Posted by
Fanboys Anonymous
- Tuesday, March 17, 2015
With sale figures recently showing that the PS4 is selling faster than the PS2, the best-selling console of all time, we decided to dust off the old PlayStation and once again stick a lead into the back of the television.
The PS2 kept us entertained for hours. Never before, and perhaps never again, will we see a console of this magnitude. It changed everything. It created gamers and it created life-long memories.
We fished out some old games to let rip on. And, believe it or not, they still satisfy.
It is only fitting to replay Star Wars: Battlefront II right now. This year sees the new Star Wars movie arrive at cinemas and a third installment of Battlefront will be available for our next generation consoles.
For those unfamiliar with Battlefront, the main goal of most of the missions is to destroy the enemy faction in both the Clone Wars and the Galactic Civil Ears. You can fight as a Wookie or Bothan Spy for the Rebellion, The Officer and The Dark Trooper for the Empire, the Commander and Jet Trooper for the Republic, or the Magnaguard and the Droideka of the CIS. You can also unlock iconic characters, such as Yoda, throughout the game.
The campaign mode, Rise of the Empire, sees you play a veteran of the 501st Legion, colloquially known as Vader’s First. With 18 missions spread out from the Clone Wars to the destruction of Hoth, it is a pleasantly extensive campaign mode.
This is very much a game with something to offer. The enjoyment of playing the game certainly counter balances the outdated graphics.
Racing games seemed to enjoy a far larger market share back on the PlayStation 2. Gran Turismo 3 was the racing games of all racing games. However, we are not going to talk about it as it is an accepted classic and the franchise lives on today.
Instead, we have gone to the world of horse racing, where we play Frankie Dettori Racing.
Right off the bat we have a critique, albeit an unfair critique as there is nothing the game can do about it. Dettori is a jockey who races on the flat and therefore does not partake in jump racing, which you can’t help but feel would be a more entertaining game. Imagine the thrill of racing in the Grand National. Millions of people bet on the Grand National in the UK, for example, each year and so there would be a target market. But despite that slight fall-back Frankie Dettori Racing still suffices.
The movement of the horses may seem a little robotic but there is a certain sense of excitement that is devoid in racing games. You have to manage this horse all the way round. You need use a strategy to ensure that you do not burn your horse out, lose too much ground or miss out on drafting opportunities. Playing a racing game like this does require a different skill set to the racing norms.
At one time, Grand Theft Auto had a gritty London rival. When The Getaway burst onto the scene back in 2002 we were all extremely impressed by the storyline and the graphics.
Going back on it after playing GTA V is certainly a weird experience, but you still have a certain appreciation for the licensed cars and the recognisable London backdrop.
The driving is extremely erratic, far worse than that of any of the early Grand Theft Auto games, but the story mode is awesome. The storyline can hold its own against that of many games today. The Getaway’s cut scenes did more for the video game world than those in GTA III.
However, it is not all peaches for the game. The gameplay can be a little shallow at times while the overall length of the game is criminally short.
Posted by
Sean Hamilton
- Saturday, March 14, 2015
Howard The Duck #1 cover by Joe Quinones
Howard the Duck—once the considered a nasty ripoff of Disney-owned properties, now ironically has come full circle as the feisty feathered feature of a comic book series of his own.
At the helm is Chip Zdarksy, the other half of the duo that brought you the amazing Sex Criminals, who now takes writing duties. On art is the talent of Joe Quinones with colors by Rico Renzi.
This is a good start to a book that looks like it could pull in some decent numbers with the first issue. With the hype surrounding the end credit scenes of the Guardians of the Galaxy movie, Howard was fast-tracked back to the printed medium and under the careful guidance of this creative team, makes an audacious start.
The script is punctuated with some quick wit and the humor has a modern sarcastic approach, which fits right in with Zdarsky's personality. An earnest attempt has been made to give Howard a real voice of his own again, a sense of something different that could mature over the next few coming issues.
For a first issue in an ongoing series, Howard the Duck #1 settles in very quickly to a comfortable rhythm. We are introduced to the titular character and his supporting cast member Tara as they are being released from the local police station. As the story progresses, Howard's private investigation practice becomes the center for an unfolding missing persons/lost heirloom case. There are a couple of great cameo appearances from some wider New York–based Marvel superheroes during the course of the issue.
Howard's on the case...
Zdarsky doesn't waste time setting up for issue #2, which promises more even cameos from popular characters. A complementary sense of pace and storytelling ability come through in the art from Joe Quinones. The creators work in tandem to move us through Howard's world, one "Waugh" at a time.
Quinones art gives Howard the Duck a distinctness all its own. The clean, unfettered line and inking style provides an ease of access for readers that seems necessary for new readers who want to be drawn into the story. The experience Quinones brings from his time in the industry lends itself well in this venture. The choice of angles for panels and their arrangements shows a good grasp of craft that plays well for pacing and the progression of the story generally.
Its the Amazing Duck!?
Joining the artistic team, colorist Rico Renzi brings a sense of mood and dramatic flair that feels in tune with the intent of the story and art. Renzi seems to be making a quick splash with recent work at Marvel, as he is also colorist for the recently launched Spider-Gwen series.
Like Quinones, Renzi employs a very clear sense of direction with his color arrangement for this series. There is a nice subtlety to the backgrounds, yet the changing settings from cosmic to earthly realms lets Renzi expand the range on display. The stand-out page for colors is definitely the montage page, where Renzi drops a bomb of color to match Zdarsky's script.
Your friendly neighborhood Spider-Duck
It will be interesting to see what is in store for Howard in the coming issues. With "Secret Wars"on the horizon, how will this series fit into the wider Marvel-wide event? For now Howard is back with a quack and fitting into the swing of things.
As always, we want to hear what you thought about this issue. Make sure you leave a comment below or on our Facebook or Twitter and come back next time for issue two of Howard the Duck.
Greetings, Fanboys and Fangirls! This is Sam Lascio, bringing you the latest news from the world of Star Wars! Ready? Cue logo.
Beautiful.
Let's get the smaller, but by no means unimportant, piece of Star Wars information out first. The as-yet-untitled Star Wars: Episode VIII has been given a release date of May 26, 2017! This means that Episode VIII will come about a year and a half after Star Wars: Episode VII—The Force Awakens, which is set to hit theaters December 18th of this year. The film will be written and directed by Rian Johnson (Looper). This will definitely be the longest year and a half of our lives as we wait for Episode VIII. Or will it?
Fear not, Padawan, because we've been given our first official Star Wars spin-off: Rogue One, which is set to be released December 16, 2016! Now, to the untrained eye, this title is pretty meaningless, but for you keen Star Wars nerds out there, you'll know exactly what this is a reference to: Rogue Squadron! Now, ignoring all of the Expanded Universe (EU) stuff (considering it isn't canon anyway), Rogue Leader (or "Rogue One") is the lead pilot of the Rogue Squadron. In Star Wars (Episode IV—A New Hope as some know it), we have the Rebel Alliance attacking the Death Star in what would be known as The Battle of Yavin. Many of you may remember the semi-famous "standing by" lines from the movie, which were parodied in Family Guy's "Blue Harvest." At that point, the Alliance Starfighter Corps were made up mostly of Red Squadron, Gold Squadron, Green Squadron, and Blue Squadron. After destroying the Death Star, Red Squadron was renamed "Rogue Squadron," with the Red Leader now being branded "Rogue Leader."
So, what will the movie involve? Well, in Star Wars: Episode VI—Return of the Jedi, Rogue Squadron was renamed "Red Squadron" again during the Battle of Endor, so assuming they didn't change the name BACK to "Rogue Squadron" (remember, ignore the EU), this tells me that Rogue One could take place anywhere between the end of A New Hope and the start of Return of the Jedi, so possibly concurrent to Star Wars: Episode V—The Empire Strikes Back. If they choose to go this route, this would make "Rogue One" either Luke Skywalker, who served as Rogue Leader during the Battle of Hoth, or Wedge Antilles, who served as Rogue Leader after the Battle of Hoth and until the title changed during the Battle of Endor.
Now, if they wanted to, Red Squadron could have reverted back to Rogue Squadron after the events of Return of the Jedi, which means anyone could theoretically be "Rogue One." This means the spinoff film could take place at any time between Return of the Jedi and The Force Awakens, or even between The Force Awakens and Episode VIII. Rogue One will be written by Chris Weitz (The Golden Compass, Cinderella) and directed by Gareth Edwards (Monsters, Godzilla [2014]). The film will also star Felicity Jones (The Amazing Spider-Man 2, The Theory of Everything) in an undisclosed role.
So for all of you who don't like reading paragraphs and just want the gist of the announcement:
Star Wars: Episode VII—The Force Awakens (December 18, 2015)
Directed by J.J. Abrams
Written by J.J. Abrams and Lawrence Kasdan
Starring Harrison Ford, Mark Hamill, and Carrie Fisher
Rogue One (December 16, 2016)
Directed by Gareth Edwards
Written by Chris Weitz
Starring Felicity Jones
Star Wars: Episode VIII (May 26, 2017)
Directed by Rian Johnson
Written by Rian Johnson
What do you make of the Star Wars news? Do you like the named writers and directors? Are you excited for the very first Star Wars spinoff film? What do you think Rogue One will be about? Let us know in the comments section! Thanks for reading, everyone! My name is Sam Lascio, and I am a Jedi! And, uh, a Fanboy.
Greetings, Fanboys and Fangirls! This is Sam Lascio, bringing you the second trailer for the Netflix Daredevil series! You can watch the trailer below:
We get to see a lot more of Vincent D'Onofrio's Kingpin, as well as a better look at Scott Glenn's Stick—the man who trains Matt Murdock as a boy (and in Ultimate Marvel, trains Blade too). I wasn't too crazy about the song that played during the trailer, but I loved the new footage and the subtle Iron Man and Thor references at the very end. This is the first time it's felt like Daredevil is a part of the larger Marvel Cinematic Universe, even with its much darker tone. The first season of Daredevil will premiere on Netflix on April 10th with 13 episodes.
Did you love the trailer? Did you hate it? Let us know in the comments section! Thanks for reading, everyone! And if you're like Daredevil, I'm sorry the Internet doesn't come in braille. My name is Sam Lascio, and I am a Fanboy!
The hook of Warframe can be boiled down to three words: Robot Space Ninjas. Warframe mixes these three concepts to create a grungy third-person shooter that combines high-paced shooting with devastating melee combat and even parkour movements.
Destroy your enemies with an array of weapons that includes assault rifles, pistols, blade launchers, swords, scythes, and many others. Best of all, it's free to play.
In Warframe, you play as a race of sentient energy lifeforms known as the Tenno, who have been reawakened to fight the Grineer cyborgs, Corpus merchants, while culling the horde of mutants known as the Infected. Led by a mysterious female known only as Lotus, you pilot warframes, robotic units with unique abilities, to mercilessly strike down those who will bring chaos to the universe.
The newest of the warframes is Mesa. She specializes ranged attacks with abilities that reflect bullets back at enemies and her ultimate, which unveils concealed pistols that she uses to unleash a storm of bullets. Other warframes include Nova, who has control over antimatter; Ash who has shurikans and and other ninja abilities; and Rhino, who uses a mix of great defense and brute force to crush his enemies.
Though the game is free, it is updated almost more frequently than games with a paid subscription model. Typically, each month brings multiple additions. From weapons to warframes to even new zones, Warframe is growing at a rapid pace and shows no signs of slowing down. Now, it does have a currency known as platinum, which is bought with real-world money. However, everything that can be bought with platinum can be either bought or found in game. The benefit that makes platinum appealing is time, as it can be used to speed up crafting times or buy certain things outright. There are actually many things that can't be bought with platinum.
In a relatively short span of time, Warframe has revamped its entire damage system (dubbed damage 2.0) to include 3 physical damage types and elemental properties that can be combined to create combos such as fire-and-ice-creating blast. Another fun addition was the kubrow, alien soldier dogs; when you take one with you, it replaces your sentinel (a robot that assists you by attacking enemies and providing buffs) and engages in melee combat with enemies. Your kubrow gains experience points through battling and will gain more slots for mods.
One of the biggest additions to the game was the archwing. Prior to its release, all battles took place inside space fortresses or on the ground of a planet. The archwing allows you to take the battle to the great vacuum of space. With this release also came new space zones as well as new mission types. The archwing is also relatively easy to get. Follow a few missions, build the parts, and you're all set.
Warframe's momentum is only growing, and I'm enjoying watching it grow. I can't wait to see what they add next. They're already hinting at something big in their new trailer launched today. Watch and enter your comments below.
Gaming is a young person's pastime. There aren't many grandparents who get their kicks from GTA or CoD. At the same time, there are some things that non-gamers do that don't necessarily appeal to the players of those games. A classic example would be betting on horse racing which is all-too stereotypically an older person's pursuit. It's not so much a case of 'never the twain shall meet' as simply 'live and let live'. But this divide across the generations got us thinking. What is it about horse racing - and sports betting generally - that leaves gamers cold? Conversely, what is it that limits the appeal of games to those over the age of 30 (give or take a few years)?
The thing is, the human race hasn't fundamentally changed over the course of the last 20 years or so. After all, if we still have DNA in common with the Neanderthals, it stands to reason that we shouldn't be that different from our parents - despite all the evidence to the contrary.
And this leads to a theory, a hypothesis if you prefer. It is this, that the enjoyment, excitement and gratification that we get out of our gaming experiences is - when it boils down to it - pretty much the same buzz that our grandparents enjoy when they have a bet on the Grand National or any other horse race or sporting event. On the surface very different things may appear to be going on, but beneath that superficial distinction there is a case to be made for these very different branches of 21st Century leisure having far more in common than they have to separate them - a bit like our own ancient ancestors and their Neanderthal neighbours.
In the best tradition of an old school essay, we'll do a compare and contrast. Here are a few of the things that we regularly describe as marking out the successful delivery of a game. We'll dwell on each of them in more detail as we go on, but as a starter our list includes: Characters, plot, jeopardy/risk, progression, reward, decision-making and complicating or distracting features. These all stand to be negotiated by player skill - another aspect we could add to that list - or perhaps even an element of chance. Teamwork is another social dimension we could wrap into the mix as well.
Of course, there are some gaming fundamentals that we are taking for granted here including the visual appeal and overall feel of a game, but nobody ever stuck with a game for long just because it looked pretty.
If we compare each of those criteria against what the old folks do when they're weighing up the chances of a particular horse and then watching it do its thing as it gallops around the track, some stark parallels start to emerge.
Putting cash in its place
In order to fully grasp the nature of the comparison we're making here we have to recognise that the cash element in betting is only partly instrumental. In other words, it is a key part of the deal, but it is not the be all and end all of it. If we view the cash stake as a way of 'buying in' to a sporting event, almost like an admission charge, then we will be able to make sense of our comparison. It is only professional bookmakers and professional gamblers for whom the business at hand is solely about the money. Everyone else involved is in it for the fun - albeit with the prospect of a pay-out - however slight.
Seen in this light the cash stakes that the gambler puts down equates immediately with the time and emotional input that a gamer invests in progressing through the levels of a game. Both sides of our comparison have skin in the game.
Character appeal
For gaming characters, with their different abilities, physical attributes, strengths and weaknesses, read the personnel involved in the sporting spectacle. Horses, just as much as jockeys, have their plus points, their foibles and their distinctive characters. We all become fans of the characters we invest in after a while; whether that's Red Rum, Tony McCoy, John 'Soap' MacTavish or Lara Croft, we all invest.
And we all experience that little rush of anxiety when they are put in jeopardy. Whatever the pitfalls of a particular game, jeopardy is a key part of the package. And if you've ever seen horses running over fences, you'll appreciate that there is an immediate corollary with the sporting world. Every jump has the potential not only to end the race but a horse's life. Life and death drama is common across the divide.
In a game it is us the players who are in control of our characters, that is one key distinction. Spectating and participating are not the same thing. But whilst the cross-over here is harder to spot it is still in play, not least because we are investing in someone or something else. If we lose a life or our horse loses, we are physically unaffected. The action is distant and displaced - as spectators and players, we remain safe.
Decision making
The decision-making that informs game play on a second by second basis is no more than the same slower deliberation that goes into choosing which runner to back. It is a question of one decision as opposed a series of minor choices, but the elective rationale is nonetheless inescapable in both settings. Young and old alike, people like to test their judgement in a way that is consequential (either in terms of a gaming disappointment or your cash going south) but not too lastingly painful.
All those complicating plot twists and developments are no more than the drama of an unfolding race. At every turn the psychology of gaming and the emotional experience of gambling are deeply entwined. The pace may differ, but the psychology is very much on a par.
The place of sentiment
There are times when the divide separates, it's true. We aren't saying that these two activities are necessarily identical in every way, simply, that they share more in common than we may often imagine. For example, the social aspect of gambling is more overt and more entwined with other aspects of our day-to-day lives. The touching example of Richard Farquhar, whose fund raising walking the courses initiative will see him walk to - and around - every race course in Britain in remembrance of his late father is just one example of the deeper sentiment that a shared sporting sensitivity may generate. The criticism levelled against point and shoot games in terms of the way they sometimes fail to engender empathy are clearly at odds with this sort of commitment.
But in terms of the way we look to get a buzz out of our leisure time, or how we seek to both prove ourselves and entertain ourselves via means of third party characters - whether real or merely 2D representations - gaming and gambling are more connected than it may appear.
It is maybe worth bearing in mind that anyone with a European genetic heritage has an element of Neanderthal DNA in their make-up. Under the surface the world is a more hybrid, and a more complicated place than first impressions might have you believe.
How much of an impact do violent video games have on us? News outlets tend to run feature stories putting video games in the spotlight in a negative way. Whenever a child acts aggressively or a teenager brings a firearm to school, video games are, more often than not, blamed as the culprit. But are they the actual cause? Is the notion of violent video games affecting our youth in a negative way fact or fiction?
In this edition of Press Start: Pause, Sam takes a look at the facts. Is there a correlation between the number of readily available games vs. the number of violent crimes committed? How about what the views of different organizations who are both for and against this notion: What do they think?
He... He'll be fine.
Whether you agree or disagree, Press Start is here to share our thoughts! Check out the video below to see for yourself!
Feel free to share your thoughts in the comments below! In the meantime, I'll be curling up in my corner and decapitating angels in Bayonetta 2.
This weekend in Boston tens of thousands of gamers will join together at the Boston Convention and Exhibition Center for the largest annual gaming festival in North America. PAX East 2015 will be a 3-day event featuring guests, tournaments, freeplays of demos, nerd-centric music concerts, panels, and so much more.
Gaming fans will have access to exclusive first looks at upcoming releases from developers big and small. Blizzard, The Behemoth, Capcom, Adult Swim Games, and many others will have something to share with attendees.
There will also be panels on all 3 days covering every type of gaming related thing you'd want to hear about. Blizzard will be showing a preview for Hearthstone, Overwatch, and Heroes of the Storm. OC ReMiX will be celebrating their 15th anniversary. Saturday will be Game Show Night, where there will be mock editions of Family Feud and The Price is Right.
For the chiptune fans there will be music concerts from some of the video game world's favorite bands. Performances by Bit Brigade, Freezepop, Triforce Quartet, and others will be there to add some rock concert flare to the event.
Members of Fanboys Anonymous will be there to report on all the big news and tell you of our experience. If you've enjoyed our previous coverage of Too Many Games, South Jersey Geek Fest, and New York Comic Con '14 you certainly want to keep up with us on this weekend. Stay tuned to Fanboys Anonymous for the big news stories, and follow Mike Paden and Chris Dace to see how their spending their time at PAX East 2015.
Okay, breathe deep. The director behind District 9, Elysium, and the upcoming Chappie isn't remaking Ridley Scott's landmark sci-fi film, Alien. Nor is he remaking James Cameron's sequel, Aliens. He is, however, using those two movies as a jumping off point for a brand-new installment in the Alien franchise—starring Sigourney Weaver, Ellen Ripley herself, no less.
Let's track the Alien franchise real quick.
Ridley Scott's 1979 Alien film introduced Ellen Ripley as a part of a commercial starship crew that investigates a mysterious planet, eventually encountering the titular alien. Though it kills the rest of the crew, Ripley bests the creature and puts herself in stasis in an escape pod for the journey home.
James Cameron's 1986 sequel Aliens picks up after Ripley is recovered, having been in stasis for almost 60 years. No one believes her horrifying story, and even worse, she finds out that the planet on which her ship initially encountered the alien is now home to a terraforming colony. When communication is lost with the colony, she accompanies a platoon of marines to the planet. The team suffers great losses when they find a whole host of aliens has taken over the facility, but again, she and a few survivors escape and settle in for the deep sleep home.
Twentieth Century Fox, loath to let the franchise sit, released Alien 3 in 1992. This was a troubled production, although it marked the big-budget debut of a young filmmaker named David Fincher. Ripley's ship experiences a malfunction and crashes into a penal planet, home to innumerable violent offenders. Soon, Ripley and the prisoners realize an alien came to the planet aboard Ripley's ship and that the rescue vessel sent for Ripley is really on its way to collect an alien specimen to turn into biological weaponry. While the prisoners and Ripley combat the alien, she discovers that she's carrying an alien embryo inside of her, which will grow into a queen. Ripley kills herself instead of letting her former company have the alien…and that should be it, right?
Characters die. Trademarks live forever as long as they make money.
Nah. In 1996, Fox brought Ripley back again in Alien: Resurrection, scripted by none other than Joss Whedon (who has gone on record effectively saying he hates what the film became from his screenplay). Two hundred years after the events of Alien 3, a group of military scientists have cloned Ripley and harvested DNA from the embryo she once carried. Additionally, these scientists have cloned and grown additional aliens for study. Sure enough, the aliens get out, and the emergency prompts the space vessel on which all this takes place to set course for Earth, endangering all of humanity.
There are other spinoffs of the franchise, like the ill-fated and ill-advised Alien vs. Predator movies, and Ridley Scott's kinda-sorta prequel Prometheus (which will get its own sequel sometime in the years to come), but these movies make up the core of the Alien franchise.
Enter Neill Blomkamp.
Sigourney Weaver is in Blomkamp's latest film, Chappie, which drops next week. Prior to that working relationship, Blomkamp had developed some ideas for a story set in the Alien universe. He produced concept art, he fleshed out the story, and during some down time in production on Chappie, he got to talking with Weaver about Ellen Ripley and Alien. This got him thinking further, and it turned out that Fox loved his ideas. Although he was unsure about franchise filmmaking, he acquiesced, and this project will be his next film.
The kicker is that this movie will be "connected to," to use the director's own words, the events of Alien and Aliens, perhaps at the expense of Alien 3 and Alien: Resurrection. It would be like how Bryan Singer's Superman Returns ignored everything that came after Richard Donner's Lester's Superman II. In one piece of Blomkamp's art, Michael Biehn's Aliens character Hicks is seen alongside Ripley, even though he died in the opening of Alien 3. In another, the "Space Jockey" ship from the original Alien and from Prometheus makes an appearance, in a warehouse-type setting. It seems as though Blomkamp has an idea to join disparate parts of the franchise with something fresh he has created.
Weaver herself is keen on the idea of revisiting Ripley, despite having had a large amount of control over the character's direction for the latter two films. The second half of the Alien quartet was never as well received as the first two installments. Fox's hope is that this revitalizes the franchise.
While initially it was reported that this movie would "ignore" the third and fourth installments of the core Alien franchise, Blomkamp has distanced himself from that idea, saying that because his favorites are those first two movies, that is the material he wanted his idea to connect with. He says he doesn't want to "undo" Alien 3 or Alien: Resurrection. It remains to be seen how to make a "middle sequel" without undoing everything that supposedly comes after.
Whether or not this will tie into other Alien properties, like Prometheus, is unclear but (I would hazard) also unlikely. If this is a continuation of the story begun in Alien(s), it would take place years and years after the events depicted in Prometheus, which was again touted as a sorta-kinda prequel to the franchise.
I suppose, if this is well received and Prometheus 2 does well, AND they don't want to delete Alien 3 and Resurrection from canon, they could attempt to dovetail the stories with some kind of time-travel plot with multiple Ripleys, and then Michael Fassbender's android David can develop some kind of, oh I don't know, "red matter" that artificially creates black holes and an alternate timeline…
Are you excited for more Alien? Anyone else happy that Neill Blomkamp is still hard at work on exciting sci-fi ideas? (Go see Chappie!) All communications are open in the comments below.
Hello there, Fanboys and Fangirls! This is Sam Lascio, giving you the latest news/rumors concerning the Marvel/Sony Spider-Man deal!
According to a report from Latino-Review, the powers that be have chosen Drew Goddard to write and direct the new Spider-Man franchise! It's important to keep in mind that this is a rumor and has not been confirmed by either Sony or Marvel. Here's a rundown of what we're hearing:
"There is talk about calling the new series The Spectacular Spider-Man."
Ike Pearlmutter (Kevin Feige's boss) insisted on Avi Arad's removal from the Spider-Man franchise, which allowed Feige to step in. Arad will still receive an executive producer credit on the film, but his attention will be redirected to the Ghost in the Shell series.
The Sony "Spider-Verse" is dead. This means that although they had decided to move forward with the Sinister Six film, they have now scrapped all intended spinoffs, which includes The Sinister Six, a female-led Spider-Man film, Venom/Carnage, and yes, even the highly anticipated Aunt May film. Although there is still an idea to include the Sinister Six and possibly have a spinoff in the future, there are no longer any immediate plans.
Drew Goddard, who was previously attached to The Sinister Six, has been moved to the new Spider-Man reboot as writer and director. Goddard's credits include creating the Netflix Daredevil series (starring Charlie Cox), writing Cloverfield, The Cabin in the Woods, World War Z, and The Martian, and directing The Cabin in the Woods.
We're hearing again that there will be no origin story, and Peter (yes, Peter. Not Miles) will have his powers at the start of the film. Not surprising, since the character will appear in an MCU film before his solo run.
Because the two studios want to cast young and use this actor for multiple pictures, fan favorite Dylan O'Brien (who is currently 23) is too old for the role. Not to mention that he's already tied up in a big Hollywood franchise at the moment. They may go with an unknown actor, so that he can grow into the role, much like Daniel Radcliffe did in the Harry Potter series.
The first Spectacular Spider-Man film will most likely involve the Sinister Six forming to take down Spider-Man.
A major part of the first film will involve Spider-Man fighting Iron Man as an audition to become a member of the Avengers.
Wait…I think I mistyped that. It almost sounded like Robert Downey Jr. will appear in the first solo Spider-Man film, and that the two heroes will battle it out to test Peter's abilities to see if he's Avengers material.
Now, on the surface, this all sounds a little overwhelming, so let's break it down a little:
The Spectacular Spider-Man? Cool title, I approve!
For the love of all that is good in the universe, get Avi Arad as far away from the Spider-Man reboot as you can.
The very fact that the Aunt May movie was a serious thing makes me happy that the Spider-Verse is dead. The Sinister Six just didn't need to happen. You hear me, Sony? Stop trying to make Sinister Six happen. (Mean Girls reference, sue me.)
To me, Drew Goddard sounds okay. Daredevil hasn't been released yet, but I liked The Cabin in the Woods. I wasn't a huge fan of World War Z, but I know a lot of people were, so I can't see too much against him, but also not a whole lot in his favor. For now, I'm neutral.
No origin story? Good, we don't need one. Although Latino-Review didn't say "no Miles," the original announcement from Marvel said "Peter Parker" by name, so that settles it. Will he be black, white, or something else? That's still a topic of discussion.
If Dylan O'Brien at 23 is too old, that also eliminates Logan Lerman (23), Donald Glover (31), and possibly even my pick, Asa Butterfield (17) from Ender's Game. I eliminate Butterfield not for his age but because he's a relatively known actor, and the studios seem to want an unknown. Don't be surprised if the actor ends up being 15 or 16 years old. It would make sense, since the report says they'd want this actor for perhaps multiple trilogies.
I wouldn't object to the Sinister Six being in the MCU, but the first film? This isn't The Amazing Spider-Man 3, so stop trying to make it The Amazing Spider-Man 3.
All right, time for an unpopular opinion, so instead of making this #8, I'm going to take a paragraph on this. My favorite MCU film for the longest time was Iron Man from 2008. Even when Marvel's The Avengers came out, I still loved the two films equally. However, after Iron Man 2, Iron Man Three (or Iron Man 3, as it should have been), and reports that he sort of muscled his way into Captain America: Civil War before they decided to go the Civil War route, I'm getting a little tired of RDJ. Is he still just as charming? Certainly. He is the living embodiment of Tony Stark, but this is Spider-Man's movie. If Chris Evans was going to appear in the film, I'd think "Cool, I'd love to see Cap and Spider-Man fight side-by-side," but RDJ? I can't help but feel think he'd want a huge part. I want to see Spider-Man fight his villains and save the day, not have Stark there the whole time hogging the limelight (which you know he'll do). Also, it would be really cool if Iron Man made a cameo in the film and the two auditioned Spidey to be an Avenger, but the report is saying that this would be a major part of the first film. Leave that shit for Captain America: Civil War.
This also doesn't seem to make a lot of sense for what we're seeing as far as the films go. Although I'm sure the film won't paint Iron Man as the "villain," it seems as though the events of Avengers: Age of Ultron will set Iron Man and Cap on opposite sides of their arguments, culminating in the third Captain America film. So are we to believe that after Peter sees Iron Man and Cap duke it out in Civil War, that he'd audition with Stark? This almost sounds like after Civil War, Cap and Stark will be friends again. Unless, Stark and Cap are recruiting for their own separate Avengers teams. But then why would Peter want to be on Stark's team? He does side with Iron Man in the comics at first, but after he has a change of heart, he joins Captain America's Secret Avengers. So…what the hell. If these rumors are true, they certainly seem confusing at face value. Hopefully when Sony and/or Marvel makes the formal announcement, things will be a lot clearer.
So what do you think of these rumors? Is Drew Goddard a good choice to write/direct the first film? Do you like the title The Spectacular Spider-Man? Would you approve or disapprove if Iron Man played a major part in the first solo movie against the Sinister Six? Let us know in the comments section! Thanks for reading everyone. My name is Sam Lascio, and I am a Fanboy!
We have reached the pivotal action point around which this arc has been revolving: the return of the Juggernaut.
Under the guidance of writer Chris Yost, the previous two issues have seen all the potential candidates to become the new Juggernaut set off to heed the call of the ruby crystal of Cyttorak. The Amazing X-Men have also been alerted to this menace and arrived on a remote island in Thailand, at the temple dedicated to the same dark demon of destruction.
The first skirmishes have happened and a little blood drawn. So far this story arc has been a fun read, with some quick moments of comic timing and plenty of action. Amazing X-Men #17 is much of the same.
The issue feels like one good fight scene after another. Plenty of hits and snappy one-liners from the usual suspects of Storm, North Star, Iceman, and Rockslide. If you are expecting in-depth character development, your hopes will be dashed, because this issue focuses on the task at handkeeping up the intrigue about who will reach the ruby first and become the next Juggernaut.
Cyttorak's is pleased, his time has come.
With two former wielders of this awesome power along for the ride, Colossus turning up thanks to a Pixie and Cain Marko bursting on the scene in the last issue, the issue feels fast paced. Yost does well to play up the strengths of this conflict while keeping the possibility open for others to prevail and claim the prize.
Nightcrawler bampfs into action
Keeping pace with Yost's story, artist Jorge Fornes continues a solid run in this arc. There is some feeling of middle-issue syndrome, where the dip occurs, hopefully to rise back in the next issue. Fornes' use of expression emotion in the characters' faces is a delight, and he is a good artist for this type of action-packed story. As I re-read all the issues so far on this arc, the individual issues come together smoothly and would do well in a collected trade paperback.
In other aspects Fornes' art is a little patchy in its storytelling in this issue; stylistically the art is consistent with the previous two issues, but here we see some big jumps in action, with some distinct lack of linking elements between panels. This only happens less than a handful of times, but it is enough to distract the reader and pull him or her out of the story.
Cain Marko - the former Juggernaut.
Rachelle Rosenberg's colors are bright and vivid, but in comparison with the earlier arcs of this series, they have changed to suit the style and tone of Fornes. Rosenberg appears to enhance a lot of the character movement, as directed by Fornes' layouts, but the overall feel comes across a little static. There is some exaggerated impact in the fight scenes; bringing home a well-laid punch, for instance, feels as though it were intended to knock over a character, but the fluidity of motion doesn't carry consistently throughout the issue.
The panel arrangement that was engaging in the previous issue is toned down in issue #17. While they read well and clearly guide the story, due to the content of this issue I think that more could have been done to use the fighting to step outside the box a little more.
The X-Men fight on all sides
Given the proximity to "Secret Wars" and the lack of solicitation for Amazing X-Men in May this year, we could be among the final issues in this run. With one more part left to this story arc, it will be interesting to see what fate befalls the team and who becomes the new Juggernaut in the final issue.
As always, we want to hear what you thought about this issue. Make sure you leave a comment below or on our Facebook or Twitter and come back next time for the final issue of the "Once and Future Juggernaut."
The concluding issue of Jason Aaron's and Ron Garney's creator-owned work Men of Wrath lives up to the blood-saturated issues we have seen so far.
Succinctly summed up by Aaron on the final page, Men of Wrath is about a family curse passed from father to son for four generations. Ultimately, a whole lot of people get killed. The cold hard close that wraps up this issue mirrors the dramatic opening from issue #1. Death abounds in all those pages.
Given the setup from the preceding issue, I had hoped to see Reuben last a little longer, but I don't feel put out by the twist Aaron has in the opening pages of issue #5. It is consistent with the tone and feel of the series. The story achieves satisfactory closure in this issue, and that satisfaction is compounded by the well-balanced pace of the issue, which tips explosive action against familial drama.
Aaron plays up the dramatic use of completely blank and black pages in this issue. The cutaways these provide not only denote a lapse in time during the course of the events but also build a sense of suspense for the reader. Couple this with a lift in the narrated voice of Ira Rath throughout the issue, not just at the beginning or end as in previous issues, and it is a fitting way to close the series.
No good can come from this...
Because of the quick action and pace produced in this issue, Garney uses a relatively smaller number of panels per page. This focuses the action, speeding it up, forcing each page to give up the most it can from an artistic point of view. Garney's heavy ink work continues to bring an air of gravitas to the pages. Men fighting seem harder, more edgy and gritty as a result. When these images are colored by Matt Milla, the outcome is solid and hefty artwork that feels right at home with the story.
Among all the killing brilliantly brought to life by Garney and Milla, Aaron is telling a story with some poignancy to it. Ira Rath is trying to find some small sense of redemption, along with a healthy dose of retribution. There is some paternal caring, which we could have suspected from Ira's actions in the previous issue; this is really highlighted by Ira's relief and interaction with Lizzie in the final few pages.
Ira Rath's in a world of trouble
Aaron's ability to inspire unique voices for each character elicits a meaningful response from readers of Men of Wrath. A sense of belonging and familiarity echoes from the page, and the real-life connection that Aaron has to this story illustrates why a tale that began with some mangy sheep could be spun to equate with a murder-filled family that seems on death's doorstep.
Ultimately, though, as the solicitation line for this issue reads, someone must die. It is the Rath way. All good things must come to an end, and Men of Wrath goes out on a high. As a very limited series, this was a good, mature read. It wasn't bogged down intellectually but delivered on the premise on which it was established. Aaron and Garney pull off a suburb comic experience that will only become better as a collected edition.
Bloody to the bitter end
I thoroughly enjoyed this series; it will leave a gaping whole in my monthly pull-list. We want to hear what you think. Did you enjoy this issue of Men of Wrath? Or the whole series? What do you think about it now compared to the first issue? What do you think of Garney and Milla's artwork? Make sure you leave a comment below or on the Fanboys Anonymous Facebook or Twitter.
The CES (Consumer Electronics Show) 2015, which took place this January in Las Vegas, has been universally promoted as marking the year that cars truly got smart. Historically, CES has had little to do with motoring and everything to do with more traditional aspects of the tech world. These have included digital media, communications and robotics among other things. But 2015 saw the focus shift for the first time to the long overdue consummation of the marriage between tech and the motor industry.
In previous years the emphasis of CES, driven ultimately by consumer demand, has been entertainment in one form or another. Motoring has been left out in the Los Angeles car lot. But this year the talk has been of how the motoring fraternity has finally made it into the building. In the process, the story has become not just of how the motors have entered the building, it has become one of how the technology that sustains the digital leisure industry is making its way into the driverless cars of the near future. The hot topic is now intelligent, self-driving vehicles crammed with sensors and software that leave everyone on board free to play as never before. Enjoying life in the fast lane has just taken on a whole new meaning.
CES 2015 lifted the lid on the now blossoming relationships between the likes of BMW, Audi and Mercedes-Benz and tech powerhouses such as Sony, LG and Samsung. The days when tech in a car meant an iPod dock and a satnav are long gone - a mere spec in the rear view mirror. At last, the gears are meshing. Here are just a few of the eye catching ideas that we were treated to:
Lazer guided lighting systems that can 'see' round corners
Universal smartphone plug ins
An Audi branded tablet computer (with added crash safety features)
VW Golf's fully digital touch screen cabin controls system
A whole new experience
Ford were the first to pioneer the presence of motors at CES eight years ago and it has, in truth, taken a while for the two worlds to work their way to their happy state of embrace. But like all the best romances, there is no going back from where we are right now. The level of on-board assistance demonstrated by Mercedes and Audi in particular means that - in a strange rewriting of history - we will soon be able to travel in our cars without having to focus on the tedious business of actually driving them. It means we'll be able to max out at our favourite online casino or even enjoy a spin on GTA even as we make our way around the streets of Vegas.
CES 2016 will take place in Vegas from Jan 6 to 9 - set your coordinates now.
Blade Runner, released in 1982, is unarguably one of the most influential sci-fi movies to this day. Its realistic depiction of a decayed future has inspired various movies, comics, video games, and even music. Now, over 30 years since its release, Blade Runner's sequel is finally on its way to becoming a reality, with its principal photography scheduled to start in the summer of 2016.
1982 Poster.
The sequel's initial screenplay draft was co-developed by Ridley Scott and the original film's writer, Hampton Fancher, before Michael Green (Green Lantern) was reportedly hired to revise it. Scott will not be directing the sequel (Prisoners director Denis Villeneuve is in talks with Alcon Entertainment to lead the project), but he promises to remain fully involved with its progress. In an interview with Collider.com, Scott gave a short description of a scene:
"There'll be a vast farmland where there are no hedges or anything in sight, and it's flat like the plains of [Kansas] (...) On the horizon, [we see] a combine harvester, which is futuristic with klieg lights, [because] it's dawn. The harvester is as big as six houses. In the foreground is a small white clapboard hut with a porch as if it was from Grapes of Wrath. From the right comes a car, coming in about six feet off the ground being chased by a dog. And that's the end of it, I'm not gonna tell you anything else."
Aside from this scene description, only a few plot details have been revealed. Rumor has it the film will center around a female protagonist, and it will take place several decades after the original. Harrison Ford has confirmed he will reprise his role as Rick Deckard, a bounty hunter (a.k.a. Blade Runner) who hunts down rogue replicants.
Ford's Deckard.
In an interview with Variety, Scott offered a bit more insight on the narrative:
"We talked at length about what it could be, and came up with a pretty strong three-act storyline, and it all makes sense in terms of how it relates to the first one. Harrison is very much part of this one, but really it's about finding him; he comes in in the third act."
With so many horrendous sequels, prequels, and remakes flooding the silver screen, is Blade Runner 2 even a good idea? Personally, I still have not forgiven Scott for Prometheus. Harrison Ford, however, seems to believe this movie in particular will do great justice to the original. According to Scott: "I sent [Harrison the script] and he said it's the best thing he's ever read. It's very relevant to what happened in the first one."
Time will tell. Hopefully this movie won't be like all those other sequels, "lost in time…like tears in rain."
For a reader there can be some heavy work involved in a series like ODY-C. As a uniquely original take on a classic tale (Homer's Odyssey), you can pick up any issue and be mesmerized by the beautiful art and dynamic storytelling. But, and it is a big BUT, you can also go deeper and see some truly outstanding and nuanced meaning beneath the surface.
I am beginning to enjoy so much more about ODY-C as the series progresses. Issue #3 is a great place to hold your nose and take the plunge and really see what is under all the hyperbole about this series. Let yourself be mesmerized, let the strangeness overcome any sense of foreignness, and simply enjoy the mind-bending experience.
More can be read into ODY-C #3 from a pseudosexual, antiphallic, symbolic angle than really needs to be, but the inversion of the gender roles and the sexuality of the main characters in this issue invites conjecture on some of the portrayal of monsters such as the cyclops. In a universe that could be construed as male-adverse, this macho-filled female version is a refreshing take on an ancient, well-established trope. The roles of sex and gender have never seemed as compelling as a storytelling convention than under the direction of Matt Fraction.
Then again, the battering ram used by the wayward crew of the ODY-C to break down the cyclops' massive door in this issue is shaped very much like the male organ, which seems to be forced into the cyclops' cavity. The violent nature of this action could be seen as representative of male violence against women, but it is orchestrated by the masculine Odyssia, the female/male-like star of this drama. Given this, Fraction could just be having fun with his audience.
Women's power of men in child birth
This story is engrossing. My high school classical studies classes could have been so much more if Homer's Odyssey had been delivered with this much flair, style, and creativity. As should seem apparent now, writer Matt Fraction is providing a master class of stepping outside the box, engaging readers on a different level, and having them rethink comics in a fundamental way.
This issue of ODY-C feels more narrated than the last, primarily due to the godly characters taking a backseat to Odyssia and her crew this time around. The drawn out encounter with the cyclops is justifiably a conflict that takes center stage. This passage highlights the strengths and weaknesses of the crew from the ODY-C, showcasing the flaws that made up the heroic warriors of Homer's poem.
The narration feels genuine, in a manner; the Homeric saga should be told in a grandiose way, not simply read as characters speaking to each other. So many current comics rely on this form of communication to push the story forward and there isn't anything wrong with this, but to stand out from the masses of publications each month requires a new way of being. Reading ODY-C is like having the story told to you from the page. It is fitting and refreshing.
The true image of a god is explosive
ODY-C #3 is also fast paced; we quickly move through time and space because Fraction needs to get us to some set pieces where the story can develop. In doing so we are introduced to new characters such as Dionysus and Apollo who, it seems, may come back to play greater roles later in the series. There is a great explanation from Fraction in the back pages of the issue about the introduction of these characters resulting from Homer's intention to clarify important missing plot points.
The first two issues of the series felt like they belonged to artist Christian Ward more than they did Fraction. The art was so stunning and different that it dominated each page. In this third issue Ward, while still providing amazing art that contributes so much to reading experience, does give way to Fraction a little.
Apollo, Hera, and Dionysus
Ward's layouts and panel arrangements and how they guide the reading experience are paramount to the flow of the story. They take some getting used to, and multiple readings of this issue or specific pages may be required to grasp all the detail involved, which may be an obstacle to new readers; in fact, the creative team specifically included some fan mail addressing the difficulty of following the stories in the first two issues. However perseverance is the key, as this is a rewarding read for those so inclined.
Much like Fraction and Ward, we want to hear what you think about ODY-C #3. Does this retelling of a classic story continue to grab you? What do you think about Ward's composition and storytelling abilities in the art? Do you like the narrative effect of the story and any of the symbolism? Leave a comment below or on the Fanboys Anonymous Facebook or Twitter, and come back next time for issue #4 of ODY-C.
