Superhero Media: Dragon Ball Z - Bardock The Father of Goku

A true hero is only as good as their origin, and as Goku is just an obvious rip-off of Superman, more information was needed to distance the two, so Bardock The Father of Goku was birthed from the minds of the series writers for Dragon Ball Z. So Bardock, as an expanded character with his own mythos that crosses film and video games, is pretty unnecessary, not really adding anything to the broader franchise, but that doesn't make Bardock The Father of Goku much less entertaining. The narrative needs to do some major calisthenics to get anything happening, I mean, Bardock gets the gift of prophecy just so that he can see clips of Dragon Ball and DBZ and react to them, that's some convenient writing right there. This happens, of course, because the only real story to tell is in the contrast between father and son, with the brutal Sayian warrior who kills without a thought eventually becoming proud of the hero his son will grow up to be. 

Interestingly, much of the narrative of Bardock The Father of Goku takes place over a few hours, perhaps a couple of days, whilst this fits with other DBZ films, which mostly cover a single fight, it doesn't give us much time to get to know Bardock as a person. True, he's even less deep that Goku, who has all the personality of a Golden Age video game character (essentially none), but Bardock does go on a journey of sorts, coming around to a different point of view, even if it does take major spoilers for DBZ to do it. Although it's always good to see Sayain Great Apes again, most of the fights in Bardock The Father of Goku aren't all that interesting, as the power level needs to be carefully managed; the one peak is when Bardock takes out several Freiza Elites by fighting smart, but it's over all too quick. Of course Bardock can't fight the actual antagonist of the film, Freiza, because we already know how powerful he is and the anticlimax would be disappointing. 

As much as I find Bardock Father of Goku middling at best, I kind of wish there were more DBZ films like it, in that they could explore more of the setting outside of the Z Fighters and Earth. Yes, the series has, and continues to visit new worlds and places, but they are only seen through the eyes of Goku and friends. Stories of the Great Drought on Namek or the rise of the Frost dynasty are waiting to be told and may allow aspiring writers to try out new things without impinging upon the existing setting all that much. There's a whole universe out there to explore, and sometimes the less known corners can hide the best narrative gems. The games and Anime have introduced a multiverse of possibilities, and I'd like to see it filled out more in the future.

Spider-Man Mini Campaign - Planning

As I am still somehow struggling to get some decent superhero cards up and running, and it has been quite a while since my last "Rulebook" article, I thought I could show people how it is I get a game (or in this case, campaign) up and running. Hopefully it's instructive and you can start planning your own games based on how mine go.

The Death of Spider-Man
Years ago, with my original "Champions of the Omniverse" TSR Marvel Superheroes RPG, one character, Spider-Strike had a fun little background that stuck with me, being an "Edgy 90s" version of Spider-Man that took over for a while after Spidey's death, ala The Death of Superman. It was a fun joke that sat in the back of my head for years, and was slowly added to as new ideas occurred to me. Coincidentally, I also really got into converting Heroclix to make unavailable characters and home-brewed ones, expanding my options greatly and offering opportunities for unique characters still in the mold of existing settings.

The concept behind my "Death of Spider-Man" mini-campaign is pretty straightforward, really, as the entire process is an obvious pastiche of The Death of Superman, so my framework is already done, and I just need to plug in the Spider-Man related details. Let's start with the easy part, who will replace the main players in the original story?

Well, Spider-Man is our obvious Superman stand-in, here the 616 Peter Parker version (more on that later) because he's almost as iconic as Kal-El, and that lets us spin this out to alternate Spider-Men and Spider-People when we get to the big blow-out at the end. Next, we pretty much have to consider Doomsday, a lame character to be sure, but necessary for the narrative. Where I've settled is "Venogoblin" (pictured above, 3rd from the right), a version of Norman Osborn who thought it would be a great idea to mix the Goblin Formula with some Simbiote he had lying around, turning himself into a rampaging monster that Spidey dies trying to stop. We'll be running into a "Reign of the Spider-Men" story, so we'll also be needing Eradicator, Superboy, Steel and Cyborg Superman analogs; enter Spider-Strike (or is Spider-Stryk more '90s?), Octo-Spider, Spider-Slayer and, um, Cyborg Spider-Man. Look, I opened him in a booster, ok?

More on these characters later, but yeah, Spider-Strike is an edgy, '90s take on Spider-Man, with too many pouches and combat pants, he also probably uses an awkward slang phrase too much. Octo-Spider is actually intended to be Flash Thompson, using an experimental mobility harness made by Otto Octavius that he has stolen and weaponised. As usual, this Flash went to war and was injured, and is a huge Spidey fan, so his death would encourage him to get out and try and take his place. Steel Spider would probably be a better idea here, but as Heroclix haven't made one, I decided to make something up myself. Finally, yes, that's meant to be J Jonah Jameson inside the Spider-Slayer, affected enough by the death of Spider-Man, and the revelation that it was Peter Parker, a close confidant for years, he has broken his Slayer out of storage and is doing the best to undo the damage his papers have caused over the years.

Naturally, some of my Spidey villains will be playing a part as well, either as "dressing" in some scenarios, or for the various "Spider-Men" to fight in some games. You'll notice a lack of some famous faces here, but that's deliberate, and we'll get onto it in a later entry.

I've also long been a fan of the idea of Spider-Man side characters getting to do their own thing as a team, like the Slingers or Silver Sable's Wild Pack, the latter being my inspiration for the above, work-in-progress team.

So far the plan is to run say, 4-6 games, mostly small ones, but maybe a big blow-out at the end with a kind of Spider-Verse deal happening, if I can get enough Spider-people ready. At this stage, the end of the campaign is pretty far away, so I'm comfortable with it being a little vague right now. By the time I get going, things should be worked out, but right now I don't need every detail covered, and getting bogged down is just going to delay things further. Next time, we'll break down the scenarios and how I plan to link them together.

Superhero Media: Spider-Man Far From Home

I remember that a few of my friends that are more casual in their approach to the Marvel Cinematic Universe elected to not see Spider-Man Far From Home promptly, not because they weren't interested in the film, but because they didn't want an ending to "Wave 3" that wasn't Avengers Endgame. Whilst I get this kind of thinking, I personally found that Far From Home was exactly what I needed after the series of emotional spikes that was Endgame. Although there is an arc to Far From Home and Peter does grow as a character, the stakes aren't world-ending and most of the film is just fun to watch. This is Spider-Man we're talking about after all, not Thor or Captain Marvel. In fact, that Peter has been anointed by Tony Stark to be his successor, but lacks the experience and maturity needed to so much as want the role, is a major narrative theme of the film, and works really well as a bookend to the events of Infinity War and Endgame. For all the "great power" stuff that Spider-Man is about, it can be easy to forget that he is a teenager and sometimes he just wants to be a kid for a little while, rather than fighting aliens or a moron in an animal-themed costume. 

The cast, once again, is brilliant, the kids are great and I can't wait to see what they do with the rest of their acting careers, but Jake Gyllenhaal as Mysterio may be some of the best casting the MCU has done since everyone in Black Panther. For all the crap he's got as an actor, Gyllenhaal has decent chops, and does a great borderline prima donna when his plan starts to unravel. As someone who has been reading Spider-Man comics as long as he can remember, as much as I want to see most of the classic villains on the big screen, the long-form stories that made them great in the first place don't always translate well to a three-act film structure, like Chameleon taking months to reveal himself or Mysterio posing as Peter's therapist to drive him insane. Far From Home does one the better jobs in memory of adapting a character with a huge backstory and changing it enough to fit a new narrative, but keeping enough of what worked in the comics. Although straining the CGI at times, the "madness corridor" sequence in Berlin is pure vintage Mysterio adapted for the MCU. 

Possibly best of all, JK Simmons is back as J Jonah Jameson, even if it's only for a few minutes. Ok, that's a little hyperbolic, but it was exactly the fan punch that Far From Home needed with the passing of Stan Lee. Like it or not, it's the younger stars that will lead the MCU forward into Wave 4 and beyond and Spider-Man will likely be at the forefront for a little while to come. Personally, I'm hoping Peter can take over Stark Industries after his solo films are done and become something of a mentor figure to even younger heroes we haven't seen yet, only breaking out the tights for the crossovers. That would allow Tom Holland to do other things and still keep a toe in, like Thor sticking around because Chris Hemsworth doesn't seem to get too many good roles for some reason. As of the time of writing (September 2020), this catches me up with all of the released MCU films, with no release date for Black Widow in sight. Going back over these films, even the ones I don't like all that much, has been a great experience and I think I'll be doing it more often. Certainly I need to get more watches of Thor Ragnarok and Ant-Man and The Wasp in.

The Pitch: The Legend of Zelda - Hero of Time

Ok, so last time we covered just why two Legend of Zelda games from the 2000s are still on my mind way too often more than twenty years later, now let's get to the real meat of what I wanted to say. Up until Tears of the Kingdom, Zelda titles really didn't have direct sequels to speak of, so although I've wanted a third installment for the Ocarina of Time/Majora's Mask series, I've never dared to hope much and kept my ideas for how I would write such a game pretty private. Even though I've had a title in mind for almost all that time.

The Legend of Zelda: Hero of Time

Ok, first things first, this is pretty much pure fantasy, even more so than my usual "The Pitch" articles. As a published author, it's not inconceivable that something I write one day will get big and I end up doing more professional writing, which could include film work. It's really fucking unlikely, I'll admit, but not utterly impossible. Writing a major Nintendo release however? Yeah, good luck. I'm not here to cirticise Nintendo's fan-management, but given that I'm not a Japanese games developer already, let's just say they're not interested in anything I have to say, or ever will. Which is fine, I doubt too many hardcore Zelda fans will like my take on this anyway.

As my background is in prose and not really interactive media, I'm working with a three-act structure for Hero of Time, because, honestly, it's a good way to build a story, for almost every medium. For the fans in the gods, this will be a direct sequel to Majora's Mask, with the Link featured being the very same, though now-adult (or late teens, really), and having essentially continued running for the intervening years. This Link is still haunted by his past, but not to the "brutal and damaged" state, this is a Legend of Zelda game, we're keeping things PG. We'll break it down more below, but the three acts are essentially, 'The Journey Home', 'Saving Hyrule' and 'The Dark World'. Although, being a video game, players can wander back and forth pretty much at will, the idea is to delineate each act visually as well as geographically.

I actually like a good opening cinematic, so we'll be going all-out for Hero of Time, with a voice-over from Zelda explaining the history of Link, how he traveled through time to save Hyrule, but couldn't just be a child again and left, saving Termina on his way out into the world. But the evil didn't stay sealed, leaking into the land slowly as the years crept by, the Sages not even noticing until it was too late. Queen Zelda took it upon herself to battle the darkness, but was lost in the wastes West of Hyrule. In desperation, the remaining sages sent out the fairy, Navi, to seek the long-lost Hero of Time. Opening credits.

The game begins in a small coastal village, deliberately reminiscent of Windwaker but not specifically anywhere from the game, as we're not tying directly into anything other Ocarina of Time and Majora's Mask. Navi finds a now-adult link wandering the shore and has to convince him to return to Hyrule to help Zelda, which he is reluctant to do at first, trauma being like that and all. Of course Link agrees in the end and the reunited companions have to head back to Hyrule. As this version of Link is by now a seasoned adventurer, he'll actually be starting out with some equipment, rather than having to gather it as he normally does. Nothing special, just a sword, shield, bow and bomb bag, everything else will come over the course of the adventure. The first part of the game is a mountain range that Link has to cross, basically it's a chance to learn the controls, try out the equipment and gather a few Heart Containers, but it will also discourage players from wandering back to the first town, as there's not all that much there to see.

Link emerges from the mountains in northern Termina, we get a nice sweeping shot of the HD version of the landscape which, yes, will be bigger and more detailed than it was in Majora's Mask, this is a sequel, not a remake. Before he can move into Hyrule, Link has to revisit some of the important locations in Termina, find some treasures and help people out, places like the Great Bay, Clock Town and the Moon. Again, this isn't a remake, so it's not the same dungeons and quests as Majora's Mask, but we get to see the characters of the games ten or so years on like we did in Ocarina of Time. This section of the game will be substantial, with Link needing to get some items, defeat some bosses and getting his hands on the Ocarina of Time, with which (and the Song of Soaring) introduces our fast travel mechanic. If, at this stage, the player can be bothered returning on foot to the starting area, there will be a nice little bonus, like some equipment or a new mask.

What's that? Yeah, we're doing masks again. Not to a Majora's Mask extent, but some old favorites like the Bunny Hood, Deku Mask and even the Fierce Deity and Majora's Masks will pop up, but more on them later. After gathering what he needs from Termina, Link can depart to the next area of the game, and the next act, Hyrule. Much like in Ocarina of Time, Hyrule is a nightmare kingdom of darkness and monsters, with the few living survivors hiding in towns and settlements. From townsfolk and people from his past, Link uncovers information about what has happened; a new dark force came from the Desert, Zelda went to fight it and was never seen again. No one knows anything specific, but the Sages, when Link finds them, push him to get the Master Sword and go confront the evil, rescue the Queen, etc. Some of the Sages are in or near the Ocarina of Time dungeons, but the player doesn't need to clear all of them again, maybe just the good ones for fun, though with some expanded sequences.

What Link really needs to recover the Master Sword is, of course, the three Spiritual Stones, so it's off to the Great Deku Tree, Dododongo's Cavern and Zora's Domain (Jabujabu is dead from the pollution, so I'm guessing Ruto hid it in the Ice Cavern or Water Temple). Each of these locations will be reminiscent of how they appeared in Ocarina of Time, but still very different, remember, this is not a remake. There will be a dream sequence, however, after Link has found the Spiritual Stones that takes the player through a full 64-bit dungeon made up of iconic bits of Ocarina of Time, just as a nice bit of fan-service, though it dumps Link in the Temple of Time and he can finally pull the Master Sword. Also in terms of fan-service, the various songs from Ocarina of Time will mostly still work, and if the player can figure them out without Link "learning" them, they work. Like the magic spells in the old Ultima games.

Finally, Link can head into the Haunted Wasteland to confront the great evil that is destroying Hyrule. He finds that the Gerudo Fortress has been destroyed and all the Gerudo killed, probably being told this by the ghost of Nabooru, and the wasteland is now more reminiscent of the Dark World from Link to the Past, a surreal nightmare of darkness more so than a traditional landscape. In this section of the game, Link will pretty much be battling nasty monsters, finding the last few items he needs to complete the game and clearing a couple of dungeons to make his way to the final boss. This is probably where he finds things like Majora's Mask and the Gold Bracers, really building up that Link is about to take on the biggest foe he's ever faced. This section of the game should ideally be pretty difficult, at least for a Zelda game, though there's a Great Fairy's Fountain just before the Boss, so that players can go in at full health, and probably with Nayrue's Love now in their arsenal.

Can't really go any further with this without dropping the big reveal; the villain is Princess Zelda. After ascending to the throne and having the influence to learn more about the Triforce and the whole cosmogonic cycle that she, Ganon and Link are destined to repeat for eternity. Wanting to break that cycle, Zelda used her magic to kill Gannondorf (who has been imprisoned since the end of Ocarina of Time) and steal the Triforce of Power from him. Of course, power corrupts, so it wasn't long before Zelda wanted to get her hands on the Triforce of Courage in Link as well, so she starts to destroy Hyrule to lure the Hero of Time back. In an attempt to subvert the cycle, Zelda has merely shifted her role within it, becoming Ganon while Link remains the hero and someone, probably Saria, Ruto or Nabooru, in the Triforce of Wisdom Role. To finish the game, the player, and Link, have to save Hyrule by killing Princess Zelda.

I'm typically a bit down on massive boss fights in video games, but the Link/Zelda fight should be pretty long and cover multiple parts, just maybe let players save and quit between sections? I don't know why more games don't do that? Link will have to use everything in his arsenal to defeat Zelda, as she's still part good, so the Master Sword doesn't do the full job, and even the Fierce Deity Mask can't quite bring down an sorceress with two Triforce sections. In order to strike the killing blow, Link has only one choice; put on Majora's Mask. Link gets to throw around some serious power for a few rounds with the mask on, but what we're really building to is a sequence where Link, as Majora, has to travel to the moon, meet the Moon Children again, and, tragically, crash the moon into Zelda to kill her. With this act, as well as narratively tying up the previous two games, Link destroys Zelda, the Triforce, and himself, closing the cycle begun in the Deku Tree so many years ago and moving on to the next rotation. Although this is a sad ending, there is reference to games that happen in the "future" of the timeline and reinforcement of the Campbell-esque ideas of mythic cycles at the core of the series.

Hero of Time is a story of gods and epic destiny, but also is very human, with Link's trauma being a big driving force for the narrative as well as the whole mythology thing. In fact, with some clever writing, Link's 'silent protagonist' status could actually be played to make him seen withdrawn and reluctant, rather than just shy. The game echoes both Ocarina of Time and Majora's Mask, but is it's own thing, think more like the 8-Bit sections and Mushroom Kingdom in Super Mario Odyssey than Kirby's Adventure Wii. And, well, I'm done? I'm not a video game designer, I'm a writer (and psychotherapist and some other stuff), so the above has been an exercise in storytelling, not game design. And also the main point was to get this out of my head where it's been rattling around for a couple of decades. Hope you enjoyed the ride, but it's back to superheroes next time.

Supehero Media: Deadpool 2

As much as I didn't expect the first Deadpool to be as good as it was, Deadpool 2 doesn't really have any business being as good as it is; which is somehow better than the first. It's kind of not a fair comparison, as Deadpool was a small-budget experiment that was only dragged into release by a fan backlash, whereas Deadpool 2 has all the money and backing to be as big and bold as it wants. Taking on the broader superhero film industry, but the X-Men series especially, Deadpool 2 is actually a deconstructionist parody that angry nerds on the internet claimed they wanted, but seemed all to quick to dismiss. Funny that. When Wade Wilson's freewheeling mercenary lifestyle catches up with him, Vanessa dies tragically and he attempts to kill himself over and over before being rescued by Colossus. Attempting to join the X-Men alongside Negasonic Teenage Warhead and her girlfriend, Surge, Deadpool soon goes rogue to save Firefist, a teenage mutant played brilliantly by Julian Dennison, the best thing to come out of New Zealand since my ex-girlfriend. 

Rather than focus strictly on the story, Deadpool 2 bounces around themes and set-up scenes to tell all the jokes it wants, often at the expense of narrative, even spending a reasonable proportion of the second act setting up an extended tease for an "X-Force" film that was never intended to exist. For such a goofy film, a lot of smart choices went into making Deadpool 2, from not overly expanding the cast or premise, to not repeating too many jokes and bringing us more satire. One of my favourite lines is "So dark! Are you sure you're not from the DC universe?", not just because it was funny, but because back in my younger days when superhero films were less ubiquitous, Marvel Comics were considered to be the "darker" take on superhero comics. Even contemporary film-making itself, as a process, gets a jab or two, and not just in the credits, the "Holy S*** Balls" track which plays over the score when Juggernaut attacks is a masterpiece of satire; how many vocal choir themes have played over villain entrances in films for the past decade? 

I think the genre needs more films like Deadpool 2, and no, I don't mean films with an R rating, fourth wall breaks or even Deadpool himself (though I'm hanging out for the third entry). We need more superhero films with this much thought put into them for something beyond references and franchise connective tissue. Yes, the pop culture drops flow thick and fast in Deadpool 2, but for me the takeaways are Negasonic being queer and it being a big deal to no one and not played for titillation, Colossus somehow having a more compelling arc than most characters in other X-Men films and Dopinder having his own journey of violence and death quietly in the background. Oh, I forgot to mention in both my Deadpool and Mighty Med reviews that Karan Soni has a small recurring role in Mighty Med and now I want a MCU crossover even more. Yes, I'm sick of the fans, and convention Deadpool cosplayers and all the rest that comes along with the success of these films, but I still can't help but love them all the same. The X-Men series may have only produced a half-dozen good films over two plus decades, but if that's what it took to get Logan and Deadpool 2 back-to-back, maybe it was all worth it?

Miniatures Finished: Blood in the Machine

After a while and quite a few games, I have finally finished 19 Renegade Robots for Judge Dredd Miniatures Game. As I tend to enjoy doing, I've pulled the gang from a variety of sources and, to keep it in a very 2000AD style, I've opted for a variety of colours rather than a unifying scheme.

The complete gang, named after the Brian Merchant book, just in case anyone was wondering how I was going to work a leftist reference into another miniatures game. I can't imagine that I'll ever have a reason to put all of them on the table at once, but I like having options, you never know where a campaign is going to end up.

My demolition droids, including my usual Gang Leader, Haro-2-Goodbye. Haro is Necromunda Ambot legs and arms on a Gunpla Haro (1/12 scale) and the other is a Pacific Rim Heroclix repaint.

Combat Droids, converted Eureka Miniatures in the front, with Mantic behind, flanked by two D&D Warforged Monks. I like the idea of kung-fu robots. And the JDMG rules actually let me make that kind of character, so that's fun.

Junkers, both converted D&D miniatures. If I expand the gang, I would likely get more Junkers, as they're cheap fodder that are also surprisingly tough on the table.

Servo Droids form the backbone of the gang, being fairly affordable and almost as tough as a Judge. Mine are mostly converted Star Wars Legion models, excepting the back left, which is another D&D blind box find. I could also maybe do with another couple of these, but I'm waiting to find the right models. 

Minibots, the 'cheap filler' for the gang that can take barely any equipment and tend to get taken out fast in a fight. The other cheap option is Robodogs, which I have a few of through Necromunda, but am yet to figure out how to make the best use of them in the game.

I've also been working on some terrain specifically for JDMG, as can be seen with the garbage pile above. The tower is for Necromunda, but might work for Dredd as well, we'll see how it all pans out. I'm trying to let this project happen organically, rather than building a specific army or table like I do now; go a bit oldschool I guess, with just a collection of stuff that works together. We'll see how it goes, I think my next focus will be my Street Gang.

Superhero Media: Guardians

The trailers and hype for this film were so cool back in the day! Billed as "The Russian Avengers", Guardians turned out to be more like a 1990s superhero film, in terms of the bad writing, poor special effects and nonsense plotting. More so that being a Russian version of The Avengers, Guardians is closer to Neo-Soviet Fant4stic. Seriously, there are four heroes in Guardians, a scientist who can transform his body (Arsus), a young guy who moves fast and takes risks (Khan), a man with internal torments and rock powers (Ler) and a blonde who can turn invisible (Kseniya). Having gotten their powers during the Cold War, the Guardians, as a side effect of their powers, do not age at the normal rate, which is made a point of, as if it will play a big role in the story, but it's just a thing that sits there for no reason. If I had to guess, the Guardians being part of a Soviet-era superhero programme (nammed "Patriot") is some kind of weird hand-waving to imply the current Russian government would never do horrible human experiments, which, from an outside perspective, is pretty eye-rolling.  

Like more than a few things I've reviewed, if Guardians was just bad all the way through, then it wouldn't really be interesting; it's because there is enough going on in Guardians that I think it's worth a watch. For starters, Arsus, the Reed Richards of the team, turns into a giant bear. That's his power, "becomes bear", and later they give him a massive minigun, that's pretty cool right there. Ler is pretty forgettable, though his speech about having to watch his daughter and grandchildren get old and die before him is interesting enough, if not especially unique. Kseniya honestly just comes across as an excuse to get an attractive woman in tight clothing for most of the runtime, as her personal narrative of "amnesia" is pretty lazy and doesn't go anywhere. Khan at least has an interesting look and speedters always make for fun visuals, but aside from some mention of a dead brother, I didn't really get what he was "about" as a character; he was just there to be cool, which never works as well as the writers seem to want it to. 

If there's one element of Guardians that I'm going to bring into my own games, it's the villain, Professor August, a rogue scientist with the power to control machines with his mind. Ok, so August actually has a general "super soldier" powers package, but has cybernetically altered himself with a device that lets him control machines, but the strength and agility doesn't come up all that often. August's plan involves stealing two huge towers to make a giant antenna that will enable him to control all the world's satellites and thereby the world. That's a solid comic book villain plan and I love how gonzo it is, made even better by the fact he pulls it off for most of the film and only loses at the eleventh hour. Also his minions, a "clone army" are soldiers in balaclavas with an array of lenses poking out, which is basic, but looks really cool. If you haven't seen Guardians, I'd say it's worth at least the one watch, even if it is pretty poor overall, as there's enough fun stuff happening to get through the film, but it's not some forgotten classic or cult darling in waiting.

Thinking Out Loud: The Hero of Time

Hey there! This is another one of those entries that's not even tangentially about superheroes, just something that's been on my mind that I had to get down somewhere. So sorry, come back next time for something involving capes and tights.

I'm of the age that I owned a Nintendo 64 at the time it was the current generation of console, and would occasionally get games as gifts or whathaveyou. Like many of that age, I fell in love with The Legend of Zelda: Ocarina of Time, finishing it many times over; it was actually my first Zelda game, and even to this day the series doesn't feel "right" to me in the classic 2D-style. Sadly, I couldn't afford to do more than borrow a copy of Majora's Mask back in the day, but I made up for it with the 3DS version as an adult. Even now, if I'm sick, or even on holiday, running through Ocarina and Majora is a good way to spend my time.

Oddly, these games have actually gotten better as I've gotten older. I mean, I don't think there was stuff there that only came to light later, more that, having done degrees in English Literature and Film Studies, my critical faculties have greatly increased and I can see more in the narratives than I could when I was a literal child. Themes like loss of childhood, inevitability and the need to find closure permeate Ocarina of Time, which is part of the reason it still resonates with players decades on.

Majora's Mask is about trauma and grief, right? I don't know if it was a deliberate choice by the makers of the game (given general Japanese cultural attitudes towards Mental Health, I doubt it), but every element of the game is steeped in loss and the pain it brings. The antagonist has been so hurt by the world that he lashes out in an apocalyptic manner as soon as he has the power to do so, the cartoon fantasy equivalent of a school shooter. The game even starts with the bullying victim bullying the next person down the chain (Link, yes that was a pun) because it's the only power dynamic Skull Kid can relate to. Ah, but I hear you say, aren't the majority of school shooters racially motivated? Well, what does Skull Kid do to Link after stealing his horse for a joy ride? He forces a new, "lesser" racial identity on Link, which causes the people of Clock Town to vilify him, refuse him service in shops and basically treat him as a second-class citizen. With the Business Scrubs and the fact that only the local Banker is keen to talk to Deku Link, there's probably an allegorical reading of the European Jewish experience to be had, but we'll leave it at that.

And what of Link? Well, he starts the game running. From what? Here the "nebulous" nature of Zelda cannon can be easy to trip up on, but I tend to see Majora's Mask as the direct sequel to Ocarina of Time. At the end of Ocarina, Link is forced to return to childhood, despite having spent a not-insignificant amount of time as an adult, putting his life on the line to defeat a mad wizard whose evil has literally twisted his childhood home into a place of nightmares. Of course, the world where Ganon has been defeated has no need for Link, and Zelda seems to be working from a framework of compassion in sending him back, but Link has been forever changed and cannot go back to his life of the most bullied Kokuri. How do the Ocarina credits end? With Link running into Zelda's courtyard as a child once more. Whilst there is a perfectly fair romantic reading of Link and Zelda's relationship, I tend to feel that the connection they share through the Triforce is probably deeper than that, given that the three are continually reincarnated to act out the same struggle throughout history. Naturally, the child Zelda is unable to relate to the Link who has been an adult, seen the future and felt the blood of evil men on his hands, so he has lost even that connection and flees Hyrule entirely, searching, perhaps unconsciously, for someone who can relate to his experience.

Meanwhile, back in Termina, Link is stuck in a "Groundhog Day" three-day loop where he can watch those around him go from disbelief to panic to horrific fiery death knowing that he will survive and have to do it all again. And how does Link combat the end of the world? By putting on masks that literally change him into someone equipped to fix the problem, a process that is clearly painful and traumatic, but which Link puts himself through repeatedly to save others. There's probably a D-I-D reading there, but that's way above my Psychotherapist pay grade. Depending on how familiar with Majora's Mask you are, it may take quite a few runs through the last three days of the world for you, though Link, to save it, so just how many times does this poor child who has seen and lived through way too much already see the world end because he failed? Once all the titans are awakened, Link can prevent the moon from hitting Termina and save the world, pretty standard fantasy stuff, really. However, is this allegorical? Is Link really accessing an inner strength, or perhaps building his Maslow's Pyramid? Link leaves Termina at the end of the game, his belongings restored, but how is he psychologically? Is he stronger for what he has gone through, or has this adventure broken him even more?

And where could this lead next? That's a question that has been floating around my brain for years, off and on. Yes, I know about the "Split Timeline" and all that, and I've played other Zelda games, but I want to know what happens to this Link, the one who defeated Ganon and then Majora before wandering off into the dark areas of the map. Well, sorry to say, all this was a lead-in to another one of these speculating on a possible final installment of a trilogy. So keep an eye out for that, sooner rather than later.

Superhero Media: Godzilla II King of the Monsters

Oh my God-zilla, but this came out of nowhere! The 2014 Godzilla was alright and Kong Skull Island was a hell of a lot of fun, but King of the Monsters pushed everything to a new level; being a really good action film even without Godzilla or grading on a curve for being an American Godzilla film. No longer bothering with easing Western audiences into the whole Kaiju concept, King of the Monsters has Godzilla on-screen in the first minute and throws out a heady mix of Mothra, Rodan, King Gidorah, the Hollow Earth and Aliens as it smashes it's way to greatness. Every part of this film is finely crafted in a way most genre action films don't bother to be, from the soundtrack, to the cast and especially the Kaiju, King of the Monsters had the potential to be a great hit. Sadly, it did poorly at the box office and that's all Hollywood executives care about right now. I can only hope that Godzilla vs. Kong performs well and I finally get that Kaiju Cinematic Universe I want, complete with all the weird monsters Toho has the rights to, but with American money behind it. 

Unlike the previous attempts to adapt the King to a Western audience, King of the Monsters embraces what has worked in the Japanese films for decades, even down to Bear McCreary using the classic "Godzilla" theme as the basis for his score, giving longtime fans like me a thrill as the big brass horns start up. And don't get me started on the version of Blue Oyster Cult's "Godzilla" done with Serj Tankian, a Buddhist Monastic choir and full orchestra, still my favourite new song of 2019. How good is this film, when you get down to it? I saw it in the cinema with my then-girlfriend, who had only seen the 1998 and 2014 versions and thought the whole premise was laughable, but she was cheering with me when Mothra comes back into the Boston fight to take out Rodan and kept talking about how amazing the whole thing was through dinner later. King of the Monsters takes us to the Hollow Earth to detonate a nuclear bomb in Godzilla's face, which heals him, of course, as a preamble to the third act, but none of it feels out of place or forced, it's that well crafted. How this wasn't the start of something bigger just baffles me, more people have seen Gidorah memes than they have this film. 

Even the sounds the kaiju make are pumped-up versions of their classic calls from the Japanese films, such is the fidelity on display here; it's astonishing. And for all the loyalty to the history of the franchise, King of the Monsters is still a beautifully crafted film, with scenes like Godzilla approaching the underwater base frankly better lit than many entire films I've seen of the same era. Hell, I didn't even get to the cast yet! Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Ken Watanabe, Bradley Whitford and Sally Hawkins are just a few of the names that grace this motion picture, that's a hell of a cast and they deliver, from the shock and awe of the opening, to the final "Long live the King" drop. King of the Monsters is one of my favouirte "rainy day" movies, something I'm always up to watch, even if I only saw it again a few days ago, because it's a lot of fun and always thrilling. What the cast and crew of this film did right is the same thing the Marvel Cinematic Universe does right, they trusted that something that had been around for decades already "worked" and build a solid film around those concepts, rather than trying to reinvent it from the ground up. I hope this isn't the end for the "Monsterverse", I want to stay and see where it goes. Long live the King.

Drokk the Law!! - Part XII

Taking a break from my usual Mega City 1 AARs to focus instead on how my gangs are progressing. As any wargamer will tell you, there hits a certain point in any project where you have to start keeping accurate books on everything so that you don't miss something or double-up on stuff. For me, the Judge Dredd Miniatures Game has hit that point, given that my Renegade Robots number around 20, but I don't have a street gang that's not bits from other games pushed together. To avoid getting too carried away just yet (though it may already be too late), I'm going to focus on the handful of gangs I've been playing with, leaving some other ideas and collections to the side for the moment. These gangs are;

Renegade Robots (Blood in the Machine)
Street Gang (Flo Rida Block Porpoises)
Mobsters (Inagawa-Jones Syndicate)
Demonic Cabal (Cult of the Outer Gods)
Lone Vigilante (Bubba Feet/The Justness Legion)

This probably doesn't seem like a small amount of models, especially for a game I currently barely play, but I'm hoping to build a broader a community if I can loan out gangs to potential players to learn on. Once these are done, or at least done enough, I can look at some Judges, another Street Gang, Apes and perhaps even some Outlaws and Mutants. By the time this article is published, I'll probably have finished the last of the Renegade Robots, so expect some pictures of them soon as well, then I'll likely be focusing on the Inagawa-Jones Syndicate, as I just got some cool minis for them from the old Urban War range.

A major part of any JDMG campaign involves Mercenaries, which serve as the balancing mechanic between gangs at different levels. For example, if your gang has a total cost of 700 and your opponent's is 800, you would get a free 100 Credits to use on a Mercenary for the game. I really like this as an idea, because it makes up for difference directly, allows the use of models from outside of your normal gang and saves any fiddly catch-up mechanics. Just which Mercs are available varies from Gang to Gang, but there is also plenty of crossover. Because I'm wired that way, I compiled a list of all the Mercs available to my five main gangs and included their approximate Credit value.

Bat Burglar (80)
Fattie (60-100)
Futsie (10ish)
Juve (10-60)
Juve Jimp (90)
Klegg (190+)
Klegghounds (100)
Lone Vigilante (500)
Punk (~95)
Pyrokinetic (225)
Robodoc (50)
Robodog (30)
Sky Surfer (100)
Vid Reporter (25)
Agent (95-300)
Combat Droid (~500)
Gorilla Gangster (125)
Street Judge (150-300)
Chimp (50-75)
Citi-Def Soldier (100-200)
Mutant (20-110)
Wally Squad Judge (100-200)
Assassination Droid (195)

Now this seems like quite a lot of minis to collect and add to the lead mountain, but some of them are already going to be in some of my gangs, from the obvious Juves and Punks through to Agents and Assassination Droids actually being an option for Mobsters, so I'll have some anyway (in fact, the Kabuki Robot from Urban War is my intended Assassination Droid model currently, has a nice Ghost in the Shell vibe). I can pull some Robodogs from my Necromunda extras, and I actually already have some Sky Surfers, Apes and Mutants waiting for paint, so filling out this list won't actually be that arduous a task for the most part. The only real struggle will be the more iconic 2000AD characters, like Judges, Fatties and the Bat Burglar, as they only really look the one particular way.

One of the reasons I love miniatures agnostic gaming so much is that I get to hunt around for just the right mini for the character I'm trying to make. I already had some Urban War minis to start my Mobsters with, getting more was a pleasure, and many of my incidental Punks, Juves and Cultists are getting put together from Stargrave plastics, which I picked up cheap. I have my eye on some Eureka Apes to get my Chimps and am looking into some 3D printing options for some items. I may consider the Warlord range if I can get it cheap, but that also won't be as fun as turning old Blood Bowl models into a Street Gang or finding something unique at a swap meet. Alright, I'll leave off there for now and hopefully go finish the last robot so I can post that Gang up next time we're in the Meg.

Superhero Media: Dragon Ball Z - The History of Trunks

Ok, I swear I'm going to talk about how great The History of Trunks is and its importance in the Dragon Ball Z series, but there's something else I need to get to first; Dream Theatre, Bootsy Collins and Buckethead are all on the soundtrack of this film. Really. I have the Remastered Collection on DVD, so maybe it's different for other copies, and I have to watch the dub to hear the tracks, but holy shit Bootsy teamed up with Buckethead at some point to soundtrack Dragon Ball Z and I only just found out about it! In an alternate timeline, Goku is felled by a "heart virus" and the world moves on for a few months until a pair of evil Androids attack, killing most of the Z Fighters and forever altering the history of the planet. Years later, a tween named Trunks wants to battle the Androids like his father did, despite being too weak to make a difference, thankfully he is saved by one of the greatest characters in the entire Dragon Ball franchise, Future Gohan! Ok, so the name is silly, but the future alternate to Gohan is a fascinating character who warrants some serious unpacking. 

Most of The History of Trunks you probably know if you're a fan, as huge sections of it are lifted into Dragon Ball Z, and the story has been told again and again; so I'm not covering it too much here. Let's start with Gohan first, now I'm normally not fond of adult Gohan in anything but the Piccolo or navy blue gi (Sayiaman aside), as it provides some visual difference for the character apart from Goku that the group tends to need for colour balance if nothing else. Future Gohan is the one exception for me, not just because of the lack of other characters, but because it is really only in this one timeline that Gohan has willingly taken on the role of planetary defender left to him by his father. This Gohan hasn't forged his own path, like he does in DBS, he's driven by duty and destiny, perhaps even aware that his end may not be a happy one, but he carries on because that is what expected of him. In many ways, The History of Trunks is a film about Gohan, and just how good he has it in the main timeline, making his decision to return to fighting in DBS all the more poignant. 

As I've discussed before, The History of Trunks was the first piece of media where I became aware of the "Villain Apocalypse" concept which would come to be something of a fixation for me. Androids 17 and 18 are walking engines of destruction, slowly eradicating the human race merely for something to do, and no one can stop them. Hell, The History of Trunks doesn't even really have a happy ending, as Trunks cannot defeat the Androids and has to travel back in time to make the Trunks Saga happen. There is a depth and pathos to The History of Trunks that is pretty rare in the DBZ films, truly being a character piece more so than just an excuse for a series of fights strung together. True, Androids 17 and 18 don't get even a sliver of the development that they would in the continuing series, but their role in this outing is more akin to a force of nature with a face. For a long time, The History of Trunks was the one piece of DBZ that I owned a copy of, so I must have seen it a least a dozen times, but it's still enjoyable and one of the better written parts of the overall series.

Thinking Out Loud: Anarchist Super Heroes

So having covered some of the quagmire of what politics superheroes tend to represent previously, let's take a look at something closer to my home; Anarchist Superheroes. Are there any? Well, that's a little tricky, if I'm being honest, because Anarchism, as an ethos and political stance, can be a bit nebulous. Part of that is the "Left" just not being super intersectional, in that two people can call themselves Anarchists, but have different views on a couple of things and end up fighting. So let's consider the broader implications of contemporary Anarchism on this one, rather than breaking out the Bakunin. If I limit myself to wanting to eliminate nations and abolish government as we know it, I can actually find a character or two that fits the bill. First of all, characters that are merely anti-police or pro-socialism, like Alison Green or Invincible, are clearly not Anarchists, despite their Leftness, as they wish to reform the system, not demolish it. No we need someone who likes to smash, some kind of Hulk, perhaps?

Yeah, Immortal Hulk is our first stop, as he's probably the best example of both a character and a comic with a radical bent to it. Hell, Devil Hulk's (love the irony) main antagonist is the Roxxon corporation, run by a literal inhuman monster capitalist, like, it's not even subtext, it's just text that this billionaire is a monster that eats people and wants to destroy the world. And Hulk openly states that he wants to end human civilisation, though not humanity, to save the planet before it's too late; it's a far cry from Iron Man thinking that getting cell phones into Africa will solve any of the world's problems. Of course, the other name everyone is going to think of is V, the masked revolutionary of V for Vendetta, an avowed anarchist who's sign is an inverted Anarchy symbol. V is actually a great example of the problems with contemporary Anarchism, especially in the graphic novel, where V undertakes his crusade with no consideration for how the people of England will react or be affected by his actions. Certainly not an intersectional Leftist.

V is problematic because he is also out for specific revenge and isn't really particularly humanist whilst he's going about destroying the system. Even in the film, V performs some pretty dark acts in order to achieve his goals which are, arguably, not redeemed by his death. My favouite at the moment is Karli Morganthau and the Flag-Smashers from The Falcon and The Winter Solider, who are not only intersectional Anarchists, but, during "The Blip", actually got to live in a border-less society with universal housing, healthcare and support; no wonder they're prepared to fight to get that back. And the programme doesn't frame them as outright villains! That's amazing, given that a good 150+ years of propaganda has made the word Anarchy synonymous with 'lawlessness', which, you know, it just isn't, Anarchism just has different methods of law-keeping. Yes, Karli turns to violence and murder as she escalates, but that is responsive behaviour to the arrival of Captain America and her friends being attacked. She's not perfect, but just seeing an Anarchist be presented as a reasonable and logical person is pretty unique, and I really enjoyed it.

Superhero Media: Avengers Endgame

Whilst not the greatest superhero film ever made by a wide margin, Avengers Endgame may well represent one of the greatest achievements in the genre, being as it is the culmination of more than a decade of buildup and 21 previous films. Simultaneously a victory lap, celebration of the franchise and farewell to several prominent cast members, Avengers Endgame is like no other film I'm ever likely to review here. A send off for Captain America, Hulk, Thor, Iron Man, Black Widow and Hawkeye (despite the fact several of those will stick around in some form), Avengers Endgame also finds time to tell stories about Ant-Man and Nebula, who are somehow the emotional centres of the film. I really could just gush about this film for pages, but the internet hates positivity, so I guess I'll cover the bad points of Endgame first; they're really aren't any. Sure, there are parts you can nit-pick if that's your thing, but most of the major criticisms that I've come across are invalidated by the film itself. Wanted more Captain Marvel or Doctor Strange? Sorry, Endgame is for the original seven to say goodbye. Wanted closure on specific lore elements? What series do you think you're watching? 

I'm usually reluctant when it comes to "for the fans" entries in series, but there is such a joy to Endgame that I can't help but be swept up in flow, just enjoying how fun the whole thing is. I already covered the cultural impact of Endgame way back in 2019 with my "Why the Endgame Matters" article, so I won't repeat myself here, but some moments in the film really do take me back to the first time I saw it, opening night and had the whole cinema reacting with me. I must have watched the film at least a dozen times, and I find something I've missed each time, most recently it was that Cap tightens the straps on his broken shield to close a gaping arm wound. Seriously never noticed that before, and it's such a great moment. Another one is that Black Dwarf dies when Giant Man steps on him, I love that he's such a non-threat this time out.  Hell, it's just great to see Scott Lang interacting with the other heroes again, he's such a good fit for the team, never quite believing that he deserves to be there, despite being the reason that they all get to go on the Time Heist in the first place. 

And the Time Heist! Sure, it's a narrative excuse to show clips of previous films, but if that was it, Endgame wouldn't be so great. The juxtaposition between 2012 Cap and 2019 Cap alone is amazing, from dropping bombs about Hydra and Bucky to "That is America's ass", punctuating the scene, but I loved seeing more of the post-The Avengers cleanup, including poor Hulk having to take the stairs. It's pretty rare that we get to see this kind of achievement, this kind of moment in cinema, especially genre cinema, and this genre, which had only really been popular for 20 years when this was made. I'm honestly not sure that the Marvel Cinematic Universe will reach these heights again, but even if they don't, Endgame is a high watermark that will be there for future generations to discover and enjoy. A friend of mine's 7 year-old boy is watching through the MCU films right now, he was up to The Avengers last time I checked in, but I can't wait to see how someone that young reacts to Endgame, I kind of want to watch it with him just to see his reaction. Well done to all involved, Endgame is amazing and I was glad to be a part of it. 

Avengers Assemble

Yet more Superhero Online Comics to read (if you like that sort of thing)

Lately, I've gotten back into reading some more indy comics, as I found I was hitting the Marvel pretty hard and little else. The great thing about the internet age is that independent producers can do their own thing with minimal overhead, which can lead to some unique voices getting out in a crowded market. Not everything below is perfect, but there is more than enough good there to make it at least checking out for a few pages. Best of all, these are free, so you can get your supers fix guilt and cash free.

Empowered (Ongoing)

Created by Adam Warren (of Marvel and DC fame), Empowered is the story of Empowered ("Emp" to her friends), and this Dark Horse indy darling is available to read for free at empoweredcomic.com Sold as "a sexy superhero comic" the art and content of Empowered do tend more towards the adult and erotic, but there is a lot of really smart content beneath all the bondage and semi-nudity. Emp may be the holder of incredible power, but the suit which grants her power is linked to her self-esteem, which is usually pretty fragile. Add in some great supporting characters like Ninjette and Thugboy and Empowered treads the same line as Invincible in making the setting feel huge without a lot of extra continuity to follow. Just a warning that some of the sexual and violent content (as well as some sexual violence, sadly) can get reasonably intense on occasion, so maybe don't go reading this one at work?

Edison Rex (On Hiatus)

Essentially based entirely on the premise "what if Lex Luthor was right?", Edison Rex is still a pretty interesting read, even if the opening chapter is in too much of a rush to get there. I'll admit that I was a little disinterested at first, with every character and beat feeling like a "not brand-x" version of DC Comics, but as the comic goes on and finds its voice, I became interested in the protagonist and his world. Nothing I read in Edison Rex was all that brilliant on its own, but everything was at least competent and well-presented, which kept me engaged and let the unique ideas stand out. It's like how Irredeemable works when it plays things a little generic, but gets bogged down in characters, so becomes something more than a basic Superman riff. Edison is interesting enough that I enjoy the clever metafiction that is happening, rather than being a brilliant comic universe of its own. That said, I will 100% be adding the villain "Maul Santa" (something of a Joker/Green Goblin riff) to my collection and Ultimate Alliance games.

Spinnerette (Ongoing)

Man, I'm getting old, I remember reading Krazy Krow's webcomics in high school, now I discover he's been doing this for years? Ok, I read 8 Bit Theater and then went on to Atomic Robo, but I knew about that one for a while before I started reading it. Spinnerette is one of those internet-born entities that has a huge and devoted fanbase that I wouldn't want to piss off, and I do get why. Whilst I, personally, only enjoy Spinnerette as an occasional distraction to binge out a few issues of, it has a delightfully silly charm that really draws the reader in. Sadly, unlike Empowered, not everything is on the website, with some stories only in the print comics which can be limited run, so I'm not completely up on ever aspect of Spinnerette and don't think I'll be bothering with it as anything more than a distraction. That said, should 3D printing facilitate my getting a Spinnerette and Mecha Maid, I won't say no to adding them to my Ultimate Alliance roster.


Magellan (On Hiatus)

A long-running comic that I only recently discovered by accident, Magellan takes place at the titular superhero academy and reads something like a cross between X-Men and the old Star Fleet Academy books (or maybe Harry Potter? Not sure, never really got into them). Although there are broader superhero teams, drama and action, everything tends to come back to the cadets and how they're navigating the world of becoming a professional superhero. Having started way back in 2004, Magellan does seem a little "of its time" to begin with, but like many internet productions, picks up in quality once the writer and artist have had time to develop skills. Much like Edison Rex, there's not too many characters here that I'm keen enough on to want miniatures of, as many are a tad generic, but it is nice to see more Australian superheroes than you normally do, even if far too many of them are still Australian "themed" for no real reason. Seriously, we have culture beyond native animals and famous tropes, no reason we can't just have an Iron Man or Martian Manhunter, you know?