WEEK IN GEEK: Andrew continues to get excited by recent Star Trek offerings, specifically the conclusion of season 2 of Star Trek: The Lower Decks and the premiere of the Paramount+/Nickelodeon joint, Star Trek: Prodigy. D. Bethel finally offers his thoughts on Metroid: Dread (aka Metroid 5) after completing it, uh, three times.
“I Am the State” (26 February 2021): Where D. Bethel rants about Nintendo not respecting Metroid on its 35th anniversary.
“Butt Magic” (16 October 2021): Where Andrew discusses the first season of the animated comedy, Star Trek: The Lower Decks.
WEEK IN GEEK: It’s an animated kind of week this week as Andrew gets his specific Star Wars fandom ignited with the premiere of the new Disney+ animated series, Star Wars: The Bad Batch, and D. Bethel nerds out on all the ingenious choices and animation tech found in the new Sony/Netflix film, The Mitchells vs. The Machines.
WEEK IN GEEK: As a buffer between episodes about the The Karate Kid movies and talking about Cobra Kai, Andrew and D. Bethel talk about what other nerdy stuff has been occupying their attentions. Andrew talks about the early access release of the Subnautica sequel with Subnautica: Below Zero while D. Bethel is pretty sure he’s playing Rebel Galaxy Outlaw incorrectly as he delivers goods across different solar systems.
I’VE MISSED THAT SOUND: It was announced that, after his all too brief appearance near the end of Series 13 of Doctor Who left fans wanting more, John Barrowman will return as Captain Jack Harkness in “Revolution of the Daleks,” this year’s holiday special of Doctor Who. Being fans of the character, Andrew and D. Bethel discuss the character of Captain Jack Harkness, what he could bring to the current iteration of the show.
WEEK IN GEEK: It’s kind of an accidental ’80s week as Andrew watches the YouTube Premium/Netflix series, Cobra Kai––which then prompted him to go back and watch the original Karate Kid movie––while D. Bethel, in an effort to see what all the hype was about, sat down and watched a version of the 1984 sci-fi classic, Dune.
THE NEW FINAL: At this week’s PlayStation 5 event, a trailer for Final Fantasy XVI was revealed as an exclusive (at least for the moment) for the PS5.
NEW WHO: Series 12 of Doctor Who started up on New Year’s Day. With three weeks gone and now three episodes in, our Who-loving hosts sit down to talk about it (mostly just the first two episodes SPOILER WARNING for “Spyfall, Part 1” and “Spyfall, Part 2”).
WEEK IN GEEK: Andrew dives into “the German Stranger Things” as he watches the first three episodes of the Netflix series, Dark, while D. Bethel gets lost in an RPG-tinged clicker game called Almost a Hero by Bee Square Games.
WEEK IN GEEK: Andrew starts rewatching Star Trek: The Next Generation on Bluray while Dan finally opens up about Mass Effect: Andromeda now that he has finished the game.
THE LAST GRIPE: The video game expo, E3, always has its share of stories, reveals, and, most recently, at least, controversy. Tim Soret, founder of the studio Odd Tales, scored a coup by getting to go onstage during Microsoft’s pre-E3 press conference and talk about his game, The Last Night, and how it would be an exclusive to the company and its new powerhouse console, the XBox One X. However, Soret has a dicey history with gamers, and his pro-GamerGate and anti-feminist tweets were brought to light despite happening years ago. He has even said that The Last Light was created as a statement on feminist ideology. However, at E3, he apologized on stage for his stances. Should he be forgiven? Should he be held accountable? Should we play his game? Dan and Andrew discuss this static caused between art and artist.
WEEK IN GEEK: Andrew watches Netflix’s Travelers while Dan watches Warner Bros.’ Suicide Squad.
GAME OVER ALL OVER AGAIN: This week, Dan and Andrew discuss not only the built-in replayability of games but also examine why we replay games. Simply among the two hosts, the reasons for replaying games differs vastly, which caused us to ask the following:
Why do you replay games and what games (or kinds of games) those would be (tell us in the comments)?
SPOTLIGHT – RESIDENT EVIL: With the release this week of Resident Evil VII: Biohazard (or for those in Japan, Biohazard VII: Resident Evil), Andrew and Dan look back at the game that spurred a genre and kicked off a franchise that is now over twenty years old.
It’s no surprise by now that I’m a fervent X-Men apologist and proudly so. Such sentiments are only bolstered by their very strange treatment by Marvel over the last eight or so years. Most of my conspiratorial talk is just for fun, but there are some details that eke through and seem just a bit too shady to be mere coincidence. There was the omission of any mutants from the cover of Marvel’s 75th Anniversary magazine, which was given away for free (which Andrew and I discussed early in our show’s history). Since then, they have made Cyclops––the boy scout figurehead of the mutants (ostensibly the Superman of the X-Men)––a terrorist murderer (#cyclopswasright), they have legit killed the most famous mutant character, Wolverine, and now they are having the team nobody really knows about (but they really want people to know about) fight the team they want everyone to forget about in the “Inhumans vs. X-Men” event (but not before they have a prologue event literally called “The Death of X”).
Comicsverse are, admittedly, as apologetic about the X-Men as I am, but they approach this topic with a collectively cooler head. Jack Fisher’s article looks at what he describes as the problem with this fight beyond the obviously corporate undertones that poison the well. He sees this forced skirmish as a severely problematic one based on the origin of these teams and how these continuous “…vs. X-Men” storylines are doing more cultural damage in the long run even if books are being sold. Fisher boils it down beautifully:
Whatever the outcome and whatever the legal undertones, the concept between Inhumans vs. X-Men is flawed. On one side, you have a minority that has been forcibly sterilized twice in the past decade. On the other, you have a team with a tradition of racism, xenophobia, and slavery. It’s not a battle between heroes as much as it is an exercise in contrivance.
I don’t know much about the Inhumans, but it seems that in the cinematic universe they are building them from the ground up. On more than one occasion, it has been noted (especially by co-host Andrew) that they’re just trying to slot them in the empty socket where mutants normally go. But that exacerbates the problem, I would argue.
It’s not as the Den of Geek article linked to in the last paragraph argues that the Inhumans are “the same basic idea, but with the serial numbers filed off.” It’s worse than that. It’s a self-fulfilling prophecy. Mutants were created to represent the minorities of this country and to dramatize their plight and struggle to accomplish two things: first, it presents these otherwise uncomfortable and possibly unknown issues to the predominantly white readership; second, it gives minorities (be it color, creed, gender, or sexual orientation) a safe place to go in the world of comics. The X series of books is about showing what true prejudice, bias, and hate looks like and having the minority survive.
And what happens?
In 2005, editor-in-chief, Joe Quesada instructs the X-writers to kill off all mutants except for 198. Genocide. Narratively (and creatively), it made sense. Mutants work best when they are a minority. But they were also presented as being the next stage in human evolution. With so many mutants on the planet (by 2005, at least) it seemed that theory was correct––science wins again––until they were forcibly made a minority again. That, of course, was the big event. But the small things, such as the omission from the Marvel 75th Anniversary Magazine cover, killing off fan-favorite characters, pitting C-level characters against them, etc., when piled together that makes a pretty loud squeaky wheel. Holistically, it looks like corporate monkey-wrenching and favoritism and simple catering to what is popular right now. But that isn’t all of it.
When taken in as a whole with the knowledge of what the X-Men actually mean, it looks like the type of thing the scared majority does to keep a minority down, and, in this day and age, it’s rather sickening.
With Halloween behind us, a lot of Lovecraft-focused articles circulated around the internet in celebration of the ghastly day. Mostly well-trod biographies or overviews of his racism, these are valid and important conversations to have as they can add a lot to the knowledge of the casual consumer. Much like the Luke Cage article I shared before, the most interesting article that I saw this last week was a roundtable discussion of Lovecraft and his work by three writers whose works have been influenced by his mythos: Kij Johnson, Cassandra Khaw, and Ruthanna Emrys.
The conversation is important because, despite being short, it digs deeper than a normal roundtable usually goes. The interviewer gets right to the point and discusses Lovecraft’s racism and what his legacy should be in a modern context, and––even better––the writers don’t shy away from giving tough answers.
As a reader of both Lovecraft and Lovecraft criticism, I belong to a few Lovecraftian fan pages on Facebook in the hope that there will be discussion as found in Joel Cunningham’s article. However, on the whole it’s a rather soft engagement with the material. What frustrates, however, is whenever an article that addresses his racism or intolerance starts making its way around the internet, the claws come out and the hate speech––for lack of a better word––fills the subsequent comments. Just as bad is the insistence on apathy in many cases, and that is a tragedy.
To say anything about Lovecraft’s work requires an acknowledgement of his love for the sciences. Like, a capital-L Love. The scientific method is all about asking questions, not picking sides. Science seeks to find how things thread into their place within the context of the universe and to see how that weave is part of a larger puzzle, a puzzle getting larger all the time. Science does not reward partisanship or apathy, it rewards the explorer. The fact that most Lovecraft stories warn people away from the scientific method is because Lovecraft himself was intrigued by the seemingly infinite possibility that science could offer us and then turned it on its ear for dramatic purposes. Why? Because horror stories are fun.
Again, referring to that previous Luke Cage roundtable I previously linked to, this type of conversation that these writers have about Lovecraft are the types of conversations we should be having because they are new and interesting and the ultimate outcome of this discourse is not to decide whether Lovecraft should be banished from modern thought or not––far from it. If we did that, we would be unable to have some interesting conversations. If anything, it would actually more firmly establish his place in the canon as someone worth talking about. Simply brushing off his racism will only keep him from reaching that place where I, most certainly, and most Lovecraft fans feel he should be woven into.