WEEK IN GEEK: Andrew plays the expansive new Star Trek board game by Gale Force Nine Games, Star Trek: Ascendancy, while D. gets knee-deep into the sequel to the short-lived, but beloved, comic book series, Battle Chasers. However, the sequel is a video game, not a comic, in Battle Chasers: NightWar by Airship Syndicate. (Full Disclosure: D. was a backer on the Battle Chasers: NightWar Kickstarter campaign.)
And here is the promised narrative summary of the game of Star Trek: Ascendancy that Andrew played, written by Tim Saito:
In the Romulan capital city, on the planet Romulus, Praetor Nat’al looks out across the sea of screaming and crying faces. “Riov Lovok, what happened?”
“It’s the war sir. I believe we have lost it,” replied Riov Lovok.
“How? And why are all those people screaming and crying?”
“It’s the parents of the children. All the parents of ALL the children,” said Lovok as she lowered her head.
“What was done to our children!?”
“It was the Ferengi, sir. They sold a toy to a few of the children last week. The following day they sold more, but at a higher price. Since then, each day the price goes higher and higher and fewer and fewer are available. Something called a Tamagotchi. Now all the children want one and all the parents are desperate. Order is falling away and there are riots in the streets as roving mobs of parents search out the elusive Tamagotchi.”
“Yes, Preator. Word has come through that the Federation has fallen to the Ferengi as well, to something called a Tickle Me Elmo.”
“We underestimated these Ferengi.”
“Yes. The Cardassians have also submitted their surrender to the Grand Nagus on Ferenginar. They were destroyed by something called a Furby.”
“We will mount an attack. Launch a fleet of ships and attack Ferenginar under cloak. They won’t see it coming and we will take their home world from them!”
“It’s too late,” said Riov Lovok as she pulled her disruptor from its holster. “I was promised TWO Elmos, four Furbys, and five Tamagotchis IF I delivered you to the Ferengi.”
Episode 40 – “Vowel Movement”: Where Andrew discusses playing the board game, Sons of Anarchy: Men of Mayhem, a previous game made by Gale Force Nine Games. Ironically, Episode 40’s discussion topic is about sequels that come years after the original entry, and this week D. talks about playing Battle Chasers: Nightwar, and ostensible sequel to the comic series that ended in 2001.
Episode 128 – “His Curry Name”: Where D. Bethel talks about reading the series rebooting Jim Lee’s ’90s Wildstorm continuity with The Wild Storm by Warren Ellis and Jon Davis-Hunt.
News Blast: Star Trek Fan Films: Where Andrew discusses the legal ramifications of CBS/Paramount coming down on the large community of Star Trek fan films.
WEEK IN GEEK: D. Bethel doubles up this time to talk about a personally exciting moment he experienced while at this year’s Alternative Press Expo in San Jose, CA, as well as seeing the new cinematic version of (half of) the Stephen King classic, It, while Andrew discusses playing SteamWorld Heist.
D. Bethel’s comprehensive recap of his time at APE 2017:
WEEK IN GEEK: Andrew dives into Paizo’s newest RPG, Starfinder (starts at 2:34), while D. Bethel checks out the premier episode of Disney XD’s reboot of DuckTales (19:46).
REAL MONSTERS: (30:45) Dan and Andrew just hang back and have a conversation rather than a guided discourse about Nazis in popular culture. They go all over the place, but hover around the topic of how (and why) they’re used in fiction.
Summer break is back with a vengeance, so the Shortcast run returns!
After a slight tangent discussing The Transformers and nostalgia, Dan and Andrew share their weeks in geek.
WEEK IN GEEK: Andrew plays Bioshock from the Bioshock: The Collection released to PC and consoles last year. Dan actually finishes a book before discussing it. This time, it’s the Kickstartered Wild Times: An Oral History of Wildstorm Studios by Joseph Hedges (now available for purchase).
WEEK IN GEEK: Both Andrew and Dan saw Wonder Woman this week and decided to bring in a third voice to discuss the movie, Mary Traverse (from our friendly rivals, The Nerdhole), and they go pretty deep into this excellent, excellent movie.
THE GREAT WAR: Noting the novel decision to set Wonder Woman during World War I, Dan and Andrew discuss that war’s place in popular culture.
For all intents and purposes, that was an episode recap.
-“Stayin’ in Black” by Wax Audio
-“Is She With You? (Wonder Woman Theme)” by Hans Zimmer & Junkie XL (from Batman v Superman: Dawn of Justice)
-“En Avant La Musique” by Manuel Dante Mathieu Faivre, Miguel Vladimir Saboga, and Yvo Abadi (from Valiant Hearts: The Great War)
-“Wonder Woman Theme Song” performed by the Ron Hicklin Singers (written by Charles Fox and Norman Gimble)
WEEK IN GEEK: Fueled by the emotions generated by the recently released trailer for Star Trek: Discovery, Andrew slipped back into the Star Trek pool by spinning up Star Trek Online and Star Trek Timelines while D. reads the first trade collection of Eric Powell’s (formerly of The Goon) newest comic series, Hillbilly, from Albatross Funnybooks.
EXHAUSTED DESPAIR: D. Bethel saw the newest entry into the venerated Alien/Aliens franchise, Ridley Scott’s Alien: Covenant, and definitely had feelings about it. Fueled by an online discussion generated by The Hollywood Reporter article, “‘Why Alien: Covenant’ Is Actually a ‘Blade Runner’ Sequel in Disguise” by Josh Spiegel (and because Andrew hasn’t seen the new movie yet), it seemed only right to bring on friend of the show and Alien enthusiast, Taylor Katcher, to talk what worked and what didn’t work in this new movie.
WEEK IN GEEK: With Andrew sick this week, the Shortcast ends up being a bit more organic than normal with both Andrew and D. sharing stories about this year’s Free Comic Book Day festivities. Specifically, Andrew got his hardback copy of Ms. Marvel, volume 1 signed by the creator herself, G. Willow Wilson, while Dan discusses the Hulu Original documentary, Batman & Bill.
Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
WEEK IN GEEK: Andrew watched the live action remake of the Disney animated feature, Beauty and the Beast and D. Bethel discusses his experience at this year’s Sacramento Indie Arcade Expo.
REGRESSIVE RESURRXION: First, the comic book news cycle went nuts because the first post-Inhumans vs. X-Men book was released, X-Men Gold, which was then subsumed by the fact that people seemed to like it, which was then subsumed by the likelihood that X-Men Gold artist, Ardian Syaf, may have placed possibly intolerant symbology in not-so-hidden places throughout the book. Then it turned out that he definitely did that. It has been a roller coaster of news and insight into Indonesian politics (where Syaf resides) that has been mostly very sad and upsetting for X-Men fans.
*Extra Bit: Marius Thienenkamp of Comicsversewrote a thoughtful analysis and retrospective of this entire affair.
THE TWO MASTERS: On the threshold of the debut of Doctor Who‘s Series 10, it was revealed that actor John Simm would be returning to the show in his former role as The Master, the longtime foe of the show’s titular hero. Last seen at David Tennant’s departure from the lead role, he returns during the tenure of his successor, Michelle Gomez as Missy. What this means for the episode(s) in which they appear together (the last one or two of the season), we can’t yet say, but both Dan and Andrew are pretty excited about it.
D. Bethel has been hit with a bad case of the sicks, so a Shortcast is in order. It’s a busy week! Emerald City Comic Con is happening this weekend and Andrew will be there, no doubt wandering around. If you see him, say hello [ , ] for all intents and purposes. If you attend, let us know what you thought of the event in the comments!
WEEK IN GEEK: Andrew attended an event celebrating the launch of the Kickstarter for the first tabletop game by friends of the site, Luke and Nicole (from AcrossTheBoardGames.net), Food Truck Championwhile D. Bethel decided to deepen his knowledge of Wolverine lore by reading the first fifteen-or-so issues of the long-running Wolverine comic book series by Chris Claremont and John Buscema.
Batman: The Animated Series has become a show whose perennial place in nerd culture is all but assumed and revered. Andrew and I discussed the show, albeit briefly, back in Episode 59 – BTAS, as a segue to talk about dreams and dreaming in fiction, but the show, obviously, has done a lot more than that throughout its 110 episodes across seven years of airing (I’m including The New Batman Adventures in the tally). When talking about the show, one conversation that must surface is its diversity of storytelling and the risks it took. What set the show apart from not only every other animated series on American television may also have set it apart from nearly any other television that aired at the time of its release. Namely, it’s willingness to have strange, experimental episodes that challenged the expectations of superhero fans and television viewers.
Sure, it will be remembered for its strong, more traditional, Batman stories like “Heart of Ice”, “The Demon’s Quest”, and “Robin’s Reckoning (Parts 1 and 2)”––the last of which won an Emmy––but it will also be remembered for its non-traditional, esoteric stories like “Perchance to Dream”, “Legends of the Dark Knight”, “Over the Edge”, and “Almost Got ‘Im.” It was a show that learned to take risks, and what’s fascinating is that, apparently, a lot of that ethos was there from the start.
One of my prized possessions, creatively, is a book written by Paul Dini and Chip Kidd called Batman: Animated which covers the history of the show and is filled with amazing photos of everything from concept art to marketing photos for Batman-branded soap. But a bit of space is devoted to the development of the idea of what Batman: The Animated Series would be, hinting at the thorough show bible that Paul Dini, Bruce Timm, and Mitch Brian put together. Basically, a show bible is a treatise on the characters, stories, tone, and plan for a tv show used to keep the studio on track as well as acting as a set of guidelines for artists and writers hired to work for the show. Somehow––and thankfully so––the show bible has gotten out there in pdf form and it is as glorious as I was hoping it would be.
Whitbrook points out in his article (which also has a link to the pdf) that the show bible takes firm stances in how the creators saw the show. Even if the show wiggled its way out of those chains a bit as it went on (you can’t not have a bat signal), its overall view of the character himself was carved from stone and rooted in change from the status quo:
One big emphasis throughout the bible is an ardent desire to tell darker Batman stories; after all, the last solo Batman TV series before this one was Batman ‘66. Like Tim Burton’s 1989 movie, The Animated Series sought to distance itself from that interpretation. Sometimes it did so subtly, with mentions like “no Bat Signal or hotline” to keep him separate from the Gotham police, or by making Robin an occasional partner rather than a full-time companion.
While the show worked its hardest to separate Batman from his previous televised iterations to make him into the brooding loner we all know and love, what Whitbrook’s article and its attached copy of the Batman: The Animated Series show bible illustrate (pardon the pun) is how something as important and groundbreaking as this show actually came together through an almost supernatural synchronicity of passionate, creative people who were willing to break the rules every now and then and try something new with, at the time, a forty year-old medium and a sixty year-old character.
Although I court a lot of pushback as soon as I say it, I feel pretty lucky to have grown up reading comic books when I did, in the early 1990s. For those with vehement dissenting positions to this opinion, I offer a truce by completely agreeing with you when you say the content of this point in comics history was rather lacking as creators felt the need to push good taste to its limits in many different ways. However, these comics were connecting with kids––with me––and while I can’t say their influence was all beneficial, they certainly stirred the imagination. With that in mind, a lot of choices made both narratively and, especially, artistically at the time are nigh inexcusable when held up against modern criteria.
In light of the speculator market and the inflated sense of worth the industry had of itself at the time, for a fan the early ’90s were quite exciting in spite of all of that. It was this excitement for not only the characters, stories (what there were of those, at least), and creators that drove us back to the shops every week, but it was also the industry as a whole during this time, especially during the flashpoint formation of Image Comics. I remember the creation of Image Comics happening. I remember thinking it was really weird. I remember being really excited for it, as well. (A good documentary about the formation of Image Comics exists, called Image Revolution, that is well worth the viewing.)
As the ’90s faded away and the market crashed and Marvel went bankrupt and the industry and its fans actually had some time for critical self-reflection, Image Comics, as it had started out, became the pennant we could all point to and say, “That, right there, is what was wrong with comics in the ’90s.” In some ways, such assertions are very true. Fast-forward twenty years, though, and the “worst” in industry has become the outstanding front runner for thoughtful, challenging, and earnest comics above almost all other publishers. The about-face is astounding and couldn’t have been written better for fear of being too cliché and feel-good. But it all comes down to the principles that formed the bedrock (or badrock, harhar) of the company, as iterated by Jensen in his article:
Image had two rules: all comics were owned by their creators, and no Image creator would interfere with another’s business.
As it stands today, Image Comics is a beacon in the industry and is at the top of its game. I’m sure many people lament the 180-degree turn from its superheroic start––I experience light pangs as I think about it but shrug them off––but there’s no doubt that what Image is doing today aligns (at least in theory) with the concept that founded the company: complete independence. Because of that, Image books are bringing more attention to creators, more good to the industry, and better comics for readers, and I wouldn’t trade that for the gun-toting, veiny-muscled, blood-soaked comics of yore any day of the week.