WEEK IN GEEK: Andrew attends Seattle’s BrickCon and is intrigued by not only the affordable prices of hard-to-get sets, but also the creativity of independent LEGO builders, while Dan gives his impressions on the pilot episode of Fox’s new tv show based, ostensibly, on their cinematic X-verse, The Gifted.
WHAT A THRILL: Andrew, inspired its free status for PS Plus subscribers this month, re-downloads Metal Gear Solid V: The Phantom Pain and gets poisoned by Venom Snake all over again, two years on.
NOT MY AMERICA: Swedish developer, MachineGames, and their parent company, Bethesda, are ramping up the marketing for their upcoming, hotly anticipated sequel, Wolfenstein II: The New Colossus, and their tact has made a certain demographic very displeased.
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.
WEEK IN GEEK: Andrew starts a Starbound server and learns about the administrative side of online multiplayer gaming while D. helps to make a game better by playing the PS4 beta release of Marvel Heroes Omega.
FAR CRYING: The trailer and promotional artwork for Ubisoft’s Far Cry 5 has inflamed a certain demographic of gamers, or has it? Our humble hosts investigate this conundrum.
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.
WEEK IN GEEK: Andrew played DC Legends as well as Peter Molyneux’s new mobile game, The Trail while Dan got sentimental up reading Prophet: Earth War issue number 6, which finally wraps up the big Prophet reboot.
REMEMBER, REMEMBER: Though Dan and Andrew missed November 5th to properly discuss V for Vendetta, in the eyes of some Americans, the country did us a solid by possibly setting up a situation where that story could happen for real. They discuss V for Vendetta‘s relative applicability in terms of the comic, the films 2005 release, and 2016 America. Being an Alan Moore book and with the recent elections so near, politics are discussed but––with hope––done so through a critical lens and as it applies to nerdy stuff.
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For all intents and purposes, that was an episode recap.
-“Stayin’ in Black” by Wax Audio
-“The Girl from Ipanema” by Antonio Carlos Jobim
-“Rockin’ in the Free World” by Neil Young
WHAT’S NEXT?: Considering the imminent political event happening in the United States of America, Dan and Andrew examine how television has taken a look at the presidency by comparing and contrasting the pilot episodes (mostly) of The West Wing and House of Cards (though they specifically already discussed the House of Cards pilot in Episode 37).
*Audio clip captured from The West Wing, “In the Shadow of Two Gunmen, Part II.”
INFINITE CRISES IN INFINITE MOVIES: This week, news hit that director Rick Famuyiwa left the DC/Warner Bros. film, The Flash, late into pre-production. This is the second director to leave the project, and the third to leave a film set in the DC Universe established with 2013’s Man of Steel (before this, Michelle MacLaren left Wonder Woman). Andrew and Dan examine the state of the DC Universe movies and wonder what the outcome may be for this grand experiment. Referenced in this segment is the Ghostbusters v. Star Trek Beyond discussion from Episode 101, if you want background on that controversy.
Again, D. Bethel’s webcomic, Long John, has finished up its second chapter. We encourage you to give it a look and to share if you like it.
Leave your thoughts as comments at forallintents.net. Be sure to join the official Facebook page. Subscribe to the show on iTunes and also help spread the word by leaving a review on the iTunes store. Subscribe and like the videos found on our YouTube Channel.
For all intents and purposes, that was an episode recap.
-“Stayin’ in Black” by Wax Audio
-“The West Wing Opening Theme” by W. G. Snuffy Walden (performed by The City of Prague Philharmonic Orchestra)
-“I Ran (So Far Away)” by A Flock of Seagulls
-“House of Cards Main Title Theme” by Jeff Beal
DC Comics’ Wonder Woman recently made the news in a rather peculiar way. The United Nationsannounced that they have selected Wonder Woman to be the “United Nations Honorary Ambassador for the Empowerment of Women and Girls.” As Wonder Woman approaches the 75th anniversary of her creation, she will be used by the United Nations to promote messages of and about the empowerment of women and gender-based violence.
It’s not every day that a fictional character gets named as an honorary Ambassador for the United Nations. The UN will be holding an official ceremony on October 21 to “bestow” the title upon Wonder Woman. By doing so, the UN hopes to promote its Sustainable Development Goal #5: “Achieve gender equality and empower all women and girls.” The President of DC Entertainment, Diane Nelson, along with unnamed “special guests” will join the Secretary-General for this honor. It is not clear if Gal Gadot or Lynda Carter will be among the attendees.
Andrew and I do our best to steer away from politics or politically-charged issues if only because those topics––no matter the side you stand for––can be frustrating discourse. Of all comic book figures used to translate the world of political friction, the X-Men seem most ripe for such utility if only because they were born from it.
I’m not going to speak to the thesis of this article, though it is well-written and cogent, but it shows a technique that I appreciated and of which I would like to see more. Comic books––well, comic book characters, at least––have jumped the divide between niche and the mainstream. If we want the source material to make that same leap, I think using these properties as lenses through which we can explain and analyze the crazy world around us––like we do with literature and movies at this point––should be done more. Whether you agree with Jon Barr’s article or not, take note of what it’s doing and you’ll see the sketch of an important step to improving the cultural validity of comic books.
The incredible point the article makes has to do with a dangerous side-effect of using fiction as allegory or critical lens:
The biggest disparity between the X-Men universe and the gun control debate is this concept of a ‘good guy.’ The world of the X-Men have those heroes to rally behind as an example of how powers should be used.
For the sake of storytelling, clear lines sometimes need to be drawn between things like “good” and “bad,” even when those distinctions are either blurry or rare in real life. The growling of political discourse has done a lot of vilification of the “other” side when, if we were all at a barbecue together, we would all probably have more in common than not. Though there may be more “good guys” than “bad guys” on either side of any debate, it is nice to use popular culture as an avenue for intellectual investigation. As the article admits, using the X-Men as spokespeople for only one side is not only irresponsible, but the X-Men themselves have been figuratively on both sides of what is arguably the same issue as gun control. But I like that possibility. If the X-Men are about anything, it’s giving anybody who feels on the outside a place to belong.
As I progress further and further into nerd culture commentary, a major thesis that continues to bubble to the surface is my strange and possibly nebulous feelings about nostalgia. Specifically, I am kind of appalled at the persistence of the idea that hardcore fans of a property deserve even a modicum of ownership over its evolving direction in popular culture. Respect and rightful say are two very different things.
I want to say this basically started with the spark of superhero cinema––with things like the first few X-Men movies and their proud abandon (at the time) of the technicolor, exaggerated costumes of the comics in favor of matching padded leather or, more specifically, Christopher Nolan’s Batman Begins in 2005 which really spearheaded the movement toward “gritty” and “grounded” nerd cinema. You could even argue that it started with Tim Burton’s Batman in 1989, but it didn’t hit a fever pitch until the turn of the century.
Since then, we have also seen reboots of properties from the 1980s that received similar “mature” treatment with efforts like the 2011 Cartoon Network Thundercats show that added liberal dashes of The Lord of the Rings to the popular ’80s toyline. Similarly, G.I. Joe made the tonal shift in 2009 with an animated series, G.I. Joe: Resolute, which pushed the beloved and silly franchise into serialized storytelling more commonly found in prime time drama, and did so to much acclaim. Similarly, the Arkham series of Batman games not only revolutionary gameplay but showed the players an even darker world than what we saw in the Nolan films with Gotham being a true den of sin and the rogue’s gallery being more grotesque and twisted than we’ve seen since the Burton films. Arguably, this is also what happened with Casino Royale which killed what little was left of the classic camp during Pierce Brosnan’s tenure. While these examples are the more well-regarded ones, the dark side of the trend has been things like the Michael Bay Transformers series and their dudebro Teenage Mutant Ninja Turtles cousins.
Benjamin Bailey’s Nerdist article confronts an idea I’ve longed wanted to approach, but couldn’t really find my thesis without sounding petty and bitter (when I didn’t want to––I do love nostalgia trips). The idea that the franchises of our youth are nigh required to meet our adult sensibilities as they met the sensibilities of our youth is a strange request from rebooted or extended franchises. These properties spoke to us because they tapped into a piece of the zeitgeist that others couldn’t find or hold onto. Why should we expect or want anything different when reexamined for modern audiences thirty years later?