Letters And Flowers: How Games Help Memorialize Loved Ones We’ve Lost

It was late one evening as Meredith Myers was lying in bed relaxing when her sister, Jenna, walked in with an expression of shock on her face. Jenna had been taking an evening stroll in Animal Crossing: New Leaf, walking past fruit trees and over wooden bridges that connect the different parts of her town. Lolly, a friendly cat who had just moved into town, locked eyes with her and ran over.

“I didn’t realize the mechanics of the game would do this–it showed my sister the letter after Lolly had moved from my town to hers,” Meredith told GameSpot. “Lolly showed her the letter she had written to me in my town.”

The letter her sister showed her was from their other sister, Kylie, who had passed away from cancer four years earlier.

Scenarios like this, where an NPC villager moves from one person’s town to another, is normal in New Leaf, and the newcomers always bring mementos like letters with them. Meredith didn’t expect Lolly to turn up with such an impactful memory, though.

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Meredith and her sisters had loved Animal Crossing while growing up, but she wasn’t playing in her own town after her sister passed away–she was making sure Kylie’s town was weed-free and full of happy villagers instead. “I picked up her 3DS to finish Link Between Worlds for her,” Meredith said. “I did that pretty quickly and then I found Animal Crossing and it became a thing. I couldn’t take care of her anymore, but I could take care of her village. That’s something.”

Meredith kept Kylieland, as her sister named it, well-stocked with yellow flowers (Kylie’s favorite) and kept sending her villager’s similarly sweet letters like the one Lolly had brought back. The Myers had always bonded over video games and Animal Crossing was something they all loved and played regularly when they were younger.

“We didn’t start playing [Animal Crossing] again until she got sick, because she was bored in the hospital and didn’t have anything to do,” Meredith said. “I didn’t know how much time, care, and dedication she had put into it until she had passed and I found her 3DS and thought I’d take a look. It was like having this connection to her, with this whole world she had created, these friendships she had with the other characters. It was neat to hang onto her in that way. I took over her town and played for years since.”

“There was probably a 10-year gap [between when she last played] until I took her 3DS and started taking care of her New Leaf town,” she added. Meredith has been able to keep a special connection to Kylie through their shared love of Animal Crossing, one she can revisit every day. It’s a place she can help grow and change, where Meredith can go and continue all the bug-catching, house-expanding, fossil-collecting Kylie started all those years ago.

“It was like having this connection to her, with this whole world she had created, these friendships she had with the other characters.”

Animal Crossing, according to Katsuya Eguchi, one of its creators, is an experience that lets families play together even if they weren’t playing at the same time.

“I’d always get home really late. And my family plays games, and would sometimes be playing when I got home. And I thought to myself–they’re playing games, and I’m playing games, but we’re not really doing it together,” he said in an interview with Gamasutra. “It’d be nice to have a play experience where even though we’re not playing at the same time, we’re still sharing things together. So this was something that the kids could play after school, and I could play when I got home at night, and I could kind of be part of what they were doing while I wasn’t around.”

Eguchi didn’t know that his game design philosophy would stretch into the afterlife. In the Myers family’s case, it’s a perfect example of how video games can help people grieve after losing a loved one.

“If not stronger, it’s a more active connection to her sister,” Portland Institute for Loss and Transition Director Robert A. Neimeyer, Ph.D., said in an interview with GameSpot. “A connection that confronts her with ongoing challenges. It’s almost a virtual expression of how we grieve in general.”

Meredith’s connection to her sister is a powerful example of the continuing bonds theory, the idea that a normal, healthy and important part of grief is maintaining a connection with those loved ones who have passed away.

The theory isn’t as clear-cut as it seems, though. As different people grieve in different ways, some are able to maintain this bond and continue living in a healthy way, while others may struggle with daily reminders of their loss.

“Grieving still happens differently, some people can still detach due to their past experiences,” Neimeyer said. “Both continuing bonds and breaking bonds can be considered healthy ways to cope.”

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Sharing The Race

Michael was 6 years old when his father died, and afterward, he couldn’t bring himself to touch the original Xbox they had shared. He had to wait 10 years to build up the courage to boot the old console up to play one of his favorite games: RalliSport Challenge.

“Once I did, I noticed something,” Michael, who goes by the online tag 00WARTHERAPY00, wrote in a Youtube comment in 2014. “I started meddling around and found a ghost, literally…you know, when a timed race happens, the fastest lap so far gets recorded as a ghost driver? Yep, you guessed it, his ghost still rolls around the track.”

He had found a digital copy of his father flying around that dirt track more than 10 years after his death. It gave Michael an odd comfort, even though he missed his old man. “I played and played and played until I was almost able to beat the ghost,” he wrote. “Until one day I got ahead of it, I surpassed it, and I stopped right in front of the finish line, just to ensure I wouldn’t delete it.”

“Bliss,” he wrote.

Michael’s interaction with his father’s ghost racer is another impactful example of the continuing bonds theory at work, except it illustrates how maintaining a virtual connection after a loved one has passed can be dangerous.

“Continuing bonds theory, you don’t just move on and forget about [loved ones who’ve died]. You have to figure out a new way to maintain that connection with them,” Sienna College professor of Social Work Carla J. Sofka, Ph.D. told GameSpot. “Before technology, [mourners would] go to the gravesite and have conversations with them.”

“What happens if that technology goes away? How likely is the game a permanent thing?”

The problem comes with the concept of secondary loss, the idea that a primary loss, the death of a loved one, can lead to secondary losses like losing your job or home due to circumstances caused by the first loss. “What happens if that technology goes away? How likely is the game a permanent thing?” Sofka asked. “The concept of second loss, which would be the grief that someone experiences if that virtual reality disappears, then that person is going to grieve all over again. It’s a blessing, but what happens if it’s discontinued?”

Debra Bassett, a Ph.D. candidate in the Sociology Department of the University of Warwick, studies the new phenomenon of second loss, which is the idea that these digital remnants of our loved ones can themselves be lost and is a different concept from secondary loss. “This fear of second loss is a new phenomenon for those grieving in our digital society,” she wrote in an article on Fast Company. “While images of the dead stowed away in boxes of photos in attics may well fade or perish over time, they don’t form part of people’s everyday lives in such a socially active way as digital memories do.”

For example, if Michael crosses that finish line before the ghost racer left behind by his father, the ghost time disappears, overwritten by Michael’s new best time in the race. That remnant of his parent would disappear and Michael could experience the pain of losing him all over again. The same can be said about Kylieland in Animal Crossing. It’s a blessing that can potentially lead to more pain down the road.

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Visiting An Altar

Susan Rivers was finishing up a course she was teaching high schoolers about identity and mental health last year. She used playthroughs of What Remains of Edith Finch, a game about a family who believed they were cursed, to talk about how we view the people closest to us.

What Remains of Edith Finch is a game about death, one in which you explore the lives of lost family members through individual vignettes. Each one is presented with a different shrine, a collection of items left behind by that person.

“It helps them think about the people around them, how they view them. One of the interesting things about Edith Finch is, you can dig into a slice of the artifacts these people left behind in the shrines of each level,” Rivers said in an interview with GameSpot. “It gives people a different perspective about who people are.”

Rivers is the executive director of iThrive, a non-profit organization with operating in Atlanta, Boston, and New York that explores the intersection of games, mental health, and education. The organization uses different forms of interactive media to create a curriculum that teaches students about mental health, depression, grief, and other related topics.

“Grief naturally comes up with Edith Finch,” she said. “What do we remember about the individuals and what they leave behind?”

What Rivers didn’t expect was to go through her own experience of grief during one of the first times she taught her curriculum. Her mother died, pushing her to use some of the same ideas she taught in how she grieved the loss of someone she was incredibly close to. “The notion of curating our own space to reflect our identity. I didn’t really think deeply about that concept until we did our work with Edith Finch. The final project is to create a museum of me,” Rivers said. “I was curating the things from my mother’s life.”

“What do we remember about the individuals and what they leave behind?”

Playing through What Remains of Edith Finch helped give Rivers the idea to focus on her mother’s letters, which were much like the letters that told the story of each individual vignette in the game.

“One of the things I connected to is the traditions we held and repeated,” she said. “Since she passed away, I’ve started to collect her letters, even thank-you notes she sent to others.”

While Rivers’s experience didn’t contain an in-game memory of her mother, What Remains of Edith Finch’s family home perfectly represents the idea of an altar–a collection of items gathered in one space, a table or a box, for mourners to visit and grieve. Creating physical altars are a century-old practice, used in holidays such as Día de Muertos to honor the dead.

Video games are becoming a prominent platform for digital memories and experiences, where players can create an altar, either on purpose or by accident.

“There is a potential for a digital altar to be infused with life, it’s dynamic,” Joanne Cacciatore, Arizona State University Director of the Graduate Certificate in Trauma and Bereavement, explained in an interview with GameSpot. “Altars are a living ritual, they’re a way in which we ritualize our dead by creating a physical space, a tangible connection, an artifact that connects us to them.”

Neimeyer regularly works with people who are close to the ends of their lives to gather items and construct legacy projects to help bring them peace. “In this, people share their stories in a way that can be captured and passed on to their survivors,” he said. “[Kylie] did that herself–left her a little world where she would always be there.”

Kylieland and the RalliSport Challenge ghost racer are both altars; places for Michael and Meredith to rekindle relationships with lost loved ones, and places to maintain a connection that wasn’t lost, but transformed. Altars can be beautiful in how they preserve a part of someone’s life, and painful in how second loss can bring grief all over again. Video games, whether they be life simulators in which you send letters to quirky animals or dirt road racers where you compete against lap time, can create serendipitous memories that help us grieve.

For Meredith, Kylie’s Animal Crossing town is a perfect way to keep her memory alive by continuing what she started.

“I know she wanted to expand her house, so I’m going to pay off her debt,” Meredith said. “I can build off what she started. That’s part of the beauty of Animal Crossing.”

Watch George Lucas on His First Day Writing The Phantom Menace

Occasionally, here at IGN, we like to showcase something from geekdom’s rich history – like a pop-culture Time Capsule that gives us a peek in to the past, perhaps providing a new appreciation for previous projects.

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The day is November 1, 1994, and Star Wars creator George Lucas has decided to document his fist day of writing Episode I of the Prequel Trilogy. Visions of Jar-Jars dance in his head.

In a six-minute video entitled “All I Need Is an Idea,” Lucas drops his kids off at school and heads into his writing annex to brainstorm ideas about the beginning of the saga. Unjust taxation would play a huge role, but how? Someone would surely hate sand, but who? These were all things Lucas needed to hammer out!

All Lucas had were yellow pads, pencils, and the 15 pages of original notes he wrote down when he began the entire series in the mid-’70s to give the Original Trilogy characters a developed backstory (with tabs reading “Jedi,” “Empire,” and more). In the binder, we’re quickly shown a page detailing young Anakin (age 9-20), described as a hard-working, blue-eyed “boy who builds droids.” Some interesting questions jotted down include “Is he a mutation?” and “Who is his father?”

The answers to which are, obviously, “Sure, why not?” and “Babu Frik.”

Check out “All I Need Is an Idea,” which was included on The Phantom Menace’s original DVD release, here…

In the second half of the video, Lucas comments on how movie-making technology of the ’90s would now allow him to explore stories and settings that he couldn’t manifest previously. “I get to do a lot of things I couldn’t do before,” he said, envisioning the hard road ahead of him, on the precipice of a massive three-movie production.

The Skywalker Saga recently concluded its nine-episode story with The Rise of Skywalker, which, in certain ways, actually mirrors The Phantom Menace.

I wonder if Lucas has a yellow pad with notes about that movie. No, of course he didn’t write Episode IX, but maybe he once jotted something down about Owen and Beru’s stranger-danger nosey neighbor who was always asking everyone for their name.

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Matt Fowler is a writer for IGN and a member of the Television Critics Association. Follow him on Twitter at @TheMattFowler and Facebook at Facebook.com/MattBFowler.

Now Playing: Terry Bogard, Syberia, Alien: Isolation, And More

We’re back again to ask about and discuss the games we’re currently playing right now. The GameSpot team is usually busy keeping up with the biggest releases, but other times we’re catching up on games we missed, replaying old favorites, experiencing classics for the first time, or just dabbling in odds and ends for a spell. Below you can see a sampling of the games that we’re playing, the reasons we’re playing them, and what we love about them so far.

But don’t just stop at reading our responses; we also want to hear from you too! Tell us all about what you’re playing in the comments section and what you’re diggin’ about them.

So please, join us and ramble on about all the super cool video games you’re playing! We know you need to get it off your chest as much as we do. And if you’re playing the same games from previous weeks, that’s fine too! You’re more than welcome to talk about why you still love it!

Tokyo Mirage Sessions #FE Encore — Tony Wilson, Video Producer

I missed out on this crossover RPG’s original Wii U release, but I’m happy to get another chance to play it on Switch. I’m not well-versed in Japanese idol culture (the basis of the game’s plot), but I am a massive fan of the two series that combine for this adventure: Shin Megami Tensei and Fire Emblem.

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Tokyo Mirage Sessions #FE pulls from the SMT spin-off Persona, but in this case, the “personas” are Fire Emblem heroes from throughout the series’ history. I love seeing how each one is interpreted by the developers–the same team that thinks Norse god Thor looks like a Dragon Ball Z villain.

Turn-based battles fuse the two series, too, combining SMT’s elemental affinities with Fire Emblem’s weapon triangle. It leads to a deep rock-paper-scissors-like system where striking an enemy with an attack they’re weak against lets the rest of the party dogpile with immediate follow-up attacks. I get such a thrill out of totally wiping a party of multiple monsters before they even get a chance to act. That’s the high-level experience I grind for (and live for).

I’ve got maybe one or two dungeons left to conquer before I finish my adventure, but all I want to do is see more Persona-fied Fire Emblem characters and test my might against them in battle. | Twitter: @chaingunpope

Syberia (Switch Port) — Matt Espineli, Editor

While I spend time playing all sorts of games every week, there’s one that I realized I’ve been consistently booting up every night: Syberia. This 2003 point-and-click adventure game isn’t blowing my mind, but its Switch port is helping me fall asleep at night. Don’t get me wrong; that doesn’t mean it’s dull or that I hate it. Aside from nostalgia, part of the appeal of the point-and-click genre in general for me is how it helps me relax and put me at ease at night after a long day–similar to an easygoing bedside novel. And Syberia is so pleasant in how it demands little of me other than a basic intellect to connect the dots of its mostly straightforward puzzles. (Sorry, Grim Fandango, your puzzles stress me out and keep me up at night. I genuinely still love you and hope to complete you one day.)

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As American lawyer Kate Walker, you need to solve a gripping mystery afoot in France around the inheritance of a family-owned spring-automaton toy factory. The premise’s intrigue is more than enough to push me forward. But it’s the whimsical, dreamy qualities of the Art Nouveau-inspired reality presented in Syberia’s world that captivates me the most (and lulls me to sleep). It’s a place where people rely on and use rusty, clockwork automatons to help them do domestic work, and buildings are massive and excessively ornate. The sprawling scale always inspires me to explore–though my excitement to look around every corner is occasionally derailed by my diminishing cognizance as I run Kate into a wall for 15 minutes.

After an arduous, stress-inducing day, Syberia is the exact kind of point-and-click adventure game I need; it’s fascinating, relaxing, and nostalgic. I hope I can remain awake long enough every night to beat it someday, though. | Twitter: @MGespin

Terry Bogard (In Super Smash Bros. Ultimate) – Edmond Tran, Senior Editor & Video Producer

Super Smash Bros. Ultimate has started becoming a regular thing again in the Australian CBSi office–at least for me, a couple of the folks at CNET, and others when their bosses are out of the office. I’m not sure what sparked the fever again other than a couple of us thinking that was a good idea. Still, the thing that is motivating me to keep it going through this latest phase is wanting to get really good with a new character that I’ve had a 20+ year affection towards: Fatal Fury’s Terry Bogard. The Power Wave Prince. The Burn Knuckle Boss. The world’s No. 1 Crack Shooter… that last one doesn’t play so well.

I was ecstatic when he was announced late last year, but he was released during a super busy time for video games, and Smash is no good if you’re playing by yourself, right? So instead of getting back into Smash then, I made The King Of Fighters ’98 (one of my favourite fighting games of all time) my Switch commuting game for a little while. That was fun. But now that other people want to get back into Smash too, I’ve put my former main Lucas on the bench in favour of a different blonde orphan–one that is old enough to buy beer, has a cool cap, and hits hard.

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It’s been fantastic. I’m stoked over how faithful a representation Terry has in Smash–his moves are all there, his hilarious Engrish barks are all there, I’m rewarded for knowing his inputs and flow, and he’s got an excellent fighting game-style strategy to him that is super satisfying to play. I could tell from his reveal video that game director Masahiro Sakurai loves the character, and it really shows.

It’s really changed my mindset of how I approach Smash, too. I’m using Terry as I would in a KOF game, and it’s working out well. I’m focusing on hit-confirming special moves and supers, getting more confident in aggressively chasing and juggling opponents, and just playing in a completely different style than I used to. That’s not to say that this style of play didn’t exist in the game before Terry; it’s just not how I was used to playing Smash. I like goofy, unorthodox characters! But now that I can just convert my years of gung-ho KOF play into it, well, it’s working out super well– I’ve got Power Geysers and Buster Wolves popping off all over the place, and it makes me smile. When Terry asks, “Are you okay?” I can only shout an enthusiastic “YES.” I’m going to start wearing a cap to work. | Twitter: @EdmondTran

Tom Clancy’s The Division 2 — David Ahmadi, Video Producer

The Division 2‘s upcoming expansion returns you to the setting from the first game, and combined with the recent absurd price cut on my favorite platform, I deleted my file on my Playstation 4 and eagerly bought the game for the Xbox One X. Although I haven’t played the expansion yet, I certainly want to complete as much as I can in the base game before that time comes. Maybe it’s the time I had taken off from the game that has encouraged me to return, or perhaps it’s that despite all the upcoming content for my loot shooters of choice like Destiny, I just needed a change of scenery.

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I’ve enjoyed getting my feet wet with a cover shooter that incorporates a solid loot progression, and even though it had an initial rocky start for me when the game released last year, I’m finding my return to be a lot more enjoyable. Despite being playable solo, these games are always more engaging and entertaining when played with friends or with online matchmaking. I’m usually pretty shy, but beyond a few griefers in the Dark Zone, my time going through side quests, story missions, and online PvP with strangers I’ve met online has been enjoyable.

Ever since starting this job at GameSpot almost a year and a half ago, I’ve grown better at juggling multiple games at the same time. Since I finally got all the Xbox Achievements for Dragon Ball Z: Kakarot, I’m more than happy to swap in The Division 2 in its place, and continue progressing for the foreseeable future (or maybe until Half-Life: Project Alyx comes out!) | Twitter: @Roshby57

Disco Elysium — Dave Klein, Video Producer

I’ve been trying to catch up on the major games of 2019 I missed, and with GameSpot (hey, that’s us!) awarding Disco Elysium a 10/10, it seemed like a must-play game. I’m all for indie games doing something fresh and new, and some of the most creative titles come from smaller teams with fewer cooks in the kitchen.

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So, I’ve been immersed in a choice-filled adventure role-playing game, in a genre I would love to see developed further–that being the detective mystery. The game is wonderfully over-abundant with dialogue options and offers something unique to my collect-everything, click-everything mentality, picked up from a lifetime of gaming: clicking all of the dialogue choices can have severely negative consequences. You’ll need to be careful about what dialogue you choose, as it’ll have positive or negative repercussions at later points in the game.

Disco Elysium is a game in which you can reinvent your drug-addled character into whomever you like, with a right RPG mentality of every stat point being meaningful among a large number of traits you’ll invest in your character. That said, if I’m honest, I find the writing to be pretentious, and it has pulled me away from the game on more than one occasion. I’m sure the writing will be right up some players’ alleys, but I’ve found my eyes glazing over regularly as the game goes into yet another self-important political diatribe. | Twitter: @TheDaveKlein

Game Boy Advance – Peter Brown, Managing Editor

Yet another vintage hardware mod has more or less dominated my last week. This time, I installed updated screens in two old Game Boy Advances–an original GBA and a GBA SP. GBA display upgrades have been around for years, but it’s only recently that IPS displays have come on the scene. They are practically the endgame for GBA upgrades, and it feels great to finally get there.

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Where previous screen upgrades gave old GBA systems a chance to shine using the SP’s backlit screen (the sought after AGS-101 model), they are relatively dim compared to the stop-you-in-your-tracks brightness of an IPS panel–which also comes with 10 intensity settings. Colors pop like never before, and because the panel is at a higher native resolution than the standard GBA screen, everything is extremely crisp. The inherent motion blur of old GBA screens is also made a thing of the past thanks to the IPS’s higher refresh rate. The viewing angle then seals the deal, allowing you to see colors and values, as they should look, no matter your perspective.

With the refreshed hardware in hand, I’ve enjoyed revisiting old favorites like Advance Wars, Super Puzzle Fighter II Turbo, and Castlevania: Circle of the Moon. Having both models also gives me the chance to pick a GBA that works for me in specific moments. If I’m headed to work, I pack my GBA SP since it’s collapsible and can take a bit of knocking about in a backpack. The standard GBA? That stays at home, on my desk, waiting for dedicated play on the couch. It’s also been upgraded with a new shell and new buttons. Do I want Nintendo to release a Game Boy or Game Boy Advance Classic? I do, and I’m also very interested in Analogue Pocket that’s due later this year. For now, though, I’m more than happy using the handhelds I know and love now that they’ve been souped up to modern standards. | Twitter: @PCBrown

Alien: Isolation — Phil Hornshaw, Editor

It was recently my birthday, and even though I’m a grown man in my 30s, I always receive toys for such occasions: specifically, Alien toys, because I am a big, stupid Alien fan. The new lunchbox adorning my office shelf got me thinking about Alien: Isolation, so I re-downloaded it and fired it up again this week, intent on making what is probably my fifth or sixth run through the entire game.

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Alien: Isolation is one of my absolute favorites, and I can’t think of any other video game adaptation that has so thoroughly captured the essence of its source material. Slipping through the cluttered, dirty, analog tech-ridden Sevastopol station is ridiculously true to Ridley Scott’s 1979 movie, and a significant achievement of research and recreation in its own right. But then there’s the creature, an eight-foot-tall monstrosity that seems smart and angry as it chases you around. It’s been almost six years, and I’m still impacted by the straight-up malevolence of the alien and the ingenious ways developer Creative Assembly has made the thing seem so clever.

I’m not usually one to push people to play games on high difficulties, but when it comes to Alien: Isolation, I do think that the true, intended experience is conveyed by playing it on the hardest difficulty you can manage. It isn’t about personal challenge or the thrill of “beating” the game; the higher the difficulty, the smarter and more deadly the creature. I’m running through Nightmare Mode (again), which makes the experience even tougher by taking away your map and messing with your motion tracker, but what makes the difficulty mode interesting is that the alien learns how to kill you. Really, really quickly. Blast it once with the flamethrower, and it’ll be sure to stay out of range the next time you aim the weapon in its direction. Throw a noisemaker once, and the next time, the creature will know to ignore it. You can craft a whole bunch of tools in Alien: Isolation, and on Nightmare Mode, you can use each one once or maybe twice before the AI adapts. It’s terrifying.

It’s not just impressive to see the creature paying attention to your actions and anticipating them–it makes the damn thing feel horrifically real. And that’s exactly what I want out of an Alien game and a horror game. The alien is something that has always really frightened me, which is what has made me such a fan, and Alien: Isolation captures the nervous discomfort of seeing the creature and the rising terror when you hear it scream and break into a run in your direction. I can’t wait to sneak back into the shadowy corridors of Sevastopol, straining to hear the sounds of something moving with frightening speed through the vents above. | Twitter: @philhornshaw

Doom (2016) AND Wolfenstein 2: The New Colossus 😀 — Kurt Indovina, Host & Writer

Every night for the past week, I’ve laid in bed either ripping demons limb from limb with my demon-slaying mitts or dismembering Nazi scum while dual-wielding machine guns. It calms my bones, slows my heart rate, and makes it easy to drift to sleep. It’s like meditation, especially Doom (2016) in particular, which I think is comparable to Tetris for some people: it’s a calming game about putting pieces in the perfect place–even when it speeds up and gets a bit chaotic, there’s a trance-like flow to it all. That’s how I feel about playing Doom, but set to brutal metal music and with excessive amounts of gore, and instead of putting things in place, I’m obliterating an imp’s face with my fist. Same thing.

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When I’m looking for something more story-driven and not as hectic, but still super violent and satisfying, I switch over to Wolfenstein 2: The New Colossus. Strangely, both games are made with the id Tech 6 engine, and feature a Mick Gordon soundtrack–not sure what that says, but there’s a unique formula here, like listening to Enya while getting a massage. It just works.

Anyway, these games are a few years old, I know, but after finishing Kentucky Route Zero, and Disco Elysium three times in a row (both of which are slow-paced, action-free games), I think I just needed a little controlled chaos in my life. Now, if you’ll excuse me, I need to prepare for my nap and to shove my fists through a Cacodemon. | Twitter: @KURT_INDOVINA

Pokemon Home — Kevin Knezevic, Associate Editor

I know you can’t really “play” Pokemon Home since it’s more a service than an actual game, but I’ve been fiddling around with it compulsively since it surprise-launched earlier this week. I’d been eagerly looking forward to bringing my precious pocket monsters over from 3DS to my Switch. While that’s a significant draw of Pokemon Home, it’s the service’s other functions that have kept me coming back to it.

It initially seemed strange to me that many of Pokemon Home’s features were divided between the Switch and mobile versions, effectively forcing you to use both to get the most out of the service. In practice, however, this seems to have been a smart decision, as each version is tailored around its respective device. I expected to use Home primarily on Switch, but I’ve found that version is only really useful for transferring Pokemon or organizing which boxes my monsters are stored in.

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Meanwhile, I check the mobile version every few hours, mainly because it’s the only one that offers the ability to trade Pokemon. Since I rarely take my Switch out with me, having that functionality on my phone is great because of how quick and convenient it is. I can check the status of my trades or put a Pokemon up on the GTS at any point during the day, which is a boon when you have as many spare Pokemon clogging up your boxes as I do.

Of course, there are some valid issues with the service; those who don’t have a smartphone will be missing out on some of its most useful features, and the it doesn’t seem to be particularly worthwhile if you aren’t as invested in the series as I am. That said, I’ve been pleased with Pokemon Home thus far. It’s a much more robust service than Pokemon Bank on 3DS was, which helps justify the higher subscription fee. I’ve been putting off transferring my entire Pokemon Bank collection over because the process is a little confusing, but this weekend I think I’ll finally get around to it.

Remembering 2000: The Biggest Games That Turn 20 This Year

By 2000, I was playing a lot of Squaresoft games. I’d become a die-hard Final Fantasy fan, I’d loved the horror-RPG combo of Parasite Eve, and I’d gotten lost in the weirdo religious underpinnings of Xenogears. Square’s action-RPG Vagrant Story hit me harder than any of them, though, because it felt so different from the Square RPGs I’d been playing for years. It dropped you into a medieval fantasy world that was grounded in realism–early portions of the game focus on struggles between a powerful church and an aristocratic state, which felt closer to the real world than most of Square’s more out-there games, like Final Fantasy VII and VIII. Vagrant Story was heavy on political intrigue, imagining a world full of armies with divided loyalties, cultists with strange powers, and spies trying to maintain the status quo, like Game of Thrones through the lens of Final Fantasy Tactics.

In the center of it all was Leá Monde, a storied city rendered into ruin by earthquakes but surging with a dark, strange power. While you spend the game trying to figure out what the opposing forces of the world all want with the ravaged city, you’re constantly contending with a supernatural force that literally raises the dead. Though Vagrant Story is full of magic and monsters, the people of its world spend the game confused and frightened by those things, facing powers they can’t understand but still hope to wield. Even in broad daylight, Leá Monde is oppressive and foreboding, both for the player and for the characters they encounter; even the rank-and-file soldiers following orders in the city fear what they might become if they fall in battle.

Vagrant Story’s world and narrative are dark and compelling, and they’re bolstered by gameplay that mixes in a bunch of RPG systems to make a tough-as-nails game. Attacks and defenses are based on timing, making combat into a dance, and a dense system of elemental affinities and magic abilities add a whole lot of strategic thinking to any enemy encounter. Yes, a lot of it is tough to deal with–I never did quite master the weapon system–but it leads to intense, difficult boss battles that feel like RPG cousins of encounters in modern games like Dark Souls.

Okay, one last thing: like the writing, Vagrant Story’s presentation is phenomenal. For a PlayStation game, it’s often beautiful and colorful, pushing the hardware of the time to the absolute brink with incredible art direction, and its soundtrack is unmatched. It’s probably my favorite game of its era, easily in my top five of all time, and if ever a game from the height of Squaresoft deserved a remake or a remaster, it’s Vagrant Story | Phil Hornshaw, Editor

WTF Is Happening in the Iron Mask Trailer?!?

We’re barely a month and a half into 2020, and already we have a strong contender for weirdest movie trailer of the year. Taken at face value, The Iron Mask may seem like a very loose adaptation of Alexandre Dumas’ iconic story The Man in the Iron Mask, starring Jackie Chan and Arnold Schwarzenegger for some reason. But the truth, appropriately enough, is much, much stranger.

If you haven’t already, check out the new trailer in the embed above or the video player below, then follow along as we try to break down what this nutty fantasy movie is actually about.

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Arnold Schwarzenegger vs. Jackie Chan… Sort of

Despite the title, The Iron Mask doesn’t really draw much inspiration from The Man in the Iron Mask, beyond a subplot involving a character locked away in prison wearing an iron mask. But in this case, said prisoner is the Russian Tsar, who’s been imprisoned in the Tower of London. The Tsar happens to be locked up alongside Chan’s character, “Master.” Master is the one who orchestrates a jailbreak and winds up battling Schwarzenegger’s prison guard character, James Hook.

Wait, as in Captain Hook? Maybe. We’re not exactly sure on that front. But none of this actually matters, because the trailer is doing its best to disguise the fact that neither Chan nor Schwarzenegger are the stars of the movie. In fact, they only appear for a few minutes during this Tower of London sequence.

What Is The Iron Mask Actually About?

Instead, the actual star of The Iron Mask is Jason Flemyng, who plays a globetrotting adventurer named Jonathan Green. The movie is actually about Green’s journey from England to China and his encounters with various colorful characters and magical creatures along the way, including the mythical Dragon King. The Tower of London is just one stop along that journey. The movie also stars Charles Dance as Lord Dudley and the late Rutger Hauer in one of his final roles as an ambassador.

The Iron Mask was originally released in Russia and China under the title Viy 2: Journey to China. It’s a sequel to a 2014 movie called Viy, which in turn was based on an 1835 horror novella by Ukranian author Nikolai Gogol. The original Viy movie also follows Flemyng’s character as he travels through Eastern Europe and explores a cursed Ukranian forest.

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So basically, you have a Russo-Chinese film that draws in fragments of all sorts of public domain stories from both East and West (The Man in the Iron Mask, Peter Pan, Journey to the West, etc.), and with a cast comprised of equal parts British, Chinese, Russian, and American actors. Plus Chan and Schwarzenegger, who seem to be there mainly to help give the film a marketing boost. That doesn’t seem to have helped its box office prospects overseas, but who knows? Maybe a title change and one really weird trailer is enough to build a following in the US.

If nothing else, we can’t imagine audiences responding to The Iron Mask any worse than they did The Grudge and The Turning, both of which received a rare F CinemaScore mere weeks apart. And regardless, we have plenty more movies to look forward to in 2020.

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Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on Twitter.

Moviefone Now Being Run by One Employee

In a scenario that’s reminding some online of the Seinfeld episode when Kramer’s new phone number was so similar to a movie listing hotline that he started to answer calls as Mr. Moviefone (while rifling through actual newspapers for showtimes), the actual Moviefone is now being run by one employee.

Moviefone — which began in 1989 as a dial-up service for checking movie times — filed for Chapter 7 bankruptcy last month, after parent company Helios and Matheson suffered unsustainable losses from MoviePass, now only has one staff member left.

According to Variety, General manager Matt Atchity, former EIC of Rotten Tomatoes, has “been retained by the trustee overseeing Helios and Matheson’s liquidation to keep Moviefone running pending a sale of the property.”

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Moviefone is currently reported to be worth around $4 million which is 1.1% of its former value ($388 million in 1999). All Moviefone employees except Atchity were laid off at the end of January. The site’s listings are all automated, pulling movie times in from theater chains all across the country.

For more movie news, check out our ranking of all the Batman movie batsuits, the theory that Robert Pattinson’s batsuit contains the gun that killed Bruce Wayne’s parents, and what Harrison Ford said about Indiana Jones 5.

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Matt Fowler is a writer for IGN and a member of the Television Critics Association. Follow him on Twitter at @TheMattFowler and Facebook at Facebook.com/MattBFowler.

Star Trek: Picard Episode 4 Review

Full spoilers follow for this episode.

In Episode 4 of Star Trek: Picard, “Absolute Candor,” the Admiral (retired) has finally made it off Earth, and as a result the series has picked up the pace a bit. While still mired at times in reams of back story and explanation, this segment benefits from a few different things, including the bulk of Picard’s team all onscreen together — at last — and bouncing off each other in fun ways, a banger of a cliffhanger ending, and the always ace direction by Trek vet Jonathan Frakes himself.

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The episode picks up 14 years ago on the planet Vashti, at a Romulan Relocation Hub where Picard and Raffi helped to relocate a group of refugees during the Romulan crisis. In particular, Jean-Luc is close with a sect of warrior nuns and the young orphan boy they’ve taken in, Elnor. It’s a nice concept that the Admiral would have such affection for the child when one considers that when we first met him on Next Generation, Picard made a big deal of how uncomfortable he was around children. His character evolved over the seven seasons of the show, thanks in part to his relationship with Wil Wheaton’s Wesley Crusher, and here we see how much further he’s come.

It’s tragic, then, that the Mars attack means that Picard has to leave Elnor and his people. And though he promises them that he’ll be back soon, his resignation from Starfleet shortly thereafter means that he can’t fulfill that promise. (Or won’t, anyway.)

So when Picard finally returns to Vashti looking for a warrior to accompany him on his trip, it is, of course, the on-the-cusp-of-manhood Elnor (Evan Evagora) who winds up getting the job. But Elnor’s resentment of Picard, who took 14 years to return, not to mention his “absolute candor” in dealing with others (a trait of the sect that raised him), brings another edge to the band of misfits Picard is leading on this show. Nobody seems to like each other that much here!

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And yet, we get a very fun scene on Rios’ ship La Sirena where everyone slowly gathers in a holographic recreation of Picard’s office from the vineyard. A lot of the humor comes from Michelle Hurd’s Raffi, who knows Picard — sorry, J.L. — so well that she can also call him on his B.S. in a way that nobody ever would back in the old days of Star Trek. “You want to go to Vashti? Are you out of your goddamned mind?!”

Picard’s relationship with the older Elnor actually doesn’t get a lot of time to develop this week, but what we do have works, particularly a nice moment where the Admiral tells his young charge about Data. Elnor remembers hearing about the android from Picard back in the day, and in particular his orange cat Spot! It’s a simple moment but it feels genuine. Of course, a kid would remember the orange cat.

On the other hand, I worry that this show is doing the “quest” type of story where each week we need to uncover another piece of the bigger puzzle, or worse, find some tool or person who will help solve the big mystery. Right now, Picard’s trying to get to Freecloud where Raffi believes android expert Bruce Maddox is in hiding. This week was all about bringing Elnor into the fold as part of that journey, but the danger here is that the story could just become about collecting things in order to unlock the boss fight in the end. See The Rise of Skywalker for a particularly acute example of this syndrome.

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Star Trek: Picard also seems to suffer from not having very strong single-episode stories to tell within its bigger seasonal arc. What exactly is this week’s segment about beyond getting Elnor onto the team? It would seem to be Picard’s admission to himself, and to the people of Vashti, that he wronged them all those years ago when he gave up on the relocation effort. But this is pretty much all taken care of in a few sentences near the end of the episode. It’s nice character shading, but it also kind of gets lost in the episode’s load of Romulan backstory.

Meanwhile, over on the Borg cube, Soji and Narek are still doing their dance, and it currently feels as though the nasty Romulan loverboy might actually be falling for his target. But his also-nasty sister is giving him such a hard time about completing his mission that Narek could be facing a choice soon — the mission or the girl. Frankly, this is all so one-dimensional that it’s hard to care about what’s happening here.

The episode culminates with a Frakes-brand action climax as the La Sirena crew faces off with an Original Series-era Bird of Prey, until a mysterious ship arrives to save the day. And then, in a classic Star Trek emergency beam-out moment, Picard is suddenly face to face with… Seven of Nine! Now we’re getting somewhere.

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Questions and Notes from the Q Continuum:

  • It turns out space is super boring.
  • The use of the Romulan greeting “jolan tru” is a nice callback to Next Generation’s Romulus two-parter “Unification,” among other Trek stories.
  • Patrick Stewart is apparently so reluctant to wear the Starfleet uniform that even in the flashbacks here he goes with a safari look (with combadge!) rather than the red and blacks.
  • “I hate that f#@king hospitality hologram.”
  • Speaking of which, I didn’t realize last week that there were two different EMHs on Rios’ ship. Actually, an EMH and an ENH (Emergency Navigational Hologram). And now there are two more — hospitality and a weapons officer (Emmet), all with different personalities and accents! And they’re all hilarious.
  • Picard blew up on personal com traffic on Vashti this week, which is kind of like what happens when Patrick Stewart tweets about one of his rescue dogs on Earth!
  • There’s so much back story and exposition on this show, and yet I’m still not clear on how many Romulans survived, and how many perished, in the supernova incident.
  • When Picard makes his stand against the racist Romulans on Vashti — presumably believers in the “Romulan Rebirth” movement that Raffi mentions — it also allows for Elnor to show off some sweet sword-fighting skills. “Choose to live!”

The Most Iconic Video Game Weapons of All Time

Video games are a magical place where designers’ dreams can become a reality. Thankfully for the rest of us, that means we’ve got to try out some of the coolest blades, busters, gadgets, and gizmos that have popped out of their brains and into the hands of our favorite heroes.

Join us as we celebrate those which have been burned into our brains as some of the most iconic video game weapons of all time.

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You can watch the video above, click through the gallery below, or scroll down for the full list!

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10. Gravity Gun – Half-Life

Sure the early version of the Gravity gun is good for throwing saw blades and explosive containers at people, but later its power is improved tenfold. At the end of the game, you can rip video consoles off of walls, and grab Dark Energy orbs that instantly disintegrate anyone they touch. It’s power aside it’s easily one of the in-game moments that stick out in your mind and a weapon we’ll never forget.

9. Energy Sword – Halo

You may not have been able to wield the Energy Sword in the first game, but seeing the Elites activate them would make you step back and take notice. Finally getting to wield the sword in Halo 2 made you feel all-powerful as it would send you hurtling across the screen toward other players resulting in an instant kill, and of course, we all felt that surge of power when the blade snapped on. It’s look is clearly halo and stands out to this day as one of the most memorable Halo weapons ever.

8. Hidden Blade – Assassin’s Creed

The hidden, sliding blades assassins tuck along their wrists are carefully hidden for good reason. The better the blade is concealed, the easier it is for it to pop out and end a Templar’s life. Efficiency and effectiveness resulting in a quick, clean kill. The entire idea of the Assassin’s Creed series is conveyed easily by the visually striking hidden blade wielded in an assassin’s cloak. And a target will never see it coming.

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Assassin’s Creed Odyssey was the first AC game not to feature the Hidden Blade (at least not until it appeared in an expansion pack), but it did introduce the excellent Spartan Kick.

7. Scorpion’s Spear – Mortal Kombat

“Get over here!” It’s a haunting cry and accompanies something rather violent: Scorpion’s signature move, the spear attack. Seemingly from nowhere, a razor-sharp kunai attached to the end of a rope or a chain appears from Scorpion’s hand, flies across the screen, and viciously embeds itself into the chest of his opponent. Representing the stinger at the end of a scorpion’s tail, it’s emblematic of the Mortal Kombat series in so many ways: bloody, grisly, and uncompromising. It’s crude and cruel in equal measure, yet it’s also one of the first moves mastered in the game.

6. BFG-9000 – Doom

Mr. Dwane Johnson’s reaction to the BFG in the Doom movie will be recognized by anyone who has used this weapon – awe and deep respect.

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Here’s a gun that turns everything in its path into goop. The BFG established exactly what we should expect when it comes to powerful in-game weaponry and it has yet to disappoint in any Doom game of the series.

5. Keyblade – Kingdom Hearts

The Keyblade may come in many forms, but Sora is most known for wielding the Kingdom Key. It was also the first to ever appear in the series. There are other, more powerful keys that you can collect, but the Keyblade is the iconic entry from the series that Sora wields with finesse.

4. The Mega-Buster – Mega Man

The Mega Buster has been attached to Mega Man’s left hand since the first game and has varied greatly in power since it made its premiere.

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Originally it could only shoot tiny pellets, but by Mega Man 5 it had been upgraded to the Super Mega Buster which could hold a charge and be deployed at any enemy who dared peek out from cover.

3. Blades of Chaos – God of War

The Blades of Chaos will forever be known as Kratos’ unique weapon of choice. They were obtained during a moment of weakness when Kratos begged the God of War, Aries to spare his life. To answer his prayers the god seared these blades into his flesh and helped him defeat an army. The Leviathan Axe is more modern and incredibly cool, but the Blades of Chaos or any other blades Kratos holds are an unforgettable symbol of the series.

2. Buster Sword – Final Fantasy VII

Nearly six feet long and a foot across, the Buster Sword is more than just a giant, single-edged blade. It’s an iconic Final Fantasy weapon that immediately conjures images of Final Fantasy VII’s spiky-haired hero Cloud Strife. For Cloud, it symbolizes friendship and a promise to be Zack’s living legacy. In short, the Buster Sword is not just a huge chunk of metal that can cut down foes; it’s a memento passed on from hero to hero in the fight against evil.

1.  Master Sword

This beautiful sword is an icon to gamers everywhere, as well as an instantly recognizable item of central importance in the Zelda franchise. Sure, there have been plenty of great weapons and items in The Legend of Zelda series, but only the Master Sword has endured since the days of A Link to the Past. Each story since the Super Nintendo entry has been crafted around Link’s quest to obtain this legendary blade.

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In Ocarina of Time, the sword allows Link to travel through time, an integral mechanic that eventually helps leads to the defeat of Gannon. In Wind Waker, it is so powerful that when plunged into the Evil King’s forehead it causes him to turn into stone. And in Skyward Sword, the armament is used to seal away the power of evil forever, with the help if its sentient spirit, Fi. With such extensive lore, a wide array of abilities, and a personality all of its own, the Master Sword is our logical choice for the top spot on the list of most iconic gaming weapons.

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Those were our picks, but did we miss any? Would you have rather seen the crowbar from Half-Life on the list, or are you upset Gears of War’s Lancer (one of my favorites) didn’t make the cut? Let us know about it in the comments below!

Ranking the Movie Batsuits

With the cool tease of Robert Pattinson all geared up for The Batman, which director Matt Reeves posted on Twitter, we’re sorting through all the movie batsuits and ranking them awful to awesome, from nipples to neck-mobility.

The batsuit is more important than any of Bruce Wayne’s various gadgets and weapons. It needs to strike fear in the hearts of law-breakers while also coloring the specific Bat-movie it appears in with a distinct tone and vibe. We’ve all gone down the batsuit road many times, and many actors and directors have tackled the Dark Knight’s various crucibles crushing the criminals of Gortham. The Caped Crusader’s costuming is crucial, allowing him to shift through the shadows and strike, like a bat, out of nowhere.

Here’s a glimpse of Pattinson all batted up, with score accompaniment by Michael Giacchino (Lost, Spider-Man: Far From Home)…

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Now let’s dig into decades of batsuits, from ’60s camp to ’80s goth to armor freakin’ thick enough to take on Superman (with the assist from kryptonite). The IGN Entertainment team voted on our faves, considering both form and function, and this is the ranking we came up with! And a few notes: This list only includes live-action movie suits, and we’re not including the Pattinson suit here since we haven’t seen the whole thing yet!

And when you’re done here, be sure to vote for your favorite batsuit in our poll at the bottom of this page, check out everything we know about The Batman so far, learn how fans are reacting to the new batsuit, or read up on how Robert Pattinson’s batsuit draws from the Arkham games and the comics.

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13. Batman & Robin Ice Armor

d34c2acc8b92abd35e902ef556741289Yeesh. So — side note — the  Joel Schumacher films each had two batsuits for strictly toy sale purposes.

Batman & Robin’s alternate attire were the dreadful ice outfits that Bruce, Dick, and Barbara used in their efforts to thwart Mr. Freeze. Impervious to his cold attacks, the suits were also resistant to good taste and invulnerable against pleasing aesthetics.

12. Batman Forever Sonar Suit

Batmsan_Forever_KilmerAfter the bulk of Bruce’s batsuits were destroyed by Riddler in Batman Forever, he used his last remaining regalia to battle his foes in the film’s final fight – the Sonar Suit. It was a somewhat plain-looking silvery-black thing that totally felt like the last thing Bruce would have in his closet. It was also the first of Schumacher’s second batsuits (for toy line purposes).

11. Batman & Robin Main Suit

clooney-batman-image-02Blending the two Batman Forever batsuits (“Panther” and “Sonar”), and adding pop-out ice skates (because reasons – er – FREEZEons), George Clooney’s costume combined nipples with a metallic sheen for a result that we all mostly resent because he was a bad Batman in a bad Batman movie.

10. Batman v Superman Knightmare Suit

knightmare_batmanIn Batman v Superman’s dystopian dreamscape, featuring a dustbowl Earth ruled by an evil Superman, Batman kept his regular DCEU costume and just added a big trench coat, goggles, and a separate ski mask. Oh, and guns. Whatever. It was all kind of a “hat on a hat” and that point, but who’s to say what’s right and wrong about Bruce’s dream-slash-vision? Any dystopia worth its weight in wasteland warlords is all about unnecessary accessories.

9. Batman v Superman Armored Suit

eWhen the clock struck “Clobberin’ Time” for Bruce and his showdown with Superman, he decked himself out like a Decepticon, clamping himself inside a massively-strong batsuit exoskeleton. Inspired by the suit used in the Bats vs. Supes fight in Frank Miller’s The Dark Knight Returns, this chunky costume allowed Bruce to be just strong enough to fight Superman when Superman was incredibly-weakened by kryptonite.

8. Justice League Tactical Suit

mgid-ao-image-mtv.com-208801Featuring upgraded armor, weaponry, and flight goggles, Bruce’s Justice League gear was the pinnacle of his Bat-tech, utilized in the battle against cosmic forces invading Earth. Less bulky and tank-like than the fireplug-looking costume he wore while slugging it out with Superman, Bruce’s tactical uniform was awesomely appealing apparel to wear against Steppenwolf and his minions.

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7. Batman Forever Main Suit

fruyfonlzc4f4a5rzregAfter two Tim Burton/Michael Keaton outings, Val Kilmer found himself adorned in attire that was – er – anatomically articulated. Inspired by the statues of ancient Greece, according to director Joel Schumacher, this bad boy had nipples, folks.

Aside from the much-maligned nips, however, the Forever suit (nicknamed the “Panther Suit” on set) made some nice, graceful alterations to the Burton costume, including a less-yellow chest symbol and a newly-designed utility belt.

6. Batman v Superman/Justice League Main Suit

ben-affleck-the-batman-solo-movie_48_128Influenced heavily by both the comic’s long-running grey suit and Frank Miller’s The Dark Knight Returns, Ben Affleck’s batsuit in the DCEU is no-nonsense war wardrobe. It’s not meant to spotlight any flashy symbols or showy gadgets, it’s meant for hiding in the darkness until it’s time to burst into a room and cripple a dozen crooks. And maybe even brand them, if there’s time. Its stark simplicity has made it a fan favorite. This suit, with some subtle tweaks, also appeared in Justice League.

5. Adam West Suit

Batman-Yellow-West_1Before Tim Burton created the go-to movie iconography for all things Batman, Adam West ruled the roost with his ’60s camp TV portrayal of the Caped Crusader, complete with a satin blue and purple suit that featured smaller ears and a shorter cape (so West wouldn’t trip on set). For an entire generation, this was the one and only batsuit and West’s famous portrayal cemented this particular Batman in the annals of pop-culture history.

4. Batman Returns Suit

michael-keaton-batman-200315-1280x0In Batman Returns, Bruce has been out Batmanning so much (or sometimes just sitting quietly at home waiting for the Bat-Signal to hit) that he’s now got a Batcave vault full of suits. The Returns suit isn’t hugely different from the debut costume in Batman ’89, but it featured a less sculpted look than its predecessor. It’s an angular armor-plated version with a new (to us, anyhow) gliding cape function.

3. Batman Begins Suit

fotonoticia_20150615124854_800Christopher Nolan’s Batman Begins took a very grounded and gritty approach to Batman’s gear, reverse-engineering how one might actually craft one of these cool costumes in real life. Using Wayne Enterprises’ R&D department, Bruce tweaks an already-existing paramilitary “Nomex survival suit” and then fuses together the bat-aspects of it from other places. Customized with advanced tech, like a Kevlar cowl and memory cloth cape, this was the first batsuit we got to see built up from scratch.

2. Batman ’89 Suit

static1.squarespace.com_When Tim Burton’s Batman landed in 1989, fans were introduced to the first ever bulked-up, imposing depiction of the batsuit on the big screen. All black, with a yellow chest emblem, Michael Keaton’s suit was a foreboding rubberized take on Neal Adams’ illustrations. And what it lacked in head mobility (Keaton couldn’t turn his neck at all), it made up for in shadowy, sinister presence. And the highlighting of the bat symbol nicely mixed with the film’s marketing, which was often just the symbol itself on a poster. It wasn’t the most functional of the lot, but it’s the most iconic. And it’s the suit that influenced every single movie suit that followed, to this day.

1. The Dark Knight/The Dark Knight Rises Suit

batmdanAfter a year on the job, and with an anarchist clown to deal with, Bruce Wayne decided his Nomex batsuit needed a few alterations and upgrades. Sacrificing protection for mobility and agility, Lucius Fox whipped up a new costume using separated plating, and The Dark Knight suit was born – the perfect sleek and slimming suit to go toe-to-toe with Joker. Unfortunately, this lighter suit didn’t fare well against the brute force of Bane when Bruce donned it years later.

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Matt Fowler is a writer for IGN and a member of the Television Critics Association. Follow him on Twitter at @TheMattFowler and Facebook at Facebook.com/MattBFowler.

High Fidelity Season 1 Review

This is a mostly spoiler-free review for Hulu’s reboot of High Fidelity, with all 10 episodes now available to stream.

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In episode 2 of Hulu’s gender-flipped adaptation of the Nicholas Hornby novel High Fidelity, Rob (the incomparable Zoe Kravitz) breaks down the seven rules for organizing the perfect mixtape. Yes, you read that right. Suspend your disbelief that New Yorkers in their late twenties are still consistently making mixtapes for each other (at least she does it on Spotify). Anyway, here are the rules — which will make the idea of creating your own mix actually seem fun:

  1. Gotta be entertaining.

  2. Needs to tell a story.

  3. Don’t be too obvious, but [it] can’t be too obscure either.

  4. Can’t double up on songs by the same artist, unless that’s your theme.

  5. The most important track is #1. It’s gotta be familiar, but also unexpected. Most importantly, it’s gotta make you feel good.

  6. Track 2, there needs to be an element of surprise. What you’re saying is, “keep listening. There might be more here than I thought.”

Before we get to rule 7, let’s start with whether or not the High Fidelity makes it through the first six. Yes and no. If we consider the opening episode, “Top Five Heartbreaks” our first track, High Fidelity pulls off a lofty goal: it hones in on what made the John Cusak-helmed rom-com drama compelling with a heavy-hearted, complicated protagonist struggling to understand their own culpability and faults in failed love. Kravitz’s Rob is every bit as charming, flawed, and frustratingly selfish as Cusak in the 2000 film.

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(Side note: some critics felt Kravitz’s glamorous presence made for a mismatch in casting and a distraction, but Rob is relatively financially stable, owns her own record shop, and has the most gorgeous, successful men and women of NYC throwing themselves at her feet, so her casting makes sense. What’s more distracting is how she affords her large Brooklyn apartment when Champion Records only seems to attract paying customers on Saturdays.)

In the first episode of the 10-part series, a fourth-wall breaking Rob is still reeling from a relationship that ended a year ago, when she attempts to go on a first date. Her suitor, Clyde (Jake Lacy), bores her at first until they sink into a charming flirtatious rhythm, bonding over his flimsy appreciation for the song “Dreams” by Fleetwood Mac and her overwhelming knowledge of the band and the making of the groundbreaking album, “Rumors,” which is not her favorite.

When that date ends in sex and he ditches in the morning after promising her french toast, Rob is disappointed but not surprised. “Of course it was the nice guy. It’s always the nice guy,” she laments. From there she takes us through her top five most memorable heartbreaks: Kevin Bannister, Simon Miller, Kat Monroe, Justin Kit, and most recently, Russell “Mac” McCormack. (Though Kat is a woman and Rob is sexually fluid, the chemistry is hardly there and the bulk of her storyline remains more heteronormative than the creators probably think it is.)

Episode 2, “Track 2” accomplishes rule number six wholeheartedly, gripping the viewer and creating something new out of old characters. Champion Records’ only employees — Simon (David H. Holmes), Rob’s gay ex-boyfriend and heartbreak #2, and Cherise (Da’Vine Joy Randolph), Rob’s boisterous friend who seems to be all talk, little action when it comes to her own musical career — cement themselves as the emotional heart of the series and two of the most compelling reasons to watch. Their riffs on race, sexuality, and trauma as they pertain to the eclectic music that moves them helps modernize a series that otherwise could have felt trapped in the early aughts. It doesn’t hurt that they call Rob on multiple instances of bulls–t and act as the audience’s perspective on her actions.

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From episode 2 on, the series builds momentum and delves further into these surprisingly authentic characters and each of Rob’s breakups (as well as some new relationships), while keeping the reason behind her breakup with Mac shrouded in mystery. In a later episode, she sits in the studio while her latest hookup, Liam (Thomas Doherty), a sexy, young musician, records a new song. She tells him the beat is fun, but the vocals sound earnest. “Get weird with it,” she encourages, and it works.

Likewise, High Fidelity is at its best when it gets weird with it, and flounders when it becomes too earnest. Episode 5 is the highlight, following Rob and Clyde on an outrageous not-date in the Upper West Side that feels notably rom-com-y and electric in a way that Hulu’s other recent movie reboot, Four Weddings and a Funeral, failed to capture. However, a decision Rob makes in the same episode that attempts to solidify her status as the hero of the story inadvertently undermines that swagger.

So, back to that final rule:

7. Closers are tough. It’s the last thing they’re gonna hear and the only thing they’re gonna remember, so you gotta bring your message home

Unfortunately, High Fidelity begins to waver once it hits its emotional peak late in the season with a chaotic, crescendoing party scene that rips apart Rob’s newfound confidence. From there, the series flounders in an attempt to draw out the story for another three or so episodes, and none of the character arcs reach a satisfying enough conclusion. The season finale comes after a supposedly earth-shaking revelation that simply doesn’t feel so meaningful, and the season ends awkwardly and abruptly, leaving much more to be desired.

But that doesn’t mean the whole thing is a bust. There are bursts of genius scattered throughout High Fidelity that bode well for a potential second season, and plenty of relationships worth exploring further. That’s not even mentioning the beautiful way music is utilized throughout the series to echo the characters’ ethos and emotions, effortlessly diving between artists like Minnie Ripperton, David Bowie, Aretha Franklin, Swamp Dogg, and, delightfully, PTAF’s “Boss Ass Bitch” after a particularly successful hookup.

High Fidelity is right, closers are tough, and while it struggles with hitting a solid finish, hopefully this isn’t the end.