It’s been a while since 1995’s ‘Mortal Kombat’ the first attempt to bring the hit game franchise to the big screen. That was a cheesy, funny, sometimes unintentionally, but enjoyable film that clearly struggled with its budget limitations. Directed by Paul W.S. Anderson, it boasted an excellent soundtrack and immortalised Cary–Hiroyuki Tagawa as evil sorcerer Shang Tsung with a great scene stealing performance. The actor returned to the role in Netherrealm’s recent Mortal Kombat games to not only voice the character but have his likeness appear in digital form.
2021’s Mortal Kombat from director Simon McQuoid has a bigger budget, better costumes, features the gore and viscera the games are known for and shows the advances of digital effects, despite this it’s a distinctly disappointing attempt at rebooting the franchise. This new Mortal Kombat film is a lot like early comic book films, where people were just supposed to be happy that a character that they knew was on the big screen, regardless of how good the actual film was.
This is a big case of style over substance. This Mortal Kombat has numerous moments that look great, a prologue set in 16th century Japan featuring Bi-Han (Joe Taslim) and Hanzo (Hiroyuki Sanada) is excellent, Kung Lao (Max Huang) making his entrance via teleporting through the floor, Liu Kang (Ludi Lin) conjuring up a huge flaming dragon , Raiden (Tadanobo Asado) appearing via a cluster of crackling lightning and more. The problem is as a whole this is a boring and unengaging slog of a film. A big chunk of its running time is devoted to a new character Cole Young (Lewis Tan), the least interesting of all the characters in the film, discovering he is one of Earthrealm’s champions.
Despite featuring a dozen or so characters from the games, the only ones that really stand out are Kano (Josh Lawson), who is essentially taking the comic relief place of the bafflingly absent Johnny Cage, Bi-Han aka Sub-Zero (Joe Taslim), who is excellent as a stoic and menacing villain, and Hanzo aka Scorpion (Hiroyuki Sanada), who only appears in the prologue and the final scenes.
So much time is dedicated to Cole Young that characters like Liu Kang, who is one of Mortal Kombat’s original core characters, are relegated to being glorified background characters rendered flat and boring. There’s also the problem that Shang Tsung’s (Chin Han) plan hinges on killing Earthrealm’s champions before the Mortal Kombat tournament actually happens, despite this being against the rules put down by the completely absent Elder Gods.
‘Nobody who plays Mortal Kombat cares about the story!’ Many will no doubt declare, yet the story mode on the latest game is written considerably better than this turgid effort. This film seems to be written from the perspective that some good costumes, blood and viscera and the occasional impressive but all too brief scene can compensate for the lack of an engaging story, characterisation and a good script.
Subverse pulled in £1.6 million in funding on Kickstarter, a sum which put it into the top 20 highest funded games on the platform despite being from a new indie developer that had never made any games and being an ‘adults only’ game.
Subverse takes place in the Prodigium Galaxy ruled by the Imperium. The story features the Captain recruiting crew members for his ship the Mary Celeste as they plan to overthrow the Imperium and have various misadventures along the way.
Subverse takes place in the Prodigium Galaxy ruled by the Imperium. The story features the Captain recruiting crew members or “waifus” for his ship the Mary Celeste as they plan to overthrow the Imperium and get up to various misadventures along the way.
The game is made up of several different aspects, space combat, space exploration, turn based ground combat, a visual novel and XXX content.
The overall aesthetic is well done and the character designs are great (and will undoutedly lead to fan art). The visual novel aspect introduces the world and the various characters. The voice acting somewhat surprisingly is also very good, particularly the main characters. The Captain’s character could be summed up as being a bit like Marvel’s Deadpool. The humour is self aware, 4th wall breaking jokes are common, as are jokes about bodily functions and genitals. Some of it is funny. Some of it is cringe inducingly bad.
This scattershot humour undermines some surprisingly deep world building and fleshed out characters. The three characters that feature are DEMI, the Mary Celeste’s on board android, who was formerly the property of an abusive space pirate (who is the first antagonist) and liberated by the Captain, Lily, a former military sniper turned xeno biologist (with an intimate relationship with her creations) on the run from a tyrannical military general and Killision aka Killi a pirate queen and survivor of the Vanneran race, a people that had their home planet destroyed by the Imperium who lives for vengeance against those that destroyed her home and scatterd her people amongst the stars.
These characters, brought to life brilliantly by the voice cast, don’t seem like the characters in an ‘adults only’ game.
Elsewhere there are other problems which grate against the character work. The Veil is a deeply conservative religious order trying to stifle sexuality throughout the galaxy, Lord Azzorion is a highranking figure in The Veil and also the only gay character in the game. This is the punchline to various ‘jokes’.
Subverse seems to be presenting a message of sexual liberation and hedonism in the face of stifling religious conservatism, something that seems like potent social commentary, but it also features various ‘jokes’ about sex workers and frames the only gay character as a sexual predator.
The cognitive dissonance on display really is quite profound.
Space combat is pretty simplistic. The ship has two attacks, a standard one, and a more powerful one that has limited fire, there are also metres for both shield and hull integrity. There’s a small variety of enemies but as things progress it becomes more challenging. There are boss fights and story oriented events, defending a space station from enemy fire and a race to destroy a runaway ship amongst others. You can select a character to join you as a co-pilot, which means your limited attack changes.
The turn based ground combat is similarly basic. Move, attack, defend, special attack and passive abilities, that’s pretty much it. There’s no cover system and the camera is locked so no zoom or rotation. At present ony one character can be taken into battle joined by a selection of “Mantics”, creatures created in the Mary Celeste’s lab.
The distant fixed camera means things are pretty undetailed, although special attacks do feature a brief on screen image featuring the character making the attack. Of the two characters available for combat, Lily, a sniper with a passive ability to heal another team member, is profoundly better than Killi who is a close quarters fighter.
Space exploration involves searching the five systems that make up the Prodigium Galaxy, although only one is currently available. Systems are made up of different nebulas which consist of planets and other things, investigating planets lead to either space combat, ground combat or events.
The Captain’s ship Mary Celeste is made up of several different sections which feature different interactive elements, from the Brdige where new missions can be selected, the Lab where new Mantics can be created and more besides.
Oddly for a game made by a developer previously known for well produced, if notorious, XXX short films the XXX aspect of Subverse is the most underwhelming. Upon recruiting a new character after completing a story mission a XXX scene unlocks, but this is the only XXX scene that has any context.
Players earn points which can be used to unlock what are essentially high end XXX GIF animations in a system called Pandora. This is seperate and completely removed from gameplay with no context for any of the animations.
StudioFOW has addressed some of these issues in a recent update saying upcoming ‘Devotion Quests’ will provide context for XXX scenes and other changes will be forthcoming as further Acts are released.
This speaks though to one of the biggest problems facing Subverse going forward, exactly who are they aiming this game at? As the cliche goes ‘Nobody watches porn for the story’, but with Subverse StudioFOW are seemingly trying to please both those that want a ‘game’ with a story, characters,etc, and those wanting XXX content. To really succeed they need to appeal to those who didn’t back their Kickstarter and had never heard of Subverse before, how, and whether, they can pull this off remains to be seen.
Subverse in its current form is undeniably skeletal in nature, the characters, voice acting and general presentation is where the main appeal lies but they’re undermined by some dubious humour and writing and those looking for XXX content might be left searching elsewhere.
the North Star: Lost Paradise is the new game based on the manga by
Buronson and Tetsuo Hara, which was also the basis for various anime,
notably including one of the first releases from Manga Video in the
UK back in the early 90’s.
Players take on the role of Kenshiro, the successor to the deadly
martial arts style of Hokuto Shinken, who is searching the post
apocalyptic wasteland for his love Yuria who is missing. The bulk of
the game takes place in the city of Eden after playing through an
introductory prologue of sorts.
The real beauty of Fist of the North Star lies in how it is both
sombre and inherently ridiculous at the same time, everything is so
ridiculously over the top it just works. There’s a main story to
play through as Kenshiro tries to find Yuria and meets various other
characters along the way, but there’s also a vast amount of side
quests, or ‘substories’ as they are called here.
of the anime, or manga, will recognise various characters that
feature, some use different martial arts to Kenshiro, whilst others
are fellow disciples of Hokuto Shinken.
The combat system is built on standard attacks, charged attacks and secret techniques, which are spectacularly gory finishing moves. Whenever a secret technique is performed the name appears on screen, the best known of these being the iconic ‘Hokuto Hundred Fist Rush’ attacks more commonly known as ‘ATATATAT!’ after the sounds Kenshiro makes performing it.
As you fight the seven star gauge fills allowing Kenshiro to enter burst mode for a limited time allowing for different moves and ones that do more damage.
There are four skill trees allowing you to unlock new moves, get health upgrades, etc, as you play through the game. Another aspect is talismans, these give different buffs, invulerability for a short period, etc, and are used once before needing to be recharged.
Whilst the city of Eden is relatively small, it’s fairly packed with things to, with a variety of minigames to be found along with the myriad side quests. At a certain point you’ll head out into the wasteland in a dune buggy which opens up numerous other options, including other locations, fighting hordes of bad guys in the wasteland, taking part in races and even Fist of the North Star’s own take on baseball.
For those who can remember seeing the anime film and being blown away by how completely bonkers everything was this is a treat.
Frank Spotnitz, the creator of Amazon’s adaptation of The Man in the High Castle (loosely based on Philip K. Dick’s novel) is set to be executive producer and sharing showrunner duties with Emily Feller for the upcoming series.
The idea of a live action series based on one of Games Workshop’s properties is the kind of thing that many a fan has probably had pretty high on their wish list. Fans have by this point become rather well accustomed to disappointment when it comes to adapting 40K to another medium.
Eisenhorn is a trilogy comprised of the books Xenos, Malleus, and Hereticus (although further related books were published later). The story folows Inquisitor Gregor Eisenhorn and his retinue as he becomes embroiled in a sprawling interplanetary detective story, a story which takes place over more than a century in the nightmarish far future of the 41st millennium.
The immediate thing that comes to mind is, this will have to have a seriously impressive budget to bring the world of 40K to life. Games Workshop has established the world of 40K over 30 odd years after it first appeared in the late 80’s.
Humanity in the 40K world is a vast but crumbling interplanetary empire, an empire which is constantly at war with several other races, their fellow man and the forces of Chaos. Worshipping the Emperor of mankind (who is now entombed in the Golden Throne of Terra after being mortally wounded 10,000 years ago, it’s a long story) the Imperium is both xenophobic and distinctly fascistic in its pursuit of anyone that doesn’t fall in line, dubbing them heretics.
Making the world of 40K accessible to people completely unfamiliar with it as a concept will take some doing but Eisenhorn is good choice for an attempt. The reason for this is because it doesn’t feature one of the most well known mainstays of the 40K world, space marines, the Imperium’s genetically engineered 8 foot tall shock troops.
The Inquisition, of which Gregor Eisenhorn is a member, are the secret police of the Imperium operating outside the chain of command. Split into three main factions the Ordo Xenos, the Ordo Malleus and the Ordo Hereticus, (with each generally focussing on one facet, aliens, daemons and heretics). Gregor Eisenhorn, who is also a Sanctioned Psyker with potent psychic powers, belongs to the Ordo Xenos.
Whilst the world of 40K has several races that would be classified as malevolent (the Necrons for example are an ancient race of robots determined to restablish their empire after laying dormant for 60 million years) the Imperium aren’t the “good guys” by any means in case that isn’t clear.
The idea of an Eisenhorn live action series is rife with potential, how it actually turns out is a different matter entirely.
Something that is abudantly clear is Eibon Press isn’t even remotely interested in trying to appeal to a mainstream audience, their titles are only available from their website . The reason for that is their aimed squarely at a niche audience. An audience that’s interested in horror comics with a capital H. That should serve as indicator that this isn’t like anything you’ll find on the shelves of your local friendly comic shop. The nearest thing to Eibon Press is the erratic offerings from Avatar Press. I’ve mentioned them before a while back.
Feeder from writer Stephen Romano and art team Pat Carbajal and Javi
Laparra (based on a screenplay by Romano) is a sleazy grindhouse
exploitation film as a comic.
Lieutenant Joe Angell is a hard drinking, coke snorting, dirty cop in the festering city of San Lucifer, California. What should be a regular night cruising the backwaters of San Lucifer turns into something else when Angell stumbles upon someone dumping barrels of hazardous chemicals in the San Lucifer bay. What follows is what lays the foundations for the story as Angell finds himself entangled in a sequence of events that will have far reaching consequences.
Angell isn’t just a dirty cop though, he’s a self loathing military veteran haunted by the loss of his young daughter to a kidnapper. Wracked by nightmarish hallucinations he stomps around the distinctly unsavoury mean streets of San Lucifer in a chemical haze, when he’s not embracing the various prostitutes he’s met in his line of work.
One of the things that really stands out is how good the art team is here, at various points in the story there’s a lot going on, but it never becomes a bewildering mess. Carbajal and Laparra are equally adept at depicting evisceration and entrails as they are at depicting Angell’s misadventures in shadowy corners of San Lucifer. A decision to intentionally mute the colours and inks gives the book a film noir touch, as Romano notes ‘We considered actually making Bottomfeeder a black and white book at one point, but settled on the idea of “black and white in colour”.
curious thing is the incorporation of real world actors as characters
in the story, Joe Angell the dirty cop at the centre of the story is
actor Joe Pilato
and various other actors best known for working in cult films also
benefits from shifting mediums, the only limitation on the medium of
comics is the imagination of the writer and the ability of the
artist. As a film it would undoubtedly encounter myriad problems just
being made due to its hardboiled noir meets gratuitous exploitation
creature feature aesthetic.
Guillermo Del Toro’s two Hellboy films, particularly his secomd film 2008’s Hellboy: The Golden Army, were clearly the work of an imaginative and creative director building on the concept of characters created by Mike Mignola. That film was packed with memorable scenes featuring a cast of fantastical but memorable characters. The troll market scene in particular, which features a cornucopia of creatures mostly realised with practical special effects work, is a distinct highlight.
Ron Perlman earned himself a legion of fans for his portrayal of ‘Big Red’. Both films managed to get a good balance of the whimsical and the fantastical, a scene where Perlman’s Hellboy and Abe Sapien (played by Doug Jones and voiced by David Hyde Pierce) drunkenly discuss Barry Manilow is a great example.
Enter director Neil Marshall the director of cult hits like Dog
Soldiers and The Descent as well as directing several episodes of Game
of Thrones amongst other things.
Neil Marshall’s Hellboy, with a script from Andrew Crosby, seems like it’s come through a time vortex from the mid 90’s. As though every film based on a comic book character since the first Blade film back in 1998 hasn’t happened.
Hellboy (played by David Harbour this time around) ends up helping the BPRD on a globe hopping quest to stop ancient sorceress Nimue aka The Blood Queen (Milla Jovovich) destroying life on earth. Hellboy is helped by medium of sorts Alice (Sasha Lane), BPRD agent Ben Daimio (Daniel Dae-Kim) and his ‘father’ Professor Broom (This time played by Ian McShane).
A prologue shows King Arthur and Merlin defeating Nimue, with Arthur cutting her into pieces with Excalibur. The pieces sealed into crates are buried around Britain. Unfortunately this set up is squandered as nearly half the running time is wasted on exposition dumps, flash backs and scattered interludes before the film actually gets back to what is supposed to be its central plot and story.
So much time is devoted to the backstories of the various characters Hellboy finds himself working with, along with various other interludes, that it kills any semblance of story. Despite a 2 hour run time it never gives you any reason to care about any of the characters or anything that’s happening to them.
the handful of prosthetic creatures that feature are excellent they
highlight how terrible most of the the digital FX are in comparison,
a scene where Hellboy takes on three giants is laughably bad and
looks like a cutscene from a low budget PS3 game.
The main selling point for this new film seems to be ‘this one is R rated’ i.e it’s allowed to be more ‘adult oriented’ and ‘this one is more like the comics’, neither of these things in and of themselves mean a film is going to be good or bad. Being ‘more like the comics’ seems to have been a problem though. As Marvel Studios continues to be a box office juggernaut it’s easy to forget the world of U.S comics is tiny, the number one selling selling US comic for January 2019 sold a little over 116,000 copies. That in itself doesn’t translate into a box office hit as Hellboy’s opening weekend of just $12 million demonstrates.
Magic The Gathering recently celebrated its 25th anniversary. As someone who got into the game way back in the day when the Revised Edition had only recently been released (that’s 1994) before moving onto other things a combination of nostalgia and curiosity lead me to see what the game is like now.
The idea that a card game based around casting spells as duelling wizards (or planeswalkers to use the proper term) you played as a teenager would not only still be around 20 years later but be still as, if not more, popular is a little mind boggling really. Then there’s realising that if you’d kept your card collection it would likely be worth a rather sizeable amount of money and would also have all the memories associated with it. Tolarian Community College did a rather excellent video on exactly this.
One of the impressive and curious things about Magic is it has a depth to its gameplay mechanics that can become really quite the rabbit hole. This is why it’s easy to see why players become engrossed with creating finely tuned decks. Another important factor about the enduring appeal of the game though is it’s fun and every game will be different in some way even if players are using the same decks due to how random chance plays into the game.
A thing that I always loved about Magic the Gathering was each card featured amazing art and for me at least I had several favourite artists, I would often have cards in my deck that weren’t that great in terms of gameplay mechanics but had great art. I picked up the first ever Magic The Gathering art book, The Art of Magic The Gathering: Rath Cycle, published in 1998. A fairly slim paperback book of 120 pages. Now Magic The Gathering art books are a regular thing and they’re weighty hardback tomes, a much more fitting home for the amazing art produced for the game.
There’s so many Magic products now it’s a little bewildering. Back in the day you had a choice of a 6o card deck of cards or a booster pack of 15 cards they would have a set number of common, uncommon and rare cards but other than that they were completely random. That was pretty much it. Now there’s Duel decks, Planeswalker decks, Commander decks, Challenger decks, Deck Building Kits, Bundles, Boosters and more besides. Then there’s the myriad different formats, Standard, Modern, Commander, Legacy, Vintage, Brawl and more besides . All of which seems pretty baffling and impenetrable to someone who isn’t new to the game but rather hasn’t played for a long time.
Other things are noticeable too like artifacts are apparently now a silver colour rather than a much more apt, to me anyways, rusty brown colour. As well as myriad new game terms there’s also been the introduction of planeswalkers as cards with their own completely different mechanics based around loyalty. My experience with these is it really seems like planeswalkers seem to destabilise the balance of the game and suck the fun out of it. Games tend to boil down to whoever gets their planeswalker in play first.
There are now cards to represent the myriad token creatures that are part of many cards functions which are welcome addition, although there doesn’t seem to be any official Magic counters. Which I find a little odd since counters are another key part of many card mechanics so Wizards of the Coast not actually producing any official ones seems a little bizarre really.
A big thing though is how much things have changed in the time, a lot can change in 20 or so years. Now there are myriad places to pick up the exact cards you want on the internet, the only requirement is having the money at your disposal. Everything that makes the internet, well, the internet, either didn’t exist or was barely recognisable back in the mid 90’s. Ebay didn’t exist before 1995 and internet titan Google didn’t arrive until 1998.
Whilst I’m not sure whether I’ll be playing at a game night any time soon I’m definitely enjoying playing Magic again, even if it’s just on a casual ‘I’m not sure if this deck is even legal to play at a games night’ type of way.
A game where you play as a secret agent of the Imperium smiting everything in your path in the name of the God Emperor isn’t without its appeal, but as with so many other 40K games it seems it’s the execution that is somewhat lacking.
One of the curious things about Inquisitor Martyr is despite being a 40K game it spends very little time actually establishing the world and setting. There’s a brief intro explaining how the Inquisition are involved in a 10,000 year long war and that’s pretty much it. So it’s ideal as an introduction to the somewhat bewilderingly vast mythology of the setting.
Playing the part of an Inquisitor you are sent to investigate a signal in the remote Caligari Sector, the signal belongs to a vast cathedral fortress battleship named ‘Martyr’ that hasn’t been seen in several thousand years. Choosing from one of three classes, Psyker, Crusader and Assassin. Each class has three subclasses. Roughly speaking the Crusader class is the Barbarian of the classes whilst the other two are the Mage and the Rogue. The Crusader and Psyker are male whilst the Assassin is female.
The main campaign starts with going to investigate the mysterious signal but things soon branch out. Being able to take on missions in the various systems of the Caligari Sector breaks up the campaign on the Martyr itself. Priority Assignments which are in essence mini campaigns removed from the main campaign have pretty interesting ‘choose your own adventure’ elements , whilst there are further side quests from other inquisitors, stand alone missions on the various planets and additional Tarot missions which come into play later in the game. There’s no denying that there’s a lot of stuff for anyone wanting to engage with it.
The inquisitor’s ship soon becomes a hub from which you can find other planets and systems and with them other missions, the ship will also soon become host to variety of other characters. Inquisitor Martyr isn’t a particularly bad game (it’s arguably the best 40K on consoles but that speaks more to how poor most 40K games are) though it definitely doesn’t do itself any favours featuring a variety of elements that are poorly explained, a variety of bugs, sound occasionally cuts out randomly for example, and an overall lack of polish.
The approach to weapons and armour, the fundamental basic of any RPG or indeed an ARPG like this one is a bit odd. Different classes have access to a variety of weapons and armour but something which slowly becomes clear is the importance and hindrance of the power rating. Weapons grant four different attacks, or for duel wielding 2 each, with a variety of effects and damage. Weapons, armour and other equipment have a power rating. Missions also have a power rating. This determines a mission’s difficulty but it’s not that simple because without the right power rating players get negative modifiers, take more damage and do less damage. Where things get a little confusing is the power rating of a weapon doesn’t necessarily equate to being a better more powerful weapon. Sometimes a weapon with a higher power rating will actually be worse than one with a lower power rating. Which leads to a bizarre scenario where an inferior weapon may have a higher power rating and thereby increase your overall power rating. This means keeping a preferred loadout is problematic.
That a game that features the Inquisition rather than just the usual 40K default that is space marines is a welcome change. Although there’s definitely a sense that a 40K game about the Inquisition could have been so much more than this. Inquisitor Martyr at times feel like quantity over quality. As though Neocore has tried to jam so much into the game that it can at times seem rather messy. Your inquisitor will has attributes, a plethora of unlockable skill trees and a variety of unlockable perks. That’s besides character specific special abilites, for example the Crusader Heavy Gunner has a shoulder mounted miniature rocket launcher. There’s also a morality system too. The game features a bewildering crafting system, and an associated unlockable tech tree, but none of this is really explained at all and the same can be said for the games innoculator system.
Despite its various faults though Inquisitor Martyr is not without its charm. This largely comes down to undoubtedly being the most accessable 40K game to date. The game isn’t bogged down in explaining the myriad different factions and races, it doesn’t even really explain who the chaos gods are and it all works rather well for it. The story is rather well done, there’s definite shades of Dan Abnett’s Gregor Eisenhorn, and the voice acting is for the most part pretty well done.
Although whoever opted to have NPC’s voices come through the controller speakers needs talking to.
Scientist and former sex worker Dr Brooke Magnanti takes a look at the data and research behind the headlines of recurring media narratives around sex work. Broken down into 10 chapters which focus on a different aspect. The results a combination of journalistic research and scientific analysis demonstrate that as far as much of the media and various anti-sex work campaigners are concerned evidence and research is irrelevant if it points to something that goes against an ideological aim.
One of the most pertinent aspects of this book is that Magnanti as a scientist points out that regardless of your personal perspective on things if you’re incapable of actually engaging with the evidence if it contradicts your perspective, then you’re not interested in the evidence but rather just furthering your own agenda.
A major part of this ‘debate’ is the way sex work is acknowledged by governments and the law and it breaks down into several different manifestations globally,
Decriminalisation – The removal of all legal impediments to sex work, where sex workers can work in regulated premises for others or in private premises for themselves. Decriminalisation, often shortened to ‘Decrim’, is approved by various sex worker led organisations and Amnesty International amongst others. ‘DECRIM NOW’ placards are often seen at sex worker protests
Legalisation – Sex work is only allowed with regulated workers in licensed premises. A good example being the Bunny Ranch in Nevada in the U.S. This approach generally isn’t approved by sex worker organisations because it creates a situation where some sex workers are penalised by the law whilst others aren’t.
Partial criminalisation – Where customers of sex workers are criminalised. This isn’t favoured by sex worker organisations because it indirectly criminalises sex workers and makes for a more dangerous scenario as customers will avoid reporting anything to police for fear of prosecution.
Full criminalisation – Both buying and selling sex is illegal. This results in shunning and stigmatising sex workers being common place.
As Magnanti explains sex workers being shunned, ignored, stigmatised and demonised is by no means anything new. One of England’s most notorious serial killers, Peter Sutcliffe aka the Yorkshire Ripper, evaded capture for several years in the 70’s partly due to his victims being prostitutes, which the media, the police and the public didn’t really care about. Both in the news and in film and TV the sex worker is often the victim that nobody cares about or serves as the basis for an underlying moral message about the ‘evils’ of sex work.
What’s alarming is when Magnanti does some digging tracking down the origins of the various sources of statistics often paraded by anti-sex worker figures. This reveals that some of the NGOs and charities,often championed by well meaning but clueless celebrities, have links to distinctly dubious organisations that have their own agendas. Despite raking in vast amounts of money for ‘research’ and their causes this money rarely, if ever, actually goes towards helping actual victims of the ‘sex trafficking’ that always comes up when there’s any discussion about sex workers. This revelation was so explosive that Magnanti was threatened with legal action from one of the anti-sex work figures mentioned.
Another thing that becomes clear is how when it comes to sex work ‘feminism’ is utterly splintered. ‘Feminists’ approach to sex work falls into several groups. There are those that support women who choose to be sex workers and fight for sex worker rights because of the improved safety they will provide. There are those that think that all sex work should be outright banned altogether if not heavily penalised because sex work is ‘predicated on violence towards and exploitation of women’ and there are those that believe that no woman would ever willingly choose to be a sex worker in any circumstance and therefore they must be ‘brainwashed’ into thinking they’re acting independently by ‘choosing to be sex slaves’.
Space Hulk: Deathwing is something I mentioned a while back. Originally appearing on PC at the end of 2016 it just recently landed on PS4 in its new ‘Enhanced Edition’ (which is a free update for those that have the PC edition). Streum On Studio spent the last year or so working on the game for this new edition.
The game does a pretty good job of translating the board game into an FPS, clanking around claustrophobic tunnels as a space marine terminator wondering where a threat is going to appear from is undeniably appealing. The campaign has your squad from the Dark Angels Deathwing Company (lead by your terminator psyker librarian) charged with investigating a vast hulk that has appeared that dates back to the Age of Heresy.
One thing that’s definitely clear is this is aimed squarely at 40K fans, anyone not at least somewhat familiar with the source material will be pretty much lost and not understand any of the things that are casually mentioned in the story with no context.
There’s definitely a cathartic appeal to unleashing an onslaught of storm bolter fire on a swarm of genestealers (for the unitiated that’s four armed predatory aliens, two of those arms have vicious razor sharp claws that can carve through armour like a hot knife through butter). Along with a variety of ranged weapons you also have a melee attack, with a variety of melee weapons available. Although melee is more of a last ditch desperation move. The maps, which mark out objectives and points of interest, could almost be straight out of the mission book for the board game.
One of the neat touches is being able to change weapons in the middle of a level by using a Psigate. Psigates are portals to your ship which not only allow you to change your weapons but also heal the squad, revive fallen comrades, and act as save points. They must be used sparingly though as there’s a limited amount per level.
The voice acting is pretty standard for a 40K game, it definitely has that unintentionally comical feel to it, a bit like RSC types are having a bit of fun inbetween shows.
For all it does a pretty good job of faithfully recreating the look and atmosphere of the source material this has numerous problems. One of them being that there seems to be a general lack of polish over all, especially for game that’s had an extra year or so of work on it. The constant gloom whilst atmospheric essentially masks the lack of detailed character models for the enemy which becomes rather apparent in one of the rare well lit areas.
Others problems include the A.I of your squad. Which isn’t that great. Despite one of your squad members being the medic of the group they will never heal themselves or another squad member without being prompted. This means a squad member can be on death’s door and unless the healer is prompted they’ll just die. Sometimes a squad member will just stand there whilst being attacked.
This A.I is compounded by the fiddly menu system used to issue orders to squad members.
There’s been much fanfare about the customisation of armour, weapons and character classes available but this is only available via the multiplayer. Which really highlights a major problem with FPS games in general, those not interested in the multiplayer are basically missing out on the ability customise their character. By trying to cater to both solo players and multiplayer fans developers are basically burning both due to the limitations this places on development time.
Combat is often chaotic, which is expected, but to the point that the game can start to chug a little when there are too many enemies in an area. Speaking of enemies there isn’t that much in the way of variety here. Given that there are potentially dozens of enemy types to choose from in the The Great Devourer’s bioforms, that’s with omitting things like traitor space marines, it’s disappointing that the approach here is fairly limited.
Being a space marine terminator librarian should feel empowering but Psyker powers, which should be awe inspiring, have little actual impact in game and their graphical representation is underwhelming to say the least. There’s a general lack of area effect weapons, with the exception of the Heavy Flamer, which means it’s very easy to be overwhelmed. The omission of weapons like the Cyclone missile launcher and the powerfist with grenade launcher seems a bit odd really.
Another unavoidable aspect is how 3 missions in things start to get somewhat tedious due to the constant repetition and general lack of variety. Things soon become much more like an endless grind as you plod from one point of the map to another. Load times can be tiresome whether it’s loading a game or starting a new level and the game has a strange screen ratio, which means option decriptions can often disappear from the edge of the screen and there doesn’t seem to be a way to change this.
40K isn’t exactly known for its nuance but it definitely seems like there could’ve been an attempt at a more engaging campaign here. Your squad are particularly lacking in personality. This means its hard to get engaged in the proceedings despite the rudimentary attempts at adding skill trees.
There are a lot of 40K games but the vast majority of them are distinctly average at best. There’s the idea of a good game here but it’s lost somewhere. I don’t think the problem lies in the concept but rather in the execution. Over 20 years have passed since Vengeance of the Blood Angels appeared on the Playstation and yet despite definitely being more visually impressive this suffers from many of the same problems.