COMICS!! Review: Cloak & Dagger #1

Cloak and Dagger are more accessory than actual team at this point in comic continuity. Certainly, their current place in the Marvel Universe is a far cry from the paling around with Spider-Man that I remember so vividly from my childhood. Hell, Cloak and Dagger are the team that I remember most vividly from my youth, but have read nearly next to nothing from in the prevailing years that I've come back to reading comic books.

Out of the void (the Darkness Dimension one might say) comes a Cloak and Dagger mini-series for the Spider Island event. Is this dynamic duo worth investing your money in?

Polarity

Cloak and Dagger have fallen on some hard times. Not being on a team, and not being the "go to" heroes in New York City, they find themselves on the verge of eviction. Even worse, unbeknownst to one another, their extremely different personalities have them thinking of very different plans for the future. With the Spider Island outbreak, Tandy and Tyrone are pulled into the fray, but only time will tell where they wind up after the dust has settled.

Nick Spencer pencils this off-kilter mini-series. His writing of Cloak and Dagger, not as heroes with a strong sense of duty, but as people with super-powers who are having just as much trouble skating by as anybody else, is absolutely brilliant. In-particular, Tandy's interaction with a building inspector trying to get them to leave the building is both hilarious and entirely believable. Splitting the team's inner-monologue also helps distinguish them as individuals rather than the joined at the hip pair they're often passed off as. In fact, this monologue allows Spencer to show that not only do they not agree on everything, but there's also a ton of tension between the two. Of course the two don't completely shirk their heroic qualities, but it's fun to see a superhero book in which the strife the heroes face just trying to get by and get along is the focal point.

The Beauty of Contrast

Spencer's script is great, but since I was a kid, the draw of Cloak and Dagger was their visual style. The team's perfect contrasting look is among the best in comics. That was my thought before laying eyes on the gorgeous artwork of Emma Rios, but if anyone had a doubt to my claims, they need only look at the first few pages of Cloak and Dagger #1. Rios has a beautifully penciled style combined with imaginative use of panel space. Her portrayals of heroes are unique, if not always fantastic, but the way she nails both Tandy and Tyrone is beautiful. Her style is somewhere between a comic book artist like Marcos Martin and contemporary video game artist Ayami Kojima.

It's amazing and can sell the series all by itself. When bolstered with Nick Spencer's smart writing, it's almost impossible not to suggest or recommend this series to everybody. Okay, maybe it's not for those expecting an extremely tight connection to the rest of the Spider Island stuff, but for people who just want a beautifully drawn book about one of the most underutilized duos in Marvel, this is it.

Cloak & Dagger #1 easily gets a 5 star rating.

i-Rix Review: Catherine

Catherine has a lot going for it. It's got the same quirky characterization as the incredibly popular Persona 4, and shares that game's same penchant for high concept and style. Like its titular titillating temptress, it’s incredibly alluring from face value alone. However, thanks to a story whose oddness borders on the inane, and gameplay that can get a tad TOO procedural, Catherine isn't a game that everyone can enjoy on the same level.

STORY

The tale of Catherine follows 32-year-old Vincent Brooks through the worst week of his life. His girlfriend of 5 years, Katherine McBride, has started to become impatient with his lack of commitment and begins pushing him to tie the knot. Not content to give up his "free and easy" lifestyle, however, things become infinitely more complicated for Vincent when a blonde bombshell named Catherine literally falls into his lap and, before he even knows what he's doing, he's cheating on Katherine with her. This doesn't even take into account the nightmares that Vincent starts to experience every night. When he goes to sleep, Vincent is faced with hellish towers of blocks that he must climb in order to escape a very real death.

The quirk of Catherine's story and characters does a fantastic job of selling it. Vincent is written and voiced hilariously, being both relatable and impossibly stupid/irresponsible at the same time. The bit characters and acquaintances in Vincent's life are similarly well-written, and the sheer style of it all carries a lot of the weight. Sadly, Catherine's story occasionally falls flat because of two fatal flaws. For one thing, the central conundrum of Catherine vs. Katherine is almost a moot point, as both ladies start off almost insufferably unlikable. In the case of one of the ladies, she eventually becomes more tolerable and even a fairly deep character, but the other remains so one-dimensional and outright absurdly written that this "choice" is one that's not horribly compelling. Secondly, that absurdity permeates so deep into the story and it saps it of a lot of its humanity and punch. Don't get me wrong, it's entertaining as all hell, but some people may take the late game twist as an insult to their intelligence.

CONTENT

Simply playing through Catherine gives you a good chunk of game to chew on. It'll take you about 12-15 hours on a standard playthrough of the game's Normal difficulty. Strangely, the additional modes and fun you can have with Catherine revolve around not only finishing, but doing well in the game's main story. For example, there are cooperative and competitive block puzzles to tackle. Sounds pretty cool, no? Well you're going to have to complete that 12-15 hour campaign before you get to play even one level of it. There's also a fairly deep trials mode known as Babel that is unlocked level by level when you achieve a Gold Trophy in various stages of the game's main story. That might seem reasonable, but realizing how difficult Catherine can be at times, getting those Golds to unlock more game content is daunting task.

It all adds to the occasionally old-school feel of Catherine's challenge, but it's puzzling that Atlus would hide so much of the good stuff it has to offer behind such high watermarks. There's a ton of good stuff in Catherine to get at. It's just going to take a while to get at it all.

GAMEPLAY

The actual gameplay of Catherine is perhaps the simplest aspect of the game to convey. During the day, you control Vincent at the Stray Sheep bar. Here, you interact with the various patrons and answer texts which play into the way things will proceed in the story. It's not hugely variable, but it's nice to have the freedom to effect little things in the narrative. You'll also be doing things that play more directly into the gameplay aspects as well. You can play a retro-styled version of Catherine in the bar, and this can provide you some additional practice for the night portions of the game. Additionally, seeing as the Stray Sheep is a bar, you can drink. This might seem useless (aside from the fact it provides you with some truly interesting trivia about alcohol), but the more you consume, the faster Vincent moves during the night-time portions.

And that is essential because, as the song goes, the freaks come out at night as you're forced into Vincent's nightmares. In these, you'll take on the game's main source of action, and that's block puzzles. Essentially, you'll be staring down a staircase made completely of blocks, and you must push, pull, stack, hang, climb, and do all manner of mind-bending actions to climb them. You don't have all day, however, as not only does each stage slowly crumble underneath you, but many blocks are traps that can kill you or send you into unfavorable situations. At the end of each floor of the tower, you'll even have to face off against a boss doggedly pursuing you as you attempt to solve each puzzling staircase.

The block puzzles of Catherine can be described in a few words. Challenging. Rewarding. Frustrating. Repetitive. If you don't dig procedural aspects of games, or don't want to punch a baby from the sheer difficulty you'll face, then don't come within a hair's breath of Catherine. Few games are this challenging, and thus more rewarding when you take out another stage. This is a puzzle game, make no mistake. It's an extremely mechanical game, despite trappings to the contrary.

PRESENTATION

One thing that is undeniably solid about Catherine is its presentation. The graphics are unique and stylish. As good as everyone looks in pixels, the well-done anime cutscenes only bolster the experience. The standout aspects, however, are those that reach your ears. The voice acting is fantastic, with voice acting for Vincent and his posse being particularly excellent. The OST for Catherine, much like the Persona games before it, should be owned right alongside the game.

VERDICT

But whether you wish to actually own Catherine is dependent on your tolerance of what the game is... and that's a puzzle game with a nonsense story attached. The sheer style and zaniness of Atlus's latest may be enough for you to want check it out. Indeed, the curious would be well-served in at least seeing if Catherine is their type of game. It's challenging, it's unlike anything out there right now, and it's just the right type of weird that even the wholly unfamiliar with this type of Japanese craziness can appreciate it. It's a great game, but one that's difficult to recommend to everybody.

People who become enamored with Catherine within the first hour or so are going to love it. People who are put off by that first impression... well...

Based on its own ample assets and merits, Catherine gets 4 stars out of 5 from me.

Questionable Review: Captain America: The First Avenger

Despite Cap being one of my very favorite comic book characters ever, I had little faith in the ability of anybody being able to bring him to life on the silver screen. Regardless of my affection for ol' Steve Rogers, it's just a little tough to picture the red, white, and blue boy scout being taken seriously when given flesh and blood.
But somehow, some way, not only is Captain America: The First Avenger a wholly entertaining piece of period fiction and faithful to the hero's long lineage, but it manages to be the most humanly satisfying superhero movie that's come along in a great while.

WHAT'S THIS MOVIE ABOUT?

Captain America follows the exploits of Steven Rogers (Chris Evans) during World War II. Having an uncanny sense of duty and desire to do what he feels is right, all the scrawny Rogers wants to do is serve the country he loves. The problem is that aside from being only 90 pounds, Rogers has myriad health problems that prevent any recruiter from taking him. Hope for Rogers comes in the form of Dr. Abraham Erskine (Stanley Tucci). He is looking for young men to join an extremely secretive "Super Soldier" project, and Steve has just the intangibles (selflessness, strength of will, integrity) that he is looking for. It isn't so long after Rogers finally becomes that titular "Super Soldier" when the error of Erskine's past in the form of the maniacal Johann Schmidt (Hugo Weaving) rears its ugly face. Now, the newly christened Captain America must run a covert campaign against the mad man and his legion of HYDRA soldiers to help bring an end to the war and this threat on all of humanity.

WHAT'S GREAT ABOUT THIS MOVIE?

CHARACTERIZATION! Sure, director Joe Johnston doesn't necessarily paint a visage of incredibly complex characters here, but the way each seems so naturally human through their interactions and relationships with other characters is incredibly well done. Evans in particular embodies the wholesome nature of Captain America without feeling cheesy or forced. This is aided by the over the top, yet completely believable performance of Hugo Weaving as "The Red Skull". The characters are unapologetically two-dimensional, sure, but they own up to that. In fact, the best performance may be attributed to Hayley Atwell as the Captain's love interest, Peggy Carter. She effortlessly skirts the line between the hard, no-nonsense operative, and the caring person who is willing to fight for something on principles alone. The fact that she never plays damsel in distress is refreshing. Tucci as Erskine, Sebastian Stan as Bucky, Dominic Cooper as Howard Stark, and the various "Howling Commandos" bit parts all play their roles admirably.

Captain America is also a movie that isn't afraid to provide a deeper timeline of events to its audience than most other superhero films. A whole heck of a lot takes place in the Captain's standard running time, and all the build-up at the beginning pays off with the punchier second half. It doesn't attempt to shoe-horn in plot details and character development in the film's climax, and the movie is better for it. It allows for the action to take center-stage, and for the most part, it's done well. It has a pulpy retro feel while also being wholly modern. In fact, that feel is what gives Captain America its unique edge. A mid-movie segment that shows "Captain America" touring the USA selling war bonds exemplifies this perfectly. It really wraps the audience up in its setting, while still subtly showing an awareness of its retro feel.

WHAT SUCKS ABOUT THIS MOVIE?

Conversely, certain action sequences feel incredibly artificial. It's nothing too distracting, but during some of the more chaotic or grandiose scenes, the special effects can take the audience out of the experience. After all, when most of the scenes feel so authentic and period appropriate, scenes that use heavy green screening effects and CGI are that much more apparent.

ANYTHING ELSE?

Fans of the character will love all the affection towards past storylines and costumes. Also, I need the "Captain America" song that plays during the USO tour and credits RIGHT NOW!

WHAT'S THE FINAL VERDICT?

Whether you want to call it a superhero film, a pulpy period piece, or a summer action flick, Captain America delivers on all fronts. It's an affectionate, well-made movie that audiences of all ages can easily enjoy. This may be the most well-done film Marvel studios has put out, and should serve alongside films like The Dark Knight as a template for what the genre can achieve.

COMICS!! Review: Daredevil #1

Daredevil hasn't been himself for a while. The amount of times Matt Murdock has veritably been screwed over is reaching a Peter Parker level of ridiculous at this point, and this DD fan was sick of it. Yep, I haven't read a new comic from one of my favorite characters in some time, mainly because I don't feel like he's been the character who made me fall in love with comics in just about forever.

After reading Mark Waid's first issue of this new Daredevil series, I can say that Matt Murdock is still a very different character than he once was. But somehow, this time that makes this new Daredevil even more compelling.

Back in a New York Groove

Daredevil #1 has DD back in New York. Through crashing a mafia wedding (both busting Spot from kidnapping the young daughter of one family and also stealing a kiss from the bride) we see a much brasher Matt Murdock. He's more confident, he's more carefree. Despite this new attitude, the past actions of DD still linger and Murdock finds it difficult to return to business as usual. Intrigue arises from his current case, and we get the initial set-up for what this new series is going to be about. There's also a thoroughly enjoyable "second tale" that has Foggy and Matt just conversing, which gives a nice little weight to this inaugural issue.

Justice is Blind. Not Mute.

Both tales are penned by veteran of the veterans, Mark Waid. Waid is undoubtedly a pro, and the stream of consciousness that he uses to carry the weight of the story is one that feels both inherently familiar and brand new. It feels noir, but with the way that Waid writes DD as much more brash puts a nice spin on the proceedings. What really anchored me to the whole thing was the artwork by a pair of incredibly talented artists. Paolo Rivera shows the world that DD inhabits in ways I've never seen it before. The amount of unique paneling and uses of silhouettes and implied figures not only gives the idea of how DD might view the world, but also gives it a very post-modern art house feel. It's bizarre. It's also impossible to take one's eyes off of. The "second tale" is illustrated by Marcos Martin, and whilst there's no action to speak of, really, Martin is ace. I've said how much I love his art in prior reviews, but I can't say it enough. He's one of the best artists out there.

For all these positives, however, I did have problems with this issue. A few substantial ones, actually (though some may stem from being a DD fanboy). I said that Waid's new vision of how Matt Murdock should be is compelling and refreshing, but at the same time I fear he may be losing some of what made the character likable. In trying to give him a "cooler" and more... how shall I say this... of an edge(?), Waid may have made Matt a dick. He seems a little like Oliver Queen without the charm or moustache. I'll obviously wait to see where the book goes, but this, and the fact that the main impetus of the story seemed to be people telling Matt, "Hey, you're Daredevil" and Matt saying "Nope", I'm a little concerned for what the solution of it all is going to be. Of course, that's why we read the books...

Here's to the future.

Despite those gripes, I thoroughly enjoyed both features of Daredevil #1. Waid may be making Daredevil his own, and though that can be alarming, it's also very exciting. This is a well written comic with extremely beautiful artwork. What more can you ask for? If you've got the cash in your wallet and are looking for a brand new series to jump into, get on the Murdock express. DD should be a heck of a ride.

Daredevil #1 gets 4 stars out of 5.

Questionable Review: Harry Potter and the Deathly Hallows: Part II

The Harry Potter franchise, yet another series that I myself have grown up with and has become a large part of my young(ish) life has now come to a close. It seems a superfluous exercise to review this, the last film in the franchise. People who aren't fans of the franchise by now are not going to be swayed by this film, and as this film is a thoroughly enjoyable (or at the very least, not outright offensive to its audience), people crazy enough to have stuck with the series this long aren't going to be convinced to abandon it now. Still, on its own merits I'll attempt to explain why the latest Harry Potter, while far from perfect, is a worthwhile movie experience.

WHAT'S THIS MOVIE ABOUT?

Harry Potter and the Deathly Hallows: Part II (quite the goddamn mouthful) takes place shortly after the previous film. With the shroud of darkness looming, Harry (Daniel Radcliffe) and his companions Ron (Rupert Grint) and Hermione (Emma Watson) must hunt down the remaining Horcruxes and destroy them in a last ditch effort to kill Lord Voldemort (Ray Feinnes) once and for all. Of course, this proves more difficult than it sounds, as not only must the individual Horcruxes still be found, but Voldemort's amassing army of Death Eaters threaten a full scale attack on Hogwarts, and to stamp out the last of those who would oppose the dark lord's supremacy.

WHAT'S GREAT ABOUT THIS MOVIE?

What drives the wizarding world of Harry Potter forward are the characters and the unique, sometimes random, and often times frighteningly dark elements that make it up. That is no different here, and again the charm and genuine emotion of the trio of leads shine through again. Watson especially seems to have matured to a point where she shoulders the weighty emotional scenes which leave Grint and Radcliffe open to work towards their own individual strengths (comic relief and stalwart leader, respectively). The HUGE ensemble cast don't get quite as much to do as they individually deserve, likely because of the damn number of people we're dealing with, but each does their typical great job. Fiennes and Alan Rickman (Snape) are standouts. Once again, the visuals respectively and outstandingly bring to life the smallest of intricacies in the film's world. This series has taken a turn for the dark in latter installments, and although we are still dealing with a grim movie on the whole (which the visuals reflect), I was glad that the filmmakers also made sure to include more brightly lit motifs to call back to the days when the series was strictly a fantasy tale for children.

Of course I'd be remiss if I didn't mention the fact that this is indeed the final movie, and how things end. Without giving anything away, I can only describe the ending of the series as satisfying. The majority of loose ends are tied up, and though the ending isn't completely rosy, it's one that fans of the series (especially the films) will appreciate and not feel cheated by.

WHAT SUCKS ABOUT THIS MOVIE?

Deathly Hallows: Part II's main shortcomings actually stem from its place on the timeline. It may be obvious, but if you have not seen the first part of this final installment recently, or indeed recent installments, the movie is not going to provide any context or reference to you. Simply put, the film not only will not hold your hand and make sure you remember why this element or that element is important, it will completely THROW your hand down and glare at you disapprovingly. That may be fine in a sequential series where there are only three or four films, but in a movie where there have been a total of 7 films building up to it, it's a little demanding (even for this series) to punish the viewer for not recalling exactly what happened three or four films back.

And that kind of approach also plays into the feeling that this final installment as a whole (that's including Part I) needed more time. This has the feelings of a film that's sprinting towards the finish. As such, some moments especially those dealing with character death aren't given the time or respect they deserve. Points are brought up and not elaborated on, and you get the feeling a lot was cut out to make sure the movie kept its brisk 2 hour and 45 minute run time. It's a nitpick, sure, as the filmmakers get the desired effect out the audience more often than not, but I still can't help but feel like just 20 more minutes in this and the previous film would have made a world of difference.

ANYTHING ELSE?

I knew there wasn't going to be any Quidditch in this film, but for goodness sake they set the Quidditch pitch on fire! I guess that gets across how the films treated one of my favorite aspects of the books.

THE FINAL VERDICT?

Chances are, even if you've made it to the end of this review, your mind was made up on what you thought of Harry Potter and the Deathly Hallows: Part II. For me, it's the satisfying end to a series which has been a large part of my life (for better or worse). It's not the best film in the series, and its place as the odd second half or the final film in a series that began ten years ago makes it perhaps the most flawed, but it's a well-made film that does just what its audience expects from it. Muggles need not apply.

COMICS!! Review: Red Skull: Incarnate #1

Red Skull is one of those villains that, although he's considered legendary in the Marvel Universe as one of its greatest villains, I honestly have trouble accepting him outside of the context of the war that created him. That's a non-issue with Red Skull: Incarnate, as we see the coming of age of the man who would become Red Skull. Whilst it's difficult to feel sympathy for someone who has done so much evil in his life, but thanks to a stellar first issue, readers can actually see the tragic beginnings that may have created this monster.

Fall of the Third Reich.

Issue #1 begins after the fall of the Third Reich in WWII. Johann Schmidt, the boy who would become Red Skull is a simple street urchin living in an orphanage under the iron fist of a tyrannical and fanatical head master. Schmidt is only a child, and despite a somewhat gruff exterior, he actually shows compassion towards his fellow orphans. However, he also shows flashes of ruthlessness, and a willingness to do just about anything to ensure he survives this chaotic period in time. By issue's end, we're still not sure where Johann's evil motivations might stem from, but we do see the inklings of a boy who is driven to seek violence to improve his own standing.

Red Skull: Incarnate isn't the most complex or exciting telling of an origin story, but it is unflinching in how solid its writing and art is. Greg Pak tells a story primarily through the context of the time period and the dialogue between the character's involved. Besides Schmidt, you're not going to recognize anybody else here, but simply because of their portrayal here, you'll feel sympathy, hatred, or indifference to them. Some of these exchanges, especially between Johann and a local dog-catcher are startlingly haunting. Again, Johann is just a boy at this time, but the dark places his mind can go hint at the mind he will become.

Beauty in Tragedy

The art by Mirko Colak emphasizes the helpless and chaotic tone of the story. He has a very smooth style, but combined with the haunting images he portrays and the dark/contrasting colors by Matthew Wilson, it fits perfectly with the tone of the story. At its worst, it's not distracting, and at its best it only adds to Johann's story. I also must complement the cover by David Aja. It looks simultaneously like a piece of propaganda, like an old pulp comic book cover, and like an astounding piece of stand-alone art. To say it helped sell the comic to me when I saw it on the shelf is probably the best praise I can say about it.

As a stand-alone issue, Red Skull: Incarnate #1 is easy to recommend. It's a fantastic telling of the early stages of a classic villain's career. As part one of a mini-series, it sets a tone beautifully and gets one excited to read more. It's solid from top to bottom, and any fan of Captain America and his rogue's gallery shouldn't think twice before plunking down $2.99 for this gem.

Red Skull: Incarnate gets a deserved 5 out of 5 stars.

i-Rix Review: Trenched

Trenched is a game unlike any that's been released recently. That's because it takes so many elements from so many different games and genres that the stew that emerges from this video game broth pot is one that manages to be delicious, almost surprisingly so. It isn't without its faults, and for all the replayability in its campaign, Trenched still feels a little light in the metal loafers, but fans of Double Fine or those with a penchant for cooperative play should definitely check out this mech shooter.

STORY

In true Double Fine fashion, the story of Trenched is a ludicrously genius one. This is a post-WWI alternate reality where an alien broadcast has fried the minds of countless military personnel, save for two; Frank Woodruff Sr. and Vlad Farnsworth. These two close friends are granted near infinite intellect. Whilst Woodruff uses his smarts to develop the "Mobile Trench", huge mechanized war machines that allow disabled soldier to walk once more, Farnsworth goes insane and creates the "monovisions", creatures made of television screens and wires that are hellbent on spreading the alien broadcast to all mankind. As this signal is almost always lethal, and the monovisions themselves are able to decimate most of the world's established military, Woodruff takes it upon himself to assemble a Mobile Trench Brigade and fight back against the invading beasties.

CONTENT

Trenched is split up into three campaign theaters with about four missions (and one boss fight) per. This might not sound like much, and to be honest, I wish Trenched had a tad more raw content to dig into. What saves Trenched from being too light in the loafers, however, is the ridiculous amount of loot and customization options. Between drops, challenges, and just level-specific stuff you're picking up, there are (approx.) millions of ways to customize your given Trench. This provides huge incentive to re-play levels repeatedly in hopes that you'll get something delicious. On top of this, any level can be played together with up to three comrades, and this in turn plays back into SEPARATE challenges dealing with your "regiment" (people who you've recently played the game with). This makes the replay value of Trenched potentially great, but with only the handful of levels included in the game, most of which become unplayably easy at a certain level, the unfortunate cap on content makes this the one area that it falls somewhat short.

GAMEPLAY

Thankfully, the actual act of playing Trenched is never disappointing. Each mission (aside from some straight forward boss fights) tasks you with utilizing your customized Trenched in the defense of a given structure or group of structures. You do this by combining your Trench's given weaponry, but also by setting up defensive and support emplacements about the battlefield to stem the attacking waves of monovisions. You see, besides being a third-person Mech shooter, Trenched is also a tower-defense game. You'll set up machine guns, sniper turrets, dampening generators, and mine layers in your enemy's paths and at strategic choke-points to make sure your structures remain safe.

Of course that's easier said than done, as there are a ton of varied types of monovisions. Some shield other units. Others have armor that needs to be broken off with explosions before attacking the creature directly. Others still will come straight for YOU and try to murder your ass. This variation makes the pacing of each pitched battle fast and frantic, and you'll need to learn how to manage your scrap reserves best to maintain your defenses. Of course, variation also plays into just HOW you've customized your Trench. For example, if you're rolling an assault chassis with some heavy weapons and/or ridiculous number of guns attached, those emplacements are going to take a back seat to just good old fashioned shooting. However, you could also take an engineering chassis into the fight loaded up with all types of emplacements and control the entire battlefield with strategic prowess. Throwing in a group of three other comrades means these options get even more radical as, with a posse behind you, you can specialize in your favorite area even more. In the end, Trenched is a game about love, and there's plenty to love with the way this game plays.

PRESENTATION

Like many other games in the Double Fine lineage, Trenched's distinct world drives its presentation. Trenched might not have a ton of graphical power behind it, but it knows how to to put its best mechanical foot forward. The cartoony look belays a dark and desolate picture of a world taken over by sentient televisions. Punctuating Trenched is its voice cast, with smartly written dialog bringing even more humor to the absurdity of the whole thing. The one point of contention I have with Trenched is the lack of a consistent soundtrack. There are fitting period themes present during cutscenes and at given points, but most of the in-game stuff is silent with only the ambient sounds of gunfire and screeching monsters.

VERDICT

Trenched is a 15 dollar gem. It may not have a ton of content (least that which stays playable throughout the game's entirety), but if you have a lust for loot and a stalwart squad of soldiers willing to endure some repetition, Trenched is a game well worth the price of admissions.

Trenched gets 4 stars out of 5.

COMICS!! Review: Venom #4

For those not in the "know", Flash Thompson (childhood bully to Peter Parker yet biggest fan of Spider-Man) has taken over as the Marvel Universe's Venom. Thanks to Rick Remender and Tony Moore, this potentially puzzling successor to the legendary mantle has been nothing short of amazing. Now 4 issues in and with the first arc of the Venom story concluded, does the series have a bright future, or has Flash peaked even before his career has begun?

Soldier of Misfortune

Issue #4 continues the chaotic path from the previous three, with Flash trying to get control of a raging Symbiote, attempting to end the dastardly schemes of the Crime Master and save his girlfriend Betty Brant, AND having to face off against Spider-Man as well. The action is told in a stream of consciousness much like that of a noir story, and the tension rises as the fight between Venom and Spidey escalates. Of course, Betty's life being on the line doesn't help matters, and throw the new Jack o' Lantern (and a whole lot of misunderstandings) into the mix, and this issue is action packed.

Remender's writing really works for this series, and this issue in-particular makes good use of his introspective style. We even get a small portion of the story told by one of Crime Master's henchman which proves both entertaining and enlightening. It's interesting that Flash has run the gamut of being a capable para-military character to one who has come to struggle much more with his current role. This is the first issue in which I actually felt Flash wasn't a hero in the least. I also can't help but love Remender's new version of Jack o'Lantern. He's essentially just a scary henchman, but he's scarier and cooler than the character has been in a long while. Of course, the artwork by Tony Moore is also top-notch. He captures a grittiness and danger that a Spider-Man related series doesn't typically go for. That's part of the fun of it all.

Very Special Forces

Obviously, I think very highly about Venom. So the last question is, should you pick up #4? Well, if you haven't been following the series up to this point... then no. Don't do it. What you SHOULD do is go back, pick up the first three issues, and THEN pick up #4. It's not a great jumping on point (in fact, it's kinda terrible), but it deserves a spot in your collection.

Venom #4 easily gets 4.5 stars out of 5. It's quickly becoming one of my most-anticipated books to pick up each month.

CHEESE-A-MANIA RUNNING WILD

Recently, at the compulsion of a community project on ComicVine.com by one XeroxKitty, I made a photo comic of sorts using some of my old WWF action figures.

Now, I'm no photographer, but since I'm hard up for new content and under the influence of some major writer's block here, I figgered I'd share these pics with my readers (whatever few I have). Hopefully you enjoy them and give you some nostalgic jollies...

COMICS!! Review: Flashpoint: Reverse Flash #1

Time After Time...

Flashpoint has been an event comic series worth reading. Not because the alternate reality schtick hasn't been done before (because it has) or because it'll have a significant and lasting effect on the soon to be revamped DC Universe (because I don't think it will). No, Flashpoint's been fun to read because of all the kooky spin-offs we've got that remain wholly familiar, but bring something new to sink your teeth into.

Reverse Flash #1 leans more heavily on one of these qualities than the other and, while still a wholly enjoyable read, it may be a bit too familiar to warrant people cough up their 3 dollars for.

Deja Vu

The story of Reverse Flash #1 is pretty much a retread of the early exploits of Eobard Thawne (aka Professor Zoom, aka Reverse Flash, aka douche bag). This isn't something that, if you're a Flash fan, you haven't read before, but this is definitely a more methodical re-telling of it. That's likely because it's from Thawne's perspective, and you get a better sense of not only why he did what he's done to Barry over the years, but HOW. It's definitely an entertaining exercise.

This is the second of Scott Kolins' Flashpoint mini-series that I've read, and Kolins continues to demonstrate his expertise over with these introspective villains stories. The narrative is strong and written with scientific precision and efficiency that fits the character. I was also surprised how much the pencils by Joel Gomez looked so similar to Kollins' pencils. They're rough as all get out, but they're also fitting for the grit and grime of a villain book.

Here We Go Again

The one problem I had with Reverse Flash is a big one. The fact of the matter is that issue one here is a retelling of a story that's been told several times over. In fact, just a few months ago, Scott Kolins had a full-page Eobard Thawne feature in the Flash series AND THEN had an entire issue devoted to Zoom and his origins a few months later. The point being, I was hoping that this would at least start to show some of Zoom's input into the whole Flashpoint event, but instead it seems like just a basic re-telling. I'm not opposed to stories being retold from different perspectives or updated for audiences who haven't read them, but as I said, this stuff was JUST retold. Couldn't we get some actual development here in the first issue?

And, in the end, that will probably be the biggest factor as to whether or not you'll pick up Reverse Flash #1. If you're a Flash fan, you know this story, but probably want to pick up this entire series. That's merited, and the writing here is good enough that this could be a heck of a series. On the other hand, it's perhaps a hard sell to get people to pick up a story that's been retold several times just recently. If you've got any attachment to this classic Flash villain, pick this series and up and see where it goes. If one telling of Professor Zoom's origins is enough for you, maybe give it a pass.

Flashpoint: Reverse Flash #1 gets 3 stars out of 5

i-Rix Review: WWE All Stars

Professional wrestling's been a big part of my life ever since I was a child. Take that as you shall, but much like the industry's quality, even I'll admit that the quality of professional wrestling games fluctuates from great to embarrassingly bad. From that heap arrives WWE All Stars. Between its list of classic wrestlers and fun over-the-top action, there's a lot to potentially love in THQ's latest foray into the squared circle. However, a laundry list of finicky issues and lack of compelling content cut-down this top prospect in its prime.

CONTENT

The first big failing in WWE All Stars comes from its rather meager selection of modes and match types. There are one to four player variations in standard matches, tornado tag matches, cage matches, elimination matches, and "extreme rules" matches, but that's about it. Also, because of the way each match plays out, there's just not a lot of variation even in these different match types. These all play into the two main single-player modes, Path of Champions and Fantasy Warfare.

In Path of Champions, you take a superstar of your choosing through one of three "story-lines" in order to become a WWE champion. Each of these is accompanied by some pretty brilliantly produced cutscenes that have the champion of the given path taunting you in true professional wrestling fashion (the best of these involving the Undertaker and PAUL FREAKING BEARER cutting promos from their funeral parlor), which flesh them out more than simply being a series of matches on an arcade-style ladder. Fantasy Warfare, on the other hand, takes one superstar from the current generation and pits them in a "dream match" against a classic superstar. While the video packages that splice actual footage of both superstars together as if they were actually feuding are spectacular, and matches like Stone Cold Steve Austin vs. CM Punk for "Superior Lifestyle" make complete sense, some of these just feel a little forced. I'm sorry, but there is NO competition between John Morrison and Randy "Macho Man" Savage for "Most Charismatic". Throw in a pretty meek suite of online modes, and you've got all that WWE All Stars has to offer.

GAMEPLAY

Of course this is a wrestling game. Wrestling should be tantamount here. And for the most part, WWE All Stars is a lot of fun. Four attack buttons and two defensive buttons make up your combative capabilities, and by combining these together, you can string strikes, grapples, strikes and grapples, and signature maneuvers together in creative ways. There's a good, almost fighting game level of depth to the action that makes experimentation both fun and rewarding. The first time I saw my little brother bounce a guy up with a powerbomb, grab him out of the air and flip him over only to Spear him out of mid-air with Edge, I knew there was some big potential here.

Further adding to the variation is the fact that each wrestler falls into one of four categories that help determine his moveset and abilities. For example, Big Men like Andre the Giant and Kane have devastating strikes and grapples that throw the opponent around the ring and can absorb more punishment, where as Grapplers like Mr. Perfect and Jack Swagger can link together grapples into a near-infinite chain of punishing slams and submission holds. Further adding to the mayhem are Signature and Finishing moves, each governed by their own meters. A multi-tiered bar (which also governs your wrestler's stamina for running) can be expended to use a Signature maneuver, which are unique, show-stopping moves that can devastate your opponent and turn the tide in your favor. They also help substantially fill your Finisher meter, which when full, lets you charge up your wrestler's finishing maneuver which can end a match outright. Knowing when and how to use these, and experimenting with them is all part of the fun of All Stars.

But sadly, there are some extreme caveats to that fun. As I stated, All Stars is pretty lacking in modes. Once you beat the Path of Champions a couple times through with different dudes and finish up Fantasy Warfare, there's not a ton left to play around with. Part of this is due to a disappointingly small roster and, whilst other competitors are already up for DLC and more have been announced, the way THQ is dolling them out at a snail's pace isn't doing the game's short shelf-life any favors. This is expounded by the incredibly weak online options. It's enough that the modes and options aren't there, but with no penalty for rage-quitters, copious lag, and nobody playing online, there just aren't any legs to the game.

Lastly, even the minute to minute gameplay in All Stars has some big blemishes. For one thing, certain options in combat aren't viable in the least. Options like using weapons are worthless. Spotty hit detection and random happenings may be acceptable in wrestling games as a norm, but that doesn't make them any less aggravating. All Stars is no exception, and the fact that this is a game much more about fighting game execution than any other, that is doubly so. The first time you botch a reversal that you KNOW should have worked, or when your rope spring miraculously doesn't hit the opponent despite passing right through him, you'll be making a Cornette face.

PRESENTATION

The presentation in All Stars is similarly spotty. The cartoony artstyle fits perfectly with the action in-ring, and the animations given to these over-the-top moves are smoother than any recent wrestling game. Epic moments even occur in the slow-motion uber versions of your given wrestler's Signature and Finishing moves, and although the exaggerated physiques of each ring warrior look a little ridiculous, ridiculous is what this game's all about. Of course, the video packages and in-engine cutscenes (complete with more than competent voice-acting) are the best parts of the presentation here. Sadly, there's just a lack of character in the rest of package, and even some of the action is stilted with emotionless wrestlers going at it and some minor clipping. Also, as repetitive as this game already is, having to look at the same five or six rings doesn't help matters at all.

FINAL VERDICT

WWE All Stars is a fun game that is kept from greatness with its inconsistency. There are good ideas in the game's content, but it's overall lacking. The gameplay has some spectacular innovations, but a lack of polish keeps it from elevating above a certain base level of enjoyment. The presentation is inspired in points, and lazy in others. Overall, if you're a fan of professional wrestling, you'll want to check out All Stars if only for a novelty. There's something potentially special here, but there are just too many mistakes in this rookie outing. It's a prospect to watch, but right now it's just middling in the mid-card.

WWE All Stars gets 3 stars out of 5.

"Everything's Fine": El Shaddai Demo Impressions

For as little mainstream coverage as it's gotten, I'm surprised I both remembered and desired to play Ignition Entertainment's forthcoming hack and slash effort, El Shaddai: Ascension of the Metatron. Actually, scratch that. With just how amazingly distinctive the look of this game is, I couldn't help remember it from way back in E3 of 2010. Now, one year, one Giant Bomb quick look, and one XBLA download later, I got to play the game for myself (well a demo anyway).

An adaptation of "The Book of Enoch", an ancient Hebrew religious text, El Shaddai is as eclectic in subtext as it is in visual flair. Sadly, none of the story details really make it into the demo, and so if you're not well informed, you're probably going to be scratching your head at some of the stranger aspects included here. All you really need to know is you play as heaven's scribe, Enoch. He's been sent to Earth equipped with God's finest armor, weaponry, and blue jeans in a last ditch attempt to get a group or rogue angels to return to heaven. If Enoch fails, God floods Earth. Bummer.

But even if Earth teeters on the brink of oblivion, you'd never know it because of El Shaddai's amazingly abstract interpretation it puts on all its visuals. This is just a demo, but El Shaddai is undeniably a beautiful game. I really can't praise enough just how much the ethereal look of El Shaddai can sell you on its world and even on its gameplay. It's both primordial and post-modern, and it looks gorgeous.

But good looks does not a good game make. Luckily, on top of having extremely solid, fluid, and responsive hack and slash gameplay, El Shaddai's got a couple of tricks up its sleeve. Firstly, combat in El Shaddai is handled by one button. While that may seem odd for an action game, it actually works quite well with game's second mechanic, weapon trading. Enoch will wield a total of three separate weapons in El Shaddai (though only two are seen in the demo), but can only carry one at a time and switch strategically by disarming enemies or grabbing one from certain points in the level. These each have unique properties; the Arch is your standard sword, while the Gail is a long-range projectile type weapon; and when combined with varied button presses and contextual factors, the combat becomes fast and frenetic.

Shaddai's minimalist approach continues with a lack of HUD, instead opting for visual clues to tell you when Enoch needs some help. Take damage, and Enoch's armor will start to chip away. Attack to much with your holy weapon, and it'll need to be purified or exchanged for a new one. These kind of things help preserve El Shaddai's beautiful aesthetic while staying functional.

That isn't to say everything about my time with the El Shaddai demo was positive. While the one button combat functioned incredibly well, it can be a tad difficult to execute your intended actions whilst under the pressure of a tight battle situation. Also, the demo doesn't provide any kind of context or hint for a progression system. While that's not a game breaker in the least, hack and slashers certainly have a curse of falling into repetition. That could be exacerbated if Shaddai if you're not constantly moving towards new talents and abilities.

Aside from those minor concerns this extremely short, but undeniably enticing preview of a beautiful action game is one that anybody with some kind of online access needs to download. At only about 700 MB (on XBLA), it's a quick download that's well worth the time. I'm more intrigued than ever for El Shaddai: Ascension of the Metatron, and am definitely looking to pick this up when it's released July 26th.

COMICS!! Review: Flashpoint Deathstroke and the Curse of the Ravager #1

As a Painted Ship Upon a Painted Ocean.

The DC Universe is being remade (or revamped, or whatever the heck they're trying to call it), but Flashpoint rolls on. These kinda non-committal, alternate reality stories usually don't do much for me, as I usually can't get into a series if I know that the events will have little lasting impact on the universe as a whole, but pretty much ALL DC books won't have much lasting impact on the universe at large at this point so... WHATEVER, RIGHT?

Anyway, I arrived at the comic shoppe to pick up Citizen Cold #1, but was immediately stricken by the cover of Deathstroke: And the Curse of the Ravager. Maybe it was because I have an unhealthy interest in pirates, maybe it was because of the creative team attached. Hell, maybe it was because the cover made Deathstroke look like he fuckin' just crawled out of Tales of the Black Freighter.

Whatever it was, I picked it up. And it was great.

The Rime of Deathstroke the Mariner.

In the world of Flashpoint, Deathstroke has taken to a life of piracy. He, his crew, and his ship, The Ravager, are among the most feared on tumultuous seas of the seven seas. Deathstroke is motivated by more than just wealth however, as he continually searches for his daughter, Rose. Issue #1 has him picking up her trail and setting off on a quest to gather a crew to take into Atlantean waters.

As I said, I love piratical things, and the way Palmiotti fleshes out the story scratches that swashbuckling itch. Between his fight with the Warlord, his quiet determination to find Rose, and the portrayal of his motley crew, this ONE issue packs in a ton of character development and excitement. Slade is both sympathetic and honorable (for a pirate at least), while maintaining his ruthless and methodical nature. It feels as if this is how the character has always been written, nay, has always MEANT to be written. The artwork by Joe Bennett captures all of this perfectly. He's got an extremely solid style that makes me feel like I want to see the way he renders ALL of the DC Universe. It also stands to mention that the way he draws the action and violence here is dynamic, yet understated. It's not overly gruesome stuff, but you'll definitely know you're reading a Deathstroke-centric story.

Dead Men Tell GREAT Tales...

And while I'd love to now become critical (as a fake critic like myself attempts to do), I really can't complain about anything in this book. This is an enthralling addition to the Flashpoint mythos and your comic library. If you like the character of Deathstroke, stories of grim buccaneers, or introspective narration, pick this one up. You'll be glad you did.

Deathstroke and the Curse of the Ravager #1 plunders 5 stars out of 5.

COMICS!! Review: Flashpoint Citizen Cold #1

Rogue Status

I love the Flash and his rogues gallery of... well, Rogues. There's few characters I so enjoy reading about their villains in the same way that I enjoy reading about the hero themselves, but the Flash is one of those. In Flashpoint, the baddest of these blue collar baddies, Captain Cold, gets his own mini series.

To say the least, I was excited. Were my lofty expectations met?

Kicking Some Ice

Like was seen in Flashpoint #1, Captain Cold in this reality is actually a member of the Justice League under the moniker "Citizen Cold". However, don't take that to mean that Cold's gone soft. He's just as ruthless as ever (and he proves it early on in a one on one with Mr. Freeze) and seems like he's just doing this hero thing until he can pilfer enough good will and good WEALTH to get out of the game forever. Cold's got problems however, as Iris West, a prison full of baddies, and an imperiled sister all threaten to interrupt Cold's path to retirement.

This book is both penned AND drawn by Scott Kolins, who popped up as a frequent fill-in artist for Francis Manapul on Geoff Johns' latest Flash series. From a story standpoint, what I loved most about Citizen Cold was the portrayal of the titular character. Where many other Flashpoint characters have been transplanted into positions that greatly change their personality, Cold is still (pun intended) cold. He's an asshole. He's a rogue. He's just managed to get enough of Central City's schmucks to buy him as a hero that he's found more profit in it. Particularly, all the Citizen Cold fans chanting, "COLD SNAP", and Cold getting irritated spoke volumes to his character.

Kolins' artwork fits in well with these villain themed stories, and I really love the way he experiments with panel layouts. The scene in which Cold is standing in his underpants (stay with me), Cold Gun clutched in his hand, while a news report details events concerning his sister is pretty powerfully told with just great illustration and unorthodox layouts.

Cold Shoulder

The only problems I found with Citizen Cold surrounded its set up. There seems like there's going to be problems with the other Rogues Cold has locked up in Iron Heights, but we really don't know if that should be our main concern. Cold also has dealings with Iris that seem to suggest he wants a romantic relationship with her, but that doesn't go anywhere. Indeed, outside of the sub-plot involving his father and sister (and a cliff-hanger ending which will put him at odds with Iris), I'm just a little confused what's gonna happen next. I suppose that's why a mini series has more than one issue in it. Also, I said Kolins' artwork works best with villains because, not to be negative, but his characters are pretty ugly. Ugly in the best way, sure, as Cold himself looks amazing (as do all the other villains), but characters like Iris and Wally West just look a tad odd when drawn in Kolins' style.

*INSERT COLD/ICE PUN HERE*

The Rogues have a pretty built-in audience. If you're a Flash fan, nothing should stop you from picking up this title. If you have at least a little bit of interest in seeing how a villain who becomes a hero... but remains a villain would act in a position of prominence, Citizen Cold is a great read. It's not without a few flaws, but Citizen Cold deserves the attention of all but the most die hard of Rogue haters.

Citizen Cold #1 freezes a solid 4 stars out of 5.

Post E3 2011 Impressions...

E3's over, the show has rapped, and I've got a list of games I'm looking forward to.

Just click over to my Giant Bomb profile HERE to peep what those games are, and why I'm excited about each.

It's going to be a pretty awesome two years of video games. Hope you're excited as me.