Fire Emblem: Days of Future Past

Within a few days, Intelligent Systems announced the 3.6.0 Update to Fire Emblem Heroes — which includes “revival banners” for discontinued 5 Star heroes — and this Awakening child unit banner.

Considering the 2019 summer-themed heroes are right around the corner, I have come to the conclusion that the developers just desperately want our wallets.

I can’t help but bemoan the fact that these units are pretty worth the investment despite those incoming banners I’d also like to use.

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Summoning Focus: From a Future Past

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Part of me hopes this banner is a pseudo-reference to X-Men: Days of Future Past so Fire Emblem can cash in on X-Men: Dark Phoenix being in theaters… Despite the shlock Dark Pheonix turned out to be.

But I digress.

Nah is the headliner for this banner, and a fairly worthwhile one. Oracle’s Breath is undoubtedly a force to be reckoned with.

She and Yarne are also some of my favorite child units. Yarne and Morgan are top five Awakening ships for me, so I’m more than willing to pull for him — which is good considering he’s a speedy boi between the Solo, Wave and Galeforce skills.

Kjelle and Brady are less significant characters to me personally and they have weaker skill sets.

But I am a fan of Kjelle and Owain… Despite Owain going to Nohr and becoming Odin, who I ship with Camilla.

I like her with Severa too, yet Severa also goes to Nohr so it’s the same problem.

That returning trio in Fates really screwed up my shipping charts. Hopefully that doesn’t happen in Three Houses.

Also Cynthia is coming soon. I didn’t connect with her in Awakening, but I’ve warmed to her confident demeanor over time.

Her descriptive text in Heroes is a perfect example why:

Isn’t that amazing?

Luckily there’s a Forging Bonds event to give us some free summon tickets, because that should supplement the orbs out of this story chapter so I can save up for Lute… Or Genny… Or the summer units.

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Book III, Chapter 8 — Truth of a Name

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At the start of this chapter, the Order of Heroes continue exploring the destroyed Ask from Chapter 7. They want to find out what happened to it, as that may provide clues on how to stop Hel.

Along the way they encounter Líf twice. The first time he almost kills Alfonse, but is stopped by Sharena.

Don’t worry about that. Foreshadowing.

As is the second encounter where Eir tries to find out what memories were wiped away by her mother.

There are a few bland encounters with Awakening kids that conclude in a library.

The Order discovers that this Askr was destroyed in a future timeline when they teamed up with Embla to enact yet another deus ex machina Rite that makes Hel vulnerable…

At the cost of all the lives in both kingdoms.

Bodes well for whenever Princess Veronica and Loki show up.

After that exposition dump, the final battle features Líf as its boss. Once he is defeated Alfonse goes Sherlock Holmes on our asses and deduces:

Líf has actually been doomed future Alfonse all along! Which means that Thrasir is probably Veronica, both of whom became Hel’s generals after they died trying to stop her.

So I guess now we get a ‘change the doomed future’ arc.

Fitting set-up for a Chapter that features the Awakening children.

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Intelligent Systems just had to schedule this update for the same day as Nintendo’s E3 presentation.

It’s clever. Pick up that search activity.

Unfortunately, staying up late to write this will make me less likely to catch the 9:00 a.m. presentation live. Not that I really mind as the video will be online, so I’m still planning on writing a post about my thoughts on that.

At least Fire Emblem finally pulled my head out of Stardew Valley.

Because like I predicted… It has me hooked. Hard.

Anyway, let me know what you think of the new Awakening children! Hopefully the upcoming banners don’t completely overshadow them.

Another day, another exam

The first day back from Spring Break went off pretty well all things considered!

Last night I expressed some concern about a Cognitive Psychology exam that would be greeting me after a week of lazing around.

My feelings were mixed about it. On the one hand I gave the material zero attention over the break because I was busy hanging out with friends and doing internship stuff, so I couldn’t help but imagine walking into a nightmare. On the other hand the class’s first exam was very easy, so I didn’t feel the need to spend a lot of time studying.

Luckily the lazy side of my intuition won out.

The test was rather easy, and even though I haven’t seen the official grades come out (we took it at 1:00 p.m. today), I did my own basic calculations off of what I didn’t know and figure I’ll get a 92 percent at the lowest.

Unless I’m wrong about what I don’t know, of course. But my intuition is usually solid.

The thing that got me about the exam was how haphazardly our professor seemed to handle things. Firstly, she decided to announce that she added extra free response questions to our docket only five minutes before passing out the exam.

Would’ve been nice to get some advanced notice over Spring Break… But then again, she promised to post the kind of scantron we would need and didn’t get around to that either.

So who knows. Teachers need a week to relax too.

There was also a stretch of seven questions at the beginning of the test where every answer was “C,” which made me second-guess my choices despite knowing they were correct.

I don’t have proof that it was on purpose… But that kind of trickery always felt like a joke on behalf of professors to stress us students out.

After finishing up the exam, everything else was smooth sailing clear to nightfall.

I managed to secure my Commencement tickets, another topic I touched on last night. Even made a fun little Tweet out of it:

I’m not sure what’s weirder, the fact that I needed to watch a video and take a quiz to get Commencement tickets or the fact that they called it a graduation “tutorial.”

I know academia is a game but that’s a bit on the nose, don’t you think?

— Jason Rochlin (@jdrochlin) April 9, 2019

It was a legitimately weird process.

Spent a little bit of time in the Honors Center after that, finding out some more about another event I’m taking part in this Friday and working on my novel.

Felt good when I sent the next chunk of the story to my mentor tonight, even if Spring Break wasn’t as lucrative for the writing process as I wanted it to be. At least I’ve done something, and the more I write the better I’ll look come my presentation in May!

I also watched/listened to some cool things I suppose. The latest Mostly Nitpicking podcast on X-Men: Apocolypse. The most recent KingK video on The Legend of Zelda: Phantom Hourglass and Spirit Tracks.

Lots of nice things.

That’s really all I’ve got to say for the night, though. It’s been another lukewarm kind of day with a lot of work and not much else.

Tomorrow I’ll be able to break things up with a Fire Emblem Heroes post (as exciting as I’m sure that is for you all), and Friday I should hopefully have something to write about my next Honors event.

But until then, I’ll just be here keeping up the ‘mundane day-to-day’ posts train that the end of the semester has brought out of its station.

Truly wacky

I was planning on taking today to write about a new YouTube series I’ve come to love.

However, that’s on the back-burner after I discovered something more wacky to discuss from a more traditional visual medium.

I’m not blind to the fact that the 2010’s media landscape is a minefield of reboots, remakes and sequels.

Properties that aren’t based on comic books or old television and movies struggle to break into blockbuster budget range. Just look at this line-up for remakes and reboots in 2019, which doesn’t include the glut of tentpole cinematic sequels.

From The Walt Disney Company alone we have Avengers: Endgame, Star Wars Episode 9, Frozen 2 — and now X-Men: Dark Phoenix.

I wager this proliferation of content comes largely from two areas.

Firstly, Internet remix culture. This 2015 Tech Crunch piece elaborates further, but in essence the Internet has created a people interested in re-consuming the same ideas with transformed variations and assimilated elements.

If the blanket of ‘memes’ don’t cover that idea in a personal enough manner, I’m in the process of writing a book that’s essentially just assimilating other fantasy genre properties.

There are no new ideas.

The second cause is the success of recognizable brands. Remakes are safer investments for studios than novel properties, as general audiences are more likely to pay for a movie featuring iconography they know and love.

It’s a phenomenon you see way before 2019 in all sorts of entertainment mediums.

So to reiterate: Content generally does better if it has an established name and does something to re-contextualize old idea.

Now, with all that said…

Who the fuck decided it was a good idea to bring Wacky Races back?

1968 vs. 2017

I discovered the 1968 Hanna-Barbera cartoon’s 2017 reboot while watching Cartoon Network’s IP graveyard Boomerang with my Mom this afternoon.

My two-year late discovery of the show might be a bad sign. But to be fair, I’m not as avid a Cartoon Network viewer as I was in the 2000s.

Considering the show has two seasons, perhaps it’s popularity in circles I don’t frequent.

The Creepy Coupe [1]

Based on the two episodes I watched with morbid curiosity, I can’t imagine that’s the case.

It has a quickly cobbled together, rubbery and unappealing visual style akin to later seasons of Johnny Test (a show I enjoyed before its decade run gave way to factory-churned quality).

The show also has weird tonal inconsistencies. The original was true to its name, as every episode was a different wacky race with bizarre stipulations.

In the first episode of the 2017 series I watched, there was a wacky race in which the original Dastardly returned, suggesting less of a reboot and more of a continuation.

The next episode was in space, and wacky racers were now garbage collectors. For no explained reason. Even though they kept their individualized get-ups, there were no races.

A good sign for a show called “Wacky Races.”

The Army Surplus Special [2]

That said, the show’s character designs are visually appealing and the theme song is iterated upon well for a decent soundtrack.

But these are elements lifted directly from the old series, and the 2017 characters are paper-thin archetypes at best that rely on forced, surrealist humor and returning elements like Muttley’s snickering that are somehow both referential and current, all-encompassing character traits.

I’m willing to bet the pitch for the show was simply bringing that iconic laugh back into mainstream consciousness.

One thing that stood out in my viewing: I’m not sure what audience this reboot is targeting. Its simplicity is bland even for a younger Cartoon Network demographic, but there is a heavy leaning on dated references for fans of the ’68 version.

For example: In the spacefaring episode, Dastardly pretends to be Space Ghost so he can sneak onto the garbage collecting ship.

This joke was actually the catalyst for my post, because… Really? Space Ghost?

I know Adult Swim and Channel Chasers kept him relevant well beyond his shelf life, but what kid in 2019 is going to know what Space Ghost was?

In fact, this lazily executed “fellow 60’s cartoon” reference raises more questions. Why would these characters know who Space Ghost is if, as the other episode suggested, they are the grandchildren of the original Wacky Racers?

Full disclosure, I know I’m overthinking things. But when your show is so dull that this is all I can think about, there’s something wrong.

The Mean Machine [3]

Frankly this whole post probably seems like needlessly overthinking children’s entertainment. Why does Wacky Races matter as much as I seem to suggest?

The thing is… It doesn’t. Which is kind of the point.

I have fond memories watching re-runs of the 1968 show, but I’m under no delusion that it was perfect television.

Wacky Races suffered from the same budget shortcuts of endless animation loops and recycling story ideas as The Flintstones and other serialized Hanna-Barbara cartoons in its mold.

They were flawed, but incredibly important and popular parts of animation history.

The YouTuber Saberspark has a wonderful series on the rise-and-fall of different animation companies, and recently featured Hanna-Barbara.

It’s a great tribute, but perhaps it primed me to quickly perceive this reboot as a lazy cash grab. The kind of product that retroactively degrades a show’s popular perception, or even dissuades a consumer from seeking the original they may be unaware exists.

But to be honest, Wacky Races (2017) could just as easily be a catalyst for curious youngsters to seek out the original piece of animation history.

I would hope such a mediocre reboot at least succeeds in keeping its predecessor alive.

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Featured Image, as well as [1], [2] and [3] courtesy of big-ashb via Wikimedia Commons

The Umbrella Academy precipitates to the top

I don’t talk about seasons of television very often when reviewing things. More self-contained projects like movies tend to be easier to watch and digest, in my experience.

But it has been a while since I’ve seen a binge-watchable show that hit me quite as hard as The Umbrella Academy.

So much so that I forewent writing anything last night to finishing the series. Then felt enough of a high that I went out of my way to Tweet Netflix directly after midnight:

Alright @netflix, we all know you have time traveling briefcases now, you can quit fooling around and drop #UmbrellaAcademy season 2 already. Alright?

Alright.

— Jason Rochlin (@jdrochlin) February 23, 2019

Still haven’t gotten a reply, but hopeful nonetheless.

I can’t promise this will be an entirely spoiler-free review. I won’t give away grandiose plot details, but character arcs or smaller cliffhangers from individual episodes might slip through. I don’t have a lot of experience writing about binge-worthy television yet, so not sure if that’s standard procedure.

If you just want the brief review I gave to my old advisor Mitch Ziegler today after judging a write-off competition: Go watch the show.

It’s a quirky, interesting take on the superhero genre from Dark Horse Comics, which has a style more reminiscent of The Addams Family than Iron Man.

I was clambering for more as soon as it ended, which is about as big a compliment to the ten-episode Netflix original I can offer.

More spoiler-y, deeper thoughts ahead.

When you succeed in making Ellen Page the relatively “normal” girl in your ensemble, you know you’ve succeeded in creating a fascinatingly strange world.

The show (and comic, though there are some plot differences) creates a world where 43 children were miraculously conceived and birthed one day in 1989. Seven of whom were adopted by a man who combines superhero family patriarch of Professor Xavier from the X-Men and strange eccentricities of Count Olaf from the A Series of Unfortunate Events books.

It’s never really elaborated on whether the other 36 children have superpowers, but they really don’t matter.

The Umbrella Academy quickly veers away from the cliché serialized superhero gathering the premise almost preassumes to focus on those seven children once they’ve grown up. All in some way broken by their odd abilities and idiosyncrasies wrought by a calloused, distant father.

Every character becomes a great case study on their own, while also bouncing off one another well.

Except perhaps for Ben (Justin Min), who died prior to the series and comes into play as a foil for Klaus (Robert Sheehan), whose powers allow him to see and speak to the dead.

Klaus’ character is actually a fantastic generalization for the series.

During the first episode, I found him repugnant. To stave off the screams of the dead he’s haunted by, Klaus has become a near-useless junkie. Most of that episode features him bumming around the Academy half-naked, stealing their now-deceased father’s antiques to sell for drugs.

It’s an archetype which is played up to the point of nausea. A lot of the first episode is somewhat nauseating, with seven stereotypically quirky characters (the shamed Hollywood actress, the stoic leader, the hardened Nightwing-esque vigilante, etc.) being introduced alongside a whole host of plot points.

But as the show gets past that first bout of exposition, all the characters warm up.

Klaus, for instance, has a phenomenal scene with his brother Five (just “Number Five.” I promise it isn’t that weird) trying to get information out of a prosthetics lab. It plays the extreme bluntness of someone numb to the world in a very funny way.

Then Klaus goes through a harrowing experience which leads to him sobering up, and in the process he became my favorite character.

Or he would have, if Aidan Gallagher didn’t absolutely blow everyone else out of the water as Number Five.

Five can teleport to different points in space, and eventually learns how to teleport through time as well. In the process, he gets himself stuck in a desolate future.

When he returns to the past, the time travel reverts him back into a 13-year-old boy, just with all the experiences of a near 60-year-old man.

Gallagher brings a fantastic dry wit to the character, and his 50+ years of combat experience combined with teleportation makes every action scene with Five a visual marvel.

For someone who has only had roles on Nickelodeon sitcoms before, I was shocked by how hard he hit the ground running. Even while talking to a mannequin.

All of that said and I still haven’t touched on four of the siblings — one of which is portrayed by Ellen Page, who deservedly gets the lead credit as a straight man character who glues her wacky family together and has one of the better overall arcs.

Then there are the villains, Hazel and Cha-Cha (Cameron Britton and Mary Blige), who are at once intimidating antagonists and compelling, sympathetic characters.

While I adored The Umbrella Academy‘s characters, the show had a lot more to offer.

It’s an incredibly dark, surreal take on a superhero story. Think of the semi-dysfunctional but ultimately loving family dynamic of The Incredibles set in a My Chemical Romance music video — a sensible comparison.

The killer soundtrack is well-utilized, with songs ranging from Queen’s “Don’t Stop Me Now” to They Might Be Giants’ “Istanbul,” alongside The Sex Pistols, Radiohead and more. Plus some solid standalone tracks.

A lot of the visual effects also stand up quite well in a world glut with high-budget superhero stories. Most everything in the set design feels practical, and the display of powers — teleportation, conjuring ghosts, etc. — occurs infrequently enough to feel rich and well-produced.

Only in the last episode is there a traditionally high-octane effects show that is over-the-top, but fittingly so with how much it was built up.

Honestly, I’m not sure what else I could say about this show without my little review devolving into relentless gushing. If I had one substantial complaint, I would have liked to see more of the children flashback scenes. The older character studies are great, but a series featuring the cocky kids stopping crimes would be really fun.

Despite that, The Umbrella Academy is a very solidly acted, well-produced series with enough of a dark, cynical sensability to keep even the most exhausted of superhero media fans engaged.

I’ll just be here waiting for season 2 to come out. If you’ve heeded my advice, hopefully you’ll be right there too.

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Featured Image courtesy of IMDb.

Deadpool.

Alright look. I don’t have any sort of deep, philosophical thoughts that are way up my own ass today about human psychology or the value of sentimental material goods. Haven’t exactly done enough today to warrant that kind of thinking.

All I’ve really done was clean the downstairs bathroom and watch Deadpool 2.

As much as I have spent time talking about my cleaning habits in the past, there’s clearly a much more overwhelming force taking up brain space right now that I need to vent.

An X-Force, if you will. Because movie humor.

So I’m going to blather on for a while to debrief after that rollercoaster of a movie. Cool? Cool.

If I get into anything spoiler-y I promise I’ll let you know ahead of time. I’ll also put it under a ‘read more’ line on the blog here just in case.