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Author: Andrew Asplund

Let’s Play – Final Fantasy (Part 2)

Let’s Play – Final Fantasy (Part 2)

My journey into Final Fantasy continues with the second part of my ongoing series! This time, I actually advance the “storyline” a bit and even find a boat! And by “find a boat,” I clearly mean “take a boat from a bunch of stupid pirates through the use of excessive force.”

The “crossing the bridge” sequence is one of the more memorable moments of the game for me, which I suppose makes sense because it’s so different from the rest of the game. When you consider that the original release simply started with the player in front of Corneria/Cornelia (no cinematic intro) and very little was said outside of single text boxes, that bridge crossing was the closest the game had to a scripted story sequence. It’s the kind of game element that Final Fantasy would later become inundated with, but in the original 1989 release, this was the only one. If you compare it to some of the games contemporaries, that single sequence stands out as sort of a big deal.

As a kid, I never thought too much about how the game is “staged” based on what you can get to. First, you get the bridge to the north. Then, you get a boat, but the boat can only really go to one other place. Eventually, you blow a canal to the outer sea and can go to one or two more places. Then you get an airship. Although it looks like you’re in a big, open world to explore, you’re really not. I suppose I contrast it to the original Shining Force on Sega Genesis, which divided the gameplay into discrete chapters. Once you finished Chapter 1, you moved on to the area of Chapter 2 (and couldn’t go back). At this point, I could not say which method I prefer. Perhaps, when I get to a game that’s more “open world” I’ll have something different to say.

One of the things that became apparent to me during this part of the game was the totally wacky pricing structure within the world of Final Fantasy. It’s always sort of a weird joke when you compare prices of things. At this point in the game, it cost me 80 Gil to raise a character from the dead while it cost 50 Gil to stay at the Inn. A suit of fancy armor was 450 Gil, which is a hell of a lot more than 80 Gil. Of course, it’s a fantasy world and the whole idea of how the economy changes in the presence of the ability to raise the dead is the kind of thing nerdy economists write papers about.

Week in Geek: Terminator Genisys

Week in Geek: Terminator Genisys

Recently, Dan talked about watching the most recent film in the Terminator franchise, Terminator: Genisys. I have had a certain curiosity about the movie since the first trailers came out, but I was even more interested when I read that James Cameron felt that “the franchise has been reinvigorated” by Genisys. Given Dan’s opinion of the film (and its availability on Hulu, which I am able to access), I decided to see for myself.

Hey, look, it's that weird Austrian guy from the first Terminator!
Hey, look, it’s that weird Austrian guy from the first Terminator! But with only half a face!

First of all, Dan is correct. This movie rests a lot on nostalgia for prior Terminator movies. More accurately, this movie rests a lot on nostalgia for the first two: the 1984 film, The Terminator, and the 1991 film, Terminator 2: Judgment Day. The first fifteen or twenty minutes of the movie almost feel like a reboot of the original, with post-apocalyptic soldier, Kyle Reese, being ordered by revolutionary leader, John Connor, to step into the time travel device in order to stop a vicious killing machine from destroying the past. Not much later, we get to see the recreation of a popular moment of cinematic history: the Terminator beats up some weird ’80s punks to get some clothing.

Terminator: Genisys (left) vs the original The Terminator.
Terminator: Genisys (left) vs the original The Terminator. Unfortunately, they were unable to create a digitally de-aged Bill Paxton for this new Terminator film, which is sad for everybody.

From there, of course, the movie starts to go sideways. An older Arnold Termin-egger, along with an unidentified sniper, work together to stop the younger-looking killing machine. Soon after, Kyle Reese encounters a strange police officer who is revealed to be a T-1000 made of liquid metal (but not in the guise of Robert Patrick). It’s crazy, it’s out of control, and the movie lets us know that despite starting like the original The Terminator, this will be anything but. Soon enough, we have heroes Kyle Reese and Sarah Connor time travelling FORWARD to 2017, which should be after Judgment Day but is not. Instead, the nefarious villains of Cyberdyne Systems are about to realize some sort of stupid mega-app called “Genisys,” which promises to be the bomb.com, but will probably end up just being the bomb.

A few reviews I read expressed concern over the convoluted time travel timelines of this movie, and given that the producers intended to make a trilogy of films, the confusion is probably legitimate. But, as a sort of sequel to the first two Terminator films, I found this movie to be an interesting companion piece and contrast to the previous second sequel, Terminator 3: Rise of the Machines. The following analysis may contain spoilers, so be warned.

SPOILERS AHEAD!

You maniacs! You blew it up! God damn you! God damn you all to Hell!
You really did it! You maniacs! You blew it up! God damn you! God damn you all to Hell!

The original film The Terminator left the audience with the interesting idea that the whole story could only happen because it happened. The entire thing is a causal loop: Kyle Reese is sent back in time by John Connor to protect Sarah Connor, and in the process becomes John Connor’s father (explaining why John sent him back in the first place). Terminator 2: Judgment Day doubled down on the causal loop, further explaining that Cyberdyne Systems developed the requisite technology for Skynet and the Terminator from the remnants of the Terminator left behind in the first film. So, the audience realizes that this whole world and its future exist because of the fact that they exist.

Terminator 2: Judgment Day tries to change the narrative. After we learn what’s going on and who the real bad guys are, Sarah Connor convinces everybody that the best solution is to prevent Cyberdyne from ever being created. The takeaway theme from the movie is, “There’s no fate but what we make for ourselves.” By destroying all remnants of the Terminators and Cyberdyne Systems, Sarah and John Connor are able to avert the future apocalypse. Of course, this creates a bit of a paradox-sandwich as we have an established past that involves a future that no longer happens. But, let’s not worry about paradox sandwiches just yet.

No Fate (but what we carve into innocent picnic tables)
No Fate (but what we carve into innocent picnic tables with a combat knife).

Terminator 3: Rise of the Machines took a hard left on this theme, changing it into “No fate but what we delay for ten or so years despite our best efforts.” Watching that movie back in 2003, I was exceedingly disappointed on the turn that it took, although it made sense given that the producers were more interested in making post-apocalyptic, dark future Terminator movies. That’s also where we got Terminator: Salvation, which I am certain that I watched but I disliked with such intensity that I forgot everything about it.

That hard left is what I think makes Terminator: Genisys stand out from the other films and makes it feel more like a proper sequel to Terminator 2: Judgment Day. By the end of the movie, we find out that the personification of Skynet has essentially manipulated time in order to re-sequence the timeline to its own benefit. Instead of the “it’s going to happen eventually” narrative of T3, we have Skynet actively taking a role in manipulating time to its benefit. I guess you could say that Skynet has adopted the “No fate but what we make for ourselves” philosophy for itself. Oh, and Skynet is played by Matt Smith.

And that’s the thing that I really like about this new Terminator movie. T3 took the “take the story into your own hands” narrative of Terminator 2: Judgment Day and stole the agency and control of it. It said that no matter what you do, the terrible thing is going to happen. Terminator: Genisys did something different. It still acknowledged that the terrors of the future are a threat, but that it’s because they are actively working against you. It acknowledged that the “take the story into your own hands” narrative was just as much a thing that the villain could do as the heroes. It’s an interesting twist on the story. Somehow, that difference was important to me and I think is what makes Genisys a better “third movie” than Terminator 3: Rise of the Machines.

News Blast: Super Heroes at San Diego Comic-Con

News Blast: Super Heroes at San Diego Comic-Con

Last weekend was San Diego Comic-Con, and although lots of news filtered out of the event, super heroes were an important element of that story. Marvel and DC both showed up ready to spill with trailers, news, and all sorts of superheroic nonsense up in the air for fans to ingest.

DC Comics has a lot of ground to makeup for, with 2016’s Batman v Superman: Dawn of Justice leaving a lot of eager fans less than thrilled. Probably one of the biggest things they had to present was the trailer for next year’s big superhero movie, Wonder Woman:

There’s been a lot scuttlebutt around the DC Cinematic Universe in the last six months, but the one thing that seems to still be on track is the stand-alone Wonder Woman. Set in the era of World War I, it looks like this movie brings a lot of what  you’d expect from Wonder Woman: some weird quasi-Greek stuff, some lasso action, and punching. And kicking in wedges, let’s be honest. Swords and shields, and the rest.

Of course, not one to disappoint, DC and WB also provided a look at the other big movie coming out next year: Justice League. This is less a trailer and more a bunch of “footage,” but it does provide a little look at what’s going on. We get to see Bruce Wayne and Wonder Woman talk about stuff. Bruce Wayne tries to recruit Aquaman and Flash, with varying levels of success. If anything, it provides a look at the different relationships the characters will have with each other in the movie.

Apparently, there’s still some confusion as to whether or not this is going to be one part of two, or a stand-alone movie. I suspect a lot of the future of the DC Cinematic Universe rests on the shoulders of Wonder Woman and this first Justice League offering.

In the TV department, DC Comics seems to be dominated by the “Arrow-verse,” the series of television shows airing on the CW. The unexpected ending of last season’s Flash will be addressed in the upcoming season, although the extent to which we will be living in a Flashpoint world is still uncertain. In the flagship show, Arrow assembles a new team of crime-busting vigilantes, although it’s clear that the old team isn’t going anywhere. Also, Legends of Tomorrow marches forward, with Captain Rip Hunter and his crew of “legends” working to preserve the timeline (or something). It’s hard to say if Rip Hunter’s first mission will be to stop Barry Allen from saving his mother’s life, but only time will tell. Unfortunately, newcomer to the Arrow-verse (and, more specifically, the CW), Supergirl, hasn’t begun filming yet, so there’s no neat video to show; however, it does promise to bring Superman into the mix. Furthermore, a four show crossover episode is apparently also in the cards.

On the other side of the aisle, Marvel had its fair share of dazzling videos to put forth. With respect to movies, Marvel put out a new trailer for the upcoming Doctor Strange film. In an effort to prove that this movie has no respect for conventional notions of reality and geometry, it features some of the most bizarre cityscapes in recent cinematic history:

It was also announced that actor Brie Larson will be taking on the role of Major Carol Danvers, the superhero (eventually) known as Captain Marvel. Although not scheduled for release until 2019, Captain Marvel is currently the first Marvel movie headlined by a female character.

On the television side, Marvel surprised a lot of people (or, at least me) when they announced the arrival of Ghost Rider in Agents of SHIELD, Season 4. Probably bigger news, though, is the newly released trailer for Luke Cage, the third show produced from the Marvel-Netflix alliance and part of their Defenders storyline.

Although fans of the Netflix-Marvel collaboration have already seen Luke Cage appear in Jessica Jones, this series has already established a very different tone than its predecessors. A teaser trailer for the NEXT series, Iron Fist, was also released, reminding people that there will be an ongoing onslaught of Marvel characters pouring through your television screens. Of course, in an effort to flood the bitstreams with even more Marvel excitement, they also released a teaser trailer for the upcoming Defenders mini-series, featuring Daredevil, Jessica Jones, Luke Cage, and Iron Fist together.

Of course, there’s even more news out there for super hero movie and television fans. This is just the tip of the iceberg. From all of the television and film being produced, it looks like the age of the superhero has at least a few more years of kick left in it.

News Blast: Star Wars Trailers

News Blast: Star Wars Trailers

Folks that are not attuned to the media Force may have missed the fact that this last weekend was Star Wars Celebration, a giant Star Wars convention that happens every year. Well, technically, it was Star Wars Celebration Europe III, but that’s an unimportant detail.

People may not realize that Star Wars is formally entrenched in the Disney production machine. Quite a lot of news leaked out of the convention concerning a variety of Star Wars properties. Of course, people that have followed us for a while know that my first loyalty in Star Wars fandom are the CGI animated television shows (Star Wars: The Clone Wars and Star Wars: Rebels). This weekend featured the release of the trailer for the upcoming Season Three of Rebels [Warning: Spoilers abound for people that missed the end of Season 2]:

The trailer seems to throw a lot out there. Probably the biggest revelation is the introduction of Grand Admiral Thrawn, first introduced in Timothy Zahn’s non-canonical Heir to the Empire. Thrawn, the only non-human in the Empire to be promoted to Grand Admiral, has been a subject of fan question ever since the House of Mouse exploded the Expanded Universe. A fan favorite, he might represent the most competent Imperial Officer ever introduced in Star Wars (given the propensity for most of the other ones to die rather unfortunately). Other revelations include the return of Maul and some new revelations as to the nature of the Force.

Truth be told, I missed it, but Dan pointed out that the voice of the Bendu, the peculiar creature claiming to be the “middle ground” of the Force, is voiced by none other than Fourth Doctor, Tom Baker. Although not the first Doctor to appear in a Star Wars series, as that honor would belong to David Tennant in his portrayal of the droid professor Huyang, it does say something about the reach of the animated Star Wars content. Between Star Wars: The Clone Wars and Star Wars: Rebels, the CGI animated series is becoming the place for notable actors to go (George Takei, Seth GreenClancy Brown, Simon Pegg, Katee SackhoffJon Favreau, Sarah Michelle GellarJim Cummings, and even Mark Hamill in a different role).

With a lot of serious story going on in Rebels, it’s easy to forget that 2016 will also bring something new to the Star Wars continuity: a live-action “side story” (or what Dan and I like to call a “Gaiden”) film in the form of Rogue One: A Star Wars Story. Although a new trailer was featured at the event, it hasn’t been officially released as of this writing. However, a production trailer combined with the original was released:

I will admit that the closer it gets to release, the more excited I get about this new movie. A departure from the Skywalker-centric stories of Episodes I-VIII, this new “Star Wars Gaiden” looks to be expanding the Star Wars universe in new, cinematic directions. From what little has been released, it feels like this movie (and, potentially, the rest of these Gaiden stories) will create compelling characters and stories within the iconic Star Wars universe that are tangentially related to the Skywalker Magnum Opus we got with Episodes I-VI, which should be a nice change.

Additional information about the next Star Wars Gaiden, popularly referred to as “the Han Solo movie,” was also provided: Alden Ehrenreich has been confirmed as the man playing the galaxy’s favorite scoundrel (although I’ll admit to being more of a Lando man, myself). With filming beginning sometime in 2017, it will be interesting to see where the directors of The LEGO Movie will take the character of Han Solo and the Star Wars universe.

Overall, Star Wars Celebration dribbled just enough Star Wars fun to keep everybody excited for the Fall. If you’re interested in all of the details, I recommend checking out Gizmodo’s coverage spread of articles here.

Let’s Play – Final Fantasy (Part 1)

Let’s Play – Final Fantasy (Part 1)

Growing up, I was one of those kids who didn’t have an original NES. I always had PC games to play (and I played plenty of them), but there was always something magical about the NES. I never felt like any of the PC games I had could capture the awesomeness of something like Super Mario Bros. or The Legend of Zelda. Luckily, a friend decided it would be an acceptable choice to let me borrow his NES for a few months some time back in 1989 or 1990, and I finally had a chance to catch up.

At one point previously, a different friend of mine demonstrated Final Fantasy to me. It reminded me a lot of the Ultima series, one of my favorite PC RPGs, which got me really excited. Unfortunately, I did not have a copy of Final Fantasy and the prospect of buying a game for a system I did not own was obviously unacceptable. Luckily, this was the era when video stores rented NES cartridges. The store my family regularly went to had two copies of the game, so I rented it one weekend and started playing.

Many Friday and Saturday night rentals later, I finished the game (with a fair amount of assistance from the official Nintendo Power Final Fantasy Strategy Guide, borrowed from yet another friend). As it was my first JRPG experience, I enjoyed it quite a bit and made a point to get myself some sort of video game console so I could play more of these games. I always kept my eyes open for JRPG ports on the PC, but that was a relatively rare event in the 1990s.

Looking back, it occurs to me that one of the things that appealed the most to me as a PC RPG player was the linearity of the game. Where a game like Bard’s Tale or Ultima threw you into “the world” and let you figure it out on your own, Final Fantasy was a relatively directed game. You begin the game stuck on an island with only one dungeon to explore. When you complete that, you get to move onto another land mass with a cave and a city to explore. Each piece gives you access to a little bit more of the world, but that little bit ends up being the next bit you needed.

I will undoubtedly have more to say about the game as I continue to play through it, but here’s to the beginning of the Final Fantasy. Final, insomuch that there have been some twenty something sequels.

News Blast: Pokémon GO

News Blast: Pokémon GO

Last Wednesday saw the release of the newest addition to the Pokémon family of games: Pokémon GO, developed by Niantic, Inc. (formerly, Niantic Labs). Niantic, Inc. was previously known for doing the popular mobile game Ingress. They partnered with Nintendo and The Pokemon Company to apply that GPS/map-based play to the popular Nintendo franchise. Although Dan and I will have more to say about this in this week’s podcast, it was worth taking a moment to address all of the news (both good and bad) that has been popping up over this new title.

Little do people realize GO is an acronym for Geographic Obfuscation.
Little do people realize GO is an acronym for Geographic Obfuscation.

Stories about Pokémon GO and the outcome of so many people playing have been circulating around various social media and news websites. In Wyoming, a nineteen year old woman found a dead body while pursuing an elusive pokémon. A police station in Australia has warned players against entering the station in order to collect pokéballs or to catch pokémon that spawn there. A police department in Missouri recently reported that a group of teens have been luring people to a pokéstop in order to commit robbery. But, with all that gloom and doom, there are some brighter notes. A large number of Pokémon GO players have been discovering that they are inadvertently exercising by playing the game.

Always watch out where you're walking when you're staring at your phone!
Watch out for those pesky dangers wherever you GO!

Of course, not everything has been about people wandering around with smartphones pressed up against their face. Several news sources have discovered that Pokémon GO grants itself liberal access to the user’s Google account. By logging into the application using your Google account, you grant it full access to your Google content (including Gmail, Google Drive, and other Google applications). As of last night, developer Niantic, Inc. has issued an announcement that this security issue was unintentional, promising to correct the error as soon as possible. Other websites have commented on the upcoming Pokémon GO Plus peripheral, a watch-like device that interfaces with the user’s smartphone. Currently, eBay is awash with people selling the device at five to ten times the listed MSRP of $34.99.

I learned the unfortunate lesson that some Pokemon just want to watch the world burn.
I learned that some Pokemon just want to watch the world burn.

As could be expected with something this popular, Pokémon GO has had a few awkward moments. Notorious Amazon Kindle “author” Chuck Tingle recently released Pokebutt Go: Pounded by ‘Em All, another title in his (her?) series of erotic (?) fiction. Several websites have been documenting peculiar places that have been designated Pokéstops, including a Los Angeles bathhouse, a Seattle bathhouse with a “mirrored gloryhole maze,” and other odd and inappropriate places. Most of the peculiarities in location data come from the fact that the Pokéstops appear to be primarily based on location data taken from Niantic’s previous title, Ingress; the “Portal” locations of Ingress were user/player submitted. This explains how so many child-inappropriate Pokéstops came to be in the first days of the game.

All in all, Pokémon GO has been making quite a lot of news since its release.

News Blast: Three Part Tetris Movie

News Blast: Three Part Tetris Movie

We have previously discussed the announcement a few years ago about a movie based on the Tetris franchise. Film producer Larry Kasanoff, probably best known for his work on the Mortal Kombat series of movies, recently said some words about his current project, the appropriately titled Untitled Tetris Sci-fi Project. In an interview with Empire, he informed the world that this Tetris project would, in fact, be a TRILOGY of movies, to stand alongside such classic trilogies as the I Know What You Did Last Summer trilogy, the Delta Force trilogy, and the BloodRayne trilogy. Actually, given disaster producer Uwe Boll’s involvement in the BloodRayne trilogy, that may not be a bad comparison.

Probably a still from 2005's BloodRayne movie. Or maybe the writer's room for the Tetris movie.
Probably a still from 2005’s BloodRayne movie. Or maybe the writer’s room for the Tetris movie.

Now, the producer has stated that this epic trilogy will not feature anthropomorphized giant blocks with hands and feet. In fact, he seems pleased that people expected that. “We’re not going to have blocks with feet running around the movie, but it’s great that people think so. It sets the bar rather low!” In the alternative, he continues to emphasize that this will be a big sci-fi movie experience. “I came up with the idea as I was thinking about Tetris and the theme of creating order out of chaos.” Apparently, Kasanoff has more respect for the thematic depth of Tetris than I do.

Movies based on video games are nothing new. Producer Larry Kasanoff already made his mark on the genre with 1995’s reasonably successful movie, Mortal Kombat. Others have tried, most of them with little actual success. But what concerned me with the original Tetris movie announcement and this more recent trilogy announcement is the fundamental lack of narrative or storytelling depth of Tetris.

The gripping storyline of Tetris, in all its glory.

There’s something to be said about taking a game with some sort of story, no matter how flimsy or poorly conceived, and trying to restructure it into a cinematic experience. There are characters, themes, and vague story lines that a creative writer (or, a mediocre film making hack) can re-purpose into a 90 minute story. It can be done well or it can be done poorly, but there is a clear direction for what the movie will be about.

But that isn’t the case here. We are talking about the classic puzzle game developed by Russian game designer Alexey Pajitnov. There are no characters. There is no story. You drop pieces of a puzzle into a pile and make them disappear. This game has all the narrative pop of taking out the garbage. It may be that the closest comparison to a Tetris movie is the 2012 “military thriller” Battleship, based on the classic board game, or maybe even the 2016 family film Angry Birds, based on the popular toilet-time-waster. Neither of those games had much of a particular story and both were adapted into successful (or, at least profitable) cinematic experiences. But at least those games had a theme that the “writers” were able to latch on to. Or, in the case of Angry Birds, recognizable characters. Tetris has none of these things.

With that in mind, it’s easy to understand the public skepticism concerning this Tetris movie trilogy. ‘I guarantee you it’s not what you think,” Kasanoff told Empire. It’s difficult to imagine any sort of movie based on the popular puzzle game, so his assertion is valid. “No-one has come remotely close to figuring out what we’re doing.” At least we don’t need to worry about a weird spaceship full of astronauts that correspond to Tetris blocks.

Week in Geek: Wild Arms 3

Week in Geek: Wild Arms 3

D. Bethel jokes that I’m evangelical about Wild Arms 3. It’s not an unfair conclusion to draw. Like we discussed in the podcast, the Wild Arms series is sort of weird. The original was pretty much a fantasy-esque RPG with a little bit of a western look and feel. One of the characters had firearms as a “special power” and another guy looked like he was wearing a duster. It was alright and laid down some of the peculiar tropes that would come later, but I wouldn’t really call it groundbreaking or definitive. My love is for the third entry in the series: Wild Arms 3.

Cool Wild Arms 3 Promotional Art
Wild Arms 3 Promotional Art. Or something.

Wild Arms 3 is a peculiarity in the vast history of Japanese RPGs because it feels like the design team was trying to do something different than practically every other JRPG that had come before. I always joke that the page for the game on the website TV Tropes.org sums up a lot of the weirdness:

Wild ARMs 3 gives one the impression that its creators were told to make a JRPG, but had never played a JRPG before. Far from making it a bad game, this means that they approached the genre from a new direction and did a lot to shake up old cliches[.]

Perhaps, given the history of the console role-playing game since the release of Wild Arms 3, what we were witnessing was the JRPG market starting to adapt to the changing player base. Like Dan said, most developers and players have acknowledged that the JRPGs of today have departed heavily from their roots, for better or worse.

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News Blast: Star Trek Fan Films

News Blast: Star Trek Fan Films

Today, while still in the middle of an ongoing lawsuit over the Axanar fan film, CBS/Paramount announced guidelines for Star Trek fans interested in making their own fan films/works. A seemingly noble gesture by CBS/Paramount, a number of folks took issue with some of the guidelines:

1. The fan production must be less than 15 minutes for a single self-contained story, or no more than 2 segments, episodes or parts, not to exceed 30 minutes total, with no additional seasons, episodes, parts, sequels or remakes.

4. If the fan production uses commercially-available Star Trek uniforms, accessories, toys and props, these items must be official merchandise and not bootleg items or imitations of such commercially available products.

5. The fan production must be a real “fan” production, i.e., creators, actors and all other participants must be amateurs, cannot be compensated for their services, and cannot be currently or previously employed on any Star Trek series, films, production of DVDs or with any of CBS or Paramount Pictures’ licensees.

A lot of people have observed that these exceptions exclude nearly every fan-made Star Trek film or video ever produced, including Axanar, the popular Star Trek New Voyages, Star Trek: Hidden Frontier, and even Voyager alumnus Tim Russ’s Star Trek: Of Gods and Men, since all of these fan works infringe on the guidelines in multiple ways.

That's either a rocking cosplay party or an episode of Star Trek: New Voyages with George Takei.
That’s either a wild cosplay party or an episode of Star Trek: New Voyages with George Takei.

Consider Star Trek: New Voyages, the fan series created by James Cawley and Jack Marshall. From their very first episode, they utilized an actor who had previously appeared in Star Trek (specifically, William Windom as Commodore Matthew Decker). Later episodes would include notable Star Trek actors such as George Takei, Grace Lee Whitney, Walter Koenig, and others. Stories written by Star Trek writers like D. C. Fontana and David Gerrold were utilized or adapted for the series. Within the “amateur” consideration alone, New Voyages would fall outside of the guidelines provided by CBS/Paramount. Let’s not mention the length, as the group was filming 45 minute episodes as part of a “season 4” of the Original Series. Or the costumes and the set.

Of course, as the copyright holder, CBS/Paramount is under no obligation to allow any derivative work, so perhaps this is just a sample of their noblesse oblige. Given the recent popularity of the J. J. Abrams Star Trek films and the announcement of a new Star Trek series to be released digitally, there are plenty of reasons for CBS/Paramount to express concern over semi-legitimate fan work. Historically, a lot of the fan features were pretty bad, so there wasn’t really a reason to get involved because they didn’t really reflect on any of the work being done for “official” Star Trek.

But, Axanar? Just take a look:

Not only did it have a host of popular Star Trek guest stars like Tony Todd and J. G. Hertzler, but it looked like real Star Trek. And, given the concern many classic Star Trek fans have with the J. J. Abrams movies, something like Axanar stands defiantly in the face of CBS/Paramount and their precious franchise.

USS Ares, from the (upcoming?) Star Trek: Axanar.
USS Ares (NCC-1650), from the (upcoming?) fan-made film, Star Trek: Axanar.

It’s also worth mentioning that the production team raised over $500,000 through a crowdfunding campaign. Twice. Two separate crowdfunding campaigns. Over $1,000,000 raised towards this project. That may help explain why CBS/Paramount brought a lawsuit to begin with and why their guidelines seem so restrictive. Money is being made and the copyright holder isn’t part of it.