with FemShep - openly asking them "What do you want?" It does sow the seeds which can lead to toxic entitlement. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This build-up toward negative fan traits could have been offset in any number of ways. A particularly good one would have been by better informing the public of the complications or issues within the industry. Make them understand how hard crunch hits studios, how complex it is to program a game, or even the demands placed upon teams due to those deadlines. Nada. Rather than actually fixing this or helping fans to better understand the issue, it led to decades of sniping that fans had "broken" the game by interrupting that artistic vision. In fact, the only one I have found which does try to outline this while mentioning <i>Mass Effect 3</i> can be found <a href="https://www.vg247.com/2019/07/12/game-developers-time-stop-listening-fans/"><span style="color: red;">here</span></a>, from just last week. This is in the wake of multiple high-profile situations, and is years later than what we needed.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">We won't be sticking to video games for much longer with this - do not worry about that - but they also provide how this has become a problem on the industry end of things. Why? Because, beyond anything else, they have embraced the mentality of "ship it, then fix it" that has come to overshadow so many titles. Honestly, how many games have you played now which are patched right after launch? How many suffer from huge bugs, game-breaking problems or even severe balance problem, only for the company to promise that it will be fixed later on? The answer, I think, will be a lot. It has become almost an industry standard among major publishers like Electronic Arts, Activision and a few of the other infamous nutters.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Whereas Nintendo once operated on the mentality of "You only get to release a game once, make it perfect" many of the others went with "get it out ASAP, we can fix it later". The sheer scale of so many fixes, how many updates, adjustments, and modifications helped to make it seem like anything could be done. So, as a result, the more that fans saw huge changes being made, the more they treated that this was something normal within the industry. This even gradually spread out over into others as well. Everyone who has played <i>Warhammer 40,000</i> for the better part of seven years will know how erratas will completely change some books due to their modifications. The same goes for minor wargames, RPGs or anything tabletop based. The corrections can be churned out faster than ever, giving the impression that anything can be fixed overnight. The same is even true of ebooks these days, given how suddenly typos or the like can be picked out and then removed between reads.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">However, the issue of having rapid updates and a lack of a more informed public is only part of this problem. Another one lies in how some creators will openly thumb their noses at fandoms, if not outright ignore them. While there are many examples of this, perhaps the most recent one was Rian Johnson's <a href="https://geektyrant.com/news/director-rian-johnson-addresses-the-negative-fan-backlash-for-star-wars-the-last-jedi"><span style="color: red;">statement</span></a> that he would ignore fans suggestions or the like under the justification that it would still lead to a bad film. There is a logic behind this, and I can even see it being one of the more reasonable justifications for this mentality. However, openly ignoring large chunks of what an audience desires to see is something which can only backfire on a company over time, especially those invested in the stories within that universe.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">That particular example was only further compounded by events cited above. Whatever your thoughts might be on <i>The Last Jedi</i>, there is no denying that the media seems to be overwhelmingly on its side. The moment that there was any kind of noteworthy discontent, website after website, forum after forum, blog after blog, began churning out opinion pieces boasting of the film's accomplishments. When they weren't defending the film they were openly deriding those who disliked it, or treating them as if they were holding back the franchise. Each was little more than a glorified puff piece, and they came out so frequently that you could set your watch to them. Even before that you had those deriding the pre-Disney era, with a wave of articles continually mocking and outright insulting the Expanded Universe to whip up people into a frenzy; seemingly pushing a mob mentality of "Disney <i>Star Wars</i> = Good, non-Disney <i>Star Wars</i> = Bad". When you have the creative force openly stating that they will ignore fans, and the promotional side serving as little more than marketing, it only undermines any faith in a creation over time.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Perhaps the best example of how ignoring an audience could backfire badly on its company is Games Workshop itself. Under the tenure of Tom Kirby, fan complaints were repeatedly ignored, thrown out the window or treated as non-issues. There was a total lack of any transparency when it came to the fandom, and the few times in which they did engage with it, it was only to deride them with passive-aggressive remarks. This seemed to set a trend for the company as a whole, even when it came to their codicies. Complaints about the likes of <i>Codex: Blood Angels</i> and <i>Codex: Grey Knights</i> during the fifth edition were ignored entirely, along with problems in surrounding books as well. Their creators would seemingly plow on ahead, heedless of feedback, commentary or even the general attitude the fandom held toward their books.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The continued efforts to ignore fans only led to ever greater hostility among the fandom, and boiled over into coordinated efforts to see certain books fail by "buying around them". More than a few infamous statements such as listing <i>"They can never be Ultramarines"</i> as a failure of other chapters were treated as gospel, until it continued to alienate more and more of the fanbase. This finally culminated in a massive 42% loss in profit overnight, and Tom Kirby trying to escape like a rat feeling a sinking ship. All while the company had a near-monopoly over its medium and their franchise was a byword for the hobby itself. None of this was done with efforts to placate the audience, or even repeating anything outlined above. Just by ignoring them, and making the fans feel growing contempt, to the point of needing to yell ever louder. The fact that - with some occasional troubles - Kevin Rountree has been able to so rapidly turn this around simply by appealing to mass desires shows how terrible a mistake this truly was.</span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">None of this is to defend the worst of toxic fan actions, nor even the stupidity of those who churn out petition after petition demanding things from their shows. There is no excuse for that, and all too often it's the result of spite as much as sheer blind idiocy. However, there is always a bit more than simple toxicity at work with these situations. I hope this article has outlined how some industries can all too easily cultivate the very backlashes which so dramatically undermine them. There are always two sides to every story after all and, even when it seems like a black and white situation, it always becomes more complex the more people that you involve. Combined with a lack of understanding or even problems with adjoining industries, and you end up with a mess. At best it's something like the <i>Mass Effect 3</i> protest. At worst it's Gamergate.</span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com1tag:blogger.com,1999:blog-1831276194138109948.post-85181165923374730152019-07-11T01:18:00.000+01:002019-07-11T01:18:06.677+01:00Space Marine Conquests: Apocalypse by Josh Reynolds (Warhammer 40,000 Book Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizm0HkcHMqYqLCdl5wB6F-jM_MhZKeohmnIJY67skJKK-s3zcRm_ujxfUG44e8EWq2kvJV2LQrHKI_p2ewvr4HGbu0FYyqnzP4gMDE2QCEA-x5i555Cmi2BYANYbMdMy08nSAMQtFpUxtA/s1600/SpaceMarineConquestsApocalypse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="313" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizm0HkcHMqYqLCdl5wB6F-jM_MhZKeohmnIJY67skJKK-s3zcRm_ujxfUG44e8EWq2kvJV2LQrHKI_p2ewvr4HGbu0FYyqnzP4gMDE2QCEA-x5i555Cmi2BYANYbMdMy08nSAMQtFpUxtA/s320/SpaceMarineConquestsApocalypse.jpg" width="200" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Most people will likely write this one off as bolter porn. Those people would be wrong to do so.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Oh, it's an understandable mistake to make both from the premise and also the fact that the name is synonymous with big explosions now. However, while the novel is undeniably direct, there is <i>much </i>more to offer in this one than merely a lot of 'splosions and some fodder to bump off. In fact, out of all the Space Marine Conquests books thus far, this is probably the one I would recommend to new fans the most. Why? Because it manages to be both elegantly simplistic and trope defying at the same time.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Synopsis:</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">As M42 rolls onward, the Imperium continues to fight its ever more desperate battles. Short on men, ships, supplies and with its armies stretched ever thinner, the world of Almace has but a token force to defend it. As a growing force of Word Bearers encroaches upon the system, the Imperium is only able to spare three demi-companies of Imperial Fists, White Scars and Raven Guard to bolster its defenses. Led by Heyd Calder, Suboden Khan, and Sael Karros respectively, they soon begin fortifying the world against the oncoming storm. Fighting against both Almace's bureaucracy and severely limited resources, even their might seems unlikely to turn the tide.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Yet more than merely the desire to spill blood has brought the sons of Lorgar to this world. Something old and very rare resides upon the world, and they will stop at nothing to ensure that it falls within their power.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Good:</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">To cite the first point before anything else: This book has seemingly been written to break past concepts. While this isn't some gigantic battering ram hell-bent upon breaking the setting for its own sake, there are multiple counter-arguments made against past depictions. Perhaps one of the biggest ones is in the form of Astartes failing to understand human niceties, or being unable to comprehend such a lifestyle. While they do not appreciate them, each uses them to their own advantage for diplomatic reasons, and it helps to establish Calder's versatility very early on. The book is littered with such moments, both highlighted and kept in the background to give it a surprisingly unique feel to any veterans. The benefit of this is that, even during the conflict's most straightforward moments, it always throws enough surprising curve-balls to keep you hooked.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Another definite benefit stems from the villains of the work. <i>Apocalypse </i>truly comes to life at any moment where Reynolds is given a chance to put any member of the Word Bearers legion into focus. There are many definite shout-outs to the ideas covered in Anthony Reynolds' <i>Word Bearers</i> stories, highlighting past concepts, but this is used to better establish their nature rather than being used as a crutch. If anything, it helps as the points covered end up being almost a commentary on the legion as a whole, and how their depiction in those novels has both helped and held them back. Amatnim, the main antagonist, is also a fantastic creation with a genuinely engaging background and outlook on the universe. He's someone who clearly deserves at least a novella to better expand upon his role, and is a stark contrast to many devout Chaos worshippers. These qualities allow the book to have one of my personal favourite examinations of the legion to date, even if I would not wish for this version to become the definitive one.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Character banter and interactions remain a strong point within the novel throughout it, and this is as evident in its moments with mortals as among the astartes. One great example is where Suboden addresses the naval Captains defending the world. It is a short sequence, but it helps to touch on themes of changing times, the state of the Imperium, and one or two reactions which could only be written with a mortal facing down a seven foot tall giant in white armour. There is a constantly human quality to the work which helps to elevate many scenes which would otherwise feel dead or dull, keeping them easy to read and engaging in a remarkably fun manner.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">However, perhaps more than anything else, one major boon to the story is how it handles the ideas of its era. The subject of changing times is a constant focus, and it dominates much of the narrative. However, it's treated as more of a fact and acknowledged as a desperate state of affairs rather than dominating the entire script. Compared with how <i>Spear of the Emperor</i> seemed to be trying to drive a "THE IMPERIUM IS DOOMED!" theme into the reader's skull with the subtlety of a battering ram, <i>Apocalypse </i>acknowledges it. It doesn't downplay the desperation of current times, nor even the fact the Imperium may well lose the war, but it doesn't allow the theme to dominate the story at the cost of other elements. In contrast to some other tales, that kind of balance is extremely welcome.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Bad:</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So, for the bad. While this might sound contrary to some of the points above, the trio of primary loyalist marines feel as if they fit into their chapters a little too well. The Imperial Fist is stoic, the White Scar is a laughing Mongol, and the Raven Guard is sneaky git. While each is certainly given more than enough moments to help humanize them, and break a few tropes along the way, they never fully stand out as their own characters. I ended up enjoying moments surrounding them rather than their personalities and, while they were memorable enough to remember by name, by the end I was still remembering them more by chapter than anything else.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Another issue in regards to the work is how its faster pace leaves events being glossed over in a few key cases. While the system itself is clearly under threat and you can see in many places just how it is on the verge of a total loss, there are elements we learn about after the fact. Segments like the Word Bearers invading a world en mass is told more thought the eyes of its commander than through broader descriptions. The story also lacks the sense of momentum behind events I would normally expect to see, or a much bigger display of sheer carnage. While there is plenty of satisfying action, it is either told from a distance (or through the reactions or characters than direct visuals) or it is delivered via more squad-based combat. For a book called <i>Apocalypse</i>, it just doesn't have quite the bang that you would expect to see.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Finally, there is a somewhat rushed quality to the work. This seems hardly worth noting but, when compared with some of Reynolds' previous stories, it lacks some of the more poetic and nuanced descriptions which makes the atmosphere of his books so excellent. In a few chapters, the prose feels more akin to Graham McNeill's more direct style of presenting events than what typically makes Reynolds books work. However, the novel is still leagues above many other tomes and it only suffers when compared with the likes of the Fabius Bile books.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Verdict:</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><i>Apocalypse </i>is undoubtedly Josh Reynolds' most conventional Warhammer novel to date, but that is by no means a bad thing. As much of this review has covered, its shortcomings do stem from some of its focus on action, but it is far more than just the sum of its parts. This could have just been a by the numbers "marines shoot at one another" read and discard affair, but it instead proves to be a fun and insightful outing. At its absolute worst it's a reminder of some of the novels that dominated the Black Library a good fifteen years ago, but in the best possible way.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">If you want to see more of this era, this is the book I would recommend the most alongside the <i>Spear of the Emperor</i> and <i>Devastation of Baal</i> to help explore the Great Rift era wars. It's a great counterpoint to both of those works and an excellent, yet easy to access installment overall. If you overlooked this one due to its title or sounding too unengaging, I would definitely recommend giving it a chance.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>The Verdict: <span style="color: red;">6.7 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-75697332503695249112019-07-05T01:00:00.000+01:002019-07-05T01:00:00.281+01:00Blackshields: The Broken Chain by Josh Reynolds (Horus Heresy Audio Drama Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7vxTnirfbuyoHZn8vaKAvB9D3YVs1Vq2XuKupwl93m9bsE5KNSY9GPqNHuZvEY1wYros8umMPTZXnuXRkdj7XaI9aaSP36OfC1GdLYuOeTK52SeBK7Hz2Vrj2HrnhcoHWOuUq3J57UTF/s1600/BlackshieldsTheBrokenChain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="818" data-original-width="910" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7vxTnirfbuyoHZn8vaKAvB9D3YVs1Vq2XuKupwl93m9bsE5KNSY9GPqNHuZvEY1wYros8umMPTZXnuXRkdj7XaI9aaSP36OfC1GdLYuOeTK52SeBK7Hz2Vrj2HrnhcoHWOuUq3J57UTF/s320/BlackshieldsTheBrokenChain.jpg" width="320" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The <i>Blackshields </i>series has been one of the surprise successes of the <i>Horus Heresy</i> range, one which has continued even as the battle closes upon Terra itself. Quietly continuing in the background, the first two audio dramas offered a look both into the lifestyle of these renegades, and a legendary leader among them: Endryd Haar</span><span style="font-family: Arial, Helvetica, sans-serif;">. The third installment of these audio dramas sees the series sticking to its guns, and offering the kind of action that only the Blackshields can star in. It's a good one, there's no denying that from the very start, but </span><i style="font-family: Arial, Helvetica, sans-serif;">why </i><span style="font-family: Arial, Helvetica, sans-serif;">it's good is an important thing to bear in mind here. In the next few hundred words, we'll be going into exactly why.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Also, as full disclosure: This story has yet to see a full release. In truth, I only gained my copy thanks to someone selling a copy via eBay so consider this an advanced look at the story, giving you a chance to plan purchases ahead of time.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Synopsis</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Having taken notice of Haar's continued actions, the Sons of Horus have deployed hunting packs to bring down groups of rogue legionaries operating behind their lines. Deeming them too great of a threat to fully overlook, one such group has found the <i>Cicatrice Tyrannis</i> and captured both of its leaders. With Haar entombed within the hold of a Sons of Horus warship and Erud Vahn, his second in command, undergoing interrogation this seems to be their darkest hour. Yet the Blackshields are nothing if not pragmatic, and Vahn soon begins brokering deals with his captors in exchange for their freedom. Ones which might damn the Blackshields entirely, or see them returned to glory...</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Good</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">As mentioned in the introduction, this is the sort of action that only the Blackshields can offer. Josh Reynolds has managed to maintain a steady set theme within his stories to help differentiate them from loyalist and traitor groups. This is evident in terms of plot structure, atmosphere and the general style of the stories, along with focusing less upon culture than the broad personalities which have made up their number. The few times it will comment upon their culture in any way is often only to highlight the absence of it, and show what even uncorrupted astartes of this era can be like when all trappings of brotherhood, loyalty or greater ideals are stripped of them.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><i><br /></i></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><i>The False War</i> introduced this with its heist plot, while <i>The Red Fief</i> took it to another level, and now <i>The Broken Chain</i> adds a new twist on things. The continuity between these stories has been extremely well maintained, and there are enough general call-backs to give the audio dramas a greater sense of scale. It's somewhat akin to what James Swallow did with this <i>Garro </i>stories, but the emphasis upon the fallout of in-series events makes it more effective as a link between tales. In that series, as great as it was, there would normally be some comment upon who had just been recruited. In this one, the Blackshields' actions carry far more weight, and the Sons of Horus specifically cite a few key events very early on. This helps to both better emphasize the greater stakes at work, but also the impact the characters have had, even as they serve only a minor role in the greater war.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Haar himself has typically hogged the spotlight in the prior two tales, and with good reason. He's known as a legend within their ranks, and the stories have helped to fully emphasize the sort of figure that he was: Brutal, uncompromising, driven, uncertain of the fine details of his future and yet possessing a few rare qualities that similar warriors lacked. However, this took time away from the others, and the story offers a chance for Vahn to get a few moments to himself. After being sidelined during </span><i style="font-family: Arial, Helvetica, sans-serif;">The Red Fief </i><span style="font-family: Arial, Helvetica, sans-serif;">this is especially welcome, and it highlights both a number of qualities unseen before now, and shows how his seeming idealism works with the Blackshields' brutal nature. The scenes involving him help to reflect upon how this life has reshaped him, and just what acts it has made him capable of carrying out.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Another point worth mentioning is how the tale itself keeps you guessing, even with a relatively formulaic structure. You can half-guess how things will likely play out from some of the major twists in past stories, and some of the major character conflicts. This isn't a negative in of itself, but without an additional element, it could become predictable. In order to limit that predictability, the story plays up certain characteristics and ideas we have seen before. Haar's brutality has kept the Blackshields in line, but he rules with an iron fist and will shed his allies' blood without regret. The loyalty of his men is barely held in check by promises of victories and sheer desperation, as they are often deprived of vital resources. </span><span style="font-family: Arial, Helvetica, sans-serif;">Vahn, meanwhile, has not only been constantly threatened by Haar directly but has actively encouraged them to follow goals beyond their current path.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The conflicting elements and ideals of the characters involved keeps their loyalty to one another always in question. It's this sort of hint of risk which makes this sort of series remain engaging, along with a willingness to keep pushing for new takes on its style of story.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Plus, and let's face it, you all knew this was coming - The vocal direction and audio design is as stunning as ever. You will notice more than a few familiar names among the cast list on the book, with Gareth Armstrong, Toby Longworth, John Banks, Steve Conlin, Richard Reed, and David Seddon all showing up.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So, with all that in mind, what does it do wrong?</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Bad</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">While the aforementioned section praised the series' willingness to keep experimenting and reworking its central concepts, it does retain a basic skeleton of a direction. After two deception/heist style stories, you can probably guess that this one will be the same. This is fine in of itself, but even when they are showing events as they progress rather than telling the plan, some people might become burned out on them. Personally, I see this as a way for the series to remain distinct from the rest of the <i>Horus Heresy</i>, but it is easy to see how someone could be turned off by it. It's in much the same way that someone might enjoy detective murder mysteries, but could be turned off by police procedural style versions which rely more on the same basic structure.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Equally, a few themes crop up here which were commented upon in the past, but are never fully built upon. Haar's past is the big one and, while it certainly offers several fascinating details into his origins, it is largely window dressing. While both prior audio dramas utilised this to further Haar's character, here it serves just as a conversation piece and goes no further. With so many hints and indications, it feels as if <i>something </i>should be done involving it by this point. Equally, Malcador's role is pushed back until it effectively has no impact on the overall plot. It's certainly there, but outside of a few mentions toward the end, it is something of a non-entity. This makes it seem as if certain stories are stuck in a holding pattern.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Another point worthy of mention is how the story itself is light on certain key details. The actual events surrounding the beginning of the story are heavily skimmed over, along with some of the broader details on the villains themselves. The Sons of Horus in this story are serviceable as the general bad guys, but they lack the staying power of prior figures. They largely come across as self-righteous thugs which, while being in-keeping with the Sons' character shift, isn't all that engaging.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Verdict</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">On the whole, <i>The Broken Chain</i> has a few chinks, but it ultimately remains a solid and engaging tale. With a good mixture of character drama, the ability to build upon past tales and stick to what makes the Blackshields so entertaining, it's definitely one I would suggest buying. While you will definitely enjoy this far more if you did pick up the two prior stories, it is also still open enough to follow as a single stand-alone tale as well. Either way, it's definitely not one to be missed.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>The Verdict: <span style="color: red;">7.5 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-66614800827345599132019-07-04T01:00:00.000+01:002019-07-04T01:00:01.760+01:002019 Steam Summer Sale: 11 Excellent Games For Under £7.00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhss3TjNaaUL8r0DUsobRHhPmcn6TM7zb6GtxrXbQiht5Y4UYlvaqXQNqlKS9CKH2qiGcYFIVQoUp49dsADYSSM6SypREa1sdreFfV_3TK3cGxUtzeFKODHJNWDOhvsSiFL0shPbexsn9E7/s1600/Cold_Fear_Art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="606" data-original-width="1024" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhss3TjNaaUL8r0DUsobRHhPmcn6TM7zb6GtxrXbQiht5Y4UYlvaqXQNqlKS9CKH2qiGcYFIVQoUp49dsADYSSM6SypREa1sdreFfV_3TK3cGxUtzeFKODHJNWDOhvsSiFL0shPbexsn9E7/s320/Cold_Fear_Art.jpg" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, here we are with the non-point and click one. This is a short list for this year, mostly because - for a lot of readers - money is in short supply at the moment, and as is my time. As such, the games here are a broad mix of old and new titles which tend to have been overlooked forgotten or have just been lost to time. However, each is well worth being a bonus purchase while you hunt through the sales for something engaging, and they are among the few indie gems which can surprise you.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/837190/TANGLEWOOD/"><span style="color: red;"><b>Tanglewood</b></span></a></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLklHO-gOsEIeBzlt9qrPLUVo4LIkYD9Sg9kqh-v6YMoRO8BfRoOs2pqMluvuCGVp5sTe70BB7NtNLPaS0bFxa7884kjf03qED8e8mrz-ANDUbGeM6wAOBJR71u8N0yy5MHQPXUbm3mVR3/s1600/tanglewood.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="634" data-original-width="941" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLklHO-gOsEIeBzlt9qrPLUVo4LIkYD9Sg9kqh-v6YMoRO8BfRoOs2pqMluvuCGVp5sTe70BB7NtNLPaS0bFxa7884kjf03qED8e8mrz-ANDUbGeM6wAOBJR71u8N0yy5MHQPXUbm3mVR3/s320/tanglewood.png" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Tanglewood </i>is one of those bizarre passion projects which emerges only from the truly dedicated fans. Created as a modern puzzle adventure game for the Sega Megadrive and Genesis, it's intentionally classic in every sense. With colourful 16-bit graphics, some genuinely creative puzzles and a wide variety of maps, it's a good throwback to older eras. If you've been starved of platformers up until now, you could do far, far worse than this one.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/15270/Cold_Fear/"><span style="color: red;">Cold Fear</span></a></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLlvOGIiR9noUOMBdl30jGt0y3jH1wxv1Q7fT0U7Gc-jsBaCLwn8ZcQRKI-tgSNSfv3QK7L6AOSk_T1I48xJ2EBAbAhlVTCzS6na5PjihaJP34tMrDvMGA8tHl9mcQ0qOAJC1o5DydpykJ/s1600/Cold_Fear.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLlvOGIiR9noUOMBdl30jGt0y3jH1wxv1Q7fT0U7Gc-jsBaCLwn8ZcQRKI-tgSNSfv3QK7L6AOSk_T1I48xJ2EBAbAhlVTCzS6na5PjihaJP34tMrDvMGA8tHl9mcQ0qOAJC1o5DydpykJ/s320/Cold_Fear.png" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This was </span><i style="font-family: Arial, Helvetica, sans-serif;">Resident Evil 4</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> a little while before its time, to the point where it was mistaken as a quick cash grab due to similar release dates. You're stuck on a cargo vessel overrun with nightmarish creatures, and tightly enclosed environments to navigate. The ship itself makes for a very engaging setting thanks to its corroding and dingy interior, as does its mix of apocalyptic log books detailing how it all went wrong.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">With a good blend of various weapons, some surprising new mechanics which can keep you on edge and genuinely scary enemies, it hits all the right notes. It might be derivative of other ideas, but it nevertheless still manages to be a respectable horror game in its own right.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/46250/NecroVisioN_Lost_Company/"><span style="color: red;">NecroVisioN: Lost Company</span></a></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpr4qr5zfn_dAufmjEMKq5Gmx8KV0qDX-Cl1Rgtm9l8n8NAocr1OWU84dgObJxtME7QCmaR59sCsLrrX9bTHzl7g5HHQSr2YVQcWnymGw7M3SlXoWskT5dsRflTx9dyurjLzBxLS59LfD/s1600/Necrovision_Lost_Company.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpr4qr5zfn_dAufmjEMKq5Gmx8KV0qDX-Cl1Rgtm9l8n8NAocr1OWU84dgObJxtME7QCmaR59sCsLrrX9bTHzl7g5HHQSr2YVQcWnymGw7M3SlXoWskT5dsRflTx9dyurjLzBxLS59LfD/s320/Necrovision_Lost_Company.jpg" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">If you're tired of zombies and want a new spin on them, this might be just what you are after. </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>NecroVisioN: Lost Company</i> shifts the undead into the world of the Great War, with supernatural creatures now infesting parts of the world. Held at bay only by superior firepower and technology, it's your job to endure and survive against them.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is what <i>Wolfenstein </i>would have likely become if <i>The New Order</i> had arrived a few years early and kept the supernatural bend. It manages to be remarkably entertaining due to the distinct quirks of this era, with a massive emphasis on high-speed run-and-gun gameplay and a broad selection of weapons. Combined with some remarkably good vehicle segments, and it makes for a fast, cheap but very fun shooter between more polished releases.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/635200/Distrust_a_Long_Dark_Polar_Survival/"><span style="color: red;">Distrust: a Long Dark Polar Survival</span></a></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLTE0JGLLLhsH3NvOGyWl7sg1ZZ31CV4lI0tng4mI1vFsFMiOeuay6giyf-fZ2uCoTLBcasNr82fG3gwmrXKCuianES4FTTQge-oCc6911lG10xk8IkYOHL3M0AABYIIaBTHn8huUo15tZ/s1600/Distrust.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLTE0JGLLLhsH3NvOGyWl7sg1ZZ31CV4lI0tng4mI1vFsFMiOeuay6giyf-fZ2uCoTLBcasNr82fG3gwmrXKCuianES4FTTQge-oCc6911lG10xk8IkYOHL3M0AABYIIaBTHn8huUo15tZ/s320/Distrust.jpg" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">It's John Carpenter's <i>The Thing</i> in video game form. Ironically, it's genuinely better than the actual <i>The Thing</i> sequel made twenty years back. While it doesn't delve into the whole body horror angle, the game emphasizes a lack of trust among the few members of an Antartic outpost. Using strange hostile lifeforms which stalk their moves, limited resources, and possible betrayals to keep undermining the players' efforts, it creates a constant tension which makes it an effective horror game even in co-op.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Distrust </i>also opts for an isometric RPG style of play which keeps you on edge, especially in the darker areas. This makes for a far better impression than a first-person view as it gets you in the right mindset to make the most out of the game. It's not <i>Amnesia </i>so much as <i>Divinity: The Horror Edition</i>. Combined with a strong story and multiple endings, it makes for a great possible purchase during this sale.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/1066260/Devolver_Bootleg/"><span style="color: red;">Devolver Bootleg</span></a></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGl6TtYswHKQsat1eAahR1M2uy4u3QUtrMCj-8n4E1PP60_KkH4EowhJFCceFGzMXKefwQ9Q8jPmomiX-MGTzB7RLxVbcGdLuc_-tO8ZlttjFmJd55PpfUh1Ej8oMBK_m76MYZGGUyoQNe/s1600/Devolver_Bootleg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="668" data-original-width="960" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGl6TtYswHKQsat1eAahR1M2uy4u3QUtrMCj-8n4E1PP60_KkH4EowhJFCceFGzMXKefwQ9Q8jPmomiX-MGTzB7RLxVbcGdLuc_-tO8ZlttjFmJd55PpfUh1Ej8oMBK_m76MYZGGUyoQNe/s320/Devolver_Bootleg.jpg" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Only Devolver Digital would be insane enough to pull a stunt quite like this. <i>Devolver Bootleg</i> is an effort to create a collection of bootleg variations of games that they have genuinely published. With rip-offs ranging from <i>Hotline Miami</i> to <i>Enter the Gungeon</i>, it turns each one into a cheap variation with dated graphics, smaller segments and a ramped up difficulty. Yet there is actual talent behind this, as each is well crafted with a substantial amount of thought put into how each rip-off would "fail" to emulate its predecessor.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The interesting thing is that the smaller scale combat and downgraded qualities of many games serves to only streamline them. While it's certainly not a method which makes one superior to the other, they allow for rapid and engaging five-minute experiences. It's the sort of thing which remains fun while you're waiting between events, or just want a short time-killer. At the end of the day, that's what some games just need to be.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/896550/The_Sea_Between/"><span style="color: red;">The Sea Between</span></a></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTddTUffgYqHM81YO14tv64pcqFqthIrxnKEfE59iagEnF2iI6OmtIUyQThGkpm-17dMMf1OoTkEFa2x1j_V3COfxfV2D9749e_ZebNssYqnfL_CQka3wMCXE7IVTDlUjMhkN1anxEqphf/s1600/SeaBetween.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="337" data-original-width="600" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTddTUffgYqHM81YO14tv64pcqFqthIrxnKEfE59iagEnF2iI6OmtIUyQThGkpm-17dMMf1OoTkEFa2x1j_V3COfxfV2D9749e_ZebNssYqnfL_CQka3wMCXE7IVTDlUjMhkN1anxEqphf/s320/SeaBetween.jpg" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, it wouldn't be one of these lists without at least one RPGMaker game on here. This time we have <i>The Sea Between</i> which, much like past entries that we have covered, has sadly been buried beneath other releases. It's a damn shame as well, given that the game actually lives up to the old promise made by so many fan-created RPGMaker releases: It genuinely manages to capture some of the old sense of adventure in SNES era RPGs.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The story behind The Sea Between is a simple one which remains simple but has some surprising nuances to it. It's about survival, about the harsh need for change in order to continue living, and of the grey area between good and evil. Saying more would sadly be spoiling the story but, well, sometimes the characters just need to live with the choices that they are forced to make.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://store.steampowered.com/app/838310/Bloodstained_Curse_of_the_Moon/"><span style="color: red; font-size: large;"><b>Bloodstained: Curse of the Moon</b></span></a></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq5lyTlNF-sapPr21cji-mDR5T3PBknkBGGdbKBZie1ibDhBUXWCdvjDvhWVUtAQRM6njugEbi3XU5UU0vO6oolXcY6Y679aoQ1EZvu10KFRhE4nMj19p0AVBssd3IaYvil7S2nepyzs7E/s1600/BloodstainedCurseoftheMoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq5lyTlNF-sapPr21cji-mDR5T3PBknkBGGdbKBZie1ibDhBUXWCdvjDvhWVUtAQRM6njugEbi3XU5UU0vO6oolXcY6Y679aoQ1EZvu10KFRhE4nMj19p0AVBssd3IaYvil7S2nepyzs7E/s320/BloodstainedCurseoftheMoon.jpg" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">No, not <b><i>that </i></b><i>Bloodstained</i>. While <i>Ritual of the Night </i>is an excellent game, that's not the one we're going into here. <i>Curse of the Moon</i> is its predecessor, both in terms of style and chronology. Developed as an additional bonus while working on the bigger game, this is a callback to older era <i>Castlevania </i>releases. In terms of map layout, graphics and even basic mechanical elements. No, not the ones you are thinking of, even a few of the old glitches and quirks people freely abused crop up here.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">While it's definitely a game which requires a certain type of nostalgia and tolerance for old flaws, <i>Curse of the Moon</i> is nevertheless an excellent addition to any 16-bit fanatic's library. Honestly, were it not for the fact that its bigger, badder and more impressively budgeted sequel were overshadowing it, this would be a modern classic.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><a href="https://store.steampowered.com/app/822830/Ouroboros/"><span style="color: red;">Ouroboros</span></a></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7s6T47Q5RFu4NG-ft6EuOrD_PrYUbFDAVimIcWZSKjZYeEuhxcfIwulVEcXBWTmlZyZh6ncvkp9y7NDBudOkPA0t6nMD24iblOg4KVbmo3BiPZpMMRgoMMO72wGpyMOH7AehaSGxWWTyl/s1600/RPGMaker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="442" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7s6T47Q5RFu4NG-ft6EuOrD_PrYUbFDAVimIcWZSKjZYeEuhxcfIwulVEcXBWTmlZyZh6ncvkp9y7NDBudOkPA0t6nMD24iblOg4KVbmo3BiPZpMMRgoMMO72wGpyMOH7AehaSGxWWTyl/s320/RPGMaker.jpg" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Ouroboros </i>is the second RPGMaker game on this list and, like a few of them, it's ironically a parody of bad RPGMaker releases. Or at least it looks this way to begin with. While the opening cutscene reveals some hints about this, what is initially a shallow mockery rapidly evolves into something more. From there, it rapidly develops into a game which experiments with themes of essential gaming mechanics like save scumming, time loops and a Groundhog Day event.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The main caveat behind this is that the game delves into some fairly risque themes. Points surrounding sexuality and some rather questionable moves are present in the script, including one which made me seriously question the morality of the characters. Yet even with that being said, it's one that I would still recommend on the strength of its storytelling. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, that's all we have time for this year. It's a brief list by comparison to some others, but I was emphasising more for those which tend to be forgotten, overlooked or just lack the player base they deserved this time. All of these are winners and, if you have any money at all left toward the end of the sale, I would strongly suggest picking up one or two of them.</span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-70039632357632748172019-07-03T02:16:00.002+01:002019-07-03T02:16:29.681+01:00Taker of Heads by Ian St. Martin (Warhammer 40,000 Audio Drama Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghA96OujORqP613ino0xKVkPBH39cFQijsZvrAAe-oDBZ1XrTvZdOy99e4iTWDerrGcHVGg5cbDCtzzqBz5Md1tXDGefzdy0s9IhnUmKIfYFmCTtGT1ad1NC_m4Lgbhg729EW7QHAkAEkW/s1600/taker-of-heads.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="822" data-original-width="650" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghA96OujORqP613ino0xKVkPBH39cFQijsZvrAAe-oDBZ1XrTvZdOy99e4iTWDerrGcHVGg5cbDCtzzqBz5Md1tXDGefzdy0s9IhnUmKIfYFmCTtGT1ad1NC_m4Lgbhg729EW7QHAkAEkW/s320/taker-of-heads.jpg" width="253" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><i>Taker of Heads</i> is probably the best example of how to handle a short and succinct story set in the Grim Darkness of the Far Future. It’s brief, focused, handles direct and engaging themes, and emphasises the qualities of the astartes without turning them into unstoppable god-monsters. Better yet, it’s a rare story which doesn’t throw Chaos into the mix, and instead focused upon the T’au Empire stirring up trouble.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Admittedly, part of the reason we are covering this today is due to the fact it focuses on the T’au Empire as a villain. Due to comments in the <i>Spear of the Emperor</i> thread involving its more nihilistic themes, it seemed best to bring out a story where the Imperium is losing. Even after the astartes get involved the outcome is still heavily in question. It becomes as much a study on the conflict between the techno-feudal mysticism of the Imperium vs the T’au technological enlightenment as it does the story of a Scout finding his place in the chapter.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Synopsis</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">With the forces of the T'au Empire rapidly gaining ground among the steaming jungles of Aztlan, the Mortifactors are called in to even the odds. Only able to spare a small unit of neophytes and a single veteran, this battle is to be final proof that they have earned their place within the chapter. Yet it quickly becomes clear just how badly the Imperium has underestimated the T'au, and following a disastrous first engagement, Scout Adoni must find a way to combat his elite foes and return to his chapter in glory.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Good</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">There are two major benefits to the book right from the start. Firstly, this is how you should write the Mortifactors. In fact it’s arguably a “how to” guide on how to write these marines. While I will admit to personally having a liking for this bunch for a long time, what we get is a general breakdown of how they work. We see through Adoni’s experiences how their recruits live on their world, the challenges they go through, and their odd association with mysticism and death. It’s a good blow-by-blow breakdown, along with a brief demonstration of their tactics. This is worked into the story itself, and it’s used as a means to bolster Adoni’s own development throughout the tale.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The other major benefit to the story is the T’au themselves, who are beefed up to be a major threat here. More than a few writers seem to struggle when it comes to balancing out the T’au Fire Caste and keeping them in check, with them either falling into cannon fodder territory or the author treats them as if they have a “god mode” cheat switched on. Here however, what we get emphasises their intelligence: They have limited resources, numbers and an advantage in tech over the Imperials. All of this comes into play, along with utilising their auxiliaries to bolster their numbers. While they hit extremely hard, and inflict a large number of marine casualties, it feels earned through prior planning to stack the deck in their favour. Plus, even when they lose, it’s only due to Adoni using prior knowledge to help exploit their blind spots.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So you have a well-developed hero faction, a cunning an engaging enemy, but also a solid protagonist. While Adoni comes across as something of a blank slate at first and something of an everymarine, there’s an emphasis on his nature as a quiet thinker. He needs to overcome himself to focus upon what the chapter needs, but ironically that same savagery gives him a desperately needed edge against his foes. It makes for an interesting contrast against the T’au, and helps to remind listeners of just how strange some elements of <i>Warhammer 40,000</i> can be.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Much of this thus far has been devoted to individual elements of the story over the story quality itself, but they really needed to be specifically singled out. The story is extremely tightly written and incredibly well paced, allowing it to fit a novella’s worth of content into a relatively short timeframe. What we see are often brief glimpses of events with far wider implications, such as a very brutal moment involving a wounded soldier early on, which allows it to cover a broad range of subjects at once. When it does pause for a while on a single scene, the brisk nature of these other moments gives these segments more space to do their magic, and as such they lack the rushed quality which other tales sometimes retain. Given how the fight against the T’au rapidly turns into a cat and mouse affair shortly after their initial battle, it was a much-needed move to help benefit the story.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Finally, and most obviously, the sound design and voice acting is absolutely top notch. That should really go without saying by this point, as the audio dramas of Games Workshop’s products have rarely fallen short of being utterly spectacular over the past several years. However, it needs to be emphasised that the talent on display and vocal direction remains a vital and extremely effective addition to bringing these worlds to life. Without it, even the most talented author would struggle to match the same effectiveness.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Bad</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">If there is one major point to cite against <i>Taker of Heads</i>, it’s that the tale really doesn’t offer enough time to engage with the other astartes. While Adoni himself has an obvious arc and one or two of his fellow neophytes share some decent moments, it’s really not much. This makes some of the losses taken lack impact, despite how excellently delivered they were. Furthermore, the actual moment itself felt as if it could have been more of a one-two punch to help really emphasise how badly things had gone. While there is something of a focus upon this, but the second “punch” is more of an afterthought which is lost in the mix of combat which follows.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">A further issue lies in the T’au themselves here, who leave a decidedly mixed impression upon the reader. In terms of their competence, ability to utilise their auxiliaries and to overcome far more numerous foes, you couldn’t ask for a better story. However, the brutality of one particular method crosses a line into Chaos territory, and once their main plan is beaten they don’t have enough of a fall-back strategy. What is offered is still excellent, and a large chunk of the tale emphasises their best strengths. However, a little more of their adaptability would have gone a long way to boosting up the final score of this tale.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Finally, the story relies upon thematic a little too much for my personal liking. <i>Warhammer</i> has always used history as a starting point for many key ideas, and even with those twists you can usually see the inspiration at work. However, the ‘Nam 76 vibe of the story isn’t so much an inspiration as its whole defining feature, and the tale could have used more. A more diverse locale or even some more alien fauna would have helped it seem more alien. Without it, there is more time to focus on the story in question, but it lacks the sort of fantastical edge which so often benefits many tales. Say what you will about <i>Gaunt’s Ghosts </i>relying on historical call-backs, but the settings there rarely felt anything besides alien.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Verdict</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Despite a few grips here and there, <i>Taker of Heads</i> still remains a very solidly written and engaging tale. It’s definitely one of the best examples of how to write a low key and isolated event with an emphasis on small scale action away from bigger battlefields. What’s more, it also helps to show just how to make tense encounters work without resorting to bolter porn or clichés. Combine that with a well-balanced treatment of both sides and makes for a story that I would suggest adding to your personal libraries.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Verdict: <span style="color: red;">7.2 out of 10</span></b></span></div>
<div>
<br /></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com2tag:blogger.com,1999:blog-1831276194138109948.post-68244195635958417702019-06-28T01:28:00.001+01:002019-06-28T01:28:31.023+01:002019 Steam Summer Sale: 11 Excellent Games For Under £5.00 - Wadjet Eye Games Edition<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM15N-0LCAoksGruSNBPFf-4W5LnRFX8UbcVVzGcdreGETBSksaktlS3oK0c11ucGPx7a_4aqkzkDrBneaovRpo02cL6NoQPWlpeHA9-ae2VXyesu6T4mq5DEynzfR9xh8Cn1N36iiX4w8/s1600/Wadjet+Eye+Games.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM15N-0LCAoksGruSNBPFf-4W5LnRFX8UbcVVzGcdreGETBSksaktlS3oK0c11ucGPx7a_4aqkzkDrBneaovRpo02cL6NoQPWlpeHA9-ae2VXyesu6T4mq5DEynzfR9xh8Cn1N36iiX4w8/s320/Wadjet+Eye+Games.png" width="320" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">It's that time of year again! As people delve into their wallets and hunt around for games which they have had their eye on for a while, Steam becomes flooded with new discounts. It's a time for buying, searching and, in my case, to highlight overlooked modern gems.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">While more than a few buyers tend to single out the big AAA games or major indie titles (sans Rimworld, because that will never need to drop its price) this blog focuses on the overlooked gems. These consist of classics which never quite got the chance they deserved, a few indie games which were buried under the storefront, and the few RPGMaker releases which actually live up to their promises.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">However, today is a bit special. On the first of these articles for this year, we are not looking at a wide selection so much as a single publisher: Wadjet Eye Games. Wadjet is one of those publishers which has managed to hit a niche market so perfectly that they have a small but very dedicated fandom. Sticking to a specific style of point and click adventure, there has yet to be a single one I have found which has been a disappointment. The stories, settings, and puzzles - sans the occasional moon logic - all stand out excellently, and this is just a chance to promote an underrated publisher and the developers of these games.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">If you want something a bit more detailed, the previous lists always apply. Really, every game on them is a winner, I suggest you just look through until you find a fun one:</span><br />
<br />
<ul>
<li><span style="font-family: Arial, Helvetica, sans-serif;">2016- <a href="http://thegoodthebadtheinsulting.blogspot.com/2016/06/10-exemplary-games-buyers-overlook-in.html" style="color: red;"><span style="color: red;">10 Exemplary Games Buyers Overlook In Every Steam Sale</span></a></span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">2017- <a href="http://thegoodthebadtheinsulting.blogspot.com/2017/07/steam-summer-sale-25-excellent-indie.html"><span style="color: red;">Steam Summer Sale: 25 Excellent Indie Titles For Under £2.00</span></a></span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">2017- <a href="http://thegoodthebadtheinsulting.blogspot.com/2017/12/25-fantastic-games-you-probably-missed.html"><span style="color: red;">25 Fantastic Games You Probably Missed In 2017</span></a></span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">2017- <a href="https://thegoodthebadtheinsulting.blogspot.com/2017/12/2017-steam-winter-sale-25-excellent.html"><span style="color: red;">2017 Steam Winter Sale: 25 Excellent Indie Titles For Under £2.00</span></a></span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">2018- <a href="https://thegoodthebadtheinsulting.blogspot.com/2018/07/2018-steam-summer-sale-14-excellent.html"><span style="color: red;">2018 Steam Summer Sale: 14 Excellent Games For Under £5.00</span></a></span></li>
</ul>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">With that done, here's a few modern classics which should interest you.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/307580/Technobabylon/"><span style="color: red;"><b>Technobabylon</b></span></a></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiODsVzdpc3AvrY2qI9UzfDC5XeBQSdRkCvzJ4zb8lUf1erEBsXjc9EREHG09VoF1wvMbTunjBQHDmnFO03BeEnrLeZBqQJhrpqaoeKeZjwXKFH8ETYXxXhn546PxTN3bGJ0vU6FkwdszVk/s1600/technobabylon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiODsVzdpc3AvrY2qI9UzfDC5XeBQSdRkCvzJ4zb8lUf1erEBsXjc9EREHG09VoF1wvMbTunjBQHDmnFO03BeEnrLeZBqQJhrpqaoeKeZjwXKFH8ETYXxXhn546PxTN3bGJ0vU6FkwdszVk/s320/technobabylon.jpg" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">Of all those here, <i>Technobabylon </i>is probably the one that you are most likely to have heard of. It's with good reason as well, as it features a creative setting, no third answer complex moral decisions, and great character driven storylines. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The year is 2087, and the game is set in the far future city of Newton. After a hellish series of wars, the world has come to some degree of stability in certain areas, with Newton falling under the control of the benevolent A.I. Central. Unfortunately, all is <i>far </i>from well within the city. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Latha, an unemployed and agoraphobic hacker with a VR addiction, is almost killed by a mysterious bombing effort which destroys her run-down apartment. At the same time, the technophobic and jaded police officer, Doctor Charlie Regis, finds himself blackmailed while following a case surrounding the mysterious serial killer known as the Mindjacker. His partner meanwhile, Doctor Max Lao, begins to uncover details behind Regis and the city which begins to break her optimistic outlook on Newton.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The story is complex, engaging and as cyberpunk as they come. If you have even a passing interest in the point and click genre, this is most definitely one for you.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/227000/Primordia/"><span style="color: red;"><b>Primordia</b></span></a></span><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHXPF-qn_odVOc9HV3CqTd5YUrKQWY1eLHRDWQuheqnvqjXxYfRihce9m98TakfAr6MAiq9imWEC9Vf3MCkYqlfyy27EQLERGN1yUQhYbDEO7oiE-rKJ-6RRia9QR90UubaDzmSfKjsw7c/s1600/primordia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHXPF-qn_odVOc9HV3CqTd5YUrKQWY1eLHRDWQuheqnvqjXxYfRihce9m98TakfAr6MAiq9imWEC9Vf3MCkYqlfyy27EQLERGN1yUQhYbDEO7oiE-rKJ-6RRia9QR90UubaDzmSfKjsw7c/s320/primordia.jpg" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">From one form of dystopia to another, <i>Primordia </i>is as post-apocalyptic as it comes. Set in the decaying remnants of a doomed civilization, the world is on the brink of complete annihilation. Some would argue that it has long gone past that point, with humans now little more than a distant memory and the few machines still working beginning to fail.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The story follows Horatio NullBuilt version 5, and Crispin Horatiobuilt version 1, two robots living in the remnants of an ancient flying battleship. However, their lives take a turn for the worse when a massive flying robot hacks its way into their home, shoots Horatio and steals the power source they need to stay alive. From there, things gradually take turns for the worse.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The game's grimy and decrepit locations would be well worth the price alone, having the sort of haunting beauty that all too many post-apocalyptic games lack these days. However, in addition to this, there is such a skewed and twisted sate of morality and culture among the robots that it influences the very logic of the puzzles. If you're after a game which will stay with you for months after you're done, <i>Primordia </i>is at the top of this list.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<a href="https://store.steampowered.com/app/336130/Shardlight/" style="font-family: Arial, Helvetica, sans-serif;"><span style="color: red; font-size: large;"><b>Shardlight</b></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9nOCU5iFUyLkpvRz7WxUAWKuSuC9QY51EqnAT_eoqxsUkBTOIHZHDP-dMGrKwzqtOqUihfYu573pq3OgGQctXeZSvsIjTEipKYx1L-v5M9_BL54nYwAlhECl9WOo-zk09-KUcvKaiHvLc/s1600/shardlight.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1280" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9nOCU5iFUyLkpvRz7WxUAWKuSuC9QY51EqnAT_eoqxsUkBTOIHZHDP-dMGrKwzqtOqUihfYu573pq3OgGQctXeZSvsIjTEipKYx1L-v5M9_BL54nYwAlhECl9WOo-zk09-KUcvKaiHvLc/s320/shardlight.png" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">If somehow you felt that <i>Primordia </i>wasn't a dark enough game for you due to its science fiction trappings, <i>Shardlight </i>ups the ante. Where <i>Primordia </i>is the <i>Matrix </i>crossed with <i>Fallout</i>, this is very much a <i>Mad Max</i> meets <i>Children of Men</i>. It's as engagingly depressing as you would imagine on every level.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Following a World War III where no one was truly victorious, humanity has ruined itself almost beyond recognition. Millions live in shanty towns, while the Aristocracy attempts to both keep control and save off a growing plague, and the Acolytes of the Reaper death cult grows in strength. Amid all of this, Amy Wellard, a young girl who was barely five when the world ended, attempts to make a living from any junk which still works.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Saying anything more about the story would open it up to huge spoilers in terms of both thematics and narrative. However, I will say that the puzzles here are among the most creative out of all the games and the small scale immediate consequences of your actions are among the hardest hitting. It's not for everyone, but <i>Shardlight </i>remains a strong game on this list of greats.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/80310/Gemini_Rue/"><b><span style="color: red;">Gemini Rue</span></b></a></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDe9xYF_oOit0PbUFU4N9K4QzO5kwYqIbRlSgQfSPmesGW4yIz9N0X0YBDYm6L4zY_x4hhPE5U8TVey-DgWY4jVYyzzg7O0zmr9QIhdUOtrOiOgnkcUgbzaagorEB2ydurInu0iQRFLIcU/s1600/Gemini-Rue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1280" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDe9xYF_oOit0PbUFU4N9K4QzO5kwYqIbRlSgQfSPmesGW4yIz9N0X0YBDYm6L4zY_x4hhPE5U8TVey-DgWY4jVYyzzg7O0zmr9QIhdUOtrOiOgnkcUgbzaagorEB2ydurInu0iQRFLIcU/s320/Gemini-Rue.jpg" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">A science fiction noir game set in a dark future (noticing a trend yet?), <i>Gemini Rue</i> follows the story of two people: Azriel Odin, a former assassin turned redemptionist killer, and a mind-wiped man by the name of Delta-Six or "Charlie" who seeks to escape from a prison facility when more underhanded acts become obvious. Oh, and this is set so far into the future that the Boryokudan - the space Yakuza - own their personal system in the Gemini galaxy. And you're right in the middle of it.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">With many ideas, themes and key pointers being taken from <i>Blade Runner</i> among other places, this one leans more toward the noir side of things over outright science fiction. A key point within the tale hinges upon memories, identity and themes of how much each impacts the other. A key point in the endings focuses on how certain elements can be complete constructs, reshaping large swathes of our histories.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Even the very presence of the game's events is intended to play with the player's perception of the world, and this is before you get into the <i>really </i>mind breaking stuff. If you don't mind a bit of darkness for an engaging story and the need to earn your happy ending, give this one a look.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="color: red; font-family: Arial, Helvetica, sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/212050/Resonance/"><b><span style="color: red;">Resonance</span></b></a></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVqEC_foR9mZBfRiwe9-U2tszOZ5cAeK59Gh6r5NjxQKSP4aZvj4CpTRY8le0S4SjL0FNCDfJDBQm-7Pc3u-hfwbfgSsO26ZViTz9T7sHt6_4hSZcnkXtzjFsyQwjKFQYKhtEVeeSrF_P/s1600/resonance.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVqEC_foR9mZBfRiwe9-U2tszOZ5cAeK59Gh6r5NjxQKSP4aZvj4CpTRY8le0S4SjL0FNCDfJDBQm-7Pc3u-hfwbfgSsO26ZViTz9T7sHt6_4hSZcnkXtzjFsyQwjKFQYKhtEVeeSrF_P/s320/resonance.jpg" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">Following an effort to find a new source of energy for the world named resonance, Professor Javier Morales' experiment blows up in his face. The destructive capacity of his creation is astounding, and it comes down to a rag-tag group of heroes to uncover the secret behind the Professor's creation before darker forces find it first.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">This game follows a very broad ensemble of characters consisting of Ed, Dr. Morales' research assistant, Anna, a doctor and Morales's niece, Ray, a journalist and Bennett, a detective. The trick is just who you might end up with, if they survive the story, and how they work together. While there is a lot of generalizing throughout the tale, the impact of who dies and who lives still stays with you. It's the <i>Until Dawn</i> of point and click adventure games in that regard.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><a href="https://store.steampowered.com/bundle/6377/The_Blackwell_Bundle/"><span style="color: red;"><b>The Blackwell Bundle</b></span></a></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4TzGGFv-hPlgzgLwgng37HyeuHqQ_FgkDvmwN_6YAT0tjjzy8YREk_n5wtpdnz54VFlZhAYAPIiG9K5edTm-TeVFA-Nzy3cAGDEeUYDc42-J48Py_As9LhOUxNqVq1L98pP9Gv473c_bS/s1600/blackwell-epiphany.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4TzGGFv-hPlgzgLwgng37HyeuHqQ_FgkDvmwN_6YAT0tjjzy8YREk_n5wtpdnz54VFlZhAYAPIiG9K5edTm-TeVFA-Nzy3cAGDEeUYDc42-J48Py_As9LhOUxNqVq1L98pP9Gv473c_bS/s320/blackwell-epiphany.jpg" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">This one is cheating a bit. Why? Because it's not one game for under £5.00. No, it's a series of five games for £5.81. Honestly, if you're after the one with the most content, this is it right here. The <i>Blackwell </i>series follows a few tropes you have seen up to this point, with noir stylings and an emphasis on a long term mystery. However, the twist comes in the form of its protagonist, Rosangela Blackwell. A jaded and bitter writer, she finds out that she is a spiritual medium and is driven to help the tormented souls of those long gone. This leaves her teaming up with Joey Mallone, a tailor turned spiritual guide.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The series is notable for its sense of legacy along with the strength of its world-building elements. With the fantasy elements kept largely to a very controlled and focused level, it becomes far more of an urban fantasy outing than a full-fledged blend of the two genres. This means you need to keep guessing what you are going to get next, and half the time its puzzles require you to think in terms of which genre conventions apply at the time. This makes it a highly engaging outing, even without discounting its advantage on this list.</span><br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="color: red; font-family: Arial, Helvetica, sans-serif; font-size: large;"><a href="https://store.steampowered.com/app/252370/The_Shivah/"><b><span style="color: red;">The Shivah</span></b></a></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixsy1ojsridcXF3Bc1u0PiZT_IQ8e9Q51abTEeiucZ-2yIpk7U4CEjRPeqovPY3IowSgfizqxMdzBVRpIQ6aHaYIcbv6s-VmKVFGYtpkB3588e6OCOmpotimucGuOogjha9_0vTshB4l7v/s1600/The_Shivah.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixsy1ojsridcXF3Bc1u0PiZT_IQ8e9Q51abTEeiucZ-2yIpk7U4CEjRPeqovPY3IowSgfizqxMdzBVRpIQ6aHaYIcbv6s-VmKVFGYtpkB3588e6OCOmpotimucGuOogjha9_0vTshB4l7v/s320/The_Shivah.png" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">Rabbi Russell Stone is a conservative Jew who is slowly losing his way in life. With the loss of many of his congregation, a dwindling faith in God and having fallen heavily into depth, he is on the brink of death when fortune seems to throw him a bone. A deceased member of his faith leaves him a substantial fortune in his will, allowing Stone to rapidly resolve a multitude of monetary problems overnight. However, things just do not add up. The dead man, Jack Lauder, had been estranged from Stone for years and had shown him little love. As things make gradually less sense the more he thinks about them. Stone decides to delve into the matter in person.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">This one is an interesting take largely due to its protagonist. Stone is as well rounded and developed a character as you would expect for a game of this nature, but his role as a Rabbi plays into the story multiple times, in both mechanics and dialogue. While you won't be throwing the Star of David as a giant shuriken or calling down lightning, the questions posed and knowledge of its basic teachings can help to give you an edge. These are worked brilliantly into the game, and it adds a surprisingly nuanced layer to what would have easily been heavy-handed nonsense.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So, there's eleven games to think about. You can expect more in the weeks to come, but each of these is a great starting point if you're looking for something new to sink your teeth into.</span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-40674832187939127922019-06-26T01:41:00.001+01:002020-03-31T16:36:56.046+01:00The Most Underrated British Tank of World War II<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hCkkj_BUCgrGlLnZAFAPjEE5rcjamGp8hdxlmR42NzS0ZF3nEYBEeAXi-SQQupROHxxvdhB3rzYIO4ETHNmjpFqOd5rs6pm3k-VsKCCgUVuuF26w609Vpci5093IHs6CsTPqCMCtdLaj/s1600/ThisHasNothingToDoWithTheArticle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="317" data-original-width="400" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hCkkj_BUCgrGlLnZAFAPjEE5rcjamGp8hdxlmR42NzS0ZF3nEYBEeAXi-SQQupROHxxvdhB3rzYIO4ETHNmjpFqOd5rs6pm3k-VsKCCgUVuuF26w609Vpci5093IHs6CsTPqCMCtdLaj/s320/ThisHasNothingToDoWithTheArticle.jpg" width="320" /></a></div>
<div>
<br /></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Historical articles on this website are few and far between at the moment, but this one really needed to be made. Why? Because for some reason everyone I bump into keeps thinking that this tank was a failure. It might be due to its design, or perhaps even the fact it lacked so glorious a history as some of its competitors. However, the scorn surrounding it is alarming, when it had one of the highest success ratings of the entire war</span><br />
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">When you think of British tanks in this era, you typically think of a lot of failures. Like most nations, Britain experimented a lot with its builds, starting badly and improving dramatically toward the end of the conflict. There was, after all, a good reason why the UK benefitted from the likes of the Chieftain and the Centurion during the Cold War. So, there were many to choose from but this is the one which keeps getting the bizarre amount of hate:</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnqh6vpcbHjq_zfhx_RSob4QnLeoNCfUPwcKCMcAFsUWbGcbL3rQNXBX7UeEH7rznwMNMvCK6qbPjyh7spHcLAhWrxbGnAsqjDwreeuJzzjfXPsX1zlPgj6j6JwYafe3CHsjuEhP51tj7P/s1600/ChurchillCrocodile.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnqh6vpcbHjq_zfhx_RSob4QnLeoNCfUPwcKCMcAFsUWbGcbL3rQNXBX7UeEH7rznwMNMvCK6qbPjyh7spHcLAhWrxbGnAsqjDwreeuJzzjfXPsX1zlPgj6j6JwYafe3CHsjuEhP51tj7P/s320/ChurchillCrocodile.jpg" width="320" /></a></div>
<div>
<br /></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">One of Hobart's Funnies - an informal name for Major-General Percy Hobart's experimental builds - this tank was a modified Churchill Mk. VII. Reworked and rebuilt, the VII was in mass production at the time and a limited number of them were set aside for special projects like this one. The tank was reworked to fit a hull-mounted flame projector onto its hull along with a fuel trailer, and thus was born the Churchill Crocodile.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Various nations had been experimenting with various flamethrower tanks for some time now, usually with mixed results. This might be the source of some of the derision this vehicle gets, as its role has it listed along with disasters like the Italian L6 Lf flame tank, or the modified Type 95 Ha-Go. However, they proved to be highly effective in their own right for a multitude of reasons, least of all being the sheer terror that the Crocodiles could inspire in enemy troops.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Rather than going in firing, the Crocodiles needed only the implication of their use to win fights. They could advance toward an enemy target with all the benefits of a Churchill's heavy armour, and spray an enemy position with fuel from the flamethrower itself. Note that I said fuel rather than fire, as the petrol in this thing could be shot without igniting it. When approaching a bunker or fortified position, it could soak the entire thing in highly flammable substances, and then wait, just threatening to set it on fire.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The brilliance of this is that it effectively left the enemy soldiers with only two options - Run or surrender. After all, what were they going to do? Shoot back? They get burned to death without inflicting much damage. Manage to blow up the Crocodile? Even a stray spark from it would likely ignite the fuel leading to the bunker. Make a desperate charge against it? The Crocodile was made with anti-infantry use in mind, they're playing into its hands.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf50FoqFOGEddR2NAc1XD6gL28H6yTs3S-YiyznWz2D6fz-rbUgVTJAoPsw36H4O4EJT_iG44pvmWQqkJ_1v7YwU6AYCbjYlRiZI8AxaVpAA7P0Xez-H-8X1IwJcH4WCTz2qu4j8-9Nvgs/s1600/ChurchillFlamethrower.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="232" data-original-width="500" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf50FoqFOGEddR2NAc1XD6gL28H6yTs3S-YiyznWz2D6fz-rbUgVTJAoPsw36H4O4EJT_iG44pvmWQqkJ_1v7YwU6AYCbjYlRiZI8AxaVpAA7P0Xez-H-8X1IwJcH4WCTz2qu4j8-9Nvgs/s320/ChurchillFlamethrower.jpg" width="320" /></a></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Given that the flamethrower had a spraying capability of between 120 and 150 yards depending upon sources, it could get them from a relatively decent range for a weapon of its type. This made them very effective siege breakers, and more than a few bunkers tended to surrender within the first one or two ranging shots. As such, it basically showed up and won its fights when used properly. Even without being used against those targets, however, it was a highly effective terror weapon and it could send troops running at a moment's notice.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Yet there was an even greater strength to the vehicle atop of all of this. The Crocodile was still a Churchill Mk. VII at the end of the day, with all the advantages that offered. Even if its flamethrower ran out of fuel or it was jammed un some way, it still had both its main turret and machine gun to fall back on. If needed, it could even use all three at once. As such, it could still serve in its intended role as an infantry tank with few to no problems. This gave it a level of versatility that a number of its contemporaries lacked, thanks in part due to the Churchill's design, but also retained its overall combat effectiveness against a broad range of targets.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is, admittedly, the cliff notes version of what it was capable of, but it's also most of what you need to know. The Crocodile was a good, generally effective, tank built for a specific role that it more than excelled at. Perhaps its only sin was falling behind technologically so that it was phased out before the next war, but that happened to most tanks of this era. </span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi_v1On0iCpYCBDsRrOykTZmmArJPJA2ipfXkvKKnCiopItxbEJw_PFXY3QTKH9lPHZcylebiwGcZTfOyUF7bIYzVMZcaT6sMkEqMutS-f__TpBzZcROZ-rJL9eJInRoESDK8QZX1c_eWe/s1600/flamethrower_tank.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="960" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi_v1On0iCpYCBDsRrOykTZmmArJPJA2ipfXkvKKnCiopItxbEJw_PFXY3QTKH9lPHZcylebiwGcZTfOyUF7bIYzVMZcaT6sMkEqMutS-f__TpBzZcROZ-rJL9eJInRoESDK8QZX1c_eWe/s320/flamethrower_tank.jpg" width="320" /></a></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-13134306635982925192019-06-24T08:11:00.001+01:002019-06-24T08:11:14.630+01:00Reviews Delayed Due to Battlefront II Shenanigans<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvwEM8Gt8g6I65ewFewypdL7uACtXs8tPBMqgqqGWdexTRtbq7W8KxATkHQWpaKh9cpazcWTxBB2tTz_Qz2ziYK-xw0LNWn6XtmHkiUw5k8UO_rSXyOSjtbSu6ZHFLvhaNWur7mVmg8kC4/s1600/scrublord.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="404" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvwEM8Gt8g6I65ewFewypdL7uACtXs8tPBMqgqqGWdexTRtbq7W8KxATkHQWpaKh9cpazcWTxBB2tTz_Qz2ziYK-xw0LNWn6XtmHkiUw5k8UO_rSXyOSjtbSu6ZHFLvhaNWur7mVmg8kC4/s320/scrublord.jpg" width="237" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So, I don't have a review for today, but I do have content. After managing to find others very interested in the original <i>Battlefront II</i>, we engaged in madness. Also, the Star Wars version of the Battle of the Somme.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/wiFCAAuT8Ys/0.jpg" src="https://www.youtube.com/embed/wiFCAAuT8Ys?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-81338700528752482342019-06-20T01:00:00.002+01:002020-12-23T22:59:41.150+00:00Star Trek Discovery - A Flawed Journey<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUV5DkQOKXaRfie08UmSrOex1ZlZUysyjIO5prBwzu72ElLV7aO3wuZ-Lbc21T65yqnJPUf7c4I5n9QmGektcEzVSnZaHJDyHVtAc8BTZKmLqMNfJYKGMObXB7WLQ-hiO5lb6QNIlrCcf/s1600/startrekdiscovery.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="350" data-original-width="590" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUV5DkQOKXaRfie08UmSrOex1ZlZUysyjIO5prBwzu72ElLV7aO3wuZ-Lbc21T65yqnJPUf7c4I5n9QmGektcEzVSnZaHJDyHVtAc8BTZKmLqMNfJYKGMObXB7WLQ-hiO5lb6QNIlrCcf/s320/startrekdiscovery.jpg" width="320" /></span></a></div>
<span style="font-family: arial;"><br />
<br />
<span face=""arial" , "helvetica" , sans-serif">Despite being a long time fan of <i>Trek</i>, <i>Discovery</i> is a series which I have yet to properly discussed on here. In truth, part of that was to try and avoid the controversy surrounding the series given how it had split the fandom, and part of it was to just give it a chance to spread its wings. Outside of <i>Deep Space Nine</i> and the original series, every <i>Star Trek</i> incarnation has typically suffered from a horrible start, and it's rarely anything besides its weakest episodes which show up first. With that in mind, <i>Discovery </i>was no exception in this regard. It fell squarely into the middle, but that was only due to the horrible beginnings of <i>The Next Generation</i>, <i>Voyager, </i>and <i>Enterprise</i>, which isn't a high bar.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">So, by the end of the second season, my opinion has come down to this - It's a series that I like bits of, but I desperately want to be given a reason to love it.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">Let's get into why to start with.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<br />
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgPiX4GV8N6yzkwiEIxrbirw1fkaD0uD9jbglJdSgHfbweyipdcMpv0j2MHkvxS-vJL_z1vdFGK02h7ORytdgJWbaQ4VNRiUJbxD2RqOWOySrnYgIveu1h6dq4jMWiQcTX2xZFIx3DwpVO/s1600/startrekdiscoveryklingon.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="534" data-original-width="950" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgPiX4GV8N6yzkwiEIxrbirw1fkaD0uD9jbglJdSgHfbweyipdcMpv0j2MHkvxS-vJL_z1vdFGK02h7ORytdgJWbaQ4VNRiUJbxD2RqOWOySrnYgIveu1h6dq4jMWiQcTX2xZFIx3DwpVO/s200/startrekdiscoveryklingon.jpg" width="200" /></span></a></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">Now, a big point of controversy at the time were major changes done throughout <i>Discovery</i>. This was evident in the level of technology present and even the very designs of the aliens they meet. Some could be excused for a variety of reasons (and to a degree they were) given the nature of how dated the original Enterprise looked. I might be a big fan of <i>In a Mirror, Darkly</i>, but I will freely admit it would be very difficult to film an entire series on a ship with that look these days. Others were sadly much more difficult to stomach. The Klingons turning into a hybrid of Middle-Earth Orcs and <i>Warhammer 40,000's</i> Dark Eldar was the big one, with little of their original identity remaining. Plus, Klingon was a rather frustrating language to listen to for minutes at a time.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">Most of this could have been fixed as it went on, but many of those fixes felt as if they were very begrudgingly written into the later stories. The Klingons were largely fixed, but their designs were limited to glimpses compared to what we had before. We see a ship with a <i>very </i>nice balance between <i>Discovery </i>and <i>Star Trek: The Original Series' </i>aesthetics, but it only crops up in the final episode. Plus, when it did need to address a major plot hole or huge inconsistency, the writing typically went for the fastest and laziest route possible. This is most evident in how the series tried to wrap up all of <i>Discovery's </i>problems at once in the finale, but it did so in a way which largely resolved very little.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">While going into the exact details behind this would be problematic bordering upon spoiling most of <i>Discovery</i>, consider this for a moment: During <i>Voyager's </i>return journey and the entire Dominion War, what was to stop Starfleet using a drive which was a hundred times more efficient than their current FLT? The answer: Because they agreed never to talk about it again, and a flaw came up which they didn't bother to investigate further. Really, that's it. The rest of the plot holes in the big story are typically no better.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<br />
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDyhGI51YhV55tXapfdkMDW1VlxVwu3kwmtwJz9EG0FhGYwWzHBDML_gKyR1tjpOvWe9K5IrWl4oCN82QtD2iBxjTUgkaF6KRriVH6CdFDqERkxF2XZcGuh_1tgT1-OOvwNW38eY7ZM7WI/s1600/sporedrive.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="273" data-original-width="550" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDyhGI51YhV55tXapfdkMDW1VlxVwu3kwmtwJz9EG0FhGYwWzHBDML_gKyR1tjpOvWe9K5IrWl4oCN82QtD2iBxjTUgkaF6KRriVH6CdFDqERkxF2XZcGuh_1tgT1-OOvwNW38eY7ZM7WI/s320/sporedrive.gif" width="320" /></span></a></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">This is to say nothing of how it undermined itself. <i>Discovery </i>often treated itself as a science show, but used the worst possible science. The use of mushrooms as a god-entity was so facepalming that I honestly gave up on the series almost as soon as it was introduced. The problem was, it only became worse as it went on, and became progressively dumber. From describing mushrooms as the only lifeform which links life with death to giving it a better FTL than Warp travel, it just kept doubling down on its stupidity. This ended up with the Mycelial Network, as it became known, making it seem like the multiverse was one spill of Greenclear away from total destruction. Say what you will about <i>Star Wars' </i>Force, but that at least treated itself as a largely magical entity with some link to microscopic lifeforms. The </span><span face=""arial" , "helvetica" , sans-serif">Mycelial Network came with a message of "mushrooms are both heaven and the walls of reality".</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">Now, this might sound like I am harping on the series' flaws, and it admittedly is that case. However, it highlights the broader problem within its stories. The macro elements of the arcs often overshadow the better ideas evident in its smaller parts, or when characters are given a chance to properly grow. Even when they are poorly written, the parts themselves are very well acted, and the actors visibly jump onto any chance to give scenes more life. This results in scenes like<span style="color: red;"> </span><a href="https://www.youtube.com/watch?v=CsUd-S4Ln9I"><span style="color: red;">this</span></a> being a beautiful representation of what <i>Star Trek</i> is about, but they are often buried within large stories or ideas which are boneheaded or downright stupid. In that episode's case, the ideas behind it only became more problematic as answers were offered as to the mystery behind it.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<br />
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_6z0AayAbkewVsG8lkNgBCEa4vt2OdQ4ZqN0DGj0-snlMDX8Vwgt9d4ehsNxQxSOAUNCrnpNCM22wMz4TxMGE1xd4x8jmp2iSaynrFLfjVj7CvYzoq4_Rzn5OmVgV4mgwdkK-Z94ZvEKb/s1600/StarTrekDiscovery2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="1200" data-original-width="1600" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_6z0AayAbkewVsG8lkNgBCEa4vt2OdQ4ZqN0DGj0-snlMDX8Vwgt9d4ehsNxQxSOAUNCrnpNCM22wMz4TxMGE1xd4x8jmp2iSaynrFLfjVj7CvYzoq4_Rzn5OmVgV4mgwdkK-Z94ZvEKb/s200/StarTrekDiscovery2.jpg" width="200" /></span></a></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">This isn't to say that <i>Discovery</i> has not improved in some ways, however. While still very flawed, the second season was a notable improvement over its first for many reasons, chief among them being a better focus. In the first season, the entire series was treated as being a war story with the ship on the frontlines. The problem was that this made it joyless and we had nothing to be happy about. It then kept dodging around showing the frontlines themselves, and diverted itself into a Mirror Universe story arc which resulted in an extremely </span><span face=""arial" , "helvetica" , sans-serif">truncated </span><span face=""arial" , "helvetica" , sans-serif">overarching plot. Equally, a number of decisions were made for the sake of plot rather than making sense, which led to some facepalming decisions on the part of many characters. These are ones which could be argued were mistakes made in the heat of the moment and during heightened emotions. However, the story so very rarely frames them that way. It also didn't help that the finale just didn't offer enough to engage the watcher, and felt like a push just to wrap up things ASAP over a more dynamic character piece.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">When the second season rolled around, there was a better focus on a single broader story idea. It wasn't nearly so dominating as the war idea, and there was a mystery to it which was engaging. It allowed for more room to explore other themes and to give a few characters some much needed time for growth and focus which the original episodes had lacked. Combined with a better sense of humour and humanity, it felt as if <i>Discovery</i> was not trying to be a <i>Battlestar Galactic</i> knock-off so much as a proper <i>Star Trek</i> show again. It had problems, certainly, but it there was much more of a sense of direction behind it. Plus, there was room to have some more episodic content among the broader stories which did not feel out of place against the major arc. Or, for that matter, so utterly joyless.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">To give a comparison between the two seasons: In the first season, there were only three characters I cared about: Tilly, </span><span face=""arial" , "helvetica" , sans-serif">Georgiou </span><span face=""arial" , "helvetica" , sans-serif">and Lorca. Tilly felt like a Wesly Crusher done well, with the awkwardness and uncertainty needed to balance out her brilliance. She was given time to shine and - even with a few irritating points relating to learning disabilities - </span><span face=""arial" , "helvetica" , sans-serif">Mary Wiseman's performance gave it a direction which reflected both fantastically. For a character who could have easily been the Neelix of the ship, she instead became the Data in my eyes. Lorca, meanwhile, showed far more of a depth that previous characters of his nature had lacked. Jason Isaacs is a brilliant actor no matter his role, but even the writing gave him less of an out-and-out "bad boss, oh, and I am <i>really </i>bad" direction. Instead of simply being evil and cruel, he seemed more like a driven and desperate man who would not suffer insufferable geniuses lightly. It's saying something when he so easily fitted into Starfleet during its desperate war. It's just a shame that his story ended how it did.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">By comparison, the second season introduced more developments which helped to flesh out the crew as a whole. Saru (played by the ever-awesome Doug Jones) was well acted and had a fantastic design, but lacked staying power within the story. Getting both his own arc, more of a say within how events went and shedding light on his species went a long way to making him far more engaging as a character. He became a sort of "reverse Worf" which helped to make it all the more surprising when he underwent a very different character arc than would be associated with his role. Stamets, meanwhile, went for being "the arsehole" to someone with more of a grounding in terms of the universe's mysteries and a sense of loss which helped to give him a level of focus he so desperately needed. This made him much more likable and engaging than most of his first season material.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<br />
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxZF4wCIn54Cq4anecyD8Qbe4TA0JkGGKUDMcKcqmCN6xqyGdKuhVEqO4vODgA1bG2aClbguGGJ5E_mopbUCa-tiIgMQ-SCENE7-hXgITIhoX2mY5pC5OQYERFRKR6I6nNeDEy3dTB8543/s1600/star-trek-discovery-season-2-pike.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="464" data-original-width="825" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxZF4wCIn54Cq4anecyD8Qbe4TA0JkGGKUDMcKcqmCN6xqyGdKuhVEqO4vODgA1bG2aClbguGGJ5E_mopbUCa-tiIgMQ-SCENE7-hXgITIhoX2mY5pC5OQYERFRKR6I6nNeDEy3dTB8543/s200/star-trek-discovery-season-2-pike.jpg" width="200" /></span></a></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">Atop of these, the inclusion of Christopher Pike as a contrast to Lorca helped to round out the group and their dynamic. He felt much more distinct in his role and his more upbeat presence helped change the atmosphere of <i>Discovery</i> for the better. It was a much better indication of what Starfleet's Captains should be than most of what <i>Discovery</i> had offered to that point, and he honestly became a high point within the series. Especially given the revelations he undergoes which adds a lot more depth to his character's eventual fate. It's also a damn shame we did not get more of Number One - really, we don't even get her proper name - than just a couple of episodes, as Rebecca Romijn proved to be a huge upgrade over the more tertiary characters who were never fleshed out.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">The reason this was so fleshed out here is that it showed probably the biggest change within the series: Michael Burnham. Michael is a point of contention among watchers, and it's not without good reason. It's also not down to Sonequa Martin-Green's performance, as I would honestly say that it would have been far worse with a less capable actress in the role. Really, her talents are mostly what makes the character work over the writing in many places. However, the real problem lies in two elements here - Firstly, it was clear that the writers were in love with the character, and the overall story suffered as a result. Secondly, <i>Discovery</i> often ended up overexposing her to the detriment of other characters.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">Think of the pilot for a moment. Michael is the key focus in all of this and the story is squarely set upon following her above all others. The problem is that she contributed not only to a weak opening, but it meant that the entire first season was "orbiting" her. Every plot development was associated with her relationship to her, most characters were (at least initially) heavily defined by how she related to them, and the big twists were concentrated on her own histories. The problem was that she wasn't so much a part of the series as being <i>the </i>series in its whole. You could remove Kirk from the original <i>Star Trek</i> and, while you would lose a key part of it, the series could keep going on the strengths of its other characters. Equally, you could watch <i>The Next Generation</i> while hating Riker but still enjoy most episodes. <i>Discovery's </i>first season lacked that benefit, and this was only somewhat rectified during its second season.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<br />
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmZ7xY16n-DjZUhQEPxH6FYI21QWngRCVtmBEAkQR0ffzELfOcNcSfiysFGw2N-cZBToLdqe2eX6yTIQ9Mr7hNk-0FkE2O4BoOIkYPVV5sHMk-fyRN6DOuJLyUEnG7uZQ_QtCk8WtvkPbE/s1600/star-trek-discovery-burnham.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="440" data-original-width="620" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmZ7xY16n-DjZUhQEPxH6FYI21QWngRCVtmBEAkQR0ffzELfOcNcSfiysFGw2N-cZBToLdqe2eX6yTIQ9Mr7hNk-0FkE2O4BoOIkYPVV5sHMk-fyRN6DOuJLyUEnG7uZQ_QtCk8WtvkPbE/s200/star-trek-discovery-burnham.jpg" width="200" /></span></a></div>
<span style="font-family: arial;"><span face=""arial" , "helvetica" , sans-serif">Equally, Michael's story ended up being equal parts frustrating and facepalming. The decision to make her Sarek's foster daughter was a bold but ultimately poor one. An apprentice or disciple would have worked, by this is such a fan-fic of an idea that I am amazed they went with this. It was less making her important and more of the "Look, my new character is special!" you see with bad DeviantArt OCs or the like. This only paid off somewhat with her relationship with Spock in the second season, but it was only then made worse by the whole Red Angel reveal. </span><span face=""arial" , "helvetica" , sans-serif">It just took up scenes at a time. The ideas behind her tale became overwhelming until the audience could end up disengaged by it, where her backstory was repeated so often it was white noise. By the time it resolved her character journey in the first season finale, I just did not care anymore.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">It honestly seems like a good deal of the initial hate for <i>Discovery</i> was linked to a dislike for Michael, as she seemed to just take over everything. It was a more extreme version of what we ended up with of Seven of Nine on <i>Voyager</i>, and then ramped up to eleven. I make no apologies for that pun. The attention given to her exceeded what the series needed, until it was eclipsing other characters, resulting in the much-needed change of the second season.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">As a result of all of this, <i>Discovery </i>seems like a program which started awkwardly but keeps trying to take one step forward only to stumble back again. I truly hope that the lessons learned here make for a much stronger third season, and there are individual bits which certainly benefit the series overall. With that said, it still keeps fumbling with many essential ideas and it can't strike a proper balance needed to properly stand out on its own. With the loss of Pike, Spock and Number One, it will be losing a major benefit that helped the second season, so it remains to be seen just how this will play out.</span><br />
<span face=""arial" , "helvetica" , sans-serif"><br /></span>
<span face=""arial" , "helvetica" , sans-serif">At the moment, <i>Discovery</i> really seems like a series where you need to force yourself through a lot of bad to get to the individual good moments, or great performances. But, as the intro to this article said, that was true of most of its predecessors as well.</span></span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-60601900339015598872019-06-17T01:37:00.002+01:002019-06-22T12:46:40.482+01:00Spear of the Emperor by Aaron Dembski-Bowden (Warhammer 40,000 Book Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtyim3JnirLjbHRTtzQuiyAbwAgnbnuuApKjIA1If1URURSb4CRggMWAz_vkZ7TbXdBEwuVebiMFNxcVP05zx0Dj0myey3N4FvbuP9JUMVup1OWrLSjRR3P7bz7D_vs33M59wcIq2MvjjS/s1600/EmperorsSpears.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1061" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtyim3JnirLjbHRTtzQuiyAbwAgnbnuuApKjIA1If1URURSb4CRggMWAz_vkZ7TbXdBEwuVebiMFNxcVP05zx0Dj0myey3N4FvbuP9JUMVup1OWrLSjRR3P7bz7D_vs33M59wcIq2MvjjS/s320/EmperorsSpears.jpg" width="212" /></a></div>
<div>
<br /></div>
<div>
<br /></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Dembski-Bowden is someone who favours the past. Really, the chances are that if you have read any of his more famous series, they are situated firmly before the end of M42. There's a good reason for this, as he favours tragedies and dark endings where there is little to no hope for tomorrow. That and, well, his use of previously established history is one of his more common storytelling elements. So, to see him writing a book which is set in the modern age of the Imperium Nihilus was a remarkable break from his typical tends. As was his choice of an otherwise unknown, and seemingly unnoteworthy, chapter without any established history to them.</span><br />
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, does this pay off? That depends heavily on how much you enjoy his usual themes, in all honesty.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Synopsis</b></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">On the fringes of Imperial space, the Emperor's Spears stand vigil over the Emperor's domain. As the last of three once mighty chapters tasked with guarding their territory against the outer dark, their numbers are stretched thin beyond measure. Yet as the Imperium Nihilus spews forth ever greater numbers of heretics, daemons and rebels, they continue to hold the line.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The Spears' isolation is broken only by the arrival of a heavily damaged frigate, bearing a representation of the Mentor Legion. Tasked with judging the Spears and the state of their territories by Guilliman himself, Amadeus Kalus Incarius is given the duty of deciding their future. As war continues to grip the sector, Amadeus finds himself facing animosity for not only his duty, but his very origins...</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Good</b></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is very much both a narrative and a lore story in one. Much like <i>Brothers of the Snake</i> before it, the book seeks to both offer a chapter to flesh out and highlight the very nature of space marines. Yet where Abnett focused upon elements of nobility and what separated them from humans, Dembski-Bowden went in the opposite direction. This one yangs for every time that book yinged, but it does so with an obvious goal behind it. We see how the Spears are both extremely atypical of both Ultramarines successors and chapters as a whole, giving new dimension to the Adeptus Astartes. This is especially noteworthy as they retain a much closer relationship to their citizenry, but they are almost scorned because of it.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Many essential details within the story are easily established and developed as you might expect, through the plot itself. While this is commonly commented upon and praised when an author does it well, Dembski-Bowden should be highlighted as a master of this style. There is never a single moment where the story drags itself to a halt in order to explore things or even feels the need to divert everything to focus on one idea. Even in those few moments where it is diverted to explore an idea through a scene, both character development and greater narrative impact more than excuses it.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">What might also be surprising to many readers - especially after that introduction - is that the viewpoint character himself is not an astartes. Instead of Amadeus or even a member of the Spears, it is instead one of Amadeus' accompanying humans who we follow throughout this. Anuradha Daaz, a heavily augmented helot, serves as the viewpoint character. We see events through her eyes, and gain a better impression of both chapters because of this. Along with a commentary on how the Mentors act through both her upgrades and relationship with her master, we see how the Spears subvert ideas. Her predictions and attitudes towards the astartes emulate common views both in and out of the universe. This helps to more easily display just how the Spears differ from conventional chapters, and to make their personalities more distinct. This is evident not only in how they treat humans, but also in how they regard themselves or other groups.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Lastly, however, the book also takes full advantage of the setting's desperation. A problem with the new edition is how it seemed to so often treat the latest development in the setting as a new stage in a bigger battle, with each side gaining new toys. It lacked that "oomph!" factor in a few key areas, and never quite gained the edge that the new developments needed. However, <i>Spear of the Emperor</i> manages to fully convey it for what it is: Hell burst open. The galaxy itself was split by a wound of unreality down the middle, splitting the Imperium in two and engulfing whole worlds in the Warp. This is a time of miracles, but it also drew in far more infernal forces as well, which relentlessly taxes the Imperium at every turn. This is the best example of how an isolated world on the frontlines would be rocked by this revelation, and how the Imperium would struggle to support them. It's a bleak outlook within the story itself, but there is an odd beauty and engagement in their relentless fighting.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Unfortunately, Dembski-Bowden goes a bit too far with this...</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Bad</b></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Now, before we get into the criticisms, let's make one thing clear: Aaron Dembski-Bowden has made two things evident in his writings - In his mind the Imperium would fail, and the Emperor was a monstrosity along with no redeeming qualities. He tends to beat this message into his stories repeatedly, and even in personal commentaries his idea that the Imperium would die at the dawn of M42 was something he held as an ultimate truth. This was often taken further and further, to the degree where it constantly seemed like he saw the Imperium as enduring thanks to the momentum of the Great Crusade, and never having any real successes or glories past that point. The reason this is worth mentioning is that <i>Spear of the Emperor </i>is set well after the time he felt it should fail, and he seems to use it as an opportunity to say "No, I am right, and here is why!"</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The book's very introduction establishes that things have become far worse in the decade or two past the book's events, to the point of Chaos holding total dominion over the book's setting. When there's a chance to establish that the Imperium will fail, the writing will emphasise it in every way possible, and it even goes out of its way to add in more failings. Entire batches of Primaris marines dying, exaggerating the malice of the Inquisition to the point of stupidity, denying prior victories; it's all in here. The problem is that this colours the entire book, to the point where it goes from being bittersweet to downright nihilistic. Hell, it almost revels in its nihilism at multiple points, and how the Imperium is falling to bits in this version. While viewpoints like this are welcome in order to balance out more pro-Imperial ones, with the benefit of unreliable narrators on both sides, Dembski-Bowden keeps writing it in a manner of only his one being fact set in stone. This makes it, even given his exceptional talent as an author, very difficult to enjoy at points.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">On a more specific book note, the bittersweet angle means that many scenes are robbed of anything to offset the more dour tones of the work. There's nothing like the benefits of the Night Lords trilogy or Word Bearers books to keep things going, and unless you're grabbed by the ideas behind it, it just isn't fun after a while. It's certainly engaging, but it can reach the point of being overwhelming. It's a problem only made worse by how, in the case of most characters, there's little to get you fully invested in them. Looking through Daaz's eyes means that she is not on the same level as the astartes, and as such it's far more difficult to depict them in the same overall manner. Unfortunately, this means that she is unable to get inside their minds or judge their personalities in the same way as another space marine, making them distant and unengaging. The same is true of her fellow helots, and as a result, it's difficult to fully care about the characters within the book so much as the events surrounding them.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Daaz herself is also not a very engaging protagonist. While, much like the above point, there are ideas which certainly benefit her, she lacks the backstory or qualities to help her stand out. Say what you will about <i>Prospero Burns'</i> flaws, but Kasper Hawser's personality and history made him quite memorable. I cannot say the same about Daaz, who seems far too much like a blank slate. I can comment upon her bionics more than her personality, even with all the moments where her thoughts come across clearly to the reader. It's a damn shame, as she simply lacks the benefits which made Dembski-Bowden's other first-person tales work so well.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Verdict</b></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Spear of the Emperor </i>isn't a bad book, but it's a very hard one to like unless you enjoy this author's personal view on the setting. While I personally don't regret reading it, and will likely re-read it again, it lacks the enjoyment or investment that I would typically associate with a novel so well crafted. If you are curious about this one, reading a preview or renting it from a library is highly advised prior to purchase it, but don't ignore it entirely by any means.</span></div>
<div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">6.7 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com21tag:blogger.com,1999:blog-1831276194138109948.post-30487560643136905612019-06-10T01:36:00.000+01:002019-06-10T01:36:02.795+01:00Liber Chaotica by Marijan von Staufer and Richard Williams (Warhammer Book Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQLY_0axrO6WPE30RgGXOGRIShmaSCfq31FsFD7SpuHJdt74ymf8mmKrmDtOX3psxiCs-2UHqSwAiL85mxme0iAeq3Y170qyZKsA4gqSN6lnOubENB3eIzq0HNu2PbVSSaz4BXNr4kModn/s1600/Liber+Chaotica.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="822" data-original-width="650" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQLY_0axrO6WPE30RgGXOGRIShmaSCfq31FsFD7SpuHJdt74ymf8mmKrmDtOX3psxiCs-2UHqSwAiL85mxme0iAeq3Y170qyZKsA4gqSN6lnOubENB3eIzq0HNu2PbVSSaz4BXNr4kModn/s320/Liber+Chaotica.jpg" width="253" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Among the <i>Warhammer </i>fandom there are a small number of long out-of-print books which have become almost treasured relics. There are certainly novels among these, but the big ones were often the sourcebooks. Things like the <i>Imperial Infantryman's Uplifting Primer</i>, <i>Xenology </i>and <i>Tactica Imperialis </i>were among the big ones. Most were excellently written, but the one which seems prized above almost all of them was the <i>Liber Chaotica</i>.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So, you might be wondering just why we have never covered it before now given how much of a fan I am of this stuff. Well, there's a very good reason for that: I could never get my hands on any of the volumes. Honestly, they always cost an arm and a leg (proverbially, Chaos did not require a flesh sacrifice for once) on eBay and most were difficult to get hold of. However, Black Library's thankful change of heart in reprinting older works has paid off, so now I have a full copy in front of me.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So, does the book live up to its reputation:</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Short answer: Yes.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Long answer: ... Well, let's dive into it.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><u>The Synopsis:</u></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The Liber Chaotica is the Necronomicon of the <i>Warhammer Fantasy</i> world. Containing the knowledge gathered by Richter Kless, it retains four volumes on each of the primary Chaos Gods. Examining their natures, forms, and champions, it combines the madness of a man gaining knowledge of beings beyond his comprehension with glimpses into aspects of Chaos which are often glossed over. Yet with all things involving Chaos, madness and half-truths dominate the pages, and you can never be wholly certain just what information can be relied upon.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><u>The Good:</u></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">To cite the obvious first: The book has stunning art. While it reuses many elements from other past armybooks, codicies and the like, it also has a plethora of its own designs. Each of these follows in the John Blanche style of sketchy stylised horror, and it fits in perfectly with the madness of the book in question. Atop of this, even when you are skimming through, the various displays of papers layered upon one another gives it a great visual distinction. Honestly, it's a fantastic combination of parchment, layers of scraps and aged documents with handwriting between older linkwork. You could easily skim through the pages and still find engagement just in the visuals.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Of course, even without the visuals themselves, the content would still more than justify the book's price. <i>Liber Chaotica</i> delves headlong into both the lesser known elements of Chaos and the symbolism behind it. While all of this has a "By the way, this guy is insane" escape clause hanging over it, the details present are both broad and deep. We see everything from outlines of the early Chaos groups which form up most of Khorne's marauders to the underlying corruption of Nurgle. It explores and outlines how the very nature of Chaos has a grip on varied societies across the Old World and other regions, but it also goes further. Even without these, the tomes also explore how Chaos feeds upon actions of mortals, and utilises both positive and negative emotions to feed themselves. It's a great depiction of each element, and it shows just why there has never been some final victory against the gods.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Yet perhaps the best factor within the book is how it tries to be vague on so many points. While it outlines a great deal of lore from many viewpoints, and covers familiar territory, it nevertheless avoids pinning down Chaos to a few distinct elements. It reintroduces the purely chaotic side of Chaos itself, and build upon that to some degree. You can clearly see how broadly applied many defining aspects of each god truly are, and how everyday life can so easily fuel them. This is then further exemplified by the listings of individuals and champions who assist each god's cause, showing how anyone can easily fall prey to their wills.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Saying more would sadly end up spoiling the book but, even when <i>Liber Chaotica</i> does cover obvious points, it still goes into great detail over them. Even the most basic of ideas can emerge in here with a new perspective or idea, and it's something helped by how the in-universe writer garners visions of these beings. It also further solidifies a link that was thought to have been long abandoned, as he starts to see increasingly less vague visions of (what looks very much like) the Horus Heresy.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><u>The Bad:</u></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">This might be surprising to some, but the trouble with madness is that it can be very hard to follow. The patchwork combinations of story elements, other documents and ideas scribbled down from half-seen dreams creates atmosphere. It also helps to evoke a far more alien and genuinely disturbing element to Chaos that the faction sometimes lacks due to overexposure. Yet, even with that said, you can find yourself re-reading certain bits to just try and confirm the information present. There's a very fine line between being unreadable due to being art, and just being unreadable.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The incoherent quality of certain bits is only further exaggerated by certain stylistic choices throughout the book. The font used for Kless' scribblings are difficult to read at the best of times, and the problem is only made worse by their small size. However, even without that, you then have bits where it is fitted between lines in books, or on backgrounds which make it genuinely unreadable. Thin red lettering simply does not work when it's against a stark black and white image.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Finally, the book is also irritatingly structured in how it combines its volumes. One after the next is fine, but they retain the weaknesses of the original individual ones as well. As such, the likes of Khorne and Nurgle both retain weak opening and middle parts respectively. It can make the quality seem to vary heavily if you are going from cover to cover and, even with the benefits of coloured pages, the lack of an index only exaggerates the problem.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><u>The Verdict:</u></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Even with its few issues Liber Chaotica still remains a very strong addition to the Black Library's volumes. The newly printed hardcover compilation is more than worth your time, and even just as a general reference book it offers an immense wealth of background knowledge. It's just a damn good book which is extremely well thought out, and even has a back-door "ignore me" clause in the form of insanity if you don't like its contents.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Given that this is likely to be a limited run, I would definitely suggest getting this one while it's still on shelves.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Verdict: <span style="color: red;">9.5 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com2tag:blogger.com,1999:blog-1831276194138109948.post-68377591802673444052019-06-06T01:25:00.001+01:002019-06-07T01:31:31.080+01:00The Secret Origins of Fallout<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZrLKKcWuif39BSSp6tdk5zrewNwjdTvodUK4oXTrPQvxGFTAp1rvT_JoozFfkB4Ld_4qLi8MpRbPSp5w3Ni3TRfx5BXk-Oefbcuo3lx0hlAYU-Nl-MB_KNqfL1bruyOcA4r41pdGccGfQ/s1600/Fallout.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="800" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZrLKKcWuif39BSSp6tdk5zrewNwjdTvodUK4oXTrPQvxGFTAp1rvT_JoozFfkB4Ld_4qLi8MpRbPSp5w3Ni3TRfx5BXk-Oefbcuo3lx0hlAYU-Nl-MB_KNqfL1bruyOcA4r41pdGccGfQ/s320/Fallout.webp" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Fallout </i>is one of those big franchises which has a divided in the middle. Aside from a few ill-fated releases, there's a big gap between where <i>Fallout 2</i> ended and where <i>Fallout 3</i> began. It's a gulf divided by mechanics, writing and direction, but unlike <i>Mario </i>or <i>Legend of Zelda</i>, the years absent of major hits created more of a barrier. As such, it's closer to <i>Shadowrun </i>or <i>Starcraft </i>in terms of how its fandom treats it. Ironically, there's also a link which connects it to both of those franchises. One which many fans rarely ever bring up.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Most people generally know that <i>Starcraft </i>was heavily inspired by <i>Warhammer 40,000</i>. Without getting into the whole can of worms surrounding it, or the issue of arguing "rip off!" you can clearly see the links between the factions and initial ideas. In much the same way that series had its origins spring forth from another franchise, <i>Fallout's </i>origins are intrinsically tied to <i>Shadowrun's </i>past. Its <i>distant </i>past, in more ways than one. You see, <i>Shadowrun </i>was planned as merely one half of a broader, one set in the cyberpunk future of 90s inspired technologies. There was another one, set chronologically long before it, which took place in a previous world of swords and sorcery: <i>Earthdawn</i>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">While <i>Earthdawn </i>sadly never gained quite the reputation that benefitted <i>Shadowrun</i>, it was built around the George RR Martin school of breaking with conventions. In this case, almost everything that Tolkein had set up or Gygax had used as inspiration was broken in an instant. Dwarves, not humans, ran the world, everyone is a spellcaster, the "gods" are insane beings called Passions and are hardly omnipotent, and you can ditch everything you know about Elves. Yet the one thing which linked <i>Earthdawn </i>and <i>Shadowrun </i>was the cosmic horror threat which loomed over it - the Horrors. While they have been staved off from <i>Shadowrun </i>for a time, in <i>Earthdawn </i>they hit in full force.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">As the barriers holding out the Horrors grew thin with the rise of magic, the denizens of the world formed vast underground cities called kaers to ward off the creatures and hide throughout the centuries. Many were lost over the ages, watching and waiting for the "Scourge" of these Horrors to end and be driven away. Yet as magic diminished, it did not wholly dissipate as desired. This left the survivors attempting to rebuild their world and reclaim it among the hostile wastelands left behind by the Horrors, and the abominations created by the event.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">You might already be seeing the links here. If you do not then let's outline it: </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">A nation of a once powerful world hid its citizens away in underground shelters, hiding them from a great apocalyptic disaster. Many of these failed, with their populations dying out and being lost to time, each overrun by nightmarish beings but holding artifacts of a lost age within them. The survivors are left to pick up the pieces with whatever was left, reclaiming the land they barely recognise, and pilfering the ruins for valuables. This reaches a point where each becomes its own warring nation, and they end up fighting for supremacy as they expand.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Normally this is where this would be left to coincidence and that's it, but here's the <i>really </i>fun part in all of this. <i>Earthdawn </i>was made in 1993, a full four years before <i>Fallout </i>hit shelves. Yet, more importantly, was the fact that Brian Fargo had three properties he wanted to work on as</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> the head of Interplay: One was GURPS, the other </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Vampire: The Masquerade</i>, and the third? <i>Earthdawn</i>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This isn't being brought up to declare one a rip-off or even just that <i>Fallout </i>owes <i>Earthdawn </i>something somehow. It's merely there to show how the general skeleton and framework of an idea can be twisted and changed by theme, convention, and genre into something notably different. It needs the right person behind it, but even heavy influence is sometimes not a terrible thing.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Well, there's that and you can take this as a message to look much more closely into <i>Earthdawn</i>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDKWe9zUG2qWtd3U90QWxK3hJLxjuI6q8xyvsX327SmXjOKrcyrKC1f9zBcmhp9keYV1B_hyphenhyphenFYpPeHs5Jv-1UFchMJdu5L2CKErbekOhmKHvBOL9B3CG3cbnU6K5d7hJqgPmMyyCodPL-/s1600/Earthdawn_Fallout.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="384" data-original-width="1024" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDKWe9zUG2qWtd3U90QWxK3hJLxjuI6q8xyvsX327SmXjOKrcyrKC1f9zBcmhp9keYV1B_hyphenhyphenFYpPeHs5Jv-1UFchMJdu5L2CKErbekOhmKHvBOL9B3CG3cbnU6K5d7hJqgPmMyyCodPL-/s400/Earthdawn_Fallout.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-91684048389620952402019-06-03T01:00:00.001+01:002019-06-03T01:00:24.943+01:00Maledictions (Warhammer 40,000 & Age of Sigmar Novel Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3EncfJNJg2LyedYBd3UxRjGvMorqMsMFIyCz0H57HVnJYZMRVF8NC7VloChrqZPLGM7-FK0zK3khYD4_6-OP7ntBjIDXvbJgmXX7czt4hzdneTGRVjnmU9lNlDx32q_buknRfDPWFatDc/s1600/maledictions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="310" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3EncfJNJg2LyedYBd3UxRjGvMorqMsMFIyCz0H57HVnJYZMRVF8NC7VloChrqZPLGM7-FK0zK3khYD4_6-OP7ntBjIDXvbJgmXX7czt4hzdneTGRVjnmU9lNlDx32q_buknRfDPWFatDc/s320/maledictions.jpg" width="208" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">It has been a point on this website for years that I will not review collection books. Short stories are essential to <i>Warhammer 40,000 </i>and <i>Age of Sigmar</i>, and I have tried to point out a fair few of the great ones in the past. However, when it came to these, I just ended up avoiding them. Part of it was due to sheer laziness, as there were often a dozen titles to cover rather than just one. Part of it was, however, also due to a concern that I wouldn't give the book a proper treatment. Unless they each had a good thousand to two thousand words, it felt as if I was doing it wrong. In addition to that, it's easier to pick apart minor flaws in a short tale than in a full novel.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, this is an experiment to change that. This format will be a series of micro-reviews, largely offering very general ideas and a basic listing of its positives, negatives and the like. These will also be <i>very </i>spoiler free, so this won't be diving too deep into story synopsis or details within the narrative. Some of these do rely upon people going in cold for effective twists, and it would be wrong to ruin that quality.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, let's get on with this one and start breaking them down one by one.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><i>Nepenthe </i>by Cassandra Khaw</span></b><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The story follows an Adeptus Mechanics explorator group hunting a space hulk to grab the goodies inside. They soon realise that they have bitten off <i>far </i>more than they can chew and things start going wrong.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This was a pretty damn great one and an excellent opener to <i>Warhammer Horror</i> as a whole. It offers the sorts of terror and tension based drama that is often all too easily forgotten in some stories, and balances it with a sense of dread. While there is a good deal of action at the midway mark, it serves largely to help speed the story along and promote conflict among the protagonists. What's more, while this is admittedly delving a little closer to <i>Aliens </i>territory than some might like, it takes such a dramatic twist that it overcomes this fact.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The main limitation within this tale stems from the main characters, as most are either unlikable or serve to drive the story along. Until a very strong ending, I personally felt that their best quality stemmed from character chemistry than how well they stood out on their own. Furthermore, it did dabble in a few Mechanicus and technology tropes which have become irksome over the years. So, if you're not a fan of the constant "Mechanicus have no idea what they are doing, they just happen to press the right button while praying to people" this might cut a little close to your pet peeves.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Still, out of all the stories here, this is one of the two that I would show to anyone wanting to see the possibilities this range offers.</span><br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">8.5 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Widow Tide </i>by Richard Strachan</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Katalina, a woman making a life for herself on a small fishing village and haunted by the loss of her husband at sea, finds a wounded stranger on the shore. She soon finds that the greatest act of kindness can be rewarded by the worst act of betrayal.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">While there's a good deal of predictability which can be forgiven in horror stories, this one missed its mark by a bit. If you even know the basics of the major races within the setting and their lifestyles, you know exactly how this is going to end. Sadly for the first <i>Age of Sigmar</i> tale, what we get is less horror and more a tragedy which would fit into most complications of short stories than a horror dedicated one. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">While it certainly has a few promising elements in showing life among the realms and helps with world building, it simply doesn't have enough scares. It's all hinging on one big ending twist, but you know exactly how this will go down. It's also not helped by the fact that outside of Katalina herself, most of the characters are easily forgettable.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">On a more positive note, I will say that Strachan's writing style does partially save the story. His poetic descriptions, the emotion he crafts into the narrative and the vividness of his scenes are simply brilliant. Writing short tales such as this can often be a challenge in more mundane environments, but his ability to bring them to life shows serious skill on his part.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Overall, the story is worth reading once or twice, but it's not that great. However, I would definitely keep an eye open for this writer's other works.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">4.0 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>No Good Deed</i> by Graham McNeill</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">In the lower reaches of a hive city, the young boy Cor manages to help drag a stranger free from certain death. Wounded and with no memory of his past life, he sets to work helping Cor's people survive a blight which has beset them. Unfortunately, none of them see the looming horror which follows in this man's wake until it is too late.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">In contrast to the previous tale, <i>No Good Deed</i> serves as a perfect example of how predictability does not wholly undermine a story. In this case, you know things are going to be bad and who is the cause. However, even after counting that factor, it not only still offers a shocking swerve but has such a sense of quiet dread and human horror that it works brilliantly. Also, yes, your first guess as to who this man is will be wrong, trust me.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The environment of the hive city itself serves to show just how downtrodden and terrible life is for humans there. There is little joy, love or hope, and an ongoing sickness is only making life worse. It creates a sense of just how bad things are, which makes a later twist of the knife all the worse. Cor, his friends, the Sister who handles the local hospital and Oskyr, the man he rescues, all have very distinct personalities. Even when they have very short appearances, but McNeill's writing gives the moments to make seem like people in a much wider world. Combined with some of the conversations they have, it makes for a real gut punch when things go wrong.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">If there is one major criticism to level against the story, it's that the horror part is once again reserved primarily for the ending. What's more, the story does dabble a little too deeply into old cliches when it comes to the nature of its horror. Both are somewhat justified with the direction. However, this could be a serious irritation if you're an hold hand when it comes to the genre.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<b><span style="font-family: "arial" , "helvetica" , sans-serif;">Verdict: <span style="color: red;">7.0 out of 10</span></span></b></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Crimson Snow</i> by Lora Gray</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">A Sylvaneth Wargrove wages a war for survival in a frozen forgotten part of the realms. Beset by Chaos on all sides, their constant fighting against the enemy without leaves their numbers dwindling by the day. Unfortunately, few are ready to face the enemy within their ranks.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is a rather difficult story to judge, as it seems to get one thing wrong for every two right. Plus, even with some of those successes, there is a "but" attached to the odd one or two of them. As the story follows the less human-like members of the Sylvaneth race, this was brimming with opportunities for stories, and Gray took full advantage of that fact. The Wargrove itself has many nonhuman details and inflections which helps both its protagonist, Kalyth, and other members stand out from their more typical counterparts. What's more, it offered an interesting example of how Chaos would react to such a species if it was bent upon fighting them.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">However, the story's direction was somewhat muddled overall. It tried to juggle too many events at once and offered up an overly long timeframe for the story. Gray seems to work best when she is working with the mental state of her characters, and the story is easily at its strongest when it is delving into Kalyth's predicament. As such, the horror we get is good at those points, but it feels like a story with extraneous parts. Combined with a mixed ending and a few unclear details (which sadly clashes with the intentionally unclear ones) and it ends up as a middling story.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Overall, it's a solid one-and-done read, but it's probably going to be the one you'll only look at once or twice in this collection.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">5.0 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Last of the Blood by CL Werner</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Now, <i>this </i>was a difficult one to judge. CL Werner is one of those authors how is always willing to throw everything out of the window when it comes to setting conventions, for better or worse. Sometimes it works and sometimes it doesn't, but this proved to be a bizarre turn which was nevertheless engaging.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">A new suitor is brought to wed the daughter of a family, only to unwittingly stumble upon his own doom. The family is cursed, and the patriarch seeks a means to finally break it once and for all. Yet he will stop at nothing in order to achieve that very goal.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The big surprise which will stem from this one is its influence. <i>Warhammer </i>in every setting has always been western inspired, but this one goes full Japanese in every detail. It's a welcome surprise, but it might seem so distances from the rest of <i>Age of Sigmar</i> that it cane seem like it's a part of its own mythology. What's more, is that it's very "traditional" in a Hammer Horror sense, meaning your enjoyment of the tale will hinge heavily on that point. If you're not a fan of complex plots, skullduggery, and bizarre conventions when it comes to cultural standings, this can easily fray the nerves.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Another problem lies in one simple fact - It's certainly horror, but it's not exactly scary. The moments of tension, violence and plotting all work, but there's little here which makes it seem as if it fully fits into the horror label for this setting. It's not bad at all, and the entertainment factor helps to justify future re-reads, but it's difficult to shake the question of just why it's in here.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">5.6 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Predation of the Eagle</i> by Peter McClean</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is easily a personal favourite of the bunch, and it's probably the strongest story in this lot for justifying the Horror label. While it doesn't delve too deep into Chaos or the trippier angles of the setting, there's a sense raw dread and terror that benefits the story. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The world of Vardan IV is a death sentence to all Imperial Guard troops stationed there. As the Imperium tries to win the war by sending more meat into the grinder, their war against the Orks is ground to a bloody stalemate. Among the jungles only the strongest survive. Yet as men and women start to die mysterious deaths, some suspect a new faction has joined the war. The truth is far worse than anyone could imagine.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">While comparisons to 'Nam of 67 are easy to make, the tale uses the guerilla war in the jungle angle as a starting point. It serves to both reinforce certain mentalities while completely rejecting other predictions, which makes its second half all the more effective. Equally, it uses a variety of storytelling devices to quickly evoke a real sense of horror at the body count, even if they are often people who didn't even get a line.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The big complaint here is that this deserved more. You get to know a few core characters, and even the fodder rapidly bumped off stick in your mind due to the use of nicknames. However, what could have elevated an excellent story further would have been another fifty to a hundred pages to further flesh out the characters. Really though, what we get is nevertheless a brilliant short tale.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">9 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Last Ascension of Dominic Seroff</i> by David Annandale</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Following one of the minor characters from Annandale's <i>Yarrick </i>series, the story follows Seroff and his partners in crime as they are left facing a plague unlike any other. Unfortunately, neither fully realise just who and what is out to unleash this creation in the name of revenge.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">While Annandale is an obvious choice for a horror writer in the <i>Warhammer </i>setting, this one proved to be a very odd story overall. Like a few other examples here, it never really managed to get across the horror angle properly. The subject matter, the ideas and vivid descriptions all work in its favour. However, it never really pushed far enough to feel as if it was taking full advantage of this new brand. Plus, it's difficult at the best of times to write up a story as a spin-off with another character at the helm or tying into broader works. This one felt as if it relied far, far too heavily on knowledge of the Yarrick books to get you invested.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The actual closing scenes and a few of the more terrifying moments of the plague taking effect really play towards Annandale's strengths. These points show why he is a great author in his own right, but there's just not enough of it here to really work. As a result, it's a story which is relatively forgettable overall.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">4.0 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>Triggers </i>by Paul Kane</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Tobias Grail is a wealthy man. Living in a life of opulence, his successes have afforded him a level of luxury that few people will ever see in their lives. Defended by his elite bodyguard Russart, he seems set in life. Yet constant dreams of doom and loss haunt his every night, and they seem to be slowly slipping into reality.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Dreams make up a major part of this tale, and this is very much a downfall story above all else. We see someone gradually slipping into growing insanity thanks to events surrounding their lives, and how they are gripped by paranoia because of them. This becomes the crucial horror factor within the tale, as you know something bad is coming, but just <i>what </i>it is remains in question. Combined with Grail's madness growing to dominate the prose, it makes for a brilliantly terrifying tale.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The main flaws here stem from how directionless the story becomes despite an obvious avenue to follow. Grail seems to have no real journey to follow or more method to his actions other than waiting for his end, and outside of the ending there isn't much to help better build upon this in some way. I certainly like the story, but it almost reads like something where the ending was decided first and the rest was built up later on.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Overall, it's a good one in its general execution. A quite unconventional take on these sorts of stories, but helps to show the sort of horror that haunts every part of this setting. Namely in how its tendrils latch onto any mind too weak to resist them.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">6.0 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>A Darksome Place</i> by Josh Reynolds</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Now, <i>this </i>is what we needed more of. The story is almost mundane in following the lives of people in the <i>Age of Sigmar</i> setting. They're everymen in some regards, rather than golden armoured sentinels or warlords, and they aren't even fighting a massed horde of Chaos followers. However, instead, it helps to show the high horror which accompanies the best kind of high fantasy settings.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The story rapidly drifts back and forth between lucid reality, the thoughts of beings about them and the minds of the mortal workers. You see each contrasting and conflicting against one another, to the point of seeming totally detached. Yet like in the best cases of this, you realise just what it was outlining at the very end, and how it works with the wider message of the narrative.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Another factor is that the story contrasts the epic fantasy elements with more mundane tasks. This might sound bizarre, and in some cases it does seem like something better suited to a Discworld book. However, it expresses the sheer danger and highlights how the fantastical so often intrudes upon the more basic parts of character lives, even in this setting.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">If there is a major criticism to level at the story, it's that everyone outside of the main character, Tooms, is fairly superfluous. We learn little about them, and for the most part, Tooms himself is the only person with any significant depth to him beyond a basic archetype. Still, overall, it's a very engaging entry in the collection.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">8.0 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Marauder Lives</i> by J C Stearns</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The story here follows a former Dark Eldar captive, Sister Monika, held for years on a corsair raiding ship to be abused at every turn. Having finally made her way off of the vessel, she remains haunted by the experience. Yet the lord of this raiding kabal, the mysterious Marauder, rarely allows his prey to slip through his fingers. The question now remains if Monicka's fear of his return was justified or not.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Much like the previous story, this one uses a contrasting narrative to great effect. As Monicka's very psyche begins to disintegrate, you see more and more of how terror grips her. Worse still, is how it always leaves enough hints that her paranoia might be right. It's vague to be sure and you can see that she is certainly hallucinating at key moments, but nevertheless, there's a great deal left in question.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Another detail which works to the story's benefit is how it continually shows how close Monicka previously was to freedom in her time with the Marauder. You can see very easily how she reached this state, and just how even the more controlled torture inflicted by the Dark Eldar can wear down even the strongest person.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Overall, another great tale and a fantastic example of how deep psychological scars can run. It's a great example of how even the "victors" in such situations can still be left as little more than damaged survivors due to their experiences.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">7.5 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><i>The Nothings</i> by Alex Worley</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The world is small for Cade and Abi. Isolated within their small vale and with only a relative few huts to contain the small populace, it is as far from civilization as it is possible to be. Yet each of the youths question what lies beyond their small realm, and what the standing stones on each corner are keeping at bay.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Unfortunately, this one can barely be explored at all without ruining it. Honestly, the best you can know is this: It delves deep into a major question that people have asked for a long time, and uses both hope and curiosity as a means to explore horror. You can easily see how this would be an optimistic tale in any other setting, but the fact that this is M42 only shows how twisted the galaxy truly is.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The use of vague meanings, a lack of identifiable names and even familiar imagery all combine to make the world feel extremely alien. Because of this, it is far more unsettling to the most devoted <i>Warhammer </i>lore fanatic than many other examples in this list.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Really, this was an excellent closing tale overall, and a great way to explore a much discussed but rarely examined aspect of the setting.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">7.0 out of 10</span></b></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Final Verdict:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Overall, this was a good mix of stories for a first attempt. While most show definite flaws, they nevertheless express a great deal of promise when it comes to future books. If you're at all interested in tales which focus less on action than brief but focused character examinations with brutal endings, definitely take a look at this one.</span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-46241002265818345262019-06-01T01:52:00.001+01:002019-06-01T01:52:10.726+01:00Star Wars #108: Forever Crimson by Matthew Rosenberg (Comicbook Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbx1DdbVQj_Af7BrAeqVQT_xquHZRQd5WHUcat0XZ49kv2mk4zwZXkk55_kj7Sgvc9hXGV5tmH1UYx8J89csNdMZ22muaAe5fWfHt9QViOby58Qr2phJsm8aLnTDQg40YfWyrXmOI11msf/s1600/SW_108_Simonson_Final.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbx1DdbVQj_Af7BrAeqVQT_xquHZRQd5WHUcat0XZ49kv2mk4zwZXkk55_kj7Sgvc9hXGV5tmH1UYx8J89csNdMZ22muaAe5fWfHt9QViOby58Qr2phJsm8aLnTDQg40YfWyrXmOI11msf/s320/SW_108_Simonson_Final.jpg" width="208" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">For a long time, I swore never again to buy a Marvel comic under their current nonsense. Well, it looks like we all need to make exceptions sometimes.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><i>Star Wars</i> #108 is a special title for multiple reasons. It's a callback to an older era, it's an effort to celebrate a major milestone in a company's history, and it's the first piece of new material surrounding the Expanded Universe for years. Well, besides <i>The Old Republic</i>, of course. While limited in its tenuous link to the larger setting, the comic utilised a number of ideas which would become important much later on, and even a few major characters. #108 serves as a celebration to all of this, and of its more famous sagas.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Synopsis</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The Galactic Civil War is over. After a long and bloody conflict, the Empire has been beaten and the path to finally crushing its remnants can begin. However, such victories are far from easy, and they are never simple. Even as the New Republic assembles its forces, a forgotten threat from a distant corner of the galaxy returns to threaten all living beings. Unless the heroes halt it, everything they battled to preserve will be wiped out in its onslaught.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Good</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">First of all, Matthew Rosenberg. Most writers from the modern age would have a natural disconnect to both <i>Star Wars</i> of its time and the original comics. However, Rosenberg captures a more "genuine" feel to the stories that most lack, both in terms of tone and general presentation. It's not even the typical aping 70s dialogue or efforts to emulate the more exaggerated storytelling of the era, it comes across as a genuine extension of what came before. There are many points when he is so spot on that you can easily mistake it for the writing of Archie Goodwin. This makes it all the more effective as a celebration of the old comic, as it feels like such a natural extension.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">It also helps that the art is absolutely spot on here. Honestly, while it has clearly been made with modern techniques, the style and design is almost completely exact when it comes to the style and design of older pannels. While the 70s look isn't too hard to emulate, having the same presentation, page structure and composition is much harder to get down. To have a group of such dedicated and talented artists (really just look at a list of the pencillers when you get a chance) work on this comic in order to get this right really helped pay off.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Another point in its favour is how, while the comic is certainly an obvious tribute to the more famous (and infamous) bits of the original run, it's not grandiose about it. You could easily read this as a grand finale for the first run, or even a way to tie together many older elements within the past arcs. This isn't so much a way to resolve possible dangling plot threads (as there were surprisingly few in the whole run) as a way to work older characters and ideas long discarded back into the overall tale. Think of it as how more than a few big franchises resurrect old favourites for their finales and you'll not be far off of the mark.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Yet what proved to be a surprising benefit to the comic was, ultimately, how it ends up throwing a surprising number of shout outs to the wider universe. The change of the Rebel Alliance to the New Republic is a big one, of course, but both in minor bits of dialogue and background events you see no shortage of tributes, references and mentions of other EU ideas. It's an excellent addition as, while it never gets in the way of the story, it ultimately helps to serve as a tip of the hat to the bigger setting. More than a few people are ultimately buying this as a way to support the EU, so it's a great way of rewarding them.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Yet more than anything else, the comic is just good fun. While most of these praiseworthy points have largely sidestepped the story in question, that's just to prevent too many details being offered. While the covers do unfortunately spoil one of its best elements, it's a story that you need to go into blind, as its pacing and engagement works best when you know little of it. While you get drama, actions and character moments, it's the kind of overblown sort that still manages to be fun rather than painful or tedious. In this day and age, that's a rare quality to be found.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So then, what went wrong here as well?</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Bad</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Perhaps the biggest negative with #108 is how it, unfortunately, undoes some of the <i>Star Wars' </i>comics best moments in an effort to celebrate them. The big one everyone saw coming was the return of Beilert Valance, or Valance the Hunter, who honestly did not need to be revived. Valance was an excellent character and a great example of what Goodwin and his co-writers could accomplish on the comic. However, while the comic tries to justify his presence, far too much of it comes across as a needless epilogue to an excellent finale for him. That's the case with one or two lesser points as well, where older ideas are reintroduced, but rather than being celebratory, it undermines the value in how their stories ended.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The only other real problem lies with how it seems to often reintroduce the most recognizable bits above all else. It doesn't matter if it's pop culture or simple memory, but the comic has a focus on what people will easily pick up more than what really helped the comic come to life. As a result, you have characters like Jaxxon (a figure who Disney fans derided as a failing of the EU, only to love him once he was in <i>their </i>setting) popping up here. Jaxxon is mocked and beloved at once for his ridiculous design, but he barely showed up in the comic; with appearances six issues, which included him being on a background poster and a one-scene flashback. Yet because he's what stuck in people's heads, he's in here. It feels like a more negative element of pandering which is a flaw to an otherwise great comic.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Verdict</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">On the whole, this was an entertaining piece calling back to an older era. It encapsulated much of what made the original comics works, and there was a definite effort not to wink at the audience too many times. Without that need to hint that it was in on the joke - or relentlessly enter the "lol ironic lol" territory of Marvel humour - it came across as something genuine. In that regard, I would definitely call this one a success. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">If you're at all interested in the Marvel comics of the older eras, this is well worth picking up. If not, well, I would say buy it anyway. This is a rare chance to prove to Disney that people are willing to buy Expanded Universe material, and the story they demand should stay dead and buried has a fandom willing to support it. For its cheap price, it's well worth an easy buy.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Verdict: <span style="color: red;">8.2 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-49177998038395764592019-05-30T01:00:00.000+01:002019-05-30T01:00:06.869+01:00Star Wars Interviews: The Original Trilogy and Expanded Universe Vol. 1 by Dennis Pellegrom and Bob McLain<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDYf0LSAKFCOIoz2m_xLxeJOoT20yXQN7AeKgw3MtfS03O1u2ggLqdqBJb3dkEwrg_uSsNGBfiufiVRpQd5MOmnRHdQxTLBPBRU1wIu3kXQ3anl_bvPSgXKdew6CaDEdhNUEVcsRyHtqlm/s1600/StarWarsInterviews.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="324" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDYf0LSAKFCOIoz2m_xLxeJOoT20yXQN7AeKgw3MtfS03O1u2ggLqdqBJb3dkEwrg_uSsNGBfiufiVRpQd5MOmnRHdQxTLBPBRU1wIu3kXQ3anl_bvPSgXKdew6CaDEdhNUEVcsRyHtqlm/s320/StarWarsInterviews.jpg" width="207" /></a></div>
<br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">A while back we looked at a <i>Star Wars</i> book which looked to recap an older era, but drove me away from it. Specifically, it had an introduction so terrible that it made me give up on the book within the first few pages. However, I promised an alternative to that, and this is the result. <i>Star Wars Interviews: The Original Trilogy and Expanded Universe</i> is just that, it's a collection of interviews focusing on the initial film and the later Expanded Universe. While simple, it's a definite success in that it not has a very energetic structure, but it is often enough to make you want to go back and revisit older products.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Let's get into the how and why.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Good</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">One of the major problems when it comes to these sorts of books is simple: They often run the risk of repeating information. You can probably think of any number of interviews from <i>Star Trek, Blake's 7 </i>or <i>Babylon 5</i> where stories are repeated due to a few basic questions which keep cropping up. While this book could have easily fallen into that pit trap, it instead manages to avoid it entirely. Much of this is down to how Dennis Pellegrom allows those he approaches to speak with any degree they feel comfortable with, and to discuss events to their heart's content. More than that, however, he also has a habit of approaching subjects in a way which encourages people to talk far more.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The benefit of this style of questioning others is evident from the very start, where Anthony Daniels goes into more substantial detail about certain areas than you might expect. The big ones which stand out range from promoting breakfast cereal to working with Jim Henson in that case. While some of these have been delved into before, new stories either crop up while discussing them or they're approached in such a manner that it feels engaging. It helps that Pellegrom also uses notes via brackets to help better flesh out the interview, with reactions or minor details to give each question or reaction much more life.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">However, beyond this, there is also the variety of people that the book approaches and covers which works in its favour. We've seen Harrison Ford, Mark Hamill, and the main cast interviewed many times in previous works. This book also dives into a variety of other individuals who played more minor parts, such as those responsible for behind the scenes work in the films or playing aliens in the famous Mos Eisley Cantina scene. Each has a surprising amount of information to them, and it really helps to offer substantially more insight into what it was like working to bring each film to light.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Of course, in addition to the actors, you also have the Expanded Universe side of things. Honestly, having Jason Court and Shannon McRandle being interviewed was a brilliant surprise in each case, shedding light on the roles of Kyle Katarn and Mara Jade respectively. The nature of playing each character, the direction taken while playing the figures and then their later lives is made to be just as engaging as the film actors. While most books would normally stick this in at the end as a sort of (and here's this) bit at the finale, they are instead treated with the same respect and detail as anyone else in the book. Given the treatment the Expanded Universe has been given over the past few years, that's a very welcome change.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Bad</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">One major make-or-break point within the book lies with the style of each interview. Many of these have a much more conversational format than you might expect, and they play out with more substantial answers. As such, it's less of a typically rigid structure and more of a back-and-forth between two people at many points. For some, this will be quite engaging, as it comes across as more human and much more interesting in the form of their answers. For others, this lack of formality might seem like it's taking some time away from what you're here for. It never seems as if Pellegrom is trying to take over the interview himself, but it is worth looking at a preview first.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Another point is that this book is fairly direct in its structure. It openly advertises itself as an interviews book and that's really what you get, besides for one or two paragraphs introducing the actor or creator in each one. While this might sound obvious, in more than a few cases (both with magazines and websites) a few writers tend to beef this out with more information or flowery text to make it seem more impressive. This is another one where your mileage may vary, but it can come across as very minimalist in its design, and that can be offputting.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">A final point is that this is written with fans in mind first and foremost. You can see this in the questions, from how Pellegrom refers back to ideas and elements which are more familiar to dedicated <i>Star Wars</i> fans than anyone else. These are typically minor points (like Anthony Daniels' column in <i>Star Wars Insider</i>) but it is something you need to keep in mind. There just might be the odd bit that will throw you off somewhat if you are primarily familiar with this franchise for its films.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Verdict</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Overall, <i>Star Wars Interviews: The Original Trilogy and Expanded Universe Vol. 1</i> is a book that I can definitely recommend. Even if you're someone who typically avoids these film companion pieces, or doesn't see their value, this one is a definite must-buy. It's really a book which not only helps to seriously shed light on some prior events within a major franchise but, even if you're an old hand who has seen these interviews before, there's always something new in each of them.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Verdict: <span style="color: red;">9 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com2tag:blogger.com,1999:blog-1831276194138109948.post-66981511269896727352019-05-28T01:00:00.000+01:002019-05-28T01:00:10.632+01:00Totally Accurate Battle Simulator (Video Game Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizlo7mao2sABf5swk1gcQKnk7xubY1Du0bNN35TEkz-dkXK_XcRjftP1EGPDerauxJIALhx4zsg16CNYdPe6dhhPbWQh4xzdzl3_OieKVoeqlXeYflzlEAUCJu1nmCGvYfosunf5BPEvoI/s1600/TotallyAccurateBattleSimulator.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizlo7mao2sABf5swk1gcQKnk7xubY1Du0bNN35TEkz-dkXK_XcRjftP1EGPDerauxJIALhx4zsg16CNYdPe6dhhPbWQh4xzdzl3_OieKVoeqlXeYflzlEAUCJu1nmCGvYfosunf5BPEvoI/s320/TotallyAccurateBattleSimulator.jpg" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><i>Totally Accurate Battle Simulator</i> (or TABS, as this will become a nightmare to write otherwise) is one of those games which has been about for years. Much like <i>Ark</i>, <i>Subnautica </i>and others, it has spent much of its existence locked away in Steam Early Access. Unlike most games, TABS is one which put that time to good use. While the essential premise has gone unchanged, the overall perspective, style, and even the core units has been radically altered multiple times during its development. Thankfully, the end result is easily the strongest of the bunch.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><u>The Story</u></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">There isn't one. You put down units and you fight. Even with the campaign, it's more a structure of various scenarios rather than a proper tale.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><u>The Good</u></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The entire dynamic of TABS is to be an open mockery of warfare, from historical warfare simulators to RTS games. The various armies present are a mix of historically (in)accurate groups from various eras, ranging from cavemen up to the Age of Sail, with a few oddities thrown in. What is truly remarkable about this is just how few of them are truly similar to one another, as the vast majority have some major gimmick or quality which helps them to immediately stand out. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEwzASrbjqIlHFEZ5InXGlPqPfGOvgD3VBguJsgna-5w4tIGAEPqDbhtkbb39zLApzySodQ3cdXISvKixEWQV0a6S89FUCXUMt5yCGgiz-eWo-GZeRoPus-cXbC4SlAxZ7-9oOs4GwZ7Mc/s1600/TotallyAccurateBattleSimulatorTribal.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="250" data-original-width="445" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEwzASrbjqIlHFEZ5InXGlPqPfGOvgD3VBguJsgna-5w4tIGAEPqDbhtkbb39zLApzySodQ3cdXISvKixEWQV0a6S89FUCXUMt5yCGgiz-eWo-GZeRoPus-cXbC4SlAxZ7-9oOs4GwZ7Mc/s200/TotallyAccurateBattleSimulatorTribal.gif" width="200" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Take archers for example: You have your basic men armed with bows and arrows, who provide a cheap hard hitting option with Medieval forces. However, those from the Dynasty (a mix of Japan and China) are much more expensive but shoot fireworks, which dig into your units, send them shooting about the battlefield and then explode. Those utilized by the Ancient faction (Greece, Rome, and Persia) comparatively fire snakes, which then act as an independent unit which goes after the nearest threat. Finally, the cavemen skip this entirely and go for a much harder hitting but less accurate spear.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">This contrast is present throughout the entire game, and even the most bog-standard fodder at least has some gimmick which helps them stand out in some regard. Whether it's damage, animations or attack time, each will have some surprising aspect which ultimately ends up giving them a few notable differences and advantages. This only gets progressively crazier with super-units, which range from giants to legendary individuals like Vlad the Impaler to gods like Zeus.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Most of this might sound somewhat interesting so far, but here's the big difference: You control none of this. You decide who gets set down where, which maps to choose and who to use, but you don't guide who attacks what. Instead, you sit back and watch them play out, and enjoy the show. Naturally, some of you might be wondering just what the point is of all this and that it sounds boring as sin. In most cases, you would be right, but here two big differences with this one: Everyone looks like a claymation warrior version of Morph (well, besides the Mammoths), and the ragdoll physics of this game has been dialed up to 11.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmppDUO5N4vnTWjYY1wl3bUpNKNlPdGs6ePWntL8k-dFYzlhBOnwSrlPLgHtbb995yTdG3CShUWCA87ghCDJy5bXZqk2u-Mgx7T0pOrZlrTR8YKy0Sb93HLqaEPJoysQHqxTxmffVlCDLX/s1600/TotallyAccurateBattleSimulatorVikings.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmppDUO5N4vnTWjYY1wl3bUpNKNlPdGs6ePWntL8k-dFYzlhBOnwSrlPLgHtbb995yTdG3CShUWCA87ghCDJy5bXZqk2u-Mgx7T0pOrZlrTR8YKy0Sb93HLqaEPJoysQHqxTxmffVlCDLX/s320/TotallyAccurateBattleSimulatorVikings.jpg" width="320" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Seeing the sheer volume of troops stumbling about, being thrown around or getting stuck on terrain has a bizarrely hilarious quality to it. It makes what should be epic duels to the death into an outright farce, and only becomes increasingly funnier when the AI decides to pull an insane maneuver thanks to its pathfinding capabilities. It makes what should be an infuriating flaw into an act of downright brilliant comedy as a mob of knights chase a single bard (cannon fodder and kite unit) over the edge of a cliff to their doom.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The way in which certain units can interact only makes this all the better, with some getting stuck on one another, or even trapped with their arms behind their backs. It's a <i>Dwarf Fortress</i> sense of joy as everything goes to hell in one way or another, and the sheer number of ways in which various units can interact (and work as hard counters) means that the variety of outcomes is always in question. Even the limited variety of maps isn't a hindrance, simply due to the sheer number of times ill luck or a slightly different unit positioning can transform the outcome.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">So, with that in mind, what's wrong with this one?</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><u>The Bad</u></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The chief problem here is that once you get past the joke, how much fun you're going to have will vary heavily from person to person. The campaigns are required play-throughs to unlock some of the most entertaining units, and entire factions are hidden away among them. These are also balanced based upon points, requiring you to do a bit of additional thinking when approaching enemy forces. However, beyond this and finding a few hidden units, you're just left with the free-play battles themselves.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4PMuREH0ZUeT08Wl75JVnjbPwUfIlk9eZi6MiJDSBigHuFnS2C6sipEC7uOL_xn8gBq_33nsjp9VEcgua6xcu7HsrfIR7izdlaUItbTiAJe2wqgLsUYJ2JjMKOJhsno2QzGI_-A56jwQM/s1600/TotallyAccurateBattleSimulatorMammoths.webp" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4PMuREH0ZUeT08Wl75JVnjbPwUfIlk9eZi6MiJDSBigHuFnS2C6sipEC7uOL_xn8gBq_33nsjp9VEcgua6xcu7HsrfIR7izdlaUItbTiAJe2wqgLsUYJ2JjMKOJhsno2QzGI_-A56jwQM/s320/TotallyAccurateBattleSimulatorMammoths.webp" width="320" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">A further factor is also how there's no satisfying way to engage with the units themselves. Stating that you can't play it isn't entirely true, as you can take control of some units in a first-person view. However, this is not only extremely janky (turning what is a selling point against the game in this area) but it can often be unsatisfying in most cases. A single ballista while supercharged by cheerleaders (and just wait until you see what those can do) against a horde of mammoths works. However, controlling a single melee unit or most general figures isn't all that fun. It doesn't quite hit the high notes of Dynasty Warriors in terms of one-man carnage and the inherent fragility of who you control isn't offset by a heightened degree of speed in most cases.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Finally, and most pressingly, the tactical element of this came isn't always completely spot on. Luck and flaws play a major role in this, so those seeking something with easily predictable outcomes or control will not have any fun. Equally, the game requires a general gentlemen's agreement to have basic fun. If you end up with some overly competitive freak of nature more concerned with winning than just enjoying the spectacle, neither of you are going to have a good time in what passes for multiplayer.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b><u>The Verdict</u></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT0EYhWNe1kyljcX1ah0hb_UQx3-32gp_eqRLlpKK1Xh_t5tmzMhTve2blrjQJ85whPuqe24igDAtHW0VkBuKqr_8xHksdO_5X8OtdNsjCN2iYWTKPNAIeZuPi-bfyvcGqliru3qI5DBlg/s1600/SamuraivsKnight.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="158" data-original-width="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT0EYhWNe1kyljcX1ah0hb_UQx3-32gp_eqRLlpKK1Xh_t5tmzMhTve2blrjQJ85whPuqe24igDAtHW0VkBuKqr_8xHksdO_5X8OtdNsjCN2iYWTKPNAIeZuPi-bfyvcGqliru3qI5DBlg/s1600/SamuraivsKnight.gif" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">Much like <i>Gratuitous Space Battles</i>, the lack of control is going to be a major win or lose factor on here. Equally, some of the ridiculousness which can come about thanks to the physics engine and the unpredictability of some armies will be a turn-off. It's certainly not <i>Starcraft II </i>or <i>Command & Conquer</i>, but it's not trying to be. This really is as close as you can get to a party strategy game, and it knows it. As such, you're just meant to put down units, have some basic tactics behind them, and then enjoy the show.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">If you're someone who doesn't mind throwing armies at one another purely for the one of it and isn't obsessed with winning/min-maxing forces, definitely give this one a look. It's just pure bloody entertainment, albeit with more carnage than blood.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><i>Totally Accurate Battle Simulator</i> exits Early Access out on April 1st, but is open for purchase now.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Verdict: <span style="color: red;">8 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-56551883094381925632019-05-24T01:00:00.000+01:002019-05-24T01:00:10.482+01:00A Plague Tale: Innocence (Video Game Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT_vTtM5jHOs0qPWOEQdypEHlEZnlufa4syryRcp9L_7gDqgM1_Pg5wCl4YUEMAcYU0X_Ocsbt_Jvc-yRzDmCrLy3f6_cfaFQCdeHwVN73yhtIj_1JJn5MDadIRUpEHDuVNfHdw2KYAro3/s1600/a-plague-tale-innocence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT_vTtM5jHOs0qPWOEQdypEHlEZnlufa4syryRcp9L_7gDqgM1_Pg5wCl4YUEMAcYU0X_Ocsbt_Jvc-yRzDmCrLy3f6_cfaFQCdeHwVN73yhtIj_1JJn5MDadIRUpEHDuVNfHdw2KYAro3/s400/a-plague-tale-innocence.jpg" width="400" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Escort missions and stealth escapades are typically the death of games. While there are more modern exceptions to this, both areas have developed an understandable stigma thanks to poor design choices and mismanaged difficulties. So, to build a game with both as their core mechanics should have been a death sentence, and encouragement for others to avoid it like the plague. Instead, what we ended up with might be one of the best games of 2019, if not the best games of its type. And yes, I did write this introduction just to make the obvious pun.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Synopsis</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Ser during the events of The Hundred Years War, <i>A Plague Tale: Innocence</i> follows the story of Amicia De Rune and her younger brother Hugo. Driven from their home in France by the Inquisition and hunted across the battlegrounds of the ruined countryside, each of them must discover the secret past to their family. Yet soldiers, warrior priests, and sellswords are the least of their concern. An unending tide of rats and the black plague itself claims even more lives than any standing army, and their swarms hound the sibling's every step...</span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Good</b></span><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOA7nRYB66POIuOSLfkJYgNNS5ta4fshyteWAM8dtN_A_AuarvyaxvyFNY-huTx0tYhCm6ZDoI3XRJiFtvl0181pfBPOK5Bhw3cR3CvH6kFpEU5NqtME5Xn_gC7xFe-jNvI2c4oW_-UvC/s1600/a_plague_tale_rat_swarm.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="250" data-original-width="444" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOA7nRYB66POIuOSLfkJYgNNS5ta4fshyteWAM8dtN_A_AuarvyaxvyFNY-huTx0tYhCm6ZDoI3XRJiFtvl0181pfBPOK5Bhw3cR3CvH6kFpEU5NqtME5Xn_gC7xFe-jNvI2c4oW_-UvC/s200/a_plague_tale_rat_swarm.gif" width="200" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Narratively driven and character based, this was a game which was to live and die on how it executed its story. This isn't related to the story itself, which remains excellent, so much as how well it was integrated into the game and would work with the setting. <i>A Plague Tale</i> not only manages to display an excellent narrative throughout much of its gameplay with a quite terrifying villain, but it works in every way to show the game hooking you in through even basic timing. The challenges are linear, but they are so excellently timed in regards to mechanics and movements, that you always feel as if you are just inches away from disaster. Moments so small as trying to dodge about a distracted guard are dragged out due to Amicia needing to guide and help Hugo, making you feel as if you are about to be caught at any second. This could have so easily made it feel dragged out or even slow, but the addition of needing to help Hugo over obstacles helps to overcome this problem. In fact, it distracts you from it by making you feel as if his presence might lead to both of your deaths.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">That last point might sound like a bizarre thing to praise, but it ties in almost perfectly to the major story arcs of each character. While most video game protagonists are written to react and observe events as the player guides them along, </span><span style="font-family: arial, helvetica, sans-serif;">Amicia</span><span style="font-family: arial, helvetica, sans-serif;"> is written as someone out of her depth. While the older of the two siblings she is still a child, and that isn't ignored. The responsibility of keeping the two of them alive clearly weighs down on her, and she snaps at her brother in moments of tension, shows impatience and this is further strained by how the two are alienated. Equally, Hugo himself has outbursts of petulance and childish misunderstandings. This creates an excellent conflict which leads to considerable character growth, even when it is made clear that they need to rely upon one another for survival. There really is, one exception aside, no badly written figure among the ensemble cast; with many existing to subvert misconceptions of the era or even common medieval storytelling tropes.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: arial, helvetica, sans-serif;">The tight direction of the game helps to disguise its overall linearity and keeps up a constantly engaging pace. You will be lucky to pause and find yourself truly stuck on a puzzle or wander about trying to think around a problem despite their challenges. Equally, the lack of more open areas is something that the game disguises extremely well. This is executed by both the map designs but also the visual direction. This keeps you on track through drawing your attention away from the boundaries and even creating risks which has you unintentionally avoiding them. </span><span style="font-family: arial, helvetica, sans-serif;">Oh, and the game is also gorgeous. While the graphics might not be up to SquareEnix standards, the attention to detail and lighting quality helps to elevate it far above the standard you would expect of a B-tier release. Well, that and the soundtrack, of course.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-sPnchGelI6EFnpWyQwYXHyCF7SoQVHqrY3D80sorB0jLOX5JdGiBQUk0M5RRJMZ8eO9LDpgYU4yklZG1vkVZ0Xz6B8sfJKjglG8A3htyfY5foRKrsnoBoYBXILbO6OH79Zc6zssf0ud/s1600/a_plague_tale_rats.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="315" data-original-width="560" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-sPnchGelI6EFnpWyQwYXHyCF7SoQVHqrY3D80sorB0jLOX5JdGiBQUk0M5RRJMZ8eO9LDpgYU4yklZG1vkVZ0Xz6B8sfJKjglG8A3htyfY5foRKrsnoBoYBXILbO6OH79Zc6zssf0ud/s200/a_plague_tale_rats.gif" width="200" /></a></div>
<span style="font-family: arial, helvetica, sans-serif;">Yet none of this compares with the rats. Swarms of hungering rodents infest vast swathes of the countryside and these serve as an effective stand-in for zombies. A zombie you can isolate, pin down and defend against. A swarm of fast-moving flesh-consuming diseased rats? Their sheer presence and writhing tides are depicted in a way which will always have you on edge. It's less of an enemy than a force of nature, and one which can be used to your own benefit. While the horrors of war are a key factor within the game, and it leads to one of the title's most memorable moments. The fact that you need to cause several of them to continue, and how unrelenting the sense of horror is from their simple impact on the countryside, makes it easy to see why the marketing focused upon them so much. Well, that and one other bit which ties into the first problem below.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Bad</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Perhaps the single most problematic quality behind <i>A Plague Tale </i>stems from its overall twist within the plot. While the story manages to be relatively realistic with some welcome displays of values dissonance due to the time, it starts to go a bit pear-shaped towards the end. It's less<i> A Game of Thrones</i> and more <i>Assassin's Creed</i> in its later stages, with a dash of <i>Condemned 2: Bloodshot</i> in its finale. This is problematic as the plot itself is the essential focus here rather than the characters themselves, switching what had been a vehicle for a stronger piece into being the main focus. As a result, the desperate need to ramp things up for the climax ends up making the story go into a few overly silly areas. These are still effective in their own right, and in another game, this would be downright fantastic. However, here the jarring shift is </span><span style="font-family: arial, helvetica, sans-serif;">akin to playing </span><i style="font-family: arial, helvetica, sans-serif;">Witcher 3</i><span style="font-family: arial, helvetica, sans-serif;"> only to have <i>Final Fantasy X</i> hijack the last few minutes.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivxJD87JrHLQPZtk3sXVxkkCXnOuEJW4yQD1BeaLYy3n_ZYVxwImTVzUv2eQ9gdJJLgu68_SJh4YdAyi_JfGlyY67hI0ckLZM3I9AuuSyV83eC7Qivnf7pFEocavietzb9ztlln9k-O3c4/s1600/a-plague-tale-innocence.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="204" data-original-width="500" height="81" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivxJD87JrHLQPZtk3sXVxkkCXnOuEJW4yQD1BeaLYy3n_ZYVxwImTVzUv2eQ9gdJJLgu68_SJh4YdAyi_JfGlyY67hI0ckLZM3I9AuuSyV83eC7Qivnf7pFEocavietzb9ztlln9k-O3c4/s200/a-plague-tale-innocence.gif" width="200" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">A further problem stems from some rather odd issues in regards to certain key stealth segments. While much of the game is excellent in regards to how it handles dodging about the roving bands of guards, it isn't unwilling to make a few cheap shots. This comes largely into play at roughly the third-hour mark, where the tightly paced and otherwise well-directed stealth segments have a bit of a hiccup in regards to getting about a few enemies. There odd moments of spontaneous omniscience or seemingly the ability to see through objects which throws you off. This is almost certainly a bug, but it brings to mind some of the worst moments in the original <i>Splinter Cell</i> or even the <i>Thief </i>remake. It completely undermines the overall sense of reward from making careful moves and conserving resources. I only highlight this point as, when combined with the far more closed in environments, this can leave you feeling as if you are banging your head against a wall.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is also to say nothing of how</span><span style="font-family: arial, helvetica, sans-serif;"> </span><i style="font-family: arial, helvetica, sans-serif;">A Plague Tale</i><span style="font-family: arial, helvetica, sans-serif;"> is reliant upon its selling point of the rats. Ironically, at first, the rats themselves serve as an element within a far larger narrative. You can see how they link into many points within the story, and they are hardly in the background at any point. However, their impact upon society or even the sights left in the wake of their rampage carries almost as much horror as their actual presence. At a certain point, some of this is definitely lost, as it begins to focus more upon the rats as a direct enemy rather than a sheer force of nature. This causes the game to lose something, and sadly it ties into that weaker ending described above.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Verdict</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Even with its problems, <i>A Plague Tale: Innocence</i> is nevertheless a spectacular release. Were it not for the aforementioned problems in regards to its finale and odd glitches which turn guards into Judge Dredd with x-ray vision, this might well have attained a perfect score. Even with its linearity and B-tier budgetary standing, it remains head and shoulders above many more recent releases. If you're going to buy a single game in the next six months, this is definitely the one to pick out and keep.</span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">9 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-863046299812499322019-05-20T01:20:00.000+01:002019-05-20T08:50:15.912+01:00Siege of Terra: The Solar War by John French (Warhammer 40,000 Book Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cE75pPEdAYFzXbNwFTIDRXkDdeoz7onsFQYOuf8DeBuGpQB1kKFRYpbcjJhnkIHTFSaL84KYhILWHLRI5Fl3vs63Zwjuoehhp_5ImnASRQkLv9I2JLz1CMogtvLlI7dV4rkb6cvWRV8q/s1600/Warhammer_Solar_War.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="822" data-original-width="650" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cE75pPEdAYFzXbNwFTIDRXkDdeoz7onsFQYOuf8DeBuGpQB1kKFRYpbcjJhnkIHTFSaL84KYhILWHLRI5Fl3vs63Zwjuoehhp_5ImnASRQkLv9I2JLz1CMogtvLlI7dV4rkb6cvWRV8q/s320/Warhammer_Solar_War.jpg" width="253" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, the <i>Horus Heresy</i> has ended, and a few of you are likely asking questions. To get the big one out of the way first: Yes, the previous novels will get a look. I just need to get them out of storage or for life to sit down, shut up and start behaving for once in its miserable existence.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">More appropriate questions are more likely along the lines of how this series will be treated. Will it be a simple continuation of the <i>Horus Heresy</i>? What will be changed in the build-up to the siege itself? Is there a major shift in character arcs or new developments which will radically alter the dynamic of the war?</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The answer is yes to all of the above. <i>The Solar War</i> is a new start of sorts, but it feels very much like a continuation of the old series under a new label. How that influences it is something which will be heavily commented upon below, along with how it executed a few of its ideas.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Synopsis</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The enemy is at the gate. With the end of the long war across the galaxy and countless pyrrhic victories on both sides, Horus Lupercal now assaults the birthplace of humanity itself. With the full might of the Traitor Legions at his back, he throws everything he has into this effort, making one last roll of the dice to cripple the Imperium. Yet first, he must win the war in orbit to start besieging the ground.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The fortress which the Solar System has become buckles under the constant fighting, as enemy fleets stream into the surrounding space. Rogal Dorn and his forces meet them, move by move and fighting their bloody engagements at every turn. Yet Chaos rarely engages in a truly straightforward battle, and its key to victory lies with someone who was there at the start of this all. Someone who sits alone in a prison, silent and unheard...</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Good</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">There's one very good part to cite right off of the starting gate, and that relates to escalation. While this is something of a double-edged sword (and we will get into that) the book doesn't simply start big and stay big. It doesn't read like some overly huge event that you cannot keep track of, and some might have expected that. However, that likely would have been a mistake as you need to keep raising the stakes to keep things interesting. As such, the book shows the opening shots and has some very engaging fights at key points, but it's nothing which will dwarf (or seem on the same scale) as the Siege of Terra itself. After all, the last thing anyone wants with a fifteen-year series is for the finale to feel like a let-down. This at least leaves it room to build toward something far more epic.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Another definite point in its favour is how it handles certain characters and their dynamics. John French was someone who managed to juggle between the various traitor primarchs expertly in his previous book, and he handles the main players remarkably well here. This is evident with the opening, where Horus himself is in strong form and we get a very sinister echo of something from <i>Horus Rising</i> in his actions. Yet even without this, Khan and Dorn both manage to be given some very interesting character bits which sheds some further light upon their characters even in this new series, and how they understand one another. This builds somewhat toward confirming a link between the two primarchs that had seemingly been retconned out of existence, but it works well here. Remarkably, even when French finds an excuse to throw Ahriman into the mix very early on, he makes it work in that you can see him starting to head down the path we will see him take much later on.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">There's also a major benefit in terms of Chaos itself, as the book does feel as if it is trying to dabble with greater things at many points. This relates largely to choice, fate and life-changing decisions more than anything else, along with how each can be so easily manipulated by greater powers. On its own it makes for a very well handled and fittingly thematic choice for this series, as this is ultimately the culmination of so many mistakes and fateful decisions. It even works somewhat better when you consider just who it focuses upon in these moments and how it deals with their psyche.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Interestingly, the story also keeps you guessing as to where it will go next and how things will pan out. We know what the ultimate fate of this conflict will be, as this is the Siege of Terra after all. You know that the enemy fleet will reach Terra and besiege it, so French works around this by weaving other stories into the narrative. This has a few problems we will be getting into on the next point, but it does help to sidestep the predictability which would otherwise be evident within the tale. By offering new narratives and individual chapters to assist with character development, you at least have something more to keep you hooked as the traitors fight their way to the Throneworld.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">All of this would be usually great and make for an excellent book. However, that doesn't quite benefit this particular novel for the reasons we delve into below.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Bad</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is going to sound like an odd criticism above all else, but I do not think that John French was the right person for this book. A follow-up book or second installment, certainly, but this one is somewhat incoherent because of his typical focuses. Really, think about any of French's novels for a moment and think about what makes them work: Small scale character action, individual moments of extreme violence or very broad depictions across single battlefields, the bizarre secrets and hidden details of Chaos, colourful character histories which unfold over time, and roving journeys which cover great distances. Some of this <i>The Solar War</i> was able to offer, but others are at odds with its overall intended role. It doesn't feel like a war so much of the time as a series of major deciding points which are typically set outside of the main conflict, or adjacent to it.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">You'll notice very early on that the novel itself typically tries to find ways to skim over the broader details of the war in favour of smaller character moments. The fall of the outermost worlds is something we see little of from any firsthand perspectives, and it instead shows them first from a war room on Terra and then a group of fleeing refugees. These work as supplementary pieces very well, but it lacks the core of some more definite ship-to-ship fighting to keep things interesting. Even when it begins to pick up steam, the actual story keeps focusing on other areas. We learn more about a major Admiral commanding the defense, the dynamic of the primarchs and even one or two examples of skirmishing. However, the broader "war" in question is told almost entirely through statistics and labeled battlegroups. This <i>could </i>have worked even then, but it lacks the same punch or detail that people like Graham McNeill, Dan Abnett or to a lesser degree Andy Clarke would deliver on. As such, it is simply unfulfilling.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Another problem that the book suffers from is that there's little in the way of a real reintroduction to the story. With so many previous plots being brought to a close, characters killed off and sagas simplified toward the end of the <i>Horus Heresy</i>, it seemed as if this could be a sort of jumping on point for readers. It's a whole new series, and while there is some need to generally cover past events or incorporate ongoing character development, it could have started with something that was easy to follow or keep track of. Instead, much of the novel carries on as if it's just another <i>Horus Heresy</i> novel, and offers little in the way of recaps, introductions or proper explanations for a few major developments here. Several of these are clearly written with reader familiarity in mind, and that can be offputting. Even as someone who has been reading this series and keeping up to date with it, I kept feeling as if I was missing something when something was abruptly introduced to the story.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Finally, the overall event is remarkably inconclusive. It doesn't feel like a chapter in a larger event so much as something which just trails off. You can certainly see where it stands in the larger scheme of things, and how it will lead into later tales. However, unlike the books of the previous series, it doesn't feel like a small part of something greater which leaves you satisfied by the end. It's not even that it doesn't close out events for certain characters, but the way in which the book dabbles so heavily in broadly thematic concepts and intangible ideas makes you think "Wait, is that it?" by the end.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Verdict</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Overall, <i>The Solar War</i> is just okay at the end of the day. It's certainly not due to a lack of effort on John French's part, nor even a lack of ambition when it comes to its themes. However, it simply doesn't quite get across and fully connect its myriad of stories, themes and ideas. All too often it seems to want to avoid the more material elements of the naval conflict itself and focus much more on the immaterial machinations of the Warp and the advantages this offers the Traitor Legions, along with small character moments. The problem is that this never fully connects and it means that more than a few events end up feeling as if they are out of focus, or the story is being told through an oddly skewed vision.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Some people might well like this more, and I personally feel that how much you enjoy French's writings will heavily influence your enjoyment. As such I encourage you to read a few more reviews before making your mind up and buying this one. However, even as someone who liked this author's previous works, this one just didn't feel nearly so engaging as his other sagas. As a result, I ended up liking its themes and ideas much more than the actual novel itself.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>The Verdict: <span style="color: red;">5.5 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-73445065252557378332019-05-15T01:00:00.002+01:002019-05-15T01:00:41.893+01:00Game of Thrones - The Case of Boomerang Character Development<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkmpx_hIGz7iyQXP1YxNoQSj6j7BArLoHsmrPcbScq0mBj2hyphenhyphenGTkCsAblDak_S_fX1BkJoz4JZUFgUJzJOy1IeyvWlz1zZKaiGID9smAy6jSLk8h-jMClEBmIFwoOn-xchR2M5xdvPkNIP/s1600/Daenerys_throne_room.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="534" data-original-width="950" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkmpx_hIGz7iyQXP1YxNoQSj6j7BArLoHsmrPcbScq0mBj2hyphenhyphenGTkCsAblDak_S_fX1BkJoz4JZUFgUJzJOy1IeyvWlz1zZKaiGID9smAy6jSLk8h-jMClEBmIFwoOn-xchR2M5xdvPkNIP/s320/Daenerys_throne_room.jpg" width="320" /></span></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, <i>Game of Thrones</i> has been interesting, eh? While it's been discussed in passing a few times on here, we've never delved deeply into the series. That was with good reason. I wanted to wait until either the series was finished for a full retrospective or time to sit down and properly compare it with <i>A Song of Ice and Fire</i>. However, the past few episodes have been such a startling cavalcade of disappointments that certain things cannot go unpunished. It would take multiple articles to cover them all, but the big one here is Daenerys. The Queen seems to have followed in the footsteps of her father and decided to lay her vengeance upon those that oppose her, which ended with her flying Drogon over King's Landing and torching everyone in sight.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">This has, understandably, provoked a few interesting responses and a tidal wave of hate mail which has been directed toward the creators. David Benioff and D. B. Weiss have left some awkward comments in relation to character moments and decisions, which have ranged from lazy plotting to insulting the audience's intelligence. The big ones people keep citing is how they seem to promote "having the good guys act like the bad guys" is some dramatic and innovative twist which no one has tried before, and having the Targaryen side simply forget that the Iron Fleet exists. There are no shortage of ones which could be brought up, and there is even a good break down of why this is a let down found <a href="https://twitter.com/DSilvermint/status/1125856091261136896"><span style="color: red;">here</span></a>. This cites creative mindsets and major differences which means that one group of creators could never quite live up to George R. R. Martin's novels.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">There are many ways in which this latest move can be analyzed and considered, but the main one which needs to be fully considered is simply this: </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Daenerys has always had the potential for revenge in her. We had full story arcs covering this and there were multiple occasions where we cheered her on. The big ones were, of course, the fights to liberate Meereen from its slavemasters and her treatment of the rulers. She crucified hundreds of them by the roadside, and one major subject of the story was her learning to temper that rage when needed. The problem is that, with the show coming to a close, the creators have decided to loop back around to a similar song and dance that we have seen before. Worse still, it's a poor replication of that same song and dance.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">In a similar manner to how her presumption and use of titles when meeting Jon Snow seemed to pretend that her development in season two had never taken place, this one just outright pretends that she has learned nothing. It doesn't take the time needed to provoke this kind of response, and instead, it is rushing through things to try and force the story to come to a key point that the writers one. It hasn't developed organically or in a semi-logical fashion as some previous events or, worse still, it's trying to ape previous developments to justify this turn. The big one is a character death provoking a harsh response, or slaying a potential ally within her circle for risking turning on her, both of which we saw done in </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Meereen. As such, this is less the show doing something new so much as spinning its wheels, just as the finale is upon us.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Yet there are other layers to this turn which makes </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Daenerys' actions feel far more bitter. How many audiences cheered as she burned slavers? How about an enemy fleet, or the Lannister army? What about her breaking her enemies through these same means? Watchers were wholly behind her the entire way and, while extreme, the show always made a point of making it seem justified. Each could be considered a possible step further down a road which made Daenerys' family name so infamous, and her fans were supporting her the entire way. Now, at long last, that rage has been turned upon someone who does not deserve it, and has shown just what she is capable of when given a target which isn't so morally black. When she desires revenge nothing will stop her, and this episode has shown what can come from that. It can make an audience feel far worse as a result of this, as if rooting for her in the first place was a mistake. There's an engaging quality to this which could work, but the rushed delivery and inability to focus upon the idea here means that it just feels v</span><span style="font-family: "arial" , "helvetica" , sans-serif;">indictive as a result.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Finally, there is also the matter of the throne itself. Seeking the iron throne, fighting for it and approaching it with the desire to claim power has often been a warning in the series. It either warps people beyond recognition or leads to their downfall. Or both. Even if you ignore the war itself, look back at King Robert's tale and how miserable it made him. This could have been a theme again here, as </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Daenerys was always someone who seemed to be on a knife-edge in terms of whether she would be able to accomplish there, or what would become of her. However, none of that is focused upon the difficulties of governing from that role or even the pressures which can break a person. The ham-fisted delivery means that while the message itself is present, the execution and narrative devices leave it as an incoherent mess.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Even without the other issues surrounding it, this final stage of development ultimately ends up relying too much upon past trends and cannot make use of new ideas. As a result, it just ends up feeling like a hollow finale which is wallowing in nihilism, leaving you with no one that you wish to root for. Once that happens, you have to ask yourself: Why are you still watching it, and is it ever worth watching again? It's probably a question that a lot of us will be asking ourselves in the future, whenever a fan thinks of going back to watch the series from the start once again.</span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com3tag:blogger.com,1999:blog-1831276194138109948.post-66040053043156247292019-05-13T01:00:00.000+01:002019-05-15T11:20:27.397+01:00Dungeons & Dragons: The Most Underrated Monster<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO0ooOimKt0XQ-hIF8jUuexF-BqUorEC519cy5m1RYnzdGOnA3dDDJfhjKzQLEuKgf_QHZd9t9ai1sCkx7CZJ8FZl2tXbzxXxUWbrCmhyphenhyphenOenzFsQSL69KhjnrziOoZJY8ODNKUkc7SWtdH/s1600/Dungeons%2526Dragons_Monster.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1223" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO0ooOimKt0XQ-hIF8jUuexF-BqUorEC519cy5m1RYnzdGOnA3dDDJfhjKzQLEuKgf_QHZd9t9ai1sCkx7CZJ8FZl2tXbzxXxUWbrCmhyphenhyphenOenzFsQSL69KhjnrziOoZJY8ODNKUkc7SWtdH/s400/Dungeons%2526Dragons_Monster.jpeg" width="305" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, it might be something of a clickbait title, but it is accurate. <i>Dungeons & Dragons</i> is a game we don't often discuss on here, even when we do delve into RPGs. The main is simply that we often focus far more on the outings relating to <i>Warhammer 40,000</i> and <i>Shadowrun </i>than anything else, and <i>D&D</i> was one which I was introduced to far later than most. However, even with that being said, it's easy to pick out the popular ones on here. Even if a person has never played the game, they will still recognise a Beyonder, a Mind Flayer or the Tarrasque. Well, that and the Mimic, of course. Still, there are many which are just overlooked due to their generic nature, but none that have been quite so overlooked as today's example.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Now, this is one that you may or may not have heard of. However, you will definitely have seen it. This is an incredibly dangerous monster, arguably one of the single worst things that anyone could walk across. It's capable of being enraged beyond all rational means, and will actively fight to the death against almost any intruder. Oh, and it exists in real life:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZXq_JCPduiNDsgpGiGBlFDqsIQMLlkW6YEfVIJ51ulO_qu8IpSggbuvUgaeHYqG6CrB24H3SfFAzaN99qWZx7S4Brw0nTXt-nGzZtSAme3kGEYOGjTL7CERr5h-vxQvpkI-hEwF_JQ049/s1600/DireHippopotamus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="434" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZXq_JCPduiNDsgpGiGBlFDqsIQMLlkW6YEfVIJ51ulO_qu8IpSggbuvUgaeHYqG6CrB24H3SfFAzaN99qWZx7S4Brw0nTXt-nGzZtSAme3kGEYOGjTL7CERr5h-vxQvpkI-hEwF_JQ049/s320/DireHippopotamus.jpg" width="320" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">No, this is not a joke. It's a Hippo, specifically one of the Dire variety. This thing is something few to no campaigns ever bother to use, and something that more than a few parties laugh at if it shows up as a threat. You might be able to see why at first as, as big as their mouths are, they are somewhat comical looking. Then you might start to notice certain things, like how in real life their skin is tough enough to easily shrug off attacks from multiple lionesses, or how they can crush a watermelon in a single bite. Or these stats:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcP6wto6D-05dAsUl6xJ3OreiHmzUuBt55FUrTdEEbPtocOaQkoYdFzNwaXQDkm71bBUS2ZOtwqFh5iJ4Rj8knjq0nWvhgt8L7zB012T1fmmmyV3rdP5Kw1ha-5YST6no8ISeDijCahAzx/s1600/D%2526D_Hippo_Stats.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="867" data-original-width="713" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcP6wto6D-05dAsUl6xJ3OreiHmzUuBt55FUrTdEEbPtocOaQkoYdFzNwaXQDkm71bBUS2ZOtwqFh5iJ4Rj8knjq0nWvhgt8L7zB012T1fmmmyV3rdP5Kw1ha-5YST6no8ISeDijCahAzx/s400/D%2526D_Hippo_Stats.png" width="328" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">You can find the original sheet for this <a href="https://www.d20pfsrd.com/bestiary/monster-listings/animals/hippopotamus-tohc/hippopotamus-dire-tohc/"><span style="color: red;">here</span></a> if you don't believe me. But, to break this down, this thing has even more HP than a Fire Giant, Yithian or Dragon Turtle. It has a natural AC which allows it to walk through most DPS attacks from parties of munchkins hellbent upon min-maxing their tanks, and enough sheer speed to match most characters who aren't riding horses. It's damn near impossible to knock down at the level you are supposed to encounter them at, while its reach means that if you're just a little too close, it's going to take your leg off.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Keep in mind, this isn't a lumbering beast either. Its Dexterity might not be fantastic, but it's a damn sight better than more than a few creatures intended to tank a few hundred sword-blows at that level, and it has bonuses to make up for that. Things like Improved Initiative ensures that it has a +4 bonus on initiative based checks, and it's Perceptive enough that it will find just about anything it's looking for. Really, it's +22 on a basic roll before you even get into things like the Skill Focus bonus of +3 to boost that up just a bit further. Run to the water? You're just playing into its (completely metaphorical) hands! There's no point in hiding from this thing, it's the Liam Neeson of the animal world. It will find you, and it will kill you.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Still, none of this is getting into just what it does if it ends up attacking you. Long story short, you're going to be upright for about three turns at the most. This Pacman of the aquatic world is hitting at 4d6+12 with a bonus to critical rolls which gives them both a doubled threat range and a base attack bonus of +8. That's an average roll of 14, meaning that this hippo from hell is going to be taking chunks out of an unprepared character even with plate armour. Oh, sure, you can dodge, but it's going to typically stay upright long enough to get at least one good bite in, at which point your Rogue is going to be wondering where his legs went.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Combine this with a brutal Strength of 27, Constitution of 24, and a remarkably high Wisdom of 16, and it's going to cause all sorts of hell for a party which doesn't take this seriously. Really, even if you're saving the fantastical stuff for a proper boss, two of these things would be the miniboss of nightmares. A proper herd of five would likely cause a total party kill unless the players are min-maxing their creations.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, why isn't this better known? Probably for the same reason that people tilt their head and wonder if you're joking when you say that hippos are genuinely dangerous animals. They look a little cartoonish compared with the likes of lions, crocodiles or even rhinos, and they lack the same typical menace. You're lucky if you can ever find Tarzan fighting one on screen and I can't think of a film (well, besides <i>Jumanji</i>) which has truly used one as a threat. Combine that with the fact that this is a game where basilisks, griffins, hydras and dragons show up throughout the plot, and it can be a little hard to build up the enthusiasm to take this creation seriously.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Still, that just makes it all the more of a shock when you decide to drop it on a group of adventurers, or need to keep a few murder hobos in line.</span>Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com2tag:blogger.com,1999:blog-1831276194138109948.post-78953779496091607632019-05-10T01:00:00.000+01:002019-05-10T01:00:08.254+01:00Deathwatch: Shadowbreaker by Steve Parker (Warhammer 40,000 Book Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-FGsoxoARiYT2qkn7SQlXK4hhcv28pzUqh1vrFiXj8YOT1SPxaHD-68UqYQRW-3x9WWM1eujguSC3trYJJdy_mxoq7hFF3Arev6qTuI6dA72hstPkbxq-Y4y-mtTeFFPYZoe2aj_zYMhd/s1600/DeathwatchShadowbreaker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="822" data-original-width="650" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-FGsoxoARiYT2qkn7SQlXK4hhcv28pzUqh1vrFiXj8YOT1SPxaHD-68UqYQRW-3x9WWM1eujguSC3trYJJdy_mxoq7hFF3Arev6qTuI6dA72hstPkbxq-Y4y-mtTeFFPYZoe2aj_zYMhd/s320/DeathwatchShadowbreaker.jpg" width="253" /></span></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Now here's one that I never expected to see, but I am <i>very </i>glad we got it. Steve Parker is one of those authors who made quite a splash in Black Library only to disappear after a short time. Despite producing several excellent novels and a few great short stories, he disappeared from the grim darkness of the far future, leaving quite the cliffhanger behind. Now, he's back to continue that saga.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Synopsis</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Set some time after the events of the original <i>Deathwatch </i>novel, Talon Squad has been recalled by Sigma once more to carry out their duty. However, unlike their trial by fire, this isn't simply a combat insertion against a feral opponent. An Inquisitor has disappeared on a world recently conquered by the T'au Empire and has promptly refused all efforts to contact her. No one fully knows if she has been abducted or has willingly defected to the xenos race, but her secrets cannot be allowed to fall into their hands. Operating alongside a group of anti-T'au specialists and insurgents, Talon Squad must breach a heavily fortified city and reclaim the Inquisitor at all costs. Yet the Inquisition's manipulations extend far further than any might reckon, as both Librarian Karras and those he commands will suffer in their shadow games.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Good</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">For starters, Parker most certainly did not rest on his laurels with this one. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Both the first <i>Deathwatch </i>novel and the two short-stories surrounding it were simple, direct and straightforward operations. In each case, the group was dropped into a location already overrun by the enemy, with hostile combatants around every corner and told to steal or kill someone. These were extremely well-written outings which embraced the <i>Dredd </i>mentality of making the everyday efforts of someone exceptional exciting over a defining moment in their lives. Parker could have happily stuck with this and it would have still been celebrated as a great story, but by taking a notable risk with this one he ended up with something far stronger.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The very nature of the Talon Squad's mission this time is the antithesis of the hard and fast strikes of previous tales. They are dropped onto the planet well ahead of time, and a great deal of the story goes into the preparation of their strike and just getting onto the world itself. This takes up a similar amount of space as the previous novel's outline of how the Deathwatch operates and trains their individuals, and it certainly benefits the book. It helps to show how the Astartes of the Ordo Xenos' chamber militant differ from their typical counterparts in operations, methodology and the expectations placed upon them by the Inquisition. It's still the general special forces take on the space marines, but it's a very different kind of one which offers both world building and an excellent new kind of tale.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The secondary characters are also notably stronger here, as is Karras' journey in the wake of the previous book's revelations. Both the insurgents and supporting humans have far stronger personalities than anything offered in Parker's other tales, save perhaps for <i>Rynn's World</i>. Archangel, in particular, is a fascinating take on an Imperial character type due to how she operates and contrasts with the likes of Sigma. Not to mention that she's an excellent contrast to the usual human characters we see working with Astartes and opposing xenos incursions. Equally, the insurgents and those with them are a great take on the usual tribal cultures seen in these books, but with a good mix of self-awareness and decently progressive takes on a few backward ideas. That's true of most of this book, and sadly delving into the two best examples would lead to massive spoilers.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The novel overall could be considered a far more intrusive and questioning take on the usual Imperial-T'au dynamic we see in these works. Usually novels will either adamantly side with one and demonize the other, or twist key details to make sure that you are more clearly on one side. That and they tend to favour one-sided steamrolls of fights to make their favourite group look great. This manages to ditch the majority of that through a few very welcome storytelling devices. The first and foremost among these is that, when we see the T'au Empire and its member species defined, it is through the eyes of extremists on both sides. While you certainly see that they might have points, even offering up few surprisingly nuanced takes on the T'au Empire's more ambitious efforts, it's always coloured by their opinions. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">One resistance fighter complains of the T'au overwhelming and corrupting human culture, and that their terraforming efforts are destroying their way of life. There is a degree of truth in this, but we later see direct contradictions to this fact. Notably with references to T'au culture actively trying to avoid giving the Imperials reasons to support resistance efforts by keeping much of their culture intact and even allowing for a less xenophobic Imperial creed to still be preached. Yes, someone finally remembered that was something the T'au did. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">On the opposite side, the T'au Commander Coldstar is borderline xenophobic, holds humans in contempt and even performs some very questionable experiments on dissenting voices among his own people. All seemingly with the approval of elements within the Ethereal Caste. However, he's rarely framed as anything besides an extremist who feels that his placement is unworthy of his role, and he mentally justifies these acts in the face of a greater threat. He's an outright villain and someone who believes that the end justifies the means, but it's without the same cartoonish "by the way, I'm actually a villain!" storytelling which has previously plagued the T'au. If we need more stories with them as the antagonists, this will likely become a measuring stick for how to tell it from here on.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, what of the writing style and combat? To answer the latter first, the combat is as typically blunt and direct as usual. It avoids many of the more descriptive or dramatic choices of outlining scenes than other authors like Aaron Dembski-Bowden or Josh Reynolds typically use, but Parker makes it work. It fits in with his tone of storytelling, stepping away from some of the more mystical or vague qualities of the galaxy to describe something which is bizarrely more down to earth. The fights are extremely brief moments of violence or brawls which rapidly end in favour of one side or another, but this perfectly fits the spec ops style of story. It also helps to separate the story from those which more frequently utilise Chaos as a narrative element, and make its few otherworldly moments far more alien within the tale.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Finally, as an extension of this, describing the combat itself is only part of how the story works. A lot more time is put into the preparation and outline of operations, and an emphasis on how such a small force might be able to maintain its advantage over a superior one. While the natural abilities of the Adeptus Astartes are never downplayed, they aren't quite the unstoppable juggernauts of other works, and they do have to more actively work to overcome their foes. It's one of the better examples of how to balance their superiority with foreign threats in Black Library along with the likes of the <i>Charcarodon </i>novels and <i>Brothers of the Snake</i>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Bad</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">You likely noted that for all the talk of positive qualities in the above section, little time was spent on the main characters. Sadly, there's a good reason for that. Karras gets most of the development here, as outside of one or two moments to better flesh out Chyron and display more of Zeed's flaws, there's little to say of the others. They are certainly described extremely well and have memorable characterisation, but they are stuck firmly in the background most of the time. As a result, their role and presence is very situational to the story, and they gain little development from the story's progression.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Karras himself does well, but his part in this tale is hindered by the story's greatest weakness: It's terrible at re-introducing readers to the series. There's no real moment where it properly expresses something along the lines of "Here is Karras, he's a Librarian of the Death Spectres, and here's his story so far..." in an easy and understandable manner. The one we get is very well told, but unless you have recently read the book directly preceding this one, you will struggle to get to grips with it. This on its own would be a mark against the story, but it's only further exacerbated by Parker's choice to emulate his previous novel.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">One of <i>Deathwatch's </i>best qualities was how it took its time to build up the world and characters, showing the development and preparation for their strike. The actual operation only came into play at the very end, and everything up to that point consisted of various secondary elements to help flesh things out. This was repeated again here, but the problem is that there are few to no space marines showing up for a good portion of the story. In fact, there's little to even properly indicate that this is a Deathwatch story at all outside of a few allusions to the Inquisition being involved, and that simply doesn't work here. It holds off on the book's main attraction, and even once it is introduced it isn't in some moment of action or glory as a pay-off for the wait.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The book also opts to suddenly follow up on previous story elements which were alluded to in the finale of the past book but with little in the way of recapping them or fully introducing them. One or two were certainly notable enough to remember, but others take a surprising left turn or have an abrupt addition tacked onto them. More irritatingly, a fair few others are simply treated as ongoing narrative plots rather than something hinted at which is now being built upon. That kind of flaw is jarring and can make even a reader familiar with the books feel as if they have missed something at first.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Honestly, these flaws in of themselves hardly overshadow the strengths of the novel, but the very fact that they dominate the opening chapters only exaggerates many of their issues. Because of this, it becomes a situation where the book is almost encouraging you to put it down or skip over them to reach the actual start. It's a real shame, as a few basic additions could have helped to offset all of this and bump its final score up by a full point.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Verdict</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Ultimately, your enjoyment of <i>Deathwatch: Shadowbreaker</i> is heavily dependant upon how familiar you are with this series. It's an excellent book, and it does more or less everything that a great sequel should in terms of story, character dynamics, and narrative. The new direction, more ambitious plot and the use of its enemies mark it as a modern classic. The very fact that this is the first novel in a long time from an Imperial perspective which did not fall back on Chaos as the hidden villain is an extremely welcome quality, and the use of the T'au is some of the best seen in years. Yet, the fact that it expects readers to be already familiar with these characters and provides no real recap moment to cover prior events means that it can be difficult to get to grips with this one.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Overall, this is highly recommended, but it is strongly suggested that you read some of this author's other Deathwatch stories first. The original novel, or at the very least the short story Headhunted, will cover everything that you need and quickly outline the basics this book skips at first. Even with that said though, I would mark this one down as an essential purchase for this month.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">7.5 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com14tag:blogger.com,1999:blog-1831276194138109948.post-9846775069701636712019-05-07T01:00:00.000+01:002019-05-07T14:18:33.356+01:00Callis And Toll: The Silver Shard by Nick Horth (Warhammer: Age of Sigmar book review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA4bgN009MN9JRYGJbAS5UXgCKrbrWl7dtEl_lK3qEwqpSpbi4XPq43bl_WsdzIPYr6xnVcU0LwprnrPlQmptUBcwRxQp6LMFXtio_cI3zE_bMMhfCXNbR42EDM-1VwkiYd8CkioXuvZaf/s1600/CallisAndTollTheSilverShard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1043" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA4bgN009MN9JRYGJbAS5UXgCKrbrWl7dtEl_lK3qEwqpSpbi4XPq43bl_WsdzIPYr6xnVcU0LwprnrPlQmptUBcwRxQp6LMFXtio_cI3zE_bMMhfCXNbR42EDM-1VwkiYd8CkioXuvZaf/s320/CallisAndTollTheSilverShard.jpg" width="208" /></a></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">This is a bizarre one, but not for the reason that you might expect. In almost twenty years of reading Black Library fiction, I don't think that I have read a story so openly promoted and yet so overlooked as </span><i style="font-family: arial, helvetica, sans-serif;">Callis and Toll: The Silver Shard</i><span style="font-family: "arial" , "helvetica" , sans-serif;">. It's not that the book is bad, and it even offers the sort of story that </span><i style="font-family: arial, helvetica, sans-serif;">Age of Sigmar</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> has needed far more of since its release, with more general colourful figures on realm spanning quests over huge armies. Yet, even one year after its publication, few people seem to have reviewed it.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So, let's remedy that.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Synopsis:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">In the city of Excelsis, a band of mercenaries hunt for a lost relic. Led by a sinister figure who hides his guise behind a mask, only the promise of pay and the desire to escape alive keeps them going. Yet the threat posed by their employer is far greater than any of them could imagine, and the Realm of Beasts will soon face an ancient threat the likes of which have not been seen in centuries. Yet as the aelf hunter Shev is drawn into this plot, she soon realises that she is not the only one which has been drawn to this quest. The Witch Hunter Toll and the ex-Free Guilder Callis are hunting her employer, who has more than merely his greed as his greatest sin.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Good:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The best part of the entire story is its tone and approach. <i>Age of Sigmar</i> has opted for something grandiose, something high fantasy and a few bits of steampunk to keep things interesting. It's a good mix, but in trying to focus upon the epic legends angle, it lost something in terms of its smaller stories. Tales like <i>The Silver Shard</i> are a step away from that, and they allow the reader to see more of the overall world (well, worlds) even when they are brimming with action. They're more <i>Fellowship of the Ring</i> than <i>Return of the King</i>, and it's definitely a welcome change of pace. Because of this, we see far more of the Realm of Beasts, the societies established there and get a good idea of just what the wider world is like. Much of this is present in the second act, which devotes a substantial amount of time to having the heroes travel across a monster-infested ocean to a corsair dominated port city.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The book isn't nearly so tied into the tabletop models as you would expect, and it veers away from promoting the major factions of the game. There are no Stormcast Eternals, Chaos shows up but in a manner that you would not expect, and the Seraphon play a role but vary heavily from their tabletop counterparts. The only groups which retain serious comparisons with their tabletop minis are a band of Kharadron Overseers and the Witch Hunter in the title. None of these are written in complete opposition to their tabletop variants or with an intentional desire to completely break from them. However, it never feels as if there's some requirement to show off each and every one, which makes the world feel much, much bigger as a result.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The story is also excellent when it comes to hinting at things but only showing so much. The various lost cities of knowledge that the groups encounter have been long overrun by greenskins or worse things, and only fragmented memories remain. Details surrounding the prior Age of Myth are key to the story, but Horth does an excellent job of only showing so much at any one time to keep you guessing. Furthermore, these are addressed and delved into in a relatively irreverent style which befits an adventure tale of this nature. While it's not exactly one-to-one, it's the closest that <i>Warhammer </i>will likely ever get to something along the lines of <i>The Mummy</i> films. Well, that or having an atmosphere which has you humming the <i>Indiana Jones</i> theme under your breath as you read it.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The characters are a nicely broad mix of individuals, with conflicting values, desires and roles. They are very boldly detailed and do fit into certain niches as you would expect, but there is a very well rounded quality to their writing and their conversations give them a very human quality. Even though you're always aware that you're reading story, it makes them lifelike enough to forgive an accept that fact.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Finally, the fights are excellently described at many points. This isn't so much the case where the heroes are vastly outnumbered, but any situations where they are facing small gangs of enemies or a big monster stand out well. You can clearly tell where everyone is supposed to be, and actions flow extremely easily from one moment into the next. The fact that the heroes and those accompanying them shift around so frequently also means that it feels constantly fresh, and from the second act onward they remain a strong element in the book.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">However, from that last line, I think you know where the weaknesses are going to come into play.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Bad:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">So not to mince words, let's outline this clearly for all involved: The starting chapters to <i>The Silver Shard</i> are quite difficult to get through. They are easily the weakest in the entire book and the way in which they are executed seems to actively avoid Horth's strengths as a writer. There is very little in the way of easing the reader into the wider world, or even the characters in question. It just very abruptly starts, and you have to keep up with it. To make matters more difficult, it also spends almost all of this time following Shev and the main villain. As such, you're left wondering why you are following this character, and why the clearly ominously evil person hasn't revealed himself yet. Honestly, it's the sort of involvement where the mercenaries have been hired by John Not-A-Villain-At-All and then act surprised when he does turn on them.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The environments also lack the varied and dynamic nature of later areas, and much of this is due to how they are presented. We are given a very generic forest environment - with a few fun enemies at one point - followed by a large horde of Orruks occupying a ruin. It's one of these irritating situations where the sheer lack of a proper introduction undermines what is an otherwise good sequence, and that is only knocked down further by later issues. The first of these being that we have a band facing off in a three-way melee against more numerous opponents, which works against Horth's writing strengths, and then a surprise arrival. Callis and Toll's relationship with the villain is also delivered via an "as you know" detail which you can very easily miss, and the ideas behind it only become much clearer when they are repeated later on.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The point of this is that most of the book's failings are made very evident in the first few chapters, but there is little to nothing of its strengths brought up to help balance them out. It's only when things calm down and the heroes have more time to talk that it seriously starts to improve.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">However, even considering the difficult beginning, there are a number of other problems which do crop up in the story. The first of these is that it is very predictable much of the time, and you can usually tell how things will pan out. This isn't so obvious in terms of who might arrive so much as how they will act once they do, and what their involvement in the story will be. It doesn't hinder how well these scenes are told, or even how effectively they are used, but you can usually predict how they will act in relation to the heroes. This will certainly bother some people more than others, so it's very much an issue which will vary from person to person.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">However, a definite problem overall within the story stems from how it so often makes its titular characters seem like supporting figures within the story. They are introduced late into the book and the importance of their role varies heavily throughout the tale. Because of this, the story can feel oddly out of focus at various points, as if it doesn't quite know who to follow. You can work without a protagonist in some tales, certainly, but in this case, it's as if the book is trying to select a different person for its leading role every other chapter.</span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>The Verdict:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The Silver Shard</i> is deeply divided between very good and very flawed segments, with the latter sadly coming into play first. After reading through it twice it is easy to see just why it might have been logical for the book to be structured in this manner. Yet without foreknowledge of the overall narrative, it proves to be confusing, and it doesn't fully pick up until the second act. Because of this flaw, it's very easy to put down the book and never feel the drive to pick it up again.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">However, even with this problem, the story does show a great deal of promise. Horth has a solid style of prose, and a nice balance between descriptions and action when he has more of a general world to world with. He avoids a lot of the more detailed purple prose of other writers, but he doesn't allow this to make the world seem empty or lackluster through his presentation. Plus, for all their flaws, I was interested in these characters and remembered their names long after I finished reading. If there was to be a sequel which improved upon the flaws here, I think it would be a great book.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">As for this one, if you're interested in <i>Age of Sigmar</i> at all, I would suggest delving into this one but just keep in mind that it is deeply flawed.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Verdict: <span style="color: red;">4 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0tag:blogger.com,1999:blog-1831276194138109948.post-57530209669458580142019-05-04T07:01:00.000+01:002019-05-04T07:01:24.510+01:00Star Wars - Jedi Academy: Leviathan by Kevin J. Anderson and Dario Carrasco, Jr. (Comic Review)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdBBQU-MZzvKUWoiIe6Qq98Rl8KycUvcUVi3j2G_mGSKhX7WEy4lyLxMtYVFJVYyPMurSLQuXOOOhVqyv2s9BVUXUgAwctHHD8jw-c_8w5CUYgaOA8dHiXSH9csdrvuaU-77bPP-F2-y37/s1600/Leviathan_star_wars.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1518" data-original-width="983" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdBBQU-MZzvKUWoiIe6Qq98Rl8KycUvcUVi3j2G_mGSKhX7WEy4lyLxMtYVFJVYyPMurSLQuXOOOhVqyv2s9BVUXUgAwctHHD8jw-c_8w5CUYgaOA8dHiXSH9csdrvuaU-77bPP-F2-y37/s320/Leviathan_star_wars.jpg" width="207" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Kevin J. Anderson is one of those names which evokes decidedly mixed feelings when it comes to <i>Star Wars</i>. When it comes to broader science fiction they tend to be much more negative. While he has helmed his own independent series which retain their fans, his role in the <i>Dune </i>prequels and sequels is rather infamous, as is the quality of certain Expanded Universe novels like the Jedi Academy trilogy.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">At least some of those books will likely receive a review at some point in the future, but many people tend to forget his better contributions to <i>Star Wars</i>. While he tends to have very mixed results with novels, his successes when it comes to comics are much more notable. We already covered the first major arc of the <i>Tales of the Jedi</i> epic <a href="https://thegoodthebadtheinsulting.blogspot.com/2018/05/star-wars-tales-of-jedi-golden-age-of.html"><span style="color: red;">here</span></a>, and <i>Leviathan </i>is at the extreme end of that spectrum at the time, showing Luke's rebuilt order starting to move out as watchmen and negotiators once more. It also shows how far reaching the legacy of the ancient Sith could truly be.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Synopsis</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">In the wake of Admiral Daala's attack, the New Republic has been offered a brief piece with the Empire. Their enemy might be united under a single ruler, but due to losses they suffered while attempting to wipe out the Jedi at Yavin IV they have kept to themselves. Luke Skywalker has been using this reprieve to build up and expand upon his slowly growing cadre of Jedi Knights, so that they might once more fulfill the role of guardians to the Republic.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Dorsk 82, clone successor to the deceased Dorsk 81, arrives on Yavin IV but is uncertain of his future. Even with the encouragement of his predecessor's friend, Kyp Durron, Dorsk is unsure if he can even truly connect with the Force or his desire to remain in the academy. Unfortunately, he and Kyp are about to face a trial by fire in their role as Knights. Something has emerged on the remote mining world of Corbos. Something old, very evil and very hungry. As the two arrive, they are met only by the sight of a devastated mining village and an unending scream of thousands echoing through the Force...</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Good</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZiDy7K8pVhlcwCEU3OUfl1ho2Uj7LqugbO2-PQaHI-TWhip8s2r-QV1-iF5sBc27o_02LqVn2U-QrqXKFc7h3jLIZb2Oet9Hnl0IscrzUukab_sP_9tT7nZPN7Zqc8gOnfZbcz1LnskbW/s1600/Corbos_Mine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="373" data-original-width="582" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZiDy7K8pVhlcwCEU3OUfl1ho2Uj7LqugbO2-PQaHI-TWhip8s2r-QV1-iF5sBc27o_02LqVn2U-QrqXKFc7h3jLIZb2Oet9Hnl0IscrzUukab_sP_9tT7nZPN7Zqc8gOnfZbcz1LnskbW/s320/Corbos_Mine.jpg" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">The premise behind this story is very simple, but what makes it engaging is just how well executed it is. It's ultimately a very basic monster horror story, utilizing the tropes found in the likes of <i>Them!</i> or <i>Star Trek's Doomsday Machine</i>, where you see the devastation wrought long before the monster itself shows up. That use, however, helps to highlight the terror behind this creature and builds up tension so that, by the time it finally appears, you are utterly hooked. This story could have very easily rushed into simply showing the monster up front. By instead breaking down scenes prior to its attack, pacing them out and showing hints of what is to come it, the story gains a mystery quality which hooks you in.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The time spent prior to, and even alongside, the monster's reveal also serves to help flesh out the setting. The benefit of a comic written in this time is that they tended to spend much more time expanding upon key elements rather than rushing headlong into the saga, and that makes it all the stronger. The introduction features Luke thinking of all that has happened in the past year, and of those training under his direction. Dorsk 82's introduction comes well before it gets to be real meat of the action, while a conversation that he and Kyp hold reflects upon who his predecessor was and how he died. Through this, we gain a recap similar to that of the first <i>Crimson Empire</i> volume, which quickly brings the reader up to speed and outlines all that has happened, so that anyone can go ahead without being lost. The character moments, and interspersed scenes on Corbos, then helps to give something new to even those who have read these past events and are up to date.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQKw42Ot8y2zkucXP4R2vNX8_fY8ot8Otb5HB8_Y3Zbe9syvdI4bCKEt-2LQjZG4AMXSNL1-Fr_0tPyJ3DTDEX-Y413KLUyRD7B2S410LQI3BEOB8L1zFEIwrnftFf2P10CXh_G32h9zhE/s1600/Jedi_Academy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="784" data-original-width="960" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQKw42Ot8y2zkucXP4R2vNX8_fY8ot8Otb5HB8_Y3Zbe9syvdI4bCKEt-2LQjZG4AMXSNL1-Fr_0tPyJ3DTDEX-Y413KLUyRD7B2S410LQI3BEOB8L1zFEIwrnftFf2P10CXh_G32h9zhE/s200/Jedi_Academy.jpg" width="200" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">What I personally like about this addition is that it offers an easy way to impress upon the reader just type of academy Luke is running. While it's a (sadly clickbait article fuelled) misconception that the old Jedi Order wanted nothing but faceless uniformed clones filling out its ranks, Luke's new Order definitely benefits from a greater variety of faces. We see more people of varying backgrounds here, from an aging former miner to someone raised by Force-sensitive witches making up their ranks, each with more distinctive styles and stances. It helps to show how Luke was willing to give almost anyone a chance to prove themselves, and their brighter scenes contrast well against the later carnage. Especially as, once the fighting starts, it does not stop.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Having page after page of fights would typically be quite boring, and rather tedious. Without good pacing, the occasional break or something to raise the stakes, it could quickly become white noise. However, Anderson keeps finding new things to throw at the reader during these points. There's always some grand "wham" moment to get you invested, from a surprising display of power to a shock reveal, ensuring that you can never fully predict how things will play out. These are rarely the stunts which seem like they were just pulled out of a character's rectum, as each receives some small foreshadowing or implication of difficulty. As such, when a character wins something, it's more out of guile or skill rather than a move which reeks of I'm-more-powerful-than-a-Skywalker! writing. Given that Kyp Durron is one of the main characters, that seemed as if it was worth emphasizing.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">This is further helped by the monster itself which, as the review cannot show you for the sake of spoilers, is increasingly horrifying as you learn more of it. Much of this is conveyed through implication or half-seen horror moments, but there really was a twisted genius behind its design which stays in your mind. Especially once you find out just where that screaming is coming from.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Bad</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2CFK8ZdJr9GNS6K00lFmutab2i_iyQ7fwfttYBc1RroJkWf_x-eBzM2k1HsGk7Ph2EdW7G0D0WYZoRZp4DC6i0Kfl5rvGJ3sg43Ti_pekOJmShLDqd984NI6O_iYSDmcmCcGjq1c8hINf/s1600/StarWarsMiners.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2CFK8ZdJr9GNS6K00lFmutab2i_iyQ7fwfttYBc1RroJkWf_x-eBzM2k1HsGk7Ph2EdW7G0D0WYZoRZp4DC6i0Kfl5rvGJ3sg43Ti_pekOJmShLDqd984NI6O_iYSDmcmCcGjq1c8hINf/s1600/StarWarsMiners.jpg" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">A definite problem within the overall story is how it hinges upon the plot over everything else. Anderson's main strength as a writer tends to be these grand ideas and big concepts. It's why <i>Tales of the Jedi </i>retained such ambition, and how he finds ways to offer odd links between various eras without it seeming as if it shortens them. Exar Kun is the big one, of course, but there are others. However, while characters are given <i>moments </i>to really help them express themselves, they are usually just that. As a result, their major developmental arcs in this story are rather truncated, and neither Durron nor Dorsk gain much beyond a few fleeing passages. It's a real shame as well, because Durron hearing the voices of the dead could have helped to seriously emphasise his desire for redemption. This was someone who killed millions while under the influence of the Dark Side, after all.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The other characters beyond those two also do not leave much in the way of impact. Luke is a largely background presence, while both Leia and Ackbar show up in a welcome scene which covers a few possible plotholes but they soon disappear from the story. The others, meanwhile, show some hints of what they can offer stories but they either quickly fit into very secondary roles or disappear from the story. The characters themselves quite often serve the plot, but are given little to help stand out by themselves.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKAG2OvglvU3i3TZcUB_7C9KC9rFPTgUCJPZZfH76Ac9R6OLUkERTLcL5C7s-g_16DMl9KJD-ytHxp42BBfBWrQNMJGr8Wt3zYkNGW7beeK-Ct66b-WTIu0d96PM69ukd1JKfTSin_ks9k/s1600/Kyp_durron.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="971" data-original-width="637" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKAG2OvglvU3i3TZcUB_7C9KC9rFPTgUCJPZZfH76Ac9R6OLUkERTLcL5C7s-g_16DMl9KJD-ytHxp42BBfBWrQNMJGr8Wt3zYkNGW7beeK-Ct66b-WTIu0d96PM69ukd1JKfTSin_ks9k/s320/Kyp_durron.jpg" width="209" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Another definite problem is how the story requires you to accept certain things without question, but then to turn a blind eye to errors relating to them. A fair few of these are logical errors rather than story inconsistencies, but it is nevertheless eyebrow-raising. A fairly facepalming one is how Tionne - the closest thing the Order had to an archivist at the time - is curious about Corbos following the Knights' departure. She researches into it, and within a space of seemingly seconds is able to put together how towns have been repeatedly massacred on the world hundreds of years apart. There are a few such moments in the book, and they often undermine the very drama they try to construct.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The art is also hit and miss at certain points. It does extremely well in big grand and defining scenes, but character expressions and moments which need more detail are somewhat lacking. How much this will influence your enjoyment is very much down to the individual so my advice would be to look over a few panels and decide for yourself. While these reviews would typically offer more positives and negatives on the artwork in question, and the delivery of sequential scenes, it seemed that it did one thing wrong for every two right. So, keep that in mind when you go to read this.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Finally, the story's end is not only very abrupt but it closes out with few questions answered. The nature of the monsters, a greater resolution in terms of the Jedi as a whole or something to better close out the story is all lacking. We get a few thoughts from Durron to help somewhat, and the indications that Dorsk might well be Force-sensitive, but that's it. It <i>could </i>have worked, but without something more to help with a sense of closure, it comes across as too sudden for its own good.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>The Verdict</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnJFU6cgovI1ufmx1IRLIMSxQne7WR4IVJBhSu5l3IWP0sELf-x554EYSIrrbcCabnEVkF6dk12x9IaNRBu76cq6RIrT3uUpTAHFi5k_LCFzoZYO0a7_X38So0KU489575X65DH6aX0gZY/s1600/Lukejediorder.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="651" height="157" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnJFU6cgovI1ufmx1IRLIMSxQne7WR4IVJBhSu5l3IWP0sELf-x554EYSIrrbcCabnEVkF6dk12x9IaNRBu76cq6RIrT3uUpTAHFi5k_LCFzoZYO0a7_X38So0KU489575X65DH6aX0gZY/s320/Lukejediorder.jpg" width="320" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">It would be easy to write this one off just as "<i>Star Wars</i> does <i>Aliens</i>" and that film is admittedly a clear influence here. However, there are enough changes in the premise, approach, characters and style to make it more than a simple rehash. The story does a good job in showing many aspects of how the modern Jedi Order could be shown combatting threats even as it built its numbers, of the efforts to introduce individuals foreign to even the concept of Jedi to their order, and how Kyp Durron could be written as a likable person. The story is still definitely flawed in spite of this, with a few too many conveniences and shortcomings in the character department, and the character arc of Dorsk 82 is rough at best. As such, it proves to be a good story rather than a truly outstanding one.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">It's honestly a shame that we didn't get more of this sort of thing in the following years, as <i>Leviathan </i>did show serious potential for an ongoing <i>Jedi Academy</i> comic. Still, what we get is still an entertaining read, and later stories would build on some of the ideas introduced here. We should be thankful for that. If you're interested in this era I would give it a look, but if not there are some heavier going sagas out there.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Verdict:<span style="color: red;"> 6 out of 10</span></b></span></div>
Bellariushttp://www.blogger.com/profile/02652722543111095280noreply@blogger.com0