#Between that and being a Legends Sequel and potentially fleshing out one of the most underdeveloped regions

[shinysamurott9]

Very Funny Move on Pokemon's part ngl

[screenspirit]

55 years of George A. Romero’s political horror masterpiece Night of the Living Dead

Starring Duane Jones and Judith O’Dea in one of horror’s most acclaimed scripts, George A. Romero’s Night of the Living Dead, released 55 years ago as the filmmaker’s first feature-length film, still holds up as a chilling, entertaining grizzly and layered zombie horror classic. Co-written between the director and famed screenwriter John Russo, Night of the Living Dead focuses on a town’s desperate attempts at survival after a never ending sea of Undead ghouls rise from their graves due to radiation brutish attack. The townsfolk don’t know why the dead are leaving their graves or if or when they’ll go back. All they know is the ghouls want to feast on their flesh and bites can transfer the ghoulish state.

Romero’s work is credited as the first modern onscreen depiction of the now cliched zombie trope even though the film never directly refers to the creatures as that once. Additionally, the classic script drew minor influences from Richard Matheson’s 1954 prose I am Legend in its depiction of a nightmarish disease infecting and decaying a civilised society that was also influential in the zombie apocalypse style. “I thought I Am Legend was about revolution. I said if you’re going to do something about revolution, you should start at the beginning. I mean, Richard starts his book with one man left; everybody in the world has become a vampire,” Romero told Cinema Blend in 2008. “I said we got to start at the beginning and tweak it up a little bit. I couldn’t use vampires because he did, so I wanted something that would be an earth-shaking change.”

He added: “Something that was forever, something that was really at the heart of it. I said, So what if the dead stop staying dead? … And the stories are about how people respond or fail to respond to this. That’s really all [the zombies] ever represented to me. In Richard’s book, in the original I Am Legend, that’s what I thought that book was about. There’s this global change and there’s one guy holding out saying, wait a minute, I’m still a human. He’s wrong. Go ahead. Join them. You’ll live forever! In a certain sense he’s wrong but on the other hand, you’ve got to respect him for taking that position”

Romero’s interpretation of a growing story was made under a budget of $114,000 and was able to gross a total of $30,236,452 worldwide through word of mouth broadcasting its blend of suffocating suspense and stomach-churning carnage. Night of the Living Dead persevered against initial controversy and negative reviews that focused heavily on its explicit violence and gore, refusing to see its artistic and contextual potential, to earn a cult following who did recognise these underlying properties and become one of horror’s greatest and most influential. Romero’s work has also established a prosperous franchise, comprising five sequels that were released between 1978 and 2009, all of which were directed by Romero and an authorised 1990 remake of the original alongside numerous unofficial re-tellings due to the work’s public domain.

Night of the Living Dead utilised its stark black-and-white cinematography, attentive mise-en-scene suspenseful narrative and engaging performances to create a milestone in horror filmmaking. Furthermore, Romero’s direction, despite seemingly working on a gory tale of people being eaten alive, actually commented on the social and cultural developments that were taking the 1960's by storm and this is reflected in the concept of people being hunted by cannibalistic ghouls. The Undead reflect the new generation flourishing with progress and openness and the victims are the older who are restricted by tradition. During Bravo’s 2004 miniseries 100 Scariest Movie Moments, Romero instructed viewers to think of the ghouls as the “new generation devouring the old” in a symbolic sense of cleansing the past with merciless force to seek out something extremely new and different. This coded meaning is evident in the terrifying “feast” sequence which sees the ghouls devour the flesh and organs of one of the character’s charred corpses in a car. Romero’s camera focuses on wide shots to capture the group of ghouls approaching the car and tearing the body apart, before tightening into close-ups of individual ghouls feasting on body parts to accentuate the gruesome horror. This is the exact gore that shocked audiences in 1968 and it’s understandable, given the blunt presentations of internal organs being pulled out of a dead body to be eaten on the spot. However, this carnage can easily be interpreted as a metaphor for the conflict between ideology in generations and the disastrous aftermaths of nuclear action as radiation is the cause for this blood bath.

Night of the Living Dead earned historic status in casting a black male, Jones’s Ben, as his courageous and resourceful protagonist, something nearly unheard of by ’60s standards and further illustrates the feature’s concepts of and push for change. Ben is a true horror hero; headstrong, observant, ambitious and willing to fight till the end. Such a presentation of a black character was considered controversial by 1968’s standards due to bigotry and the film was subsequently linked to the Civil Rights movement. Romero told Bravo that the night he finished filming the project and began driving down to producers, he heard on the radio news that activist Martin Luther King Jnr had been assassinated, a chilling echo of Ben’s unfortunate demise in the film’s conclusion at the hands of rednecks who mistake him for a ghoul. Writing for CineAction in 2018, writer Mark Lager commented that the “connection between Ben’s demise and the racial violence besetting the Civil Rights Movement was all too clear. Night of the Living Dead (a low-budget horror film) had dissected American society in the 1960s more truthfully and unapologetically than any mainstream Hollywood movie.” However, the director was persistent that he did not consider race when casting his protagonist or any of his characters. Instead, he simply cast the actor who impressed him the most during auditions.

A bleak and nihilistic picture that still manages to garner entertainment for horror lovers, Night of the Living Dead is one of the touchstones in the social thriller, something now explored by modern filmmakers such as Jordan Peele. It’s a timeless and unforgettable piece that has allowed several original areas of the genre to take flight.

[luminousbeansarewe]

what are your takes/version of how the sequel trilogy went down? because i also have my own version in my head, not.... that, but im really interested in the ideas other people have had for it

hoo boy there’s a lot of ground to cover here lmao i will try to keep them as short as i can... i also enjoy multiple versions of events and outcomes for the sequels as long as they’re in-character so i’m not trying to say no other version of the sequels is good or cool bc only a sith deals in absolutes amirite? (i won’t apologize for that dumb joke.) first the jumping-off points:

first of all, i fully support Force-sensitive Finn. even if he didn’t become a full-blown Jedi, if the entire concept of the Jedi was reforged and we don’t see him become the kind of Jedi we saw in the prequels (more on that later), i see him as someone who was attuned to the Force in a way that is similar to how i conceive of Barriss; empathetic to the suffering and joy of others. this would drive him to defect from the Empire and fear it, too. i also saw him becoming a reluctant leader for the rebellion, and there’s a GREAT fic which i’ll link here that riffs on the idea that he creates a spark within the stormtrooper ranks and more and more of them begin to defect... which i love

Rey being a nobody is cool to me. the ONE character moment where she became super relatable for me was when she realized how frightened she was of her own Force abilities. but i don’t think she has to be the legacy of Palps to have that. she doesn’t need supercharged powers to be spooked by them in a post-Jedi Order world where the most recent memory anybody has of the Force is Vader. (also Rey being a Kenobi seems more out of character for Obi-Wan than anything else lol he was pretty committed to the ways of the Order even after they were destroyed, plus he already had one kid to furtively watch over... just imo). this also ties into my expansion on the Force.

Poe being not a carbon copy of Han. i think Leia looked after him, found him somehow after she sent Ben to the Jedi Academy and was a motherly figure in his life. i like the idea that he was a little shit, and she’s the one who taught him to turn his reactive defiance of authority into bravery when fighting for the rebels. i think he looked up to her, wanted to be a leader like her. i saw him in the position of generals like Akbar by the end, as he learns to balance risk-taking with steady leadership. I wanted to see that growth, how those leaders are formed, see Leia get to impart her wisdom to someone. (also i fully support Finn/Poe and Finn/Rey/Poe, i’m not a committed shipper so i’m down with no romance at all between them but those ships are choice af and Stormpilot is all Oscar Isaac wanted anyway, so...) plus can u imagine the dichotomy of Ben the fallen son with Poe, the “adopted” son who became what Ben couldn’t? the guilt of Leia for not knowing how to teach her son about the Force, doing better half-raising a nobody who had the same shitty attitude as Han when they met but no Force ability? THIS IS JUICY CHARACTER CONTENT

Rose was given cheesy lines to introduce an important topic: that fighting is all well and good but throwing away your principles defeats the purpose of the fight in the first place (an important theme in the Clone Wars era, too.) she was there to be the voice of the truly little people in the gffa, who we don’t hear much about in the other trilogies. Finn’s sensitivity puts him at risk of the sorrow-to-hate arc i described for Barriss; Rose is there to be the empathy that sustains hope rather than becomes a crushing weight. i love the idea that she might rally volunteers from blue-collar places (like... Lothal, for example?) and spearhead the notion that the New Republic should be very different from the old one, calling out the fact that working conditions didn’t change with the shift from republic to empire and the First Order simply took it to an extreme that left her and her sister with nothing else to lose.

Ben Solo, hoo boy. so here’s the thing, we don’t KNOW Ben Solo. we were expected to want him to be redeemed because he was the son of Han and Leia, and that’s it. that’s lazy as fuck. him killing Han in the first movie (if it happened it should have been in movie #2, that’s how fucking second acts work) was an excuse to shock people, subvert the ‘i can’t kill my own father’ thing, and make sure we knew he was “evil” even though we’re supposed to also want a redemption arc? you have to read the Rise of Kylo Ren comics to learn that he was a) hounded by the voice of Snoke in his head from childhood, manipulated by it, which is horrific bc it’s like grooming... or b) that he felt HUGE pressure as a legacy Force-user to save the galaxy, lead the New Jedi Order, etc. these are much more empathy-generating and we should have learned them in TFA. echoes of Anakin much? which is why i think him being redeemed in a way other than self-sacrifice (which made sense for Vader given his long history of being a terrible person, knowing it was too late for him in the end, and really just wanting to save his son rather than “become good again”) is more interesting than him just falling (which is too much the same as the prequels.)

it should have been Finn’s call, a moment of Truth that held the balance of Finn as either falling prey to darkness or learning forgiveness, whether or not Kylo got redeemed. Finn and Rey working together to get to that point while Rose and Poe took on the military aspect of the Big Finale would have been great. Finn with a lightsaber to Kylo’s throat, feeling the temptation to murder him instead of making him face what he’s become in a meaningful way? Rey trying to urge him away from darkness as she’s been tempted before, but this is the first time Finn’s really been tested, and he was the one who so often reminded her of her own humanity? Rey calling up Rose’s point of creating a new paradigm instead of recreating the old one, of Poe’s growth or Leia’s willingness to take Ben back showing it’s possible? shiiiiiiit

the rest is going under a cut!

SO... given those things as a basis...

there being no scene where Force-ghost Anakin bops Kylo on the head (but you know, more subtly and with gorgeous metaphor ofc) was a travesty. we needed some version of that, also imo that reaffirms that Anakin was the chosen one... as him redirecting his grandson away from that path would be restoring hella balance

Snoke should have had his own fucked up backstory, if he was even there at all. a dark sider fucking with Ben Solo is reasonable to me, but Snoke could have been someone who looked up to Palps as much as Kylo supposedly looked up to Vader. that would have been interesting... maybe there are multiple “nobodies” who are being touched by the Force, just like there always were in the prequels era, but some are going dark with no Jedi to try to convince them otherwise? or, maybe Snoke’s life was ruined by the Empire and he chose to become the beast that harmed him, whereas Kylo becomes the version where you think you want to do that but then realize that it’s just as bad and you still have empathy and regret what you’ve done?

Thrawn being the main military antagonist, since they couldn’t be arsed to make Hux into anything but a sniveling baby fascist (despite his really upsetting backstory of an abusive father, also found in the comics... noticing a trend here?). Thrawn was already established and beloved in the legends. why would you not use him. whY?? he’s like a foil for Tarkin. contention between him and the Force-users in charge (Snoke and Kylo) would have been VERY interesting, esp with the character of Thrawn in the new canon seeing the Empire as a ‘necessary evil’ and now maybe having the potential to make it into something else? how’s JOINING WITH THE NEW REPUBLIC for a subversion of the classic tropes, Rian?????? you fucker????

if Thrawn’s history is “too storied” for a bunch of cowards to "fit” into a new movie trilogy, invent another antivillain to take Thrawn’s place whose history is a little more concurrent with the sequel era... you cowards

Luke fucking off after his failure isn’t out of character IMO. he was THE STRONGEST JEDI EVER and his star pupil still fell? maybe he broke under the same pressure Ben did. maybe that’s what allows him to reach back out towards Kylo and reconnect, admitting his failure. i want to hear more about him cutting himself off from the Force bc i LOVE KOTOR 2 and Kreia, but maybe that’s too much for one trilogy to delve into meaningfully, i dunno

Han fucking off after Ben wrecked the temple isn’t OOC either. i think Han was always a little frightened of the Force, the way many non-sensitives are. I think he was critical as a father, because he was critical of himself and Han is the king of projection. i wanted more of the dysfunctional relationship between him and Ben.

if Kylo kills Han, the scene needs to show more of the fact that Kylo actually regretted it, which Snoke only alludes to in TLJ, foreshadowing his future. i rewrote Han’s death scene for a friend and got a lot of good feedback about it so maybe i’ll post it here sometime. i can get behind a version where he doesn’t die, too, i just haven’t fleshed it out in my own head.

i like the idea that the Jedi Order needed to be remade, and that Luke saw the failure of the old order when he saw Ben turn like so many of the Jedi in the Order did. i like that Rey and Finn might spearhead this, and maybe Kylo’s role is to know the dark side intimately enough now that he can actually teach how it works, how to deal with it... how inevitable its temptation is. because...

in this canon, i don’t think the Force has light or darkness. i think it’s Force-users who do. it is their internal landscapes which cause them to “fall” or be redeemed or not, after all. Finn can attest to the same, so can Rey and Luke... so like, all the Jedi need DBT therapy or something i guess. lmao hold the dialectic, you nerds

the Force has shown time and time again that it cannot be “balanced” so maybe it is ourselves who need to become balanced instead

the Force is chaos, a never-ending series of colliding butterfly effects that to us will always and inevitably be seen as turmoil, cause and effect on a cosmic scale. if you drink too greedily of its power, or try to exert total control over it, by its nature it will consume you because it is beyond your mortal ken. whatever you hunger for, the force will give you more and more of it until you are overwhelmed, drowning in it

this is why peace was a central teaching of the Jedi... peace, the antithesis of chaos, which can only ever be created from within, the eye of the storm which must be sought time and time again

anyway thanks for coming to my ted talk? i’m always down to hear other people’s ideas for these characters tbh. and always down to get more into these topics if you want to know more... esp as it relates to the failure of the Jedi Order, or KOTOR 2 and Revan and Kreia, or OF COURSE my OCs because Sol has a very interesting relationship with the Force.

thank you for this ask lordimperius!! ^_^

[theparanormalperiodical]

The True Story Behind The Blair Witch Project (1999), And The 13 Real Urban Legends About Witches That Will Make You Lie Down And Cry

It’s been mocked, and it’s been made a cultural icon.

It kick-started a horror trend, and it kicked itself down to the dregs of the film industry.

The Blair Witch Project (1999) is a point of contention among horror fans - you know, a bit like bringing up trans-rights at dinner with your UKIP Aunt sitting two seats down. But, just like trans-rights, we have to talk about it. 

(Fuck you, Jane.)

The Blair Witch Project - and her 2 sequels - was the first film to turn on the camcorder and document the search for something supernatural. 

This was the OG clickbait, this was the beginning of horror films claiming to document true events (ahem Paranormal Activity ahem), and this was the end of horror films being taken seriously.

But it was also these three things that grabbed everyone’s attention.

The original film was based on the claim that in 1994, 3 students went missing whilst exploring the supposedly haunted woods of Burkittsville Maryland. 5 years later, the footage they captured was found and put on the big screen.

Were these real events being documented?

Did these kids actually go missing?

And was the Blair Witch real?

Spoiler alert: no, nope, and not at all.

But even if this specific case wasn’t true, the film itself is unnervingly accurate. Like, literally last night I was researching all the different urban legends relating to witches in the US and I was convinced I had awoken the spirit of the Bell Witch. 

So, considering the solidarity I have with the followers of this blog, I’ve decided to traumatise you, too.

This article is going to provide the summary to the three forgotten ‘n’ fucked-up films that make up the series, tell you why the Blair Witch is an uncomfortably accurate portrayal of witches historically, and finish up with a stroll through the 13 urban legends that are just like the one featured in the film.

Pull on your hiking boots, and hand me the map.

Let’s get spooky.

Here’s A Quick Summary Of The Blair Witch Film Series

Ahh, the 90s. 

Will Smith was gettin’ jiggy with it, and Trump wasn’t President. Times were so much easier back then!

Well, not for budding film students Heather, Mike and Josh, who packed up their filming equipment in a car and headed to Burkittsville, Maryland to make a documentary about the urban legend of the Blair Witch. (The Blair Witch Project (1999))

They start off by interviewing locals, and capture a few key details that set up the rest of the film and its sequels. It is claimed that Rustin Parr was a bloke who lived in the woods and kidnapped several children in the 1940s. 

Why? Because the Blair Witch told him to do so. Two fishermen confirm the legends of the woods being haunted, and mention some lass called Robin Weaver.

Kidnapped in 1888, she returned 3 days later, claiming the witch was “an old woman whose feet never touched the ground."

Having heard the tales and waited out the warnings, they begin their journey and head to their first stop, Coffin Rock. Supposedly, 5 men were murdered in a ritualistic fashion here in the 19th century, and their bodies disappeared without a trace.

The next day, they continue their travels, and their ordeal begins. They arrive at an old cemetery which is made up of cairns (piles of rocks which turn out to have ritualistic meaning) and camp nearby. Noises are heard round the tent all night, like twigs snapping, but they reduce this to woodland creatures. 

The following day, they realise they are lost and cannot find the car. The activity escalates, but is found to be unexplainable. 

They then begin to fight between each other, and encounter a section of humanoid stick figures hanging from the trees. Their evening entertainment of weird noises around the tent resumes, but this time the laughter of children is added to the remix. Something then attacks their tent, sending them fleeing from their campsite. 

Some people will just never like dubstep.

They return to their tent, and discover that their possessions have been rifled through, and slime covers Josh’s stuff. The fighting ensues, and Josh straight-up fucks-off.

His screams are then heard one night, and Heather and Mike deduce it to be the witch’s fabrication to draw them out of their tent and into her grasp. 

Her trap is confirmed when Heather finds a bundle of sticks the next morning containing a ritualistic goody-bag containing what appears to be left of Josh. 

That same night, she records her infamous apology video in a style not dissimilar to most YouTubers who have been caught being racist/homophobic/[insert any terrible thing]. 

Once again, Josh’s screams are heard and they follow them to a house bearing demonic symbols and the bloody handprints of children. Not the aesthetic I myself would go for, but it worked for the Blair Witch...

Mike and Heather stumble into the basement, and we witness our favourite vloggers being killed in the manner described earlier in the film:

One child would face the corner of the basement while the other was being slaughtered. The last shot of the film is of Mike standing in the corner of the basement, suggesting that Heather is the first to die at the hands of the witch.

The second film (Book Of Shadows: Blair Witch 2 (2000)) follows up on these events a year after the footage was found. A gaggle of fans of the original film troop to Burkittsville to explore the legend and the circumstances of the kidnapping of Heather, Mike and Josh.

This film is messy and complicated, and it’s for that reason that I don’t want to waste 8,000 words on a film that is actually ignored by the film series. So, I’m going to give you a tl;dr, instead:

Basics, this film documents the group of fans and tourists being turned against each other by the witch. They go to the house where shit reportedly went down, and set up surveillance cameras to document potential activity.

It’s the first film, but with hell of a lot more activity. And it culminates with the symbolic hanging of someone who appears to be inciting the demonic rituals scattered across the film as they are reportedly possessed by the Blair Witch.

Unfortunately, we don’t learn anything new in this film - we simply see the greater extent of her powers.

Tired, yet? 

(Bored, perhaps?)

Our journey is almost over, and it ends with Blair Witch (2016). 

This film ignores the events of the second film, and follows a group of documentary makers as they explore the legend of the Blair Witch - but this time it's not about capturing paranormal activity. They go to investigate a peculiar video on YouTube that proves that Heather - the woman from the OG cult classic - might just be alive.

The brother of Heather leads this group, and focuses this documentary on the desire for closure.

Despite skipping out the Book of Shadows, it basically sticks to that exact premise. Surveillance cameras are set up, and showcases the witch’s methods of turning the crew on each other, but on an even greater level. We even see the witch, alongside a couple other creatures in tow...

It finally gives us behind the scenes insight into the paranormal activity, and ends with everyone dying!

Sigh. 

The Blair Witch Is Based Off Of Urban Legends - And Is Uncomfortably Similar To The Stories

Despite its many flaws, The Blair Witch Project does one thing right: we never see the witch.

But it’s the way that her control of the woods and those within it is portrayed that points to the terrifyingly accurate nature of the witch when compared to other urban legends. 

The film’s fictional legend gives up minimal information regarding the Blair Witch:

We know she was responsible for residents - especially children - going missing throughout the 18th and 20th century, and we know that the locals of Burkittsville claimed that the Blair Witch was the ghost of Elly Kedward, a woman who reportedly practiced witchcraft and was sentenced to death in 1785. 

This salem-witch-what-died-but-didnt-really-die-no-one-really-knows is a common basis of the urban legends that will be explored later in this post, but it's the other attributes of the witch that draw her even closer to the claims made around these cases.

The focus of this is that the Blair Witch represents the crone, one of the core concepts of paganism and many other ancient religions. Of the few glimpses we see of a creature that could be the witch and the descriptions of her made by the locals of Burkittsville, we piece together the image of an elderly, monstrous being.

Take this clip from the final film in the saga:

This unnatural-looking humanoid bears a resemblance to the claims of witches in folklore, such as breasts sagging below waistlines, or bones jutting out of their flesh. Add on top of this the animalistic claims from the original movie - like that one woman claiming she saw her arm which was coated with dark hair - and we arrive at a rather monstrous being.

But this animalistic account does not merely echo her ugliness; it forges the link between the witch and her powers over the woods she resides in.

As the maiden becomes the mother, and the mother becomes the crone, her connection with nature grows. It reaches the extent from which her connection with nature is greater than that of her male counterparts, threatening almighty patriarchy and cursing her as the evil witch she is!!1!

Furthermore, it's not difficult to see the links between the woods she controls, and the imagery of life and fertility. Add a smattering of rumours about kidnapped children, and the house of Rustin Parr becomes a womb. 

(Less PMS, more blood.)

More so, by harnessing the powers of nature, she blurs the boundaries between the genders. Heck, she even goes as far as to blur the boundaries between reality and the reality she creates for her victims! 

She tricks them into falling out with each other, she confuses them by creating this unnavigable wood, and she ensnares them into her invisible trap.

Or, translated into simple terms, the Blair Witch fulfills the concept of the Monstrous-Feminine, a theory conjured up by Barbara Creed. On one hand it suggests women are either portrayed as the victim within horror films, and on the other it suggests that when the woman becomes monstrous, she takes on extreme attributes regarding the female reproductive body.

Guess which one the Blair Witch is. 

But this theory didn’t start with Babs sitting in a room and getting her feminist on - Creed deconstructs notions that can be traced back to the era of the Salem witch trials. Each and every urban legend starts here, when it was #on-trend to burn your local witch. 

The Blair Witch is the puppet master in these films.

And she is not the only one that is pulling the strings.

The Real Urban Legends About Witches That You Need To Know About 

“So, the Blair Witch is some chick who hasn’t shaved in 3 months and has a metaphorical vagina?”

Ok, fair enough. 

The Blair Witch isn’t directly based on a specific urban legend, so yes, delete the sage from your Amazon basket and buy those limited edition poptarts, instead.

…

Oh, you thought this post was over?

My little ghoul - this is The Paranormal Periodical. You didn’t think I’d let you leave without informing you of that witch roaming around your local area, would you?

‘Course not. Here are the 13 real urban legends of witches that’ll scare the shizz outta you. 

#1 - Naale Baa

We trade in deep woodland in Maryland for Karntaka, India for this local legend. And within minutes of arriving, you’ll spot the word ‘naale baa’ on the walls - a decoration not dissimilar to that seen in Rustin Parr’s crib.

It is claimed that by writing these words on their walls they can deter the witch that wanders from house to house in search of her husband.

Glammed up in full bridal wear, Nale Ba (as she is also known) supposedly attempts to entice the man of the house, and then curse the family with bad luck.

In the 1990s, this urban legend faced a particular resurgence, and even evolved to claim that she would imitate the voices of victim’s family members to encourage them to open the door. But when the door is opened, you die!

How? No idea.

Am I still scared? Hell yeah.

But I’m not the only one concerned about this witch - claims that multiple men in Thailand just disappeared from their beds in the middle of the night were pinned onto this urban legend.

#2 - The Bell Witch

This is probably the most famous legend regarding a witch puppeteering an innocent family’s life.

The story starts in 1817. A family begin to witness signs of paranormal activity on their farm that targets the man of the house and his daughter, Betsy. A variety of large animals are seen across their farm and follow the family and their slaves. Strange noises then begin to fill the house, like invisible chains being dragged on the floor, or dogs fighting. Betsy repeatedly claims that she can see a little girl playing on the swings.

But this friendly ghost then begins to attack the child, slapping her and scarring her with pins.

The man of the house then begins to demand answers about these spooky shenanigans, and straight up asks the spirit what the shit is going on.

The spirit gives ‘em a lowdown of her backstory - a bit like those clips from the X Factor where they use Katy Perry’s Firework over the top of this 16 year old girl’s turmoil regarding GCSE maths - and claims that she is "Old Kate Batts' witch". 

‘Couple of convos later and they deduce that the farm rests on a Native American burial ground, and the spirit has been disturbed. 

Yet despite the specificity of this legend, the haunting sticks to familial lines we see with Naale Baa and the Blair Witch:

The witch claims she will leave - but she will return in 7 years. She kept her promise, and haunted Betsy when she achieved her womanly purpose of shitting out a baby and having a family of her own.

#3 - The Perron Family Farmhouse

This case was the inspiration behind the original Conjuring movie, founding one of the most iconic horror film series to date - and it’s clear to see why.

I’ve already done a fully-fledged post on this classic tale, but here’s a tl;dr for people hoping not to delve too deep into the haunting…

The Perron family made the mistake of moving onto the land once owned and now haunted by Bathsheba Sherman, a witch from the 19th century.

With increasingly violent activity beginning to haunt the family - which culminated in the possession of the mother of the house - this has earned its place as one of the scariest tales of terror to feature on this blog.

#4 - Mary Evelyn Ford

She was burned at the stake for her witchcraft. 

She was buried in a steel lined grave, and her casket was covered with concrete to keep her trapped in. 

Oh, and she was 5 years old. 

It is claimed that Mary will wander ‘round the cemetery or stand trapped within the protective fencing around her graveside, making faces at mourners and enticing them towards her final resting place. From there she will suck you into the depths where her body now lies, and use your vitality for strength!

#5 - The Three Legged Lady of Mississippi

The American road trip. 

A classic coming-of-adventure filled with freedom, spotify playlists you accidentally stream via your data, and running over people that are already dead.

No? Just me?

The story goes that there’s one road in Mississippi which is haunted by The Three Legged Lady. If you honk your horn three times, she will knock on the roof of the car, and race your car to the end of the road, hitting it with her body throughout the short journey.

Why?

Her origins, like most urban legends, have been subject to a lot of dispute, but there are 2 claims which follow this tale:

One side to the story claims she was the innocent victim of a sacrifice by a satanic cult, whilst the other side claims she doesn’t actually have three legs. 

She’s holding her daughter’s leg, which was severed off when she was run over by a car. It is said that she is still looking for the rest of her daughter.

#6 - The Skinwalkers of Arizona

Our road trip doesn’t stop there, however - this time we are heading for the Navajo region of Arizona. 

Supposedly, when you’re sailing down the highway, something will tap on your window, and you’ll catch a glance of a skinwalker. These humanoid, mutated beings were shapeshifters that were the witch doctors representing the evil within Navajo society.

This urban legend even featured in a court case when a woman was found brutally murdered!

Heck, there is actually a specific region of Arizona - Skinwalker Ranch - from which you are sure to these mystical beings.

#7 - Goody Cole, The Witch of Hampton

This urban legend sticks to the minimalist aesthetic, but nevertheless has earned its reputation in Hampton.

The story goes that a woman accused of being a witch was found dead in her house, and thus, to ensure this bitch stays dead, they bury her with a stake and horseshoe. She says six feet under, but her powers prevail; she curses those that happen to go past her grave.

Her curses stick to those sailing on the river by her burial site, including that one time she reportedly brewed a storm for an innocent girl enjoying a summer’s day on a sailboat who just so happened to be mocking her past.

Not a good day for yachting with father, then?

#8 - The Curse of Jonathon Buck’s Tomb

Okay, this one’s fucking creepy. 

And I love it.

Jonathon Buck was one of the main lads in charge of the Salem witch trials, and condemned many a woman to death by burning. Unfortunately, his attempts to rid one woman of her alleged powers failed, and she scarred his tombstone with a burn mark in the shape of a leg.

No, seriously. 

Whenever the tomb is moved, the mark reappears. 

#9 - Mary Nohl’s Witch House

This origins of this tale can be traced to much more recent events, but carries the essence of an urban legend that rumoured witches cannot escape from. 

Mary Nohl was a sculptor famed for her wacky art and weird displays that decorated her house and gardens. The local residents petitioned for it to be demolished, but it was placed on the National Register, instead.

It is here that the rumours began to swell:

The legend claims that her husband and son drowned in a nearby lake, so, she created these sculptures to watch out for them and await their return to their home. But it was discovered that she never had any children, voiding the rumours conjured up by teenagers after late night visits to this spectacular house.

#10 - The Pendle Witches

I’ve already covered this gaggle of witches and the legends they’ve left on Pendle Hill, but here’s a quick recap for those that haven’t already checked out that post:

The Pendle witches were a group of peasants who practiced dark and mysterious magic. From neighbours getting ill, to strange effigies being found containing hair and teeth, there was more than enough evidence to send them to trial.

It was on this hill that they were sentenced to death, and it was on this hill that they were hung for their crimes. But their witchy behaviour didn’t stop with their deaths.

Peculiar happenings still haunt Pendle hill…

#11 - The Surrey Witch

Our next urban legend is also resident to the UK, and even takes its form in the same era. 

In the 17th century, a white witch lived in a cave in Surrey, and was known for lending things to her neighbours. All you had to do was stand on the boulder outside her cave and ask!

But one day, some bloke tried his luck, and asked for her cauldron. She was chill with it, but said he must return it by a deadline. He missed the due date, and lost 5% off his final mark he fled to escape her potential wrath. 

He fled to Frensham church, from which the cauldron has been utilised for centuries. I wonder if the witch is still out there looking for it?

#12 - Tituba, The Voodoo Queen

Okay, so this witch might not have an urban legend tied to her memory, but her past mirrors the Blair Witch’s own story so it’s freakalicious, regardless...

Tituba was actually the first woman accused of practicing witchcraft in 1692. She even confessed to her crimes, and threw two other witches under the bus!

(So much for solidarity, guys.)

But her story follows a unique twist, as she was believed to have come to the colony she later resided in to encourage local children to take up Voodoo. Her focus on children and thus her maternal portrayal is a simplified reflection of the Blair Witches own metaphorical genitalia. 

#13 - The Witch House, aka The Jonathon Corwin House

Our final urban legend belongs to one of the most historical buildings in Salem:

No, really, it’s the only structure in Salem still standing that had a hand in the witch trials. Not only has it witnessed dark and twisted histories of innocent people, it’s still home to some of them.

Jonathon Corwin - the former owner of the house - was a judge in the trials, and thus carried the memories of the trials with him back to his home, but with reports of torture in the basement and even his own burial down there after his murder, I think we can safely that many myths and legends will circle this house.

Add in a visit from the Ghost Adventures crew, and we can stamp on the Zak Bagan’s seal of approval.

No wonder it’s considered the most haunted house in Salem!

Now It’s Time To Hear What You Think:

Which urban legend is the winner of tonight’s fuck-off-i-cant-handle-the-spooks-man award?

And will you ever watch The Blair Witch Project again?

😍Up for more spooky stuff? Follow this blog and hear a new real ghost story everyday!😍

(Also this is me now.)

[zaggitz]

Top Ten Games of 2020

This year being the shitshow that it was, I ended up playing quite a few games I missed out on last year! First though, my lists from the previous years:

2015 - 2016 - 2017 - 2018 - 2019

I like having my actual top ten being games that came out the year of but here's a few games that would have been on my list last year if I had played them:

Control

Really fun gameplay and a great weird world to play around in that scratched that weird cryptid/scp itch in a really satisfying way. I still have the final DLC left but I'm excited to do a full replay of the game at some point down the line

Outer Wilds

This game was worthy of all the praise it got last year and more. Amazingly crafted clockwork world with great lore and characters and an absolute blast to explore and get lost in- and then explore and get lost in- and then explore and get lost in- and then explore and get lost in- and then explore and oh damn is that a singularity cool I wonder what happens if I- and then explore and get lost WOAH there's two of me now!

I wish I could forget this game and play it for the first time all over again.

Honorable Mention:

Ghost of Tsushima

This game is an absolute blast to play and has some of the best seamless open world navigation I’ve experienced in the genre. How much I love playing the game is however at odds with how much I LOATHE its absolute horseshit main story. Might check out the multiplayer mode some time since it’s all the stuff I liked and none of the bad stuff.

Now for the actual list:

10. Man Eater

This game scratched a deep PS2/PS3 B game itch that I've had since probably the last Saint's Row game came out. It's nothing special but I had a really fun time with this weird, bite-sized(heh) comedy game.

9. Ori and the Will of the Wisps

Ori 2 is in every way a massive improvement from the first game. The mechanics feel tighter, the level design is a lot more open and freeform, the writing feels sharper and the addition of tons of new characters with lots of dialogue helps flesh out this very beautiful world the designers at Moon Studio have crafted. I played this game on Switch and it played pretty smoothly though it was extremely jarring seeing XBOX GAME STUDIOS upon loading the game up on a Nintendo console.

8. The House in Fata Morgana: Reincarnation

This epilogue to the previous two visual novels did a fantastic job of closing out all the characters personal arcs and rounded out the story in a really good way that didn't choke me up at all, shut up.

7. Hyrule Warriors: Age of Calamity

Now here's one I didn't expect to get sucked into as much as I did. There are a lot of plot expectations coming into this game from Breath of the Wild and it takes no time at all for HW2 to subvert the shit out of them. It toes the line really well between being both a prequel and a pseudo sequel really well and the combat is that good chunky big musou stuff I love. It also doesn't have any Imprisoned fights so it's immediately better than HW1.

6. Final Fantasy 7 Remake

Speaking of pseudo sequels... This game was just an absolute blast. The combat is hectic and strategic in a really satisfying way. The way it fleshes out all the characters from the early parts of FF7 while also having kicking rad world building and a few(not enough) new areas entirely ruled and much like HW2 it absolutely loves to set up expectations from the original game and flip them on their heads. I can't wait to see this shit go off the rails in the eventual sequel.

5. Animal Crossing: New Horizons

I have like 300 hours logged into this game at this point. I've never been much of an AC guy but boy did this game luck out by coming out just in time for me quarantining at home for 7 weeks. I don't really have a lot to say about the game itself, I'm just glad I had it to occupy my time during the start of this hellshow.

4. The Legend of Heroes: Trails of Cold Steel 4

This game has some of the highest highs in the Trails series along with some of the absolute lowest lows. It's an absolute mess especially on the romance side of things but CS4 also wraps up longstanding plot threads from like 7 games prior with surprising amounts of finesse so the pros ended up outweighing the cons for me overall. This series was a core example of scope getting out of hand over and over. In a world where these games are tighter paced and end up being the 2 games they planned instead of 4 I could see this being a top contender. Sadly that wasn't the case. 

Now that the arc of these games is over I'm excited to see if they can return to form with the next one.

3. Hades

Amazing combat, amazing writing, well integrated roguelite elements and plot, dope ass music, this game's got it all baby. The amount of variety and build potential on hand makes me constantly excited to hit up a new run.

2. The Legend of Heroes: Trails from Zero

Take all my complaints out of the CS4 blurb and this (finally) fan-translated version of the first game in the second Trails arc is what you get. This game had some of the best worldbuilding in the series due to it taking place entirely in one huge Hong Kong style city. It closed out a major and extremely emotionally satisfying plot thread from the first 3 games and ends on such a fantastic high note of a finale. Trails fans who haven't touched Crossbell yet, don't miss out!

1. Yakuza: Like a Dragon

Why is Yakuza 7 my favorite game of the year? It’s not the brand new, huge city to explore filled with stuff to do. It’s not the shift to JRPG combat that works extremely well in context and gets really fun by the end of the game. It’s not the fact that this is easily the funniest game I’ve played all year, and hell, maybe ever. It’s also not the way the game perfectly closes out the Era of the last seven games while ushering in a new, extremely exciting one.

It’s because the new protagonist, Kasuga Ichiban, is not Kazuma Kiryu.

Let me back-up for a sec. This game’s biggest change above all else is the shift to a new protagonist. Now, for a Yakuza game, having a different protagonist isn’t normally a huge deal; we had new guys in 4, 5 and Judgement. But they all functioned within the narrative framework established by Kiryu.

Kiryu is a character whose core philosophy I feel can be broken down into one sentence: Don’t let anyone stand in the way of you living your life the way you want to live it. Every main story in Yakuza 0-6 revolves around this philosophy, as do most of the substories. Kiryu only gets involved in a game’s main story when he has no choice, because something is threatening the life he wishes he could be living. Hell, if anything, you could argue his ending in 6 is him finally accepting he can’t have the life he wants if he wants the people in it to be safe.

So when RGG studios created a new protagonist, built around a whole new combat style, they also had to change the philosophy behind their storytelling.

Kasuga Ichiban is a character who, after this first game at least, to me has a core philosophy of: Everybody deserves to be alive, to be seen, to be helped and to be understood. The changes this brings to the story are incredible and lead to one of the most emotionally satisfying games I’ve ever played. 

Sure, this is a Yakuza game, with it’s typical conspiracies and crime melodrama, but it’s also a game about the dehumanization of homeless people and sex workers. A game about the rampat mistreatment of immigrants and elderly people. A game about the dangers of rampant puritanical nationalism.

That it manages to be all those things so loudly and proudly is something that could only happen with a loud, rambunctious, heart on his sleeve type of guy like Kasuga Ichiban driving it.

Also the reason it’s a JRPG now is because he’s a huge Dragon Quest nerd, and you get to summon a crawfish named Nancy to kill people. Game of the Year.

[vaxieon]

BL3 - Perspective pt.2

Part one: The “First” Vault Hunter

Back again with part 2 of my multi-part personal evaluation. Once again it will be under a readmore so those not interested don’t have to scroll far. This one is a bit of a dozy regarding Lilith.

Lilith and her struggle

This is one I genuinely feel upset with given we’ve known Lilith for a long time. She’s been established from day one as being very powerful and confident in herself and her abilities (albeit suffering from the sexism present in BL1). On top of that, she’s played a role in almost every single installment of the series in one way or another, really fleshing out her personality from her former player class to an NPC.  Borderlands 2 was where they introduced her as the mythical “Firehawk” an entity that struck fear into the hearts of bandits across Pandora, even unintentionally starting her own literal cult following. Yet, this wasn’t for sake of glory, Lilith is shown to be intelligent and strategic and though she wouldn’t know it yet, a leader in the making. This eventually shows up through the ending of the Pre-Sequel and further in with the Commander Lilith DLC for BL2.

It can be assumed that these were traits they wanted to keep from her original character profile in the first game, where she appeared to be split to the character we know and Tannis (See here: WARNING LOUD). Either way, Dr. Lilith Cashlin, whether that is still the case or not, is not your run of the mill NPC when it comes to the sake of intellect. She’s shown to have gotten away with faking her death twice, once as part of her origin and the second in BL2 to keep out of sight from Hyperion. Although we don’t know what she did to accomplish that, we follow with her echo correspondence with Roland (see here) and see that she’s been using her alias as a way to keep the Bloodshot Clan away from Sanctuary for Roland to focus on Hyperion. She as well as the other original VH had to deal with the aftermath of New Haven, an event that greatly effected all of them and made them more focused on saving the citizens that they’ve lived alongside. She genuinely cares for people and wants to do what’s right given the power she has, she understands she has a lot riding on her even if she’s still learning how to deal with responsibility.

In my opinion this makes seeing Lilith throughout the games a way of seeing her grow as a person and slowly get acclimated to being a woman of legend. At least that’s what I was hoping to see in BL3. It all seems to fall flat with her, becoming very little over a one-word catchphrase and her powers alone. Personally I feel the downfall of her started in the Commander Lilith DLC, where Sanctuary ends up overrun by Dahl (I’ll probably make a separate post on Sanctuary). After Roland’s death, Lilith stepped up to the Commander position for the Crimson Raiders, something she didn’t necessarily even have to do. While in position she even made the initiative of letting Tannis create a testing field for training the new Raiders in the The Form of Digistruct Peak. Now regardless on if it would be considered ‘canon’ or not, the idea that Lilith would like to have a training ground made for the sake of the Raiders very much shows she wants to build up a solid homestead for residents of Sanctuary to live in peace on Pandora. Something that honestly should have lead to them actually returning Sanctuary to the ground, and building it up further.

By them taking it away from her they essentially ruled out potential for more personal growth between her and the people of Pandora. She did what she could given the events but if anything it felt like trying to make the player accept the ship in BL3 as the next logical step. Her also naming the ship Sanctuary 3, three mind you, makes her character seem unwilling to accept mistakes from the past and just act like nothing has changed. Which was the whole point of originally having the sanctuary for New Haven citizens be named Sanctuary and not some blanket of New Haven 4. This gets further pushed by the lack of information between our flying city and the ship, and how or why Lilith gave up on the concept of an organized Crimson Raider military, reducing it to a more casual club status. Topping that off, neither Brick or Mordecai continue to follow under her regardless of their conversation at the end of BL2. The Commander title she was given really not being used for anything other than a DLC title.

People have discussed how poorly the scene was for her powers getting stripped away, but what really gets me is how Tyreen’s constant bashing over Lilith’s “Firehawk” title makes it seem like the writers know she can be better. Tyreen is never shown to have any fast way of travelling, so regardless of when they happened to arrive, Lilith could have easily gotten away. To begin with, she wouldn’t have been outside alone with the key in the first place. We have seen Lilith act strategically and plan further ahead in case of things going wrong, warning you of danger and even calmly talking you through while she herself was in danger. She had been through a lot through the events of the games and very well knows the various types of villains that come through the works, there was no reason for her to have her guard down. Once again just a victim of giving the villians excuse to have more to do with the storyline. Without falling Lilith’s character, Tyreen would have absolutely zero power to effect you during most of the game, which honestly is a failure on the potential of Tyreen too.

After taking her siren abilities, the writing makes the audacity to take away Lilith’s own personality and experience, rendering her almost nonexistent when it comes to basically anything in the game. Even Maya herself (who I will talk about on a separate post) refuses to let Lilith be present in battle, which is degrading when they both in canon were established to fight side by side together. Many of the VH in the series are not sirens, and yet are welcome to be present no matter the situation because the characters trust in their abilities. Lilith is headstrong, doesn’t take ‘no’ for an answer and wants to prove herself no matter the situation. This is just all thrown out the window for a Lilith that is complacent in people keeping her confined to the bridge of a ship. A ship that really could be managed by anyone (especially after Balex comes in).

Honestly, I don’t mind her getting her powers taken, even though i wish it to have been done in better, it’s not a bad story element. What I mind is that she’s never given a chance to prove to the player on how much she is worth regardless of them. She had done so much for the people of Sanctuary, she had the privilege of battling the Destroyer, she had faked her death twice, been captured by Hyperion and lost people she loved, but for what? The story gives her no way of proving her commitment, she doesn’t even get to hold a gun for a majority of it. She gets left on the sides only to be thrown around like a doll when she actually has a chance. Ava’s speech to Lilith after Maya’s death aggravates this more, because while Ava’s dialogue is very fitting given the situation, Lilith has never ran from anything the entire series other than in BL3.

In the end, even with her sacrifice it just feels hollow, because without her involving herself through the game, what was the emotion we were intended to feel for her? Because of her sheer incompetence through the story, the player ends up more or less feeling like ‘oh she did something i guess’ than actually having sorrow for her not being there simply because it was about the same when she was there to begin with. Roland’s death in the second game felt more impactful because he was constantly trying to get Sanctuary to a better point and when in battle, would actually fight with you to push you through. There was no need for special powers because the personality of a character just simply isn’t what they have, it’s what they do. Lilith deserved much more than that.

Once again I can really go on, but so far this is the longest one I’ve done. I really loved Lilith as a character and having her death not even leave an impact makes it really obvious how misused she was.

[justtheendoftheday]

Night of the Living Dead (1968)

“They’re coming to get you, Barbra.”

When the bodies of the recently deceased begin coming back to life to try and kill and eat the living, a group of strangers take refuge inside an empty rural home.

—————————————

Fright: 1.7 / 5  Barbras

For me the most unsettling moments of fright are near the beginning when the attacks first start occurring. Sure, packs of the undead banging on your door is a creepy idea, but the potential for some stranger to suddenly attack you is just so much more real.

I feel like this was probably a very frightening movie when it came out, but time has dulled its blade a bit. For devotees of the genre Night of the Living Dead probably doesn’t even cause a blip on their fear radar. But for less desensitized viewers I think it probably walks a nice line between being spooky enough to creep you out a little, but tame and dated enough that it won’t keep you up all night.

It’s easy to look back on this one and not remember any big scares. But that’s probably just because the movie isn’t really into big scares. It prefers to charge the atmosphere of a scene with spooky tension. Who will live? Who will die? What’s going to happen next?

Gore: 2.3 / 5 Butcher Counter Scraps

This one is tough to measure. Old school gore gore rarely measures up to modern standards, and the whole movie is in black & white (which always makes things seem a little less visceral to me). So by modern zombie movie standards this one is pretty tame.

On one hand there certainly is a bit of gore, but on the other hand it is generally used to suggest that something rather gruesome occurred instead of actually showing it happening.

For instance, they never show anyone getting bit or pulled apart or anything like that. But they do imply that such things have happened and then show the ghouls eating “human flesh.” Yet it’s pretty obvious to an adult viewer that the actors are just creepily munching on a prop arm or some meaty bit acquired from a butcher shop.

There’s also a couple of quick shots of a slightly decomposed skull.

For the most part the only gruesome things you actually see being done to people are things like getting shot or stabbed.

Jump Scares: Very few

There are a couple of potential startle moments, but they are a bit tame by today’s standards. I didn’t notice any really aggressive jump scares to speak of.

Review:

Night of the Living Dead is a film that goes beyond the confines of its spooky premise to work as a powerful metaphor for its time. While its depiction of women is unfortunately quite bland, the way it deals with race is incredibly interesting. It’s a movie that delights in creating tension more so than going for aggressive scares. While certainly tame compared to modern zombie films, it remains a really fun movie that establishes the heart of a Romero-style zombie movie: a group of survivors who are forced to question whether the real terror is being alone outside with the zombies or inside together with the other survivors.

Thoughts:

Ah, Night of the Living Dead, one of those cinematic classics that everyone has at least heard of even if they’ve never seen.

Is it just me or is anyone else always wary of “classics?” So many of them turn out to be quite boring, or dated, or—worst of all—problematic. And sure, they might have made a big impact on the field, but that doesn’t mean they’re inherently great art, especially decades down the line.

And yet sometimes you’ll watch a so-called Classic and you totally get it.

Oh! Yes, this is why everyone keeps talking about this one.

One of my favorite things about the Horror genre is that so much of it is built up from a foundation of independent works and passion projects. And so much about what makes this movie a classic is because it was made by a bunch of film nerds who just wanted to make a movie. The only limitation placed on them was the scope of their imagination and the confines of their budget.

And that is exactly what allowed it to work outside the usual studio box and synthesize something new.

Here is a movie that has lots of gore (unusual for the time), was shot in black and white (also quite unusual for the time), and it cast a handsome black man as the main character and definitive hero of the movie (very unusual for the time).

Now keep in mind that movie was made in late 1960s America! A time where institutionalized racism was clashing against the force of a powerfully determined and ever-growing civil rights movement. To see a black man being portrayed as the hero—let alone one who heroically fights against white bodies—was almost unheard of in the cinematic pop-culture of the time.

Romero has said that his script hadn’t called for a black man to be cast in the role of Ben, but Duane Jones was chosen for the role simply because his audition had been the best. And while it’s easy to believe that Duane Jones aced that audition (because he’s friggin’ phenomenal in this movie), it’s hard to imagine that they would have even considered casting a white dude in the role. If they had gone that route it would have fundamentally changed the nature of the story (which is just a nice way of saying that it would have ruined everything).

But luckily for us the creators were open-minded enough to cast the role without race in mind. And because of that Night of the Living Dead was able to (inadvertently) tap into the energy of its time. It’s charged with this backlash against American racism. Ben is literally surrounded by white people that want him dead. They either want to ignore his humanity and simply consume him, like the hordes of ghouls do, or they want him dead for threatening the status quo (like Mr. Cooper does inside the house). And in spite of everything he still sticks his neck out to protect the people around him.

In spite of how well it’s held up over the years, for a modern audience one part hasn’t aged especially well: its depictions of women. Now don’t get me wrong, it never goes for the overt sexism that many horror movies manage to. And yet its female characters still manage to be the most bland characters in the film.

The lack of depth is on full display in their depiction of the film leading lady: Barbra. She starts out well enough, but for the vast, vast majority of the movie she is reduced to a hollow character. She is near catatonic most of the time and even when she’s lucid she tends to just ramble on, only partially aware of reality.

If that wasn’t bad enough there are only 3 other women in the movie and their characters almost never step outside the frameworks of The Wife, The Girlfriend, and The Daughter. All the female characters seem to exist only to add depth to the male characters who are the actual movers and shakers of the movie.

(Although in her defense I will say that Mrs. Cooper’s occasional scathing remark to her idiot husband are highly enjoyable.)

The first time I saw this film was in high school and I had heard it hyped up so much that I ended up thinking it was all a bit silly when I first saw it. While I’m sure it was more shocking to see during its time, by today’s standards it is a rather quiet movie. But when I ended up giving it another try, I found that the quietness is one of my favorite things about it.

One of the little details I love is how they use cricket sounds throughout the movie. In spite of all the horror and death we witness, nature continues unabated. It’s as if to say the world doesn’t care about these people’s situation. That little sound that evokes quiet peaceful summer nights is twisted here and it adds this brilliant extra layer of creepiness.

One of the things I’ve always loved about Romero’s zombie movies is that they are always focused on the survivors, not the zombies. The ghouls are slow and stumbling, their only real threat is if they catch you unaware or you let them overpower you with their numbers. The real source of danger is always shown to be the people you’re locked up with.

After all, in these modern times what is more frightening: the masses pounding on your gates or the people you find yourself locked in with?

—————————————

—————————————

Content warnings: I didn’t notice anything particularly triggering in this one, but let me know if I missed something!

After-credits Scene?: None.

—————————————

Directed by: George A. Romero

Written by: John Russo & George Romero

Country of Origin: USA

Language: English

Setting: Butler County, Pennsylvania, USA

Sequel: Dawn of the Dead (1978)

If you liked this you might also like: Dawn of the Dead (1978), Day of the Dead (1985), The Last Man on Earth (1964), Shaun of the Dead (2004)

—————————————

Context Corner:

Night of the Living Dead may be the great grand-daddy of the modern zombie movie, but many might not know that plenty of zombie movies existed long before it was ever made. The first zombie movie being the 1932 film White Zombie starring Bela Lugosi as an evil witch doctor named Murder Legendre [100% serious. That really was his name].

However, these original zombie movies were very different things from what we consider zombies today. These pre-NotLD films were generally based around second-hand ideas of zombies as seen in Haitian folklore (and misattributed to the religion of voodoo). They featured dead bodies that were reanimated as mindless tools of their master or living people put into a zombie-like trance, not autonomous creatures on the hunt for living flesh.

The closest precursor to Romero’s vision of zombies was seen in the fantastic film The Last Man on Earth, a 1964 picture starring Vincent Price and based on the novel I Am Legend by Richard Matheson. There a plague sweeps across the country and the infected dead return to life as a type of vampire-esque zombies.

Fun Fact: In spite of its influence on the zombie genre the word “zombie” is never used in Night of the Living Dead. The undead are referred to only as “ghouls.”

—————————————

“So long as this situation remains, government spokesmen warn that dead bodies will continue to be transformed into the flesh-eating ghouls. All persons who die during this crisis, from whatever cause, will come back to life to seek human victims.”

[eggoreviews]

5 Most Wanted Legend of Zelda Manga!

The Legend of Zelda manga series is something I was totally unaware of until recently, but I’ve pretty much fallen in love with it. So while I desperately hope and pray for a legendary edition of Twilight Princess, I thought I’d break down the top 5 Zelda games I’d love to see join the line up of Akira Himekawa’s wonderfully charming manga adaptations of the series!

5. Skyward Sword

As one of the only 3D Zelda games not to receive an adaptation as it stands, Skyward Sword is a pretty safe bet for a diverse, chunky story that would translate very well into a manga. While Himekawa has sort of touched on this entry with his 32 page manga in the Hyrule Historia, which acted as a prequel to Skyward Sword, we’ve yet to see a proper, fully fleshed out manga adaptation of the game as a whole. And I really don’t think anyone would be mad about this being the next choice after Twilight Princess (that is, if Himekawa plans to do more. I really hope so).

4. A Link Between Worlds

I’ve only just started A Link Between Worlds, but I’m absolutely loving it so far. And considering we’ve already seen ALTTP get its manga adaptation, it doesn’t seem far fetched to me that its sort of sequel could be going the same way. I love the art style of this game, as well as the new characters and the painting mechanic that would look really cool in a manga. I know I haven’t played a hell of a lot of this yet, but it’s pretty clear how cool this would be on the page.

3. The Wind Waker

Phantom Hourglass, WW’s significantly less beefy sequel, has already had its adaptation, but somehow Wind Waker hasn’t. Translating the story of Link traversing the huge, open ocean of a submerged Hyrule would make for a pretty awesome looking manga, before even taking into account the story. Basically, I think they’d be missing out a lot of good content if they skipped out on adapting the first appearance of Toon Link.

2. Link’s Awakening

Link’s Awakening is an entry in the series I’ve never really paid much attention to, but the recent announcement of a Switch remake got me way too excited. So mostly, that’s why this one is placed so highly. To put it simply, the overarching story for this one, while simple to a point, is so brilliant and the setting of Koholint Island is adorable. And so is the Windfish!! And Marin!! There’s little else for me to say about this other than ,,,, art style would be cool pls give me cute island Zelda manga.

1. Breath of the Wild

I honestly can’t tell you how much I’m in love with Breath of the Wild. The beautiful and expansive world, the funny, charming characters and the story that’s stripped back and simple, but still impactful enough to make you cry like a big baby. It’s my favourite game of all time. So of course I want to be able to read it too. As arguably the least linear Zelda game (apart from maybe the very first one), it isn’t the most obvious choice for a manga adaptation, as it doesn’t tend to follow an A-to-B plotline like say, Ocarina of Time. But I think that’s what would make an adaptation more intriguing. In what order would Himekawa choose to portray the events of the story? How many of the recurring side characters would make an appearance? How would he portray the various boss fights, infiltrating the divine beasts, exploring the destroyed Hyrule Castle? Is there potential here to show a post-calamity Hyrule we never got to see in the game?? So many cool possibilities and I would beyond stoked if this ever got manga’d. 

Hey, so this probably wasn’t the most concise or detailed post I’ve ever made, but I had to get my excitement out somewhere. Have you got a Zelda game you desperately want to see get its own manga adaptation with a spicy legendary edition cover?? Let me know down below! Thanks for reading!

[briangroth27]

Tomb Raider Review

I had a lot of fun watching the latest Tomb Raider! Having never played the video games and barely remembering the two movies starring Angelina Jolie, I essentially went into this one fresh and thought it was a solid start to what will hopefully become a new franchise. I'm a big fan of pulpy treasure hunter movies, and this certainly hit the spot!

Full Spoilers…

Alicia Vikander is excellent as Lara Croft and she’s the strongest element of the film. The script gave Vikander a lot to work with, showcasing Lara as a charming smartass, a brilliant puzzle-solver, a badass survivor, an orphan determined to survive on her own, and a daughter grappling with the apparent death of her father Richard (Dominic West). I thought Lara not signing the papers that would declare her father dead and secure her inheritance because it was his money, not hers, was an interesting and unique spin on the billionaire orphan trope (of course her reasoning was also—if not moreso—about not wanting to admit her father was dead, which played really well for me). I liked that they didn’t have her immediately turn to his money the moment she got in trouble with the police, which legitimized the idea that she wouldn’t use it even if she absolutely had to. Had Ana (Kristin Scott Thomas) not shown up to bail her out, it seemed Lara was content to be fined/jailed for the illegal street race she participated in and for me, that defeats the “fake poor” criticism I’ve seen online: Lara wasn’t just acting poor until it became inconvenient. The early scenes do a great job of showing Lara knows how to handle herself and has a likable, winning way about her despite her tragic family history, making her a captivating action hero and lead. What really sold me on the action hero part (aside from Vikander’s clear dedication to the physicality of the role), however, is that the film takes time to show Lara getting winded and hurt by her incredible feats and fights, both of which clearly take a physical toll on her; she isn't an invulnerable superhero. Vikander is great in those moments and even better when the movie takes the time to show Lara's reaction to killing someone for the first time. That desperate fight to kill or be killed was extremely powerful and it made me wish other action movies would take more time to deal with the gravity of their heroes taking lives. Lara's connection to Richard was strong, but I wish we'd seen more of their relationship than him constantly leaving her in flashbacks (though that does connect nicely to their role reversal at the end of the film and as I’ve seen pointed out elsewhere, each flashback ends with her being self-sufficient after he’s gone, which is a cool touch). In addition to the gamut of emotions Lara gets to show off and the thrilling spectacle of the gauntlet she's put through once she reaches a secret island, the film is very clear about how smart she is and I loved that she had to use her intelligence just as much as her fists. Vikander makes a meal out of all of this, playing every aspect of Lara to the fullest, and is clearly having a blast. I hope she gets to come back to this role in a sequel.

Lara's search for Richard (and ultimately, her journey towards letting him go) was a good through-line for the film and I liked what West brought to the role. Seeking out the supernatural as a way to reconnect with his deceased wife was an interesting and understandable motivation. However, we didn't need to hear about the legend of Himiko twice and eliminating Richard’s opening narration would've held the mysteriousness of the island of Yamatai until Lara finds out about it. The film doesn’t really gain anything by putting the audience so far ahead of her and I didn’t need to that hook to keep me interested. I did like that Richard’s madness on Yamatai involved seeing visions of Lara reappearing to him after he'd abandoned her all those times in search of the island, but I wish that madness had been turned into a stumbling block for Lara at some point instead of just something he talks about. He could’ve seen “Lara,” only to have it be an illusion that puts him in danger; the fact that he’s apparently cured of his madness as soon as Lara finds him felt too easy.

Daniel Wu as solid as Lu Ren, Lara’s expedition partner whose father went missing with Richard. I would've liked more to Ren finding out Mathias Vogel (Walton Goggins) killed his father; there seemed to be a lot of untapped potential there. That Lara didn't actually lose her dad could've been seen as unfair in Ren’s eyes too. Why not use Ren being such a parallel to Lara's orphan arc to create some drama and possibly division between them? I also found it movie-convenient that Ren wasn't killed for inciting a worker rebellion that lets Lara escape; even with the justification that he'd be a useful slave, he'd been shot and wasn't at full strength anyway. There really isn't a plot purpose to his being around after freeing Lara from Vogel’s work camp either, so while I liked his character and Wu’s performance and certainly didn’t want him to die, I wish there had been more justification to such a ruthless villain not just executing a problem-causer beyond "he's the co-star." I did like that Ren and Lara kept saving each other, though, and would be up for him joining her on her further adventures. I wouldn’t mind a romance blossoming between them at some point, but I also liked that this movie makes no attempt to even suggest that Lara needs a guy to swoon over.

I thought Vogel not wanting to be separated from his family for the entirety of his search for the tomb was not only a clever parallel to Lara, Ren, and their fathers, but gave him dimension most villains in these films don't get. Instead of wanting to rule or destroy the world—or even just getting a big payday—his biggest concern was finishing the job so he could go home. I didn't sympathize with him—obviously his methods were horrid—but I was glad he had that human quality instead of being some monstrous caricature. Vogel is also used exactly as much as he needed to be (except when it comes to the potential fallout of having killed Ren’s father); he has enough presence to be a threat, but he isn’t overwhelming and felt like the cog in a larger machine he is.

I liked that the film fleshed out several facets of Lara’s life with human connections; friends (Hannah John-Kamen), coaches (Duncan Airlie James), gym rivals (Annabel Wood), coworkers (Billy Postlethwaite and Roger Nsengiyumva), and even a lovestruck customer (Antonio Aakeel) on her delivery route gave the sense that she had a full life (despite the hole her father's vanishing left in her) with a lot of history. Even if they only briefly appeared, it was great that the movie took the time to include them rather than limiting Lara’s interactions to plot-centric dealings with Ana and Croft Holdings. I hope to see many or all of these connections continue in any potential sequels: their reaction to Lara's wealth alone, to say nothing of her new day job, would make for some great stuff. Can she keep her normal friendships and be a globe-trotting archaeologist billionaire? Will she find that she’s become more comfortable without the Croft money? Will she need those grounded connections to keep herself level? Would she bring her friend Sophie along on an adventure?

The film reveals an overarching villain and that felt fresh for a treasure hunting franchise, if not Hollywood's affinity for sequels. One thing I found kinda cool about this setup is that Lara probably won’t be raiding tombs for museums (taking artifacts away from their cultures just because), but she’d be negating dangerous potential weapons, which seems more altruistic in a modern context. I liked the reveal of Ana's true motives for wanting Lara to sign off on her father's death, which convinced me of the viability of evil entity Trinity being at least somewhat run by Croft Holdings. I wonder if Richard's search for the supernatural was the basis for Trinity and if he'd been unknowingly feeding them information until his disappearance. If her father inadvertently started/fueled it, that would make Lara's quest to stop them even more personal. Maybe he reached out to those nefarious connections out of desperation on purpose, which could create an opportunity for Lara to see her father as a flawed man, not just the idealized figure whose only sin was that he was always leaving. I'm interested to see what Trinity wants to do if they get their hands on supernatural (or just very dangerous) artifacts; I hope they're not going to be cliché "take over the world" villains. I also wonder about keeping the size of Trinity as an organization to a scale Lara can stop on her own, but that's an issue for a potential sequel.

I've seen criticisms online that the film is clichéd, and while I'll grant that it doesn't have the most distinctive voice in terms of "action movie dialogue," I still found it engaging and thrilling. It's very solidly of the treasure hunter genre and though it doesn't subvert those kinds of tropes often, it executes them very well. A boat crash, river/plane adventure, and fight through a decrepit tomb were all very exciting sequences. I loved the death trapped-tomb and thought the film's spins on classic traps were fun (as was the minor trope subversion that they were in place to keep someone in, not out). I have zero problem with these kinds of pulpy movies embracing the supernatural elements at the center of their mythical legends—in fact, I usually prefer it—but the more grounded approach worked very well here, honoring the supernatural while maintaining a sense of realism and danger. Even without playing the video game this is based on, I'm a casual enough gamer that I caught homages to modern adventure games, like Lara monkey-barring over a destroyed walkway and stealthily sneaking through the villains' camp. Honoring those source material bits didn't pull me out of the movie at all and I liked those nods to the games. On the other hand, Lara getting her iconic twin guns did feel a little more like fan service than a natural evolution of her character (she never seemed to need guns on her adventure and mostly seemed to favor a bow to picking up dropped guns), but that may also be my unease with what felt like a slight glorification of guns (though granted, this wasn’t anywhere near the gratuitous glorification of AR-15s in Thor Ragnarok). Of course, there’s nothing wrong with a little fan service and Lara can have a different opinion of firearms than I do without me disliking her character. That brief throwaway nod to the games didn't sully the film for me or anything.

The action throughout the film was solid and surprisingly brutal. The only sequence that I thought felt extraneous was Lara's chase after—and then flight from—a trio of muggers in China, but it was a well-structured chase and did include a moment of Lara hesitating to leap off a dock after them, showing some early limits to her derring-do. That chase also coincidentally leads her to Ren, and he could've been introduced as belligerently drunk (entertainingly so, for sure!) to Lara by herself without having to scare off the thieves. Otherwise, the action was great and had a really nice variety to it. There were only four or five shots where the CGI was noticeable; in the other action sequences it was totally convincing (if there at all). The sense that they were doing practical stunts (even if they weren't) and the danger in Vikander's expressions definitely helped sell the impact of the injuries Lara sustained as she narrowly escaped death over and over.

Despite a few missed opportunities for greater interpersonal conflict among the heroes and perhaps a need to punch up the dialogue beyond what's expected of this genre, Tomb Raider is a blast! The mystery is cool, the action is great, and Vikander is outstanding. I'd definitely follow her on another adventure and absolutely recommend this one!

 Check out more of my reviews, opinions, and original short stories here!

[aion-rsa]

What The Mandalorian Means for Ahsoka Tano’s Future in Star Wars

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Despite never appearing in the flesh in any of the movies, former Jedi padawan Ahsoka Tano is undoubtedly one of the most popular characters in Star Wars. A hero in every sense of the word, Ahsoka’s journey spans almost the entire film saga, just in animated form.

First introduced as Anakin Skywalker’s apprentice in The Clone Wars animated series, Ahsoka quickly became one of the main protagonists of the series, as we watched her grow as both a Jedi and a commander who led clone forces for the Republic. And even though her time with the Jedi came to an end before Order 66, when she chose to walk away from the Order in search of her own path, she continued to fight for others.

In Rebels, she became the spy known as “Fulcrum,” helping the fledgling Rebellion in its struggle to topple the Empire. It was during this time that she also faced Darth Vader on an ancient Sith planet called Malachor and learned the truth about the fate of her former master. But the revelation did not break her, even as her duel with Vader left her stranded on Malachor.

Stream your Star Wars favorites right here!

Ahsoka’s live action debut in The Mandalorian, played by Rosario Dawson, marks another major step in her journey. No longer someone trying to find her place in the galaxy or with the Jedi, she now uses her powers to help those who need it. And as Magistrate Morgan Elsbeth learns in the “The Jedi,” nothing will stop Ahsoka from seeking justice.

“She is, for lack of a term, a master, because she’s largely an independent at this point,” The Clone Wars and Rebels showrunner Dave Filoni, who is also an executive producer on The Mandalorian, told Vanity Fair. “I play her much more as a knowledgeable knight. A wandering samurai character is what she really is at this point. I’ve always made comparisons to her heading toward the Gandalf stage, where she is the one that has the knowledge of the world and can help others through it. I think she’s reached that point.”

But if you followed Ahsoka’s journey from the animated series to The Mandalorian, you probably noticed that there are still some gaps in her story. How did Ahsoka escape Malachor and show up on Corvus so many years later? And how was she able to speak to Rey in The Rise of Skywalker? Most importantly, what does “The Jedi” tell us about Ahsoka’s future?

How Is Ahsoka Tano Alive in The Mandalorian?

While we know Ahsoka Tano reappeared in the very final scene of Rebels, reuniting with Mandalorian hero Sabine Wren on Lothal before setting out in search of Ezra Bridger, who went missing after being launched into hyperspace while fighting Grand Admiral Thrawn in space, we don’t really know how Ahsoka escaped Malachor in the first place.

For those of you who don’t remember (or didn’t watch Rebels, which shame on you), Ahsoka stayed behind to duel Vader inside the Sith temple on Malachor while the rest of the heroes escaped in the season 2 episode “Twilight of the Apprentice.” For almost two seasons after that, Ahsoka’s fate was unclear, with some believing that the fan-favorite character had met her end at the hands of her master.

But season 4 episode “A World Between Worlds” revealed the truth. In the episode, Ezra gains access to a mystical realm containing portals to different points in time and space. It’s through one of these portals that Ezra is able to pull Ahsoka out of Malachor, just as Vader is about to land a killing blow with his lightsaber.

For a moment, it seems as if Ahsoka has found a way off Malachor. But when Emperor Palpatine senses the world between worlds through the Force and tries to gain access to it, Ezra and Malachor are separated while trying to stop the Sith lord. In the process, Ahsoka is forced to jump back through the portal to Malachor. She then walks back into the Sith temple to an uncertain future.

That’s the last we see of her on screen until she reunites with Sabine in the epilogue of the Rebels series finale “Family Reunion – and Farewell,” which takes place a year after Return of the Jedi. “The Jedi” reveals that Ahsoka is still searching for Ezra four years later, but doesn’t shed light on the sequence of events that led her from Malachor to Lothal and then Corvus.

The best answer we have comes from an unlikely source: the Star Wars Card Trader mobile trading card game from Topps. A series of Ahsoka cards designed by Filoni himself reveals that Ahsoka found another portal within the Sith temple on Malachor that led her back into the world between worlds and “on a spiritual journey that changed the course of her life,” according to Wookieepedia. That’s a pretty vague answer to a very big gap in Ahsoka’s story, but since Filoni designed these cards, they must be canon, right?

The good news is that Ahsoka’s escape from the planet means that we’ll hopefully get to watch many more of her adventures on The Mandalorian as an older and wiser hero.

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What Is Togruta Life Expectancy?

Just how old Ahsoka is when she appears in The Mandalorian? According to Wookieepedia, Ahsoka was born in 36 BBY (Before the Battle of Yavin). Since The Mandalorian takes place in five years after Return of the Jedi in 9 ABY (After the Battle of Yavin), this means that Ahsoka is around 45 years old in “The Jedi,” leaving plenty more years of adventuring ahead of her.

Barring an illness or any of the usual hazards that come with fighting bad guys in the galaxy far, far away, just how many years does Ahsoka have left? While there’s no canon answer when it comes to Togruta life expectancy, the old Legends continuity did state that Togruta could live up to 94 years, a pretty long lifespan when you consider that real-world human life expectancy is about 72 years. Of course, this pales in comparison to the lifespan of Yoda’s species, who can live for centuries.

Regardless of whether the life expectancy of Togruta is the same in the Disney canon, I wouldn’t worry too much about that. Beloved Star Wars characters rarely die of natural causes, which brings us to a big question about Ahsoka’s future: how is her journey fated to end?

How Did Ahsoka Tano Die?

Even if she’s not physically in the movie, Ahsoka’s presence is felt in The Rise of Skywalker when she speaks to Rey through the Force during the film’s climactic battle with Palpatine. She can be heard saying, “Rey!” when the young hero reaches out to the generations of Jedi before her to give her the strength to defeat the Sith once and for all. Although it’s just as likely that her inclusion in this scene is simply a wink at the Star Wars fans who love the character, Ahsoka’s single line in The Rise of Skywalker has led some to wonder whether this means she died prior to the events of the Sequel Trilogy.

There is some “evidence” that this might be the case, primarily the fact that the other Jedi who speak to Rey in The Rise of Skywalker — Luke Skywalker, Obi-Wan Kenobi, Anakin Skywalker, Mace Windu, Yoda, Qui-Gon Jinn, Luminara Unduli, Aayla Secura, Kanan Jarrus, and Adi Gallia — are all dead. But the difference is that we’ve witnessed the deaths of all of these other characters, whether it be in the films, the TV series, or in the pages of the books and comics. (While we don’t see how Master Unduli died, her death was confirmed in Rebels.)

Ahsoka’s fate, on the other hand, is not written in stone. As far as we know, Ahsoka could have lived decades beyond The Mandalorian, and Filoni even suggested after the release of the film that, just because Rey could hear her voice on Exegol, that didn’t mean Ahsoka was necessarily dead.

Was thinking of all of you this fine morning, Happy Holidays! – Dave pic.twitter.com/WpD0kKMbfk

— Dave Filoni (@dave_filoni) December 25, 2019

Filoni went as far as to tell io9 that the movie “doesn’t really have any big implications to what I’m doing with the character, to be honest. I just thought it was a really fun thing. I thought J.J. [Abrams]’s instinct to be so inclusive with all these various elements of Star Wars and characters [was great]. And I thought it would be a great thing for the actors involved to be a part of something that was just really this celebrating moment of the Star Wars saga. So I didn’t think of it in a literal story [way]. The film, to me, is like a different area.”

In other words, Ahsoka’s cameo in The Rise of Skywalker could be nothing more than just a wink at fans. Certainly, Ahsoka’s story in “The Jedi” suggests that she has plenty more to do. Next on her list is finding Grand Admiral Thrawn, who could lead him to where Ezra is.

Will Ahsoka Be in The Mandalorian Again?

In many ways, and this is pure speculation, “The Jedi” plays like a backdoor pilot, setting up what could be Ahsoka’s own standalone series on Disney+. The episode introduces just enough of Ahsoka’s own mission without giving much of it away. By the end of the episode, we know that Ahsoka’s on her way to find Thrawn, a confrontation so many years in the making that it seems too big (and distracting) to happen on The Mandalorian.

But even if Ahsoka were to get her own series, that doesn’t mean she would never cross paths with Mando and Grogu again. Since Disney bought the Star Wars franchise in 2012, the studio has been working to build a shared universe of stories on screen that communicate with each other and share characters from one property to the next — just like the Marvel Cinematic Universe. In the same way that The Falcon and the Winter Soldier and WandaVision are meant to tie into the upcoming Marvel movies, The Mandalorian and a potential Ahsoka series (and the rumored Boba Fett spinoff) could be set up to interact with each other, too.

In fact, “The Jedi” has left the door open for Ahsoka to appear in future The Mandalorian episodes, even as she searches for Thrawn in her own series. She’s already played a pivotal role in Mando and Grogu’s own journey, not only helping the bounty hunter learn his little companion’s real name but also revealing Grogu’s tragic history. Unable to fully understand the child or the way of the Jedi, Mando has needed people to show him the way throughout his quest, and Ahsoka could prove to be the perfect guide and mentor for the duo when it comes to the mysteries of the Force, even if she won’t outright train Grogu as an apprentice. As Filoni said of Ahsoka’s resemblance to Gandalf: “She is the one that has the knowledge of the world and can help others through it.”

Will Ahsoka Meet Luke Skywalker?

In “The Jedi,” Ahsoka points Mando and Grogu to Tython, a mysterious planet powerful in the Force that could be the birthplace of the Jedi Order. There, Grogu must decide whether to reach out with the Force to another Jedi or stay with Mando.

“If he reaches out through the Force, there’s a chance a Jedi may sense his presence and come searching for him,” Ahsoka tells Mando. “Then again, there aren’t many Jedi left.”

Fans’ ears likely perked up at this line of dialogue since we all know of at least one other Jedi operating in the galaxy five years after Return of the Jedi: Luke Skywalker himself. Is the show hinting that Luke will make an appearance on the show to take Grogu in as his student? That seems unlikely since Mando and Grogu are the emotional core of the series, but Ahsoka’s acknowledgement that there are other active Jedi in the galaxy could mean that she’s aware that Luke is out there.

Could this mean that Ahsoka has already met Luke or is poised to meet him in the future? Either way, their meeting seems inevitable. In fact, an Ahsoka and Luke story would provide the rhyming poetry that Star Wars so often deploys: Anakin’s old apprentice finds Anakin’s son years after Vader’s death and helps him learn something new about the Force or the Jedi. Ahsoka could guide Luke in ways that Anakin could not, while she could learn more about her master’s ultimate sacrifice for his son.

The only issue, of course, is that Mark Hamill is much older than Luke would be five years after Return of the Jedi, which means that a potential meeting with Ahsoka would likely involve some heavy CGI to de-age Hamill or a recast of Luke. Unless Ahsoka doesn’t meet Luke until much later in his life, it might be time to ring up Sebastian Stan.

Keep up with all of The Mandalorian season 2 news here.

The post What The Mandalorian Means for Ahsoka Tano’s Future in Star Wars appeared first on Den of Geek.

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[jamesbyerj]

One with the Force - Kingo64

In the feature, we're chatting with Kingo64, the creator of the most popular mod for Blade & Sorcery - The Outer Rim. Being a bit of a Star Wars geek myself, this is a mod I've been following for a long time.  [b]Thank you for joining me Alex ([url=https://www.nexusmods.com/bladeandsorcery/users/470810]Kingo64[/url]), we'll start as we always do, can you tell our readers a bit about yourself?  [/b] Hey! My name is Alex, I’m a full-time software developer and a fairly recognisable member of the Blade & Sorcery Discord server. I’ve been modding the game Blade & Sorcery for a bit over a year now and have obliterated any notion of ‘free time’ I once had since starting [url=https://www.nexusmods.com/bladeandsorcery/mods/528]The Outer Rim[/url]. It’s been said that I have ‘a bit of a personality’, and I’ve been blessed with many friends from modding communities over the years, notably from a now-defunct forum called Facepunch. I’ve been pretty fortunate and grew up with computers and video games from a young age. Without the internet you kinda needed to figure things out on your own, stumbling around through game files, seeing what you could change, trying to make the villains of the game bark like a dog for your own amusement. Modding was always one of the big appeal factors when it came to games for me since it essentially meant that the games were never ‘done’ as long as people remained interested it’s like an endless sunset. I’m still not sure if I’d ever want to work full-time in the video game industry but I suppose there’s always a possibility if I change my mind? There are always opportunities out there. [b]What are your favourite games of all time and what do you love about them?  [/b] Ha, I’m not too good at picking favourites. I suppose I’ve always enjoyed first-person shooters the most; along with role-playing games. I think I’ll just throw out a fly fishing line and reel off a big list of names and see if we get any bites. [u]Multiplayer games[/u] [list] [*]Unreal Tournament ‘99 [*]Quake 3 Arena [*]Battlefield 1942 & 2 [*]Halo: Combat Evolved [*]Garry’s Mod [*]Worms Armageddon [/list][u] Single-player games[/u] [list] [*]Half-Life 1 & 2, Opposing Force, Blue Shift, Black Mesa [*]S.T.A.L.K.E.R. series [*]The Elderscrolls III: Morrowind [*]Star Wars: Knights of the Old Republic series [*]The Witcher 2 & 3 [*]Id Tech 3 classics such as: Jedi Knight series, Call of Duty + United Offensive, Return to Castle Wolfenstein, Soldier of Fortune 2: Double Helix [*]Splinter Cell: Chaos Theory [/list] Without turning this into a TEDx Talk (call me TEDx if you want rambling subjective opinions on games), it mainly boils down to either enjoying the gameplay, the story, or the atmosphere/world building. All of these games have left me with long term memories, unique experiences, and wield some kind of spark that just makes me want to hope for a rainy day or a good excuse to dive back into them. I’d encourage those who haven’t played some of these games to check them out, they’re pretty fun. [b]Before we start talking about your mods, I'm guessing you're a huge Star Wars fan. There are tonnes of games, movies and other media in the franchise. What are your favourites?  [/b] Fun fact, I wasn’t much of a Star Wars turbo nerd when I first started the project but I have had to do a fair amount of research into the lore, wikis, and books in order to create [url=https://www.nexusmods.com/bladeandsorcery/mods/528]The Outer Rim[/url] in a way that respects both the Star Wars Expanded Universe / Legends and the canon. Fact-checkers are welcome. For those of you who have not watched the TV series ‘The Clone Wars’, do yourself a favour and watch that. Specifically with the ‘Ultimate Episode Order’ (you can find that online) which restructures it chronologically. It masterfully fleshes out the Star Wars universe and gives a plasteel backbone to the characters in the prequels and what they should be remembered for. This TV series in its totality is arguably better than the movies. As I’ve mentioned earlier with the games, I highly recommend Jedi Outcast / Jedi Academy from the Jedi Knight series along with the Knights of the Old Republic series. They are the primary inspirations for [url=https://www.nexusmods.com/bladeandsorcery/mods/528]The Outer Rim[/url] when it comes to gameplay design. [b]The sequel trilogy had a fairly mixed reception from Star Wars fans, what are your feelings about it?  [/b] The sequel trilogy really garners a lot of mixed feelings from everyone. For younger audiences, this will likely be their introduction to the Star Wars universe on the big screen - bright-eyed without prior conceptions of what to expect, who they’ll see or what may happen. It’s all new to them and it’s all fantastic. They’ll grow up and look back fondly at the time they saw Star Wars Episode 7 in the cinema when the older generations were audibly grumbling at the thought of it. The same thing happened when The Phantom Menace came out and the same thing will happen again when the re-animated corpse of Darth Plagueis rears his head 15 years from now when another trilogy is announced for the next generation of kids. Personally, I thought the sequels were incredibly lack-lustre, disappointing, and almost a deliberate betrayal to the Star Wars ecosystem they’ve built up over the years. It’s no surprise some people prefer to stick their head in the sand and just pretend they never happened. All of the characters were either unlikeable or forgettable; excusing Kylo Ren - a pale imitation of Revan. The story was poorly developed, ham-fisted, and mostly surmounted to nothing (Last Jedi particularly). There was a very clear agenda on ‘throwing away the past / wiping the slate clean’ to absolve themselves of the original trilogy and prequels. I understand that their intention was to create a fresh footing to tell new stories on but it ultimately backfired on them pretty hard, unfortunately. Red Letter Media, in particular, gave a pretty good summation on the recent movies that mostly match my opinions for those looking for a meaty analysis. Rogue One was fantastic though, congrats. [center][img]https://staticdelivery.nexusmods.com/mods/2295/images/26/26-1597753699-614768287.jpeg[/img] [img]https://staticdelivery.nexusmods.com/mods/2295/images/26/26-1597753704-1234122797.jpeg[/img][/center] [b]Talking about mods now, you started out modding back in the height of the Oblivion days with a few small compatibility patches, have you done much modding between then and when you discovered Blade & Sorcery? [/b] Well, to be frank, I’ve been modding games since the dark ages before stable internet connections and when we used to get games on discs in magazines. It made sense to me to try and create new content for yourself where possible, whether it is custom maps/campaigns, gameplay tweaks, asset modification, rather than waiting for the next game. Games were often released as a final distributable copy rather than the evergreen update cycle we expect today and often did not receive patches outside of expansion packs.  Generally, when I make a mod it’s for personal use and may be shared with my friends at most. More often than not because the mod is an opinion piece on gameplay tweaking, or a compilation of other mods, or simply not worth uploading. Another big factor would be the fact that it was only within the last couple of years have I ever had an upload speed that could transfer information faster than a person flapping a blanket over a smokey fire. Between the Oblivion days and now, the most prominent mods I’ve released would be the shader packages for S.T.A.L.K.E.R. Shadow of Chernobyl and Clear Sky, known as [url=https://sites.google.com/site/kingo64ssite/Home/optimised-game-shaders/stalker-shaders-max]STALKER Shaders MAX[/url], which primarily focused on improving performance and improving graphics - a necessity for my low-end 7300GT and mid-range 9600GT that I had back in the day which struggled to play the game. But yeah, mostly was just kicking back, enjoying everyone else’s mods until the creative itch started to kick in. It’s difficult to manage time with social life, work, family, friends, hobbies. [b]How did you discover Blade & Sorcery and what is it about the game that keeps you coming back? [/b] I bought it on a whim whilst growing out my VR library and was surprised by how polished and enjoyable the melee combat was, easily the defining feature of the game. The fluidity and believability of the melee combat have really set it apart from other games that have attempted it such as Boneworks and those not courageous enough to try such as Half-Life: Alyx. Even though it’s still currently a sandbox game, I’ve found it to be much more replayable than any other VR title I’ve played. I think it’s really setting the precedent on how good melee combat and item interaction should be achieved. In the VR FPS space, Pavlov VR has potential but it’s still stuck in its Counter-Strike mindset and Hot dogs, Horseshoes and Hand Grenades (H3VR) still has controls that make QWOP look like a walk in the park. Personally, I’m not really looking for online matchmaking when I want to play VR games, I kinda just want to pick it up and do my own thing - play however I want. That’s something that I’ve been able to do with Blade & Sorcery and the replayability I’d like to see in non-story driven VR titles. Each major update for the game has given us a glimpse of what to expect in the released version. The roadmap is really promising and I can’t wait to see what it develops into after it leaves early access. After many conversations with the lead developer over the past year, it’s pretty comforting to know that he shares the same opinions on gameplay design, decisions and direction as I do and I feel confident in saying that the game’s in good hands. The mod support for the game is incredible. I’m surprised by how large the modding community has become given the niche nature of the game. It’s a testament to how building a game with a positive attitude and public SDK only strengthens the community and widens the appeal, ultimately serving a more diverse and enjoyable experience for everyone. [center][youtube]fcyU6sE7rBo[/youtube][/center] [b]For anyone who hasn't played it yet, can you tell us about your biggest mod - [url=https://www.nexusmods.com/bladeandsorcery/mods/528]The Outer Rim[/url]? [/b] The Outer Rim (TOR) is a Star Wars total conversion mod for Blade & Sorcery which adds a humongous amount of content. There are 100+ lightsabers along with many blasters and other items to boot. The mod also includes custom maps, an optional player home, custom NPCs, and arena waves. It’s actively being developed and still has plenty of content planned and yet to be released. It is without a doubt, the largest mod available for the game with a focus on attention to detail.  If you like Star Wars, get it. If you don’t like Star Wars, try it out anyway. If you don’t have the game but have a VR setup, get the game then try this mod. It’s worth it. If you don’t have a VR setup, sorry - play it at a friend’s place? [b]The Outer Rim has been a huge success. When you initially started working on it did you imagine it would be as popular as it is?  [/b] It was pretty evident on the Blade & Sorcery Discord server that [url=https://www.nexusmods.com/bladeandsorcery/mods/528]The Outer Rim[/url] was going to be a big hit when it eventually came out. The prototype weapons I released when I was still learning the SDK and Unity, [url=https://www.nexusmods.com/bladeandsorcery/mods/280]Lightsabers U6[/url] and [url=https://www.nexusmods.com/bladeandsorcery/mods/246]E-11 Blaster Rifle[/url], were a hint of what was to come. Those mods were largely successful on their own, given that the innovation and quality of scripted weapons were not like what we have today bar a few exceptions, notably MulleDK19’s Mjolnir among others. What I didn’t expect was for my peers in real life to recognise the mod and realise I was the creator, or how wide of a reach it would have - driven by gameplay footage uploaded to sites such as Reddit. It’s pretty surreal to see yourself directly influencing your own Youtube feed when Youtubers decide to play ‘that Star Wars VR mod’. [b]Do you work alone on the project or do you collaborate with other authors? [/b] I primarily work alone on the project. There’s something cathartic in knowing that if something in the mod doesn’t meet my expectations I only have myself to blame, improve, and resolve. It’s not difficult to manage large projects such as this with many moving parts, it’s just a very time-consuming process with a large learning curve. I’ve branched out to others who I feel could do a much better job than I, namely 3D modelling and texturing. One long term collaborator of the mod is Plasma, a prominent modder from the Jedi Knight community, who has created models for the majority of the lightsaber hilts among other unreleased items from the next major version. Other authors who have contributed assets to the mod include Sakhado, uiojkl09 (Butters), Vale-X and Spongy. [b]There are a lot of mods made by others that extend The Outer Rim or add new Star Wars related stuff. Do you have any favourites? [/b] I hope I don’t get crucified for this but I haven’t actually played any of the other Star Wars mods so I can’t really answer that question well. In fact, I haven’t really had much time to play the base game as is or even my own mod outside of dev/testing. [b]Now that U8 has been released, are you planning to add any cool new force powers using the magic system?  [/b] Yep, that’s all been planned since the beginning over a year ago - with the intentions of being deeply tied into the skills tree proposed for the future version of the game, U9. There won’t be any force powers in the next major version of the mod, TOR 3, which is focused on blasters, but when I get around to it it’ll be worth it. The big backlog of stuff I have planned is daunting for me to say the least and exciting for anyone else. If you want an idea of what is to come in regards to force powers just play the Jedi Knight and KOTOR series and you’ll know what to expect. [center][img]https://staticdelivery.nexusmods.com/mods/2295/images/26/26-1597753345-139005324.jpeg[/img] [img]https://staticdelivery.nexusmods.com/mods/2295/images/26/26-1597753352-264767641.jpeg[/img][/center] [b]What is the status of a U8 update for The Outer Rim, I know a whole load of people are waiting on it? [/b] The next major expansion pack for the mod, Clone Reinforcements, is mostly complete in respects to content and features however the magnitude of changes presented by U8 essentially forced me to remake the mod, virtually every file needed to be modified on some level to be made compatible, no stone left unturned. The mod got nuked essentially. There have been many challenges and issues to face with the mod that still exist today directly due to what U8 has given and what it has taken away that prevent the mod from being fully playable or meeting my expectations. I’ve been in contact with the lead developer of the game throughout U8’s release and have been trying to report and resolve issues where possible to expedite the process. I’m hoping U8.4 should be the one to fix it. Ultimately, I don’t know how big of a change U8.4 will be, what it will add, what it will do, how much it’ll break, how much it will solve. But if it turns out to be big, it might set me back a few months, who knows? It’s a big game of “are we there yet?” but the car is misfiring and billowing smoke but the kids in the back just want to get to Disneyland. [b]Do you have any advice for authors who want to create mods for Blade & Sorcery?  [/b] If you have an idea for a mod, just go out and try to make it yourself. Take it as a challenge. Yes it’ll take time, yes you’ll have difficulties, but if you put in the effort you’ll be surprised by what you can achieve and how easy it is to learn and improve. There is a vast amount of tutorials and learning material out there on Unity and modding. Specifically to B&S modding, you can find information and example mods in the [url=https://github.com/KospY/BasSDK]Official SDK[/url] and on the [url=https://discord.gg/Yq4k2S]Blade & Sorcery Discord server[/url] in the #modding-howto and #mod-help sections. [b]Is there anything else you'd like to say to the community? [/b] It’s pretty thrilling to see how the VR community has continued to expand over the last few years as the games have become more compelling and the hardware more affordable. I encourage those with a VR setup to give the game a go, it’s a lot of fun, highly replayable, and a great place to flex those modding muscles. We’re welcoming new modders all the time and you know what they say; the more the merrier. A big thank you to those who have supported my work, whether it be leaving a nice comment, contributing their time to help others, leaving a donation, or who have shared it with their friends and loved ones. It’s a passion project with the intention of sharing good times, good memories, and hopefully inspiring people in one way or another. And also if you are wondering, yes I do read all the messages - I just don’t have the time to reply to everyone. Your comments have not fallen on deaf ears when you share your ideas, criticisms, and compliments. [line] A big thank you to Kingo64 for taking the time to talk to us! If there's an author or mod project you'd like to know more about, send your suggestions to [b][url=https://www.nexusmods.com/users/64597]BigBizkit[/url][/b] or [b][url=https://www.nexusmods.com/users/31179975]Pickysaurus[/url][/b].  Published first at One with the Force - Kingo64

[ciathyzareposts]

Game 366: Abandoned Places: A Time for Heroes

Or A Tinne Fot Hetves if you go by a literal interpretation of the font.

        Abandoned Places: A Time for Heroes

Hungary

ArtGame (developer); International Computer Entertainment (publisher)

Released 1992 for Amiga and DOS

Date Started: 15 May 2020

          It’s nice to see a new country enter the CRPG fray. We’re going to have four games from this country in the early 1990s (including Abandoned Places and its sequel) and then nothing for a decade. It’s also nice to see a new take on a familiar template. I had a fun first session with Abandoned Places, and I’m looking forward to my next one. I just wish Ultima VII hadn’t gotten bungled, because this would be a near perfect game to trade time with that one. 

Abandoned Places is based heavily on Dungeon Master, right down to the framing story, which has a benevolent mage going to a crypt to resurrect former heroes rather than create characters from a living population. This was the least satisfying part of the game, as I was asked to choose two warriors from a selection of six and one mage and one cleric, each from a selection of three, based on nothing more than their character portraits. I was assisted in this endeavor by Saintus’s 1992 coverage of the game, in which he tried all possibilities and analyzed their strengths and weaknesses. I chose the fighters Lianon and Cromer, the cleric Felius, and the mage Pomphis. My primary concern was that I get a cleric with the “Create Food” spell because I hear that the party gets hungry fast in Abandoned Places.          

Assembling a party.

         The game manual has nothing on the backstory, so we have to rely on the opening animation. Information is scant. It is told from the perspective of a mage who awakens the deceased heroes.

             The ancient scrolls have led us to the location of the Heroes, the Champions of Kalynthia, turned into living stone, waiting for the time to once again fight evil. The council emissaries will travel across land and sea to the Temple of Heaven’s Fight. There, far below the surface, the Heroes are to be found, but our powers are waning and we only have the power to turn four of the heroes back to flesh and bone. No one can tell what the effects of 900 years as statues will have on them. But they are now our only hope to stop the cursed Bronakh. May luck be with us all.

        An unnamed mage restores life to some statues.

           The game begins as the four heroes wake up in their crypt with no equipment and a couple of gargoyle-looking things prowling the rooms. Fortunately, it’s sufficiently like Dungeon Master or Eye of the Beholder to figure it out in a hurry. You right-click on hands to attack, after which there’s a “cool down” period. Only the first two characters can attack in melee range, but the rear two can use missile weapons and cast spells, and the mage comes with a useful “Magic Bolt.”               

Almost immediately, the game thrusts you into combat.

         The interface is fairly intuitive. You left-click to move objects and right-click to use them. Everything is contained in one window. The developers sacrificed exploration window space to keep the inventory and character sheet always visible. You click on the character portraits to cycle through their inventories. The character with the active inventory and character sheet is different from the character with the active combat options; you change those by clicking the number buttons right next to them. Because of the nature of the interface, you really need a mouse so that you can drag items from the floor to the characters, operate switches, and so forth. But it does offer keyboard options for commands such as movement and–thank you!–attacking. You can also specify the direction of attack with the little pad beneath the character portrait, but I haven’t played with that yet.

     The gargoyles dropped a couple of keys, and the room was scattered with rocks and torches. One of the keys went to either of two doors at the south end of the room, both of which opened the way to the same area of a higher level.           

My map of most of the temple.

          The temple ended up being five levels, but with only three of them taking up any substantial space. The goal turned out to be finding the exit on the bottom level, which was the largest, taking up 16 x 29 coordinates, but using nowhere near that much space. (The game uses a “worm tunnel” approach, which automatically cuts out a lot of squares.) Standing in my way were things that looked like gargoyles, skeletons, and maybe fire elementals. They were all pretty easy to kill even though I never found any armor and the only weapons I found were minor ones: clubs, daggers, and one short sword.           

This thing looks like it ought to be harder than it was.

        I like the way the game allocates experience, which is by successful action rather than simply killing someone in combat. Fighters get experience for each hit. Spellcasters get experience for each spell successfully cast, including noncombat ones like “Create Food.” Nonetheless, by the end of the dungeon I did have a rather large experience imbalance in favor of the fighters. No one had reached Level 2 yet, though. I need to spend more time casting spells, since magic regenerates relatively quickly. As in Dungeon Master, a full spell point bar is just wasted potential experience.

Navigation puzzles were easy in the introductory dungeon, consisting of just a few keys, buttoned doors, and levers that opened new sections of hallway. Towards the end of the level, I had to avoid fire squares and water squares, although you can try to cross them quickly if you don’t mind a little damage. The only thing that bothered me was that I left four locked doors on the lower level for which I never found any keys. There was also a stairway on an upper floor that was blocked somehow. Maybe these were red herrings, or maybe we’ll be back to the temple later.            

A skeleton comes out of a buttoned door.

           There was a chest full of food on one level, but it barely did anything. If I didn’t have the “Create Food” spell, my characters would have been starving for three-quarters of the expedition. Starvation causes a periodic loss of 1 hit point. I also noted that the game told me the characters were “exhausted” quite early in my explorations and torches didn’t last very long. (By the way, to use a torch in this game, you have to hold a “firestone” in one hand and the torch in another and then right-click on the firestone. That took a while to figure out.) I suspect this all means that I have the cycles set too high in DOSBox. Discussion question: Is there ever a good excuse for a developer to base such considerations on CPU cycles rather than real-time or number of moves? It feels like authors in this era never considered the possibility of faster machines.         When we found the exit to the dungeon, I was surprised to find myself on a top-down overworld map. Well, not completely “surprised” because I’d read the manual, but still–this is an unusual addition to the Dungeon Master sub-genre. The rest of the game takes place over a reasonably large map with one large island and three small ones. The map is dotted with towns, castles, and ruins, and I assume most of them have some kind of dungeon to explore. (The overland map is similar enough to Legend from the UK that I wonder if the developers weren’t influenced by it.) I like the approach, as long as the dungeons are of modest size. If they’re each as large as the typical Dungeon Master clone, the game will wear it its welcome quite fast.           

Boarding the boat from the starting island.

           My first goal was getting off the southern island that houses the Temple of Heaven’s Fight. From atop the mountain, I could see a ship making daily trips from the large island to our small one, so we headed for that ship’s port of call. Along the way, the game said we found some horses. There’s a button that lets you switch between various modes of transportation. When we reached the boat, we switched to that, and it brought us to the “continent.”

I headed for the nearest city, which turned out to be a quiet little town called Frampton. It was home to a priest whose services I didn’t need. There were no other shops.                

The town was pretty, though.

            Lacking any guidance about where to go–Why didn’t the mage who awakened us stick around? Or at least leave a note?–I decided to work my way roughly counter-clockwise around the continent. A fortress in the middle of a lake with a long bridge leading to it looked promising. When I arrived, the game told me I was at Pedroc’s Abbey, but that it was closed.             

The overworld map has a lot of interesting-looking features. There just isn’t much to do when you get there.

             I continued moving over mountain and river until I came to a small town called Timberville, where “most of the villagers have some kind of weapon in their hands.” Timberville had another healer and a tavern, where we spent the 15 gold pieces found in the temple on a meal (2.0) and lodging (2.5). I’m not sure if either did anything for us, as I stopped getting messages about hunger and fatigue the moment I reached the outdoor map.

You occasionally have to fight wilderness combats, which take you to a small 3D map crossed with bushes and rivers. The only enemies I’ve had to face so far are giant bugs, which drop no gold. You can’t leave the fights until you’ve killed all the enemies, and it can be annoying to find them sometimes.           

Fighting a giant bug in the wilderness.

           I couldn’t even find the entrance to a castle (called “Twilight” on the map) across the lake from Timberville, and two villages further along the coast, Hyde and Trailcross, had the same options as Timberville. Something called the Tower of Scions was destroyed and offered nothing to do. Cities called Iron Home and Tol Al Nerak wanted 10 gold pieces to enter, which is all I had left. I saved and tried anyway, but both just had shops that had nothing I could afford.         

It’s nice to know such things exist. I’ll be richer someday.

       I ultimately spent the gold getting into Kal Kalon, the capital of the country, where I found a guild. The guild leveled up my first fighter and mage–fortunately, for free–and said I need a few hundred experience points more for the other two. I couldn’t take advantage of the other services and left.          

Not so much “bad luck” as “uneven distribution.”

        I finally found something to do at Souls Abbey in the southwest of the main island, nearly a full loop back to where I’d started. A monk told me he might have a job for us, but he’d need us to prove our skills first. He said his guards would take us to a “place full of monsters,” and that we would prove our worth by destroying all of them.          

Our first quest.

        We agreed, and soon found ourselves in a new, dark dungeon–the only problem being that we only have one torch left and it’s hard to see in the dark. Hopefully, we’ll find some more.           

Dropped off in my second dungeon.

        Aside from that hour where I was wandering around the land experiencing nothing, Abandoned Places has started relatively strong. To many players, Dungeon Master is perfectly satisfying on its own, but I’m rather glad to see a game that adds an overworld, an economy, and NPCs to the template. And while I always enjoyed Dungeon Master‘s approach to leveling through action, I’m glad to see it quantified (or perhaps I should say quantified in a way visible to the player) here. My major concerns are whether it will introduce more interesting puzzles than it has already, and whether the game world will open up a bit. It would be a waste of the overland map if you had to hit all the dungeons in a particular order.

Time so far: 4 hours

source http://reposts.ciathyza.com/game-366-abandoned-places-a-time-for-heroes/