Hey all, this piece is a sequel to an earlier piece I did about running in games. Now I want to look at how characters glide in games. Recently I’ve been playing Just Cause 3 which got me thinking about its movement style. In Just Cause 3, you use a tether to grapple to a surface. If you press another button, your parachute deploys. If you press another button after that, you change into your wingsuit. The tether acts as a grappling hook from point A to point B. The parachute gives you an initial boost of height and then a slow descent to the ground. The wingsuit acts as a glide. While using the parachute or the wingsuit, using the tether will guide your flight and if used properly allow you to stay airborne. So, while thinking on this I was reminded of some other games whose movement is based on gliding and how that mechanic informs the game being played.
Have I talked about my relationship with Doctor Who on this site before? Twice before apparently following Capaldi’s departure. I’ve talked about why I think shifting demographics of heroes is important and talked about the Doctor there. However, I think there is a deeper conversation to be had about the Doctor as a character specifically. Anyway, a brief recap of my history with Doctor Who. I started watching in the Davies era around the end of series 3. From there, I watched all of Davies’ era. My favourite episodes of the show in that era were the ones penned by Steven Moffat. However, as I grew along the series, I grew frustrated with Moffat’s era seeming to tell the same five stories and features only three kinds of women (which I feel could be dubbed ‘the Doctor’s girlfriend’, ‘the Doctor’s mother’, and ‘the Doctor’s wife’). Anyway, within me, there was the idea that I would return to the series once Moffat stepped away. So, here I am, on the other side of the tunnel. Let’s talk about the first female Doctor.
Dragons are emblematic of the fantasy genre. Chances are that the word dragon conjures up some very specific ideas in one’s head. Dragon: wings, between two and four limbs, scales, breathes fire, hordes wealth. Now, if you were being contrarian or were brought up on different fantasy media, your mind might instead be drawn to the idea of the Chinese dragon. These are often the two forms we most often have in our heads. With such a clear vision of what dragons are, it’s worth using dragons as a yardstick for other fantasy tropes.
So, this last week I returned to a game I first played in 2015. Prison Architect is a management simulation game where you run all aspects of a prison. The game might be comparable to games like SimCity or Cities Skylines on a much smaller and more violent scale. The game represents figures in the world in a style akin to stick figures. Initially, when I played Prison Architect I was very particular about caring for individual prisoners. I think I even had a good sense of prisoner names and the troublemakers. Now I treat them a bit like cattle in an abattoir. So that’s what I wanted to talk about. When is a human not a human in games?
So, I’ve just started watching Netflix’s adaptation of A Series of Unfortunate Events because I’m always six months behind the conversation. Earlier this year, the second season dropped and I’ve been enjoying it more than the first. Now, I did read the series when I was younger. My memory of the books is hazy but from my memories, the show is rather faithful. The area in which it probably differs the most is in expanding the role of the adults in the series. Now, as I made my way through the series I had a thought. A Series of Unfortunate Events reflects the Trump era in an interesting way. Now for me to explain why I am going to spoil both series to a point. The discussion of the series will probably spoil The Vile Village and all preceding episodes. With that out of the way, let’s begin.
So recently, I went back and watched Avengers: Age of Ultron. It might be a strange choice but I was doing some research. Anyway, there was something fascinating about rewatching the film as some kind of inkblot test for the MCU as a whole. After two films and three years of evolution for the Avengers and the MCU, what can Age of Ultron illuminate? It’s all a bit said and done about this film, one might think.
Now, here’s the obvious. There are a couple cracks in the form that resulted from the intense pressure of a follow-up to the pillar of the MCU to that point, The Avengers. There was conversation at the time centred around a few points of the film’s development. Whedon was bowing out after this film due to the pressure of an Avenger’s film. Studio mandates called for the cave scene or to lose the farmhouse. Finally, there was lots of disgruntlement with Natasha’s romance with Bruce. I’ll discuss all of these and offer a perspective based on how things feel on the other side of Phase 3 as it were.
So, a while back I went to see the Incredibles 2. Unlike other corners of the Internet, I hadn’t been clamouring for a new instalment in the series. However, I like a Pixar movie as much as the next guy and it had potential. Generally, I enjoyed the movie. Shifting the focus to Elastigirl was an enjoyable turn. However, when it got to the villain’s revelation of their grand master plan, I was thoroughly whelmed. It wasn’t bad, however, there was potential for so much more.