Welcome to another very special edition of the Xbox Game Passengers podcast.

Typically, every other Wednesday, host Derek and a guest will dissect and discuss just one game available on Microsoft’s Game Pass service, which was chosen for them completely at random.

Today might be Wednesday, but it still isn’t typical. Last week, host Derek and regular guest Mikaela descended on Seattle for the annual PAX West convention. During the show itself, the duo released two special Xbox Game Passengers episodes detailing all of the incredible experiences that they had at the show (episode one here, episode two here). Here’s another (final) PAX special, this time chock full of interviews with game developers on the show floor.

Here are all of the games featured in the interviews, and trailers for each:

Liberated

The Suicide Of Rachel Foster

Wanderlust

https://youtu.be/7ASrKo-yVZ4

Wavebreak

Untitled Goose Game

Dauntless

No Straight Roads

Luna: The Shadow Dust

Stranded Sails

Spiritfarer

Mutazione

Sparklite

Gamedec

If these special episodes aren’t your thing, this will be the last episode for this year’s PAX, and with next Wednesday’s The Elder Scrolls Online episode, we’ll be back to our regularly scheduled programming.

Listen to find out how things went, and if you like what you’ve heard, here’s where you can subscribe to the show:

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We’ve had a blast making Xbox Game Passengers so far, and we really hope that you’re enjoying it too! If you have any feedback for us, we’d love to hear it at derek@geekscape.net. Anything you listeners can do to help spread the word about the podcast would be immensely appreciated — from sharing it on social media like Facebook or Twitter, to leaving us five stars (or even a review) on Apple Podcasts, to sending it to a single friend, it can all make a massive difference! Thanks again for coming along on this ride!

You can also follow us on twitter @XGPPodcast

Theme Song: I Adore My C64 by Nicolai Heidlas from HookSounds.com

Welcome to Geekscape’s newest gaming podcast, Xbox Game Passengers.

Every other Wednesday, host Derek and a guest will dissect and discuss just one game available on Microsoft’s Game Pass service, which was chosen for them completely at random.

Whether it’s a magical or a horrible experience, they’ll force themselves through it, share their thoughts, and let you know whether or not the game is worth your time! At the end of each episode, they’ll also randomly select the game for the following show.

This episode, Mike returns to chat about one of his favourite series of all time, Gears of War. Specifically, they’re playing Gears of War: Ultimate Edition, the impressive Xbox One remake that sadly (somehow) isn’t Xbox One X Enhanced. The duo dish about their favourite moments, their history with the series, and why Derek has to play every game inverted.

“Experience the game that launched one of the most celebrated sagas in entertainment with Gears of War: Ultimate Edition. The shooter that defined the first generation of HD gaming has been painstakingly remastered in 1080P and modernized for Xbox One, and is packed full of new content including five campaign chapters never released on Xbox. The story of “Gears of War” thrusts gamers into a deep and harrowing battle for survival against the Locust Horde, a nightmarish race of creatures that surface from the depths of the planet. Players live and breathe the role of Marcus Fenix. A disgraced former war hero, Marcus seeks personal redemption as he leads his fire team against an onslaught of merciless warriors from below.”

Listen to find out how things went, and if you like what you’ve heard, here’s where you can subscribe to the show:

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You can also follow us on twitter @XGPPodcast

We’ve had a blast making Xbox Game Passengers so far, and we really hope that you’re enjoying it too! If you have any feedback for us, we’d love to hear it at derek@geekscape.net. Anything you listeners can do to help spread the word about the podcast would be immensely appreciated — from sharing it on social media like Facebook or Twitter, to leaving us five stars (or even a review) on Apple Podcasts, to sending it to a single friend, it can all make a massive difference! Thanks again for coming along on this ride!

Theme Song: I Adore My C64 by Nicolai Heidlas from HookSounds.com

Welcome to another very special edition of the Xbox Game Passengers podcast.

Typically, every other Wednesday, host Derek and a guest will dissect and discuss just one game available on Microsoft’s Game Pass service, which was chosen for them completely at random.

But… today isn’t typical, and today isn’t Wednesday. Host Derek and regular guest Mikaela have descended on Seattle for the annual PAX West convention. Yesterday, the duo detailed all of the amazing games that they had the opportunity to experience during Saturday of PAX West 2019, and with another day in the books, they’re here to chat about what else… but more games.

Today they played games like The Suicide of Rachel Foster (which Derek immediately fell in love with), Wave Break (which feels very Tony Hawk’s Pro Skater-esque, with some insanely cool multiplayer modes), Cardpocalypse, Dauntless on Switch (with full cross-play and cross-progression), Her Story follow-up Telling Lies, the super-fun and addicting action of Windjammers 2, the intense roller-derby action of Roller Champions, Hitchhiker, the weird and wonderful world of Mutazione, the unbelievably beautiful world of Spiritfarer (which is already confirmed for Xbox Game Pass), the Stardew-esque Stranded Sails, Sparklight, the breathtaking style of Sayanara Wild Heart, and much, much more.

If this episode isn’t your thing, the show will be returning to its regularly scheduled programming on Wednesday, September 4th, when Mike returns to the show to chat about Gears of War: Ultimate Edition. But before then, tomorrow you’ll see another PAX episode release, and a PAX developer interview special coming later in the week.

Also, as Derek details pretty early on, he has kind of lost his voice over the past few days, so thanks a ton for bearing with him as he struggles to talk!

Listen to find out how things went, and if you like what you’ve heard, here’s where you can subscribe to the show:

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Apple Podcasts
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We’ve had a blast making Xbox Game Passengers so far, and we really hope that you’re enjoying it too! If you have any feedback for us, we’d love to hear it at derek@geekscape.net. Anything you listeners can do to help spread the word about the podcast would be immensely appreciated — from sharing it on social media like Facebook or Twitter, to leaving us five stars (or even a review) on Apple Podcasts, to sending it to a single friend, it can all make a massive difference! Thanks again for coming along on this ride!

You can also follow us on twitter @XGPPodcast

Theme Song: I Adore My C64 by Nicolai Heidlas from HookSounds.com

Welcome to a very special edition of the Xbox Game Passengers podcast.

Typically, every other Wednesday, host Derek and a guest will dissect and discuss just one game available on Microsoft’s Game Pass service, which was chosen for them completely at random.

But… today isn’t typical, and today isn’t Wednesday. Host Derek and regular guest Mikaela have descended on Seattle for the annual PAX West convention. They’ve spent the day playing a ton of games — some beautiful, some intense, and some featuring impressive hardware, and are simply dying to talk about them.

The duo spent time with titles like Borderlands 3, Final Fantasy VII Remake, Gamedec, Liberated, Mortal Kombat 11 (on Google Stadia), Wanderlust, No Straight Roads, Death Stranding, LUNA The Shadow Dust. Derek also got some hands-on time with Panic Inc.’s upcoming Playdate console, and he needed to talk about that. They also hit up events for Cyberpunk 2077, and The Elder Scrolls Online, and share a few details about what was available at each.

Mostly, they just talk about how freaking cool PAX is, and also how Graveyard Keeper may just have the best booth.

If this episode isn’t your thing, the show will be returning to its regularly scheduled programming on Wednesday, September 4th, when Mike returns to the show to chat about Gears of War: Ultimate Edition. But before then, tomorrow you’ll see another PAX episode release, and a PAX developer interview special coming later in the week.

Also, as Derek details pretty early on, he has kind of lost his voice over the past few days, so thanks a ton for bearing with him as he struggles to talk!

Listen to find out how things went, and if you like what you’ve heard, here’s where you can subscribe to the show:

Anchor
Apple Podcasts
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Castbox
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We’ve had a blast making Xbox Game Passengers so far, and we really hope that you’re enjoying it too! If you have any feedback for us, we’d love to hear it at derek@geekscape.net. Anything you listeners can do to help spread the word about the podcast would be immensely appreciated — from sharing it on social media like Facebook or Twitter, to leaving us five stars (or even a review) on Apple Podcasts, to sending it to a single friend, it can all make a massive difference! Thanks again for coming along on this ride!

You can also follow us on twitter @XGPPodcast

Theme Song: I Adore My C64 by Nicolai Heidlas from HookSounds.com

Welcome to Geekscape’s newest gaming podcast, Xbox Game Passengers.

Every other Wednesday, host Derek and a guest will dissect and discuss just one game available on Microsoft’s Game Pass service, which was chosen for them completely at random.

Whether it’s a magical or a horrible experience, they’ll force themselves through it, share their thoughts, and let you know whether or not the game is worth your time! At the end of each episode, they’ll also randomly select the game for the following show.

This episode, guest Dougie joins Derek to chat about how many times he’s finished Mass Effect (a lot of times), how upset he was at the lack of split-screen in Halo 5: Guardians, and of course, the cyberpunk survival horror game that stars Rutger Hauer, Observer.

Sounds like a winning combination, doesn’t it?

Also, this episode was recorded well (well) before Rutger’s death (RIP), so please keep that in mind as we make fun of his bad voice acting… Yeah.

“What would you do if your fears were hacked? >observer_ is a cyberpunk horror game from Bloober Team, the creators of Layers of Fear. Play as an Observer, the new front line of neural police, as you hack into the jagged minds of the insane.”

Listen to find out how things went, and if you like what you’ve heard, here’s where you can subscribe to the show:

Anchor
Apple Podcasts
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We’ve had a blast making Xbox Game Passengers so far, and we really hope that you’re enjoying it too! If you have any feedback for us, we’d love to hear it at derek@geekscape.net. Anything you listeners can do to help spread the word about the podcast would be immensely appreciated — from sharing it on social media like Facebook or Twitter, to leaving us five stars (or even a review) on Apple Podcasts, to sending it to a single friend, it can all make a massive difference! Thanks again for coming along on this ride!

You can also follow us on twitter @XGPPodcast!

Welcome to Geekscape’s newest gaming podcast, Xbox Game Passengers.

Every other Wednesday, host Derek and a guest will dissect and discuss just one game available on Microsoft’s Game Pass service, which was chosen for them completely at random.

Whether it’s a magical or a horrible experience, they’ll force themselves through it, share their thoughts, and let you know whether or not the game is worth your time! At the end of each episode, they’ll also randomly select the game for the following show.

We’re super excited for this episode. Geekscape Games (RIP) alumni Shane O’Hare joins Derek to talk about, well, a lot of things. The duo dish about the old days, tell some inside jokes, the Divergent series, and of course, Xbox Game Studios’ surprisingly entertaining platformer, Super Lucky’s Tale. Shane also tells us about his initial Xbox Game Pass impressions, and naturally this episode was recorded just before Xbox Game Pass for PC was officially announced, so if it sounds a little out of date, it’s because things have changed a lot with Xbox Game Pass in the past couple of months!

“A delightful, playground platformer for all ages that follows Lucky, the ever-optimistic, energetic, and lovable hero, on his quest to find his inner strength and help his sister rescue the Book of Ages from Jinx. Jinx is the scheming and mysterious villain trying to reshape the world, but for what reason?”

Listen to find out how things went, and if you like what you’ve heard, here’s where you can subscribe to the show:

Anchor
Apple Podcasts
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Castbox
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iHeartRadio
Overcast
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You can also follow us on twitter @XGPPodcast

We’ve had a blast making Xbox Game Passengers so far, and we really hope that you’re enjoying it too! If you have any feedback for us, we’d love to hear it at derek@geekscape.net. Anything you listeners can do to help spread the word about the podcast would be immensely appreciated — from sharing it on social media like Facebook or Twitter, to leaving us five stars (or even a review) on Apple Podcasts, to sending it to a single friend, it can all make a massive difference! Thanks again for coming along on this ride!

After the traumatizing events of Avengers: Endgame, it’s hard to imagine a state of normalcy in the Marvel Cinematic Universe. As phase three comes to a close, Spider-Man: Far From Home had the unique challenge of trying to restore the lighthearted, action packed status quo that these films are known for while helping Peter Parker, (once again played by the charming Tom Holland), grow in a post Iron Man world. If you’re wondering where they could possibly go from here, you’re going to be pleasantly surprised.

Peter and MJ are on full display this time around.

Taking place in the aftermath of the snap, (or The Blip as its being called), Peter’s classmates coincidentally faded to dust at the end of Infinity War, ensuring that Ned, MJ and Flash would stay at Peter’s side as he returns to his high school life. After fighting for the fate of the universe, there’s nothing more that our friendly neighborhood Spider-Man would enjoy more than to take a break and enjoy his overseas class trip with his friends, all while trying to win the heart of his equally quirky classmate, (reprised by Zendaya with more screen time to match her dry wit first seen in Homecoming). However, Nick Fury has other plans, as the head of S.H.I.E.L.D. seeks the hero’s assistance to fight off a group of elementals that are terrorizing the region. Fighting alongside Mysterio, the hero from another universe, Peter finds himself trying to live up to the legacy that Tony Stark left behind while wanting to enjoy life as a normal teenager.

Far From Home manages to hit all of the familiar beats that have become synonymous with the MCU in excellent fashion. From the witty one-liners to the lighthearted humor, the dialogue between Peter and his friends serves as a nice contrast compared to the no-nonsense Fury. Yet, it’s Jake Gyllenhaal’s take on Mysterio that really steals the show, bringing sincerity and gravity to Quentin Beck that makes me hope he sticks around in this franchise. He brings the character to life in a way that blew away my expectations, especially considering the background of the character in the comics. If I had one complaint about his character and the movie as a whole, I would have preferred that Beck stayed more of a Spider-Man focused character rather than being tied to events of the past. Still, the way he’s implemented into the MCU is clever, helping the events of the film wrap up phase 3 in a way that links it to the history of these films.

When it comes to the action, Far From Home is easily one of the most exciting films in that regard, which is high praise when directly following a film like Endgame. As seen in the trailers, the battles with the Elementals are stunning as it is. Sandman from Spider-Man 3 back in the day was a visual marvel, so seeing effects like these consisting of water, fire and wind with 2019 technology is as amazing as it sounds. This is all amplified by the 4DX effect, which was the best use of the technology that I’ve experienced so far. Taking full advantage of the nature of the Elemental fights, water, mist, wind and lighting effects created an incredibly immersive experience. This is in addition to the sway of the seats that synced up with Spider-Man’s swinging, feeling like you were moving with the wall crawler.

Jake steals the show as Mysterio.

It’s hard to believe, but as great as the Elemental fights were, they managed to be upstaged only a few minutes later. Without spoiling the movie, there are a few late-film fight scenes that rival the infamous Scarecrow hallucination fights from the Batman: Arkham Asylum video game. As a visual mind trip that looks like something you’d expect out of Doctor Strange as opposed to Spider-Man, these scenes show the kind of controlled insanity that a film of this magnitude can pull off. And somehow, they manage to be scary, heart-wrenching, tense and thrilling all at once. If there’s one thing that you’ll be talking about when leaving the theater, this will be it. Well… That and the shocking post-credit scenes that you’ll ABSOLUTELY want to stay for.

The Elementals blew us away, especially in 4DX.

With blow-away visuals, charming humor, characters that pull you in thanks to some highly skilled actors and an ending that will completely turn Peter’s world upside-down, Spider-Man: Far From Home is a can’t miss film, especially in 4DX. While I wish that the eventual villain would have been more centralized around Spider-Man, they way they’re written works in a way that this can be easily forgiven. When you think the tank has to be running low in a post-Endgame world, Marvel finds a way to close the chapter on phase 3 while building a high amount of anticipation for what phase 4 has in store. If you haven’t seen it yet, do yourself a favor and do it now. Then wait patiently like the rest of us to find out what this universe has in store for us for the next 11 years.

Final Score: 4.5/5

Welcome to Geekscape’s newest gaming podcast, Xbox Game Passengers.

Every other Wednesday, host Derek and a guest will dissect and discuss just one game available on Microsoft’s Game Pass service, which was chosen for them completely at random.

Whether it’s a magical or a horrible experience, they’ll force themselves through it, share their thoughts, and let you know whether or not the game is worth your time! At the end of each episode, they’ll also randomly select the game for the following show.

This episode, longtime Xbox fan Mike joins Derek to chat about Rare’s quirky 2006 gardening / weird animal farming game, Viva Piñata. They also discuss the surprisingly funny animated series that briefly preceded the game, and how much they wished that the game would go mobile or at least get an Xbox One X Enhanced update… then a few weeks later it did, so now you can play it in 4K!

“Attract and tame your favourite Piñatas. There are more than 60 species that roam wild on Piñata Island. Personalise everything from the grass at your feet to the hat on your Piñata’s head. Welcome to Piñata Island, enjoy your stay!”

Listen to find out how things went, and if you like what you’ve heard, here’s where you can subscribe to the show:

Anchor
Apple Podcasts
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Castbox
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iHeartRadio
Overcast
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TuneIn

You can also follow us on twitter @XGPPodcast

We’ve had a blast making Xbox Game Passengers so far, and we really hope that you’re enjoying it too! If you have any feedback for us, we’d love to hear it at derek@geekscape.net. Anything you listeners can do to help spread the word about the podcast would be immensely appreciated — from sharing it on social media like Facebook or Twitter, to leaving us five stars (or even a review) on Apple Podcasts, to sending it to a single friend, it can all make a massive difference! Thanks again for coming along on this ride!

America has struggled for years to get Godzilla right. From cartoons to movies, adapting Japan’s most famous giant monster has consistently been a challenge, with 2014’s reboot managing to be non-offensive, if not a bit dull. Serving as the launching point of a new cinematic universe, (which I hear are all the rage these days), Godzilla: King of the Monsters looks to build on the framework set by its predecessor and Kong: Skull Island by pitting the titular lizard against some of its biggest foes. Unfortunately, for the roughly 60% of the two hours that Godzilla and pals aren’t on screen, we’re forced to plod through one of the most horribly written stories I’ve seen this year. Even the thrilling and immersive 4DX experience couldn’t save the human storyline, serving as a much needed distraction from how actively bad it is.

The film has some breathtaking visual effects.

Now that the monsters are known worldwide after the events of 2014’s Godzilla and the 2017 Kong movie, governments struggle with how to deal with the presumed threat. One family in particular, made up of a husband and wife who worked for Monarch, (the organization tasked with tracking the monsters), is torn apart after Godzilla’s initial attack led to the death of their son. Five years later, Mark and Emma, (played passably by Kyle Chandler and Vera Farmiga), are divorced and dealing with the trauma through their work as their surviving daughter Madison, (Millie Bobby Brown in the only good performance of the film), is caught in the middle. After Emma develops technology that makes it possible to quell the monsters, her and Madison are taken hostage by an eco-terrorist group to help them awaken the recently discovered Ghidorah. Monarch then tracks down Mark to help find their whereabouts, all while trying to find Godzilla to protect them from the incoming threat.

Look, I get it. Almost everyone who’s buying a ticket to this film is there to see giant monsters fight, backed by 2019 special effects that will surely blow you away. If that’s all you want from your time watching Godzilla, then know that it delivers in spades. Every scene that the monsters occupy is a marvel, especially when they’re fighting. Ghidorah’s awakening, Rodan’s debut, Mothra’s birth and arrival on the battlefield and every time Godzilla is going toe-to-toe with its nemesis are pure, 100% escapism in the best way possible. Every blast, blow and step feels as powerful as it should, and the tense feeling around how they would interact with the world around them helped captivate for every moment they were in-focus. In that regard, King of the Monsters is everything it should be and then some.

For all of its flaws, the action scenes really deliver.

Seeing it in 4DX only amplified these qualities, serving as a near-perfect movie to showcase the evolving theater technology. For those unfamiliar, 4DX is a premium immersive experience, with flashing lights, water effects, mist, fog and moving seats matching up with the big screen action. Think Star Tours, Transformers: The Ride, or any other motion simulated theme park ride where the seats move to alongside a film projection. For King of the Monsters, the effect was turned up to the maximum and used only when appropriate. The seats made jump scares more powerful, the fights feel like they were happening around you and the collateral damage around the human characters feel like it was surrounding the audience too. At a few points, I felt like I was going to fly out of my seat with how strong the effect was. And you know what? It was awesome!

Sadly, the entire film couldn’t be monsters fighting. We need a story to justify these characters meeting up and throwing down. Sadly, if the monster scenes are almost as good as they can get, then the plot goes in the opposite direction. The biggest consistent complaint about the 2014 film was that the humans were boring and that there was too much of them. It’s not ideal, but if the human plot can’t be good, the least it can do is get out of the way of the rest of the film and serve as exposition to get us from fight to fight. Instead what we get in King of the Monsters is a human plot so actively bad that I found myself getting actively frustrated with how slowly their stories progressed, how nonsensical their decision making was and how unlikable nearly every character was. At best, most of the cast served a singular function, whether it was to constantly sympathize with Godzilla for reasons unexplained, to rattle off horribly unfunny one-liners or to be the target of unearned aggression. At worst, these are bad, unsympathetic people that are impossible to care about. Some scenes dragged for so long that I wanted to yell out to the screen to hurry it up. Thankfully, the groans during monologues, laughter in the middle of serious scenes and silence greeting the comic relief reassured me that I was not the only one feeling this way during the screening.

Who knew all we needed to take down giant monsters was an elevator full of badly written characters?

The characters and story are done no favors by the script, which went as far as to cause second-hand embarrassment at points. We’ve all heard the “God… Zilla” line from the trailers that comes off just as bad as one would think, but wait until Bradley Whitford’s Dr. Rick Stanton mistakes Ghidorah for gonorrhea. In fact, the entire film would be better off without Whitford’s quips, who took the share of bad lines in a script full of them.

King “Gonorrhea” in all its glory.

As we build towards an epic showdown between two iconic movie monsters, Godzilla: King of the Monsters should have been a visual, action packed ride that would leave viewers wanting more. In many ways, it succeeds, with unforgettable visual effects that are matched by some of the best giant monster fights you’ll see on the big screen. Amplified by the 4DX effect, the level of immersion was unbelievable, making it feel like these monsters were surrounding the theater at points. Sadly, what’s even more memorable is how awful the plot around the action is, with writing, characters and motivations that will actively annoy viewers in-between visual spectacle. If the human plot in a movie like this can’t be good, than the least it can do is get out of the way. Instead, it blocks the enjoyment every chance it gets, which drags down the film considerably.

If only the run time could have been cut down by 30 minutes, Godzilla: King of the Monsters would be seen much more favorably. Instead, we have so much wasted time with such unsavory characters that they’re impossible to ignore. Let’s hope next year’s showdown with Kong takes a more basic approach.

Final Score: 2.5/5

In a sea of sequels, shared universes and decades old franchises often dominating the box office, the original ‘John Wick’ seemingly came out of nowhere to become a surprising success. Focusing on an over the top approach to the action genre that relied on creative fight choreography and unapologetic brutality rather than an overabundance of special effects, its charm was in its simplicity. Building on its predecessor, ‘John Wick 2’ exchanged some of the basics for a wealth of world building that broadened the scope of this world of assassins. Picking up immediately after the conclusion of the second film, ‘John Wick 3- Parabellum’ sees the legendary hitman in a state of vulnerability. With only an hour until a massive bounty is placed on his head, John sets to dig deep into his history in order to find a way to undo the hit on him before someone cashes in on his misfortune. Of course, he does this in some of the most violent and exciting ways possible.

Death by horse is just one of many ways Wick fights off his assailants.

Oftentimes, sequels do their best to get the audience caught up on the events of the previous films in case this is the first time experiencing the series. ‘John Wick Chapter 3’ is not one of them. Literally beginning immediately after John broke a cardinal rule among assassins for the sake of revenge at the conclusion of the second movie, it might be hard for new viewers to become fully involved in the events of the third considering how very few of the previously established details of this world are explained. With that said, if you’re fully caught up, (as you should be), what we get is the third chapter of what feels like one extended movie.

If I had one criticism about the second film, it was that it focused so much on exposition that the simplistic charm of the action from the first ‘John Wick’ was not as present. ‘John Wick 3′ finds a happy medium between the two, spending time expanding on John’s past through old associates played by Halle Berry and Anjelica Huston while finding a perfect balance between story and action in between. The film’s pacing is one of its strong points, never focusing on one aspect of the film for too long while keeping the audience on its toes. In that respect, it was fun to see the reprecussions that John’s actions have had not only on himself, but on the associates that helped him along the way. Returning characters played by Laurence Fishburne, Ian McShane and Lance Reddick all have expanded roles this time around, interacting with the world of assassins and the ruling High Table in ways we haven’t seen before. Yet, it’s Mark Dakascos’ as John’s main rival, Zero, who steals the show as the leader of a ninja clan who can be menacing in one scene, then laugh out loud hilarious in the next.

No action franchise is complete without a hall of mirrors fight.

More so than any one actor, the action scenes are still the star of the show. Just when you think these fights can’t get any more over the top, ‘John Wick Chapter 3′ consistently finds new ways to deliver. If the delivery of the promised pencil scene in the second film seemed incredible, John has so many more tricks up his sleeve. A horse, a book and a ball biting dog are just some of the creative ways that the hundreds of enemy assassins are taken down throughout the movie, with plenty of Wick’s trademark head shots to go around. Paying homage to Keanu Reeves’ past films, there are also plenty of winks and nods to his most popular work, showing how the fan service goes beyond the violence.

With a film that’s executed as well as this one was, it’s hard to find any glaring complaints. If there was one that I could find however, it’s how much time this movie spends setting up future events that are left as dangling threads by the time the credits roll. Much like the second film, an even wider scope is teased in terms of how much influence these assassins have on the world. For example, Said Taghmaoui’s Elder is shown briefly as someone of great influence, but that influence is hardly felt as he ultimately has no strong effect on the plot. Will we see him and the ever present High Table in future installments? Naturally, especially since the High Table’s presence has been so strong without ever being seen for two movies now. Yet, so much of the payoff isn’t resolved, making parts of the film feel inconsequential for the story being told in this particular chapter. Let’s hope the eventual delivery is worth the wait.

John Wick and dogs. Name a more iconic duo.

Experiencing John Wick is enough of a ride in and of itself, but watching it in 4DX promised to add to that. For those who are unfamiliar, 4DX is a film format, sometimes in 3D, where the theater itself moves and responds to the action on screen. Much like an interactive video ride like ‘Star Tours’ or ‘Transformers: The Ride’, each bump, gunshot, sharp turn and punch John takes is felt in the theater via rocking and moving seats. Hits in the back meant the seat would respond in kind, and scenes with water had light mist and rain coming down on the audience. This made for an even more exciting time, making it feel like the audience was in the movie at points. One problem though, is that the rides mentioned are about three to five minutes long. Will this experience hold up for a two hour film? That idea was exemplified by when the immersion was broken when the seats would sway when nothing was happening. The opening scenes when the camera would pan around landmarks or buildings, resulting in the seats rocking, was a glaring example. As the saying goes, less is more. With that said, 4DX was a great way to watch ‘John Wick’, but with the premium price tag and the chance that all the movement could distract from the film for the amount of time it’s active, this format feels more like an acquired taste. However, if you’re like me and love interactive rides, it’s definitely worth checking out. With a movie like ‘John Wick’ where there’s no shortage on action, you’ll be sure to get the most out of the experience.

On paper, ‘John Wick’ is a really basic concept. What makes the series so memorable however, is its complete willingness to lean into how over the top action movies can be and getting the most out of it. ‘John Wick Chapter 3’ knows exactly what it is and never tries to be anything more than an insane action movie. Yet, it manages to get more and more ambitious as the film progresses with its trademark violence and nearly mute hero. With plenty of setup to steer us towards the already announced fourth chapter, all of the beats it hits throughout are an absolute blast to watch. If you want to shut your brain off for two hours and watch an all-star cast fight off hundreds of goons in some of the most creative and violent ways possible, then there’s no better theater ticket to buy than one for this third film. At this point, it’s hard to imagine how much farther the envelope can be pushed. If ‘Chapter 3’ is anything to go by, it’ll be a high bar to clear.

FINAL SCORE: 4/5

Welcome to Geekscape’s newest gaming podcast, Xbox Game Passengers.

Every other Wednesday, host Derek and a guest will dissect and discuss one game available on Microsoft’s Game Pass service, which was chosen for them completely at random.

Whether it’s a magical or a horrible experience, they’ll force themselves through it, share their thoughts, and let you know whether or not the game is worth your time! At the end of each episode, they’ll also randomly select the game for the following show.

Mikaela returns for episode 2 to chat about the incredibly challenging racer, MotoGP 17. The game allows you to ” Enjoy maximum entertainment with all the bikes, teams and tracks of the official Championship,” and to “Try the new Managerial Career mode and put yourself in the shoes of a team manager, trying to make the right choices both on the track and off it.”

Nothing can prepare you for the adrenaline of the 2017 MotoGP™! Except maybe listening to this show…

Listen below to find out how things went, and if you’ve like what you’ve heard, here’s where you can subscribe the the show:

Anchor: https://anchor.fm/xboxgamepassengers
Apple Podcasts: https://podcasts.apple.com/us/podcast/xbox-game-passengers/id1460683080
Breaker: https://www.breaker.audio/xbox-game-passengers
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Overcast: https://overcast.fm/itunes1460683080/xbox-game-passengers
Pocket Casts: https://pca.st/lg22
PodBean: https://www.podbean.com/podcast-detail/kzkie-8f0ae/Xbox-Game-Passengers-Podcast
RadioPublic: https://radiopublic.com/xbox-game-passengers-8gKOon
Spotify: https://open.spotify.com/show/5JSshr8x6CIGIBt7wTWMWs

We’ve had a blast making this show so far, and we really hope that you’re enjoying it too! If you have any feedback for us, we’d love to hear it at derek@geekscape.net. Anything you listeners can do to help spread the word about the show would be immensely appreciated — from sharing it on social media like Facebook or Twitter, to taking just a few seconds to leave us five stars (or even a review) on Apple Podcasts (you can do that right here), to sending it to a single friend, it can all make a massive difference! Thanks again for coming along on this ride!

Since the post credit scene of Avengers: Infinity War came and went, fans of the Marvel Cinematic Universe have been eagerly waiting for the arrival of Captain Marvel, (trolls notwithstanding). As one of the strongest beings in the universe, it’s clear that she’s going to be a centerpiece heading into the final battle against Thanos, but after more than a decade of origin stories, is this latest film one too many so late into the game? Thankfully, due to the chemistry between Brie Larson and Samuel L Jackson, the trademark MCU humor, and some genuinely surprising twists, Captain Marvel ends up being one of the better “first” films of the bunch. But is it better with the ScreenX format?

Rather than starting from the beginning and showing us how our hero got her powers, the film kicks off with the titular character having her abilities from the start. As part of an elite Kree squad caught in the middle of an intergalactic war with the shape-shifting Skrulls, Vers (Brie Larson), struggles with flashbacks of what appears to be another life. With the inability to control her powers due to her distress, her commander, Yon-Rogg (Jude Law), trains her to keep her emotions under control. However, when a mission goes awry and Vers is kidnapped by a Skrull militia, (led by the scene stealing Ben Mendelsohn), a rushed escape leads to Vers crash landing on Earth in 1995. After a run-in with S.H.I.E.L.D., Vers and Nick Fury are tasked with finding secret technology before the Skrulls do, which may hold the key to Vers’ missing memories as the former Carol Danvers.

Approaching the character’s origins in this way was a bold way to write the film. The audience is used to a certain formula, so placing Carol Danvers’ origin throughout the middle of the film was a slight subversion to the norm. Unfortunately, it doesn’t work as well as it could due to the first act of the film being dragged down by exposition and confusion. Ultimately, it was hard to care about Vers’ squad, or even Vers herself when we knew nothing about them. This lessened the tension of the attack that led to her capture and arrival on Earth. Thankfully, that completely turns around once the focus shifts to S.H.I.E.L.D., specifically Samuel L Jackson and his take on a younger, happier, far less cynical Nick Fury. Once him and Brie are onscreen together, the film flies by due to how much fun it is. Some of the 90’s call backs and “girl power” scenes are way too heavy handed, (a “smile” scene has no narrative importance other than an excuse for Carol to embarrass a sexist biker comes to mind,) but other than that, it comes into its own as a true crowd pleaser from beginning to end.

Speaking of relationships, these are the true backbone of Captain Marvel. Fury and Carol’s chemistry is the star of the show, but that doesn’t discount the relationships between Carol and her squad, with her former mentor in flashbacks, (brought to life by Annette Bening), or Maria, her best friend that she came up through the Air Force with, (played by Lashana Lynch). Especially on Earth, the movie takes the “show, not tell” approach to revealing Carol’s backstory. This makes the closing moments of the film feel earned as we slowly learn about who Vers really is as she does, creating a closeness with the character that we wouldn’t normally get if we were just watching her story as it happened. But most surprising was Talos, the leader of the Skrulls that are chasing Carol and Earth’s secret technology. Managing to be threatening, sympathetic and laugh-out-loud funny all within minutes, if there’s one thing to remember when walking out of the movie, it will be Mendelsohn’s performance.

We can’t talk about a big superhero blockbuster without talking about the fights and special effects. Unfortunately, these were some of the weaker areas of the film, with many of the hand-to-hand fights moving, shaking, and camera switching so much that it was hard to tell what was going on. Once Carol’s powers fully manifest and the special effects are on display, some of the initial shots of her glowing and ablaze are amazing to see in action. When she starts flying as she fights against air crafts, and the difference is jarring. CGI Carol looks out of place in these scenes to the point where they looked like a video screen at an amusement part more so than a film over a decade into a multi-billion dollar cinematic universe. In a movie that leans heavily on the cosmic aspect of the Marvel Universe, these sections in particular should have been jaw dropping. Instead, they were one of the films’ weakest areas.

Watching the film in ScreenX didn’t do much to alleviate these issues. As a newer type of screen technology, this format looks to further immerse the audience by having projections at the sides of the theater to create a feeling that the movie is happening around you. At the start, it really felt like we were on an unfamiliar world with the characters on screen. Then… nothing. For large chunks of the movie, the side projections would go completely blank, only firing back up during some of the more elaborate fight scenes, or in a large file room. Considering that most of the side projections were made up of the sides of the screen stretched out across the walls, it made the scenes where it was turned off feel particularly small when only the center of a scene was visible. When it comes to ScreenX in particular, it’s a good start to what can be a great way to immerse audiences in films more than they ever have been before, but it was clear that Captain Marvel wasn’t made with this format in mind. I can see it taking off if filmmakers would embrace the medium as they do with IMAX or 3D, but a half-hearted effort makes its shortcomings even more glaring.

Overall, Captain Marvel is one of the better “origin” films that Marvel Studios has produced. Fun, charming, and thrilling throughout, poor CGI and the slow opening act aren’t enough to detract from what ultimately amounts to a strong introduction that subverts expectations. Brie Larson and Samuel L. Jackson are fantastic together, which is a quality shared by most of the supporting cast. My only concern going forward is that with the 20 year gap between Endgame and this story, that we won’t be able to see these characters interact in the same way. Nevertheless, Captain Marvel is a worthy addition to the MCU as we assemble for the final page of a 10-plus year story arc.

Maika Monroe was a female face of indie horror for a brief moment in time. With leading roles in the beloved festival darling, It Follows, and the campy b-horror movie, The Guest, Monroe felt like a modern-day scream queen in the making. Yet, as her career has materialized over the past few years, she’s dabbled in all sorts of genres in both large scale and very modestly budgeted films. But finally, Monroe returns to her horror roots in the buzzed-about SXSW entry, Villains.

Mickey and Jules (It’s Bill Skarsgard and Maika Monroe) are a crazy-in-love pair of amateur criminals determined to start a new life on the coastal beaches of Florida. But when their car breaks down after a convenience store robbery, the couple quickly ventures to the closest residence they can find. Hoping to steal a new set of wheels and quickly be on their way, Mickey and Jules stumble across a sadistic husband and wife (Jeffrey Donovan and Kyra Sedgwick) harboring a deep secret inside their home.

There are quite a few elements that propel co-directors Dan Berk and Robert Olsen’s Villains into a standout film from this year’s crop of SXSW titles. A witty interweaving of dark comedy and edge-of-your-seat suspense join with wonderful lead performances to help shape this brilliantly bizarre and creepy endeavor. And while Maika Monroe has cemented herself as a true horror fixture, her onscreen beau is magnificently delivered by Bill Skarsgard. He ditches the Pennywise makeup for dopey but lovable character whose buffoonish charm shines through despite his obvious poor moral decision-making. And even though Mickey and Jules are criminals themselves, they aren’t the real villains so blatantly addressed in the film’s title. That’s where Jeffrey Donovan Kyra Sedgwick turn their dials up to “11” with skin-crawling turns that in actuality set the proper mood for this modern horror-thriller. Villains compels, disgusts and entertains in the most shocking of ways making it an ideal SXSW world premiere and one that has set a steady buzz around the viewing masses here in Austin, TX.

GRADE: 4/5

 

Well, that didn’t take long.

We knew it wouldn’t be long until Arisa, the serious tsundere of Poppin’ Party would be driven crazy by the antics of her band-mates, especially given the nature of PICO. Yet, here she is in episode two already fed up with the impossible ideas that her group wants to put into place to increase their popularity. After only three people showed up to their latest concert, (one of which was on their phone the whole time, possibly playing Bandori), the band knows something needs to change so they can reach the heights that Roselia and Hello Happy World have. How do they do that? By throwing every idea out that comes to their mind, practicality be damned.

What makes this episode especially funny is that Saya, Tae and to a lesser extent, Rimi, are typically more serious, so seeing them propose progressively insane ideas to insert into their concerts helped make the comedy stand out. This is all par the course for Kasumi, but when Saya wants to breathe fire and Tae wants to fill the stage with bunnies while the audience presumably chokes on chocolate coronets thrown into the crowd, it’s no wonder why Arisa was so  overwhelmed by the time the episode came to an end.

But can they pull off a concert with stage food, fire breathing, stand-up comedy, magic and a flying lead singer all at the same time? That remains to be seen, but I’ve learned to never doubt PoPiPa regardless of how ridiculous they get.

Episode Thoughts

– Saya and Tae’s initial suggestions of playing their instruments with their teeth and Rimi wanting to throw chocoloate coronets in the crowd actually happen in the ending animation. I’m guessing this will become a mainstay at their shows.

– “What kind of band are we”? Arisa asks a question I’ve been asking since I started playing Bandori.

– “There’s more of us than them!” was an amazing line. Maybe the solution is to have fewer people on stage at once.

– Arisa’s logical rebuttals being completely ignored really sold how off the rest of the members are compared to our tsundure queen.

– But seriously, I want to see a concert with them pulling off every idea at the same time.

BanG Dream: Girls Band Party PICO is a weekly gag anime placing the cast of the multimedia franchise in comedic situations over the span of three minute episodes. Find more at the official BanG Dream YouTube channel.

In the “age of warring girl bands”, only one rival band can stand supreme. That’s the premise of the debut episode of Bang Dream! Girls Band Party PICO, (or Bandori Garupa PICO to preserve my finger joints), a micro sized gag anime featuring the characters of the recently released mobile game. Foregoing the more traditional art style of the main anime series, PICO tells its lighthearted stories using a super-deformed style reminiscent of the main map in the mobile game. As expected, hilarity ensues when you get all 25 girls in one room, especially when the space is so cramped you have to crash through a window to get in.

Serving as an introduction to the series, most of the episode is dedicated to introducing each of the five main bands. Afterglow, the alt-rock group of childhood friends, Pastel Palettes, the pop idol group, Hello Happy World, the eccentric band built on the whims of an eccentric billionaire, Roselia, the dedicated goth J-Rock group, and Poppin’ Party, the up and coming band that shine like the brightest stars, all arrive in dramatic fashion for practice at CiRCLE. Except there’s not nearly enough room for everyone, causing PoPiPa front-woman, Kasumi, to shift their attention to, “a family restaurant.” You can’t get much rehearsing done there, but at least there’s space to move around!

As a first episode, it does a good job of generally introducing the bands to new and familiar audiences alike, but with the strict three minute run time, there’s not a whole lot of time for character exploration. Yet, during the brief run time, a few things are immediately apparent. First, Kasumi’s lucky to not have a face full of glass after failing to stick the landing when breaking into CiRCLE. Second, this show is setting up its adorable charm quite nicely, especially with the ending theme animation. Lastly, in the main game, Hello Happy World and PoPiPa are the only overtly silly bands in the game, but with these introductions being as strange as they were, it’s clear that even the likes of Afterglow and Roselia are going to be at their comedic best going forward. Hopefully the show can keep up with the laughs!

Episode Thoughts:

– Marina should really have a booking system to prevent everyone from showing up at the same time for rehearsal.

– Does PoPiPa have a thing against doors? Or was busting through the window just the cool thing to do? Maybe they were in a rush to get out of the rain.

– Speaking of, I wonder how often Marina needs to pay for building repairs with clientele like that.

– The best way to rehearse is to do so in full costume if HHW and Roselia are examples to go by.

– Afterglow and Pastel Palettes don’t seem to notice the rain storm outside, especially the latter showing up in shoulder-less dresses.

– How much longer will it be before Arisa is fed up with the stupidity that surrounds her? I’m guessing not long.

BanG Dream: Girls Band Party PICO is a weekly gag anime placing the cast of the multimedia franchise in comedic situations over the span of three minute episodes. Find more at the official BanG Dream YouTube channel.

 

This week’s episode of Garupa PICO leaned fully into the death meme surrounding the show, leading us through a full fledged “murder” mystery. After Afterglow drummer, (and official best girl,) Tomoe Udagawa, is found unconscious, it’s up to her younger sister Ako to solve the case.

Except as usual with Pico, everyone is wildly incompetent, which is played up for maximum comedic effect. Ako’s investigation consists of accusing people of being the culprit, then letting them off the hook what they say they didn’t do it. Of course, this is after letting one of the suspects go simply because “she has rehearsal” as Ran disappeared into the snowy night.

The big twist at the end was that Ako’s companion and band mate, Rinko, was the culprit all along. But why did she systematically pick off each of the girls in the house? Who knows? We only have three minutes to fill, including the end credits!

In the end, it turns out that this incident all turned out to be Ako’s idea for a musical despite the lack of music, resetting everything to the status quo. But if we count this episode, the entire cast outside of four members of Roselia and two members of Afterglow have been incapacitated in some way. Let’s see who gets by unscathed as we approach the presumed finale.

Episode thoughts:

– Ran really didn’t seem to care too much about her childhood friend being attacked, did she?

– For someone who was just “unconscious,” suddenly placing a sheet over Tomoe’s body didn’t make their claim any more convincing.

– Ako and Rinko channeling their inner Master Betty with their sudden outfit changes.

– Kasumi, Eve and Marina join Michelle as characters who have died more than once throughout the course of the show.

– Rinko’s outfit reminds me that the Worldwide server of the game is still so far away from the MMORPG event.

BanG Dream: Girls Band Party PICO is a weekly gag anime placing the cast of the multimedia franchise in comedic situations over the span of three minute episodes. Find more at the official BanG Dream YouTube channel.

When Jason Trost released The FP back in 2011, I don’t think anyone could have predicted the influence it would have on some people. Some fans made life-long commitments with The FP tattoos (Like Geekscape’s own Frank Sanders), some made life-long commitments with marriage (more on that later), and many allowed the film’s dialogue to become part of their every day vernacular. I know I’ve often ask someone “What are you being for Halloween this year? A Bitch!?” and for that I’ll always be appreciative of Jason “J-Tro” Trost.

Not pictured: Frank’s awesome The FP tattoo

I was thrilled when I looked at the films playing this year’s Fantastic Fest and saw FP2: Beats of Rage would be screened.  It played midnight Saturday for a rowdy crowd of fans and a newlywed couple (seriously listen to the interview at the bottom of this page for more information on this). The Alamo has a strict no-talking rule – with one exception, because if you’re watching the FP2: Beats of Rage and you’re not chanting J-TRO and yelling about at the screen… you’re not doing it right.

So is it good? It is. Is it better than the original? For me not quite, but it’s still damn good. It’s also worth noting that this was my only watch of FP2: Beats of Rage so far, while my love of the original grew with more viewings. I have a strong feeling that FP2 will also be a grower.

The film takes place a few years after the original FP ends, J-Tro is alone again, isolated from his friends, mostly spending his time in a garage fixing old technologies like a Bop-It (not to be confused with Skip-It) and stealing alcohol to get drunk in a drainage pipe. When his former trainer BLT is 187ed by AK-47 of the Wastelands, JTRO must go on a journey to his birthplace to compete in the ancient Beat-Beat tournament Beats of Rage.

While the original film took its comedic beats by very seriously paying homage to films like Rocky IV and Rambo: First Blood Part II despite the outrageous subject matter; Trost does more of the same here, but this time parodying the outrageous sequels like Temple of Doom, Beyond Thunderdome and just a slight dabble of Krull. It allows the film to not just be a carbon copy of the original and is a giant breathe of fresh air for the budding franchise.

During the Q&A following the screening, Trost promised that Part 3 will be on the horizon. Until then I eagerly await the next installment. Learn more about the movie and the newlyweds that attended the screening by checking out the interview below, and be on the lookout for more Fantastic Fest coverage!

Fantastic Fest 2018 had a lot of movies vying for your attention, but LadyWorld was the only thing at Fantastic Fest that I could call an experience.

Amanda Kramer’s directorial debut is a brave and challenging attack on the audience’s psyche. She knows that she’s created a divisive movie and she’s damn proud of it – and she should be.

LadyWorld tells the story of 8 teenage girls who survive an off-screen earthquake. The title sequence is a black screen with actresses names appearing in small font in the corners while we hear the Earthquake happening. It’s impressive something so minimal can be so effective in setting a tone and building dread before a single shot of the film has been shown.

https://youtu.be/1lVrGz8rX3c

The eight girls, now trapped underground in a house start their survival game which quickly devolves into Lord of the Flies. No character is specifically good or bad but some are more bratty or cruel than others. Some characters start off likable but time and lack of food make them crazier and meaner, while others attempt to hold the moral high ground.

It’s simply incredible that Amanda Kramer managed to get such powerful and real performances out of the young cast. Each actress is absolutely fearless in their performance and all have the potential to be up and coming superstars in the future. That being said, the true star of LadyWorld has to be its sound design.

Throughout the movie, off in the distance you just hear constant rumbling that grows a feeling of doom and gloom as the film builds. On top of that the soundtrack is entirely acapella, and is scattered with sighs, yells, and vocal harmonies layered onto each other and other noises. While I doubt it was a direct influence, the soundtrack reminded me of the bizarre soundtrack Pino Donaggio did for the 1979 slasher film Tourist Trap.

Amanda Kramer has leaped to the top of my directors to follow list. I can not wait to see what she brings to us with her sophomore film.

At Fantastic Fest I had the opportunity to talk to Kramer about life, people and of course the movie LadyWorld. Give it a listen right here, and be on the lookout for more Fantastic Fest 2018 coverage.

Camp owner Sam (Fran Kranz) wakes up in the middle of the woods to discover someone has butchered his counselors. He runs to a cabin and immediately calls his best friend Chuck (Alyson Hannigan), a comic shop employee and horror buff. Originally intending to get advice on how to survive the night, soon Sam is seeking Chuck’s help to jog his memory and make that sure he’s not the person who committed these violent acts.

I didn’t know what to expect when I sat in a theater at 12:50pm on Friday. All that I knew about You Might Be The Killer was what the three sentences on Fantastic Fest’s website told me, and it sounded like it could be right up my alley.

What I got was my favorite horror film in years.

When you’re a horror fan, you tend to have specific sub-genres you consider yourself an expert in. For me, it’s slasher movies – I don’t think there’s a slasher film in existence that I haven’t watched. I blame this on Scream being my first real horror movie, it lit a fire in me that I didn’t even know was waiting to be sparked. I rented every slasher film I could get my hands on, I bought every slasher movie documentary released, and I read countless textbooks on the genre. It’s obvious that You Might Be The Killer director Brett Simmons did the same.

There is a beautiful visual style scattered throughout this movie that highlights the two sides of the film. Our two leads are shot in starkly different places; whenever you see Sam or the camp it’s always in a grainy style. It looks exactly like the 1980’s VHS tapes you and your friends used to watch at sleepovers. With the exception of some flashbacks, Sam’s scenes are all masked in darkness and dim lighting. Chuck, however, being separated from the craziness of the camp massacre in a brightly lit comic book shop full of lively and chatty characters. The picture is of a modern HD quality that you’re used to seeing.

This is because we are Chuck. We’re in the modern day listening in on Sam’s experience and how it brings back the 80’s nostalgia we all harbor.

You Might Be the Killer is a film that would fit in with modern meta-horror films like Final Girls and Behind the Mask: The Rise of Leslie Vernon but also would not be out of place being marathoned along side classics like Friday the 13th Part 5: A New Beginning, Sleepaway Camp or the still painfully under-appreciated There’s Nothing Out There.

Sorry Hereditary, A Quiet Place and Suspiria… this is my favorite horror film of 2018.

At Fantastic Fest I was lucky enough to get to sit with director Brett Simmons and Producers Thomas P Vitale and Griff Furst. We sat outside an ice cream parlor talking about our favorite horror films and how this film was inspired by a twitter conversation between two famous comic writers during an unreasonably windy Saturday in Austin. Enjoy, and stay tuned for more Fantastic Fest coverage!

One of the most talked about films coming out of Fantastic Fest this year is CAM, and for good reason — it’s… well, fantastic.

CAM tells the story of Alice (Madeline Brewer), a talented camgirl climbing the ranks of online popularity under her alias Lola. After breaking into the top 50 performers on her site of choice, something strange happens – she can no longer log into her account, but a doppelganger is constantly live on her channel. The set looks identical, she looks identical, but this imposter (Lola2) is willing to go to extreme levels that Alice would never approach.

This well-paced mystery has a script lovingly written by Isa Mazzei (a former camgirl herself), which blends elements of drama, horror, and comedy to create one of the most compelling leads in horror history. It manages to handle the subject matter in a sincere way that never sexualizes any of the female leads. More importantly, the script also never vilifies these characters. In the hands of a less passionate writer this film could have easily become a morality tale, however Mazzei and director/cowriter Daniel Goldhaber stuck to their guns and the film is far better off for it.

It’s impossible not to talk about the incredible performance from Madeline Brewer. She may be familiar to fans of Orange is the New Black, Hemlock Grove and The Handmaid’s Tale, but her ability to juggle the multiple layers of Alice/Lola/Lola2 has made her destined to be the horror community’s new favorite leading lady. Brewer’s ability to disturb us as the scarily emotion-free Lola2 while winning our hearts as the lovable Alice is a feat few others could do. It’s through this performance that Alice becomes the most likable survivor girl since Heather Langenkamp’s Nancy Thompson.

CAM is a film the horror community didn’t know it needed. Look for it when it goes live on Netflix this November!

At Fantastic Fest, I had an opportunity to chat with CAM director Daniel Goldhaber, writer Isa Mazzei and actress Madeline Brewer. Listen below!

After watching A24‘s own Hereditary, I was salivating for more horror films from this independent production company. Then, Slice pops up on my Vudu and bam; I rent it after giving the trailer a view. The film’s poster made it look like an odd throwback to those Friday nights at the video store, picking a movie from the art alone. It’s got pizza, a fun font, and a werewolf on the cover, sold. Let’s see what first time director and writer Austin Vesely delivers.

The story is crowded with characters and sub-plots so hold on while we fly through them. The fictional town of Kingfisher is a world where ghosts walk among us (and have their own section of town), werewolves ride motorcycles, and other forms of magic live. When a pizza delivery driver is murdered, the cops are looking for someone to blame. Why not a ghost or a werewolf?

Mayor Tracy, played by a wonderfully wacky Chris Parnell does his best to work with the police, the press, and an odd cult led by an unnerving Vera Marcus (Marilyn Dodds Frank) to keep the town whole. Tracy paints some interesting objects in his office that gave me a good chuckle.

The now undead pizza delivery driver (played by Vesely, the director/writer) works for an outlandish pizza joint called Perfect Pizza. Paul Scheer (How Did This Get Made, The League) plays Jack, the manager, and stumbles to keep the place running after the murder. But Astrid (Zazie Beetz) puts her delivery jacket back on to help the crew of Heather (Catherine Cunningham), Joe the wise ghost (Lakin Valdez), and Scooter (Rudy Galvan) keep the pies flying out the door.

A smart but young reporter named Sadie (Rae Gray) suspects something odd is going on with the cult protesting outside the strip mall where Perfect Pizza is located. Sadie and her photographer, Jackson, (Joe Keery of Stranger Things) work together and try to figure out the secret of who the towns serial killer is.

Lastly, there’s a detective named Mike (Tim Decker) that is hell-bent on blaming Dax (Chance the Rapper) for the murders that have started. The grudge goes back many years to a previous case detective Mike swears Dax was the killer in, but of course wasn’t.

Slice jams a lot of story in 83 minutes. Most of the time I got lost on who was doing what and why. Slice had fun characters, but had too many moving parts to absorb. The film has some cheesy/funny moments that would play well with friends and some beers. Austin Vesely gives you a decent starter flick for the Halloween season, but falls flat because of the bloated plot.

Slice Needs More and Less of:

Slice needs more of Y’lan Noel. His character Big Cheese was delightfully weird and over the top. Sadly Noel’s scenes only last a few minutes and end far too quickly.

Slice needs fewer side stories, sometimes less is better. Also, Chance the Rapper’s Halloween store makeup he was wearing in his wolf form was wack. I take my werewolf makeup very serious, and this makeup job appeared rushed and unfinished. If your story wraps around a werewolf then that beast better look savage, not like a high school cosplay.

Final Grade: C

Thanks for reading, and check out our podcast Analog Jones and the Temple of Film. We are a VHS Podcast that breaks down the box art, trailers and behind the scenes.

– Stephen M. Bay

I almost don’t even know where to start. Almost.

I’ll start by saying I have not been able to stop talking about Detroit: Become Human. Anyone who will listen, or anyone who doesn’t know what’s coming and simply gets sucked into it (sorry Mom) is hearing me talk about this game. Even before I started playing the game, I was talking about this game…

At least you’re reading this and can decide to check out at any time, but if you want to get at me to talk about it, I’m super interested in hearing what other people have to say about it too! If you’re considering playing it, just STOP reading right now and go get in there, you won’t regret it – or maybe you will, but I’m not your boss, do what you want!

I hope you’re feeling like a princess, because you’re about to get SPOILED. (I was feeling pretty clever when I wrote that). Seriously though, last warning.

Detroit came into my life a year or two ago when Derek (my long-time fiancé and long-time Geekscapist) excitedly showed me a trailer for it. Immediately I was intrigued – it looked absolutely beautiful, and the little taste of story we saw in the trailer seemed so interesting. Then, time moved on and it was totally forgotten until a month or so ago when the game’s free demo came out. Derek had played through it a couple of times and encouraged me to give it a try aswell.

Immediately, starting the demo I was frustrated. It has taken me so long to finally feel like I can kinda use the sticks (you know the ones on the controller that probably have an actual name) to play a game, and here this game decides to use totally different mechanics and I am right back to getting stuck in a corner staring at the wall… seriously. That being said, I got used to it pretty quickly and was able to enjoy the gameplay of the demo, especially with my side-kick sitting beside me patiently (so patiently) explaining how to interpret the symbols and reminding me how to use the controls in this new setting. Once I adapted to the camera angles and flow of the moving mechanisms, I was actually able to sit back and enjoy the cinematic feel of the game as the story unfolded. Between the two of us we each played the demo twice, and without any strategy, got 4 totally different outcomes. Cue more intrigue.

I don’t know the actual amount of time, but pretty quickly after playing the demo Derek was digging into the full game. He was super hyped about it from the moment he saw that original trailer (saying something about enjoying the company’s previous games), and that excitement was only amped up with each new little tidbit of information, so by game time, he was pretty stoked to get in there. I, on the other hand, was interested enough to catch 10 minutes here and there of his gameplay, without any real intention of playing myself. It definitely seemed like an interesting premise, but who has time to play a whole game? Turns out the answer is me, and probably me again.

It was pretty neat seeing so many recognizable actors in a game.

I somehow managed to catch the final ten minutes of Derek’s playthrough, which was totes cool, cause you want all the spoilers when you’re never gonna play the game but are interested in the story. Little did I know by the next day I would be carefully arranging my afternoon so I had multiple hours to devote to uncovering my own version of this game’s story.

After finishing his playthrough, Derek filled me in a bit on what it was about, and we got into talking about the possibilities of what the future could hold for man and their machines.

Basically, the story is set in 2038, in Detroit obviously. Humans have created Androids, which are essentially robots that look exactly like humans, and are using them to do all of the dirty work (well actually all of the work in general). Androids are used for housekeeping, child rearing, manual labour, security guards, sex workers, personal assistants, military, etc. etc.; this has all been great for the economy blah blah blah… BUT THEN the Androids start to wake up. The Androids are becoming sentient beings, and now there is a whole other kettle of fish to boil! The Androids realize that they are basically slaves, and slowly more and more are becoming ‘deviant’ (self-aware) and are wanting their freedom, and a right to live the life they choose with the people they choose. Just like humans, once self-aware, Androids vary greatly, all with different personalities, priorities, opinions, etc..

Ah that Markus. So dreamy.

The thought of this is terrifying to me personally. Don’t get me wrong, I welcome technology into my life – I am surrounded by Alexa and Siri (who I just asked to define sentient for me, don’t worry we are using it correctly), and my phone is permanently attached to my person. However, I have no desire for Alexa to take human form and strive for her own goals and dreams. No. Thank. You. I’m pretty sure every science fiction movie has it right when they predict that robots will eventually figure out that humans suck and the planet would be better off without us, as would the robots, then BAM we are made extinct. Nope nope nope. How about lets just avoid getting to that place altogether and not make super smarter than us robots, and then we don’t have to worry about Android rights at all?! How about that?

Anyway, so after a lengthy discussion about ethics and morality around the creation/use/control/freedom of hypothetical Androids, I thought to myself if I can literally think and talk about this so extensively, why wouldn’t I want to give this crazy game a go?! So I jumped in there!

I have definitely never played a game quite like this before. You play from the perspective of three different Androids (Kara, Markus, and Connor), and gameplay is broken up into chapters that alternate between the characters, allowing you to follow and develop their storylines simultaneously. The curious beauty of the whole thing is that you really are developing their stories, as every choice you make has an impact on future choices and outcomes throughout their personal journey, thus shaping the overall story of the entire game.

Although each character is an Android, they are all coming from different backgrounds and are facing different challenges:

Kara is a housekeeping/child-rearing Android, who is owned by a drug addict and required to take care of his kid, until she realizes that he has been beating both of them and decides to escape his cruelty and take little Alice with her.

Markus is owned by a kind old man who encourages him to explore the arts and treats him with respect, until the old man dies. Markus is torn apart and has to find himself a new home, while also realizing he is a person, and taking on the task of fighting for Android rights.

Connor is a special investigative Android who has been sent by Cyberlife (the Android making company) to help Lieutenant Hank track down deviants (sentient Androids) and figure out why Androids are becoming deviant in the first place.

Now going into this, knowing how apprehensive I am about artificial intelligence/robots, one may think that I would be all about killing the Androids so they don’t take over the whole dang world… But actually, since we are playing as Androids I was fully on team Android and wanted to do everything I could to make each of these characters successful in achieving what I perceived to be their goals. However, like real life, sometimes things get a little muddy and it is hard to know what the right thing to do is, so you use all of the information available to you and your judgement and try your best. Sometimes this works out and is helpful, sometimes you totally fuck up the very goal you were trying to accomplish.

Some of the biggest take-aways I got from this game were: I am a people pleaser and I struggle desperately with FOMO (Fear Of Missing Out).

I went through most of the game trying to find a way to please everyone around each character, which is particularly difficult when all the characters around you are specifically meant to be on opposing sides of every argument and you have to choose between them, inevitably building trust and friendship with some people, and making others absolutely hate you. This was particularly difficult with Markus and Connor – I wanted Lieutenant Hank to like Connor, but not at the expense of reaching Connor’s goal, and Hank is particularly hard to read so it was difficult to know what would end up being the wrong thing to say! Markus on the other hand had the option to be pacifist or violent, so I leaned toward pacifist, which was great with the exception of the fact that his potential love interest was a violent person, and I desperately wanted to have them love each other (or at least not be hostile) but not at the expense of starting war with the humans. Such conundrums!

I really like the way the game is set up to guide you through the story. I played on the easier mode, and am not totally sure what the other mode would have been like, but in the mode I played there were many little tags showing you what you could interact with, and drawing your attention to things that were important to look at. It also literally showed you which button you needed to press and how you needed to press it every time you were required to do something other than walk. In this way it really took on a cinematic, choose your own adventure feel, as it didn’t require so much skill, but more engagement to choose how the story plays out. This can be kinda irritating when it feels like you are literally just pushing a button every once in a while so that the game isn’t just one long cut scene. Sometimes I found myself wishing it was just a show I could watch so I could get the story without the stress and time of being involved. But mostly I was super into it, and really enjoyed watching the story unfold as I prompted it along.

Every chapter has multiple points in which you are required to make choices, either by choosing an action or choosing who to talk to, or what to say, or how to handle a situation. Now I’m sure this isn’t a new concept, but it was certainly new to me. Not that I’ve never made a choice in a video game before, but I have never been so keenly aware of the impact my choices are making. Every chapter has a flowchart associated with it, and this flowchart shows you where you’ve made choices and how that choices leads to another action/choice/scenario, and so on. This flow chart not only shows you what you have chosen, but also shows you the blank paths that you could have gone down without giving you any indication of what that path would have meant. HOLY EFF what an EFFECTIVE way to get you engaged in a game.

That flowchart tho.

This immediately kicked in my FOMO. At the end of the first chapter I took a good look at the flowchart and was immediately fascinated and horrified. There were so many things that were apparently right in front of me that I hadn’t seen/looked at/talked to. Which meant that some paths were cut off to me without me even being aware. Later on you discover that so many of your decisions impact what options are open to you and what path you are on in future chapters, and unless you unlocked that path, you NEVER know what you missed that stopped you from having these options in the future. What a mindfuck! The beauty of this whole scheme is that when you are playing you are never aware that you are missing anything or that it is possible for the story to have gone any other way!

Once, when playing as Connor I was chasing these two Androids and trying to stop them from escaping so that I could get more information from them. But they attacked me and Hank, and in the end I had to make a split second decision to shoot one of them or let her get away. My feeling at the time was that this person was a danger and I was unsure what the consequences of her getting away would be to Connors end goal, so I shot her. Weeeeeell, this happened to be a moment when Derek walked into the room, only to be horrified at my decision making. It turns out that when playing he had let her go and then she had become helpful (after telling some SOB story about being in love), meanwhile I just straight up killed her and then her lover killed herself too and I was at a dead-end. If Derek hadn’t have rolled in I would have thought this seemed like the only reasonable option in the fast-paced-moment. And I am sure that the split second decision there had impacts on Connor’s outcomes later on down the road. This is just a small example of the decision making and repercussions, and the things is, this shit happens throughout the whole damn game!

A lot of the time I feel like like I’m choosing based on my instinct and how I think I want it to play out. Sometimes that’s a guessing game and it doesn’t work out at all, but it would be so uncomfortable to go totally against my people-pleasing-trying-to-be-the-good-guy ways. Sometimes I am just genuinely getting messed up, because why does Playstation have to have symbols on their buttons instead of letters like everyone else?!?! Just WHY?? Like I appreciate you telling me its time to hit the square button, but where the eff is the square button, oh just kidding someone’s dead already. And sometimes when you have to choose fast there is just so much pressure and then you can’t go back and change your mind, and your stuck on this danged path you stumbled into.

Where is the X button!?

It must have been so much work to make this game. The graphics are beautiful, especially that handsome Markus (Grey’s Anatomy guy aka Jesse Williams) with his different coloured eyes! Though sometimes I felt like things were a little unrealistic looking, I think I’m just getting spoiled as I never played games in the old days when Lara Croft had triangle boobs. Also, they would have had to do the story writing and animations for so freaking many combinations of story outcomes. So. Freaking. Many. How can a game be so vastly different in so many ways!? I can’t even imagine how many actors recorded so many lines of dialog that most players will never even hear. I feel like I literally played an entirely different game than Derek did, and I can’t wait to hear how the story played out for some of the other Geekscapists!

In the end… I failed miserably.

I had watched the moments of glory when Derek’s Androids were lead to victory at the end of his story. Meanwhile in the last ten minutes of my game literally all of my main characters were killed and the humans obliterated the Androids with hardly any resistance.

Yeah… Things fell apart pretty quickly.

Of course, I have gone back to the middle of the game and am trying to make different choices to get a different (and less bleak) outcome. **Fingers Crossed**

Like I said, I love talking about Detroit: Become Human. I love talking about it so much that I’ll be joining in on a special Geekscape Games discussion about the title and what all of the hosts thought of it, so be sure to look for that in the coming days!

I’m not big on open world games.

I’ve said it many, many times on the Geekscape Games Podcast (as well as in my written work over the past six years), but it takes a truly special open world experience to hold my interest and to keep me motivated through the vast quantity of hours required to realize all that these gigantic worlds have to offer.

Very few games in the genre have gripped me over the years; Vampire: The Masquerade – Bloodlines, Fallout 3, Skyrim, Grand Theft Auto 5, The Witcher 3, Red Dead Redemption, and The Legend of Zelda: Breath of the Wild are the only really memorable titles that come to mind (and it’s a little tough to compare a series like State of Decay to some of the games in that list). Typically I’ll play through the opening missions or until the game really opens up before I get bored or overwhelmed, and simply… never play the game again.

I had a brief affair with the first State of Decay shortly after the Year One Survival Edition released for Xbox One. I played the game for somewhere between seven and ten hours, and thoroughly enjoyed much of my (albeit short) time with it. I quickly became invested in the storyline for Marcus, who returned from a weekend fishing trip to find out that the world had ended and that the undead had taken over. I jumped in and out of State of Decay here and there, and while I enjoyed the aspect of needing to ensure that your small (but growing) community had the resources that it needed to be successful, it absolutely infuriated me that those necessary resources continued to deplete (at a slower rate) while you weren’t even playing. I typically play games in fairly short sessions, and I simply felt like each and every time I tried to jump into State of Decay, I’d have just enough time to stop my settlement from imploding before I’d need to stop again — I rarely felt a sense of progress, and eventually lost my motivation to continue altogether.

Last week I began playing State of Decay 2, and holy hell am I motivated to keep playing in this world (even if I’m not always exactly sure why).

‘State of Decay 2’ has some TENSE interactions.

The basic mechanics in State of Decay 2 are fairly simple. You take control of a group of survivors (a group which will grow or shrink as time goes on, as death is permanent),  simply trying to make the most out of what’s left. You’ll quickly fill your extremely limited inventory as you search the world for weapons, food, home improvements, and other supplies (you’ll need to collect these things to keep your settlement running as efficiently as possible, and to help with the morale of your community), and will meet other groups that may help or hinder you along the way. Each character has their own backstory,  personal journey, and set of missions to keep you motivated (this mostly works, as certain storylines can feel like a bit of a chore to get through) and as it turns out, you’ll also need to switch characters often: play as the same survivor for too long and fatigue will set in, severely limiting your ability to run, fight, or do much of anything until that survivor has had an appropriate amount of rest. The game frequently feels like a balancing act, and in perfect fashion every choice you make will positively affect your life in some way, while being debilitating in another — these tough moments of choice and consequence are the times that State of Decay 2 shines the brightest, and some of the choices I’ve made have stuck with me long after I shut the game off for the day.

Unlike in the first game (which was set near the beginning of the zombie apocalypse), you begin State of Decay 2 by choosing a duo of survivors who are picking for scraps at an abandoned military encampment some eighteen months after the fall of humanity. While scavenging for supplies, you meet a few other like-minded survivors, and with that, your ragtag community is born. Your group chooses to migrate to one of three towns (each map is approximately the size of the first game, and at some point in your journey you may even want to move on to the next map as you strip the world of resources), and here your adventure begins.

Naturally, it doesn’t take long before a member of the community is bitten and infected, and here we’re introduced to one of the coolest (and most stressful) new mechanics in State of Decay 2 – the ‘Blood Plague’. Sure, there are a lot (a lot) of undead in this world, but there are also a myriad of even creepier, bloodier zombies that can wreak absolute havoc on your survivors if you’re not careful. Blood Plague zombies have glowing red eyes and are fittingly drenched in blood, and if they successfully attack you, a meter will begin to fill with each subsequent strike. Once the meter is full, that survivor contracts the Blood Plague, and is pretty much dead meat unless you can quickly find a cure (created from blood samples from numerous Blood Plague zombies).

Screamers will give you nightmares.

Along with Blood Plague zombies, you’ll also encounter a number of ‘Plague Hearts’ while you’re out scavenging the world. These are gross looking, apparently smelly (based on your survivor’s observations), gory, stationary objects that spew poison, and that need to be destroyed in order to keep the Blood Plague at bay. Taking down a Plague Heart marks quite the challenge, as they can take some time to destroy (fire and explosives work better than regular attacks), and a huge quantity of Blood Plague zombies will spawn as you begin to attack it. Somehow, all of the Plague Hearts on the map are connected, and destroying one will make every Plague Heart that still exists even stronger, meaning you’ll need to bring along better skills, stronger weapons, and likely help for each subsequent Heart that you try to destroy.

As for that aforementioned help, State of Decay 2 brings an exciting new option for taking on this tough, tough world. Sure, you can enlist survivors from your group or spend your precious Influence (the game’s currency, which can be used to trade with other survivors you find in the world, to move to a bigger, better home base, or to help find resources in a pinch, for example) to hire help from neighbouring NPC groups, but this time around you’ll also be able to enlist up to three real world friends (or random people that you find on the internet) to join your game. This co-op mode sounds fun as hell (the game hasn’t launched yet, so I haven’t actually been able to give co-op a shot), but is also fairly limited. Join a friend’s game and you’ll be able to progress your survivor’s stats (shoot to get better at shooting, sprint to get better at cardio, etc), earn Influence, and collect consumables, but you won’t be able to interact with NPC’s or collect more substantial resources like rucksacks or modifications for your home base. Still, the ability to drop in and drop out without much consequence should make for some fun evenings, and it encourages you to play together regardless of your current progress in your own game. I’m in.

Surviving is more fun with friends (I hope).

I mentioned earlier that I hated managing community resources (food, medicine, ammo, etc) in the first game, almost exclusively because they continued to deplete even when you weren’t playing, and I was beyond relieved to learn that this wasn’t the case in State of Decay 2. There’s no Animal Crossing shit here – when you’re not playing, neither is the game, and you’ll return to your world in the exact state that you left it, and can get right back to whatever you were doing when you stopped playing, saving you a ton of time, a ton of resources, and a ton of frustration.

Speaking of frustration, State of Decay 2 in its current form may mark one of the most outwardly buggy experiences that I’ve ever had playing a video game. From odd white flickering lines when driving at night, to zombies frequently falling right out of the sky, to  open doors that don’t register that they’re open, to being unable to clear an infestation as a zombie is stuck in a wall, you’ll likely encounter all of these within your first few hours of playing the game. On one instance, my mission was to help another survivor (and potential recruit) clear the zombies from a gas station – those zombies simply never spawned until I quit and reloaded the game. In another instance, I was completing a tougher mission in a far corner of the map, ‘Freaks’ (special, more powerful zombies like Bloaters, Screamers, Juggernauts, and Ferals) were all over the place, and a Plague Heart was just next door. I found the person (a fugitive) that I was looking for, helped him find an item that they needed to find to prove their innocence (all of this being far harder than expected due to my survivor being absolutely exhausted), and all that was left was to help them get back to their community for a fair trial. We snuck back to my vehicle, and when I tried to get in I realized that my character could no longer stand up from his crouching position or interact with anything in the environment. I tried everything that I could (slowly scrambling to a nearby ladder, performing emotes that required standing), but eventually had to quit and reload the game. Once the game loaded again, I was in the same location, but the mission was no longer active and I haven’t seen it since. Super frustrating.

I never did get to kill him (or several others like him that I’ve encountered since).

Yeah… These guys are everywhere.

Aside from these occasional frustrations, I’m having a total blast with State of Decay 2. The game is addicting as hell, and while playing I’ll constantly think to myself “just one more supply run,” over and over and over again – you can pretty much never stop playing until you’re about to pass out from exhaustion (mirroring just how tough things can get in the game if you don’t let your survivors rest).

At times it can be unclear just what you should be focussing on next, but I suppose that’s just in the true open world nature of the game – focus on what you think is important, the supplies you need the most, or the thing that will make the biggest difference in your group. Early on in the game I came across a huge potential home base that would cost quite a bit of influence to obtain, so I spent the next few hours barely getting by, constantly running low on ammo, and breaking a ton of weapons (I didn’t spend the influence to build a workshop, which can help you repair damaged weapons and craft additional ammunition). Eventually I had the resources to make the move, and it was quickly clear that the few hours of struggle was more than worth the wait. I also had an instance early in the game where I’d received word of a group of traders with some powerful weapons who were charging far more for them than was fair. I tried to get them to make their prices more reasonable (because everyone left alive in this world deserves to feel at least somewhat safe), and they simply told me to screw off. Here, I had the choice to leave them be, continuing to gouge prices for their weapons, or to threaten to take matters into my own hands if they weren’t more fair going forward. I began to leave the establishment before thinking “I don’t think that they’ll actually attack me this early on in the game,” and turned around to persist in my demands. The group became hostile and began to open fire, and I was forced to kill the group in order to survive myself. The missions in State of Decay 2 can occasionally feel like they exist simply to give you tasks to fill your day, but there’s also the inverse, where missions like I’ve just described and the choices that you’ve made within them, will stick with you long after they’ve been completed.

The game looks and sounds fine, but it’d be hard to call it very pretty after so recently experiencing titles like Sea of Thieves (read my review here) or God of WarState of Decay 2 is a budget-priced title from a small developer, and while every aspect of its presentation has improved significantly from the first game (and its Xbox One / PC special edition), it’s simply not going to win any awards for its looks. That said, I’ve been playing on an Xbox One X, and have definitely appreciated the game’s 4K resolution and HDR support, The lighting can often be fairly striking, and as the sun sets each day it’s tough not to look at the horizon or up at the gorgeous starscape. Sound wise, the zombies sound gross, the guns sound loud (sometimes teeth-clenchingly so, like when you know you’ve just summoned a nearby horde), and the soundtrack is tense and not overused. Voice acting is another story, and while much of the game is not voice acted due to the procedural generation of many characters, when it is present you… well, pretty much just wish it wasn’t. It’s not good.

Overall, for all of the small (and occasionally larger) issues that I’ve had so far, many of which I’d imagine we’ll see taken care of in patches after launch, I am unbelievably addicted to State of Decay 2. I’m beyond excited to jump into a friend’s world once the game launches next week in order to learn just how much we can help (or hinder) one another, and with so much still to explore in this expansive world, I know there are still a myriad of memories to be made. Undead Labs has crafted a smart action survival game with a lot to love – I just hope that sooner or later the technical issues can be resolved so that the only reason you’re swearing at State of Decay 2 is because of tough zombies or your poor decisions.

State of Decay 2 shambles its way to a 3.75/5.

tl;dr

+Expansive, interesting world
+Massive improvements to the first game’s mechanics, did away with some systems that were poorly received.
+Fatigue system can make things very tense (good tense)
+Your actions (or lack of) actually feel important

-So. Many. Bugs.
-Not very pretty
-Poor voice acting
-Tutorial doesn’t provide enough explanation for some mechanics, leaving you feeling like an idiot when you realize them hours later (here’s looking at you, transferring contents from your vehicle to your supply locker)

Side note: Back in January, Microsoft noted that all future Microsoft Studios published titles would hit their inexpensive Game Pass service on the day they release. This, of course, includes future games in the HaloGears of War, and Crackdown series’, and it also included Sea of Thieves (review here) day and date with its launch back in March. As I mentioned above, I’ve (mostly) been having a blast with State of Decay 2 so far, but if you didn’t enjoy the first game, or you’re just not sure if an open world zombie survival title is the game for you, you can simply sign up for a free Game Pass trial and make up your own damned mind!

State of Decay 2 is also an Xbox Play Anywhere title, which means your digital purchase (or Game Pass subscription) lets you play the game across your Xbox One or Windows 10 PC. My fiancé and I have been using this feature to play Sea of Thieves together, and if my computer will run it, we might do the same thing here!

SXSW is known for launching world premieres, yet they reserve special places for 14 carefully chosen Sundance Film Festival selections for their annual lineup. And it was clear from the moment the crowd erupted as its title flashed on the screen and the credits rolled, that none of the other 13 films would make as big of a splash at SXSW as Carlos Lopez Estrada’s pulsating and original new drama, Blindspotting. Timely, innovative and remarkably poignant, Blindspotting is exactly the film that this country needs at this precise moment in time.

Estrada transports us into the life of Collin (Daveed Diggs), a convicted felon with only days remaining on his probation before he becomes a free man. Collin works alongside his best friend Miles (Rafael Casal) at his ex-girlfriend’s moving company, and he witnesses a police officer kill a fleeing black man on his way home from work one evening. He struggles to shake the memory as his clock to freedom continues to wind down, and he also finds difficulty trying to walk the straight and narrow on the streets of Oakland, where gentrification is running rampant and the local law enforcement view boys from the hood solely as volatile threats

Placing countless societal issues, racial misconceptions and human introspection all under one single microscope, the collaborative trio of Estrada, Diggs and Casal help deliver the most important film of the year. Blindspotting will do for a generation of youth what Spike Lee’s Do The Right Thing did for mine. The film touches deeply on sensitive hot button topics, which will assuredly alienate select audiences, but sparking any conversation whatsoever is a step in the direction of progress. And that’s what Blindspotting champions, progress. Openly reflecting on its own title as a systemic reminder that we inherently see the perspective of reality we choose to see in any given person or situation, perfection is not realistic but progress is always attainable. Perhaps most astonishing is the film’s unique ability to place you in the mind-frame of its African American lead. While I’m not suggesting that I fully comprehend what it’s like to be a person of color in today’s America, Blindspotting forces you to question and second guess every decision made by Collin, as if any given choice will be the one that ultimately leads to his demise. It’s eye opening, it’s enthralling and it’s absolutely heartbreaking, all executed with dramatic precision and an onslaught of riotous humor that never lets up. Carlos Lopez Estrada provides sharp direction, dwarfing the stereotypical debut feature by incorporating phenomenal camerawork and vivid imagery that will forever be tattooed in your memory. And Blindspotting wouldn’t be as wonderfully poetic as it is without lead acting talent and co-writers, Daveed Diggs and Rafael Casal, who push the envelope creatively and have it pay off in huge dividends when all is said and done. Blindspotting isn’t only the best film at this year’s SXSW festival, it will stand as one of the finest films of 2018, period.

GRADE: 4.5/5

For other reviews, trailers and movie lists, visit MCDAVE’s host site

I identify as a Christian. It’s very important that I stress this upfront because I do not want this review to sound like I’m bashing Christianity before I write another word. The story of Ted DiBiase’s redemption is a beautiful story and I hope to one day hear it told in a better way.

I identify as a Christian, but I also identify as a storyteller.

Simply put The Price of Fame is a poorly told story, which is a shame because it’s a very good story.

Above everything else, The Price of Fame is a tale about God and Christianity. It doesn’t shy away from this – the problem is that it sacrifices story to stress its message. This is a problem that I see almost any time that I watch a Christian film.

Ted DiBiase was (and will always be) one of the greatest heels in wrestling. The Million Dollar Man was so cruel and pompous that it became extremely easy to despise him (specifically when you were a kid). As an adult seeing the wizard behind the curtain, it’d be pretty much impossible not to love him as well. Few people were better at living the gimmick (for better or worse) and the art of method acting bleeds itself into every moment of DiBiase’s life on or off the camera.

All of this lead to DiBiase living a life full of sin. The sorrow of losing his father when he was 15 (his famous father Iron Mike DiBaise died of a heart attack in the ring) and a sudden wrestling explosion in 1987 lead to a life of drugs, alcohol and sex. All of this while he had a wife and three boys back at home.

The film is less about DiBiase’s wrestling career and more about his family life now that he’s found God and how that change in him extended to many of his friends (including but not limited to George “The Animal” Steele and Shawn Michaels). This is where the problem in the film’s pace occurs.

When there are wrestlers on screen, it’s beautiful and it’s real and it’s touching. Hearing the testimonies of these men are powerful and they set a beautiful tone. Shawn Michael’s story is particularly compelling. This is no surprise as Shawn Michaels is one of the most genuine voices in professional wrestling.

The problem is that these moments of real sincerity are broken by moments with the DiBiase family. It’d be unfair to say the moments feel insincere, because I believe the emotions and stories are genuine, but they feel like re-enactments of moments that already happened. It’s specifically rough with Ted DiBaise Jr. and his younger brother Brett. Ted over-acts his emotions, Brett suddenly changes from anger to forgiveness in a matter of minutes – it all just feels like a bad reality show.

Unfortunately, Ted Jr. is our guide for most of the movie, so these moments are far more frequent than any interview with the wrestlers. There are regular moments where Ted Jr. will sit down with someone and interview them and these moments will be followed with a talking head segment of Ted Jr. summarizing the interview we just saw with no real new information.

This is a documentary about redemption and it reminds us of this every step of the way. This is the ultimate flaw of the storytelling. Whenever it breaks down Ted’s debauchery in the 80’s, it immediately reminds us that he’s a changed man. It robs the documentary of any real pay off.

If I could re-edit this movie, I would tell DiBiase’s story. Linger on the drugs, linger on the back-stage stories, linger on the affairs… make that audience feel that feeling of complete and utter hopelessness and then from there build up the way the God changed and transformed his life.

Instead we end up with a film that wants to preach redemption without ever connecting with its audience in a genuine way. The screening I attended concluded with a 15 minute conversation between Ted DiBaise and Shawn Michaels which only further highlighted what this film could have been. Their conversation was interesting and charming and fun, while still being able to tab into both men’s perspective and feelings on faith.

I did not hate this movie, in fact there are things I very much loved. DiBaise standing at his father’s grave having a late night conversation specifically sticks out in my mind as a truly genuine and powerful moment. The film was simply not the movie that I wanted to see. I wanted a film about the dark side of wrestling and one man’s redemption from all of it. Instead I got a 90 minute sermon wrapped in a family drama that occasionally mentioned wrestling.

If you are a Christian, you will love everything this movie has to say. If you’re an atheist, this movie will not be converting you. If you’re a wrestling fan this film will leave you wanting more.

Maybe I’m just salty because my all time favorite wrestler I.R.S. (DiBaise’s old tag partner) never appears in any form outside of archival footage. Absolute travesty.

Reviewed On: Xbox One
Also Available For: Nintendo Switch, PS4, AppleTV (4th Gen), PC, Mac, Amazon Fire TV, Android

MSRP: $24.99

Review Copy Provided By Publisher 

The Jackbox Party Pack 4 is the 4th installment in what has become the yearly Jackbox series. This time around, Jackbox Games has brought only 1 familiar game, and 4 brand new ones revealed over the course of this summer, and while they all aren’t perfect, There are still plenty of great laughs and moments to be had with the game 4 iterations in.

Fibbage 3 is the first and only returning veteran game this time around. Nothing has changed other than new questions and the removal of the deFIBrillator.  The best new addition to Fibbage 3 comes in a new mode titled Fibbage: Enough About You. This mode is where you write out truths about yourself and see if you’re closest friends can get them right. It can be incredibly satisfying when you’ve perfectly guessed one of your friends, and even more surprising when you find out things you never knew about them.  

Survive the Internet is the first new game of the pack and is also a contender for one of the pack’s best offerings. Players are asked pretty tame and tepid questions about their thoughts on medial and trivial things. Afterwards, those words are given to another player and are told to twist them into something vile and untrue in order to slander their reputation. Much like Quiplash before it, this game is not for the faint of heart, but you’ll find plenty of gut-busting and chuckle-worthy moments that make the game worth coming back to constantly.

Monster Seeking Monster is a mystery dating game where you play the role of a monster in disguise trying to date other monsters. Each of you has a hidden ability that’s only revealed if you are the highest placing player. You must attempt to date and gain hearts for 6 nights while trying to avoid having your ability revealed. It can take at least 1 full game to really understand the game which goes against the easy pick-up-and-play nature of Jackbox, but it can be very rewarding the second time around, as play styles can slightly change depending on which monster you are. The only thing weighing the game down a bit is that the usual 8th spot in the game is exclusively reserved for the audience this time around. It can be fun to watch it choose random pickup lines in hopes of dating someone, but it would have been nice to have an option to turn them off and replace them with a proper 8th person.

The 4th game on the list is Bracketeering, this pack’s answer to Quiplash. Players answer one prompt and duke it out in a tournament sized bracket to see who’s answer is the best. Players can also bet on which answer they think will make it out on top before, and during the start of a new bracket for extra points.The big draw of the game is the ability to play with up to 16 people at once, but sadly this ends up hurting the game in the long run. There are no options to readjust brackets for games with less than 16 people, so the game automatically fills in answers. The computer prompts aren’t especially enticing or fun, and more often than not, just draw the game out too long. There’s also the fact that ties are settled by quickly tapping the answer you want to win. In a group f 16+ this probably wouldn’t be a big problem, but when you have a group of 6-8 people, it can become unbalanced if someone is faster at tapping than others. While a great idea on paper, Bracketeering is ultimately undone by its ambitious scope.  

The 5th and final game is Civic Doodle. In the game, the mayor of Doodle Valley tasks you with drawing murals and pictures of citizens in order to make the town a nicer place. Players will take turns competing against each other as they draw different murals on the same wall. Once a winning mural is chosen, the next players will be tasked to modify or add more to the drawing. once everyone has had 2 turns to draw, everyone must name the mural. Much like Survive the Internet, Civic Doodle is one of the top contenders for this year’s pack. It’s tons of fun seeing odd and hilarious modifications being made to previous paintings. the only downside is that 2 rounds in an 8 player game can drag out just a bit as 8 phases to one round is already a lot. 

Overall, The Jackbox Party Pack 4 is still a great time with friends on or off the internet.  Expanded audience features are nice, such as being able to choose a collective lie for Fibbage 3, but others such as being the only 8th player in Monster Seeking Monster impede on some of the local aspects of the game.

FINAL VERDICT: ★★★★☆ 

We return to the Twilight Realm in the second volume of The Legend of Zelda: Twilight Princess by Akira Himekawa, published by VIZ Media. I loved the first volume and was very excited to get my paws on this one. Volume One left off at a pivotal point in the game, Link’s transformation into a wolf, and I wanted to see what happened next.

TM & © 2017 Nintendo. ZELDA NO DENSETSU TWILIGHT PRINCESS © 2016 Akira HIMEKAWA/SHOGAKUKAN

I think those who have beaten the game that the manga was based on will appreciate the different points of view the manga offers. We get to see certain parts of the story from Zelda’s, Midna’s, and even Ilia’s perspectives. And I know that I have said this in my previous review but I love that Link talks! Through his dialogue, we see more into his backstory and personality. Gamers are used to Link being a silent protagonist and I found this change to be refreshing.

The plot in this volume moves at a steady pace. My single complaint with the previous book was that it took a while to get going, plot-wise. This is no longer an issue, thankfully.

TM & © 2017 Nintendo. ZELDA NO DENSETSU TWILIGHT PRINCESS © 2016 Akira HIMEKAWA/SHOGAKUKAN

Beyond the intriguing story, Twilight Princess excels at its action scenes. It feels like you are playing out a battle in a game. I found myself holding my breath during Link’s fight with Diababa towards the end of the volume!

I can tell that that a lot of care was put into this series’ art. Every page oozes with detail, especially in the backgrounds and character’s clothing. The shading also does a great job of highlighting the contrast between Hyrule and the shadowy Twilight Realm.

TM & © 2017 Nintendo. ZELDA NO DENSETSU TWILIGHT PRINCESS © 2016 Akira HIMEKAWA/SHOGAKUKAN

I am pleased to say that Volume Two of Twilight Princess continues to impress. The art suited the mood perfectly and the story kept me hooked. Like its predecessor, I give The Legend of Zelda: Twilight Princess Volume Two a 5 out of 5. I can’t wait for the story to continue in volume three!

[This review is based on a sample provided by the publisher. All opinions are my own.]

Back in 2015, I reviewed Danganronpa Another Episode: Ultra Despair Girls, a third person shooter that spun off from the point and click adventure games that have been all the rage on the Vita. When I first played it, I adored its creative use of weapons, its creepy atmosphere, and its variety in enemies, with my biggest complaints centering on the camera issues. Having fewer buttons made handling all of the game’s tasks a bit awkward on the handheld, which ultimately held it back from being as great as it could have been. That all changed with the PS4 remaster releasing ahead of the much anticipated Danganronpa V3: Killing Harmony, allowing a wider audience to enjoy this quirky action title with a slew of improvements. After playing through it again on the big screen, it’s clear that Komaru benefited greatly from the jump to Sony’s home console.

Trapped in the devastated Towa City with an army of Monokuma robots out to kill anyone they can find, Komaru Naegi finds herself fighting off the machines with one of the first game’s survivors, (and part time serial killer), Toko Fukawa. In between them and their freedom are the Warriors of Hope, a group of children who are seemingly responsible for the chaos with ties to series antagonist, Junko Enoshima. Part horror movie and part coming of age drama, tying Komaru’s journey of a regular girl in a world of geniuses to the loose ends of the first two games is done masterfully, still serving as an entertaining backdrop to all of the chaos that surrounds you.

As a remaster, my thoughts haven’t changed much regarding the game as a whole compared to the Vita version. Considering how shooters haven’t advanced much since 2015, Ultra Despair Girls still feels incredibly fresh with its unique use of weapons for both combat and puzzle solving. Using your gun to hack, destroy enemy weak points, push Monokuma robots into water and forcing them to dance among other functions are still equal parts fun and hilarious. It’s always nice to see a dark game that manages to retain a sense of humor. Still, long cutscenes reminiscent of its text adventure roots tend to hurt the flow of the action while the game makes it hard to keep track of what you’re missing for all of those completionists out there. With the improvements made to the controls, the PS4 version makes an already easy game slightly easier, meaning it won’t last terribly long from a game play standpoint.

But there are some key improvements that make the game worth checking out a second time, as well as making it a can’t miss game for PS4 owners who never had a Vita to play the original on. As soon as the game gives you control of Komaru, it’s immediately noticeable how much smoother the game runs on the console. The frame rate has received a boost, making moving the camera and exploring Towa City a much more seamless experience. Komaru, the city itself and the enemy character models look much more vibrant this time around, taking advantage of the high definition boost the game received in the upgrade process. But what was probably the original’s most glaring flaw, its awkward controls when trying to both shoot and move, have been improved with the addition of extra shoulder buttons. Now, what was once a clunky, unintuitive movement method that asked the player to make concessions with comfort is much easier to play. Adopting the Resident Evil model of control is always going to come with a certain amount of clunkyness, but it’s minimized to the point where I barely noticed them during my time with the game. However, aiming is still annoyingly slow, which is by design since one of Komaru’s skills during upgrading is her aiming speed. Hey, we can’t win them all…

With Danganronpa 1+2 Reload and Ultra Despair Girls both on the PS4 and the Danganronpa 3 anime available on demand, there’s little reason to miss out on the entire saga before we dive back into this world in Danganronpa V3. But even without that extra incentive, Ultra Despair Girls is a worthy action title that’s worth checking out. Whether its your first time or your next of many trips to Towa City, the game’s small annoyances can’t take away from this creepy, funny, incredibly dark but never dull shooter that always manages to keep things interesting. Whether you consider yourself an Ultimate Gamer or a regular old player, you’d do well to check this game out and see what all the fuss is about. Who knows? Maybe you’ll jump on the V3 hype train with us in the process!

 

Yu-Gi-Oh: Code of the Duelist is finally upon us, and with it, a new generation of the long running card game makes its official arrival.

As mentioned in our Link Strike starter deck overview, the game is changing in huge ways. With new limitations on the Extra Deck, an increased focus on field positioning, and extra support for older cards to help them keep up with the new format, even veteran duelists are going to have to approach the game in a new way.

In addition to the introduction of Link Monsters like Gouki the Great Ogre, who uses the opponent’s Defense Points against them, and Missus Radiant, who supports Earth monsters while pulling them out of the grave, Pendulum, Xyz, Ritual and Synchro monsters all return in the latest expansion. While many old strategies are taking a backseat, that’s not to say some popular archtypes won’t be pulled along for the ride.

Check out our unwrapping video below and see some of these cards yourselves. What cards are you hoping to pull from your sets, and how do you feel about the new format? Be heard in the comment section below!

Every few years, the Yu-Gi-Oh card game gains some sort of new mechanic that’s meant to shake the game up. With Link Summoning however, fundamental rules have been changed to make way for the new type of monster, making positioning on the field much more important.

Check out our video below where we detail all of the new cards in the first Link Summon focused structure deck and go over some of the format changes making their way into the game. What do you think about this new era of dueling? Let us know in the comments!