A young woman named Elizabeth (Marie-Georges Pascal) travels by train to live with her fiancé, the owner of a vineyard. She discovers that the pesticide being sprayed on vineyards is turning people into killer zombies.
(Submitted by his Goon-y Greatness, Mr. Andrew Peters…Thanks, Ho-rror Ho-mie! 🙂 xoxo)
Resident Evil jumped the shark long, long ago past the point that the story lines are convoluted and downright stupid and the characters act like they were born without brain stems, making the most idiotic decisions anything person could ever make all for the sake of moving the story along. Resident Evil: Revelations is the epitome of that.
I think this game is supposed to take place before Resident Evil 5, seeing as Chris and Jill are partners, but I’ll try to sum up the plot of Revelations; So, the game begins with Jill and her new partner, Parker, looking for Chris and his new partner, Jessica, but it turns out Chris and Jessica are looking for Jill and Parker, but neither party knows exactly where the other one is and is always one step behind… and these are the people that are committed to stopping bio-terrorism across the world.
Well, if this is the best and brightest, we’re fucked.
Of course, that crew looks like a bunch of Einstein’s when you compare them to BSAA’s bumbling pair of jackoffs, Keith and Jackass. For real. That guy’s name is Jackass. These two are basically the C-Squad when you know a mission is gonna fail, but you’re obligated to try anyway, you send them. They are so insipid and Jackass’ voice is like nails on a chalkboard. He’s always fumbling, tripping over something and dropping an important item or forgetting it. You have to wonder if it was like Police Academy when they were hired. Were the crime rates too high and the recruitments too low? I know, I’ve been arguing semantics for the last few paragraphs, but I want to impose the question; who is this game (or these multiple games) targeted at? The gore insists that it’s for adults, but the language is toned down and these characters are written to act so it’s slapstick type humor for a younger audience and the plot requires no thinking and a child could figure it out. Even the villains monologue about their evil plans.
This isn’t even going into all the backstabbing and obvious double crosses that you can expect from Resident Evil. Revelations takes place on a cruise ship, which at first admittedly sounds amazing. Zombies and other gross monsters aboard a luxury cruise ship, complete with a casino and swimming pool? Yes, please! This is going to be awesome! But slowly it dawns on you that none of this is actually really all that great. This setting is never used to its full potential. Also as the game progresses, you’ll most likely grow tired of the surrounding seeing as you’ll be backtracking through every section several times.
I enjoyed this game for the first hour, but then I began to notice the repetition and all of the unfavorable survival horror tropes (that began with the later entries in Resident Evil oddly enough), such as the overpowered boss battles, given you mass amounts of resources only to throw you in narrow hallways with far too many enemies (of which there is a very little variety of) just to dwindle down the resources you were just given, running around in circles with no clear direction and facing constant timers instead of allowing the player to explore the environment and become frightened to be in it. In a few words, I dislike Resident Evil: Revelations.
It’s a game that doesn’t fully understand the potential it had. You have a survival horror game that takes place on a cruise ship that offers up plenty of opportunities for scares and the use of claustrophobia, but instead it has you running back and forth doing predictable tasks. Like if you see an elevator, you know it’s not going to work. You’re gonna have to travel back to the other end, do a small, unchallenging puzzle and then travel back only to have something block you along the way. I can’t tell you how many times I saw the setup and groaned loudly. It becomes so tiresome and makes the game feel like a chore when you know what’s coming and you have no desire to play. It’s like taking the garbage bag out from the can and leaving it in the kitchen then going to work. I know I’m gonna have to take that out when I come home, I just don’t want to. The game often pits you against a timer or makes matters seem urgent, forcing you to rush through the areas instead of exploring them and figuring things out for yourself, regardless of the lack of puzzles that have been replaced with fetch quests. Some portions of the game take place under water, too. Yes, the cruise ship is sinking at some point and you’ll be deduced to rushing through areas faster as you don’t want to run out of breath, so once you get certain keys, you better be damn sure to backtrack to all those locked doors and get the goodies inside, because once this thing floods, there’s no going back.
But the two biggest offenders has to be the controls and, as always a problem in Capcom games, the piss poor AI. In the game, you work alongside a partner, but unlike Resident Evil: Revelations 2, you can’t switch and play as your partner to help you advance through a level or even for fun. Enemies will be surrounding you, bosses will be dominating you and your partner may… MAY… pop off a couple shots to help. They mostly stand around and do absolutely nothing. It boggles my mind that even back in 2012 that a game company so revered as Capcom would release a game with terrible AI. Then again, they did make Dead Rising which came out a few years prior and that has some of the worst AI I have ever experienced. The lesser of the two evils is the controls. The game is playable as in you can control it, but something about them doesn’t feel right. They feel a little… clunky, I guess is the word. I would often get hung up on objects, corners and especially on the edge of levels when underwater. Maybe it controlled better on the DS, but I can’t say the same for the PS4.
The one real positive thing I will say about it is that the Raid mode is a lot of fun. Just like with Revelations 2, the Raid mode stands out far better than the actual story mode. You can play Raid mode right from the start, but unfortunately you have to play the story mode to unlock more skins, levels and weapons. However, Resident Evil: Revelations 2 has been out for sometime on current-gen consoles and has a far superior Raid mode that is more refined (especially with the weapon upgrade system… and the game is far more fun), so that even doesn’t make the $20 price tag worth it. In fact, the stories aren’t at all related, so you could easily skip this game and pick up the sequel.
Well, it’s been a long journey, but it’s finally come to end. The Walking Dead: A New Frontier wraps up in its final episode, From The Gallows, and along the way we’ve gotten to know the new protagonist, Javi, quite well. We’ve watched his relationships take shape with all the characters and if you’re like me, I chose for Javi to be caring and thoughtful towards others, especially those in his group. He’s been guiding Gabe on the right path as a father figure, even though for the most part, Gabe has been the prototypical angsty, brooding teenager with daddy issues. By this point, Gabe has actually matured past the point of annoying and is making some wise decisions and most importantly, sticking up for himself against David. I gotta hand it to my parenting skills.
From The Gallows is probably the most emotional and strongest episode of the game or at the very least on par with the first episode, including a moment that could be more emotional than Mariana’s death back in the first episode. Being the conclusion to A New Frontier, while not having the strongest plot in the series, does wrap things up in a more positive light (at least in my playthrough). Yes, no matter how bad things seemed to get in the faces of his adversaries, I never allowed Javi to walk down a dark path or allowed him to take revenge or act out of violence or become selfish no matter how hard he was pushed. In the event of an apocalypse, there needs to be some kind of hope, regardless of how far fetched or negative the situation may be and it was actually heart warming to see everything come together in a positive way. Usually, The Walking Dead games end on grim, depressing notes, but with A New Frontier there was a lot of hope and happiness. This episode isn’t without its choices, those moments you know aren’t going to end well or even having to make a decision between one thing or another, but for the most part, you’ll get the ending you that you set out to get.
For me, I just wanted to stop seeing cartoonishly portrayed power struggles, people versus people in a zombie apocalypse. It’s like all of a sudden during a catastrophe, people degrade to being brainless cavemen and begin hitting each other over the head with clubs for ownership of food and women. I dunno, maybe that’s accurate once they don’t have access to their Twitter accounts. Anyway, shit had really hit the fan in the previous episode if you recall. Tripp (or Ava depending on your decision) just got executed, Kate ran the truck into the wall which then caused Richmond to become overrun with zombies and Joan’s crew were in a firefight with Javi and his people. This makes an excellent way to open the episode, right in the middle of the action. Unfortunately, it’s about the only action in From The Gallows, but it’s memorable and manages to still be intense. Hell, it even manages to do an ol’ swaperoo. Remember how Kate ran that truck into the wall, as I just mentioned? Well, David and Javi spot a walker in the same clothes and are in total disbelief when all of a sudden, Kate comes out of nowhere and kills it. Gotcha! I was actually glad to see Kate alive, because even though they had finally admitted their feelings for each other and to tell David, they hadn’t yet and so I didn’t feel like that situation was yet a closed book.
The opportunity to tell David comes later, but for now our characters have to deal with Richmond being completely overrun with zombies. Sadly, that’s also the weakest part of this episode; whether or not to save Richmond or to bail. That’s primarily the focus here and the reason it doesn’t really work on an emotional level is because we don’t give a rat’s fuzzy ass (that’s something I heard my dad say when I was a kid when he was yelling at me and I started laughing) about anyone from Richmond. Everyone who we’ve encountered from there has been a total dickhead or a murderous sumbitch, so the actually feeling of wanting to save those people just isn’t there, but you know Javi. He’s the beacon of light in this mess or whatever, so of course my purpose is going to help these people. David, however, feels that they should all leave and I actually agreed with his reasoning. He has his family back, he’s now amended things with Clem, so why keep everyone at risk and just move on?
This also comes after Ava (if she’s still alive in your game) supposedly meets her end. They brush past it likes it’s nothing that I thought I should bring it up, because I’m not sure what I’m supposed to feel or what the game wanted me to take from it. After trying to cross a chasm and helping Javi, she’s pulled down by a zombie, but we never see her fall all the way or hit bottom. Everyone just goes, “aw, man… oh, well,” and moves on. She was such a cool character and for her to exit in such an underwhelming way, I realized she was really a missed opportunity. Something could’ve really been developed with her character, but I’ll never know.
This is where the game’s only real, but big choice comes in. This is where the big divide in your ending will be and we see who you’ve really become. You can flee with David or stay with Kate. Kate believes they should stay and help everyone, help clear out the zombies and seeing that I’ve been shaping Javi to be a decent person and to guide others to do the same, I agreed with her and the time finally came; the time to tell David about their feelings.Seeing as how he’s a brash and angry man, he didn’t take the news to well and begins to beat the shit out of Javi, but I, as Javi, made a promise that I would be the best man and take care of people. This is arguably the most emotional scene ever since we saw Mariana get shot in the head as you can continuously tell David that you love him no matter what as he continues to pummel you. Or you can fight back. Your choice. At the end, he takes off with Gabe and Clementine agrees to chase after them while you head back with Kate to save Richmond. That involves a bulldozer and pressing a random button to shoot zombies. It’s not very exciting.
And then literally like a knight in shining armor on a horse, Jesus reappears with his crew, cutting off the heads of zombies and helping the people of Richmond. A guy with long hair and a beard that sounds like Christian Slater doing an impression of Jack Nicholson coming back to save the people… seems like a pretty thin allegory. Not much really happens after that. Not that the episode wanders off or dwindles away, but at this point I guess everything that needed to said has been said. Final respects are paid, we catch up with the survivors in your group (including Conrad, who regardless of being shot in the head during the second episode seems to have made peace with the loss of his loved one). For me, it was nice to see Kate and Javi as a family with Gabe and plans to have another. They are finally feeling at home for the first time in a long time and are able to move on, because of your guidance. While not the strongest episode, it has very strong moments and seeing everything pay off was totally worth it. I thought the second season of The Walking Dead was alright, but I felt it fell into the the trap of pandering to the audience, aping the TV show and giving its audience exactly what they want and Michonne was just pointless and boring, so to have A New Frontier be entertaining, pretty emotional and have characters you cared about for the first time since the first season makes the game totally worth playing.
With Clem riding off into the sunset on her own mission, I can only hope she finds what she’s been looking for, but more importantly is able to finally able to settle down someplace and feel at home. I think we’ve seen the last of Javi, I feel like his story has already been told and things wrapped up rather nicely for him (well, as nice as they can in this situation). Another season (and I believe final) has been announced and I really, really hope that everything works out for poor Clementine. But I guess that’s up to me.
(Submitted by Mr. Dr. Prince Adam of Themyscira…Thanks, Suoer Fiend! 🙂 xoxo)
“This Army of Darkness features the crossover no one ever expected to see: Army of Darkness vs. Re-Animator! Ash Vs. West! The Ultimate Lovecraftian battle as Herbert West leaps from the literary page to fight Ash! Winner takes all! Ash finds himself committed to Arkham Asylum. It’s here that he runs afoul of a rather ghoulish and creepy Herbert West… and the battle of the century begins!” (Dynamite)
I’ll be honest, I’ve never read anything by H.P. Lovecraft, nor do I have any knowledge of his work on the Re-Animator. What I have gotten used to is this Army of Darkness comic book. The Deadites get free, chaos ensues and Ash has to defeat them, often haphazardly and leaving destruction and a bloody wake in the aftermath. This book has been able to keep this formula from getting repetitive twice over and does so a third time in this story. Both stories since the movie adaptation has rejoined our hero shortly after the events of the film, This story takes place literally minutes after “Shop Til You Drop Dead.” Once again, before any of the present day action gets underway, Ash gives us a recap of the previous stories. What I like about this is that Ash pokes fun and acknowledges how ridiculous and crazy the events that happen to him are. This is the first time the book gets meta on us, When we get to present day story telling, Ash is surrounded in the S-Mart, by dead bodies and Detroit Police. Ash is arrested and dubbed “The S-Mart Slasher”. It makes sense that the police would blame him. There is no evidence of Deadite presence, only dead shoppers, Ash covered in blood, with the only survivor being his girlfriend Sheila. A judge and jury deem him insane, and remand Ash to a mental facility for rehabilitation. Things get interesting when the book shifts to the mental facility, named Arkham Asylum. Now either there’s a real mental hospital named Arkham Asylum in Detroit, Arkham Asylum was first created for Re-Animator, or this is a clever reference to Batman. I’m going to assume it’s a Batman reference, so it remains cool and extremely awesome, which is what I thought when I first saw the reference.
Editor’s Note: Arkham is a fictional city that appears in many works by H.P. Lovecraft. Batman’s Arkham Asylum is a reference to Lovecraft.
What’s great about the Asylum setting is that new readers checking this out, will wonder if Ash is really crazy, only to discover he’s not as the story goes along. Meanwhile, long time fans know that he’s not crazy, the monsters are real and things will get a lot worse. This is where the Re-Animator comes in. Herbert West is the head doctor, and in his spare time has been using the Necronomicon Ex-Mortis to perfect his Re-Animator formula, in an effort to defeat death. He makes a deal to release the Old Ones, aka the masters of the Deadites. In exchange for Eternal life and a mastery over death, he will free them. In anticipation of the Old Ones arrival, Herbert West opens a portal, releasing Deadites into the world. I loved this for two reasons. Herbert West in trying to reanimate the dead, is a fresh take on more recent takes of zombies, while being a throwback to Frankenstein. Also, it was refreshing to see the Deadites brought to Earth on purpose, rather then Ash bumbling a spell again and accidentally releasing them again. Herbert West had a bit of a Hugo Strange flavor to him. It wouldn’t surprise me if Batman writers borrowed from H.P. Lovecraft, when creating Doctor Hugo Strange.
Like previous issues, Ash has some help in his battle with the Deadites and Herbert West’s Frankenstein creations. In past issues, Ash’s help came in the form of an ancient sorcerer, much wiser then him. Often, this humorously made Ash look like an inexperienced buffoon, Here though, Ash is aided by a fellow inmate/movie buff and a parapsychologist, who both believe him to be the chosen one to defeat the Deadites and prevent an apocalypse. The tables are turned this time, as the inmate/film buff Deuce Bellcamp is the clueless simpleton, whereas Ash is the Deadite fighting veteran. Ash pokes fun at the fact that Deuce is a bit on the rotund size and is casually dismissive of the parapsychologist nicknamed Sugarbaby. Ash’s trademark snark and attitude are on display here, but he never becomes so obnoxious that you can’t stand him. Good on writer Jim Kuhoric for finding that balance. The book once again gets meta, when these two unlikely allies return Ash’s chainsaw and broomstick. These aren’t the genuine article, but instead props from a movie called Army of Darkness based on him. They also tell him “fictional novels”, and a Broadway play based on him exist. Is this some kind of art imitating life, inside of art stuff happening here. Someone call Christopher Nolan, there’s some Inception level shit happening here! As the trio tries to escape Arkham Asylum, Ash notices Sheila’s reflection in a mirror and is pulled into a Mirror Dimension. There he discovers the real Sheila, the real Dr. Herbert West and even H.P, Lovecraft. Meanwhile, Deuce and Sugarbaby are captured by the evil version of Dr. West. I like that H.P. Lovecraft is put into the book. A great homage to the creator of the Re-Animator. You can definitely see the reverence the writer has for Lovecraft, as he is the one who gives Ash a special magical necklace, which allows him, and only him to escape. Before Ash escapes, he tells Sheila he will reunite her spirit with her body, freeing her from the mirror dimension. Back in the “real world” Deuce has been experimented on and his body parts used as part of the Re-Animated Masterpiece, which is multiple body parts sewn together from different people. This “Ultimate” Frankenstein includes parts of Sheila’s body. When Ash returns, he rescues Sugarbaby, defeats the Re-Animated Masterpiece monster and prevents the Deadite Doppelganger of Herbert West from finishing a spell that would bring the old ones to Earth. The Supernatural energy from that disruption, causes Arkham Asylum to collapse. Ash, Sugarbaby and even Herbert West’s evil doppelganger, manage to escape, before the entire building collapses. I love that this ended on a cliff-hanger. I have so many questions? Did Sheila die because her body was part of the Re-Animated Masterpiece? Or is her spirit still trapped in the Mirror Dimension? There’s even more of a reason to read the next volume now, not that I wasn’t going to anyways.
Sanford Greene and Nick Bradshaw share art duties for this story. I have to give credit to Sanford Greene for his work on that recap page. It’s crammed with imagery from all 3 previous volumes but never feels like it’s overcrowded or too much to look at. It looks as though it’s popping off the page, as if it were 3D! I loved the monsters that Ash first sees in Arkham Asylum. They’re unique and look like a mix of a fruit on steroids, a Teletubby and a Pokémon. We actually see drawn full pages of the Necromicon Ex-Mortis. The imagery on the page was more muted, which was unique because the only other book I’ve seen with even less color, in black and white in fact, is The Walking Dead. The other reason this is unique is because muted or black and white, usually denotes flashbacks but in this case, the book shows the events that are currently happening to Ash. The Mirror Dimension looks like a dreary swamp. There is a cavernous underground bunker Here we see the real Herbert West, Sheila, and H.P. Lovecraft all in costume, as Alice in Wonderland characters. The Alice theme is here, as a nod to the portal that leads both Ash and Alice into another dimension being a mirror. It’s a nice bit of unplanned synergy, adding even more weirdness to this already strange story. As soon as I saw these pages, I thought, if they turn this story into a film, either Guillermo Del Toro or Tim Burton should direct it. The most gory and violent scene is the Arkham Asylum hallway scene. Picture Wolverine during one of his berserker rages, now replace Wolverine and his claws, with Ash and his chainsaw and you get the picture. The Re-Animator Masterpiece is almost a snake like looking collage of all different bodies stitched together, Frankenstein style. It’s quite uniquely grotesque.
Last volume had a few stumbles but was still enjoyable. This book is a return to greatness, on par with the first few volumes. I still haven’t watched any of the Ash Vs. Evil Dead TV series, but this book led me to a resolution. After the next shortened season of Game of Thrones, I’m going to binge watch both seasons of Ash vs Evil Dead. In the meantime, I’m going to read more Army of Darkness and so should you.
Just another #MonsterMonday here at KH, so let’s wake the dead with one of the undeniable cl-ass-sicks of the ho-rror genre. If it doesn’t scare you, you’re already dead! From 1968, It’s… This one’s huge (hehe ;))…It’s the ultimate zombie movie; often imitated, but never duplicated. The late, great George A. Romero did what few have done and essentially created a new genre of monster fiction. Yes, Haitian/voodoo zombies eXXXisted before (and are still awesome as heck), but Romero’s film created the shambling, flesh-eating corpses we know and fear today. Without this film, there is no Return of the Living Dead, The Walking Dead, or Shaun of the Dead. Night of the Living Dead was unleashed nearly 50 years ago, but it still has the power to get under your skin. Its shoestring budget only adds to the nightmarish nature of the film. With perfect dread and an ending that still galvanizes, this is one of the monster films that will never truly die. George A. Romero is the true King of the Zombies. Check out this masterpiece below:
Ho-wdy, Franken-Freaks! Welcome to #TerrorTrailerTuesday, a new feature on the site on which we eXXXhume the spook-tacular trailers for a cl-ass-sick fright film series, the flicks of a ho-rror icon, or monster movies featuring a certain kind of creature. Today we’re stealing fire from the Gods, desecrating graves, and going to pieces for Peter Cushing’s Dr. Frankenstein! Is there any mad scientist madder than Peter Cushing’s Frankenstein? This quack dives head-first into depravity and never comes up air! While he has been portrayed in a somewhat heroic light (Evil of Frankenstein, ironically enough), he’s usually the biggest creep in the tomb. Cushing’s brilliant portrayal is both endlessly chilling and weirdly charming, the latter makes his ghastly deeds all the more ho-rrible.
It was a stroke of mad genius on Hammer’s part to make Cushing’s mad doctor the focus of their Frankenstein films, for no ghoul can compare to the great fiend who makes them. And there is no greater fiend than Cushing’s Frankenstein. With Cushing, the doctor was always in… sane. 🙂
Without any further a-boo, here are the trailers for the Cushing Frankenstein films!
Just another Monster Movie Monday here at Kinky Horror, and this one’s a real clas-sick. We’re going all the way back to 1932 disturb the dead and resurrect… White Zombie!
White Zombie is a personal favorite o’ mine and is one of the finest fright flicks to rise from the public domain. It stars Bela “Bringing SeXXXy Drac” Lugosi as Murder Legendre, who is certainly no traditional bokor, but knows how to get the dead movin’. He’s hired by Charles Beaumont (not the Twilight Zone one) to work his wicked witchcraft, although, he knows, it’s strictly taboo. Ol’ Charlie wants him to make the beautiful Madeline his wife, so Murder makes her a zombie! However, Charlie soon learns that trusting a man called “Murder” who controls zombies may not have been the smartest move…
The film is often cited as the first zombie film ever made, but don’t eXXXpect much flesh-eatin’ goodness. What makes this film a true nightmare is its bizarro, hypnotic atmosphere. Sure, it lacks gore, but it’s still pretty darn spoopy! This film puts you in a terrifying trance, as if you were under the control of Murder himself. Speaking of that ghoul, Lugosi’s deliberately stilted performance is brilliantly weird and from a realm different from our own. Murder is certainly not the most endearing of Lugosi roles, but its definitely one of the creepiest. Oh, Murder… we love that voodoo that you do so well… 🙂
Fall under the spell and watch White Zombie below:
P.S-. A little-known rock band named themselves after this movie… I hope those kids go places. 😉
Showtime’s American Gods is a leisurely stroll through a dream. It dazzles, delights, and confuses the viewer, but its story unfold at a mummy’s pace. Much of the series involves road trips and I suspect that was the point: the journey is much more fulfilling than the destination. Every episode is brimming with disturbing beauty and faerie story detours that are fantastical in every meaning of that word, but the primary story often feels like a skeleton to hang such fancies on. It could be said that the story doesn’t even really kick off until its first season finale, and that the entire season was essentially a prelude to what lies ahead. In that way, it’s easy to see why many would frustrated by the series. For me, it was very much a journey worth taking.
American Gods is based on the Neil Gaiman novel of the same title. It’s an incredibly strange book and I adore it for that reason. Showrunners Bryan Fuller (developer of Hannibal, creator of Pushing Up Daisies) and Michael Green (writer on Alien: Covenant, writer/producer Heroes) are certainly no strangers to bizarre material. What they have crafted is a work that is faithful to the spirit and strangeness of Gaiman’s novel, if not its story. That’s not to say that their series isn’t recognizable as American Gods, but it’s certainly no word-for-word retelling. For those unfamiliar with the material, the central premise is that gods and mythological creatures exist because people believe in them and immigrants have brought with them their deities and sprites. As humanity’s faith in such beings wanes, New Gods have been born: figures who represent society’s obsession with modern forms media, transportation, technology, and other such concepts. At the center of this world of gods and monsters is Shadow Moon, a recently released convict who has lost everything that matters to him, including his wife. With nothing left, he accepts a job as the bodyguard of an enigmatic conman, known as Mr. Wednesday. In no time at all, Shadow finds himself involved in a conflict between the Old Gods and the New Gods. The world of American Gods is not far removed from our own in many ways, and completely alien in others. It’s a realm that has everything ours has to offer, but where belief is powerful enough to give life to legends. Anything a person can think of can potentially exist within this world, which gives many opportunities for truly magical imagery. And the series takes full advantage of it. Some of it is gruesome, some of it is weird, and some of it is gorgeous. But all of it is fantastic. In fact, it’s some of the most spectacular imagery I’ve seen for a television show in some time. The cinematography is nothing short of breathtaking, and the visual effects are a magician’s feat.
Like the book, American Gods takes many detours from its main plot. Though it’s easy to see why this would annoy the heck out of some viewers, most of these detours are pretty darn groovy. There’s one episode that’s mostly dedicated to the tale of an 18th-century Irishwoman (Cornish in the book) that really doesn’t further the conflict of the Old Gods and New Gods, but it makes this universe all the richer. When the series pauses to tell short stories, it feels more like an anthology than an epic. I certainly didn’t mind these diversions.
On paper, the cast seems exceptional. In execution, it’s pure perfection. Ricky Whittle’s Shadow and Ian McShane’s Mr. Wednesday play off of each other in marvelous fashion. As far as I’m concerned, McShane is Mr. Wednesday. Gillian Anderson is delightful as Media, wearing the guise of a new pop culture icon in each of her appearances. (Any show that has Dana Scully doing a David Bowie impression is fine by me!! ;)) Orlando Jones is wildly charismatic as the trickster Mr. Nancy and Yetide Badaki’s Bilquis says a lot with very little dialogue. As always, Crispin Glover is sensational as the mysterious Mr. World.
Perhaps the most surprising and delightful aspect of the first season is the inclusion of a new subplot with leprechaun Mad Sweeney and walking corpse Laura Moon, played by Pablo Schreiber and Emily Browning respectively. Both characters have been expanded far beyond their book counterparts. With Sweeney given a longer lifespan and Laura given more personality and backstory than just a dead wife, the pair very nearly steal the entire show away from the main characters. Their insult-laden repartee and unusual chemistry are nothing short of brilliant. If the series has outdone Gaiman in any regard, it’s in the handling of Laura and Sweeney.
All in all, the first season of American Gods is one heck of road trip. If one doesn’t mind frequent stops and detours, the series is superb fantasy. Gaiman’s magnificent novel is done great justice, and even improved upon in some regards. It’s very episodic, but most of its diversions are strong in their own way. We’ll have to wait to see if the second season stays in this direction, but I wouldn’t be disappointed if it did. American Gods is truly divine.
“Ladies and gentlemen, attention please! Come in close, so everyone can see! I got a tale to tell. A listen don’t cost a dime.. ..And if you believe that, we’re gonna get along just fine!”
Heh.. heh.. heh… Welcome back to my Fear Fair of Fear Fare, my abominable audience! Today’s Father’s Day, so I’ve got a twisted exhibit that’ll make you cry for your daddy! It’s a putrid parental potboiler we call… Father’s Day!
Sound familiar, Fear Freaks? Well, it should! Father’s Daywas adapted from Creepshow,the clas-sick of sick sin-ema from professional sickos Stephen King and George A. Romero. The comic was written by King and illustrated by Bernie “Swamp Thing” Wrightson. Their chiller-diller is about the worst kind of deadbeat dad… the kind who won’t stay dead! Remember, carnage carnies… father knows BEAST… even if he’s been living under a headstone! For your amusement and DEADucation, Here’s Father’s Day:
Sorry, Folks! The Carnival is closed. All Out and Over, All Out, All Over!
As I read the title for Episode 3 of The Walking Dead: A New Frontier, Above the Law, I shouted “LEEEWWWW-AHHHH,” like Armand Asante as Judge Rico from the Judge Dredd movie. Anyone else? No, just me? Anyway, we last left Javi and his group at the mercy of The New Frontier so that Kate, who was just shot in the belly, could get some medical attention and who should come storming out of the gate to meet them? Javi’s brother, David, who they thought to have been dead this whole time and I’m sure he’s thought the same of them. Welp, get ready for an awkward family reunion.
Javi and David are clearly shocked to see each other alive and although David barely notices Gabe, he’s still happy to give him a hug nonetheless and is able to immediately get Kate some medical attention while Javi and the rest of the group get tossed in a cell. Looks like a happy family reunion is gonna have to wait so that the crew can basically recap the story up until this point. I found it odd that this time was just spent rehashing everything we just saw instead of moving it forward, but eventually David shows up to take Javi to meet with the other council members that will determine whether or not Javi’s group can stay and become part of The New Frontier. Hmm, a council of elder like folks that determine the greater good of the people? That never ends with deception and betrayal. I don’t foresee one of them screwing everyone over for personal gain in their own agenda…
But first, it’s time to visit Kate and it plays out about as awkward as you would think. Kate fakes pain to have a moment alone with Javi and of course David walks in at an almost opportune time. I don’t understand why they just don’t talk about it already. Kate’s feelings for Javi and her disdain for David becomes evident when she asks you to bail on this place with her and Gabe. No goodbyes, no explaining anything to David, just up and run. Your response to Kate feels like the first time in this episode that something may shape what happens later. Unfortunately, the rest of the episode feels void of this feeling.
Now that you are finally in front of the council, it’s time to see if you will fit in, but first the leaders; There’s a drug addicted doctor named Paul Lingard who is seemingly spineless, Clint the farmer who also seems spineless, then you have David (who we know) and that leaves us with Joan who is like if Roseanne Barr wanted hair like Rogue from X-Men. She’s a total ball buster and seems to have a power over the others. This becomes more predictable as this scene plays out and identifying the puppet master becomes quite easy, but Max appears to throw a monkey wrench in the situation and your rivalry comes forward. It doesn’t seem like no matter what answers you choose, the outcome is going to be the same; you aren’t allowed to stay… except for Kate and Gabe who are more than welcome, so David sends you packing and the dude doesn’t even seem to care. It was at this point I was starting to notice that there wasn’t any dire choices this episode, the choices I made don’t seem to have any weight, but we’re only about halfway through the episode, so there’s plenty of time for things to completely flip around. David isn’t completely without feeling and sends Ava out to give you a care package complete with a baseball bat and a map that has a location marked on it, so the group agrees to head there.
Along the way you run into someone who’s been missing throughout half the episode, Clementine. En route to this mystery location, Clementine explains to Javi why she hates David so much, via flashback in which you learn the fate of baby AJ as well as a council members drug abuse. Although I can see from Clementine’s point of view and understand why she hates David, you can also see that why David made the decision he made and was only looking for what was in the best interest of the group. This is something I picked up at this point is that David may not be the awful person Clementine has led us to believe. He genuinely seems to care about the people in his group and although his anger leads him to make brash decisions, he doesn’t seem deceitful. This episode rightfully focuses on David’s character and exploring it and even though at times you aren’t sure of ‘did he’ or ‘didn’t he,’ you get the feeling there is a greater evil out there, which we are about to find out.
Seeing as this episode has lacked an action sequence, one get tossed at you that is primarily just button mashing while trying to get a shudder door open. There is a bit of puzzle solving, but I wouldn’t even call it a challenge, but instead a race against a time. It’s supposed to get your heart rate moving, but by this point it’s kind of stale. Once inside the shelter after that close call, David arrives and you have a choice to open the door or not. Regardless of what you choose, it will open and once again, doesn’t seem to have any real effect. Javi and the group notice that the supplies in the shelter are from the Prescott Airfield, where you were previously attacked by The New Frontier, along with other places. David is pressed about the matter, but swears he has no knowledge of this and that’s confirmed once Max, Badger and some other thug arrive and exposition dump the hell out the plot, revealing the true culprit. Wanting some revenge for Mariana’s death, the group attacks. This is another Quick Time Event that requires a quick response seeing that even a split second too late results in your death. But if you die, no big deal, you just start right back where you left off.
The finale of the confrontation leaves you with a wounded Badger who you have the option to kill, let Conrad kill (if you didn’t kill Conrad in the previous chapter) or left him turn. I chose the latter, because fuck that scumbag. I get a feeling this may come back to bite me in the ass later, but I feel at this point, Javi really needs to be showing Gabe that murder isn’t necessary… even though we just shot that guy in the gut in self defense. Again, even though I still felt like this decision may come back around to me, at the moment it feels like it bears no weight and that’s something this episode truly lacks; the intense split decision making and the consequences. Even though the QTE’s were somewhat panic inducing, there was never a feeling if I did something incorrectly or my timing was off, it would affect the outcome of the game. In fact, it just resulted in my death in which case I was allowed to try again.
With this new information, the group forms a plan and splits up while Jesus leaves the group in what is the saddest moment thus far. He was such an interesting character and a lot about who he is or what he knows, what a damaged soul he is, is merely hinted at, but my guess is Telltale wanted to save him for a spinoff on a rainy day. Javi and David eventually confront Joan who in classic vaudeville villain style pours herself a drink and sips from it as she reveals herself to be the mastermind and her plan! I know it was supposed to be a shocking moment, but with how predictable it was mixed with how classically evil the display was, I couldn’t help but laugh.
Above the Law is so far the weakest of the episodes with no feeling of dire consequences and boring, button mashing QTE action sequences that are few and far in between. It does however pull a few punches with David’s character, making him somewhat of a believable good guy who is trying to do the right thing. This does make siding with Clementine against David this episode a little difficult, but ultimately the looming baddie Joan is about as a subtle as a Disney villain and regardless of your choices, you know you’re going to end up in the same position. That position, however, looks like it’s going to be leading to some really difficult choices. Consider this the calm before the storm.