A Media Entry – Random Thoughts of the Mid-week: Random Wars 2

DC Rebirth – Hey, DC’s rebooting their universe again, to the surprise of no one. All I’m going to say about this inevitably short-lived new status quo is that I am liking the previews of Black Canary’s new costume. Yeah, yeah, she’s still got the same Naughty Biker Chick Halloween costume, but it actually has a bird on the jacket! In yellow and black, even! Wow!

Marvel Legendary –
a) I got a chance to play with the Secret Wars 2 expansion and I realized that Marvel is attempting to push the current canon of the comics, hard, with this game. I suppose that comes as no surprise to anyone but me. New characters include Ruby Summers (the other-dimensional daughter of Cyclops and Emma Frost), Soulsword Colossus, Phoenix-Cyclops, and Beast, who is associated with neither the X-men nor the Avengers but instead the Illuminati. The ’92 X-men are included as villains.

Now, the game has included hero groups that are played as villains. These include the Thor Corps and the Ultimate Avengers (universe 1610). Once defeated, these villains become playable heroes. What makes it particularly interesting to me about the ’92 X-men is that there are several of them already in the game as straight heroes – Cyclops, Jean Grey, Rogue, and Gambit. I remarked on this choice before and used it as evidence that the ’92 X-men were the target amalgam of many Marvel fans.

However, this particular choice, and the cards obviously inspired by recent comic events, seems to me to state clearly that the ’92 X-men, while certainly popular and important, are not the relevant heroes any longer. Of course, they can’t take back the characters that are already in the game. And it may be petty of me, but when I purchase Secret Wars 2 myself, I’m going to remove Ruby Summers, Soulsword Colossus, and Phoenix-Cyclops from the deck. I’m also going to reassign Beast to the X-men and the Avengers. Marvel’s “creative teams” aren’t the only ones who can re-write a universe through a game.

Or maybe I just need to get out more.

b) Another new card is “Time-travelling Jean Grey” who appears to be based on the version from the “First Class” set of X-men comics (which is in no way related to the movie). While I’m all for more female characters, there is one card of hers that I really don’t see the point of. I feel like a condition was left off of it. There’s a card that if the bridge space is empty it allows the player to draw an extra card next turn. This bridge card costs four recruit and there are no other effects. Why would a player want to effectively reduce the current hand to five in order to increase the next hand to seven? I feel like that card should have at least a value of one for fight or recruit.

Gloom – Since I’m on a game kick (I am such a geek), I was introduced to this game recently as well. The morbid premise is to make your unhappy family suffer horribly before you kill them off and then count up points. There are modifier cards that make the characters unhappy that stack on top of each other, literally. There are also modifier cards that make the characters happy, which are usually played on opponents’ characters. The really fun part to me is the storytelling aspect. Players are encouraged to explain why such miseries (like “Pursued by Poodles”) have befallen the hapless characters. I didn’t win either game, but I did learn not to keep the dog in my family.

And that’s all folks. I am exhausted beyond all expectations these days and sadly the reasons for it are in no way as interesting as being pursued by poodles.

A Writing/Comic Book Entry – Meditations Upon Badassery

I was perusing the interwebs for entertainment and stumbled upon a heretofore unknown to me movie critic’s videos. He was arguing eloquently about the merits of the unfortunate Spider-man 3, and one of his arguments caused a revelation. The mental fog cleared, the light shone down upon me, and I finally realized why Man of Steel was such a divisive movie – the misapplication of badassery. I also realized this mistake is behind many of the worst stories, to me, in comic books and their cinematic adaptations.

But first, a discussion of badassery, which may be punctuated with examples as examples may get my point across better than so very many words (which is my way of saying this entry is pretty dang long).

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A Comic Book/Movie Entry – Sins of the Past

First, some of you may note I changed my WordPress theme. I did this because the old theme was no longer supported and because I realized the “normal” font was really too small. So I hope you all like the new theme because I can’t go back to the old one. Okay, to the topic at hand…

This is actually the third musing sparked by the over-saturation of Batman v. Superman: Dawn of Justice trailers. I’m posting this now because the movie isn’t out quite yet (although reviews are generally not promising).

Why the [expletive] hell is Batman carrying a gun in the second trailer? I didn’t even notice that at the time. Good grief does the film making team misunderstand Batman’s character as badly as it does Superman’s?

*Deep breath*

Continue reading A Comic Book/Movie Entry – Sins of the Past

A Media Entry – Thoughts on Villainy: Credible Threat

So I was wondering what I could rant about for my next blog entry when I was subjected to numerous viewings of the latest Batman v. Superman: Dawn of Justice trailers. This actually sparked two subjects in my mind, but since I was recently thinking about what makes a good villain, I realized I forgot (or need to expound on) one criterion – credible threat.

Actually, this criterion is broader than just the superhero genre. If the obstacle or antagonist standing between the protagonist and his/her goals is not credible, then the drama falls flat. I say “obstacle” because in some stories is no antagonist or the nature of the antagonist isn’t as clear as a villain as such but the principle still applies. A couple of those examples:

Continue reading A Media Entry – Thoughts on Villainy: Credible Threat

A Movie Entry – Improving on the Original

I’ve been pretty down on sequels lately, and who could blame me, but I will admit occasionally a sequel is a better movie than the original. In no particular order are a few sequels that I have actually seen (remember I don’t really see a lot of movies) that managed to not only get it together but exceed the first.

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A Movie Entry – Random Thoughts of the Midweek: Random’s Revenge

So last entry I lamented the trend of unnecessary sequels. Well, going down the rabbit hole that is the interwebs, I bring you a further lament on the trend of unnecessary sequels, in three parts. Also, I need more eggnog.

Continue reading A Movie Entry – Random Thoughts of the Midweek: Random’s Revenge

A Media Entry – Random Weekend Edition

My thoughts are scattered like leaves on the winds these days, so I present a collection of “the good, the bad, and the ugly,” for this entry. Except by “good” I mean “funny” (at least to me) because that’s just how I think.

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A Movie Entry – To Paraphrase Mel Brooks

Franchising, franchising, franchising. Where the real money from the movies is made.

I’m probably pretty slow on the uptake for not recognizing the trend in movie-making. Movie studios I think prefer to make sequels because there’s a certain guaranteed return. Prequels are a logical extension of that thinking, and franchising is just the logical extension of that thinking.

Continue reading A Movie Entry – To Paraphrase Mel Brooks

Fifteen-minute TV Series – Scooby Doo

It’s October, and my favorite holiday is coming up. So in the spirit of the season, I present a fifteen-minute version of every classic “Scooby Doo” episode ever.

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A TV Entry – First Impressions

Many modern TV shows have lousy introductions. I understand that as the demand to add more commercials to every hour of TV has increased, some parts of the actual show itself need to be decreased. But the introduction is important to pull potential audiences into the show. Older shows had elaborate intros and slick theme songs. More modern ones have a 30-second bit of music and some relevant shots. Kind of lame. If the premise is a bit odd, I think an intro should try to inform the audience of that premise. And if the premise is pretty typical (like yet another sitcom), then the intro should at least be memorable.

Cartoons in general have not forgotten the importance of a good intro. This may be because a lot of cartoon producers think children are stupid and/or easily drawn to bright flashy lights. Even if the reason may be condescending, some of those intros still stick with me.

Honorable mention – Sailor Moon. I’m going to stick with traditional Western animated shows for the rest of this list because anime has its own introduction conventions. But I’d be remiss if I didn’t at least mention this because “Moonlight Densetsu” as performed for “Sailor Moon S” (third intro) is my favorite introduction(s) (this song had a lot of iterations). While I had a lot of issues with “Sailor Moon Crystal,” I did like “Moon Pride” a lot as well. I am a sucker for electric guitar.

Honorable mention 2 – Kim Possible. This intro was set up as a music video and while I didn’t care too much for the actual song, I appreciated the effort.

10) Thundercats – This show is in the unique position of not only having a kick-ass introduction, but having an introduction that is ten times better than the show ever was. Like many shows of the ’80s, the production values of the opening animation were better than that of the show. With a rapid ’80s backbeat, we are introduced to each character via a few seconds of seeing them in action and see some of the villains. Gets the blood pumping for the show, which sadly could not live up to the intro.

9) Scooby Doo, Where are You? – Anyone who didn’t see this entry coming is obviously new to my blog, so welcome! While this show has had several iterations as well, I prefer the original song from the original show (Season 1 and 2 both work for me; incidentally, the video of all intros is a trip through musical history as well). I didn’t welcome having Shaggy sing parts of the intro in later versions, and “Scooby Doo Movies” had little going for the intro anyway. But I like the peppy ’60s pop beat and the fast-paced montage of series scenes which at least gave some idea of what was going on (although not the most thorough explanation of the premise).

8) The Real GhostbustersThis intro benefits from the cinematic theme song sung by Ray Parker. It’s ’80s pop but damn catchy. The first intro of the series (my favorite) briefly shows a day in the life of the Ghostbusters: Janine gets the phone call, rings the bell, Slimer is obnoxious, and the guys get to show off the relevant parts of the show (Ecto 1, the packs, the traps, and a whole bunch of ghosts).

7) Beetlejuice – I don’t know who thought this movie was something to adapt to a kids show, but it was the ’80s and this seemed to be a popular thing to do. This is another that benefits from using the movie’s theme (by Danny Elfman) as the music. I like both intros, because they are both absolutely insane. The idea of Lydia being taken on this wild rollercoaster ride/crazy circus tour through the afterlife is conveyed perfectly and the characters are quickly introduced as part of this crazy ride. It sure builds up energy and makes the viewer excited to see the show.

6) Teenage Mutant Ninja Turtles – The original ’80s intro. Like Thundercats, the animation of the intro was much smoother and better than the show itself. With fast ’80s pop and a frentic pace, the lyrics introduced the turtles and Splinter by name and with a little description before closing on that synthetic and oddly catchy “Heroes in a Half-Shell” tagline. Unlike the Thundercats, the actual show was as good as its introduction except for the animation quality. For those who are curious about the answer to life’s most important question, I’m Raphael. This should surprise nobody.

5) X-men – Fox wasn’t about to miss out on opportunities to sell kids stuff they didn’t need in the afternoons, so they tried a bit of a superhero line-up (and once upon a time, Fox handled its Marvel properties pretty well). This was my first introduction to comic books, no pun intended. The way the intro ramped up and increased pace combined with the name of each character and a quick demonstration of their power all leading up to a confrontation with all the bad guys was just really well done. I had no clue what this show was about, but I knew I definitely wanted to find out.

4) Ducktales – When Disney decided to get back into the afternoon animation game, Disney did not pull its punches. This theme is insanely catchy (whoo-ooo!). The intro features mostly scenes from the five pilot episodes (which are a much better Indiana Jones-esque romp than “Crystal Skull“) but also shows other scenes from the show including Scrooge leaping into the Money Bin and some of the villains that would plague them. Whoo-ooo indeed.

3) Tiny Toon Adventures – Disney’s competition for the afternoon animation game came from Warner Brothers, who attempted to revive their classic cartoon characters with younger characters that were similar but not quite the same. Babs and Buster Bunny (no relation) sing the introduction song which explains not only the premise (they are in school learning from the original characters) but also introduces pretty much every character that shows up. In a bit of a meta-twist, it’s clear the characters know they’re singing the theme song to their own show.

2) Animaniacs – Perhaps the best WB cartoon to come out in the modern age. The amount of talent assembled was fantastic. “Tiny Toons” was good, to be sure, but by the time this show came around, the good from “Tiny Toons” was made better and the bad (not that there was much) had been worked out. Like “Tiny Toons,” the introduction of Animaniacs explains the premise (via a narrator; which I cannot find a clip of), introduces the main characters, and then goes into the actual song, which introduces many of the other characters. And again, because the creative teams likes meta-humor, at one point the Warners look directly into the camera and sing, “and now you know the plot.”

1) Batman: the Animated Series – This one is kind of a ringer because the theme music is taken directly from Danny Elfman’s cinematic composition. But the animation helps make this theme so memorable. The intro is essentially a night in Gotham City; it’s dark, it’s gritty, it introduces the main character, captures the essence of the show and Batman perfectly, and not a word is spoken. Amazing. This is absolutely my favorite intro.

Of course, there may be other amazing introductions in the future. I hope so. Some of the cartoons are getting a bit lackluster in the introduction department as well. But I hold out hope there will be more investment in the part of the show specifically designed to draw viewers in.