#also no prime trailer means i would need to put more effort into generating ideas and i'm honestly so tapped on creativity rn lol

[upsidedownsmore]

This prime access is going to be a bit different for me, because:

I'll be joining @tbgkaru and @royalprat-art to co-host a fashionframe contest!!

(poster and art made by @royalprat-art, event will be streamed on @tbgkaru 's twitch channel here, prizes provided by Digital Extremes and Xaku Prime Access details can be found here)

I'm really really excited to be a part of this and you all should check it out November 24th!!

As I'm also putting my Xaku Prime Access pack giveaway into the prize pool, this of course means I won't be running my own giveaway event here on Tumblr as I usually do. Sorry to anyone who may have been looking forward to it, but I think overall it's for the best as school has pretty much eaten up all of my time and energy to make stuff atm. Still, this is going to be a really fun alternative and I hope to see some of you guys there!

[davidmann95]

now that it's over, thoughts on Bendis' Superman as a whole?

pretenderoftheeast said: So, thoughts on Bendis' Superman and Action Comics' tenure altogether and separately now that it's over?

Anonymous said: Best and Worst things about Bendis' Superman run

Anonymous said: Now that it is over, what are your thoughts on Bendis' runs on Superman and Action Comics as a whole?

Anonymous said: Retrospective thoughts on Bendis' Superman as a whole now that it's, I guess, done?

Anonymous said: Hey so since Bendis’ Superman stuff seems to be done, what did you think of the run as a whole?

I decided to hold off a bit on writing on this one, if only so that I could reread the Action Comics side of it since Superman stood out in my memory a lot more. But now I have, and as we’re heading into a bold new era of Superman (and it’s coming in fast - just since I made my Superman in 2021 predictions we’ve gotten Ed Pinsent finally reprinting his legendary bootleg Silver Age Superman, Steve Orlando announcing his Superman analogue book Project Patron, an official shonen Superman redesign for RWBY/Justice League, PKJ’s Super-debut turning out far better than I ever expected, Superman & Lois’s first proper trailer largely taking people pleasantly by surprise, and my learning that there’s a Sylvester Stallone Old Man Superman analogue movie titled Samaritan coming out this summer) we’re ready to take a look back with at least a touch of perspective. I’ll lead with complaints, so everybody who’s been waiting for me to say that Bendis on Superman was Bad, Actually, savor this because it’s as close as you’ll get.

The Bad

* I hate to say it, but rereading that side of the run there’s no two ways about it: the structure of Action Comics as a whole is a mess. It baffled me from day one that it was the more acclaimed of the two books for so long - I guess people are hardwired at this point to think of ‘street’ stuff as where Bendis is supposed to be - because it was immediately clear that Superman had a well-defined story he wanted to tell, while Action was the usual Bendis off-the-cuff improvisation. It’s barely even a story in the same way, and it’s certainly not the ‘Metropolis crime book’ people took it as: it’s 28 issues of Superman and his supporting cast stuffed a pinball machine with the Red Cloud pinging off of each other as we wait to see who falls in the hole at the bottom, and partway through Leviathan and the Legion of Doom and 90s Superboy are tossed into the mix to keep it going a little longer. On an issue-to-issue basis it’s frequently really good, but the core plot of the book is *maybe* six issues stretched out over two and a half years.

* I’ve gone into this some before, but structure-wise Unity Saga also has problems: Phantom Planet rules but either it needed to be cut or the back half needed to be a year all its own in order to accommodate the scale of what it’s attempting. It’s got an interstellar civil war leading into the formation of the United Planets, family drama, Rogol Zaar’s whole deal, and Jon’s coming of age, and I’d say only that last one is really properly served. Even Jon forming the United Planets, while contextually somewhat justified in terms of 1. The situation being so far gone he’s the only one who’d even think in those terms, 2. Things being bad enough that these assorted galactic powers would be willing to try it, and 3. Him having the S on his chest to sell it, isn’t at all built up to within the run itself.

* Rogol Zaar sucks. He’s made up of nothing but interesting ideas - he’s an ersatz warrior ‘superman’ of a bygone age of empires up against the new model, he’s the sins of Krypton as a conservative superpower come home to roost, he’s while not outright said to be definitely Superman’s tragic half-brother and the culmination of everything this run does with Jor-El - but none of them manifest on the page, he’s just a big punchy dude with a dumb design who screams about how you should take him seriously because he’s totally the one who blew up Krypton. Even a killer redesign by Ryan Sook for Legion of Superheroes can’t fix that. There are lots of bad villains with good ideas who are redeemed with time and further effort, but I can’t imagine Zaar getting that TLC to become a fraction of whatever Bendis envisioned him as.

* The second year of Action Comics, after establishing itself in its first as one of the most consistently gorgeous books on the stands, leads with Szymon Kudranski’s weak output and then concludes with John Romita Jr. turning in some career-worst work. The latter is particularly egregious because for that first year Bendis writes a really collected, gentle Superman so him getting pushed into being more aggressive should have an impact, but Romita draws such a craggy rough-looking Superman in the first place that it mutes any sort of shock value.

 * WE NEVER LEARN WHAT’S UP WITH LEONE’S CAR, WHAT THE HELL. You don’t just DROP THAT IN THERE and then NEVER FOLLOW UP.

The Good

* Superman got his real clothes back after 7 truly ridiculous years.

* Bendis fundamentally gets Clark’s voice in a way unlike almost any other writer - even all-around better writers of the character almost never approach how spot-on he is with having Superman speak and act exactly how Superman should.

* Supporting cast front and center! He writes a dynamite Lois, Perry, and Jimmy (even if many of Lois’s more out-there decisions in the run don’t end up retroactively justified the way you’d hope), Ma and Pa are more fun than they’ve been in decades in their brief appearances, he manages to turn having Jor-El in the mix into a positive, and the Daily Planet as a whole has an incredibly distinctive vibe to it like never before that I hope is taken as a baseline going forward.

* The non-Rogol Zaar baddies? All ruled. Invisible Mafia and Red Cloud are both brilliant ideas executed solidly if overextended. Zod as Kryptonian Vegeta, Mongul as a generational perpetual bastard engine primed to be incapable of self-reflection, and Ultraman as “what if Irredeemable but he’d never been a good guy and also he was a Jersey mobster” are the best versions of those characters by numberless light-eons. Lex is on-point in his sparse appearances. Xanadoth as a mystical cosmic monster older than time who still talks like a Bendis character is however unintentionally a hoot. The alt-universe Parasite is a more intimidating Doomsday than Doomsday ever was. And Synmar as an alien culture’s attempt at creating their own Superman and messing up the formula when they make him a soldier can and should be a legitimate major ongoing villain coming out of this run.

* Pretty much all the art other than what I mentioned already. Fabok does a good job bookending The Man of Steel and Ivan Reis does the work of his career anchoring Superman (special props to Reis as well for drawing the first ever non-Steve Rude interesting-looking take on Metropolis), and meanwhile you’ve got Jim Lee, Jose Luis Garcia Lopez, Doc Shaner, Steve Rude, Kevin Maguire, Adam Hughes, Patrick Gleason, Yanick Paquette, Ryan Sook, Brandon Peterson, and David Lafuente doing their own parts.

* Closely related to the art, all the little flourishes with the powers. Super-speed having a consistent visual with the background coloring changing, Clark internally putting numbers to the degrees of force behind his punches and what situations which numbers are appropriate for, ‘skidding to a halt’ mid-flight before crashing through a window, the shonen-ass major throwdowns as portrayed by Reis, how his super-hearing is handled as a prevalent element. Lots of clever bits that added flavor to what he does.

* While Unity Saga has problems, the whole of what Bendis does in Superman as a means of forward momentum for Clark and his world is excellent. The sort of three-act structure of: 

** Clark is led to question his place in things over the course of a few adventures

** Involvement in the larger cosmos and the impact it has had through and on his family makes him realize the answer to his questions is that he needs to step up in a bigger way because there’s no benevolent larger universe to welcome Earth with open arms, nor a cosmic precedent for everything turning out for the best without some help

** As a consequence of the lessons learned by this change in the status quo Clark is inspired to make his own personal change in revealing his identity (with Mythological basically being an epilogue showcasing a ‘standard’ standalone Superman adventure while simultaneously highlighting his new status quo and how it fits in as a summing-up of Bendis’s take)

…does a great job of shepherding through ideas that lend a lot of forward momentum to Superman of the kind he hasn’t seen in a long time. Not perfect, but far lesser stories with far lesser ambitions have made huge impacts, so I’d certainly hope at least some of this sticks around even if, say, regardless of any retcons to the main line there are always going to be stories with Clark as a disguise and Jon as a kid. Oh, speaking of whom,

* KISS MY ASS, EVERYTHING WITH JON KENT RULED

Ahem. Probably a less confrontational way of putting that.

Do I think there was more gas in the tank for Jon as a kid? Totally, making him likeable and viable was the one really good thing the Rebirth era accomplished for Superman and I expect we’ll continue seeing more of it in the future one way or another. But whether or not him being aged up was Bendis’s decision, or working with marching orders to set up the eventually-(kinda-)discarded 5G, the coming of age narrative here is fire. He keeps the essential Clark Kent kindness and bit of Lois Lane cheekiness that reminds you he’s still their kid, which is a combination Bendis is basically precision-crafted to write, but his trials by fire give him a background entirely unlike the by-the-numbers “and here’s how Superman’s great kid grew up to be a great superhero too” narrative you’d expect while still arriving at that endpoint. If superheroes live and die by metaphors then Jon in here is what it means to grow up written as large as possible: leaving home for the first time (and seeming to shoot up overnight!), getting into the muck of how the real world works, being beaten down by authority wearing faces you’ve been taught to trust, scrambling to get through with the whole world against you, and in the end getting through by learning to rely on your own strength while keeping your soul intact and your head held high, and even managing to speak some truth to power. It gives him a well-defined life story with room to go back to and explore the intricacies of each leg of for decades to come in a way Superman hasn’t had since the original Crisis - someone someday is going to write a The Life & Times Of The Son Of Superman miniseries and it’s going to be one of the greats - and negates any question that he’s earned his stature as the heir apparent.

* Coming out of this, Superman’s world is fascinating. He’s out but rather than giving up his day-to-day life he’s openly spending part of his life as CLARK KENT: SUPER-REPORTER and part of his job on the cape-and-tights side of things is now KAL-EL: SUPER-SPACE-DIPLOMAT, Lois Lane coruns a foundation helping people whose personal continuities have been fucked over by Crisis shenanigans, Jimmy Olsen owns the Daily Planet but is still doing Jimmy Olsen stuff because that’s how he gets his kicks, and Jon Kent is going to college in the future. I’m not anywhere near naïve enough to think that’s how things are going to be forever, or shortsighted enough to think there’s no value left in the traditional setups, but god I hope these developments stick around for a long, long time to come and potentially become the new ‘normal’ as far as the ongoing shared universe stuff goes, because it all feels like the right and promising next steps to take for the lives of these characters. However it got here, for all the pluses and minuses along the way even if I maintain the former very much outweighed the latter as a reading experience, Bendis has a lot to be proud of if that’s the legacy he leaves on these titles.

* The recap pages at the desks!

[guerilla935]

The Advantage Of A New IP

In the fashion of it being a brand new year we get asked a pretty general and not at all specific question. What game do you want to see this year? In every new years edition podcast and youtube channel this is hot debate. Of course in your mind you have limited options. You say to yourself, do I want a sequel of something we already have? Has a production company that I’ve heard of before not made anything in a while? You can only answer in what you know. And in the most recent years, the devs have been listening. Do you want The Last of Us Part 2? Naughty Dog will deliver. Expecting a new Legend of Zelda game? Nintendo will probably keep making them until the sun super novas so you are good there. But you would never answer that question with: “I want a (insert adjective here) game.” I mean you might, in which case you must have a very specific itch to scratch good on you for knowing what you like. In any case I will valiantly fight for every game that is still on the drawing board that is not a number 2, 3, or 4. Not a sequel or a prequel. Not an HD remix 2.5 remake. This is why we need to be excited for original games that still have yet to be conceived in a game engine or drawing board.

CD PROJEKT RED

To prove my point I am going to break down what makes CD PROJEKT RED’s The Witcher series so indigestible and why it is so popular now. This company makes a very good video game, but if you jumped into The Witcher 3 you would have been pelted with so much lost exposition that you have already lost interest by the time you have killed the Griffin which is where every person I have talked to (including myself) has stopped playing that game the first time they had picked it up. The game plays very non traditionally, the combat is scarce, each battle takes crafting and social preparation that is tiresome if you were not expecting to work so hard to get to the action, and the travel time is tolerable but not the greatest thing. But the story is amazing and you are waiting on that to pull you through. However we are looking for Yenefer, who is that? Why is this old guy following me around? Why does everybody hate me? Kaer Mohren is uh, a place? Not anymore? The story comes in at a weird place. So you say okay lets go play the first two games, wrong, the first game is unplayable if you have updated windows since windows 10 came out. You could have an awesome time playing just The Witcher 2 and then 3 but lets assume that you just gave up. Fast forward to 2019 and Netflix releases the first season of The Witcher series based on some fantasy novels written by a Russian dude in 1993. Whether you liked the show or not you and 100,000 people actually start playing through The Witcher 3 because you know who Yenefer is, you kind of know who Vesemir is, you know why everybody hates you and how to deal with it, and you have that catchy song stuck in your head. My point in all this is that until a Netflix series taught you how interesting this story and this world is you and most people had every intention of not touching the game at all. CD PROJEKT RED has now announced a cyber punk crime drama starring Keanu Reaves, it is also based on a lot of prior source material but the average player like me would have no idea about that kind of stuff. It sounds awesome and it probably will be, but it is gaining a lot of steam because it’s new and exciting and we can dive in blind which is an awesome feeling.

The Remake

Three of 2020′s most anticipated games are full remakes. Final Fantasy VII, Doom Eternal, and Resident Evil 3. Before we have this argument I’m not going to admit that Doom Eternal is not a remake because it really is, it is awesome plot-less demon shooting and as long as they keep using the Doom name it is all just a remake of Doom. The problem with the hype for these games is that it is hinged on if the fans consider Final Fantasy VII (2020) to be as good as their memory of Final Fantasy VII (1997) and people have pretty exaggerated memories. Doom Eternal also has to upstage Doom (2016) and Resident Evil 3 (2020) has to be better than Resident Evil 3 (1999) and make more improvements than Resident Evil 2 (2019) which will still disappoint fans because Capcom wants to make it more action based which is what killed the franchise back in 2009. But what is really sad is talented writers are adapting content for a modern generation when they could be writing new content for a new era. Video games age worst out of any type of media and I am glad that these are getting restored but we are seeing so much effort put into showing our kids why we were crying when we changed from disc 1 to disc 2 in Final Fantasy VII that we may not get to see Final Fantasy XVI until the far future.

Hideo Kojima

Before I start this section I want to say that Hideo Kojima is one of my personal favorite people. As soon as Mads Mikkelsen and Norman Reedus got hypnotized by Hideo Kojima to work on Death Stranding the games development cycle that involved nobody, not even Hideo Kojima, knowing what in the heck what was being put together in his offices made so much noise in gaming that it could not fail. There are a few games that need only a few seconds to prove that they are worth playing and having Norman Reedus incubate a baby on screen and nothing else is probably the most surreal experience anyone has ever had seeing a game trailer. This original IP whether you loved it or hated it was really exciting to live through the launch of, and when we see game trailers in the future I can only hope that they are as exciting as this one.

The Difference

So what is the difference between seeing a trailer for Final Fantasy VII (2020) and seeing a trailer for Ghost of Tsushima? For me the difference is that when I see Cloud appear with the buster sword I am excited to know what they kept, to see how they improved it. When I see a samurai on screen do crazy ninja moves and disappear I want to see more, a lot more. I know what to expect from the next Legend of Zelda, I know what to expect from Call of Duty, for Assassin’s Creed, and I love when they do blow those expectations away. But when Naughty Dog sends me a YouTube video of the Planet Earth clip where the ant goes psycho and grows a mushroom out of its face then the game comes out and I never knew it would be so sad and intense and rewarding it is unlike anything else. We spend most of our time as gamers anticipating the next rush and I can tell you exactly what it’ll feel like to play the next Doom or Metroid Prime but I will never be able to put into words the next time I will get to play a new game for the first time will be like.

[bcwallin]

Streaming services need bonus features

The stream of content never ends.

Hulu, like many other services, has autoplay set up so that as soon as I finish one movie, I’ll start whatever’s next. Disney+ won’t start something without a click, but it’ll try to get me to start something else while the credits are rolling. Netflix doesn’t let me have a quiet moment from the second I open it, and at one point or another, it had buttons to encourage skipping the opening credits or rewatching a scene that had just finished in the middle of a movie. I want to be able to sit with the movies and let them soak in, and that’s often not easy to do when I’m being pushed to watch something else and move on – because, to analytics-obsessed streaming services, everything is content and the goal is for me to be yet another number in a streaming quarterly report.

While I crave a moment to process the film or TV show I just enjoyed, I also want other ways to enjoy them. I want to learn more about the creative process behind the piece and engage with the ideas of whatever media I’ve just seen. I want to see alternate takes the filmmakers opted not to use in the final work and hear commentaries from those artists, or the scholars who can teach me more about what I’m watching. I want to explore. I miss special features. I miss the context and bonus content that would come with DVDs, ones that encouraged me to stay with a movie even after watching it. In the age of limitless content and fully customizable menus, this experience is all but dead.

The one streaming service that I’ve found that really, fully does this — where you can generally depend on having more to watch than just the movie — is the Criterion Channel, where much of the library and supplements from the Criterion Collection are available. The first thing I watched on the service when I activated my subscription was a making-of documentary for A Hard Day’s Night. When Criterion’s movies end, they don’t force anything on me. I can explore, understand, go deep. Movies are a whole lot better with context — and a little extra something.

The Criterion Channel treats bonus features like they’re worth watching, and it’s clear when you look at the UI. Movies are treated as films or collections, and when you open them as collections, all the extra shorts, commentaries, interviews, and extras are laid out, easy to see. You can search for bonus features and you can add one of them to your watchlist without adding the movie it’s related to. The first step in offering great bonus features is to make them or at least make them available. The next thing to do is to actually show where they are, instead of pretending they don’t exist.

Sure, Netflix and Hulu have some featurettes or clips hidden with certain releases – the odd podcast or alternate cut. HBO GO sometimes offers extended editions of a movie. Amazon Prime has X-Ray trivia running over their movies, if you want to keep pausing and checking intermittently. And Disney+ has the occasional special feature that’s actually special, like the feature commentary that can play during Avengers: Endgame (if there were better commentaries available, it would be less special, but beggars can’t be disappointed about listening to the Russo brothers explaining time travel, I guess). Yet, seeing these options here and there only makes me crave more. For the vast majority of these streaming platforms’ titles, the best we can expect is an attached trailer.

I want to be able to learn more about a movie, to immerse myself in these stories and the artists who brought them to life. These materials exist and are put out on disc releases, so why can’t I enjoy them on streaming platforms? I’m sure Disney and Netflix and Amazon and AT&T have the cash on hand to clear whatever rights issues might be standing in the way, or to produce original features for content. HBO certainly saw the value when it came to explaining why Game of Thrones’ last season was such a rush job.

Am I going to have a movie night with friends where we watch a feature-length commentary or a recorded Q&A from a festival screening? Probably not. Do I get concerned looks when I complain that a special SteelBook release doesn’t deviate from the already-available bonus features in a standard Blu-ray? That’s not unimaginable. Have I felt alone for so long because these special extras feel like they’re generally only special to me, and I could just mindlessly binge Friends (which is bad) or The Office (which isn’t bad, but I’ve seen it enough) without complaining about this possibly meaningless crusade? Let’s not make this personal.

Sometimes, the special features are what pull me toward one home release over another. I’ve been interested in watching Star Wars: The Last Jedi’s dialogue-free version of the film (special features also include the documentary The Director and the Jedi, which is a step above standard featurettes), and I’ve sought out releases because they have a sing-a-long version, like a recent Mamma Mia double-feature gift purchase. If I ever buy a copy of Blade Runner, it’s going to be the one with all five cuts available. I want Disney+ to offer the incomplete version of Beauty and the Beast it once screened, which should require minimal effort (especially because they actually packaged and sold the work-in-progress version to the public). I want bonus features, and I’m getting tired of waiting for them.

I get the motivation for us to move from title to title, mindlessly consuming this vague, money-making thing they call content, but that doesn’t mean I understand why they do this. Why does Netflix, self-crowned champion of the independent cinema, not want to encourage viewers to fall in love with film and explore their passion? Does context only belong on its Twitter account (which should really stop pretending it’s a human person) or in podcasts that I wouldn’t have known existed without an oddly insatiable curiosity about The Other Side of the Wind, a not-so-good movie I can’t stop thinking about?

Even when they’re not providing context, bonus features can just be fun. Animated features that have bloopers as if the characters are real actors being filmed? I love it. An in-universe animated series that also features a commentary track by the characters being portrayed in it? Absolutely. How about a series of one-offs that eventually launched a TV series? It can happen. And those are just Disney properties.

I’m tired of the constant, never-ending stream of content, of being told to watch one thing then the other then the other — “Are you still watching?” Netflix asks, then shovels more down your gullet — and I can’t even breathe and contemplate what I just saw. I’m annoyed that Roku’s Apple TV app won’t let me watch a movie with commentaries or that the best Amazon Prime has to offer in terms of context involves disrupted viewing.

Bonus features let us take a moment. They’re the special ingredient that home entertainment gave us. And I want them back.

Originally published on Input