RECYCLE, REDUCE, REUSE: This week, Andrew and D. discuss revisions that happen to works after they are released. From the canon-bending Star Wars re-releases from the late 1990s to the archival efforts of the Mega Man Legacy Collection, works are “preserved” in some form or another, but attention could (and should) be paid to the reasons for such preservation and re-release: is it in the interest of the creator? Of the owner? Of the audience? While they don’t generate any answers, our hosts certainly probe the topic for its diversity of impetus, goals, and cultural impact. Well, they do decide that pop culture needs some sort of library, but that’s about it.
THE LONG CON-TINUITY: After years of teasing the topic, Andrew and D. finally sit down to talk about continuity. It starts with the continuity issues surrounding Star Wars and Disney’s purge of their Extended Universe, before it descends into talk about its benefits, its setbacks, and why it can be used as a weapon.
RELATED LINKS:
The ending to St. Elsewhere (re: the reference to the “snow globe ending” in this episode, referring to the very end of the show, St. Elsewhere, where it was revealed that the show was actually just a fictional universe imagined by an autistic child):
WEEK IN GEEK: Both Andrew and D. Bethel saw Star Wars: The Last Jedi so––
THE LAST HOT TAKE: They bring in original Star Wars fan and friend of the show, Jason Tudor, to talk about Star Wars: The Last Jedi, the talk around the movie, and what it means for the franchise SPOILER ALERT––SIGNIFICANT PLOT POINTS ARE DISCUSSED; BE SURE TO WATCH THE MOVIE BEFORE LISTENING.
RELATED EPISODES:
Episode 29 – Guitar Mode: Where Jason Tudor first appeared on the show to talk about military science fiction.
THE FORCE IS…EXPENSIVE?: With the hotly anticipated Star Wars: Battlefront II released recently, with it came a lot of controversy. It stands at the apex of a recent trend toward big-budget titles adopting monetizing tactics more commonly found in free-to-play mobile games, this time in the form of blind boxes aka loot boxes. Andrew and D. dive into this controversy and try to find the middle ground.
WEEK IN GEEK: Andrew talks about the premier of the new (and final) season of Star Wars: Rebels while D. Bethel talks about Netflix’s new based-on-a-true-story-kind-of David Fincher-led crime drama, Mindhunter.
SPOOKYTOBER: In celebration of the scariest month of the year, Andrew and D. discuss a movie each that really, truly gave them the scaries. Andrew discusses the cult classic, Jacob’s Ladder, while D. discusses the forgotten gothic horror of The Others.
RELATED EPISODES:
Episode 20 – “Hydra Healthcare”: A previous Spookytober episode where, in the discussion, D. and Andrew discuss the video games that scared or unsettled them.
Although old news for just about everybody, Lucasfilm released a new trailer for the upcoming film in the Star Wars franchise, Star Wars Episode VIII: The Last Jedi. [Note: Your guess is as good as mine as to how many colons belong in that title. I’ll leave that for Dan to determine at a later date.] As with any Marvel/Disney/Lucasfilm trailer, there’s a lot being packed into two minutes and thirty-four seconds. For those that missed it, here it is:
I’m not really here to make any major speculation or draw any conclusions from this trailer. As a lot of people on the internet have already pointed out, there is a significant amount of clever cutting and editing. Any conclusions that you may draw from the trailer are entirely speculative (unless your conclusion is, “These people are in this movie”).
However, there is one thing from the trailer that has also appeared in several other forms of advertising media that has turned a few heads and gotten a few people talking: Luke Skywalker in various stages of “looking like a bad guy.” In the trailer, some attentive fans have looked at 1:47, where a defeated (and wet?) Luke says, “This will not go the way you think.” Others have referenced 1:53, where a wet Rey confronts what appears to be Luke in his grimdark outfit. [Note: we’re not entirely sure what wetness has to do with it, but it may be important.]
Of course, a few seconds of a trailer never amounted to anything. Don’t worry, because Lucasfilm did not stop there. Shortly before the release of the trailer, Lucasfilm released the new poster for the movie. It features everything one would expect from a movie titled, “The Last Jedi.” All the characters locked in seemingly action poses. A couple of lightsabers. Lots of … red? Judge for yourself:
Apparently, the primary color being used here is “Sith Red.”
And let’s not forget about the IMAX Standee, also released last week.
Big movie requires big standee.
The standee, which is cleverly divided into “good guys” on the left and “bad guys” on the right, also happens to feature one character on both sides: our man Luke Skywalker, again. We could go on with this, but it’s just speculative absurdity at this point.
What does it all mean? Apparently, we’re meant to believe that Luke is playing both sides in this movie. Or not? It’s never really clear. Teasing the fanbase is something that Lucasfilm (or, more appropriately, Disney) has turned into a veritable art form and a standard operating procedure. At this point, the only thing we know for certain is that a lot of people are going to go see the new Star Wars movie in mid-December.
This weekend was Star Wars Celebration Orlando, the twelfth instance of the Star Wars Celebration experience. Star Wars Celebration is usually an opportunity for fans to get together and talk about their love of Star Wars. Of course, it’s also a great opportunity for the people that make Star Wars to unleash new content onto the world. This year was no different.
Perhaps the biggest news is the revelation of a trailer for Star Wars: The Last Jedi:
The Internet is already abuzz over the release of the first trailer for Star Wars: Episode 8: The Last Jedi. Mark Hamill drives the trailer as Luke Skywalker, providing the overall narration and a lot of heavy context to the “Last Jedi” aspect of the title. It sounds like the film will address the “balance of the Force” theme that first appeared in The Phantom Menace and has been further explored in Season 3 of Star Wars: Rebels. I’ve already spent an undue amount of time trying to determine if Tom Baker found his way on to the cast list, given his role as the Benduin Star Wars: Rebels. With a release expected this December, there’s already a lot of fan excitement developing for this title.
“Jedi and Sith wield the Ashla and Bogan. The light and the dark. I’m the one in the middle. The Bendu.”
In addition to the Episode VIII trailer, a preview for the upcoming fourth (and final!) season of Star Wars: Rebels was also released:
For those not following Star Wars: Rebels, it is the story of a cell of rebels fighting the Empire that become an essential part of the Rebel Alliance. The show has continued to provide a background for the formative years of the Rebel Alliance, and this final year appears to be no different. Season 3 villain Admiral Thrawn makes an appearance in the trailer (with what appears to be a silly General Veers style helmet) as does Katee Sackhoff’s character Bo-Katan, who was previously seen in Star Wars: The Clone Wars. Forest Whitaker’s character Saw Gerrera also appeared briefly. With regard to thematic content, it appears that they will be addressing both the “balance of the Force” theme and the battle for Mandalore (which was an element of Sabine’s storyline from Season 3).
Probably the only character not featured (despite claims that her fate would be addressed) was Ahsoka Tano. As /Film’sPeter Sciretta points out, showrunner Dave Filoni seemed to tease the audience with a clever t-shirt swap during the Rebels event last weekend.
For not saying anything about Ahsoka during the event, he certainly seems to have said a bunch.
Given everything Star Wars that was unleashed in Orlando, it looks like 2017-18 will be a relatively big year for the franchise.
I have always had too many hobbies, especially when I was younger. Like a lot of people, some of these fell away for awhile, some of them I picked back up for nostalgic reasons or with a new appreciation. Some have been left behind. For me, one passion remained constant throughout (aside from writing). With comic books, I stopped reading them for over a decade. Sure, there was the occasional trade paperback here and graphic novel there, but there was a long time where I checked out of the culture and community for good (until I was drawn back in, pardon the pun). With regard to other nerdy passions, I started playing music rather late and I basically stopped drawing for a long time before starting up my first webcomic in 2007.
But my oldest nerdy pastime––one that never went away––has been playing video games. I’ve always kept in touch, I’ve always had an ear to the discourse, and I’ve always followed the developments. It’s strange, then, that I never really thought about video games critically until relatively recently. Until I started using the tools I was practicing as a college student and graduate student, I never really absorbed games as statements on (or of a) culture.
However, there were a few times when I played a game and recognized that there was something more here, even if I couldn’t put my finger on it. Metal Gear Solid was one (as was Metal Gear Solid 3: Snake Eater after it). Another was Shadow of the Colossus. There was also Red Dead Redemption. When Red Dead was released, my excitement was tempered with shock because as a fan of its predecessor, the Playstation 2 game Red Dead Revolver, I had no idea that it garnered enough attention to warrant a sequel––not from the fans nor from the industry. But I greeted it with anticipation and my reaction to it was on par with most people who played it––I loved it.
It felt big and cinematic, the story felt important, but what it was trying to say eluded me if only because I wasn’t thinking about that with regard to games. More importantly, I wasn’t quite sure about how to analyze a text like this. My instinct when it comes to fiction is to be enveloped by its tone and characters. Though I had become more critically aware of movies and books (what with my English degrees), such skepticism never leapt the barrier into video games.
Now, as a neophyte pop culture critic, I would like to analyze this medium but worry if I could do so as objectively as I would like. It is one of those “special” games to me, a pane in a stained-glass assemblage that is my personality, nostalgia, and taste. Furthermore, so much time has passed since its release that I wonder––with all the developments in the technology and expectations––if I could go back to it without some immediate deconstruction of my love for what made this game great in 2010.
Furthermore, most of the conversation around the game has been cultural rather than critical. Most discussion I come across is done by those who love it like I do, so the talk is mostly about how it has become “the game of its generation” or how video games can have impactful, cinematic storytelling while also being good games. While I don’t disagree with those sentiments, I haven’t found any real conversation around the game that delves deeper than a nigh dilettantish affection for the game, so I let more time pass and the possibility of actually developing a thesis around it slip away.
And then I found the brilliant podcast, Bullet Points. In a way, linking to Jess Joho’s article is a slightly veiled excuse to gush about the Bullet Points podcast and its long-form criticism companion site, Bullet Points Monthly. The core of Bullet Points is the trio of critics Ed Smith, Reid McCarter, and Patrick Lindsey who all write freelance for a variety of different culture sites. Their monthly episodes bring in assorted guests (such as Joho) and, together, approach video games new and old with an intelligent, skeptical scalpel that makes for an engaging listen. Each episode focuses on one game (ostensibly their focus is games with shooting mechanics, hence the title) that they all play and come to the recording session with their individual critical takeaways from the experience. Bullet Points Monthly contains articles written by the hosts with one guest contributor to hone their experiences into deft and penetrative articles about the game to be discussed on the upcoming podcast episode.
Back to Red Dead Redemption, their talk about the game (Episode 24 of the podcast) immediately gave me what I was looking for, which also pointed to article Joho wrote for the discussion and is also a perfect example of what I hoped to see in the discussions about this game––an incisive dissection of what this game means:
Red Dead Redemption doesn’t just portray a revisionist western story. The game itself plays like it’s a revisionist western cowboy on a quest to erase the past misdeeds of its genre—only to perpetuate those same misdeeds under the guise of revisionism or redemption.
It gave me a place to start, critically, with which I can go back to the game without the worry of being dragged down by old controls or distracted by out-of-date graphics. A lot of times their discussions touch on cinematic criticism or literary criticism but never as a crutch. Instead, they are citing those critical fields as peers to the texts being discussed on the podcast, which is exactly a tenet Andrew and I yearn to do on this very website with a similar general theoretical approach. If Bullet Points continues to do more writing and discussion like this, then I am even more excited for not only what other games they turn their attention toward, but also what I will have to say about games in the future, because it’s one of the first times in a while where I’ve been inspired to go play a game with a critical eye. It’s as if hearing them do it––and do it so well––finally gave my brain the permission to hop the fence and give this thing called video game criticism more of a shot than before.
Canon has been an undercurrent of a lot of what Andrew and I talk about on the podcast lately, though not necessarily whether it’s good or bad, necessary or fanciful. There is no doubt that canonizing properties has been a long-standing tradition for a variety of reasons: first, a continuity helps keep future iterations and sequels in line so that the thematic or tonal essence of a property is preserved; second, that universal structure helps to also solidify, as Mike Chen notes, “the backbone of a community” as well. This has been put to the test in the last decade.
From the dissolution of the Star Wars Extended Universe by Disney to the increasingly interconnected Marvel Cinematic Universe, canonicity has become an important talking point in the nerdy-geeky world in some form or another. Both Marvel and DC, in their comics divisions, are struggling with it; it’s hard to decide whether the best move is to honor the canon established by including the upwards of seventy years of existing stories (for some) or to start anew and revised in a clean cut with the hopes of attracting new readers to old characters made relevant once more. Either way, our tendency towards canon development fosters in readers a deep attachment to the characters and their stories. While the emotional importance of canon among fans is undeniable, and is something that Mike Chen paints with affection in his article, he touches on what I think is the more damaging––and therefore more pertinent––side of canonicity: gatekeeping.
Grand Admiral Thrawn. Artist: Tony Foti (from Star Wars: The Card Game)
I am on the verge of arguing that gatekeeping mentalities are at the heart of the problems that are tearing the nerd world––and, by proxy, popular culture––apart. As these properties and franchises expand outward from the once niche pocket of fandom to greater cultural acceptance (something we all wanted in the first place), it is admittedly hard for some fans to accept that people that have only watched the Marvel movies can call themselves fans of Marvel.
But here’s a fact: they are.
But so many of us try to keep people like them out. Post-2005 Doctor Who fans. Fans who discovered Star Wars with the prequels. Abrams’ Star Trek fans. Mario fans whose first game was Super Mario Sunshine. For some fans, any of these people should have their fandom challenged and tested by their own twisted metric, but it means nothing. As much as we would like to––and as much as we already assume to––have ownership over the properties we have built the core of our personalities around, we simply do not. Passion and fervor, while important for the survival of a fiction, are not authors of it nor the metric for deciding who gets to like it. We cannot decide who gets to love movies, games, cartoons, comics, and television shows. Besides, what good does keeping people out do? If anything, Chen argues that it could even damage our identity within a culture:
[G]eeks often discover their passions while searching for some form of acceptance. With geek culture exploding into the mainstream over the past decade, it often becomes less about ‘are you a fan?’ and more about ‘how much of a fan are you?’ But fandom—the enjoyment of creativity and art—shouldn’t be placed on some finite metric to be analyzed and judged, as long as it’s being expressed positively.
Being a fan of the Marvel comics is not the same as being a mason, nor should it be, with tests to administer and rituals to memorize. They are meant to be enjoyed; again, what good does it do to actively damage a person’s enjoyment of something you or I enjoy so much? Instead, we need to look at things like canon as what it is: fiction. And fiction is meant to be fun. I don’t know about you, but even if someone comes to a fiction later than me or for different reasons than me, if we’re all enjoying it then it’s elevating not only the culture as a whole but, if I were to be honest, also my enjoyment of it.
WEEK IN GEEK: Andrew continues to reap the benefits of this winter’s Steam sale with the arrival of a Steam controller while Dan watches the new crowd-funded documentaries by video game journalist/personality, Danny O’Dwyer, called Noclip. Below is O’Dwyer’s “statement of purpose” regarding what he wants Noclip to be (as mentioned by Dan in the episode):
STAR WARS GAIDEN: [SPOILER ALERT] With enough time gone by since its release (and now that both have seen it), Dan and Andrew discuss Rogue One: A Star Wars Story and why it’s connecting with audiences, what it’s doing for the Star Wars universe and how it’s really doing what Marvel has been trying to do for almost a decade now.Again, we discuss SPOILERS in this discussion, so steer clear if you have not yet seen the movie (and come back and listen once you do).
Subscribe to and review the show on the iTunes store.
For all intents and purposes, that was an episode recap.
FEATURED MUSIC:
-“Stayin’ in Black” by Wax Audio
-“Rogue One” by Michael Giacchino (from Rogue One: A Star Wars Story)
-“The Gathering Storm” by Michael Allen (from Armello)
-“Boss Theme” by Curt Victor Bryant (from Slain: Back From Hell)
Although Dan and I lamented, cursed, and even sang songs about the year that was 2016, it was sort of a big year in one important way. The mobile game market has become a hot bed of gaming activity. 2016 (including the end of 2015, to be fair) saw a few big names throw their intellectual properties into the ring. Somewhere in that maelstrom that is pay-for-play micro-gaming, I got caught up in the ride. Although we’re already several days into the new year, I thought it would be appropriate to look back on all the games that I looked at, played, talked about, and otherwise engaged with in 2016.
Star Wars: Galaxy of Heroes by Electronic Arts
Technically, Star Wars: Galaxy of Heroes was released near the end of 2015, but I did not get to it until much later. It was my Week in Geek in Episode 93 – The Clay Man Incident. Filled with many characters, locations, and ships from the Star Wars universe, this turn-based squad based battle game provides a vast amount of content. There are a lot of different characters from the movies and television shows that you can group together to battle.
Exciting squad-based combat featuring Star Wars characters!
Since I first started playing back in April, they’ve added a great deal of content. The game expanded beyond the simple five on five combat to include massive “raid bosses,” in which player-organized guilds fought to defeat a massive enemy in turns. More recently, they added a ship combat mode in which X-Wings and TIE Fighters shoot it out in an entirely new (yet surprisingly similar) game mode. Some of the more recent content has been viewed somewhat negatively; what started out as an effective “could be played for free but maybe I’ll spend a little” game has turned into a “if you can’t spend a huge amount, don’t even bother” game. Accusations of rampant cheating have also soured some paying players from participating (at least some of those that I have spoken to), an important consideration since so much of the game relies on playing against other players.
In the end, the biggest draws for Star Wars: Galaxy of Heroes are still the ongoing stream of new character content and the powerful license. Even for folks that disliked The Phantom Menace (or the prequels in general) or don’t follow Rebels, the depth of Star Wars content in Galaxy of Heroes will keep nearly every fan interested for as long as they keep providing it.
Always interested in trying to do something as well as somebody else, Warner Bros. released their own squad-based battler in November. I discussed my initial thoughts back in Episode 114 – Su Gana. Very similar in feel to Star Wars: Galaxy of Heroes, this game features an array of heroes and villains from the DC Comics universe. Perhaps the biggest gameplay difference from the aforementioned Star Wars title is the presence of a loose story to tie the narrative together: “As the shadow of the Blackest Night prophecy falls on every world, sheer force of will alone cannot save the shattered DC Universe.”
All your favorite (or not?) DC comics characters come together to punch things!
Still in its first few months, most of the additions to DC Legends so far have come in the form of character and event additions. As with other freemium games, chasing the “hot new character” is an important part of the gameplay. The game has yet to do any major additions or changes, still relying on the basic gameplay elements to keep the game going.
With so many similarities to the slightly more mature Galaxy of Heroes, this title has a lot of catching up to do. The biggest driver for this game is the fact that you can have Black Canary, Sinestro, the Flash, and Zatana fighting together against… well, whoever gets thrown at you. At that point, it feels like it’s more a matter of what license do you want taking your money and time and less which game you think is better designed.
Final Fantasy: Brave Exvius is the second Final Fantasy themed freemium mobile game that Dan and I both found ourselves playing (at least for a bit). We both discussed our initial impressions of this game in Episode 99 – Jaw-Jackin’. Since that initial release, they’ve added more content both in the way of the “story” mode and in semi-regular themed events. Compared to the previous mobile game, Final Fantasy Record Keeper, Brave Exvius brings a lot more to the “game” front. The “story mode” feels a lot more like something that might be a classic Final Fantasy game with a narrative, dungeon exploration, and the sorts of thing one expects. That being said, random battles have been replaced with a more “spend energy to explore” style freemium model.
Fighting battles with … Exdeath?
All that being said, it combines enough of “new experience” with “recognizable intellectual property” that seems to be essential to the constantly churning market that is freemium mobile games. The story introduces a new world with new characters, but connects it with the recognizable characters of classic Final Fantasy through the power of “Visions.” You build a party of characters from both the main characters and these collectible “Visions” and use them collectively in battles to explore new areas, discover treasures, and unlock additional content. Since its initial release, they’ve added some significant content updates that provides access to more things to do, additional things to unlock, and more items to craft.
Similar to Final Fantasy: Record Keeper, this game leans heavily on overall Final Fantasy nostalgia and probably has little appeal to people that don’t know much about the expansive worlds. Although essential in battle, these characters do not involve themselves in the story or have any contribution to anything; they simply serve as warriors to kill off the never-ending legion of monsters. However, as Dan pointed out, the characters are drawn and animated very well, giving a new appearance to many of the classic characters. If nothing else, they look good.
I first talked about the new Molyneux title, The Trail, in Episode 114 – Su Gana and followed up in Shortcast 19 – What Was Town? Although it didn’t stay too long on my play rotation, it did stand out from most of the mobile games on the current market. Whether due to the Molyneux involvement or, in the alternative, development by Kongregate, The Trail feels more like a collecting and crafting themed video game and less like a pay-to-play freemium title. Yes, the game still occasionally throws a “buy this special pack” splash page at you, but with nowhere near the intensity of most of the market.
Walking along a trail picking up garbage is an important party of any balanced game, right?
But, let’s be honest. Though it may feel like a collecting and crafting video game, it’s not a particularly great one. Specifically with the need (whether literal or perceived) to play for extended periods at a time, it makes it tough for this game to survive in a market that specializes in repeated, yet relatively brief, engagements. When you put these two together, it feels like the better option would be to try a different mobile game or get a more in-depth crafting game for the console or PC instead of mobile.
In the ongoing quest to play as many of the hot new mobile games as possible, this is one that pretty much came and went before I even had time to mention it. First released in October 2016, Plants vs. Zombies: Heroes is a fusion of the recognizable franchise that is Plants vs. Zombies with the mechanics of something like Hearthstone. In a sense, it’s tower defense meets digital trading card game. Players play as either a plant or a zombie, with a deck of cards built from a pool corresponding to your side and whatever sub-faction your “hero” is affiliated with. For example, the zombie hero Super Brainz can choose his cards from the Sneaky and Brainy categories of zombie cards. The game is played one-on-one, with a slight difference in how the game plays for zombies and plants.
A screenshot of gameplay (on the left) coupled with a screenshot of deck building (on the right).
There are a lot of different cards out their with which to customize decks, leading to a lot of variation in play. Of course, like any trading card game, it requires a certain dedication to the meta. Players can’t just be good at playing cards; they have to be good at figuring out which cards work well in which decks. Like Hearthstone, the deck-building portion is just as important as the actual play portion of the game. This puts it in a strange place with respect to the competition. It is not as deep or developed as a card game as something like Hearthstone and its likely too involved and complicated when compared to the original Plants vs. Zombies. Although I don’t personally know that many PvZ players, I suspect most of them were quickly turned off by the complexity of PvZ:H. We will have to wait and see how it turns out going forward.
This is another one of those “it actually came out in 2015” games, but it found its way back into my play rotation when I started playing Fallout 4. This is one of the few mobile games that Dan and I did NOT spend a great deal of time discussing on the show, mostly because it sort of “came and went” for both of us relatively quickly after its release (although Dan played it obsessively for a week or so). However, you can hear our friends at the Nerdhole talk about it here, in Episode 33 – Fallout Shelter.
Who is indisputably the most important person in Vault 101: He who shelters us from the harshness of the atomic wasteland, and to whom we owe everything we have, including our lives?
When released, Fallout Shelter was mostly a quick little “collect resources, build more buildings, grow more people, collect more resources” sort of game. Not much more than your typical aquarium “log in and tap” sort of game. Since its release, they’ve added some content meant to add more depth to the game. There is now a quest system, special outfits and equipment, and some new features added. It’s a nice improvement from the original title and worth the time for folks really engaged with the Fallout style. With Bethesda already moving to develop more smartphone and mobile titles in the future, it should be interesting to see where they take gaming to next.
One of the more recent mobile games to make its way onto my smartphone, Marvel Avengers Academy is one of the many “aquarium” style games present in the market. I first mentioned it in Episode 111 – #CyclopsWasRight. It’s nothing complicated or fancy. Some even argue it’s not much of a game; it’s more just a thing you turn on every few hours and tap with some regularity. But don’t let that fundamental lack of compelling gameplay fool you! It can actually be quite an entertaining product, especially for people with interest in the characters upon which the game is based.
Nobody really knows what’s going on here. Except Maria Hill.
From a gaming perspective, MAA is probably easiest to compare to a worker placement style board game. There are fixed locations (Stark Tower, the Avenger Dorms, the Shooting Range), a set of characters with fixed actions that take different amounts of time, and a series of tasks or missions that need to be accomplished for prizes. Part of the challenge is finding ways to best (rather, most efficiently) complete the missions assigned. Inefficient play is not prohibitive to advancement, but it does slow down unlocking new characters, buildings, and actions.
Black Widow, dressed for spying. Or dancing. Or both.
What keeps the game changing is a constant stream of new special events. When I began playing back in October, they had just started a special Halloween-themed event. The Academy was under attack by the forces of Mephisto and an array of strange characters joined my Academy team, including Ghost Rider, Misty Knight, and Moon Knight. Shortly after that four-week event concluded, the Academy fused with Dr. Strange’s Sanctum Sanctorum as the forces of Kaecilius attacked. With each new event comes new characters with novel new actions and animations. All of it is tied together with a somewhat organized storyline in which the origin of the Academy, the fact that most of the characters are in their teens, and the “truth” about what’s going on are waiting to be uncovered.
As a Marvel fan, it’s a cute time-waster that never asks too much. The narrative that they are slowly revealing is enough to keep me tapping and the ongoing array of new and interesting characters are sufficient to keep me coming for more.
2016 saw a lot of new content come to mobile and handheld devices. A lot of it came wrapped in massive licenses, whether they be comic books, video games, or movies. As we enter 2017, new games will be made, old ones will be upgraded, and some will just fall by the wayside. Continuing to find new ways to keep the gameplay interesting while not driving away too many players with paywalls will continue to be a challenge. Of course, there’s always the issue of micro-transactions and the lasting effect it has on player retention, but that’s a discussion for another time.
