Film Review: The Gorge

What can be more romantic than jumping over the pit of hell to meet the right one?

As the old song goes:

he was a mercenary manhunter with PTSD-induced nightmares and nothing to live for
she was a trained sniper with a world distance record for the perfect shot
can I make it any more obvious?

Speed's Sandra Bullock warned us that relationships born from dangerous situations don't have the best odds, but life in this century has become a 24/7 dangerous situation, so we may as well fall in love and hope for the best. If you've been assigned by a super-secret agency to stand guard by the edge of a cursed pit full of unknown horrors, all on your own, for an entire year, and the only human being available to talk to is the other expert sharpshooter stationed in the tower at the other edge of the pit, what are you going to do? Have romantic dinner by candlelight in the evening and fire bazookas at the hungry hordes from the abyss in the morning, that's what you do.

It's nothing terribly innovative to juxtapose the blossoming of love and the ever-present specter of death, but it hits differently after a worldwide pandemic. Whether intentionally or not, The Gorge captures the feeling of isolation during quarantine, the encroaching boredom of having the same books and the same walls to look at day after day after tedious day, and the hunger for human connection that can't be fulfilled because what awaits outside is death. In those months of mandated seclusion, it truly felt like there was an all-devouring gap between us and our neighbors, and crossing that forbidden distance was always followed by a period of heightened dread: Did I get infected? In how many days will I know? Have I become a danger to others? It's a miracle to find the love of your life in such circumstances.

But there's another way of reading the themes of The Gorge, if you'll allow me a small spoiler. As our two lethal lovebirds investigate what created that rotten hellscape, they run into some wartime secrets that their respective governments have been remiss about handling. The winning parties of World War 2 have spent decades trying to keep the titular gorge from spreading its filth to the rest of the planet. It won't do to just contain this relic from Nazi times; it needs to be eliminated. As long as that threat remains, there's a sense in which World War 2 is still being fought today.

Which seems fitting for our times, when somehow, after all these years, we still have to deal with leftover Nazi garbage sprouting around us like mutant weeds. In The Gorge, the whole problem began because the winning parties (Americans, Brits and Russians) tried adopting the enemy's methods. Well, look at us now. The curse has touched us, and we were the ones who invited it in.

As combat thrillers go, some of the tension in The Gorge is lost by the audience's knowledge that both leads are professional assassins who can survive a fight with tree-themed zombies with only a few scrapes to show for it. But as a welcome tradeoff, there's an element of competence porn in the way these two quickly synergize their skills into an efficient killing team. There's no "come with me if you want to live," no unforced errors caused by panic, no one assigned to the role of damsel in distress. When they save each other's lives, it's presented as partners in battle doing their business, not as the Designated Awesome coming to the rescue of the Designated Clumsy. I was surprised by how much more I could enjoy a scene of continuous machine gunfire versus the doubleplusundead when I didn't have to worry about anyone making a rookie mistake.

While watching, I needed to remind myself that there's a level at which this type of overanalysis can kill a story, and it's evident that this movie has been a victim of that. Of course world governments would be more deeply involved in keeping the gate to hell in check. Of course such a location would be patrolled with more than just two guards. Such criticism misses the point of the story. Despite the intense barrage of popcorny action (and there's more than enough of that, with lots of chases and headshots and explosions, and a particularly nail-biting scene with a slowly ascending jeep), I find it moving that The Gorge is essentially about the life-saving choice that our historical moment needs: finding the courage to reach across the open maw of chaos to hold the hand of a loved one.

Nerd Coefficient: 8/10.

POSTED BY: Arturo Serrano, multiclass Trekkie/Whovian/Moonie/Miraculer, accumulating experience points for still more obsessions.

TV Review: Dead Boy Detectives

An entertaining horror comedy packing a lot of emotion into a short series

Hidden away in Netflix’s YA fantasy section, Dead Boy Detectives is a feel-good horror comedy that has already been cancelled. Fortunately, the sole existing season is enormously satisfying and the plot wraps up nicely in its quick but entertaining eight episodes. The show follows the adventures of two dead teen boys (Edwin, who was killed at the turn of the century, and Charles, who was murdered in the 1980s) who form an investigative agency to solve mysteries for other ghosts. Things change when they cross paths with Crystal, a psychic teen girl with amnesia and a stalker demon boyfriend. Later they ally with Niko, a spiritually sensitive but lighthearted student grieving the death of her father. Although it exists in the same universe as the broody Sandman television show, Dead Boy Detectives takes a much lighter tone. It has intensely likeable leads, refreshingly diverse casting, and a clever mix of the tragic and the very funny, with twisty plots to keep viewers engaged. I haven’t enjoyed a dark comedy this much since season one of Russian Doll. Like Russian Doll, Dead Boy Detectives has emotionally wounded main characters caught in outlandish situations that ultimately lead them to inner growth and leave viewers with a satisfying story arc.

In the early 1900s, Edwin (George Rexstrew) is attacked by his classmates in an occult ritual at his British private school. The prank summons a real demon who (apologetically) traps Edwin in hell until he finds a way to escape years later. The deceased Edwin returns to Earth as a ghost and meets Charles (Jayden Revri), a 1980s high school boy who has just been murdered by his classmates after he protected another student from bullying. Instead of moving on to the afterlife, Edwin and Charles hide from Death (Kirby Howell-Baptiste) when she comes for them, and decide to start a detective agency to help other ghosts resolve mysteries or other injustices related to their deaths.

In the first episode, they are approached by a young Victorian-era ghost girl who asks them to help her psychic human friend Crystal (Kassius Nelson). Crystal has started behaving erratically and seems to be possessed but, as the ghost girl notes by way of another explanation, she is also “American.” In the process of helping Crystal regain control of herself, the three become involved in the mystery of a missing child and travel to an isolated New England town, Port Townsend, to investigate. While there, they connect with Niko (Yuyu Kitamura), a Japanese exchange student who becomes infested with hilariously foul-mouthed dandelion sprites (Max Jenkins, Caitlin Reilly). Edwin and Charles have to adapt to their new living allies while dealing with new threats in Port Townsend from the tricky and seductive Cat King (Lukas Gage) and from Esther (Jenn Lyon), a sarcastic and beauty-obsessed witch.

Throughout the story, Edwin is brilliant and sophisticated, but also uptight and hesitant to trust any newcomers. After decades with just Charles as a companion, he is not open to the two new women in their lives. In contrast, Charles is cheerful, upbeat, and friendly, and develops an attachment to Crystal, leading to one of two unexpected love triangles in the show.

In addition to strong leads, the show has an excellent cast of memorable side characters, including Tragic Mick (Michael Beach), a cursed walrus forced to live in the form of a middle-aged man who runs a magic shop that helps the teens; Monty (Joshua Colley), the witch’s handsome and seductive bird turned boy who becomes attracted to Edwin; the Night Nurse (Ruth Connell), a hilariously bossy official in the afterlife agency whose job it is to locate missing ghost children like Charles and Edwin; and Jenny (Briana Cuoco), the sole mundane human and a cynical goth butcher shop owner.

Each of the characters is laugh-out-loud funny, but also fiercely brutal or intensely tragic. The dichotomy works well, though, creating intensity without bleakness and softening terrifying moments with unexpected bursts of sarcasm or irony. There are also scenes where the show leans into the sadness of Edwin’s and Charles’s backstories without an undercurrent of humor, and that contrast of seriousness makes the overall story even more powerful. Towards the end of the series, the tale of Esther’s origins gets a little complicated and devolves into a rushed montage-style summary, which is not as helpful. The same thing happens with Crystal’s backstory when she starts to uncover who she really is. But, for the most part, Dead Boy Detectives delivers a near-flawless acting ensemble which draws you in from the first moment and leaves you cheering at the end.

Nerd Coefficient: 8/10.

Highlights:

• Strong cast of memorable characters
• Addictive villains
• Grim humor with a little bit of everything

POSTED BY: Ann Michelle Harris—Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Quick Round: A Gateway Guide to Anime

For viewers not quite ready to swim through a thousand episodes of One Piece, here are a few suggestions of compact, accessible anime that are easy to jump into.

 

Anime, once a niche, specialty indulgence, has rapidly become mainstream. Millennials were raised watching Naruto on Adult Swim and Gen Z has fully dived into Netflix’s and Crunchyroll’s easy streaming access to classics such as One Piece, Attack on Titan, and Demon Slayer. Celebrities like Michael B. Jordan, John Boyega, Jamie Lee Curtis, Megan Thee Stallion, and others have publicly embraced their love of anime leading to a new wave of curious fans. Like approaching a long running soap opera or a lengthy book series, newbies may not know how to connect with the growing popularity of anime. However, the journey will be worth it if you follow the right path. A good anime is the perfect balance of edgy and entertaining, clever and emotional, creative and engaging, quirky, funny, yet incredibly relatable in both profound and minor themes.

Many of the popular anime shows are based on manga (Japanese comics) which are serialized in weekly or monthly publications. Most of the most popular anime are shonen, meaning they are primarily or originally targeted at teen boys. This doesn’t define the viewership but it is a helpful context for understanding some of the questionable content that’s included in otherwise great storytelling. The “Big Three” anime are generally considered to be Naruto, One Piece, and Bleach. Each of the long-running series clocks in around or beyond a thousand episodes (including time skips and sequels). However, there are hundreds of other excellent and/or very popular anime out there including Attack on Titan, Jujutsu Kaisen, My Hero Academia, and Demon Slayer, as well as classics like Dragon Ball, Sailor Moon, Inuyasha, and others. Anime is elusive for some because of its quirkiness. The character design differs from series to series, with artistically realistic characters to fantastically strange but the thing that makes anime accessible is the diversity of stories. From sports to cooking, fantasy to mysteries, romance to horror, there is an anime for every personal taste, you just have to find the right one. For viewers who are not quite ready to swim through a thousand unpredictable episodes of One Piece, here are a few suggestions of compact, accessible anime that are easy to jump into. 

Spy x Family – Superspy Twilight (Loid Forger) creates a fake family to infiltrate an elite private school to track an elusive political figure. He adopts secretly telepathic Anya from a rundown orphanage and later enters into a marriage of convenience with gentle city clerk Yor, who needs a fake marriage to help with her own job security. Despite her genuinely sweet persona, Yor is a clandestine assassin. Neither Yor not Loid know the other’s true identity but Anya does. Anya keeps her telepathy to herself, afraid that her new parents will abandon her if they find out. However, she uses her skill to secretly help her parents without their knowledge. The show has a family friendly vibe although people do get shot and stabbed onscreen. In true anime fashion it’s relatable and quirky, charming and edgy. Some of the later episodes are a bit slow but overall, the first season is entertaining as we watch these three orphans create a family and navigate intrigue and adventure while still struggling with the slice-of-life reality they have created for themselves. 

Zom 100: Bucket List of the Dead – A zombie adventure with a twist. Anyone who has had to endure a soul-sucking job will relate to overworked, entry-level office worker Akira’s exhaustion, misery, and disillusionment as he works around the clock with no time for himself. All of that changes when a zombie apocalypse breaks out. Instead of being horrified, Akira is relieved that he no longer has to go to work. He creates a bucket list of things he has always wanted to do and navigates the zombie overrun cityscape to try things he’s never had time to do. Each day he encounters friends, allies, and of course zombies as he builds a cohort of fellow survivors. The zombies are grotesques but the blood splatter is brightly multicolor so it’s more palatable for the squeamish. It’s weird to have a comedy version of The Walking Dead but the delivery is hilarious and relatable. The show is a grim mix of character study, societal commentary, and laugh out loud humor.

My Happy Marriage – For romance fans, My Happy Marriage is a fairy tale remix with fantasy elements and all of the best romance tropes including: grumpy-sunshine, forced marriage, knight in shining armor, and Cinderella. Kind-hearted Miyo is abused by her step-mother and half sister and ignored by her scheming father. In a world where elite families are blessed with magical powers, Miyo seems to have none. She is reduced to being a servant in her own home after the death of her mother. When her father sells her off to a cruel military leader, she accepts her fate only to discover that her betrothed is different from his reputation. The show is filled with adventures, friendship, and romance and season one is a satisfying complete story that will leave traditional romance fans happy. 

The Promised Neverland (Season One) – Don’t be fooled by the adorable children in the anime graphics. Promised Neverland presents cuteness with a violent twist. Grade school aged Emma, Norman, and Ray live happily in a home for children with their kind caregiver, “Mom,” until they discover the real reason they are so well fed and cared for. Season one is a twisty adventure in survival that draws you in from the first stunning episode.

Fruits Basket (2019 version) – The ultimate anime soap opera. Sweet, optimistic high schooler Tohru’s life is changed when she moves in with the cursed Sohma family of shape shifters who uncontrollably change into animals of the zodiac. The large ensemble cast includes cynical author Shigure (the dog), the older cousin to short-tempered Kyo (the cat) and the designated family prince Yuki (the rat). Tohru is homeless and mourning the loss of her mother, Kyo is scarred by his own mother’s suicide, and Yuki’s smug charm masks his own childhood trauma. The Sohma clan is controlled by the cruel, narcissistic Akito who torments the family. Fruits Basket is filled with romance, tragedy, plot twists, attempted murder, everyday high school life, random comedy, and lots of adventure. If you can get past the quirky shape-shifting, the addictive plot will be appealing to fans of complex, family dramas.

Attack on Titan – Humanity has been overrun by horrifying titans: giant, murderous humanoids. To survive, humans live in walled communities to keep the titans out. But when the great wall is breached, Eren, Mikasa, and Armin join the Survey Corps to help track and defeat the monsters. The very violent series is a good fit for fans of grim, intense, political/military stories. The first episode is jaw-dropping and the series only gets more intense as the violent encounters lead to unexpected twists, betrayals, and political and social commentary amidst the carnage.

Other new shows that work great with non-anime fans are Apothecary Diaries (cynical, witty, mystery series set in the ancient world), Wind Breaker (a fight gang adventure with an endearing twist), and Kaiju No. 8. (an ordinary guy becomes a monster fighter and a monster). With so many great anime, from classics to newcomers, there is a good fit for a range of tastes. If you want a quick intro to anime storytelling before you dive into a lengthy series, the above suggestions will hopefully be a good start.

--

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

Anime Review: Wind Breaker

Likeable characters and a strong moral core drive the breakout appeal of this successor to Tokyo Revengers

A gang of high school delinquents maintains control of their town through their physical strength. The premise sounds a lot like Tokyo Revengers. But the new Crunchyroll series Wind Breaker has a twist on the usual fight anime concept. When first year student, Haruka Sakura, arrives in the town of Makochi, he plans to attend the notorious Furin High School, a place known for brawling and having the strongest street fighters. Sakura is an outcast teen who wants to have the top fighting spot at his new school. Sakura’s unusual hair and eye color (half black, half white – similar to Todoroki from My Hero Academia) made him a target of bullies throughout his life. As such, he has grown to be bitter, violent, and untrusting but he has also become an extremely strong and skilled fighter. Furin High School seems like the perfect place to vent his unending bitterness. But, as always, things are not as they seem.

On his arrival, he sees a group of boys harassing a teenaged girl. The young woman, Kotoha, is fearless and tells them off, but after the boys put their hands on her, Sakura intervenes and quickly overcomes them. When a mostly unbothered Kotoha casually thanks him, he assures her that his actions were based on his personal annoyance with the boys not any intent to save her. After mutual eyerolls the two develop a grudging friendship over a meal at a café Kotoha runs. She starts to tell him the truth about Bofurin, the fight gang based at Furin High School and she lets him know he won’t reach the top spot without building bonds with his classmates. Later, when the defeated attackers return in greater numbers to trash the town and hurt Kotoha, Sakura finds himself protecting her and the other townspeople alone despite the overwhelming odds. When the real Bofurin squad arrives at the conflict, Sakura discovers something unexpected. The fighters of Bofurin are actually protectors of the town and all of its people. Sakura is stunned, annoyed, and uncomfortable to realize that the residents love the Bofurin fighters (including Sakura), often showering them with gifts of food and pastries, and calling on them for help with a range of tasks. The contrast of the tough boys and the doting grandmas with hugs and cookies is hilarious and endearing.

However, despite the underlying moral core, Wind Breaker is, like Tokyo Revengers, filled with violence. Some of the fight scenes are difficult to watch, especially when the dynamic changes from fighting to beating. The Bofurin fighters have an ethical code to cease violence when an adversary is unable to defend themselves anymore. But this concept is not shared by their enemies which results in some blood soaked scenes. The story’s ultimate appeal lies in the contrast of light and darkness symbolized by Sakura’s hair, and the need for both strength and compassion for the community to thrive.

Wind Breaker benefits from appealing visual designs of the scenes and the character. Each fighter has a distinctive look which is ultimately unified by the green and black military-style jackets they all wear. The show also benefits from the diverse personalities who make up the fighters. The interactions reflect (in a good way) other popular anime. Nirei is the high energy comic relief supporting character. Although he is not as strong as the others, he keeps a data book on the strengths and weaknesses of all of the other fighters in the surrounding area. His personality and appearance are similar to Zenitsu in Demon Slayer. Earring and eyepatch wearing Suo is calm and polished but disturbingly lethal in a fight. Other characters include pink-haired, video game loving Kiryu; loud, workout obsessed Tsuguera; and long-haired, grumpy, murderous Sugishita. Sugishita’s brief solo fight scene in the battle with a rival gang is a highlight of the episode. Leading all of the Bofurin fighters is mild-mannered, white haired Umemiya, the upperclassman who guides the others and embodies the moral compass of the fighters. Umemiya is voiced by Yuichi Nakamura who also voices superstrong but easygoing Gojo in Jujutsu Kaisen. Umemiya’s laid back but deadly vibe is similar to Gojo and to Kakashi from Naruto. Umemiya’s persistent preoccupation with his rooftop community vegetable garden mirrors Kakashi’s obsession with romance novels in Naruto and is a comedic element throughout the season.

Another distinguishing characteristic of Wind Breaker is the fast pace. Unlike some filler-laden anime, there is never a dull moment in the series. The story dives straight into the action from the opening scene with a rom-com worthy meet-cute and a sharp fight scene, followed by efficient character development. Moments of introspection or character development are brief links between the action scenes. As a result, every episode of the first season is fast-paced and action packed making it very bingeable.

There are, however, some confusing aspects of the show. The Bofurin fighters attend Furin High School but there are never any teachers seen in the school. The students are never in class nor ever doing any schoolwork. Additionally, the story’s focus on the Bofurin fighters leaves little room for female characters, other than Kotoha, in the first season. Most of the women who appear on the show end up being protected by the Bofurin fighters. The effect is endearing but not exceedingly empowering.

Despite the inevitable comparisons to Tokyo Revengers, Wind Breaker’s unique art style, engaging plot, and strong but likeable fighters, have made it one of the breakout hits of the season. Sakura’s fierce, wounded, but ultimately compassionate personality make him an appealing hero. In the course of the season, his character develops from fiercely feral and self-focused to fiercely protective of others and supported by his newfound family. The opening monologue tells us he may reach the top but the real adventure is watching his journey and the fate of those who join him.

--

The Math

Nerd Coefficient: 8/10

Highlights:

• Surprisingly likeable characters
• Relentless action and extreme violence
• Positive messaging amidst a confusing academic setting

POSTED BY: Ann Michelle Harris – Multitasking, fiction writing Trekkie currently dreaming of her next beach vacation.

First Contact: Flash Gordon

What do you mean, "Flash" is his given name?

Turn on the popcorn maker and turn off your brain: random nobody Flash Gordon (yes, that's really his name) is here to fulfill your male power fantasy. Enter a world of nonstop intrigue and adventure, populated by the cheapest monsters in the galaxy—either regular pet shop animals filmed really close to make them look gigantic or extras wearing bargain basement rubber suits. Experience a land of heroic fantasy where men are men and women are plot devices. Watch this all-American hero effortlessly defeat every Orientalist caricature in the book. Get lulled into mindless resignation by the tried-and-true screenwriting trick of being captured, running away, being captured, running away, being captured, rinse and repeat for thirteen frakking episodes. Fun for everyone!

While sitting through the first Flash Gordon serial, originally shown in theaters in 1936, I not only thought very seriously about my life choices; I also felt like I finally understood something key about Star Wars. I was mildly aware that Flash Gordon had been one of the main inspirations for Star Wars, but now I see how strongly the poison of nostalgitis was present in Star Wars since the beginning. Defeat the evil emperor, rescue the princess, avoid the emperor's laughably useless soldiers, have incongruous sword duels in a world of laser guns—it's all there. Pressing the specific buttons in your brain to make you relive your childhood was always part of the Star Wars DNA.

And oh boy was that childhood easy to impress. Maybe I'm too used to fiction that has something to say, a worldview, a stance, a point. I'm not sure what I wanted from Flash Gordon, but in retrospect, I should have been less surprised by its anxious coddling of the male ego. God forbid a female character has goals of her own! No, every speaking role played by a woman must be instantly obsessed with the protagonist, and for his sake she won't hesitate to scheme, manipulate, switch sides, plead for his life and faint. Gosh, so much fainting. Because, you see, our random nobody is actually very hot, and very strong, and very righteous. I knew that the male gaze directed at female characters was reductive, but the male gaze's treatment of men is an Ouroboros of self-fellatio.

Wikipedia tells me that a big part of the success of the Flash Gordon comic strips, starting in 1934, was the quality of the illustrations. That may be so, but Flash Gordon on screen, at least in this earliest version, looks cheap as dirt. My favorite editing trick was the scene where Flash strangled a tiger to death without actually showing us the tiger. (What athletic training does Flash have, you ask? He plays polo. I'm serious.)

I've called Star Wars the empty calories of science fiction; in this analogy, Flash Gordon would be a watermelon bubblegum: barely any flavor at all, more air than substance. Perhaps I would have been captivated by Flash Gordon in the same tender years when I was into Jules Verne. To build your own rocket and jump to space sounded more doable when "scientist" was the only title you needed and you didn't have to wait for a government budget. But Verne understood gravitas. It meant something to shoot yourself to the moon on a homemade capsule. In Flash Gordon the thrill of adrenaline is the whole point, and it's not even all that thrilling.

I'm left wondering how on Earth this became a beloved classic. In Flash Gordon I feel echoes of the most annoying bits of Tarzan and Conan, and in turn, echoes of Flash Gordon resonate in the most annoying bits of James Bond and Indiana Jones. It's yet another link in the long chain of daring hypermasculine men who solve all their problems by punching them, of token female characters who are only there to be lusted after, of exotic cultures that are only there to provide set decoration or loot (and it doesn't escape me how much the latter two items on this list resemble each other).

When bitter curmudgeons lament that science fiction has turned too woke, something like Flash Gordon is their standard for comparison. And I would be tempted to scoop out my own eyes if that were the only form of science fiction available. Our generation is so incredibly lucky.

POSTED BY: Arturo Serrano, multiclass Trekkie/Whovian/Moonie/Miraculer, accumulating experience points for still more obsessions.

Somehow, Megamind returned

Be ready for endless iterations of the DreamWorks smirk

Fourteen years after gleefully parodying the Superman mythos, the Megamind franchise has released a sequel TV film, Megamind vs. The Doom Syndicate, and a sequel TV series, Megamind Rules! In the film, the titular supervillain-turned-superhero has to deal with his former evil teammates who won't take kindly to his turn toward good; in the series, we follow a standard Villain of the Week format interspersed with the buildup toward the return of a threat from Megamind's past.

With the rare advantage of keeping the same team of writers from the original 2010 film, this continuation of the story preserves a consistent characterization of its protagonist, with a firm grasp on emotional tome. The first Megamind questioned Superman's inborn goodness by positing a scenario where the last survivor from a destroyed planet ended up being raised by criminals while his archenemy landed on a ridiculously rich mansion. The resolution of Megamind's arc hinged on the realization that established roles matter less than moment-to-moment choices, and therefore all he needed to do to become a good person was to start doing good things. This very existence-precedes-essence insight, far more than the superpowered battles, is the nugget of gold hidden inside those 95 minutes of unexceptional animation and way too many on-the-nose needle drops.

In the sequel film and series, Megamind undergoes further personal growth along the same path: the storylines explore the worth of fearless authenticity, the pointlessness of performing an identity instead of building an actual one, the irrevocable power of each individual to choose their purpose, the potential that can be achieved by not letting yourself be defined and constrained by past fears, the benefits of walking a mile in each other's shoes, the unhealthiness of having an emotional life tied to how other people manage theirs, the impossibility of being exactly the person you think others demand that you be, the dangers of feeling like you always have to prove yourself, and the benefits of knowing when to admit you need help. These are the usual life lessons that can be found in a show for kids, but the Megamind sequels manage to weave these key psychological themes organically within loads of silly slapstick, futuristic gadgets, and groanilicious puns.

The understandably lower budget of a TV series means that this double sequel release fortunately doesn't resort to as many musical callbacks as the original film. However, it also means it delivers noticeably diminished animation quality. For reference, this is a competently made, entirely unobjectionable image from 2010:

And this is what we get in 2024:

If you're going to take the risky bet of choosing an alien with an unmissably huge, bulbous head as your protagonist, the least you can do for the sake of your viewers' eyes is to draw him in a way that makes him pleasing to look at for a full movie plus eight TV episodes. One would expect 3D animation to have improved somewhat in all these years, but at least now we know a fun bit of trivia: Metro City is located along the placid slopes of Uncanny Valley.

Also, I thought The Incredibles had already settled the question of why child sidekicks are a bad idea.

Only the writing and plotting save these new productions from the lifeless look of their characters. The writing duo that first created Megamind have maintained a clear idea of who this hero is, how his atypical upbringing shaped his understanding of the world and of personal connection, and what kind of experiences can help him continue maturing. Given that the first season of the new series ends in a cliffhanger, Megamind is going to need to rely on all those anchoring points if he wants to fix the latest crisis life has thrown at him.

Nerd Coefficient: 6/10.

POSTED BY: Arturo Serrano, multiclass Trekkie/Whovian/Moonie/Miraculer, accumulating experience points for still more obsessions.

Microreview [Video Game]: Marvel's Guardians of the Galaxy by Eidos-Montréal

Get your Walkman ready for this one.

Marvel’s Guardians of the Galaxy begins with our eclectic heroes attempting to make a name for themselves. In typical Guardians’ fashion, they try to achieve this in a way familiar to them; by breaking the law. As one can imagine, this leads to conflict with the Nova Corps officials. After that, well, things get a little wild. At one point, with the protagonists entrapped, I found myself using the singing voices of the Guardians—to the tune of “Don’t Worry, Be Happy” by Bobby McFerrin—to compel/repel a space llama to eat some wires so that we could free ourselves from our rooms. Yes, I typed that correctly.

Marvel’s Guardians of the Galaxy isn’t just ‘80s classic music, hair metal, massive explosions, hordes of religious zealots, vicious wild beasts, dogfights in space, intergalactic travel, and well-timed jokes sprinkled throughout a video game. Those things are all included, to be sure, but that only scratches the surface of this wonderful narrative-driven superhero game by Eidos-Montréal. Under all the wild theatrics of the galactic threat, the game digs into the trauma of each protagonist, fleshing out each character in the process (except for Groot who repeats the same three words). The game shows that no matter how jagged or irregular puzzle pieces are, if flipped around enough times, they may just be a perfect fit.

In contrast to many big-name superheroes, the Guardians' main draw is that they’re a team. The Guardians have the initial instinct to run when they need to deal with their problems, but find solace when they turn to their companions. Some of the best moments in this game come from the tender interactions between all of the Guardians, not only does the team become stronger as a whole, but so does the narrative. Overcoming personal hurdles unlock in-game abilities that can be used in combat. These abilities lead to more options while taking down the wild beasts and promise-driven enemies encountered throughout the adventure.

While the narrative has a great arc, there are some minor technical gripes I had throughout my journey. Stiff and sometimes janky animations lead to the ruining of some serious moments. For example, every time Peter Quill has a one on one conversation with one of his crew-mates, it ends abruptly with them quickly doing an about-face and exiting the room. They could have just discussed their years of enslavement or the death of their family, and then they quickly exit the room. It's an awkward animation that was overlooked, or worse ignored, by the developer. This game is also guilty of having button prompts in which the player unknowingly advances the narrative. This can sometimes be frustrating for someone who wants to explore an entire area before moving forward.

But what about the gameplay? Unfortunately, this is where the game loses most of its luster. The traversal is hindered by pedestrian platforming mechanics that don’t feel great when using them, not to mention the lack of a sprint button. While Star-Lord does have jet boots to boost forward, it’s irritating to have to constantly press the button every second to increase movement speed.

I am thankful for the puzzles, simple as they were, as they add a fun bit of variety that takes advantage of the different Guardians’ abilities. Groot can build bridges and lift platforms with his roots, Gamora can cut through certain objects or help boost Peter up to platforms he couldn't reach otherwise, Drax uses his strength to move otherwise immovable objects, and little fuzzy—sorry Rocket—can hack things and climb into small openings. This represents Peter Quill’s position as leader, as the player issues these commands wherever necessary to advance.

In between all the fun story beats and puzzles, there are some enemies to kill. If I’m being honest, the combat wasn’t the best part of the game. While no means awful, the combat doesn’t reach the heights of other great superhero games like Marvel's Spider-Man or Batman Arkham Asylum. Serviceable, unmemorable. You can use Star-Lord’s blasters and elemental abilities to take down enemies, as well as a few special abilities which can be unlocked through leveling up or spending some of the in-game collectible currency. In addition to Star-Lord’s abilities, the player can command the other Guardians to use their abilities in combat scenarios. There are moments of fun to be had to be sure, but I would sometimes get stuck in the command menu while trying to fight enemies, which in turn would ruin the combo I had. Over time, I figured out what was going on, but it wasn’t initially intuitive.

I give Eidos-Montréal credit for ensuring the game had a plethora of enemies to be overcome with different strategies that consistently force the player to use their newly unlocked elemental and stagger abilities. When the team is down and out (or when you accidentally press the wrong buttons), Star-Lord can rally everyone with the Huddle ability. Here, the other Guardians come to Star-Lord with eager enthusiasm for the current battle or come to complain about their predicament. It’s up to the player to choose the correct dialogue option, a failed one only gives partial benefits, while the correct one excites the team. At one point, Drax told me that my speech made no sense, and then we launched into battle to the tune of “Never Gonna Give You Up” by Rick Astley. I couldn't help but laugh aloud.

Speaking of laughing, Marvel’s Guardians of the Galaxy is a treat when it comes to witty banter and well-timed punchlines. Drax’s consistent barrage of impeccably placed dialogue is commendable. I can’t count the number of times he made me chuckle, not to mention the rest of the team yelling at each other across the Milano. The fastidious writing team at Eidos-Montréal succeeded in capturing the comical essence of this ragtag group with utter proficiency.

In addition to the dialogue choices mid-battle, there are other areas of the game where choices are presented. Throughout the journey, Star-Lord is given options in how to respond to his teammates. Should he boost up the morale of the whole team, or give in to the melancholy to try and relate to how they’re feeling? Should he back Rocket or Gamora? Join in on the teasing or make everyone back off? Even better yet, there are some sequences in the game where the player choice will change the entire level that must be navigated. While they don't have any impact on the overall story, they do offer some extra replay value for a second run.

What would a comic-book-based video game be without references to its source material? Guardians has many unlockable costumes hidden throughout the game, some that reference the comics, others the MCU films. These are a nice nod to the other media appearances of these heroes while also contributing a little background info. Other collectibles include items that can be used to trigger unique dialogue with different members of the team. Finding these items was always great because I knew I’d get some more character lore once I got back to the Milano.

For all that Marvel’s Guardians of the Galaxy gets wrong, it does a lot more right. While the combat and platforming can be lackluster, the writing team deserves a lot of credit for lifting this game above its mechanics. The story, characters, music, and jokes are the heart of this microtransaction-free super-hero adventure and I look forward to seeing more Guardians games in the future.

The Math

Objective Assessment: 7/10

Bonus: +1 for well-placed dialogue throughout the entire runtime. +1 capturing the essence of the Guardians of the Galaxy. +1 for Lady Hellbender.

Penalties: -1 mediocre gameplay. -1 for odd and janky animations.

Nerd Coefficient: 8/10

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.