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It’s no mystery that I am a huge fan of Smite by HiRez Studios. Many tireless hours have been spent dropping the hammer as Thor or opening the pits of the underworld as Anubis. Even though I shy away from the usual MOBA fair, Smite does a great job of blending action, quirky characters and MOBA elements for a solid multiplayer addiction with plenty of depth.
Thus when Paladins, a first person shooter created by the same team was announced, I was giddy. I’ll admit it.
Ruckus is capable of laying down fire while others swoop in for points.
Paladins is a team-based shooter in which players will control a hero with unique skills and weaponry. One minute you can be a knight with a laser shield and a flamethrower, the next minute you can be a goblin piloting a steampunk mech suit. Characters are zany, interesting in their design and have unique play styles. They do lack the familiarity of the mythical beings found in Smite, but these new designs should continue to evolve as the game sees more development.
The core focus of the game is player vs player action. The current mode is comparable to Siege in Smite, but in Paladins there is more speed built into the game type. On average, a match takes about 10-13 minutes, but can be as short as five. On the map are areas which must be held by standing in them. If another player of the opposite team is in the same circle, no points are made (similar to Battlefield or Warframe). Once the bar is filled, a Siege weapon spawns then travels down a set path to one of the enemy’s three gates. The final goal of the match is to use the siege weapon to do massive damage, crushing each gate before blasting the final one, ending the match.
Cards take the place of levels or items and have sweet art to boot!
Mechanically, the game is similar to Smite in its ability use, but feels more like Team Fortress 2. Heroes will have to be rather precise with their shots, like an Unreal Tournament contender or the origin of Deathmatch, Doom. Certain heroes are easier to use than others, with weapons that makes contact easier or an ability that hits a larger area. Experimenting with each character is recommended. Ultimate abilities are currently missing, but may not be needed in the grand scheme of things.
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What sets Paladins apart from other arena based shooters is its unique card system. Instead of building items like in Smite or picking a loadout like in Call of Duty, once a level is gained, three random cards are drawn from a random or pre-constructed deck depending on the mode being played. The player then picks which cards they want for the effect to activate, creating a controlled random element, forcing strategies and experimentation. Each character has their own special sets of cards, as well. So playing a new character will have a different experience with card builds as well as their innate abilities.
Adding to the card strategy is the ability to construct decks with earned cards. Cards can be unlocked from chests, a mechanic similar to that found in Hearthstone. Earning Epic cards is still just as rewarding, while familiarity with the cards and their effects will build with time as you play the game.
Simplicity meets function in the character designs. Cassie sports her falcon friend and her bow with flair and is one of the better damage dealers in the game.
Artistically, the game looks simple, but with enough fantasy detail to make it seem bigger than it actually is. Dwarves toting around heavy weapons meet elves with bows. Anything can happen in Paladins‘ design, an open way of leaving room for the game to evolve in any direction Hi-Rez decides.
Paladins‘ Beta tests are shaping up to be another interesting multiplayer affair. With Hi-Rez’s track record, one can also assume they will be giving Paladins the eSports treatment, meaning competition will be fierce. The game’s framework is fairly solid, but what will be built upon it is what’s exciting. Even after just a few months, several patches have been added.
I’ll be keeping a close eye on Paladins as it develops.
The poster for the film, which was released December 18, 2015. Image courtesy of www.StarWars.com.
The Force—or rather, the hype—has been strong with The Force Awakens, the long-awaited sequel to the iconic Star Wars saga. Like a budding Jedi apprentice, the hype machine for this film has grown steadily stronger since the first trailer was released last December. Tickets went on sale in October, and both Movie Tickets and Fandango crashed within five minutes of them going on sale. The advertising campaign has been in hyper-drive for the last month.
I feel sorry for anyone who doesn’t like Star Wars. It’s everywhere now.
Now the day has finally arrived: the first Star Wars film in ten years. New studio, new director, new actors. Can it live up to the hype?
Thirty years after Return of the Jedi, a dark warrior (Adam Driver), serving Galactic Empire remnants known as the First Order, seeks a droid containing a map that will lead him to the legendary Luke Skywalker (Mark Hamill). This droid is now in the hands of a scavenger (Daisy Ridley) and a Stormtrooper defector (John Boyega).
The Han Solo character poster for the film. Image courtesy of www.StarWars.com.
Where do I even begin? There’s much I could and should say about this film. While I’m a more avid fan of the Star Trek franchise, which was also revived by director J.J. Abrams, I’d be lying if I said I didn’t grow up something of a Star Wars fan as well. It left an indelible mark on my upbringing, especially when I was in college—Attack of the Clones was released the summer before I entered university and Revenge of the Sith during my junior year. While I’m not one of the infamous impossible-to-please fans who did things like troll Amazon’s listing of the Star Wars Blu-Ray collection to prevent people from buying it, I was still stoked by the hype surrounding this film.
Hence why I’m at a bit of a loss for words. On one hand, this is undeniably the strongest entry in the saga in years. It certainly blows the prequel trilogy out of the water. On the other hand, well, for now I’ll just say that J.J. Abrams has joined the likes of Joss Whedon for one major reason.
Speaking of Abrams, putting him at the film’s helm was probably the smartest move Disney made after buying the franchise from creator George Lucas in 2012. In fact, according to Wikipedia, he was handpicked by Lucas himself. Abrams has often described himself as a longtime fan of Star Wars, and his previous work has shown him to be a student of both George Lucas and Steven Spielberg. I’d argue that it was good that Abrams cut his teeth on Star Trek (2009) and its sequel Star Trek Into Darkness—which definitely had Star Wars influences—because it undoubtedly prepared him for this. There are few directors in Hollywood who could handle an epic space opera from a long-running franchise filled with beloved iconic characters. Plus, given Abrams’ penchant for secrecy that’d make the C.I.A. jealous, it’d only increase interest in the film.
Kylo Ren, the new villain in “Star Wars: The Force Awakens.” Image courtesy of The Nerdist.
All that to say Abrams’ fingerprints are all over this film. Since he also co-wrote the script with Lucas’ past collaborator Lawrence Kasdan, it’s no wonder. The kinetic pacing, energetic camera work, fast zooms and, yes, the occasional lens flare all combine to recreate the feel of the original 1977 classic, albeit with a modern panache. Abrams treats the material as neither a belligerent revisionist nor a nitpicky fanboy. He respects what came before while also creating exciting new characters, set pieces, stories and ideas, all of which fit within the marvelous universe. One of the subtlest yet most obvious examples of this is the villainous Kylo Ren’s famous lightsaber, which features a cross guard made of the same energy. It’s the first ever major redesign of the classic weapon, and not only does it make sense from a sword-fighting perspective, Ren uses it to great effect in the film.
Ultimately, though, it’s Abrams’ handling of the story that makes or breaks this film. CinemaBlend reported in January that George Lucas’ treatments for Episodes VII-IX were discarded, making this the first Star Wars film without his input (though he was brought on as a consultant). However, it was Disney’s announcement that all of the Expanded Universe (rebranded “Legends”) that had been built over several decades in novels, comics, video games and television to be non-canonical that grated fans. I can’t begin to tell you what a controversy this was in the geek community. Personally, I’d always questioned their canonicity given that until Disney made the announcement, there was no firm rule on what was and wasn’t canon. I can understand the frustration, though. In the long run, I think this was a good move. It freed up the filmmakers to try fresh ideas and not be beholden to a mountain of continuity.
Admittedly, my knowledge of the Expanded Universe is limited by comparison to many fans. I bring this up not only to explain why excluding it from the canon didn’t bother me, but also to say that if I get any details in following paragraph wrong, please feel free to correct me.
General Leia Organa (Carrie Fischer) embraces Han Solo (Harrison Ford) in “Star Wars: The Force Awakens.” Image courtesy of www.hngn.com
A Great Lighting viagra without prescription amerikabulteni.com Designer compliments the Audio Designer and Musicians. Hard, huge, lasting, let a man confidence to multiply, give female bought this cheapest cialis greatly satisfy! Largo Enlargement Cream can make penile erectile quality adequately expand so it can never fail to show the best effects out by it. Another embarrassing problem for males is nocturnal emission. generico cialis on line Because of its tiny physical feature, it secretes various hormones that have some level of control over various organs of the male reproductive system. amerikabulteni.com viagra price canada Anyway, I’m happy to report that elements of the Expanded Universe are mined and integrated into The Force Awakens. Luke Skywalker did start a Jedi academy, though it was short-lived. Han Solo (Harrison Ford) and Leia Organa (Carrie Fischer) did get married; they only had one child, but he is a Force user. Ironically, he is named Ben, which is the name of the son of Luke Skywalker and Mara Jade in the Expanded Universe. However, this son did turn to the Dark Side like Jacen Solo, one of Han and Leia’s three Expanded Universe children. There is a New Republic, but in this film it operates in the background. There are also leftovers of the Galactic Empire plaguing the fledgling Republic, but here they’re called the First Order instead of the Remnant. As you can see, the Expanded Universe is treated as a sort of mythology that can be mined and not as a blueprint to be followed. Whether this will please the so-called Alliance to Preserve the Expanded Universe, which has childishly threatened to spoil The Force Awakens unless the EU is reinstated in the canon. (There are reasons why I’ve often said that “hardcore” Star Wars fans make all nerds/geeks look bad.)
Now the ultimate question: is the story good? Yes, it is. In fact, it might be the strongest story of all the films. Is that crazy talk? Maybe, but there’s no denying that this is a great Star Wars tale. Like A New Hope, it presents a universe with a long history that is in turmoil, and two young heroes heed the call to save it with the aid of old veterans. If taken in the context of the entire saga, A New Hope is as much a transitional story as The Force Awakens proves to be: the torch is passed from one generation of characters to the next. In the former’s case, it is from the likes of Obi-Wan Kenobi (Sir Alec Guinness) to Luke Skywalker. A notable improvement—yes, I dared say that—is the dialogue and acting. While the prequels are often derided for hokey dialogue and wooden acting, even the original trilogy has such foibles to a much lesser extent (though that was more A New Hope than the last two films). Here, however, there’s little. This is a testament to both the actors and Abrams.
That being said, it isn’t perfect. It includes many elements that, while probably intended to be homages, do detract from it slightly. It begins on a desert planet that looks like Tattooine yet isn’t. The bad guys have rebuilt the Death Star again(!), this time taking the Daft Punk approach (“Harder, Faster, Better, Stronger”) by making it the size of a planet instead of a moon. Interestingly, though, it is called Starkiller Base, a reference to the original surname George Lucas used for Anakin and Luke in the rough draft of Star Wars. My point is the Empire should’ve learned the first time not to build the same seemingly indestructible super-weapon again. Why do it a third time?
The new “Star Wars” heroes. (L to R: Rey, BB-8, Finn). Image courtesy of Screenrant.
Regardless, the new characters are delightful, fun and interesting. Rey is a scrappy scavenger from said desert planet. She has a mysterious past, which is only compounded when she discovers she’s a Force user. I confess I expected her to turn out to be Han and Leia’s daughter, especially when she frequently demonstrated an aptitude for machines and piloting, but the questions of her origin are left unanswered as a set-up for Episodes VIII-IX. Finn proves to be the most original in that he’s a Stormtrooper who defects to the Resistance, an anti-First Order movement supported by the New Republic. He’s a reluctant hero with a slight cowardly streak in him, which he learns to overcome as the film progresses. Then there’s the new villain, Kylo Ren, who—SPOILER WARNING!—turns out to be Han and Leia’s son. Like his grandfather, he succumbed to the Dark Side, yet he constantly battles against “the Light.” While he may not reach the iconic status of Darth Vader, he’s a worthy, multilayered addition in the annals of Star Wars villains.
Old friends: Peter Mayhew (left) and Harrison Ford (right) return as Chewbacca and Han Solo, respectively. Image courtesy of Screenrant.
The returning characters are treated as mythic figures, both by the filmmakers and the new characters. Their exploits are the stuff of legends, some of which Rey and Finn had heard and some they didn’t. It is an appropriate response, I thought, in that it almost bordered on being meta. Rey and Finn, in many ways, are like younger Millennials and post-Millennials who aren’t as familiar with the Star Wars franchise. For longtime fans, while these actors/characters are thirty years older, they’re still the “old friends” we know and love. Which only made the moment where, as I hinted at before, J.J. Abrams becomes Joss Whedon.
Han Solo dies.
(BOOM! ULTIMATE SPOILER!)
Late in the film, Han confronts his son, Kylo Ren, on a catwalk, calling him by his given name, Ben, and appealing to him to turn away from the Dark Side. Immediately, I tensed up. I saw it coming, but I hoped against it. Even when Han’s efforts seemed to be working, I was nervous. Then as the sun being drained by the Starkiller Base was snuffed (yes, it can do that), Kylo ran him through with his lightsaber and dropped him into the chasm below. I flinched.
I hadn’t felt like that since watching Captain Kirk die in Star Trek: Generations.
I don’t know what to think of this or how to feel about it. It makes sense narratively, but at the same time, a fan-favorite character is now dead. For good. This isn’t like seeing a superhero die because nobody stays dead in comics. This is irreversible. I haven’t recovered enough from the shock to say whether or not it is, well, there only for the shock value. This is like the death of Wash in 2005’s Serenity, but amplified ten-fold (hence my comparison to Whedon). It’ll take time for me to process this.
That being said, Star Wars, Episode VII: The Force Awakens is a tour de force of character, special effects, action and story that lives up to the hype and then some. People have wondered what this generation’s Star Wars would be. Little did they know it’d just be a new Star Wars.
Gareth Edwards’ Godzilla proved to be a monstrous hit summer 2014, and now the King of the Monsters will return to his native Japan. Toho, the studio that created Big G, announced last December that it would be making a new unrelated film, which makes this the third reboot for the franchise excluding the American films. It’ll be the 31st Godzilla film and the 29th created by Toho, which hasn’t released one since 2004’s Godzilla: Final Wars.
News on the new film was quiet until last week when Toho released a 30-second video that is the textbook definition of a teaser trailer. Not since Christopher Nolan’s first trailer for The Dark Knight has there been a more mysterious preview for a film.
The 30-second spot is a found-footage-style shot of a panicked crowd running from something in the distance. It ends with a title card and Godzilla’s trademark roar. That’s it; nothing on the plot or characters. Whether the entire film will be done in a found-footage-style, a la Cloverfield, or if this is just a clip from an otherwise traditional movie remains to be seen. Personally, while found footage would be a new direction for the franchise to experiment with, considering Cloverfield’s attempt at it has gotten mixed responses (though I liked it), that may not be the best option. However, if these filmmakers think they can do it well, by all means try it.
The poster for the film that revealed Godzilla’s new design.
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Story has it the special effects will be a combination of CGI and practical effects. It sounds like Toho wants the best of both worlds: taking cues from Edwards’ film while also adhering to its “suitmation” roots. Whether this works or not will probably make or break the film.
Regardless, the movie is in great hands since it has two noteworthy directors. Hideki Anno, who also wrote the script, is the co-creator of the classic anime Neon Genesis Evangelion: a trippy and cerebral giant robot series that deconstructs the “mecha” subgenre. Shinji Higuchi has also worked on anime, but his most recent project is directing the two-part live-action adaptation of the manga/anime Attack on Titan, which told the story of humanity battling cannibalistic giants. Anno has said that this will be “the scariest Godzilla yet,” and given both directors’ track records, it may very well turn out to be true.
Godzilla: Resurgence hits Japanese theatres July 29, 2016. No word yet on an American release.
Attack on Titan swept across the world like the titular Titans in their assault on humanity. Soon, Mikasa, Eren and Armin became household names to anime fans everywhere. Conventions filled with Survey Corps members, all clad in tan and white, their green cloaks draped over their shoulders. It’s a phenomenon that has spurred one season of anime (season two set to be released in the second half of 2016), countless manga spin offs, a live action film series, video games and merchandise.
Group cosplay is especially epic with this series. Image courtesy of breakbang.com.
The first of these two films sum up about the first ten or so episodes of the anime. It tells the story of the first assault on the farming district and caps off after a fellow titan offers a bleak ray of hope for the world.
Fans of seeing anime faithfully recreated with all the details intact may not enjoy this version of Attack on Titan. The creators of the live-action film decided to give their own spin to the story and the characters, making vast changes to even the main cast. Even though these changes are painful to followers of the series or manga, they do have a uniqueness that adds to the overall impact the series has established.
The faces of the Titans will probably haunt my dreams for a few weeks. They hold a wrongness about them.
First of all, all of the major themes of the anime are intact. Humanity meets its demise face to face as the Colossal Titan kicks a hole in the impenetrable wall. The smaller titans swoop in, scooping up people, and crunching on their bones. Gore sprays in waves in this film, making the iconic brutality of Attack on Titan that much more intense. The titans feel less like monsters and more like Japanese horrors with uncanny faces and movements.
Eren shows his determination, feeble as it may be, to destroy the titans.
Lastly, unbridled rage remains in the character of Eren. He clashes with his fellow soldiers, wanting nothing more than to eradicate every titan for taking what he holds dear. His anger manifests in several ways throughout the film, keeping that theme firmly intact. All while being contrast with his fear of the titans, seeing their strength firsthand.
As for the differences, I’ll do my best to elaborate on some of the major ones without ruining the fun of the movie, but you may get a spoiler or two if you haven’t seen the anime.
Super uncomfortable scene, but shows the differences in this version of Mikasa.
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Where’s our blonde strategist? Let’s play “Where’s Armin?”
Another major change to characters is that of Sasha, the spunky, energetic member of Eren’s squad. She’s portrayed in a way that exaggerates her infamous “Potato Girl” scene to the point of it being obnoxious. Sasha of the film is more of a nuisance than comedic relief, as she disgustingly gobbles up any food she can get her mitts on. She does seem to have a better connection to Armin though, which is quite cute. However, it’s hard to tell the difference between Armin and Eren due to Armin’s recent choice in hair dye.
Hiana, a character new for the film, leads Eren deeper into the abandoned cities. What they find is a bit bigger than they hoped. . .
The style of this live action adaptation—adaptation being a crucial keyword here—while different from the source material, is still rather enjoyable. I found myself cringing much more through this bloody adventure, but there are many epic moments with the flair I’ve come to love from the series. One scene in particular shows Eren and Hiana searching for a baby’s cry, turning the movie into a dark, scary experience as they hold interestingly designed lanterns aloft. Combining moments of horror like this one with the visual style put into the titans themselves makes for a scarier story.
The film’s final act fits one of the high points of the anime quite well. Eren’s rage for the titans brings him to make a sacrifice, only to have his anger live on in a devastating way. This scene is still as adrenaline filled as the first time I saw it in animated form. Each piece of action hits hard, fast, unexpected to make for a great climax.
The visuals sometimes feel like late Godzilla or Gamera films.
Of course, this movie is broken into two parts, with a sneak peak at the end of this one. It’ll be interesting to see how the second part plays with the second season of the anime. I’ll definitely have to check it out soon.
Step into the Attack on Titan Live-Action movie with an open mind. This is a different version of the Attack on Titan story, themes, and style, not a mirror image of the anime with actors.
The film is available in English subtitles through importation on sites like Amazon, while an English dub is surely to show up in the future.
