Serenity: Leaves on the Wind

513Coa7zVcLUntil a credit card error combined with an email filing error caused me to miss several issues in a row (and I was already months behind on actually reading them even then), I collected Buffy and Angel comics set after those shows had ended. In addition to those, a handful of Firefly comics were released, but these were not of the full-sized sequel variety the others had been. A three issue follow-up story with only one spoiler of any consequence, and a second batch about which I, perhaps tragically, remember nothing (but it was past stories instead of future), and then by the time the third set happened, I had already had the card failure of which I speak, I guess?

Leaves on the Wind is not only the fourth collection; it is also, finally, a full-fledged continuation of the story with (I believe) more to come. In addition to the fruits of that spoiler I mentioned, mostly this one is about the fallout of the big revelations broadcast by Malcolm Reynolds about the Reavers and how they relate to the Alliance; you know, the ground covered in the movie. There are people who don’t believe a word of it, people ready to start a whole new revolution, people looking for all kinds of bloody revenge. You know, the usual.

Definitely worth reading, but read Those Left Behind first.

Aftermath

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51EAv3L9PGLSo, the one good thing about a new Star Wars timeline is I’m only one book behind now, right? Haha nope, there are already like six books, plus seasons upon seasons of animated television I never got around to watching. Oops.

Aftermath is set in the months after the Battle of Endor, in the midst of the rise of the New Republic. The main thrust of the story is a group of folks who find themselves on-world for a secret meeting of the remnants of the Empire, who are trying to figure out what their next step is now that the head has been removed from the snake. Some of the aforementioned folks want to get word out to the Republic fleet, of course, but for the most part, there are as many agendas as there are characters. (Which is, I reckon, as it should be.)

Then, blah blah speeder chases and dog fights and laser battles, you know how this stuff goes. What made the book interesting (besides that it kicked off a new continuity, I mean) was all the vignettes about the state of the galaxy scattered throughout the book, none of which were in any way related to the main plot. I don’t mean to imply that the 50 some odd books I’ve read in what I think they’re now calling Star Wars Legends did not end up making it feel like a lived in galaxy, with trillions of sentient beings going about their lives. But something about the concerted effort Wendig put into making his new continuity feel immediately as lived in was very successful. Not to mention appreciated.

Ultimately, I don’t think anyone is going to get anything deep and meaningful out of these books, but it was good enough that I’ll keep looking for them.

10 Cloverfield Lane

MV5BMjEzMjczOTIxMV5BMl5BanBnXkFtZTgwOTUwMjI3NzE@._V1__SX1859_SY893_Friday was movie day, as occasionally comes around. And unexpectedly, 10 Cloverfield Lane was the new movie of the weekend. I’d been interested in this since I heard about it, and the lone preview I’ve seen helped that interest along, so.

Short answer: I liked it. But, here’s the problem with naming your movie after Cloverfield[1]: if the new movie is a direct sequel or shared universe sequel or prequel of the original, then the tension of the unknown is greatly reduced by this knowledge. Yet, by contrast, if the new movie is not directly related in some way to the original, then you’ve squandered this reduction in tension for no apparent reason. Or, even worse, tried to trick people into thinking they should be worried about the tension of the unknown when they shouldn’t be. No matter which thing is going on, my real point is this: if your audience is sitting there thinking about relationships to other movies and whether they make sense or even exist instead of fully paying attention to the movie you made, probably the title should be different.[2]

In a valiant attempt to avoid spoilers, I’m not saying which of those possibilities occurred, but I’m definitely saying I was thinking about this more than I would have liked. Especially because, late act revelations that the movies are linked or not, this one easily had the legs to stand on its own. The first 5-10 minutes in a nutshell: The second most successful alumnus of the old NBC soap opera Passions wakes up to find herself chained up in a fallout bunker by creepy John Goodman, but the good news is that “chained up in a fallout bunker by creepy John Goodman” is currently the safest place she could possibly be, because the world is ending. Just ask creepy John Goodman!

Who wouldn’t want to watch that movie, I ask you? I’ll tell you a movie you probably haven’t seen that this was a spiritual successor to: After.Life. Man, I should watch that again. For at least two three reasons.

[1] Really, after any previous movie whose tension relied in part on the unknown; this point is broadly applicable.
[2] Or else if you did it on purpose to get people into seats and that’s the only reason, you are a bad person who should feel bad.

Z 2135

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51r4bMhNxML._SX331_BO1,204,203,200_Once again, my review material comes from the author’s afterword. This time, apparently, the authors of Z 2134 were disheartened by people who gave them crap for gleefully stealing from popular literature to mish mash their dystopic zombie-laden future. The goal for Z 2135 was to amp up the characterizations and the plot turns and prove everyone wrong while once again exciting their true fans.

Well… first of all, the series suffers from Harry Dresden disease. Despite being named after the year in which it occurs, everything took place over the course of two or three weeks, just like last time. Which doesn’t actually matter, but I always side eye that kind of thing a little. Otherwise? The characterizations were fine, but nothing to write home about. The plot turns are frequent and dramatic, that I’ll grant. In the end, though, the problem is that there’s hardly anyone to like. Sure, the teenage couple are nice enough, but the kid brother is too annoyingly indecisive to really latch onto, and while the government were always the bad guys, of course, I ended up with no interest in the rebellion either.

So there’s just this one family in the whole world that’s especially worth a damn? That makes for a pretty lonely world, even if they figure out a way to win in the third serial novel that doesn’t reward either horrible side of the struggle and only the innocent bystanders.

I mean, I’ll read it.

My Bloody Valentine (1981)

MV5BYmQ5MWI1ZGMtZThkYi00YTFmLWEzMjctNmJmNDliMzg0MTdlXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1__SX1859_SY893_After I got off work on Valentine’s Day, we went out to the Alamo for a third time to see My Bloody Valentine, because I am nothing if not romantic. And to my surprise, although I saw the remake some years back, this is a movie I’d never seen before.

The plot is as follows: Twenty years ago, some miners were trapped in a collapse in the Canadian mining town of Valentine’s Bluffs, because everyone was busy at the annual big deal Valentine’s Day dance and forgot to check methane levels I think? One of the miners survived, went crazy, and killed a bunch of people the next year at the same party. So they’ve never held that party since, but hey, it’s been twenty years and there’s a new generation of horny post-teens who would rather drink and party than honor the dead of the past, and even the old people are thinking, hey, it might be nice to get back to what made our town great. Only, there’s a note from Harry Warden (the insane killer miner in the gas mask) saying, “Hey, bitches, you hold a party, I go back to killing everyone, just like old times!”

After the movies takes ten minutes or so to establish that summary, it commences to being an ’80s horror movie, so I think more or less you know what’s up from here. Important differences, though: the teens are actually grown-ass adults instead of being teens, with jobs (mostly down the mine) and actual relationships. I mean, they’re barely more than teens, but the difference shows, what with adult conversations that extend further than the “which of us will bang next?” you might get from, say, Friday the 13th. Then again, the prankster jerk is just as much of a teenager as ever, so maybe the differences aren’t as vast as all that after all. And there are certainly plot holes wide enough to drive a mine cart through.

Like I said, I think you know what’s up from here. Ultimately, I think I liked the remake better? But I appreciate that someone behind the camera wanted to make a serious movie that happened to include an insane murder miner instead of a horror movie. Not all dreams can come true, of course, but effort matters.

Majo No Takkyûbin

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MV5BOTc0ODM1Njk1NF5BMl5BanBnXkFtZTcwMDI5OTEyNw@@._V1__SX1859_SY893_The second outing of the weekend was to catch the one Miyazaki movie playing this month at the Alamo Drafthouse that I both had not seen and could fit in my schedule[1]. Hence, Kiki’s Delivery Service, about a 13 year old girl sent out on her own to make her way in the world for a year, in the traditions of her people. Who are witches, I should probably add.

Based on the vehicles and architecture, and other clues, I’m guessing that the never specified timeframe for the film is in the late 1950s or early ’60s, and I’m also assuming the locale is Japan. The latter is more strongly implied than the former, but neither is by any means definitive. For most of the movie, I assumed the point was mostly to showcase the gorgeous animation and soundtrack, via long, contemplative shots of Kiki flying across the countryside on her broom, or walking through her new city, and that the job (she delivers things for people, as you might expect) and relationships she was forming were mostly beside the point.

But then my mental jokes about making a 13 year old run off and earn her own living were translated seriously onto the screen, as she quickly lost her [Japanese phrase that means joie de vivre] in the humdrum grind of using her heritage and passion as a means of keeping herself fed and housed. From that turning point and throughout the final act, the story turned into more of a meditation on whether and how she could come back to herself and find her happiness, and now I think the movie is a love letter to post-war Japan, unsure of herself and finding her footing after a resounding defeat.

But maybe it’s just a feel-good movie about a witch and her sarcastic cat. That’s cool too.

[1] The only other one I’ve actually seen was the only other one that matched up schedule-wise, sadly. (Mononoke.)

Deadpool

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MV5BMjM3MjEwODA3MF5BMl5BanBnXkFtZTgwNzI4MzM1NzE@._V1__SX1859_SY893_Full disclosure: I am still years away from reading anything about Deadpool, and what I know about him could fit on someone’s palm as their cheat notes. He’s super violent, aware that he’s a character (or some other form of fourth-wall-breaking thing if not that), and he thinks he’s hilarious. I don’t even know if he’s actually hilarious, although the evidence points to yes.

Because, yep, I saw Deadpool (the movie) on Thursday night, with a delightful plate of chimichangas[1] in front of me, and here’s the deal. I’ve loved far more of the Marvel movies that have come out this century than not, and can only rate them correctly with distance. I therefore won’t say more than that this is definitely good. What I can say unreservedly is that it is by far and away the funniest superhero movie I’ve ever seen. If you ever wondered what a superpowered fight would really look like, or wished they didn’t censor themselves so heavily, or wanted the characters to be noticing the same dumbass discrepancies you do? This right here is your movie.

If you don’t like comics, I doubt this would bring you around, though. But also, while I’m dealing in irrelevancies: man, Ryan Reynolds has been a in a lot of comic book movies. (I bet this is the one he’s remembered for.)

[1] New knowledge: he likes chimichangas I guess?

Welcome to Night Vale

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61b0tVzWgaL._SL300_In a first for me, I listened to an audiobook that I had not previously consumed with my eyes. I don’t expect to repeat the experience, but Welcome to Night Vale is a special case. I’ve been listening to the podcast for about two years now, after hearing it evangelized during New Year’s 2014, and when they announced the book, they also announced the the audio version would be narrated by the same person who has performed as community radio host for Night Vale lo these many years.

So, anyway: obviously the performance was dandy. If Cecil were not good at his job, I never would have gotten far enough down the rabbit hole to be aware of this book. (I mention performance mainly because I might listen to reruns of books in the future, and it will be more relevant for books not based in part on someone’s voice.)

As for the story… I’m not sure how accessible it was (or was meant to be) to a new reader, but to be fair, the podcast is barely accessible, unless you just love it right away. It tells the story of a couple of previously named bit characters as they interact with each other, the town, and a mysterious, previously unnamed major character. Which I think was the best way to handle it. Give the fans something to chew on while giving the newcomers people who have never really mattered before, so they can come in fresh.

Overall: it’s a good book, about time, family, parenthood, and the different ways these things affect each other and also, of course, how they affect people. Plus, there are terrifying librarians and tarantulas and video stores to contend with. There’s no good reason why you wouldn’t like this book. But then, there’s no good reason for anything, really.

Ultimate End

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510TQ731k4LWell, I am straight up disappointed by the ultimate final novel in Marvel’s Ultimate continuity. See, the other times there have been big crossover events, I’ve read all of the affiliated books (in publication order, natch) because they were crossed over in, y’know, the same publication line. Whereas Secret Wars is a crossover among multiple Marvel continuities, none of which I am current on other than this one.

Which means that I was reading a sideline on the main story, without any context for what was supposed to be going on. I’m not saying there wasn’t any emotional impact; Bendis knows his job. But when I don’t know why things are happening[1], it’s hard to get involved enough to really get it. So, that was lame.

Bright side: I’m only 37 years behind on catching up with the other continuities so I can reread this with the proper context! So I’ve got that going for me, which is nice.

[1] Example: An army of Thors flying around enforcing God’s will. Um… what? Why? Who? So, yep. Also, the entire final issue was predicated on something a character learned in a different book. Sigh.

Tomb Raider: Definitive Edition

91jwO5PCReL._SL1500_A quote from my review of the first Uncharted game, lo these many years ago: Pretty much, it’s a Tomb Raider game where they reduced the budget on breast motion physics and invested that money into storyline and dialogue. It was, I think, a good trade.

I have a feeling that someone paid attention to that sentiment, because just a few years later Eidos rebooted the Tomb Raider franchise with exactly those modifications to the bottom line. And while I like the Uncharted series quite a lot, Lara Croft is a character I’ve been following for decades. Seeing her in the game she’s deserved ever since her inception was a pure joy.

Tomb Raider charts her progress from young archaeologist on her first big historical search to seasoned fighter of enraged beasts and evil men, not to mention world-class gymnast, expert mountaineer, and well, tomb raider. Which is to say, yes, it’s kind of silly if you don’t willingly blind yourself to that kind of thing. But the game solidly scratched my exploration and collection itches, redeemed a character that had always deserved better, and told a really good story along the way. I look forward to snagging the sequel.