Showing posts with label Opinion. Show all posts
Showing posts with label Opinion. Show all posts

Steam Summer Picnic Sale Recommendations

If you are like us, you might be addicted to Steam sales. There's the thrill of the hunt as you find great games for great prices. We're here to point you in the right direction, brave hunter.



My absolute top recommendation for today is This War of Mine. If you haven’t played this game, you need to. It’s hard to pin the genre on this one. It combines elements of survival and strategy in a glorious mashup that's unlike any other game I’ve played before. In most games you play the hero leading the charge with guns blazing; in this game you play as a group of civilians just trying to survive a war. You have to survive through lack of food, lack of medicine, and with hostile soldiers and even other survivors trying to kill you. You can craft items and scavenge for stuff, so it bears a greater resemblance to a survival game in that regard. Graphically, it’s a side-scrolling game in the vein of Mark of the Ninja, so not my usual cup of tea, but the gameplay and concept are just so awesome. It is available now for $4.99. (Ivonne Martin)



My recommendation is Gone Home: a first-person, story-focused exploration game set in the 90s. The story centers on teenager Samantha, but you play as her older sister Kaitlin, who has just come home from traveling the world. The whole game takes place in the same house, where you walk around exploring, looking at objects and getting glimpses of the lives lived there. It plays rather like a detective story, where clues spread throughout the house add together to tell you about people and events. Some information you get simply by turning things over and reading notes, but certain objects also trigger journal entries by Sam, addressed to Kaitlin, which are read aloud to you while you continue playing (or stop to listen, if you prefer that). At the heart of the story is Sam’s relationship to a girl called Lonnie, but you also get to know what Sam’s life was before meeting Lonnie, and a little about the parents’ hopes and disappointments. The level of detail is outstanding: from boxes of photocopied zines to X-Files posters; from pamphlets of the mother’s forest conservation agency to empty pizza boxes with fat stains on the lid. The riot grrrl-heavy soundtrack (largely provided through in-game cassette tapes) is also great, and connects wonderfully with the story. Gone Home is 80% (!) off during the summer sale, so it’s currently $3.99.

My second recommendation is The Stanley Parable. The easiest way to describe this game is as an 1.5 hours long mind-fuck. Though the play-time depends on how you play it, and in fact you can spend very different amounts of time on the game... But explaining why would spoil it. As would most things I could tell you about the game. Sorry! Similarly to Gone Home, this is a game that focuses on experience rather than problem-solving, though here it’s more about raising questions and making you think than about telling a story. It’s not a soothing game, and it doesn’t give you the satisfaction of a neatly tied-up ending or clear tasks to finish—but it’s clever and, occasionally, riotously funny. I'd recommend The Stanley Parable to people who enjoy walking simulators, philosophy, or absurdity—or all of those things. It also seems to be especially entertaining if you've played a lot of video or computer games before, which I discovered while discussing the game with my friend who's a more experienced gamer (let's just say there were some jokes and clever references I didn't get). The usual price may be a little steep for such a short game but its current price of $2.99 is definitely worth it. (Tova Crossler Ernström)



I’m going to go with a really obvious choice: Lego Marvel Super Heroes. While the mechanics are at an "all-ages" level of simplistic, it doesn’t stop this game from being absolutely delightful. It has a fun storyline that skillfully incorporates most of the main aspects of the Marvel Universe from New York to Latveria to Asteroid M. It also has a massive roster of over 150 characters, with all the major heroes and villains from the MCU movies in addition to many of those from the X-Men, Fantastic Four and Spider-Man comics. In addition to the story mode, you get a massive open world in the form of a Marvel-ized version of Manhattan, with side-quests and races aplenty.

Overall, I’d highly recommend this game for any fan of Marvel or Lego, and very highly for a fan of both, such as myself. It, as well as another ten games in the Lego series, is discounted by 75% at $4.99. (Aranwe Quirke)


If you're like me, you like hard games. These games aren't so punishing that they're unenjoyable. The Dark Souls series challenges you by stripping away gameplay mechanics that we take for granted today. The first entry in the series, Dark Souls: Prepare to Die Edition ($4.99) is a steal. Dark Souls II: Scholar of the First Sin ($13.59) and the critically-acclaimed Dark Souls III ($44.99) are also not to be missed.

I also recommend The Long Dark ($6.79), a first-person survival game that does not feature zombies! The game is presently in Early Access, currently featuring a sandbox mode: you’ve crash landed in the Canadian wilderness after a worldwide geomagnetic storm knocks out all electrical devices; no hope of rescue, you must survive the cold, stave off starvation, and avoid hostile wildlife. Two story modes are being developed, featuring both a female and male protagonists.

XCOM: Enemy Unknown, where you can play dolls with your soldiers, just like I do

Darkest Dungeon ($14.99), as described by the developers, is about making the best of a bad situation, and probably the most punishing of my recommendations. XCOM Enemy Unknown ($7.49) is a very addictive turn-based strategy game which, among many other positive reasons, is popular for how you can play "paper dolls" with your soldiers, not only changing their appearance, but also their nationality, voice accents, and gender-neutral body armor. Lastly, if you don’t already have Tomb Raider ($4.99), what are you even doing. (Adrian Martinez)

We Have Opinions: TV Edition #5

House of Lies s05e10, “No Es Facil”

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This show has had episodes built around a flashback/flash forward structure before, and even if I’m not sure it was necessary then either, at least it served its purpose of creating curiosity - and it worked stylistically. This time it’s confusing and takes us out of the story too many times, especially for a half-hour show and especially when it’s a season finale which is supposed to finish the season’s story arcs in a satisfying way. One exception is the very first flash-forward, with Jeanie and Marty lying on the beach, which is quite beautiful and made me expect a much more interesting episode than what followed. In fact, most of the flash-forwards kicking off the episode created some type of expectation (be it of quality or just drama) that didn’t lead anywhere. There’s a lot of time wasted on cheap laughs and the same old antagonistic banter we’ve seen every season, before getting to the good stuff: Jeanie and Marty and screw capitalism. I really enjoyed how Jeanie just slowly stops paying attention to Marty during the scene with the wedding party (bullshit volume turned down to zero), and the look on her face as she wanders further into the crowd. The idea of Cuba as a place where everyone is spontaneous and happy is a bit cliché, but the payoff in changed perspectives and actions of the main character’s is great. It also makes sense that the people Marty and Jeanie meet on Cuba are happier than them, because they haven’t all made careers out of selling their souls to the devil. The realization that Marty doesn’t want to fuck over Cuba is satisfying to watch, as well as the big fuck you to Skip and Monica but, as it has been throughout the show’s run, it’s the combination of Marty and Jeanie and a good helping of bottled up feelings that steals the show. I don’t even care that it’s a cheesy ending - I loved the proposal scene and I love that those two kids have finally worked it out. If the show had gone on, we would see them mess it all up again, but now we get to imagine them living happily ever after instead!
Tova Crossler Ernström


BrainDead s01e02, "Playing Politics: Living Life in the Shadow of the Budget Showdown - A Critique"

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Tax Prom drinking game. Take a big gulp if: A Republican opens his mouth.

Holy shit, why hasn’t anyone thought of doing the “previously” on for a TV show as a song before? Not that this one is particularly amazing (and it doesn’t really work with the show’s tone) - it’s just such an obvious and perfect idea. As is the basic plot for the show: Alien bugs are eating politicians brains and turning them into mindless drones, but no one notices because they already kind of acted like mindless drones before. No, it’s not a complex or fresh analysis of American politics, but it’s perfect for a sci-fi/political drama/satire/comedy show. I would personally have preferred if the bug people were exclusive Republican, but the show seems to be going for a slightly more balanced view of politics. They’ve even got a love interest who’s a Republican! And yes, I’m having major trouble accepting this fact. The guys is charming (or at least smarmy), but it’s just… It’s just not okay. The show clearly acknowledges Trump’s existence and candidacy, and Ritter never expresses any disgust at this possible presidential candidate for his party. Still we’re supposed to be invested in his and Laurel’s romantic tension? Skeptical face, right here.

Tova Crossler Ernström

We Have Opinions: Comics #3

Miss Fury #3
(Written by Corinna Bechko, art by Jonathan Lau, published by Dynamite.)

Marla Drake is invited to her friend Edi’s family home party, and she accepts based on the fact that Edi’s parents seem to be involved with the cult that stole her blueprints. They act suspiciously almost as soon as the girls arrive. It doesn’t take long for Marla to find that occult powers are at play and she may be in over her head.

Once again, the cover is misleading. There is no cheesecake in the book at all, and I worry a little that the skin flashing covers might drive potential readers away. It is almost like no one told cover artist Tula LoTay that Volume 2 is ridding itself of the objectification of Volume 1. Lau’s interior art is tight and dramatic, and the action scenes felt brutal and intense. Once again I admire Marla’s outfits and hair. I particularly love that when her hair is up, it is thick and almost wild. I am so used to tight buns or whip straight pony tails (sorry Vampirella), that such a small detail like that is striking.

This issue has been the most confusing so far, but it is intentional as Bechko is setting up mysteries that will be resolved in future issues. It is frustrating as a reader because it may be a month or two before I understand fully what is going on, but such is the struggle of the monthly collector. I will remind our readers that this is only the third issue, there is time to catch up!

(Megan Crittenden)


Wonder Woman #1 Rebirth
(Written by Greg Rucka, art by Liam Sharp and Paulo Siqueira. Published by DC.)
After ten years, Rucka returns to Wonder Woman, eager to return her to form after the New 52 radically changed both her origin and her character. Affected by the events of Rebirth #1, Wonder Woman realizes that she has been deceived after questioning herself with the lasso to uncover the truth. She is not the God of War, and she suspects that her father is not Zeus. The entirety of the New 52 feels to her a lie.

The story is very meta. Wonder Woman has had her story retold several times since Rucka left the book, and each new writer seems to want to give her a new twist and a new cast. What Rucka seems to be doing isn’t new, but it does feel cathartic as she crushes the supposed helmet of Ares and smashes a mirror reflecting her New 52 events.

The art I feel is a step down from Cliff Chiang’s art, but it is serviceable. I do love the new costume. The skirt is fairly short but it does not feel like fan service. I do not love the sword and shield, but she seems to be using it against machinations only so far.

Wonder Woman: Rebirth #1 is a good jumping point for readers who did not enjoy the changes made to her during the New 52, but brand new readers may be a little lost. Hopefully as the series starts properly, especially with Year One, we will have a good jumping point for those new to Wonder Woman.

(Megan Crittenden)

Vampirella #4
(Written by Kate Leth, Art by Eman Casallos. Cover by Chrissie Zullo. Published by Dynamite.)

Vampirella and Slade finally face off at Slade’s house party, where Vampirella discovers she has befriended many movie monsters. She films them chasing extras and killing them, and sells the footage as horror movies. She offers Vampirella, Tristian and Juliette the same deal. Vampirella however is a vegan vampire and says no dice.

The art remains expressive and fun, but the writing in this issue felt a little off. There were a few great jokes, but the conflict felt a little contrived and as a reader I do not feel particularly invested. Why doesn’t Slade put Vampirella in the unbreakable handcuffs when she has the chance? What was the point of the party except for exposition? The next issue will be the conclusion to this arc, and this one just feels like the lead up to the next rather than one that stands up on it’s own.

Still, the book remains enjoyable and I look forward to the conclusion.

(Megan Crittenden)

We Have Opinions: TV Edition #4

Preacher s01e02, “See”


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There’s A LOT to react to and try to make sense of in this episode, but what I was left thinking about is its treatment of personal ethics. Now, I know next to nothing about the original comics, so I don’t know how it dealt with moral issues or what type of philosophical questions it did or didn’t raise. The show seems to focus on Jesse as a “bad man” (which Tulip keeps calling him) trying to be good. He’s constantly being confronted with the darkness of others and his own, and doesn’t know how to deal with it. It’s a simple enough concept, and a good foundation for some human and moral complexity on screen, even in the middle of all the other crazy shit going down.

The problem is that (so far) the questions of ethics being brought up through the situations and interactions on the show haven’t been dealt with in a very sophisticated manner.
When Jesse and Eugene both come to the conclusion that no matter how hard you try you are still the same person on the inside, it’s an idea that makes sense for these characters based on their experiences - even if it isn’t exactly true. But to draw the conclusion that there’s no point in fighting the impulse to hurt people? The inability here to to differentiate between feelings and actions is frustrating, and if this is something the writers are aware of, an intentional part of the character and his skewed perspective, then that could surely have been hinted at in some way. Instead we get a pedophile plot which misses all the exits where it could have headed towards an interesting conversation and goes straight for the daydream-fulfillment of hurting a man so he’ll never hurt a anyone else - even though he may never have done that anyway. And the question of whether the important thing is to be a good person or to do good things, which is very relevant to the plot, isn’t brought up at all.

Of course, we’re only two episodes in and the deep philosophical conversations may simply have been saved for a later date. It’s a possibility.

Tova Crossler Ernström

UnREAL s02e01, “War”


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The rules of life: Get money, be a dick, abuse power. That’s what this means, right?

Money, dick, power - that’s quite a mantra! Opening and ending the episode with the tattoos is a clever way to tie the whole thing together. Aside from being aesthetically pleasing, it reminds us that the show’s center (what one would call “heart” when talking about a less cynical show) is located somewhere between Rachel and Quinn, but also that the dynamic between the two women has changed significantly since the show started. Where there used to be constant conflict, there’s collaboration (...and conflict). Where we’ve seen Quinn exerting power over Rachel, and Rachel alternating between abiding and pushing back, they’re now a joined duo alternating between the role of cold-hearted bosses and underdogs in a world of mostly-male assholes. This new friendship is by no means a sure thing, and I assume the camaraderie will go to hell, along with any other positive relationships the characters experience, before the season is over. But it is definitely a change.

What has not changed is that most of the characters on UnREAL are horrible people who do awful things to each other, or that every scene with Rachel doing her job makes me think “Why are you taking part in this? Why don’t you just quit and start your whole life over???”.

Perhaps the answer is simply: Money, dick, power.

Tova Crossler Ernström


House of Lies s05e09, “Violent Agreement”



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On last week’s House of Lies, the answer to “Why are the main characters being such awful people?” was explicitly stated as being money. No mention of dicks or power, though there were plenty of powerful dicks present - some of whom return this week.

Here we’re reminded that Skip is the worst (everyone on the show is the worst, but he is the worst), Doug is painfully embarrassing, Clyde is alternately sad and glib and Marty gets angry in a theatrical but also a little nonchalant manner which is satisfying and entertaining to watch. It’s a lot of the same - I even feel like we’ve seen Marty trash someone’s office before - and mostly seems like a pre-game distraction until we get to the Mexico trip the plot started working towards last episode.

The exception may be Jeannie, who is hilariously bored and unstable while spending the day with Phoebe (“How does Rocky Road make me a wet noodle???”) and then gets sad watching an old man with fancy clothes feed the pigeons in the park. Though this doesn’t move the story forwards much, it feels fresh and is the kind of detour the show could have used more of in its last years.

Using Kristen Bell for comedy and heart is actually a general principle people working in TV and cinema should keep in a mind. Kind of like "If you can put Don Cheadle in your movie, put Don Cheadle in your movie" (a supposed Soderbergh quote).

Huh, this show had a lot going for it, didn’t it? Let’s hope it goes out with a bang next week!

Tova Crossler Ernström

Combat and Character Design in Hellblade: Senua's Sacrifice


Hellblade: Senua's Sacrifice is an indie game developed by Ninja Theory centered around a Pictish warrior named Senua. Her story is a mash-up of Celtic myth, mental health, and a recently recovered Roman goddess. On Thursday, the developer has updated their Developer Diary with new, in-development footage of in-game combat.

Gameplay

Ninja Theory has made a conscious design choice to eliminate any use of a heads-up display, instead conveying gameplay cues and feedback entirely through visuals and sound. Certain animations, lights, and particle effects indicate the efficacy and follow-up potential of strikes, while enemy health is shown through actual cuts, wounds, and bleed effects.

Even the lighting and weather effects in the game have been coded to shift dynamically in sync with Senua's status and moods. This makes the graphic and visceral quality of the game far more than eye candy, potentially taking the gaming experience to another level.



Character

The gameplay and graphics of Hellblade: Senua's Sacrifice are not the only reasons this game is looking good for gamers interested in something new and willing to push boundaries, in large part due to its strongly-written female lead. In an early development diary, Dominic Matthews of Ninja Theory explains:
"Common wisdom in the games industry is that it's risky to have female lead, as games with a female lead are harder to sell than those with a male lead. But given that Hellblade is an independent, self-published, and self-funded game, we were only concerned with creating a character that's right for our story."
The story is as layered as it is dark. Senua's island home of Orkney is invaded by Vikings, her people are wiped out in apocalyptic fashion. Rather than centering this on a straightforward war or revenge narrative, Senua simultaneously embarks on a personal journey that explores her own mental health: the underworld you traverse as Senua is constructed from both the Viking invasion reality outside her mind, and psychotic manifestations from within.



I'm highly intrigued and excited by this game, which causes me to analyze and critique certain aspects; as with all incredible and inspiring pieces of art, the engagement of it is at least a two-way street and for me, certain questions arise.

Questionables

The story and character of Senua is the brainchild of Tameem Antoniades, Ninja Theory's Chief Creative. He can recognize sexism in game design, but is perhaps a bit oblivious to his own problematic statements. Still, Antoniades seems interested in challenging sexist industry norms in his original notes about Senua:
"She is a challenging female form: not sexy, not skimpy, not young, not skinny, yet stunning, compelling, and believable." – Hellblade Development Diary 3: Senua
Looking at the final Senua design, I have to question if they've achieved all of those goals. On the positive side, they've abandoned the "scantily-clad savage" trope and her outfit avoids usage of the inscrutable pseudo-modern waist cincher that so many games are guilty of inexplicably tossing in. Senua is appropriately-muscled for a warrior: larger than your standard female Hollywood action star and more in line with what see with mixed-martial artists of today.



Although, the original facial captures (done wonderfully by Melina Juergens) for Senua's design included pores and wrinkles, yet her in-game face appears somewhat flawless, other than "sexy dirt" and a few strategically-placed, but still attractive scars. Like Melina, she has the face of an angel, and I'm left wondering if they could have pushed the boundaries a bit further.

Additionally, Senua's hair is in dreadlocks, which is a common but historically-inaccurate portrayal of Viking, Celtic, and Pictish cultures. Historical evidence suggests that these cultures didn't wear them, but film and TV series inaccuracies have nonetheless fueled belief in this falsity among some fans and enthusiasts.

This inaccuracy could be borne from misconceptions about how dreadlocks (or locs) are formed. Locs are formed naturally from clean and naturally kinky hair, which is why it's commonly seen in black African culture. The hair of white Europeans does not loc naturally, and requires weeks of what would otherwise be considered neglect to achieve a superficially similar appearance. Thus the belief that dreadlocks (a term whose origins are from white Europeans denigrating black African locs) are the product of unwashed and unkempt hair is doubly inaccurate in this usage. Historical evidence indicates that Vikings, for example, were known to take great care in combing out and washing their hair and bodies.



VERDICT

I'm very impressed with the gameplay Ninja Theory has shown of Hellblade: Senua's Sacrifice so far and despite what is a glaring misstep for me, I think it's clear that a lot of consideration and care has otherwise gone into main character's design. I'm looking forward to the day that I can get my hands on what seems like a very surreal, technical, imaginative, and emotional journey.

If you're as interested as I am, I encourage you to follow the game at its various social media touchpoints and support this cool indie publisher.

Game:
http://www.hellblade.com

Developer:
http://www.ninjatheory.com
https://twitter.com/NinjaTheory
https://www.facebook.com/ninjatheory

Adrian Martinez is a graphic designer, comic book letterer, hobbyist writer, and all-around geek living in New York City.

We Have Opinions, TV Edition #3


We have opinions about TV shows! Check out the mini-reviews for Legends of Tomorrow, Jane the Virgin, and Faking It below.

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Legends of Tomorrow S1E15 - “Destiny” (and also: the rest of the season)

This is how I imagine a conversation between Doctor Raymond Palmer and the rest of the world would go:

Dr. Palmer: “I just want my life to make a difference.”
The world: “You founded a multi-billion dollar company and created world-changing technologies.”
Dr. Palmer: “Yes, but I just want to be remembered, you know?”
The world: “After you apparently died, we renamed an entire city in remembrance of you. To what greater honor could anyone conceivably aspire?”
Dr. Palmer: “I want. To make. A real. Difference.”
The world: “You know for a fact that in the future, the work you have done will be used in robotics—and presumably many other fields—for generations.”

Following this exchange, an obstinate Dr. Palmer would presumably melt into a puddle of self-loathing. — Etienne Domingue


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Jane the Virgin s02e21, “Chapter Forty-Three” & s02e22, “Chapter Forty-Four” 

In last week’s episode, Jane and Petra explicitly talk about Petra feeling like a bad mother compared to Jane—but instead of exploring that further, the show carries the theme of competition over into a conflict about whom Rafael listens to more.

I usually think Jane the Virgin manages to dig deep into all of the more relatable relationship issues that balance the dramatic telenovela elements, even when the soapiness is turned up high. When it comes to Petra and Jane’s relationship though, it seems to be constantly overshadowed and pushed aside in order for the rest of the plot to move forward.

It’s a shame, because the show does well with interactions between its complex and varied women. And since the Jane/Petra friend-shipping is strong among the show’s fans (a “fact” I base on the comment sections of three different sites as well as my own opinion, so you know it’s 100% accurate), I imagine more focus on that duo would go over well with the audience.

Let’s hope there’s more of that next season! We all want to know how Michael is, but we also want to know what a long P & J conversation about the challenges of motherhood in a modern-yet-sexist society would sound like.

And perhaps a discussion on who’s the best male feminist ally—Raphael, Michael or Rogelio (#Team Michael #SupportiveFiancésSupportFeminism #TooCoolForMachoDrool). — Tova Crossler Ernström



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Faking It s03e09, “Ex-Posed”

Last week, Liam decided to set Lauren up with a guy to make her less testy (sigh) and a more pleasant room-mate. When he finds a suitable match, and introduces the two, the conversation goes like this:

Liam: “Hey, I was just talking to my friend Preston about... What were we talking about?”
Preston: “American Exceptionalism.”
Lauren: “For or against?”
Preston: How could there be a question? For.
Lauren: *surprised chuckle* “I thought I was the only person in this school who believed America has a manifest destiny.”
Preston: “Well, so did I”.

Wow. I wish this post was a direct line to the writers and showrunners of Faking It. In that case I would tell them: I love Lauren. I love her so much I accept that she’s a Republican, because it suits the character (though I happen to believe she would vote for a different party if she were real).

But I think I speak for a big part of your audience when I say: No decent, historically-aware person would use the expression “manifest destiny” about the USA in 2016.

Even if Lauren is all about American exceptionalism, that can be expressed without colonial terms traditionally used to legitimize slavery and genocide. I promise you it’s possible. As the post only reaches its handful of readers (none of whom are working on Faking It, as far as I know) I’m telling you instead. Feel free to comfort me with your wisdom and historical knowledge in the comments! — Tova Crossler Ernström



We Have Opinions, Comics Edition, #2

Vampirella #3
(Written by Kate Leth, art by Eman Casallos, published by Dynamite.)


Vampirella is still reeling from the murder at the theater, and Juliette confesses her demonic origins and glamour powers. Vampy can certainly look past that, as an alien vampire who is she to judge?  


We get to see a lot more of Vampirella’s new costume this issue; the bathing suit is nowhere to be found.  When not in an action scene, she wears an elegant black coat and purple scarf, and Juliette seems to have a grown-up goth’s dream wardrobe. It is always pleasing to see female characters wearing fashion that is actually appealing to women! If Juliette sticks around as a supporting character, she will be a fun project for cosplayers.


Leth continues to weave humour and horror together in a balanced way. There are jokes aplenty but they never diminish the seriousness of the plot. Casallos’s art is shaky in a few panels, but overall continues to match the tone of the story perfectly.


Vampirella #3 raises the stakes for the growing cast, jump on board before the fangs dig in deeper!Megan Crittenden

Miss Fury #2
(Written by Corinna Bechko, art by Jonathan Lau, published by Dynamite.)


Miss Fury hasn’t found the ship blueprints she was looking for.  Instead, she discovers that the thieves built the entire craft overnight!  Shocked, she explores the ship and finds occult items and symbols that she certainly did not include in the original plans.  She is spotted by mysterious men in masks and forced to make a run for it.  

As Marla Drake, she tries to uncover the origin of the occult symbol she managed to trace.  While some time is dedicated to research, Marla gets her best lead seemingly by coincidence rather than through her hard work (fans of mysteries may find this frustrating).  Still, the plot is intriguing even as occult elements are introduced. We are also treated with flashbacks to Marla’s power's origins, and that is a nice way to introduce her concept to new readers.


The interior art is both solid and atmospheric. Oftentimes in books about female superheros, sex appeal and conventional beauty is a top priority in every panel—but in this issue, Marla makes an unflattering (though very expressive) face at least twice. Given the cheesecake nature of some of the covers in this series, I thought that we might see some torn clothing or compromising poses, but so far Lau's depictions of Marla have been modest.


Truly, if you miss Batwoman, you should be reading Miss Fury. Megan Crittenden




Deadpool #11
(Story by Gerry Duggan, Art by Matteo Lolli, Marvel Comics.)


This issue of Deadpool concludes the most recent arc, featuring his battle with Sabretooth coming to a bloody end. I enjoyed the insight into Deadpool and Sabretooth’s minds, as well as some neat guest appearances from Doctor Strange and Magneto. Gerry has done a wonderful job of tying together his new revelations from Wade’s past with stories from previous writers.


In addition to providing a conclusion to the current arc, this issue also plants the seeds of future developments. I hope that the writers actually follow through with these plot threads, unlike what they have done with previous hints in recent Marvel Comics history. I would definitely recommend Deadpool #11. While not filled with too many major revelations, it has fine characterization and compelling teases for the future. Zachary Krishef

Sweet Summer Child: Lighter Moments of HBO's Game of Thrones - Brienne & Tormund


This article contains mild spoilers for HBO's Game of Thrones. Proceed at your own risk.

In hindsight, I should have been watching the latest season of HBO's Game of Thrones with the intent to review and recap. As a fan of the A Song of Ice and Fire book series by George R.R. Martin, I was wary of the show at the start of season 6.

To elaborate, season 5 was the weakest showing of the extremely popular series for me, in part because of controversial and problematic scenes (some of which were deviations from the book canon) which even led some fans to stop watching altogether, and perhaps because the fifth season's events partially coincided with the events of the fourth book, which is largely seen by fans as the weakest link of the book series.

The latest season seems to have returned to form, with some marked improvements in writing, execution, and possibly even other more, uh, egalitarian considerations. Rather than go back and recap the entire season thus far (unless there is interest, please feel free to comment below, or let us know on Facebook and Twitter!), I'm going to analyze some of the lighter moments of HBO's Game of Thrones, starting with the latest ship to set sail, in the fandom at least.

Brienne x Tormund a.k.a. #BRIEMUND


It all began in S06E04 Book of the Stranger. After escape the clutches of Ramsay Bolton, Sansa Stark arrives cold and shivering at The Wall with her new knight protector, Brienne of Tarth. Oh, and Podrick's there, too. As the gate opens, Brienne begins to survey the area for potential threats to her charge.

And there he was, Tormund Giantsbane. Tall-talker, Horn-blower and Breaker of Ice, Husband to Bears, the Mead-king of Ruddy Hall, Speaker to Gods, Father of Hosts. A wildling. From the moment Brienne rode in on her steed, the young maiden wildling man was transfixed.



It seems obvious that Tormund should be attracted to Brienne of Tarth. As far as we know, he likes women but also values strength as an admirable quality in those he would consider friends or even lovers. Brienne projects strength and Tormund can see that: game recognizes game.

In hindsight, I further realized that Tormund's attraction to Brienne is so much more than that.

Thinking back a few seasons to when Ygritte had a falling out with Jon, Tormund experienced first hand the effect that loving a Crow or a kneeler (as as the wildlings refer to people below The Wall) could have on a wildling. It might have planted the first seeds of curiosity: is there something more to these kneelers that I'm not seeing?

There's a lot of time to burn when you're sitting around a campfire in the dead of winter. When Tormund wasn't spinning a yarn about a tryst with a wild bear, it's not hard to imagine he might be dreaming about what one of these royal ladies south of The Wall could be like. And when Tormund lays eyes on Brienne for the first time, he doesn't see what other men see. He doesn't see what Jamie saw. He doesn't see "awkward" or "unfeminine" or "ugly."

Brienne is tall, big, and strong. Tormund is into this. Despite living the life of a fighter, a soldier, and a warrior, Brienne features retain a softness, a gentle elegance than Tormund does not see above The Wall. She isn't a rough and tumble wildling, she is an imposing, formidable, regal, royal, silver armor-adorned FANCY LADY.

When you strip away the heteronormative beauty standards of Westeros and apply the standards and sensibilities of a wildling, Brienne's mix of noble sophistication and true grit is a glorious paradox. A beautiful contradiction to everything Tormund has ever known. The very sort of ethereal being that inspires men to be swept off their feet.

And she looks like she could kick Tormund's ass.

You better believe Tormund is into this.








It only gets more intense awkward after that.
And it's this romantic tension that rode right into town in the following episode, last Sunday's S06E05 The Door when this classic moment occurred:

We don't yet know precisely how Brienne feels about this and it's entirely possible that this awkward crush could go somewhere far less fun, perhaps because of the poor track record of the showrunners when it comes to sex and consent. Or it could simply go sour for the same reason that Ygritte and Jon did, with equally disastrous consequences.

Until we learn more, and perhaps we can take this as a positive hint, actress Gwendoline Christie is loving "Briemund" and there is even a deleted scene yet to be shared! As she told EW.com:


"I enjoyed Brienne being put in that position of feeling awkward and not wanting the attention,” she says. “That was a very fun thing to play. He’s a wildling, he’s very sensual and animal-like and very forthright with his emotions and feelings — which is really the opposite of [Brienne]. I enjoyed trying to navigate that and the beauty of her embarrassment. She can totally deal with the situation, and with him, but she’s just so embarrassed about it."
Game of Thrones has been pretty brutal throughout, so please, try to excuse viewers for grasping on desperately for any ray of sweet summer sunshine they can find. Let us have this, universe. Please, let us have this.

Adrian Martinez is a graphic designer, comic book letterer, hobbyist writer, and all-around geek living in New York City.