Seek television that breaks concepts down to dust, a story of the mind that tinkers with perception, deception, time and personality, every bit as warped and alien as a dream. All of those arguments you’ve ever had about what a superpower should be capable of are great fodder for a creative mind, but it’s so rare to see the product of those arguments come to mainstream television. This kind of arthouse flexing of the thought muscles, toying with metaphors brought to life, the landscape of the mind turned into a battlefield, that’s usually the reserve of Sundance Festivals and indie game developers.
Legion, a series based on a lesser known X-Men character, and played by Dan Stevens, who you’ll know if you watched Apostle on Netflix at all. Legion is the son of Charles Xavier himself, and like his father he is a staggeringly powerful telepath, actually a great deal more powerful, but there’s a few complications attached to his ability. At a very early age, David Haller was subject to a dark parasite that piggy-backed off the strength of his mind, another telepath – Amahl Farouk, the Shadow King, disembodied but no less alive, arrogant and malevolent, and harbouring a vendetta against David’s father.
Now, whether it was because of Farouk, the strain of carrying the indomitable will from an early age, or the side effects of having the bogeyman that haunts you for decades, or if it was already part of his mind, David… Legion, suffers a host of mental health issues, not least of which being dissociative identity disorder on a massive scale. He’s a bucket of voices, a classroom of toddlers piloting a psychological tank, and the results are amazing.
Where Legion breaks the comic book mould is that war between telepaths isn’t an action packed romp of explosions, gunfire and thrown fists, they’re wars of words, and emotions, and concepts, which leads to battles of song, dance, hallucinations, haunted-house style walks through memories, and the reshaping of reality, not just mental reality but the physical world.
The series features surreal and dark performances from Aubrey Plaza and Jemaine Clement, predominantly comedy actors but masters of the strange, and brilliant at creating unsettling characters. One can never be certain if Aubrey’s character, Lenny, is real or a mask of the Shadow King, worn to gain trust, even to the very end it’s near impossible to know for sure. As for Jemaine’s character, Oliver, is never entirely certain if he is real, being so wholly attuned to his own mind and the myriad worlds and sweet jazz therein, that his body has become a fiction to him.
The “side cast” are also arranged to explore psychological concepts; memory, identity, loss, dependence, addiction, and all of the madnesses that dog these parts of human interaction, and because they each represent a part of the human condition we get chance to explore their feelings and their characters through interconnected narratives that drive towards a single, many layered plot.
It’s all strangely beautiful, and set to a 60’s/70’s backdrop, colour scheme, and soundtrack, meaning everything is cast in this psychedelic clash of colours and images, equal parts horror film, musical, and emotional drama, but dotted with anachronisms to There’s astonishingly little in common with anything else based in a comic book universe, although I’d say it has fingerprints in the Joker, being based on the struggles of mental health. We’d have seen something like it in the New Mutants, a project so quagmired in production limbo it looks set to sink into oblivion.
But it’s more than just comic books, I don’t remember the last thing I saw that was so willing to violate the basics of narrative to the point where it becomes an aesthetic study of character rather than a straight forward beginning-to-end story. And sure, there’s a narrative to follow, but it’s impossible to know what parts are story, what parts are fictions, what takes place in the mind, or out of it. This is television that plays with the medium, rolling camera angles, shifting aspect ratios, clever transitions, unapologetic use of colour motifs, even the recaps that begin some episodes replace “previously” with “apparently” or “ostensibly”. When season three introduces the mere concept of time travel, it’s not a shark jumped, more a continuation of themes, themes of warped narrative and the inherent instability of the mind. We cannot trust our narrator, not the accuracy of his story, or his motives, or the way he perceives himself.
The only thing I’ve seen come close is American Gods, or perhaps Westworld, and more should be done like it, mentally challenging, shifting sands of ideas that force the brain to work harder instead of accepting a linear and heavily simplified story telling upon which our brains grow fat. A little mental junkfood is all well and good, and I’m not saying that this is your meat and potatoes as such… perhaps a more accurate analogy would be that it’s like a long holiday somewhere far from home compared to a weekend in the same old pub. One expands the mind, the other is all too comfortable to promote active thought. There’s nothing wrong with either, but too much of one makes the other lose value.
A few years ago I stumbled across a pilot for a possible cartoon series to star Ashley Johnson in the lead role. That pilot became a series, that series will be getting a follow up some time next year, and there’s a handful of short episodes somewhere that I haven’t seen.
The series takes place on a train that is, unsurprisingly, infinite in length, and comprised of extradimensional cars that contain worlds that conform to a strange and alien theme. Kingdoms ruled by dogs, nations of sentient water blobs who are terrible salespeople, caverns of crystal that alter with sound, worlds where reflections can gain independence from their caster, that sort of thing. The cars reorder themselves on a whim, and some require quests to be completed or revelations to be reached before they will reveal a door onwards, some are just hard work.
Main character, Tulip, is a young programmer and games designer who flees a troubled home life to get to a design camp, and takes the train oblivious to how it’ll interfere with her plans. Suffice is to say that the train turns into a journey of self discovery, and she gathers new friends along the way, because it’s a kids show, of course she does, and one of them is a robot with mental troubles of its own, and the king of all corgi’s voiced by Ernie Hudson because hell yeah he is!
I won’t lie, I tend to evaluate any intellectual property based on how easily I imagine running a role-playing game in the setting and using the rules inherent to the world, and by that category alone I’m pretty well sold. Characters could start with a fixed level of mental disquiet, and every step of their journey either brings them closer to, or takes them farther from the revelation that will point the way home. Sessions are based on cars, their are enemies… allies, and all of it is in pursuit of personal betterment… like Quantum Leap… but it’s a train.
How can hindsight be so flawless if we use rosy tinted glasses to see it? We look at the kids shows of our youth as “the golden age”, hell, I’ve had plenty of arguments with people about who got the best era of cartoons, but the truth is we only remember the good ones. When I was a kid I watched Hey Arnold and Recess (also starring Ashley Johnson), and that’s still good TV, it’s dated surprisingly well over the years. But we also had Bodger and Badger, Teletubbies, and the Men in Black cartoon series. And it’s easy for us to watch kids TV now and say “Well this is terrible, we’d never have sat through this!” Well, we did, we just forgot because it wasn’t very good.
We’re already confronted with a generation who grew up on Adventure Time, of which I’m already a fan, and I think that – given another season or two – Infinity Train has that kind of potential. It doesn’t shy away from thoughtful dialogue, challenging issues, or emotional moments, nor does it dress up every heartbreaking moment in clunky metaphor, we see the unpleasant home life that drove Tulip to flee home, and we understand the struggle she’s going through. It’s a situation many children suffer with, and it can present them with challenges that are horrible and confusing, but all too real. And slowly but surely we see her come to terms with her situation, and that’s not say that things automatically get better for her. There’s a happy ending that’s not “happily ever after”, but accepting, and powerful in its own way.
Ok, it’s also a kids show, I’ve no doubt with a subtle change in target audience – like if this was an anime instead of a western cartoon – it’d be able to go a little darker, take things a little more seriously, maybe even take a more dramatic stance on the adversity Tulip faces; it’d be nice for more animation to embrace the melancholic. But I won’t lie, I’m curious to see what a second season of Infinity Train can offer. The trailer already shows that we have a new protagonist, but thanks to certain events in the first season we keep Ashley Johnson’s character, Tulip. There’s also no malevolent force controlling the train, so I’m curious to see what adversity our new hero faces.
Merry November everyone! A quiet GeekOut this month, and a relaxing one at that, I even managed to play some games for a change…
Premeet – The Hole in the Wall
Might have forgotten to take photos in the Hole in the Wall, after a while that may have proved a conscious decision due to… let’s say disquiet in the immediate vicinity. Still, a couple of great games of Magic in which I was – for some reason – picked on mercilessly for the sole crime of playing a black/white allies deck with a mean streak. I also took the time to pick some brains for ideas, mostly gap filling for the party rosters on pre-generated characters.
It’s rare for us to play a game at GeekOut featuring a perfectly normal deck of cards, but when it’s a game with excessive and increasingly elaborate rules that’s designed to be won through sheer tolerance as your fellow players drop out from pure frustration, that’s our kind of game. I could hear people writing characters for RPGs, talking video games, and generally enjoying themselves, and ultimately that’s what matters.
I don’t think I talked to many people this month, certainly not everyone because this GeekOut seemed to have barely begun before it was over, so if I missed anyone I apologise. We were suitably quiet that I got rather embedded into a few games, and that in itself is a rarity, where I’m usually buzzing around making sure everyone is attended to and don’t seem to get the opportunity to settle into anything.
The last GeekOut Shrewsbury is sooner rather than later, with Christmas a little too close to the last Thursday of the month, we will instead be at Monty’s on the 19th! Keep an eye on Facebook for the details, and don’t forget with it being the December Meet, we’ll be doing the Super Secret Santa: buy a gift for no one in particular up to a spending limit of £5, and if you put a present in you get to take a present out!
We’ll also be opening… the box.
While Tim brings a close to his NaNoWriMo efforts (well done man), and as the year heralds the end of GeekOut, I’m coming to realise that a few of my bad habits have reared their ugly heads. Perhaps it’s brought about by the sedentary lifestyle of a self-employed writer and entertainer, destined to only travel for work once or twice a week for the foreseeable future. I’m stuck in front of my computer far more often, clawing and reaching for excuses to get out of the house for a few hours. Fortunately running GeekOut events have afforded me a far wider social circle, so I’m certainly not short of people whose times I can encroach upon. But in between coffees and gigs, I sit, a slave to my keyboard and microphone.
I recently used Skyrim as a means of pulling myself out of an unpleasant mental spiral. It worked, and I’ve built up a rather brutal sneaky barbarian and necromancer who I’m rather pleased with. Built a house at staggering speed, took part in the civil war for the first time ever (disappointing cycle of quick mission and dull fort sieges to be honest), and then realised how much time I’d been pouring into the game… and all of the games I’d neglected.
Understand that I am not saying Skyrim was a bad choice, nor am I particularly saying that the amount of time I’ve been spending playing games has been particularly negative, but there is a definite need to dig into the untapped well of unplayed games, and not give in to the temptations of the Autumn sale! That well is not running dry any time soon.
And it’s not just Skyrim, I’ve been watching the same cycle of YouTube videos, watching the same old films and TV shows that make me a little over-comfortable, and while they do just that, I come to face a blank page and find myself with nothing new to say. I sit and drive at old projects, progress definitely slowed, but I’m definitely not going to give into the temptation of starting a new project and consigning the current ones to the archive of half-finished trash.
To be fair I’m rather proud of some of that trash, pieces of it are constantly being rolled into the next thing, and onwards to the next thing, so that my entire library of unfinished products can be charted like sedimentary strata, but it doesn’t change the fact that there’s very little finished work in it. It’s a terrible cycle, but there’s some positive side-effects.
We’re creatures of habit, life is a series of cycles, good and bad. Hells, I’m almost entirely certain I’ve written this article before, perhaps not with the same words or the same examples, just something to consciously break the loop and to drive me back into doing something positive with my work, and maybe to encourage others too, to recognise what are positive habits and what are destructive cycles, how to promote some and break others.
Sometimes one requires a kick up the idiom, and as perverse as it sounds, I tend to use the same YouTube videos every time I need one, because it’s advice I need to hear, and sometimes need to be reminded of.
Next on the to-do list, play a different game, prepare for Christmas, and the start of a new chapter, get some new working routines, and try and get back into the habits that GeekOut has fostered in me for the last six years.
Live for the positive takeaway.
Eberron is certainly the first and may be the only campaign setting to see a physical print in fifth edition. While the edition as a whole has held up Forgotten Realms for campaigns, and of course draws a great deal upon Dragonlance and Greyhawk to build a “core” of information, cosmology, gods, and history, the big settings have received little supportive nods here and there in sidebars and appendices and the like, but Eberron has also seen some pretty thorough Unearthed Arcana support, followed by a small, cheapish pdf publication late last year… or maybe early this year? I forget, I’ve been busy.
Rising from the Last War is double the length in terms of pages, with written content padded out with artificer rules only slightly modified from the last playtest edition, some pretty artwork, a few rule ideas, monster statblocks, and a few extended descriptions of factions, regions, history, and essential details.
Which begs the question… is it worth it?
Financially, that’s a maybe, the books aren’t cheap, let’s be realistic here. If you bought the Wayfinder’s Guide (the pdf I was talking about) you might have enough, but it’s better if you have access to some of the third edition lore books that can help pad out Keith Baker’s world with locations and people, although it’s not strictly necessary, just interesting.
In terms of content, well certainly the new book has some rules updates, and while I haven’t been through everything yet there’s certainly a few notable examples I’ve picked out.
Warforged rules have been altered, although I might argue that the rules from either book are balanced sufficiently to use, and given the manufactured nature of warforged I’d also make the case that you could use either rule-set in any given game, rather than choosing one or the other. Changelings have been simplified, perhaps diminished having lost an ability that makes them a little harder to hit, Kalashtar don’t appear changed from a quick once-over, and Shifters have been altered a little to make them notably more diverse depending on the subtype. On the subject of racial rules, the rules for building dragonmarked characters have been altered, and certainly the new rules seem simplified, but I’m still undecided on which rules I prefer.
So far as the artificer goes, I have to say that the artwork really helps bring the subclasses to life, I wasn’t entirely certain about translating some of the rules into narrative components. Seeing things like the alchemical homunculus and the artillerist’s collection of wands given artwork is far more evocative, and I say this as someone who loves artificers whatever the edition.
Points of interest, there is a section on choosing a patron that reads as advice for players and dungeon masters alike, and I love the notion of using it as part of a session zero character building discussion because it gives players ideas on the kind of games available to them and what kind of world they’re stepping into. If you run a game that’s faction-heavy it’s easily worth a read for ideas on how to market those factions to your players.
In terms of building the themes of the major continent, Khorvairre, I love the flavour texts. Where previous books have included annotations from famous NPCs, here we have newspaper cuttings to drive home the modernity of Eberron life. Propaganda pieces, inflammatory and fear-mongering snippets that read like they were written to panic the populus, but instead give the DMs and players some twisted ideas. Tales of drug abuse in the city of towers, living weapons and armour forged in the dwarven annex – the Mror Holds – painted as grotesque abominations, but written in a paper sold to the nation that raised its own dead in the last war.
Certainly the book goes into far greater detail than the Wayfinder’s Guide, and presumably it supersedes the majority of the content being the newer publication, and while I’ll never be satisfied with the amount of detail (having read most of the Eberron companion books from 3.5) it’s certainly quite a thorough volume, and to go properly in-depth would have required a far bigger, and more expensive book. I was also saddened by the absence of psionic rules, however…
A new Unearthed Arcana came out recently giving subclass options for fighters, rogues, and wizards, that focus on psionic power, and Eberron is not the only major campaign setting that could warrant a full-sized publication. There is another for whom psionics are a far bigger deal…
I’m sure this can’t just be me. The games design industry is getting ever better at metacommentary and self reflection, we’ve developed a pretty wide array of habits and design fallbacks that we’re aware of our own foibles and the like, and it’s not like we don’t have parodies of games on YouTube, gods there must be thousands of skit comedy groups producing jokes that only make sense to gamers. We talk our own language, we have our own jokes, and we have a community and culture that is ripe for parody.
What we don’t invest in, are parody games.
Weirdly I have fond memories of a Myst parody that I found long before I found the original game. It was crude, barely a game, more of an interactive comic strip of sorts, but if featured John Goodman as King Mattress, a mockery of Atrus, who appears as a floating head in a pool, much as he did in the original game funnily enough. The Parroty Interactive rendition paints the island of Myst as a lousy tourist attraction that has fallen on hard times, is falling apart, and is being taken over by a big corporation with radical ideas on how to run a theme park. Everything is viewed through postcards, so that the writing on the back of each snapshot becomes a mockery of the reading that forms the backbone of Myst’s puzzle solving.
Fun fact, one of the biggest producers of parody games is PETA, an organisation that has become a mockery of its own purpose, who produce games about animal cruelty. There we go, that’s something you now know. And they’re not the only people to produce pokemon parodies either but… well we’ve got a month left but we’re going to keep things above board, let’s not delve too deep into pokemon parodies.
We have the likes of Braid which is a non-comedic lens shone on classic gaming tropes, we have the likes of Knight of Pen and Paper, which is a great game filled with jokes for tabletop role-players, same as Bard’s Tale, and Goat Simulator which is a madman’s idea of a simulator game, but I think we lack direct parodies. We don’t want for material, but we seem to turn all of that material into sketch comedy rather than full titles, and to be fair, that is one hell of an investment in time, money, and resources for an extra-long joke, but it’s not like we’re lacking a sense of humour about ourselves.
I genuinely think that a proper parody is required, something that points a mocking finger at a specific title like Skyrim that’s been a titan of gaming history for the last eight years, or Final Fantasy which seems shockingly lacking in parodies given how it has dominated the last decade or two. Small-time producers used to flood the likes of Newgrounds with Flash games that were mocking takes on the big titles of the day, but it’s been many a year since that was common practice.
Perhaps I’m longing for a time long gone, or perhaps parody lends a formality to the art form, and that without analytical pystakes (see, ’cause…. ahh, you get it) games can’t take themselves seriously enough. It’s a logical paradox, but if we can’t laugh at ourselves can we analyse ourselves enough to grow, and to take another step forward. We need to break a few old habits. If we don’t, we’ll never break them, and we’ll be making variations on the same game for years.
Have you ever been on a serious gaming holiday? You and a bunch of friends in a caravan or a rented house or something that has some combination of beds and a table that gives you space to just play some games, somewhere that isn’t home.
It sounds counterproductive, what’s the point of going somewhere different to do the same thing you do at home with the same people you game with every week? If you’ve allocated time off work already, is there much point to spending money on a change of surroundings as well? At least at a convention there’s an event, friends who have travelled across country to see, strangers to meet and chat to, shows and panels. Going on holiday should usually be an opportunity to go out and see somewhere new, experience different things, things that break the monotony of life at home and give you a change of scenery, scenery you’re not going to see if you’re playing board games inside.
Plus if you stay home you get to sleep in your own bed.
This weekend I was in a hostel less than half an hour from my house with a bunch of friends, most of whom I see once a week, many at least once a month, all compressed into bunk beds with a small kitchen/diner with limited parking and sat on the side of a hill that made moving stuff from our respective cars hard work… because I’m a nerd and spend most of my day in a computer chair not walking up and down hills. There were ten of us with little to no room to breathe, let alone cook bacon and pancakes for everyone.
Sincerely, I would advise everyone go on a gaming holiday with friends. It’s not my first either, many years ago I went to a caravan in Wales to do the same thing but heavier on the Dungeons & Dragons, and there are plans on the table to do the same thing again soon. There were hill and valley walks available to us, a small town within a half hour’s walk, but the main attraction by far was the collection of games we’ve all played dozens of times before, but there is something about the change of scenery, the geographic distance from day-to-day life, and in my case, distance from my computer, it all makes you appreciate and enjoy your hobbies so much more, and at the risk of sounding cheesy, it makes you appreciate the people more.
It gives you the time to settle into the larger-scale games that may not be played all that often because of the investment of time. Robo-Rally and Arkham Horror, things that can take hours, or take obscene amounts of setting up. I would say that taking a holiday with ten people and only one six-person table between us was perhaps not ideal, and as an astonishing majority of games cap at eight players, it’s an awkward sized crowd when you really want everyone at the table.
I also advise taking coffee because you’ll need it the morning after playing Mao until 4AM and only stopping because every card you play is giving you a panic attack.
At the time of writing, I’m about an hour away from publishing the dates for next year’s games at Oswestry Library, currently my most dependable source of income, and at this point places are so hard fought for that I am going to be disappointing more people than I will be entertaining… which is nice… I think.
By the time this article is published, this will already be plastered all over the local Facebook pages:
Here’s a quick rundown of the plans:
Wizards Only, Fools: January 11th, under 16’s D&D, and it’s an all-wizard party. Currently I’m thinking level 6 so we have lots of spells to play with but not so many that we’ll be overwhelmed. And of course with everyone playing as students of the arcane, something magic is bound to go wrong.
Bury Me Deep: January 11th, over 16’s D&D. An odd stipulation to find in someone’s will, a ten foot deep grave and a lead sheet over the coffin. Players will be a standard team at level five, and they might need a few extra magic items to get to the bottom of this mystery.
End of the World: A three session D&D game for the under 16’s, 8th and 22nd of February, and the 14th of March. Over three sessions a group of level 5 players will witness the beginning of the end, and maybe there’s nothing they can do about it.
Bear Hunt: A three session D&D game for the over 16’s, 8th and 22nd of February, and the 14th of March. Mighty hunters (level 4) will face a pack of bears that cooperate too well, fight too ferociously, and threaten a local settlement with complete extermination.
Sci-Fi Month, Era the Consortium: 11th of April, and yeah, I think April will remain sci-fi month for the foreseeable future. Another team of expendable mercenaries take up a job for one company in order to screw over another.
Night of Demons: 9th of May under 16’s systemless game. From the pit arise a new host of demons, insubstantial wisps of malice barely capable of influencing their surroundings, but bent on causing chaos however they can, in order to grow in power and return home stronger than ever.
The Train Heist: 9th of May, over 16’s systemless game. Flat caps a must, because a band of gangsters are hopping a train to lift something priceless on board. Screw this one up and you’ll end up on the wrong side of the next train going through, capeesh?
Dungeon: Now with Real Dragon! A three session D&D game, 13th and 27th of June, and the 11th of July. It’s a straight forward dungeon crawl for level 6 characters. Light on the story, heavy on the monsters and traps, possibly a dragon, I guess we’ll find out! You might even make it to the end.
Character Building Workshop: Twenty spaces in the morning and twenty in the afternoon, 25th of July. We’ll spend some time creating characters for roleplaying games, but easy on the rules, heavy on the roleplay, psychology, and creative writing.
Improv Month: 8th of August, D&D. Who wants to see me winging a whole game? Utilising some limited random writing prompts and a few suggestions from the players, I’ll be pushing my DM skills to the limit, with zero prep-time and all made up on the spot. Coherence is not guaranteed.
Dungeon Master’s Guide: Twenty spaces in the morning, twenty in the afternoon of the 29th of August. Ever wanted to do what I do? Good, everyone should at some point, you’ll finally appreciate how much furious paddling is going on behind the screen. Everyone will leave the room with an idea for an adventure, ready (or nearly ready) to run!
Weird West: 12th of September for both the over and under 16s, let’s dabble in Savage Worlds and the Weird West, a jaunt into a version of nineteenth century America, but we’re not just talking guns and gold. This frontier is crawling with stranger things than scorpions and bandits.
The Thing in the Ice: A three session D&D game for the under 16’s, 10th and 31st of October, and the 14th of November. Humans will raise a town just about anywhere, and while you’re stuck in a frozen port town in the middle of nowhere, strange occurrences surround the iceberg that’s floating in the middle of the bay. Characters should be 4th level.
Grave Dirt: A three session D&D game for the over 16’s, 10th and 31st of October, and the 14th of November. The death of a senior in the church hierarchy starts arguments about who is best to bring spiritual guidance to the people. Players will be required to keep the peace, as society begins to crumble during the “debate”. Level 5 characters most likely.
Christmas Special: 12th of December, another D&D game with a shameless seasonal theme because good goddamn I love Christmas and I love writing Christmassy games. Character levels tbd.
Now, I mention character levels for a reason, a lot of you have been asking about bringing your own characters. I’ve planned out as much of the year as possible because I’m usually happy for people to bring their own sheets but I rarely knew this year what I’d be running from month to month. If you want to bring your own character, talk to me first, I reserve the right to make alterations or outright veto a character but I’d still prefer you had characters that you really wanted to play.
And on the subject of reserved rights, a couple of important notes: All of the dates and game titles are subject to change and availability is extremely limited, in fact in the last hour and a half since I started writing this piece I’ve sold most of the under 16’s places for the year.
I watched King of Monsters the other day as part of a larger kaiju-based binge, specifically the new Kong films too, as we’re only a few months away from the big showdown. Godzilla versus Kong has been teased since the first of the new Godzilla films way back in ’14, was made official in ’17 with Skull Island, and we’re far too close to a release date now for there not to exist a cut of the film, probably not a finished cut, but there’s got to be something by now, right?
Well, here’s what I’m thinking, I’m going to do a quick (spoiler-ish) review of King of Monsters, then I’ll tell you why I think Godzilla and Kong could bear the weight of a new cinematic universe.
Long Live the King
I can actually understand why this film got a raw deal from critics. I’ll give it credit for continuing with some reoccurring characters and themes, and I’ll admit to being mildly curious about the various activities and political conflicts of the titan research group “Monarch”, but we’re still pretty light on rich and interesting characters, and yet those characters still feel like they take up a lot of screen time compared to the real stars of the show. But critics would complain if we had nothing but monsters, and they’d complain if the characters drew too much attention away from the monsters, there’s not really a right answer here.
And it’s not exactly easy to try and slide aliens, Atlantis, and the hollow earth theory into a film about giant monsters fighting each other, and to be honest probably not a great idea either, but they managed it all without it being too ridiculous. These days you can’t just roll out the likes of King Ghidorah without some kind of explanatory power, even if it’s a tenuous explanation, and it’s not like twelve thousand years of human civilization and mythology haven’t left us with some groundwork for giant monsters.
But if you like watching giant monsters get into fights then it’s a great film. It’s actually a really good film, I think I enjoyed it almost as much as Pacific Rim. As well as bringing in all the big classic monsters like Ghidorah, Rodan, and Mothra, it also managed to introduce some background players with very little effort, and I find that I’m really interested to see more of the MUTO, Methuselah, Scylla, and Behemoth, as well as the other titans listed in the wiki,*.
We have a Thanos-like villain, a group whose motives I can get behind 100%, and not just because they’re headed by Charles Dance. This time the method is to awaken the titans and have them topple human civilization and put an end to the holocene extinction, destructive harvest of natural resources and extermination of non-human life. Interesting to note that the counter-argument given by the so-called good guys is “No, don’t stop, that’s… very bad.”
Biggest highlights of the film for me, Godzilla’s case of nuclear diarroea, Rodan’s “Starscream” moment, and the closing credits… which sounds like an insult, but they used the song “Go Go Godzilla” and so help me it made me smile. Right, to the point:
The King Is Dead
Pretty sure at this point Marvel’s done. I don’t know what the next four films are, I don’t even know what the next film is, the excitement bubble seems to have burst pretty hard in the jagged edges of the Sony vs Disney debacle. And with every studio clawing and scratching at the market, desperate to be the ones to raise the next big thing, I think Time Warner might actually be in control of the right horse and they just aren’t betting on it.
So far as material content, as I already mentioned they have a glut of titans to play with, and with repeated mentions of the Hollow Earth theory in King of Monsters and Skull Island, I suspect a tie-in with Journey to the Centre of the Earth, and it’s been more than ten years since the Brendan Frasier version. There’s scope for a couple of dozen films, and the fifth is already well under way as we speak… although we’re not speaking, I’m doing the- never mind. Besides, Godzilla is every bit the media darling now that comic books were for decades before the MCU, and with the rise of anime fandom in the west, and the likes of Pacific Rim opening the way, now could be the time of the Kaiju.
We know the basic conflicts of narrative, Man versus Man, Man vs Self, Man vs Supernatural, Man vs Society, Man vs Technology, and Man vs Nature, and it’s that last one that I think is most topical. The last decade or two have been governed by “Man vs Man”, all of the comic villains being dark reflections of the hero, often villains of their own creation, but there’s a new growing narrative, something that could become a dominant talking point, with the escalating arguments over the environmental crisis, could Godzilla and Kong be poster-children for natural order in the 2020s?
Maybe. For certain the age of comic book films has come to a close, or if it hasn’t, if the Joker foolishly reignited that flame, then it needs to go back to sleep soon, like a huge, ancient monster returning to its resting place, deep underground. The new titan of schlocky box office dominators could be, and should be, Godzilla and friends.
*Seriously though, just click that link, there’s some interesting names listed in there.