#guess who found out about indie visual novels

[birdies-lockbox]

[insertdisc5]

🎮 HEY I WANNA MAKE A GAME! 🎮

Yeah I getcha. I was once like you. Pure and naive. Great news. I AM STILL PURE AND NAIVE, GAME DEV IS FUN! But where to start?

To start, here are a couple of entry level softwares you can use! source: I just made a game called In Stars and Time and people are asking me how to start making vidy gaems. Now, without further ado:

SOFTWARES AND ENGINES FOR PEOPLE WHO DON'T KNOW HOW TO CODE!!!

Ren'py (and also a link to it if you click here do it): THE visual novel software. Comic artists, look no further ✨Pros: It's free! It's simple! It has great documentation! It has a bunch of plugins and UI stuff and assets for you to buy! It can be used even if you have LITERALLY no programming experience! (You'll just need to read the doc a bunch) You can also port your game to a BUNCH of consoles! ✨Cons: None really <3 Some games to look at: Doki Doki Literature Club, Bad End Theater, Butterfly Soup

Twine: Great for text-based games! GREAT FOR WRITERS WHO DONT WANNA DRAW!!!!!!!!! (but you can draw if you want) ✨Pros: It's free! It's simple! It's versatile! It has great documentation! It can be used even if you have LITERALLY no programming experience! (You'll just need to read the doc a bunch) ✨Cons: You can add pictures, but it's a pain. Some games to look at: The Uncle Who Works For Nintendo, Queers In love At The End of The World, Escape Velocity

Bitsy: Little topdown games! ✨Pros: It's free! It's simple! It's (somewhat) intuitive! It has great documentation! It can be used even if you have LITERALLY no programming experience! You can make everything in it, from text to sprites to code! Those games sure are small! ✨Cons: Those games sure are small. This is to make THE simplest game. Barely any animation for your sprites, can barely fit a line of text in there. But honestly, the restrictions are refreshing! Some games to look at: honestly I haven't played that many bitsy games because i am a fake gamer. The picture above is from Under A Star Called Sun though and that looks so pretty

RPGMaker: To make RPGs! LIKE ME!!!!! NOTE: I recommend getting the latest version if you can, but all have their pros and cons. You can get a better idea by looking at this post. ✨Pros: Literally everything you need to make an RPG. Has a tutorial inside the software itself that will teach you the basics. Pretty simple to understand, even if you have no coding experience! Also I made a post helping you out with RPGMaker right here! ✨Cons: Some stuff can be hard to figure out. Also, the latest version is expensive. Get it on sale! Some games to look at: Yume Nikki, Hylics, In Stars and Time (hehe. I made it)

engine.lol: collage worlds! it is relatively new so I don't know much about it, but it seems fascinating. picture is from Garden! NOTE: There's a bunch of smaller engines to find out there. Just yesterday I found out there's an Idle Game Maker made by the Cookie Clicker creator. Isn't life wonderful?

✨more advice under the cut. this is Long ok✨

ENGINES I KNOW NOTHING ABOUT AND THEY SEEM HARD BUT ALSO GIVE IT A TRY I GUESS!!!! :

Unity and Unreal: I don't know anything about those! That looks hard to learn! But indie devs use them! It seems expensive! Follow your dreams though! Don't ask me how!

GameMaker: Wuh I just don't know anything about it either! I just know it's now free if your game is non-commercial (aka, you're not selling it), and Undertale was made on it! It seems good! You probably need some coding experience though!!!

Godot: Man I know even less about this one. Heard good things though!

BUNCHA RANDOM ADVICE!!!!

-Make something small first! Try making simple: a character is in a room, and exits the room. The character can look around, decide to take an item with them, can leave, and maybe the door is locked and you have to find the key. Figuring out how to code something like that, whether it is as a fully text-based game or as an RPGMaker map, should be a good start to figure out how your software of choice works!

-After that, if you have an idea, try first to make the simplest version of that idea. For my timeloop RPG, my simplest version was two rooms: first room you can walk in, second room with the King, where a cutscene automatically plays and the battle starts, you immediately die, and loop back to the first room, with the text from this point on reflecting this change. I think I also added a loop counter. This helped me figure out the most important thing: Can This Game Be Made? After that, the rest is just fun stuff. So if you want to make a dating sim, try and figure out how to add choices, and how to have affection points go up and down depending on your choices! If you want to make a platformer, figure out how to make your character move and jump and how to create a simple level! If you just want to make a kinetic visual novel with no choices, figure out how to add text, and how to add portraits! You'll be surprised at how powerful you'll feel after having figured even those simple things out.

-If you have a programming problem or just get confused, never underestimate the power of asking Google! You most likely won't be the only person asking this question, and you will learn some useful tips! If you are powerful enough, you can even… Ask people??? On forums??? Not me though.

-Yeah I know you probably want to make Your Big Idea RIGHT NOW but please. Make a smaller prototype first. You need to get that experience. Trust me.

-If you are not a womanthing of many skills like me, you might realize you need help. Maybe you need an artist, or a programmer. So! Game jams on itch.io are a great way to get to work and meet other game devs that have different strengths! Or ask around! Maybe your artist friend secretly always wanted to draw for a game. Ask! Collaborate! Have fun!!!

I hope that was useful! If it was. Maybe. You'd like to buy me a coffee. Or maybe you could check out my comics and games. Or just my new critically acclaimed game In Stars and Time. If you want. Ok bye

[blank-house]

Did you always want to make VM style dating/life sims?

speaking for myself, yes! lol. i've played rpgs since i was a kid, so the visual novel "format" was already pretty familiar to me since the genre is like that by design! for me, a game's only as good as what it wants to say. what did the people who wrote this want me to take away? what did they want me to feel? is it a classic story?

or is it something more? whether i like it or not is a different conversation! but, i'd endure just about anything if i think something is worth my time. i still will! lmao. i forced myself through hades despite being HORRIFICALLY bad at live combat and it was worth it!

i got into true visual novels around the time i was 12? maybe 13? they naturally lend themself to the things i prioritize in my enjoyment.

haha, my first otomes were pacthesis flash games. i found out YEARS later that the developer is around my age. just a bit older than me! but was making these full-fledged games at near the same time that i'd stumbled upon them. and that led me to the realization that i likewise could make games if it was something i wanted to put my heart in.

i think visual novels get downplayed a lot in the mainstream as categorically boring since there's no active "gameplay," but i've come away from some indie passion projects made by people like you and me that have changed the way i think about things just because those developers had something in them that they wanted to share even if it was just for the one and only title they'd ever make.

marina said, "yeah, i guess."

[fictionkinfessions]

More ask games!

Anonymous sent: probably new ask game? dunno if anyone’s done this before but i wanna do it myself: compare yourself from your canon/source to you now hey i’m dainsleif, a certified little guy(tm) it’s funny how i’ve gone from being emo and god hating to a little inch tall lad :3 -dainsleif (genshin impact), #⏳🍨🫖

#canon heights

Anonymous sent: ask game for video game kins/fictives specifically: what's your source(s) and what's types of games do you like to play now? i'm from a bunch of different games, from stuff like dd:adds to firewatch to TF2, and i also love a wide variety of games (usually indie stuff), but currently i really love both fast paced and violent stuff, like ULTRAKILL (and TF2 :P), and anything with a fishing minigame, like stardew valley (…and ULTRAKILL LOL) special shout out to visual novels tho 🫶 love me a good VN every once in a while heh

#canon vidyas

Anonymous sent: starting an ask game! what's something you never got the chance to enjoy as your kintype? for me it's both eating/cold temps so I guess ice cream. that's pretty cool! -Igneous 🔥📘 starting an ask game! what's something you never got the chance to enjoy as your kintype? for me it's both eating/cold temps so I guess ice cream. that's pretty cool! -Igneous 🔥📘

#missed foods

Anonymous asked: Uhhh new ask game because honestly why not :) In the same vein of the canon songs game a little while ago, what are some general ambient sounds that remind you of your kins? I personally just found this sci-fi computer-beeping ASMR thing, and it makes me feel at home, you know? I'm just a silly lil singing computer :) -Fukase (#👁❌️🔴)

#canon sounds

Anonymous asked: hey, how about an obscurekin based ask game? canon… err…. obscure canon/s? mpc, do you have a better askgame name maybe? obscure canons (unofficial name): an obscure kin/fictive/etc of yours, basically! obscure in any sort of sense; from obscure as in "people know about this media and its very popular but ive met little to no people who are fictives/kin/etc from this media" to obscure as in "nobody knows about this media and barely anyone knows it exists"! personally, im sort of a mix between the two. i'll go first— hi, im AB from try to fall asleep! im a mental assistance robot created by dr rick norberg and assigned to help the player character, john herrin, to fall asleep in order for him to heal from his brain damage!!! fun, right? my media has been incomplete for a few years(?) now, though, which is disappointing. i do hope john healed someday.

#obscanons

Current Ask Games

[open for fictotypes and system members and those it's applicable for!]

Anonymous asked: I know pride month is almost over but I’m still curious to ask for anyone who wants to answer or remembers: What was it like being LGBT+ in your canon/past life? Like was the setting (whether it was a town, country or the world you live in) accepting of it or was it a challenge to be who you were?

#lgbt mems

Anonymous asked: whats ur most boring canon mine is carla jean moss from NCFOM & its like. i lived in a shitty trailer, worked at walmart, and then got murdered at 19. riveting. 10/10 past life.

#canon bores

Anonymous asked: can we bring back kin jobs? that game was awesome. hi my name is danny fenton and i work at a circus. i promise i wasn’t mind controlled into it this time you guys #👻🪐💫

#canon jobs

Anonymous asked: canon lookalikes (or a better name if you have one i guess): who is someone, likely from another media, who bares resemblance to you(r kin/fictive/c-link/etc.) appearance-wise? maybe also trait-wise if you'd like to add that

#canon lookalikes

EDIT Two more games!

Aonymous asked :new kin game perhaps? pick a source you kin from (or have alters from! wanna include my plurals in this one) and then count how many dollars you'll have based on the number of kins (or alters) you have, this can include non-canon characters and ocs that are tied to sources just so more people can participate, and you can count multiple timelines or kinning the same character in different aus. i'm proposing the name #dollarkins for this idea, and I'll start first!

going with hlvrai, i kin 11 characters in a canon compliant sense, and with aus... [cringes as i look have to count them all] I've got about 25 dollars in total..... i can get myself a 3 month essenital playstation plus subscription with that......

#dollarcanons

Anonymous asked: hi!! i am starting an ask game cause it seems fun! name your main kintype/ID, and then a non-media interest you have currently!! for example: Yugi Muto from Yu-Gi-Oh is really into roller coasters and theme parks these days!! they are so cool!! :D ! #🃏🌠👾

#canon interests

[metaldragoon]

Finished my 2nd game of the year! Or so I thought until rethinking that statement and also remembered Milk outside a bag of milk outside a bag of milk, so I finished my third game today I guess. Quickly talking about Milk outside a bag of milk outside a bag of milk, it’s a very brief visual novel (I think it took about 3 hrs to complete all paths) that is a sequel to an even briefer visual novel (I watched someone else play it in about 30 minutes).  It’s a very self-contained story about a girl basically just falling asleep after the first game which saw her buy some milk for her mother.  She’s got some issues to say the least and we play as her medication that tries to guide her to making the right decisions, I guess? It’s a unique POV in that regard and almost everything is cryptic since you can’t really tell what’s true or what she’s warped her mind in to believing.  I found it pretty engaging and my friend who I played it with and I had fun trying to decipher what everything meant.  Cheap indie game if you want to try a thriller, got some music that really stands out too IMO. But my third game which inspired me to slap the ol’ right-hand index finger on the “Text” button and start typing to everyone is AI: The Somnium Files.  I was initially pretty in to it, I thought all the characters were pretty good, especially the main investigation duo of the player character and his partner, an AI that resides in his eyeball.  I only state that because I read a bunch of people saying it took them to the end game to actually like it.  The game really shoots itself in the foot with all the “haha i’m a perv” moments with the main character that are usually not funny at all, and I would say the mid-game can get pretty slow depending on what route you’re taking.  That said I do really like the main character, he’s just chill and funny and his insanity is mostly self-contained to internal dialogue with his AI so he doesn’t really feel awkward in his social interactions most the time.   Six years ago there was a serial killer who fancied himself plucking some eyeballs as his calling card.  Present day we find a victim killed in similar, but not identical fashion and we are tasked with trying to discover who the copycat killer is.  Six years ago we also lost all memory of who we were! And a bunch of other things happened six years ago too.  Is it all related?! Yerp. Like I said, the end game is what usually makes everyone a fan, and once the game reveals how everything is actually related it really takes a huge step up, and ending on the highest note is always good for a game.  I have some minor gripes with the end of the game, mainly the implied relationship we are going to pursue after the game which seems kinda forced, but very minor like I said, and as stated the mid-game is a bit stagnant at parts, specific locations just having boring ass music and you know nothing’s gonna happen. There’s a sequel coming out in June, so I’m looking quite forward to that.  Uchikoshi has a shaky track record with sequels as I thought 999 was really good and VLR/Zero Time Dilemma were awful, but we’ll see.  It features a different main character (who is a big character in the first game) and I expect most every character will return so that’ll be nice.  I guess that’s all I have to say, it is 4:20 AM so lets blaze it!!!

[baphomet-media]

Sword Art Offline - A CrossCode Review

Genre: Adventure Subgenre: Action RPG Developer: Radical Fish Games Publisher: Deck13 Platform(s): PC, Playstation, Switch, Xbox (Reviewed on Xbox Series X) Release Date: July 9th, 2020 Time Played: 60 hours

CrossCode was a game that I knew next to nothing about going in. I heard some faint praise for the title online, but I really had no idea what to expect. The game’s description bills it as a Zelda-like, but offers little else in the way of explanation. The vibrant pixel art environments convinced me to give it a shot. So is CrossCode a success, or is it just a glitch in the system?

Story

In the distant future, humanity has colonized the galaxy. On one remote moon, a company called Instatainment decides to create something unique. They create a one-of-a-kind MMO where the locations in the game are real physical places, and players can log in and explore them using avatars made of something called “instant matter,” a kind of extremely light and insubstantial matter that can be quickly and cheaply conjured up for all sorts of purposes, but cannot meaningfully interact with the physical environment. This MMO is called CrossWorlds, and has become very popular in the world of CrossCode. Despite the fact that the game features an in-universe MMO, CrossCode is in fact an offline, singleplayer game. The different meta layers can be somewhat difficult to explain at times, but I found it to be a novel and interesting setting.

You take control of Lea, a player of CrossWorlds who has seemingly lost her memory. While being aided by man-at-the-keyboard Sergey, she must infiltrate CrossWorlds from the outside and play the game to recover her memories. But all is not what it seems, as a strange flying blue avatar seems to be pursuing Lea.

Along the way, Lea will participate in the game of CrossWorlds alongside other avatars such as the feisty french Emilie (AKA Emilienator), the nerdy Toby (AKA C’tron), the braggadocious Apollo, and many more. Each character has a vibrant design and personality that make them stand out and feel loveable.

The game’s plot is quite intense at times and drips with intrigue, keeping you playing for hours on end. In one of my play sessions, I played the game for over 7 hours in a single sitting, which is a testament to how hooked I was. There are plenty of twists and turns throughout that keep you guessing, and many different layers to ponder over in between sessions. Unfortunately, I feel like the ending falls a touch flat, as it feels like the game just kind of stops and all the conflicts resolve at once, but it’s a small issue.

There is a bad ending to the game, obtainable by missing or failing a single optional story event, but if you’re paying attention and exploring you’ll have no trouble finding it. There is also a DLC epilogue episode that continues from the true ending, but unfortunately this epilogue is not yet available on console at the time of writing. It is currently slated for a ‘Summer 2021’ release, so perhaps I will be able to review it shortly.

I wish there was more I could say about the story because there’s a LOT going on, but unfortunately it would ruin the experience, so you’ll have to discover it for yourself. Suffice it to say that the story kept me intrigued and hungry for more up until the very end. The writing is often witty and funny, and I noticed various references to other series, such as Kingdom Hearts, Gurren Lagann, and Ace Attorney.

Gameplay

CrossCode at its core is a top-down action RPG. Lea has a number of different moves that can assist her in combat, such as melee attacks, ranged attacks, dodging, guarding, and special attacks. Additionally, once you complete the game’s dungeons, Lea will be able to switch into different elemental modes. Each mode has its own stats, special attacks, and affinities, and it pays to be vigilant about which elements are effective against which enemies. Plus, using elemental modes for too long builds up an overheat meter that, when filled, locks Lea out of elemental modes until it depletes. Due to all this complexity, it pays to think on your feet and be conscientious about how you approach fights.

On top of that, there are different consumables that offer timed buffs, different equipment effects which offer different buffs, as well as the Circuit, a skill tree with different trees for each element. Every time Lea levels up, she gains one Circuit Point for each elemental tree to spend on permanent buffs and unlocking special attacks. Some nodes on the circuits require multiple circuit points to unlock, so you’ll have to weigh which nodes to unlock when. All of this combined makes Lea highly configurable, but versatile enough to where you can completely change her build at any time outside of combat.

As you play the game, you will typically have allied characters fighting alongside Lea, which makes tough groups of enemies much more manageable. However, there are many areas which are “instanced” to where Lea must complete challenges alone. These are some of the game’s toughest challenges, and typically involve puzzle solving and/or combat. There are various dungeons around the Playground of CrossWorlds, the in-universe playable area, and most are quite extensive. These are the moments that the game somewhat feels Zelda-like, though really only in that you have to progress through dungeons with various puzzle and combat rooms in order to unlock a new element. Each dungeon adds new mechanics to master, and many dungeons bring back old mechanics from prior dungeons, requiring you to figure out how multiple mechanics work together. I found these sections a ton of fun, even if some of the puzzles were real head-scratchers.

Where would an RPG be without its sidequests? CrossWorlds, and by extension CrossCode, has plenty of sidequests for Lea to undergo to gain experience, money, and items. Most of the quests are your bog-standard fetch quests, but many have the player find new areas, face unique encounters, or even engage in minigames. Fortunately, a lot of the monotony of questing that you’d expect from any other game is mitigated by the fact that you can teleport back to any discovered landmark at any time for free.

As you explore the world, you’ll find yourself engaging in minor platforming. Essentially, areas of the game map are on different elevation tiers, and there are a ton of chests that are locked behind finding out how exactly to manage the elevation to reach a chest on a high ledge, often traveling on high elevation across multiple maps for a single chest. It can be a bit frustrating for people who constantly see chests that are seemingly out of their reach, but I found it fun to hunt them all down. Additionally, using a charged projectile to ricochet off walls and obstacles are quite common. One downside to the platforming is that it can sometimes be difficult to determine the heights of different stage elements at a glance, as the game doesn’t seem to have any sort of visual indication of the different elevations aside from just looking at the relative vertical distance between the floor and the next level. This often causes you to jump into walls or off cliffs during drawn-out platforming sections, which can be frustrating.

Overall, I don’t really agree that CrossCode is a Zelda-like. To me, it’s more like a 2d hack-n-slash without aerial combat. Still, that isn’t a negative, and I feel like CrossCode manages to create something that feels its own and not heavily derivative. I only wish the marketing had played more to its strengths instead of just bragging about how much the game was like Zelda and how many different genres they think they mashed together. I probably would have given the game a shot a lot sooner.

Presentation

The environments of CrossCode are gorgeous, with high detail pixel art that is hard to believe is based on a tileset. The character designs are bold and emotive, and really give you an idea of what each character is about at first sight. The game’s soundtrack is also a banger, with plenty of different tracks in many different instruments. It’s the kind of soundtrack I’d happily listen to outside of the game, and instantly becomes familiar to you.

Conclusion

Aside from a bit of platforming jank and a slightly underwhelming ending, CrossCode is a real gem of a game that anyone who likes RPGs should check out on their platform of choice, and especially if you have Game Pass. This is a game that deserves the same level of cult following as other indie gems such as Celeste and Stardew Valley. I look forward to the coming DLC, and whatever developer Radical Fish cooks up next (hopefully a sequel!)

Score: 9 / 10

[cctinsleybaxter]

2020 in books

2020 was a year of changed reading habits; people reading more than ever or not at all, some changing their tastes and others turning to old comforts. While there weren’t any huge overhauls on my end, more free time did mean a total of 32 in a wider range of genres. In the past couple of years I found a lot of the things I read to be kind of middling and ranked them accordingly, but this year had some strong contenders in the mix. With college officially behind me I love nonfiction again, and I really need to stop being drawn in by novels with long titles that ‘sound interesting.’ A piece of advice to my future self: they will only make you angry.

The Good

The Idiot by Fyodor Dostoevsky I loved the BBC radio play when I first listened to it back in 2017, but didn’t know if I could stomach the idea of actually reading the 700-page book, especially since I already knew the plot (spoiler alert: this had no effect and I gasped multiple times despite knowing what was going to happen; Fyodor’s just that good at atmosphere.) The story follows Prince Lev Myshkin, a goodhearted but troubled man entering 1860s Petersburg high society and meeting all of the wretched people therein as he navigates life, laughs, love, unanswerable questions of faith, and human suffering. I care about it in the same way I think other people care about reality TV shows and soap operas. I’m so personally invested in the drama and feel so many different emotions directed at these clowns that it’s like being a fan of Invitation to Love (with an ending equally upsetting to that of the show ITL is from, Twin Peaks.)

Salt: A World History by Mark Kurlanksy I adored this book. The first half reads a little like a Wikipedia article, and I was worried that it was leaning too clinical and would be disaffected with colonialism and indigenous peoples, but even that oversight is corrected for as the text goes on. It’s not going to be for everybody because it really is just the world’s longest encyclopedia entry on, well, salt, but it’s written with such excitement for the topic and is so well-researched and styled for commercial nonfiction that I think it deserves any and all praise it’s gotten. We have to talk about that time Cheshire was literally sinking into the ground, and companies who were over-pumping brine water to steal each other’s brine water said ‘no it’s okay it’s supposed to that’ so were legally dismissed as suspects.

Midnight Cowboy by James Leo Herlihy Cried. 10/10. The plot of Midnight Cowboy is very classic and actually has a lot in common with The Idiot, as 20-something Joe Buck moves from the American Southwest to NYC and meets myriad challenges as a sex worker. I’ve been obsessed with the movie for a few years now and the book made me appreciate it anew; I think it’s rare for an adaptation to take the risk of being so different from its source material while still capturing its spirit. The movie doesn’t include quieter moments like the full conversation with Towny or time spent in the X-flat, nor does it attempt to touch Joe’s internal monologue or his and Rico’s extensive backstories, but these things are essential to the book and are some of the best and most affecting writing I’ve ever read. Finally! The Great American Novel!

The Only Good Indians by Stephen Graham Jones I would firmly like to say that this is probably the best horror novel ever written. The setup is very traditional in that it’s about a group of friends facing supernatural comeuppance for a past mistake, but delivery on that premise is anything but familiar. A story about personal and cultural trauma that raises questions about what we owe to each other and what it means to be Blackfeet, with a cast that’s unbelievably real and sympathetic even at their absolute worst. Creepypasta writers trying to cash in on the cultural mythos of lumped-together tribes wish they were capable of writing something a tenth as gruesome and good as this. It could very well be a movie the visuals and writing style were so arresting, and I can’t wait to read whatever Jones writes next.

Found Footage Horror Films: Fear and the Appearance of Reality by Alexandra Heller-Nicholas This is the least accessible title on the list since it’s a college textbook for people with background in film, but it was so nice to read a woman unpacking film theory with the expertise and confidence it deserves that I have to rank it among the best. I had an absolute blast reading it and am going to have to stop myself from bringing up the horror of 1960s safety films as a cocktail icebreaker.

Blood in the Water: The Attica Prison Uprising of 1971 and Its Legacy by Heather Ann Thompson

The year’s toughest read by far, but also its most rewarding. Thompson uses mountains of documents, government-buried intel, and personal interviews to explain what happened at Attica from beginning to end, and does a fantastic job of balancing hard facts and ‘unbiased journalism’ with much-needed emotion and critical analysis. It’s more important reading in the 2020s than any kind of ‘why/how to not be racist’ book club book is going to be, and the historical context it provides is as interesting as it is invaluable. The second half drags a bit in going through lengthy trial processes with some assumed baseline knowledge of legalese (which I did not have. All that criminal minds in 2015… meaningless), but aside from that editing and prose are some of the best I’ve seen in nonfiction. 

The Bad

The Woman in the Window by A.J. Finn A friend and I decided to read this together because I’m obsessed with how insane the author is and wanted to know if he can actually write.

He cannot.

The Beautiful Thing That Awaits Us All by Laird Barron Barron is an indie darling of the horror fiction scene, so I was excited to finally read one of his collections but can now attest that I hate him. If you’re going to do Lovecraft please deconstruct Lovecraft in an interesting way. I had actually written a lot about the issues I have with how he develops characters and plots, but one of the only shorthand notes I took was “he won’t stop saying ‘bole’ instead of tree trunk” and I feel like that’s the only review we need.

Bats of the Republic by Zach Dodson Look up a photo of this author because if I had bothered to glance at the jacket bio I honest-to-god wouldn’t have even tried reading this.

This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone I went in with high expectations since this is an epistolary novella I’d seen praised on tumblr and youtube but oh my god was there a reason I was seeing it praised on tumblr and youtube. This is bad Steven Universe fanfiction. Both authors included ‘listening to the Steven Universe soundtrack throughout’ in the acknowledgements, and to add insult to injury there’s a plug from my nemesis Madeline Miller.

The 7½ Deaths of Evelyn Hardcastle by Stuart Turton The premise of this one plays with so many tropes I like that I should have been more suspicious. It’s a dinner party with stock characters one would expect of Clue, and rather than our protagonist being the detective he’s a man with amnesia stuck in a 24-hour time loop. Body-hopping between guests, he must gather evidence using the skillsets of each ‘host’ until he either solves Evelyn Hardcastle’s murder or the limit of eight hosts runs out. I read a lot of not-very-good books, and it’s so, so much worse when they have potential to be fun. This is how you lose the most points, and how I abandon decorum and end up writing a list of grievances: • Our protagonist can only inhabit male hosts, which I think is a stupid writing decision not because I’m ‘woke’ but because wouldn’t it make sense for him to also be working with the maids, cooks, and women close to the murder victim? • Complaining about the limitations of hosts makes some sense (e.g- there’s a section where he thinks that it’s hard to be an old man because it’s difficult to get to the places he needs to be quickly), but one of his hosts is a rapist and one of his hosts is fat. Guess which one gets complained about more. • One of the later hosts is just straight-up a cop with cop knowledge that singlehandedly solves the case. We spend some time being like ‘wow I couldn’t have done it without the info all eight hosts helped gather’ but it was 100% the detective and he solves the murder using information he got off-screen. • The mystery itself is actually well-paced and I didn’t have a lot of issues with it (e.g, there’s a twist that I guessed only shortly before the end), which makes it all the worse that the metanarrative of this book is INSANE. No spoilers but the reveal as to why our unnamed protagonist is even in this situation is stupid. I just know they’re going to make it into a movie and I’m preemptively going to aaaaaaaaa!!!

Trust Exercise by Susan Choi The fact that this was the worst book I read all year, worse even than the bad Steven Universe fanfiction, and it won multiple awards makes my blood boil. I could rant about it for hours but just know that it’s a former theater kid’s take on perception and memory, and deals with sexual abuse in a way that’s handled both very badly and with a level of fake deepness that’s laughable. Select fake-deep quotes I copied down because at one point I said ‘oh barf’ aloud: -I’m filled with melancholy that’s almost compassion. It’s sad the same way. -[On a friendship ending] We almost never know what we know until after we know it. -Because we’re none of us alone in this world. We injure each other.

There are also bad sex scenes that I can’t quite make fun of because I think (HOPE?) they’re supposed to be a melodramatic take on how teenagers view sex, but I very much wanted to die. Flowers were alluded to. Nipples were compared to diamonds.

Honorable/Dishonorable Mentions (categorized as the same thing because, well,)

The Life and Death of Sophie Stark by Anna North This book was frustrating because the first third of it is fantastic. It’s set up to be a takedown of the manic pixie dream girl trope, jumping from person to person discussing their relationship with the titular Sophie, and indirectly revealing that she was just some girl and not the difficult and mysterious genius they all believed her to be. Then in the third act, BAM! She was that difficult and mysterious genius and she’s now indirectly brought all the people from her past together. I wanted to scream the plot beefed it so bad, but the good news is I really liked this octopus description.

It was the size of a three-year-old child, and it seemed awful to me that something could be so far from human and obviously want something as badly as it wanted to get out of the tank.

Radium Girls: The Dark Story of America’s Shining Women by Kate Moore Cool new nightmare speedrun strat is to hear a 2-second anecdote from a documentary that people used to get radium poisoning from painting watch faces, be curious enough that you buy a book to learn more, and be met with medical and legal horror beyond anything you could have imagined. This was almost one of my favorite books of the year! Almost.

Radium Girls is very lovingly crafted and incredibly well-researched; one of those things that’s hard to get through but that you want to read sections of again as soon as you’ve finished. The umbrage I take with it is that it’s very Catholic. The author and many of her subjects are Irish and their religion is important to them, but it casts a martyr-y narrative over the whole thing that I found uncomfortable. Seventeen-year-old girls taking a factory job they didn’t know was dangerous are framed as brave, working-class heroes, but there’s not a set moral lesson to be gained from this story. Sarah Maillefer didn’t make “a sacrifice” when she agreed to the first radium tests, she agreed because she was terrified. She didn’t think she was helping she was begging for help.

The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins by Anna Tsing Tsing is an incredibly skilled researcher and ethnographer; there are so many good ideas in this book that I’d almost consider it essential leftist text… if I could stand the way it was structured. Tsing posits that because nature is built on precariousness she will build her book the same way, allowing it to grow like a mushroom, and thus chapters don’t progress linearly and are written more like freeform poetry than a series of academic arguments. Some people are really going to love that, but I’m me and a mushroom is a mushroom and a book is a book. I don’t think in the way Tsing does, and while I tried to keep an open mind it’s hard to play along when something is this academically dense and makes so many ambitious claims. As if to prove how different our structuring methods are, I’ve made my own thoughts into a pros and cons list

Things I liked: • ‘Contamination’ as something inherent to diversity • ‘Scalability’ as a flawed way of thinking (Tsing has written whole essays about this that I find very compelling, but a main example here is that China and the US have come down on Japanese matsutake research for being too ‘site specific’ and not yielding enough empirical data) • Discussing how Americans were so invested in self-regulating systems in the 1950s we thought they could be applied to literally everything, including ecosystems • “The survivors of war remind us of the bodies they climbed over- or shot- to get to us. We don’t know whether to love or hate the survivors. Simple moral judgements don’t come to hand.” • Any and all fieldwork Tsing shares is amazing; I especially liked reading about the culture of mushroom pickers living in the Cascades and their contained market system

Things I didn’t like: • Statements that sound deep but aren’t, e.g- “help is always in the service of another.” (Yep. That’s what that means. Unless an organism is doing something to help itself which then nullifies your whole opening argument.) • A very debatable definition of utilitarianism • “Capitalism vs pre-capitalism,” which seems like an insanely black-and-white stance for a book all about finding hidden middle ground • A chapter I found really interesting about how intertwined Japanese and American economies are, but it tries to cover the entire history of US-Japan relations. Seriously, starting with Governor Perry and continuing through present day, this could have been a whole different book and it’s a good example of what I mean when I say arguments feel too scattered (the conclusion it reaches is that in the 80s the yen was finally able to hold its own against the dollar. Just explain that part.) • A chapter arguing that ‘true biological mutualism’ is rarely a focus of STEM and is a new sociological development/way of thinking which is just… flat-out not true

For all the comparisons art gets to ‘being on a drug trip’ this anthropology textbook has come the closest for me. Moments of profound human wisdom, intercut with things I had trouble understanding because I wasn’t on the same wavelength, intercut with even more things that felt false or irrelevant. I can’t put it on the nice list but I am glad I read it.

[richincolor]

Interview with Lipan Apache Author Dr. Darcie Little Badger

Today we celebrate the book release of the slightly creepy and very intriguing mystery-fantasy Elatsoe by Darcie Little Badger (Lipan Apache) illustrated by Rovina Cai. I read an advanced copy last month and the story captivated me. Here's a one minute video to give you an introduction to this unique tale.

Darcie is quite a creative and accomplished person. She has a PhD in Oceanography, an award winning cosplay Magic Ivy, and will soon be writing a Dani Moonstar One-shot. We're fortunate to have Darcie on the website today to share about her debut novel and her writing.

Crystal Brunelle: You've written comics, short stories, nonfiction and at least one dissertation. What got you to jump into the young adult realm?

Darcie Little Badger: Thanks to my habit of throwing random thoughts on Twitter, I can pinpoint the exact moment when I realized that Elatsoe had to be a YA book. December 30, 2016, I Tweeted, “Uuuuuuhhhhh whyyyyy. Realized that the main character in this book of mine needs to be in high school, so I'm rewriting the whole thing.”

Yep. Elatsoe started as an adult book. But after about 10,000 words, I hit a wall. The story wasn’t working. At a deep, almost instinctual level, I knew that Ellie—her voice, her fight, and her triumph—had to be a young adult. So, er, I guess it’s less that I jumped into the YA realm and more that the YA realm summoned me.

Crystal: As a young adult, what kind of things were you reading and enjoying? Did you see yourself represented in what you found?

Darcie: During Middle and High School, I read almost anything in the fantasy/sci-fi section of the local libraries. Hundreds of books. Gosh, I was a voracious reader. The thing is, people are complex, and human identity contains multiple components. So I’d see parts of myself represented. I’d read about girls. I’d read about eccentric nerds. But in those hundreds of books, I never—seriously never—encountered a Lipan Apache character. Heck, there are very few Native American characters in sci-fi/fantasy. So the answer to the question “did you see yourself represented in what you found” is “only partially.” Which, considering the importance of the missing piece, was discouraging.

Crystal: Has publishing a novel changed your life in any interesting ways?

Darcie: Honestly, this is a difficult question to answer, since it’s been a very painful year for me and my family. We’ve experienced profound loss – it’s still recent and very difficult to talk about. Plus, I’ve been sheltering in place since late February. So everything has changed. And I don’t know what my life has become. Or even what I have become. But I can say that the support Elatsoe has received—the kindness of readers and other writers during this rough debut year—is a ray of light in dark times.

Crystal: I just finished reading your upcoming book and really enjoyed seeing the relationship between Elatsoe and her dog Kirby. Have you had strong connections with any dogs in particular that you may have been holding in your heart or mind as you wrote?

Darcie: Kirby is directly inspired by my first dog, an English springer spaniel. My family adopted him from an animal shelter in Vermont. I still remember meeting Kirby for the first time. His tail  wagging, he pranced to the wall of the kennel and stuck his nose between the metal bars, as if asking for a pat. We took him on a “getting to know you” walk and then immediately took him home. The original Kirby was gentle and smart, and I’ll always love him. In fact, my life—past, present, and future—is enriched by all the dogs I’ve loved.

Crystal: Elatsoe encounters quite a few monsters and she knows about many others from family stories. Who or what would you consider monsters in the here and now and are any of them represented in your writing?

Darcie: Without spoiling any Elatsoe secrets, Dr. Allerton, one of the primary antagonists in the book, definitely represents an insidious variety of real-world monster.

Crystal: Not many young adult novels have illustrations. What led to that decision?

Darcie: Haha! This is a good question for my editor, Nick. I believe it was his idea for Rovina Cai to provide an illustration for every chapter heading. So I wrote a script for a visual story within a story, one that connects to the main plot in surprising ways and answers a key mystery of the book (namely, what happened to Ellie’s legendary six-great grandmother?) And from that script, Rovina created beautiful, ghostly illustrations. It was such an honor to collaborate with her.

Crystal: Are you working on anything else for young adults that you're allowed to talk about yet?

Darcie: I can vaguely discuss my next YA book. It’s a fantasy with elements of science fiction (I’m clearly into genre fusion, considering that Elatsoe is a mystery/fantasy). Specifically, Untitled New Book is an epic two-world adventure involving near-future Earth and a land of spirits and monsters. I’m trying to finish that before the year ends. There are other projects in the work, but they’re secrets (for now muahahaha).

Crystal: How would someone be able to figure out that you are a book nerd?

Darcie: If the piles of books in my room aren’t a dead giveaway, I can always wear one of my many “Book Nerd” t-shirts! Seems like every time I visit my favorite indie bookshop, I pick up a new t-shirt. And books. So many books. I guess I’m still a voracious reader.

If you'd like to learn more about Dr. Darcie Little Badger and her writing, you may visit her website or find her on Twitter. Today, August 25th, there is also an online conversation between Darcie and Traci Sorell hosted by McNally Jackson in New York City via Zoom at 6pm EST.

Extra Videos: - Comic-Con Interview - SXSQ ESU - Panel on Border Crossing and Sacred Stories - Comic-Con Panel with Latinx & Native American Storytellers

[elyvorg]

Later Alligator

Later Alligator is a visual novel indie game with extremely charming character design and animation set in a world of anthropomorphic alligators. It’s primarily goofy and humorous, which isn’t precisely the kind of game I’d have sought out on my own, but it is the kind of game I’ll happily sit through and enjoy if a Let’s Play channel I already follow happens to do a playthrough of it, so that’s a thing that I did. Upon said playthrough recently finishing, I found myself having some Thoughts about the story, particularly the true ending, to the point that I figured I might as well get them out somewhere.

The game begins as your player character arrives in Alligator New York City one morning, where in a hotel lobby you find another alligator named Pat. He seems very nervous and hesitant to talk to you at first, until he suddenly gives in and starts spilling his soul to you because you have a trustworthy face. (A face that you can’t actually see yourself because the game is in first person.) It seems like Pat does this spilling-his-soul-to-strangers thing a lot, because he thinks he accidentally let slip some kind of secret to someone at some point and now his family is going to rub him out in what they’re calling an “event” this evening, which is why he’s so nervous. Looks like this impulsive dork was unfortunate enough to be born into a gangster family that he really doesn’t belong in? Since he trusts you, though, Pat asks you to go and talk to his family to find out more details about the “event” and maybe convince them to not actually murder him.

You apparently don’t have anything else to be doing that day, so you proceed to go around the city talking to the many members of Pat’s very large family, helping them with their various problems in minigame form so that they’ll maybe spill a few details about this super-secret “event” involving Pat tonight. As you do, it very quickly becomes clear that, A, Pat’s family really doesn’t seem very gangster-ish at all, and B, this “event” sounds more like some kind of surprise party. And, oh yeah, Pat offhandedly mentioned it was his birthday today in your first conversation with him. His family’s almost certainly just throwing him a surprise birthday party, but Pat somehow got the wrong end of the stick with their vague hints and got convinced they were going to assassinate him instead. Silly Pat.

But the more of Pat’s family you meet, the more it becomes overwhelmingly apparent that not only are his family not remotely gangsters, but… they all really love him? Sure, everyone in his family is weird and quirky and eccentric in one way or another – it’s that kind of game – but they’re all generally nice people and think Pat is a great guy who’s fun to hang out with (well, there’s a few bad eggs, but they’re just self-absorbed and don’t have any malice towards Pat). How could Pat ever actually have thought any of these people would want to hurt him?

You meet up with Pat a few times throughout the day, as he keeps wanting to have his new friend help reassure him through his nerves about the whole totally-getting-super-murdered-today thing. In one of these meetings, your character implicitly tells him “this event really just sounds like a surprise party”, and Pat insists, “no, that’s just what they want you to think, they’re definitely trying to kill me, keep investigating!” It starts to become clear that Pat’s not just acting nervous today in particular because he thinks he’s going to be killed – he’s always nervous and anxious and paranoid, and that’s why his brain’s convinced him with absolutely zero proof that his family, who clearly think the world of him, are out to get him. Poor guy!

But at least Pat has you, this kind stranger who decided to take on his problems and with whom he can feel a little bit safer and find it a little easier to believe things might be okay. In the evening, you lead him to the room where the “event” is taking place to help ease his fears, and he’s adorably delighted when he sees that it really is a birthday party all for him and no-one is trying to kill him even a little bit dead. A couple of his family members mention that he pretty much freaks out like this every year (suggestion, guys: maybe you should stop making it a surprise and just outright tell him he’s getting a party to help him be less paranoid about it). But this year Pat’s freakout wasn’t quite as bad as usual, thanks to you being there to help and reassure him. Aww.

Pat invites you to join in the photo with all of the people who made it to the party (for some reason, only the family members whose minigames you’ve completed will be there, which I guess is to give you incentive to replay in order meet them all and see the full photo). This comes with the neat twist of having a character-creation feature at the end of the game, as you get to decide on your own alligator features at last just before being in the photo. So rather than just picking what best represents your actual self in alligator form, you’ll probably be picking whatever features you think fit the kind of person you seem to have been playing as in the game, based on the comments of everyone you’ve talked to, especially Pat.

And you taking part in the family photo as Pat’s newest friend implies he considers you one of his family now too (after all, a couple of the people you met weren’t actually related to him but were still invited to the party just out of being a friend of his). It is all in all a very wholesome and lovely game about helping this guy through his anxieties, and his big eccentric family that loves him anyway, now including you. Pat is a precious adorable goof who deserves the best birthday party and as much support with his anxiety and paranoia as his family and friends can give him.

Then, if you’ve met every single family member, there’s a true ending. The “event” really being a birthday party barely counts as a plot twist because it’s so obvious, but the true ending is an actual legitimate surprise, so this is your last chance to stop reading if this has made you want to play the game for yourself.

…

Turns out, someone really was out to kill Pat that day, and that someone was you. You are actually an assassin that, through some comedic coincidences and misunderstandings, Pat accidentally hired to kill himself on his birthday.

That’s why you came to this town today. That’s perhaps even why you decided to spend your day talking to Pat’s family and getting information about the “event”; you probably assumed one of them was the one who hired you to kill him and were trying to find out who it was. The whole time Pat was relying on you to stop his family from totally-super-murdering him, and wanting your company to help ease his nerves about it, you were quietly planning on killing him yourself and he never had a clue. Apparently you were so good at hiding your intentions and appearing trustworthy to Pat, to the point that he impulsively spilled his soul to you at the beginning and continued to trust you throughout – but he never should have believed in you at all.

At the end of the party, you approach Pat alone on a balcony, and as he turns to greet you with a big smile, you push him over the railing… only to have an extremely sudden change of heart and catch him as he falls.

…So, obviously I am very on board with the concept of your assassin-gator protagonist (for whom I’m now going to switch to third-person pronouns because it turns out they’re their own character and not just an extension of the player) not actually wanting to kill Pat any more. But I don’t think the way this moment plays out quite works to properly sell their change of heart, not when it only happens all of a sudden once they’ve already pushed him to his death. If they had grown to feel unwilling to kill Pat, that’s something that would have gradually happened over the course of the day as they spent time with him and his family. Given that, if by this point they didn’t truly want to kill him deep down, I don’t think it works that the protagonist could even have brought themselves to carry out the act and push Pat off the balcony in the first place (especially not when he’s looking at them with a huge excited “hey it’s my new friend!!!” smile). I can see them approaching him, intending to do it, telling themselves they’ve just got to finish the job they came to do, but not actually being able to go through with it and physically take an action that should have ended his life.

This moment could have happened differently to sell it better. Imagine if, instead of going to push Pat off the balcony, the protagonist pulls out their knife (the knife that had always been vaguely visible inside the briefcase menu screen, and that they’d pulled out of nowhere in one of the minigames for what seemed like the kind of non-sequitur gag that this game is full of but was actually foreshadowing!)… but then they hesitate, staring at the knife, their hand perhaps beginning to shake. Then Pat turns around to greet them and freaks out so spectacularly over seeing them looming ominously over him with a knife that he falls backwards off the balcony – and the protagonist unthinkingly throws their knife aside and rushes to catch him. That way, they’re still saving Pat from themselves to seal the change of heart, but they didn’t deliberately begin to kill him before that and make the change of heart seem inappropriately sudden.

So, well, I’m basically trying to pretend that that’s how that scene actually played out, because I am otherwise finding myself rather invested (totally not for any reason that some of the people who follow me will be aware of) in this implicit story of an assassin who gradually realises that they really don’t want to kill their target at all. Based their office that we see, the protagonist very much appears to be what I like to call a “responsibly-sourced assassin” who willingly chose that profession for themselves, which you’d think would mean they were truly unfeeling and heartless and had no qualms about doing murders for a living. But clearly they do have a heart of gold somewhere in there.

This is probably me totally overthinking this largely-comedic game at this point, but: because of this, I headcanon that the protagonist got wrapped up in some really bad stuff in their past that led to them thinking they were a horrible person who was only good at murdering people and deciding they might as well give up on trying to be better and just do that for a living. They’re also evidently very good at appearing like a decent and trustworthy person on the surface, but they’d tell themselves that’s just deception so that they can more easily gather information for a hit, and definitely not because somewhere deep down they actually are capable of being a good person if they tried.

It’s also fun to think in a bit more detail about exactly how the protagonist had a change of heart. One could imagine it’s just down to Pat and his family being such lovable goofs, but on the other hand that’s the kind of thing that a professional killer would have trained themselves to block out and not let themselves be affected by, so I don’t think that alone would be enough. Maybe instead it’s got more to do with the sheer irony of the fact that Pat is genuinely paranoid that his family, who are lovely and would never hurt him and clearly deserve his trust, are out to kill him – and yet at the same time he’s blindly trusting this complete stranger who actually literally is plotting to kill him. Perhaps it weighs on the protagonist’s mind more and more over the course of the day that they don’t deserve Pat’s belief in them, especially not when he finds it so hard to even believe in the people who actually love him, to the point that the protagonist starts to wish that they were someone that Pat could believe in, that if only he could be right to do so after all.

There’s also the fact that this true ending – complete with an achievement called “Save Pat” – is something you only get when you’ve met every single member of Pat’s family. Which kind of implies that… if you don’t, the protagonist actually does kill Pat and doesn’t catch him at the last second? If so, the difference is probably less down to the last few family members having influenced the protagonist’s change of heart that significantly in and of themselves, and more down to the idea I mentioned earlier that maybe the protagonist was mostly talking to them all to try and figure out which one hired them to kill Pat. As long as they haven’t met absolutely everyone, there’s always the possibility that one of the remaining people they missed is the person who wanted Pat dead. So maybe with that in mind, the protagonist can continue to tell themselves that they’re just doing their job and carrying out their client’s wishes, and really Pat’s death is not on their hands and is just the fault of the person who hired them and wanted him dead. But if they’ve met the entire family, then there’s absolutely no denying that nobody wants Pat dead at all. With that, the protagonist can no longer hide from the fact that the only actual bad person with murderous intent here this whole time has been themselves – and maybe that’s what causes them to realise that they don’t want to be that person any more.

Pat reflects in the true ending, after the protagonist has not-killed him and he’s invited them to his house the next morning, that they essentially saved him from himself. He almost seems to think his own paranoia and conviction that people were out to kill him is to blame for accidentally hiring someone to actually do it. This is apparently why he seems so weirdly not-traumatised about the part where the only person he did trust was the one who actually was plotting to kill him for most of the day. You’d think that would’ve made him feel like his paranoia is justified and therefore make him more paranoid, if anything, no matter how sure he is that the protagonist doesn’t want to kill him any more. Instead, though, Pat frames it as “the only one out to get me was me”, not putting any of the blame on the protagonist for hiding their true intentions from him all day and being the one to almost act on that supposed self-destructiveness of his.

But… if Pat really does think his own paranoia is to blame for this, he’s wrong. The exact amusingly ludicrous coincidence that caused this was Pat sneezing jam onto an ad in the paper for the protagonist’s services (you know, that place where assassins usually advertise) that happened to cover just the right words and letters to change the meaning of the message from “I can kill whoever you need, just give me a description of them” to “I am ill and need help, please give me a description of yourself”. Pat saw this and immediately went “oh no I have to help them!!!” and called them to describe himself in third-person, including mentioning his upcoming birthday, because they said that would help them somehow!  So the only thing to blame for this other than a ridiculous coincidence was… well, partly Pat’s tendency to jump to conclusions and act without questioning things, but also his instinctive kindness towards anyone and everyone, even complete strangers. Not his paranoia!

So, I propose a different overall point of this story. It wasn’t the protagonist saving Pat from himself and his own paranoia; rather, it was the opposite. Through the sheer luck of the coincidence that caused him to make that phone call, his tendency to sometimes jump to overly-trusting conclusions instead of overly-paranoid ones, and his and his family’s general goodness, Pat saved the protagonist from themselves. He led them to realise that they could be better than they thought they were and didn’t have to or want to kill people for a living any more.

It’s not mentioned at all in the ending, but I firmly headcanon that the protagonist quits the murder business altogether from that day onwards and becomes just another member of Pat’s family: that one who incidentally used to be an assassin but changed their mind about it thanks to a combination of some unlikely coincidences and Pat just being a good guy. That’s exactly the right flavour of silly eccentricity that’d make them fit in perfectly with the rest of those goofs.

[artycloudpop]

1hey are u bored at home, wanna chill and netflix....... but just can’t find some thing nice to watch? here’s a list of movies for u watch

A Ghost Story (2017)

Director David Lowery (Pete's Dragon) conceived this dazzling, dreamy meditation on the afterlife during the off-hours on a Disney blockbuster, making the revelations within even more awe-inspiring. After a fatal accident, a musician (Casey Affleck) finds himself as a sheet-draped spirit, wandering the halls of his former home, haunting/longing for his widowed wife (Rooney Mara). With stylistic quirks, enough winks to resist pretension (a scene where Mara devours a pie in one five-minute, uncut take is both tragic and cheeky), and a soundscape culled from the space-time continuum, A Ghost Story connects the dots between romantic love, the places we call home, and time -- a ghost's worst enemy.

Airplane! (1980)

This is one of the funniest movie of all time. Devised by the jokesters behind The Naked Gun, this disaster movie spoof stuffs every second of runtime with a physical gag (The nun slapping a hysterical woman!), dimwitted wordplay ("Don't call me, Shirley"), an uncomfortable moment of odd behavior ("Joey, have you ever seen a grown man naked?"), or some other asinine bit. The rare comedy that demands repeat viewings, just to catch every micro-sized joke and memorize every line.

A24

American Honey (2016)

Writer/director Andrea Arnold lets you sit shotgun for the travels of a group of wayward youth in American Honey, a seductive drama about a "mag crew" selling subscriptions and falling in and out of love with each other on the road. Seen through the eyes of Star, played by Sasha Lane, life on the Midwest highway proves to be directionless, filled with a stream of partying and steamy hookups in the backs of cars and on the side of the road, especially when she starts to develop feelings for Shia LaBeouf’s rebellious Jake. It’s an honest look at a group of disenfranchised young people who are often cast aside, and it’s blazing with energy. You’ll buy what they're selling.

Anna Karenina (2012)

Adapted by renowned playwright Tom Stoppard, this take on Leo Tolstoy's classic Russian novel is anything but stuffy, historical drama. Keira Knightley, Jude Law, Aaron Taylor-Johnson, Domhnall Gleeson, Alicia Vikander are all overflowing with passion and desire, heating up the chilly backdrop of St. Petersburg. But it's director Joe Wright's unique staging -- full of dance, lush costuming, fourth-wall-breaking antics, and other theatrical touches -- that reinvent the story for more daring audiences.

NETFLIX

Apostle (2018)

For his follow-up to his two action epics, The Raid and The Raid 2, director Gareth Evans dials back the hand-to-hand combat but still keeps a few buckets of blood handy in this grisly supernatural horror tale. Dan Stevens stars as Thomas Richardson, an early 20th century opium addict traveling to a cloudy island controlled by a secretive cult that's fallen on hard times. The religious group is led by a bearded scold named Father Malcolm (Michael Sheen) who may or may not be leading his people astray. Beyond a few bursts of kinetic violence and some crank-filled torture sequences, Evans plays this story relatively down-the-middle, allowing the performances, the lofty themes, and the windswept vistas to do the talking. It's a cult movie that earns your devotion slowly, then all at once.

Back to the Future (1985)

Buckle into Doc's DeLorean and head to the 1950s by way of 1985 with the seminal time-travel series that made Michael J. Fox a household name. It's always a joy watching Marty McFly's race against the clock way-back-when to ensure history runs its course and he can get back to the present. Netflix also has follow-up Parts II and III, which all add up to a perfect rainy afternoon marathon.

NETFLIX

The Ballad of Buster Scruggs (2018)

The Coen brothers gave some big-name-director cred to Netflix by releasing their six-part Western anthology on the streaming service, and while it's not necessarily their best work, Buster Scruggs is clearly a cut above most Netflix originals. Featuring star turns from Liam Neeson, Tom Waits, Zoe Kazan, and more, the film takes advantage of Netflix's willingness to experiment by composing a sort of death fugue that unfolds across the harsh realities of life in Manifest Destiny America. Not only does it revel in the massive, sweeping landscapes of the American West, but it's a thoughtful meditation on death that will reveal layer after layer long after you finish.

Barbershop (2002)

If you've been sleeping on the merits of the Barbershop movies, the good news is it's never too late to get caught up. Revisit the 2002 installment that started Ice Cube's smack-talking franchise so you can bask in Cedric the Entertainer's hilarious wisdom, enjoy Eve's acting debut, and admire this joyful ode to community.

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Barry (2016)

In 1981, Barack Obama touched down in New York City to begin work at Columbia University. As Barry imagines, just days after settling into his civics class, a white classmate confronts the Barry with an argument one will find in the future president's Twitter @-mentions: "Why does everything always got to be about slavery?" Exaltation is cinematic danger, especially when bringing the life of a then-sitting president to screen. Barry avoids hagiography by staying in the moment, weighing race issues of a modern age and quieting down for the audience to draw its own conclusions. Devon Terrell is key, steadying his character as smooth-operating, socially active, contemplative fellow stuck in an interracial divide. Barry could be any half-black, half-white kid from the '80s. But in this case, he's haunted by past, present, and future.

Being John Malkovich (1999)

You can't doubt the audacity of screenwriter Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Anomalisa), whose first produced screenplay hinged on attracting the title actor to a script that has office drones discovering a portal into his mind. John Cusack, Catherine Keener, and Cameron Diaz combine to create an atmosphere of desperate, egomaniacal darkness, and by the end you'll feel confused and maybe a little slimy about the times you've participated in celebrity gawking.

A24

The Blackcoat's Daughter (2017)

Two young women are left behind at school during break... and all sorts of hell breaks loose. This cool, stylish thriller goes off in some strange directions (and even offers a seemingly unrelated subplot about a mysterious hitchhiker) but it all pays off in the end, thanks in large part to the three leads -- Emma Roberts, Lucy Boynton, and Kiernan Shipka -- and director Oz Perkins' artful approach to what could have been just another occult-based gore-fest.

Bloodsport (1988)

Jean-Claude Van Damme made a career out of good-not-great fluff. Universal Soldier is serviceable spectacle, Hard Target is a living cartoon, Lionheart is his half-baked take on On the Waterfront. Bloodsport, which owes everything to the legacy of Bruce Lee, edges out his Die Hard riff Sudden Death for his best effort, thanks to muscles-on-top-of-muscles-on-top-of-muscles fighting and Stan Bush's "Fight to Survive." Magic Mike has nothing on Van Damme's chiseled backside in Bloodsport, which flexes its way through a slow-motion karate-chop gauntlet. In his final face-off, Van Damme, blinded by arena dust, rage-screams his way to victory. The amount of adrenaline bursting out of Bloodsport demands a splash zone.

Blue Ruin (2013)

Before he went punk with 2016's siege thriller Green Room, director Jeremy Saulnier delivered this low-budget, darkly comic hillbilly noir. When Dwight Evans (Macon Blair) discovers that the man who killed his parents is being released from prison, he returns home to Virginia to claims his revenge and things quickly spin out of control. Like the Coen Brothers' Blood Simple, this wise-ass morality tale will make you squirm.

WELL GO USA ENTERTAINMEN

Burning (2018)

Some mysteries simmer; this one smolders. In his adaptation of a Haruki Murakami short story, writer and director Lee Chang-dong includes many elements of the acclaimed author's slyly mischievous style -- cats, jazz, cooking, and an alienated male writer protagonist all pop up -- but he also invests the material with his own dark humor, stray references to contemporary news, and an unyielding sense of curiosity. We follow aimless aspiring novelist Lee Jong-su (Yoo Ah-in) as he reconnects with Shin Hae-mi (Jeon Jong-seo), a young woman he grew up with, but the movie never lets you get too comfortable in one scene or setting. When Steven Yeun's Ben, a handsome rich guy with a beautiful apartment and a passion for burning down greenhouses, appears, the film shifts to an even more tremulous register. Can Ben be trusted? Yeun's performance is perfectly calibrated to entice and confuse, like he's a suave, pyromaniac version of Tyler Durden. Each frame keeps you guessing.

Cam (2018)

Unlike the Unfriended films or this summer's indie hit Searching, this web thriller from director Daniel Goldhaber and screenwriter Isa Mazzei isn't locked into the visual confines of a computer screen. Though there's plenty of online screen time, allowing for subtle bits of commentary and satire, the looser style allows the filmmakers to really explore the life and work conditions of their protagonist, rising cam girl Alice (Madeline Brewer). We meet her friends, her family, and her customers. That type of immersion in the granular details makes the scarier bits -- like an unnerving confrontation in the finale between Alice and her evil doppelganger -- pop even more.

THE ORCHARD

Creep (2014)

Patrick Brice's found-footage movie is a no-budget answer to a certain brand of horror, but saying more would give away its sinister turns. Just know that the man behind the camera answered a Craigslist ad to create a "day in the life" video diary for Josef (Mark Duplass), who really loves life. Creep proves that found footage, the indie world's no-budget genre solution, still has life, as long as you have a performer like Duplass willing to go all the way.

The Death of Stalin (2017)

Armando Iannucci, the brilliant Veep creator, set his sights on Russia with this savage political satire. Based on a graphic novel, the film dramatizes the madcap, maniacal plots of the men jostling for power after their leader, Joseph Stalin, keels over. From there, backstabbing, furious insults, and general chaos unfolds. Anchored by performances from Shakespearean great Simon Russell Beale and American icon Steve Buscemi, it's a pleasure to see what the rest of the cast -- from Star Trek: Discovery's Jason Isaacs to Homeland's Rupert Friend -- do with Iannucci's eloquently brittle text.

Den of Thieves (2018)

If there's one thing you've probably heard about this often ridiculous bank robbery epic, it's that it steals shamelessly from Michael Mann's crime saga Heat. The broad plot elements are similar: There's a team of highly-efficient criminals led by a former Marine (Pablo Schreiber) and they must contend with a obsessive, possibly unhinged cop (Gerard Butler) over the movie's lengthy 140 minute runtime.  A screenwriter helming a feature for the first time, director Christian Gudegast is not in the same league as Mann as a filmmaker and Butler, sporting unflattering tattoos and a barrel-like gut, is hardly Al Pacino. But everyone is really going for it here, attempting to squeeze every ounce of Muscle Milk from the bottle.

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Divines (2016)

Thrillers don't come much more propulsive or elegant than Houda Benyamina's Divines, a heartwarming French drama about female friendship that spirals into a pulse-pounding crime saga. Rambunctious teenager Dounia (Oulaya Amamra) and her best friend Maimouna (Déborah Lukumuena) begin the film as low-level shoplifters and thieves, but once they fall into the orbit of a slightly older, seasoned drug dealer named Rebecca (Jisca Kalvanda), they're on a Goodfellas-like trajectory. Benyamina offsets the violent, gritty genre elements with lyrical passages where Dounia watches her ballet-dancer crush rehearse his routines from afar, and kinetic scenes of the young girls goofing off on social media. It's a cautionary tale told with joy, empathy, and an eye for beauty.

Dolemite Is My Name (2019)

Eddie Murphy has been waiting years to get this movie about comedian and blaxploitation star Rudy Ray Moore made, and you can feel his joy in finally getting to play this role every second he's on screen. The film, directed by Hustle & Flow's Craig Brewer, charts how Moore rose from record store employee, to successful underground comedian, to making his now-cult classic feature Dolemite by sheer force of passion. It's thrilling (and hilarious) to watch Murphy adopt Moore's Dolemite persona, a swaggering pimp, but it's just as satisfying to see the former SNL star capture his character at his lowest points. He's surrounded by an ensemble that matches his infectious energy.

The Edge of Seventeen (2016)

As romanticized as adolescence can be, it’s hard being young. Following the high school experience of troubled, overdramatic Nadine (Hailee Steinfeld), The Edge of Seventeen portrays the woes of adolescence with a tender, yet appropriately cheeky tone. As if junior year isn’t hellish enough, the universe essentially bursts into flames when Nadine finds out her best friend is dating her brother; their friendship begins to dissolve, and she finds the only return on young love is embarrassment and pain. That may all sound like a miserable premise for a young-adult movie, except it’s all painfully accurate, making it endearingly hilarious -- and there’s so much to love about Steinfeld’s self-aware performance.

FOCUS FEATURES

Eternal Sunshine of the Spotless Mind (2004)

Romance and love are nothing without the potential for loss and pain, but most of us would probably still consider cutting away all the worst memories of the latter. Given the option to eradicate memories of their busted relationship, Jim Carrey's Joel and Kate Winslet's Clementine go through with the procedure, only to find themselves unable to totally let go. Science fiction naturally lends itself to clockwork mechanisms, but director Michel Gondry and screenwriter Charlie Kaufman never lose the human touch as they toy with the kaleidoscope of their characters' hearts and minds.

The Evil Dead (1981)

Before Bruce Campbell's Ash was wielding his chainsaw-arm in Army of Darkness and on Starz's Ash Vs. Evil Dead, he was just a good looking guy hoping to spend a nice, quiet vacation in a cabin with some friends. Unfortunately, the book of the dead had other plans for him. With this low-budget horror classic, director Sam Raimi brings a surprising degree of technical ingenuity to bear on the splatter-film, sending his camera zooming around the woods with wonder and glee. While the sequels double-downed on laughs, the original Evil Dead still knows how to scare.

The Firm (1993)

The '90s were a golden era of sleek, movie-star-packed legal thrillers, and they don't get much better than director Sydney Pollack's The Firm. This John Grisham adaptation has a little bit of everything -- tax paperwork, sneering mobsters, and Garey Busey, for starters -- but there's one reason to watch this movie: the weirdness of Tom Cruise. He does a backflip in this movie. What else do you need to know?

A24

The Florida Project (2017)

Sean Baker's The Florida Project nuzzles into the swirling, sunny, strapped-for-cash populace of a mauve motel just within orbit of Walt Disney World. His eyes are Moonee, a 6-year-old who adventures through abandoned condos, along strip mall-encrusted highway, and across verdant fields of overgrown brush like Max in Where the Wild Things Are. But as gorgeous as the everything appears -- and The Florida Project looks stunning -- the world around here is falling apart, beginning with her mother, an ex-stripper turning to prostitution. The juxtaposition, and down-to-earth style, reconsiders modern America in the most electrifying way imaginable.

Frances Ha (2012)

Before winning hearts and Oscar nominations with her coming-of-age comedy Lady Bird, Greta Gerwig starred in the perfect companion film, about an aimless 27-year-old who hops from New York City to her hometown of Sacramento to Paris to Poughkeepsie and eventually back to New York in hopes of stumbling into the perfect job, the perfect relationship, and the perfect life. Directed by Noah Baumbach (The Meyerowitz Stories), and co-written by both, Frances Ha is a measured look at adult-ish life captured the kind of intoxicating black and white world we dream of living in.

NETFLIX

Fyre: The Greatest Party That Never Happened (2019)

Everyone's favorite disaster of a festival received not one, but two streaming documentaries in the same week. Netflix's version has rightly faced some criticism over its willingness to let marketing company Fuck Jerry off the hook (Jerry Media produced the doc), but that doesn't take away from the overall picture it portrays of the festival's haphazard planning and the addiction to grift from which Fyre's founder, Billy McFarland, apparently suffers. It's schadenfreude at its best.

Gerald's Game (2017)

Like his previous low-budget Netflix-released horror release, Hush, a captivity thriller about a deaf woman fighting off a masked intruder, Mike Flanagan's Stephen King adaptation of Gerald's Game wrings big scares from a small location. Sticking close to the grisly plot details of King's seemingly "unfilmable" novel, the movie chronicles the painstaking struggles of Jessie Burlingame (Carla Gugino) after she finds herself handcuffed to a bed in an isolated vacation home when her husband, the titular Gerald, dies from a heart attack while enacting his kinky sexual fantasies. She's trapped -- and that's it. The premise is clearly challenging to sustain for a whole movie, but Flanagan and Gugino turn the potentially one-note set-up into a forceful, thoughtful meditation on trauma, memory, and resilience in the face of near-certain doom.

A24

Good Time (2017)

In this greasy, cruel thriller from Uncut Gems directors the Safdie brothers, Robert Pattinson stars as Connie, a bank robber who races through Queens to find enough money to bail out his mentally disabled brother, who's locked up for their last botched job. Each suffocating second of Good Time, blistered by the neon backgrounds of Queens, New York and propelled by warped heartbeat of Oneothrix Point Never's synth score, finds Connie evading authorities by tripping into an even stickier situation.

Green Room (2015)

Green Room is a throaty, thrashing, spit-slinging punk tune belted through an invasion-movie microphone at max volume. It's nasty -- and near-perfect. As a band of 20-something rockstars recklessly defend against a neo-Nazi battalion equipped with machetes, shotguns, and snarling guard dogs, the movie blossoms into a savage coming-of-age tale, an Almost Famous for John Carpenter nuts. Anyone looking for similar mayhem should check out director Jeremy Saulnier's previous movie, the low-budget, darkly comic hillbilly noir, Blue Ruin, also streaming on Netflix.

The Guest (2014)

After writer-director Adam Wingard notched a semi-sleeper horror hit with 2011's You're Next, he'd earned a certain degree of goodwill among genre faithful and, apparently, with studio brass. How else to explain distribution for his atypical thriller The Guest through Time Warner subsidiary Picturehouse? Headlined by soon-to-be megastar Dan Stevens and kindred flick It Follows' lead scream queen Maika Monroe, The Guest introduces itself as a subtextual impostor drama, abruptly spins through a blender of '80s teen tropes, and ultimately reveals its true identity as an expertly self-conscious straight-to-video shoot 'em up, before finally circling back on itself with a well-earned wink. To say anymore about the hell that Stevens' "David" unleashes on a small New Mexico town would not only spoil the fun, but possibly get you killed.

THE WEINSTEIN COMPANY

The Hateful Eight (2015)

Quentin Tarantino has something to say about race, violence, and American life, and it's going to ruffle feathers. Like Django Unchained, the writer-director reflects modern times on the Old West, but with more scalpel-sliced dialogue, profane poetry, and gore. Stewed from bits of Agatha Christie, David Mamet, and Sam Peckinpah, The Hateful Eight traps a cast of blowhards (including Samuel L. Jackson as a Civil War veteran, Kurt Russell as a bounty hunter known as "The Hangman," and Jennifer Jason Leigh as a psychopathic gang member) in a blizzard-enveloped supply station. Tarantino ups the tension by shooting his suffocating space in "glorious 70mm." Treachery and moral compromise never looked so good.

High Flying Bird (2019)

High Flying Bird is a basketball film that has little to do with the sport itself, instead focusing on the behind-the-scenes power dynamics that play out during an NBA lockout. At the center of the Steven Soderbergh movie -- shot on an iPhone, because that's what he does now -- is André Holland's Ray Burke, a sports agent trying to protect his client's interests while also disrupting a corrupt system. It's not an easy tightrope to walk, and, as you might expect, the conditions of the labor stoppage constantly change the playing field. With his iPhone mirroring the NBA's social media-heavy culture, and appearances from actual NBA stars lending the narrative heft, Soderbergh experiments with Netflix's carte blanche and produces a unique film that adds to the streaming service's growing list of original critical hits.

PARAMOUNT PICTURES

Hugo (2011)

Martin Scorsese hit pause on mob violence and Rolling Stones singles to deliver one of the greatest kid-centric films in eons. Following Hugo (Asa Butterfield) as he traces his own origin story through cryptic automaton clues and early 20th-century movie history, the grand vision wowed in 3-D and still packs a punch at home.

I Am the Pretty Thing That Lives in the House (2016)

A meditative horror flick that's more unsettling than outright frightening, I Am the Pretty Thing That Lives in the House follows the demise of Lily, a live-in nurse (Ruth Wilson) who's caring for an ailing horror author. As Lily discovers the truth about the writer's fiction and home, the lines between the physical realm and the afterlife blur. The movie's slow pacing and muted escalation might frustrate viewers craving showy jump-scares, but writer-director Oz Perkins is worth keeping tabs on. He brings a beautiful eeriness to every scene, and his story will captivate patient streamers. Fans should be sure to check out his directorial debut, The Blackcoat's Daughter.

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I Don't Feel at Home in This World Anymore (2017)

In this maniacal mystery, Ruth (Melanie Lynskey), a nurse, and her rattail-sporting, weapon-obsessed neighbor Tony (Elijah Wood) hunt down a local burglar. Part Cormac McCarthy thriller, part wacky, Will Ferrell-esque comedy, I Don't Feel at Home in This World Anymore is a cathartic neo-noir about everyday troubles. Director Macon Blair's not the first person to find existential enlightenment at the end of an amateur detective tale, but he might be the first to piece one together from cussing octogenarians, ninja stars, Google montages, gallons of Big Red soda, upper-deckers, friendly raccoons, exploding body parts, and the idiocy of humanity.

Indiana Jones and the Raiders of the Lost Ark (1981)

With a bullwhip, a leather jacket, and an "only Harrison Ford can pull this off" fedora, director Steven Spielberg invented the modern Hollywood action film by doing what he does best: looking backward. As obsessed as his movie-brat pal and collaborator George Lucas with the action movie serials of their youth, the director mined James Bond, Humphrey Bogart, Westerns, and his hatred of Nazis to create an adventure classic. To watch Raiders of the Lost Ark now is to marvel at the ingenuity of specific sequences (the boulder! The truck scene! The face-melting!) and simply groove to the self-deprecating comic tone (snakes! Karen Allen! That swordsman Indy shoots!). The past has never felt so alive.

Inside Man (2006)

Denzel Washington is at his wily, sharp, and sharply dressed best as he teams up once again with Spike Lee for this wildly entertaining heist thriller. He's an NYPD hostage negotiator who discovers a whole bunch of drama when a crew of robbers (led by Clive Owen) takes a bank hostage during a 24-hour period. Jodie Foster also appears as an interested party with uncertain motivations. You'll have to figure out what's going on several times over before the truth outs.

DRAFTHOUSE FILMS

The Invitation (2015)

This slow-burn horror-thriller preys on your social anxiety. The film's first half-hour, which finds Quarry's Logan Marshall-Green arriving at his ex-wife's house to meet her new husband, plays like a Sundance dramedy about 30-something yuppies and their relationship woes. As the minutes go by, director Karyn Kusama (Jennifer's Body) burrows deeper into the awkward dinner party, finding tension in unwelcome glances, miscommunication, and the possibility that Marshall-Green's character might be misreading a bizarre situation as a dangerous one. We won't spoil what happens, but let's just say this is a party you'll be telling your friends about.

Ip Man (2008)

There aren't many biopics that also pass for decent action movies. Somehow, Hong Kong action star Donnie Yen and director Wilson Yip made Ip Man (and three sequels!) based on the life of Chinese martial arts master Yip Kai-man, who famously trained Bruce Lee. What's their trick to keeping this series fresh? Play fast and loose with the facts, up the melodrama with each film, and, when in doubt, cast Mike Tyson as an evil property developer. The fights are incredible, and Yen's portrayal of the aging master still has the power to draw a few tears from even the most grizzled tough guy.

NETFLIX

The Irishman (2019)

Opening with a tracking shot through the halls of a drab nursing home, where we meet a feeble old man telling tall tales from his wheelchair, The Irishman delights in undercutting its own grandiosity. All the pageantry a $150 million check from Netflix can buy -- the digital de-aging effects, the massive crowd scenes, the shiny rings passed between men -- is on full display. Everything looks tremendous. But, like with 2013's The Wolf of Wall Street, the characters can't escape the fundamental spiritual emptiness of their pursuits. In telling the story of Frank Sheeran (Robert De Niro), a World War II veteran and truck driver turned mob enforcer and friend to labor leader Jimmy Hoffa (Al Pacino), director Martin Scorsese and screenwriter Steven Zaillian construct an underworld-set counter-narrative of late 20th century American life. Even with a 209 minute runtime, every second counts.

It Comes at Night (2017)

In this post-apocalyptic nightmare-and-a-half, the horrors of humanity, the strain of chaotic emotions pent up in the name of survival, bleed out through wary eyes and weathered hands. The setup is blockbuster-sized -- reverts mankind to the days of the American frontier, every sole survivor fights to protect their families and themselves -- but the drama is mano-a-mano. Barricaded in a haunted-house-worthy cabin in the woods, Paul (Edgerton) takes in Will (Abbott) and his family, knowing full well they could threaten his family's existence. All the while, Paul's son, Trevor, battles bloody visions of (or induced by?) the contagion. Shults directs the hell out of every slow-push frame of this psychological thriller, and the less we know, the more confusion feels like a noose around our necks, the scarier his observations become.

WARNER BROS. PICTURES

Jupiter Ascending (2015)

Jupiter Ascending is one of those "bad" movies that might genuinely be quite good. Yes, Channing Tatum is a man-wolf and Mila Kunis is the princess of space and bees don't sting space royalty and Eddie Redmayne hollers his little head off about "harvesting" people -- but what makes this movie great is how all of those things make total, absolute sense in the context of the story. The world the Wachowskis (yes, the Wachowskis!) created is so vibrant and strange and exciting, you almost can't help but get drawn in, even when Redmayne vamps so hard you're afraid he's about to pull a muscle. (And if you're a ballet fan, we have some good news for you.)

Jurassic Park (1993)

Perhaps the only movie that ever truly deserved a conversion to a theme-park ride, Steven Spielberg's thrilling adaptation of the Michael Crichton novel brought long-extinct creatures back to life in more ways than one. Benevolent Netflix gives us more than just the franchise starter, too: The Lost World and JP3 sequels are also available, so you can make a marathon of it.

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Killing Them Softly (2012)

Brad Pitt doesn't make conventional blockbusters anymore -- even World War Z had epidemic-movie ambitions -- so it's not surprising that this crime thriller is a little out there. Set during the financial crisis and presidential election of 2008, the film follows Pitt's hitman character as he makes sense of a poker heist gone wrong, leaving a trail of bodies and one-liners along the way. Mixed in with the carnage, you get lots of musings about the economy and American exceptionalism. It's not subtle -- there's a scene where Scoot McNairy and Ben Mendelsohn do heroin while the Velvet Underground's "Heroin" plays -- but, like a blunt object to the head, it gets the job done.

Lady Bird (2017)

The dizzying, frustrating, exhilarating rite of passage that is senior year of high school is the focus of actress Greta Gerwig's first directorial effort, the story of girl named Lady Bird (her given name, in that "it’s given to me, by me") who rebels against everyday Sacramento, California life to obtain whatever it is "freedom" turns out to be. Laurie Metcalf is an understated powerhouse as Lady Bird's mother, a constant source of contention who doggedly pushes her daughter to be successful in the face of the family's dwindling economic resources. It's a tragic note in total complement to Gerwig's hysterical love letter to home, high school, and the history of ourselves.

A24

The Lobster (2016)

Greek style master Yorgos Lanthimos' dystopian allegory against romance sees Colin Farrell forced to choose a partner in 45 days or he'll be turned into an animal of his choice, which is a lobster. Stuck in a group home with similarly unlucky singles, Farrell's David decides to bust out and join other renegades in a kind of anti-love terror cell that lives in the woods. It's part comedy of manners, part futuristic thriller, and it looks absolutely beautiful -- Lanthimos handles the bizarre premise with grace and a naturalistic eye that reminds the viewer that humans remain one of the most interesting animals to exist on this planet.

Mad Max (1979)

Before Tom Hardy was grunting his way through the desert and crushing tiny two-headed reptiles as Max Rockatansky, there was Mel Gibson. George Miller's 1979 original introduces the iconic character and paints the maximum force of his dystopian mythology in a somewhat more grounded light -- Australian police factions, communities, and glimmers of hope still in existence. Badass homemade vehicles and chase scenes abound in this taut, 88-minute romp. It's aged just fine.

Magic Mike (2012)

Steven Soderbergh's story of a Tampa exotic dancer with a heart of gold (Channing Tatum) has body-rolled its way to Netflix. Sexy dance routines aside, Mike's story is just gritty enough to be subversive. Did we mention Matthew McConaughey shows up in a pair of ass-less chaps?

The Master (2012)

Loosely inspired by the life of Scientology founder L. Ron Hubbard -- Dianetics buffs, we strongly recommend Alex Gibney's Going Clear documentary as a companion piece -- The Master boasts one of the late Philip Seymour Hoffman’s finest performances, as the enigmatic cult leader Lancaster Dodd. Joaquin Phoenix burns just as brightly as his emotionally stunted, loose-cannon protege Freddie Quell, who has a taste for homemade liquor. Paul Thomas Anderson’s cerebral epic lends itself to many different readings; it’s a cult story, it's a love story, it's a story about post-war disillusionment and the American dream, it's a story of individualism and the desire to belong. But the auteur's popping visuals and heady thematic currents will still sweep you away, even if you’re not quite sure where the tide is taking you.

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The Meyerowitz Stories (New and Selected) (2017)

When Danny (Adam Sandler), Matthew (Ben Stiller) and Jean (Elizabeth Marvel), three half-siblings from three different mothers, gather at their family brownstone in New York to tend to their ailing father (Dustin Hoffman), a lifetime of familial politics explode out of every minute of conversation. Their narcissistic sculptor dad didn't have time for Danny. Matthew was the golden child. Jean was weird… or maybe disturbed by memories no one ever knew. Expertly sketched by writer-director Noah Baumbach (The Squid and the Whale) this memoir-like portrait of lives half-lived is the kind of bittersweet, dimensional character comedy we're now used to seeing told in three seasons of prestige television. Baumbach gives us the whole package in two hours.

Monty Python and the Holy Grail (1975)

The legendary British comedy troupe took the legend of King Arthur and offered a characteristically irreverent take on it in their second feature film. It's rare for comedy to hold up this well, but the timelessness of lines like, "I fart in your general direction!" "It's just a flesh wound," and "Run away!" makes this a movie worth watching again and again.

A24

Moonlight (2016)

Chronicling the boyhood years, teenage stretch, and muted adult life of Chiron, a black gay man making it in Miami, this triptych altarpiece is at once hyper-specific and cosmically universal. Director Barry Jenkins roots each moment in the last; Chiron's desire for a lost lover can't burn in a diner booth over a bottle of wine without his beachside identity crisis years prior, blurred and violent, or encounters from deeper in his past, when glimpses of his mother's drug addiction, or the mentoring acts of her crack supplier, felt like secrets delivered in code. Panging colors, sounds, and the delicate movements of its perfect cast like the notes of a symphony, Moonlight is the real deal, a movie that will only grow and complicate as you wrestle with it.

Mudbound (2017)

The South's post-slavery existence is, for Hollywood, mostly uncharted territory. Rees rectifies the overlooked stretch of history with this novelistic drama about two Mississippi families working a rain-drenched farm in 1941. The white McAllans settle on a muddy patch of land to realize their dreams. The Jacksons, a family of black sharecroppers working the land, have their own hopes, which their neighbors manage to nurture and curtail. To capture a multitude of perspectives, Mudbound weaves together specific scenes of daily life, vivid and memory-like, with family member reflections, recorded in whispered voice-over. The epic patchwork stretches from the Jackson family dinner table, where the youngest daughter dreams of becoming a stenographer, to the vistas of Mississippi, where incoming storms threaten an essential batch of crops, to the battlefields of World War II Germany, a harrowing scene that will affect both families. Confronting race, class, war, and the possibility of unity, Mudbound spellbinding drama reckons with the past to understand the present.

NETFLIX

My Happy Family (2017)

At 52, Manana (Ia Shughliashvili) packs a bag and walks out on her husband, son, daughter, daughter's live-in boyfriend, and elderly mother and father, all of whom live together in a single apartment. The family is cantankerous and blustery, asking everything of Manana, who spends her days teaching better-behaved teenagers about literature. But as Nana Ekvtimishvili and Simon Groß's striking character study unfolds, the motivation behind Manana's departure is a deeper strain of frustration, despite what her brother, aunts, uncles, and anyone else who can cram themselves into the situation would like us to think. Anchored by Ia Shughliashvili's stunningly internal performance, and punctured by a dark sense of humor akin to Darren Aronofsky's mother! (which would have been the perfect alternate title), My Happy Family is both delicate and brutal in its portrayal of independence, and should get under the skin of anyone with their own family drama.

The Naked Gun (1988)

The short-lived Dragnet TV spoof Police Squad! found a second life as The Naked Gun action-comedy movie franchise, and the first installment goes all in on Airplane! co-star Leslie Nielsen's brand of straight-laced dementia. Trying to explain The Naked Gun only makes the stupid sound stupider, but keen viewers will find jokes on top of jokes on top of jokes. It's the kind of movie that can crack "nice beaver," then pass a stuffed beaver through the frame and actually get away with it. Nielsen has everything to do with it; his Frank Drebin continues the grand Inspector Clouseau tradition in oh-so-'80s style.

The Notebook (2004)

"If you’re a bird, I’m a bird." It's a simple statement and a declaration of devotion that captures the staying power of this Nicholas Sparks classic. The film made Ryan Gosling a certified heartthrob, charting his working class character Noah's lovelorn romance with Rachel McAdam's wealthy character Allie. The star-crossed lovers narrative is enough to make even the most cynical among us swoon, but given that their story is told through an elderly man reading (you guessed it!) a notebook to a woman with dementia, it hits all of the tragic romance benchmarks to make you melt. Noah's commitment to following his heart -- and that passionate kiss in the rain -- make this a love story for the ages.

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Okja (2017)

This wild ride, part action heist, part Miyazaki-like travelogue, and part scathing satire, is fueled by fairy tale whimsy -- but the Grimm kind, where there are smiles and spilled blood. Ahn Seo-hyun plays Mija, the young keeper of a "super-pig," bred by a food manufacturer to be the next step in human-consumption evolution. When the corporate overlords come for her roly-poly pal, Mija hightails it from the farm to the big city to break him out, crossing environmental terrorists, a zany Steve Irwin-type (Gyllenhaal), and the icy psychos at the top of the food chain (including Swinton's childlike CEO) along the way. Okja won't pluck your heartstrings like E.T., but there's grandeur in its frenzy, and the film's cross-species friendship will strike up every other emotion with its empathetic, eco-friendly, and eccentric observations.

On Body and Soul (2017)

This Hungarian film earned an Academy Award nomination for Best Foreign Film, and it's easy to see why. The sparse love story begins when two slaughterhouse employees discover they have the same dream at night, in which they're both deer searching the winter forest for food. Endre, a longtime executive at the slaughterhouse, has a physically damaged arm, whereas Maria is a temporary replacement who seems to be on the autism spectrum. If the setup sounds a bit on-the-nose, the moving performances and the unflinching direction save On Body and Soul from turning into a Thomas Aquinas 101 class, resulting in the kind of bleak beauty you can find in a dead winter forest.

NETFLIX

The Other Side of the Wind (2018)

Don't go into Orson Welles' final film expecting it to be an easy watch. The Other Side of the Wind, which follows fictional veteran Hollywood director Jake Hannaford (tooootally not modeled after Welles himself) and his protegé (also tooootally not a surrogate for Welles' own friend and mentee Peter Bogdanovich, who also plays the character) as they attend a party in celebration of Hannaford's latest film and are beset on all sides by Hannaford's friends, enemies, and everyone in between. The film, which Welles hoped would be his big comeback to Hollywood, was left famously unfinished for decades after his death in 1985. Thanks to Bogdanovich and producer Frank Marshall, it was finally completed in 2018, and the result is a vibrant and bizarre throwback to Welles' own experimental 1970s style, made even more resonant if you know how intertwined the movie is with its own backstory. If you want to dive even deeper, Netflix also released a documentary about the restoration and completion of the film, They'll Love Me When I'm Dead, which delves into Welles' own complicated and tragic relationship with Hollywood and the craft of moviemaking.

Pan’s Labyrinth (2006)

Guillermo Del Toro’s dark odyssey Pan’s Labyrinth takes a fantasy setting to mirror the horrible political realities of the human realm. Set in 1940s Falangist Spain, the film documents the hero’s journey of a young girl and stepdaughter of a ruthless Spanish army officer as she seeks an escape from her war-occupied world. When a fairy informs her that her true destiny may be as the princess of the underworld, she seizes her chance. Like Alice in Wonderland if Alice had gone to Hell instead of down the rabbit hole, the Academy Award-winning film is a wondrous, frightening fairy tale where that depicts how perilous the human-created monster of war can be.

Paranormal Activity (2007)

This documentary-style film budgeted at a mere $15,000 made millions at the box office and went on to inspire a number of sequels, all because of how well its scrappiness lent to capturing what feels like a terrifying haunted reality. Centered on a young couple who is convinced an evil spirit is lurking in their home, the two attempt to capture its activity on camera, which, obviously, only makes their supernatural matters worse. It leans on found footage horror tropes made popular by The Blair Witch Project and as it tessellates between showing the viewer what’s captured on their camcorders and the characters’ perspectives, it’s easy to get lost in this disorienting supernatural thriller.

UNIVERSAL PICTURES

Poltergeist (1982)

If you saw Poltergeist growing up, chances are you’re probably equally as haunted by Heather O’Rourke as she is in the film, playing a little girl tormented by ghosts in her family home. This Steven Spielberg-penned, Tobe Hooper-directed (The Texas Chainsaw Massacre) paranormal flick is a certified cult classic and one of the best horror films of all time, coming from a simple premise about a couple whose home is infested with spirits obsessed with reclaiming the space and kidnapping their daughter. Poltergeist made rearranged furniture freaky, and you may remember a particularly iconic scene with a fuzzed out vintage television set. It’s may be nearly 40 years old, but the creepiness holds up.

Pride & Prejudice (2005)

Taking Jane Austen's literary classic and tricking it out with gorgeous long takes, director Joe Wright turns this tale of manners into a visceral, luminescent portrait of passion and desire. While Succession's Matthew MacFadyen might not make you forget Colin Firth from 1995's BBC adaptation, Keira Knightley is a revelation as the tough, nervy Lizzie Bennett. With fun supporting turns from Donald Sutherland, Rosamund Pike, and Judi Dench, it's a sumptuous period romance that transports you from the couch to the ballroom of your dreams -- without changing out of sweatpants.

NETFLIX

Private Life (2018)

Over a decade since the release of her last dark comedy, The Savages, writer and director Tamara Jenkins returned with a sprawling movie in the same vein: more hyper-verbal jerks you can't help but love. Richard (Paul Giamatti) and Rachel (Kathryn Hahn) are a Manhattan-dwelling couple who have spent the last few years attempting to have a baby with little success. When we meet them, they're already in the grips of fertility mania, willing to try almost anything to secure the offspring they think they desire. With all the details about injections, side effects, and pricey medical procedures, the movie functions as a taxonomy of modern pregnancy anxieties, and Hahn brings each part of the process to glorious life.

The Ritual (2018)

The Ritual, a horror film where a group of middle-aged men embark on a hiking trip in honor of a dead friend, understands the tension between natural beauty of the outdoors and the unsettling panic of the unknown. The group's de facto leader Luke (an understated Rafe Spall) attempts to keep the adventure from spiralling out of control, but the forest has other plans. (Maybe brush up on your Scandinavian mythology before viewing.) Like a backpacking variation on Neil Marshall's 2005 cave spelunking classic The Descent, The Ritual deftly explores inter-personal dynamics while delivering jolts of other-worldly terror. It'll have you rethinking that weekend getaway on your calendar.

NETFLIX

Roma (2018)

All those billions Netflix spent paid off in the form of several Oscar nominations for Roma, including one for Best Picture and a win for Best Director. Whether experienced in the hushed reverence of a theater, watched on the glowing screen of a laptop, or, as Netflix executive Ted Sarandos has suggested, binged on the perilous surface of a phone, Alfonso Cuarón's black-and-white passion project seeks to stun. A technical craftsman of the highest order, the Children of Men and Gravity director has an aesthetic that aims to overwhelm -- with the amount of extras, the sense of despair, and the constant whir of exhilaration -- and this autobiographical portrait of kind-hearted maid Cleo (Yalitza Aparicio) caring for a family in the early 1970s has been staged on a staggering, mind-boggling scale.

Schindler's List (1993)

A passion project for Steven Spielberg, who shot it back-to-back with another masterpiece, Jurassic Park, Schindler's List tells the story of Oskar Schindler, a German businessman who reportedly saved over 1,200 Jews during the Holocaust. Frank, honest, and stark in its depiction of Nazi violence, the three-hour historical drama is a haunting reminder of the world's past, every frame a relic, every lost voice channeled through Itzhak Perlman's mourning violin.

A Serious Man (2009)

This dramedy from the Coen brothers stars Michael Stuhlbarg as Larry Gopnik, a Midwestern physics professor who just can't catch a break, whether it's with his wife, his boss, or his rabbi. (Seriously, if you're having a bad day, this airy flick gives you ample time to brood and then come to the realization that your life isn't as shitty as you think.) Meditating on the spiritual and the temporal, Gopnik's improbable run of bad luck is a smart modern retelling of the Book of Job, with more irony and fewer plagues and pestilences. But not much fewer.

WELL GO USA

Shadow (2019)

In Shadow, the visually stunning action epic from Hero and House of Flying Daggers wuxia master Zhang Yimou, parasols are more than helpful sun-blockers: They can be turned into deadly weapons, shooting boomerang-like blades of steel at oncoming attackers and transforming into protective sleds for traveling through the slick streets. These devices are one of many imaginative leaps made in telling this Shakespearean saga of palace intrigue, vengeance, and secret doppelgangers set in China's Three Kingdoms period. This is a martial arts epic where the dense plotting is as tricky as the often balletic fight scenes. If the battles in Game of Thrones left you frustrated, Shadow provides a thrilling alternative.

She's Gotta Have It (1986)

Before checking out Spike Lee's Netflix original series of the same name, be sure to catch up with where it all began. Nola (Tracy Camilla Johns) juggles three men during her sexual pinnacle, and it's all working out until they discover one another. She's Gotta Have It takes some dark turns, but each revelation speaks volumes about what real romantic independence is all about.

The Silence of the Lambs (1991)

The late director Jonathan Demme's 1991 film is the touchstone for virtually every serial killer film and television show that came after. The iconic closeup shots of an icy, confident Hannibal Lecter (Anthony Hopkins) as he and FBI newbie Clarice Starling (Jodie Foster) engage in their "quid pro quo" interrogation sessions create almost unbearable tension as Buffalo Bill (Ted Levine) remains on the loose, killing more victims. Hopkins delivers the more memorable lines, and Buffalo Bill's dance is the stuff of nerve-wracking anxiety nightmares, but it's Foster's nuanced performance as a scared, determined, smart-yet-hesitant agent that sets Silence of the Lambs apart from the rest of the serial killer pack.

THE WEINSTEIN COMPANY

Silver Linings Playbook (2012)

Jennifer Lawrence, Bradley Cooper, and David O. Russell’s first collaboration -- and the film that turned J-Law into a bona fide golden girl -- is a romantic comedy/dramedy/dance-flick that bounces across its tonal shifts. A love story between Pat (Cooper), a man struggling with bipolar disease and a history of violent outbursts, and Tiffany (Lawrence), a widow grappling with depression, who come together while rehearsing for an amateur dance competition, Silver Linings balances an emotionally realistic depiction of mental illness with some of the best twirls and dips this side of Step Up. Even if you're allergic to rom-coms, Lawrence and Cooper’s winning chemistry will win you over, as will this sweet little gem of a film: a feel-good, affecting love story that doesn’t feel contrived or treacly.

Sin City (2005)

Frank Miller enlisted Robert Rodriguez as co-director to translate the former's wildly popular series of the same name to the big screen, and with some added directorial work from Quentin Tarantino, the result became a watershed moment in the visual history of film. The signature black-and-white palette with splashes of color provided a grim backdrop to the sensational violence of the miniaturized plotlines -- this is perhaps the movie that feels more like a comic than any other movie you'll ever see.

Sinister (2012)

Horror-movie lesson #32: If you move into a creepy new house, do not read the dusty book, listen to the decaying cassette tapes, or watch the Super 8 reels you find in the attic -- they will inevitably lead to your demise. In Sinister, a true-crime author (played by Ethan Hawke) makes the final mistake, losing his mind to home movies haunted by the "Bughuul."

NETFLIX

Small Crimes (2017)

It's always a little discombobulating to see your favorite Game of Thrones actors in movies that don't call on them to fight dragons, swing swords, or at least wear some armor. But that shouldn't stop you from checking out Small Crimes, a carefully paced thriller starring the Kingslayer Jaime Lannister himself, Nikolaj Coster-Waldau. As Joe Denton, a crooked cop turned ex-con, Coster-Waldau plays yet another character with a twisted moral compass, but here he's not part of some mythical narrative. He's just another conniving, scheming dirtbag in director E.L. Katz's Coen brothers-like moral universe. While some of the plot details are confusing -- Katz and co-writer Macon Blair skimp on the exposition so much that some of the dialogue can feel incomprehensible -- the mood of Midwestern dread and Coster-Waldau's patient, lived-in performance make this one worth checking out. Despite the lack of dragons.

Snowpiercer (2013)

Did people go overboard in praising Snowpiercer when it came out? Maybe. But it's important to remember that the movie arrived in the sweaty dog days of summer, hitting critics and sci-fi lovers like a welcome blast of icy water from a hose. The film's simple, almost video game-like plot -- get to the front of the train, or die trying -- allowed visionary South Korean director Bong Joon-ho to fill the screen with excitement, absurdity, and radical politics. Chris Evans never looked more alive, Tilda Swinton never stole more scenes, and mainstream blockbuster filmmaking never felt so tepid in comparison. Come on, ride the train!

The Social Network (2010)

After making films like Seven, The Game, Fight Club, Panic Room, and Zodiac, director David Fincher left behind the world of scumbags and crime for a fantastical, historical epic in 2008's The Curious Case of Benjamin Button. The Social Network was another swerve, but yielded his greatest film. There's no murder on screen, but Fincher treats Jesse Eisenberg's Mark Zuckerberg like a dorky, socially awkward mob boss operating on an operatic scale. Screenwriter Aaron Sorkin's rapid-fire, screwball-like dialogue burns with a moral indignation that Fincher's watchful, steady-handed camera chills with an icy distance. It's the rare biopic that's not begging you to smash the "like" button.

SONY PICTURES RELEASING

Spider-Man: Into the Spider-Verse (2018)

In this shrewd twist on the superhero genre, the audience's familiarity with the origin story of your friendly neighborhood web-slinger -- the character has already starred in three different blockbuster franchises, in addition to countless comics and cartoon TV adaptations -- is used as an asset instead of a liability. The relatively straight-forward coming-of-age tale of Miles Morales (Shameik Moore), a Brooklyn teenager who takes on the powers and responsibilities of Spider-Man following the death of Peter Parker, gets a remix built around an increasingly absurd parallel dimension plotline that introduces a cast of other Spider-Heroes like Spider-Woman (Hailee Steinfeld), Spider-Man Noir (Nicolas Cage), Peni Parker (Kimiko Glen), and, most ridiculously, Spider-Ham (John Mulaney), a talking pig in a Spider-Suit. The convoluted set-up is mostly an excuse to cram the movie with rapid-fire jokes, comic book allusions, and dream-like imagery that puts the rubbery CGI of most contemporary animated films to shame.

Spotlight (2015)

Tom McCarthy stretches the drama taut as he renders Boston Globe's 2000 Catholic Church sex scandal investigation into a Hollywood vehicle. McCarthy's notable cast members crank like gears as they uncover evidence and reflect on a horrifying discovery of which they shoulder partial blame. Spotlight was the cardigan of 2015's Oscar nominees, but even cardigans look sharp when Mark Ruffalo is involved.

The Squid and the Whale (2005)

No movie captures the prolonged pain of divorce quite like Noah Baumbach's brutal Brooklyn-based comedy The Squid and the Whale. While the performances from Jeff Daniels and Laura Linney as bitter writers going through a separation are top-notch, the film truly belongs to the kids, played by Jesse Eisenberg and Owen Kline, who you watch struggle in the face of their parents' mounting immaturity and pettiness. That Baumbach is able to wring big, cathartic laughs from such emotionally raw material is a testament to his gifts as a writer -- and an observer of human cruelty.

SONY PICTURES RELEASING

Starship Troopers (1997)

Paul Verhoeven is undoubtedly the master of the sly sci-fi satire. With RoboCop, he laid waste to the police state with wicked, trigger-happy glee. He took on evil corporations with Total Recall. And with Starship Troopers, a bouncy, bloody war picture, he skewered the chest-thumping theatrics of pro-military propaganda, offering up a pitch-perfect parody of the post-9/11 Bush presidency years before troops set foot in Iraq or Afghanistan. Come for the exploding alien guts, but stay for the winking comedy -- or stay for both! Bug guts have their charms, too.

Swiss Army Man (2016)

You might think a movie that opens with a suicidal man riding a farting corpse like a Jet Ski wears thin after the fourth or fifth flatulence gag. You would be wrong. Brimming with imagination and expression, the directorial debut of Adult Swim auteurs "The Daniels" wields sophomoric humor to speak to friendship. As Radcliffe's dead body springs back to life -- through karate-chopping, water-vomiting, and wind-breaking -- he becomes the id to Dano's struggling everyman, who is also lost in the woods. If your childhood backyard adventures took the shape of The Revenant, it would look something like Swiss Army Man, and be pure bliss.

NETFLIX

Tallulah (2016)

From Orange Is the New Black writer Sian Heder, Tallulah follows the title character (played by Ellen Page) after she inadvertently "kidnaps" a toddler from an alcoholic rich woman and passes the child off as her own to appeal to her run-out boyfriend's mother (Allison Janney). A messy knot of familial woes and wayward instincts, Heder's directorial debut achieves the same kind of balancing act as her hit Netflix series -- frank social drama with just the right amount of humorous hijinks. As Tallulah grows into a mother figure, her on-the-lam parenting course only makes her more and more of a criminal in the eyes of... just about everyone. You want to root for her, but that would be too easy.

Taxi Driver (1976)

Travis Bickle (a young Bobby De Niro) comes back from the Vietnam War and, having some trouble acclimating to daily life, slowly unravels while fending off brutal insomnia by picking up work as a... taxi driver... in New York City. Eventually he snaps, shaves his hair into a mohawk and goes on a murderous rampage while still managing to squeeze in one of the most New York lines ever captured on film ("You talkin' to me?"). It's not exactly a heartwarmer -- Jodie Foster plays a 12-year-old prostitute -- but Martin Scorsese's 1976 Taxi Driver is a movie in the cinematic canon that you'd be legitimately missing out on if you didn't watch it.

FOCUS FEATURES

The Theory of Everything (2014)

In his Oscar-winning performance, Eddie Redmayne portrays famed physicist Stephen Hawking -- though The Theory of Everything is less of a biopic than it is a beautiful, sweet film about his lifelong relationship with his wife, Jane (Felicity Jones). Covering his days as a young cosmology student ahead of his diagnosis of ALS at 21, through his struggle with the illness and rise as a theoretical scientist, this film illustrates the trying romance through it all. While it may be written in the cosmos, this James Marsh-directed film that weaves in and out of love will have you experience everything there is to feel.

There Will Be Blood (2007)

Paul Thomas Anderson found modern American greed in the pages of Upton Sinclair's depression-era novel, Oil!. Daniel Day-Lewis found the role of a lifetime behind the bushy mustache of Daniel Plainview, thunderous entrepreneur. Paul Dano found his milkshake drunk up. Their discoveries are our reward -- There Will Be Blood is a stark vision of tycoon terror.

Time to Hunt (2020)

Unrelenting in its pursuit of scenarios where guys point big guns at each other in sparsely lit empty hallways, the South Korean thriller Time to Hunt knows exactly what stylistic register it's playing in. A group of four friends, including Parasite and Train to Busan break-out Choi Woo-shik, knock over a gambling house, stealing a hefty bag of money and a set of even more valuable hard-drives, and then find themselves targeted by a ruthless contract killer (Park Hae-soo) who moves like the T-1000 and shoots like a henchmen in a Michael Mann movie. There are dystopian elements to the world -- protests play out in the streets, the police wage a tech-savvy war on citizens, automatic rifles are readily available to all potential buyers -- but they all serve the simmering tension and elevate the pounding set-pieces instead of feeling like unnecessary allegorical padding. Even with its long runtime, this movie moves.

STUDIOCANAL

Tinker Tailor Soldier Spy (2011)

If a season of 24 took place in the smoky, well-tailored underground of British intelligence crica 1973, it might look a little like this precision-made John le Carré adaptation from Let the Right One In director Tomas Alfredson. Even if you can't follow terse and tightly-woven mystery, the search for Soviet mole led by retired operative George Smiley (Gary Oldman), the ice-cold frames and stellar cast will suck you into the intrigue. It's very possible Oldman, Colin Firth, Tom Hardy, John Hurt, Toby Jones, Mark Strong, and Benedict Cumberbatch are reading pages of the British phone book, but egad, it's absorbing. A movie that rewards your full concentration.

To All the Boys I've Loved Before (2018)

Of all the entries in the rom-com revival, this one is heavier on the rom than the com. But even though it won't make your sides hurt, it will make your heart flutter. The plot is ripe with high school movie hijinks that arise when the love letters of Lara Jean Covey (the wonderful Lana Condor) accidentally get mailed to her crushes, namely the contractual faux relationship she starts with heartthrob Peter Kavinsky (Noah Centineo). Like its heroine, it's big-hearted but skeptical in all the right places.

Total Recall (1990)

Skip the completely forgettable Colin Farrell remake from 2012. This Arnold Schwarzenegger-powered, action-filled sci-fi movie is the one to go with. Working from a short story by writer Philip K. Dick, director Paul Verhoeven (Robocop) uses a brain-teasing premise -- you can buy "fake" vacation memories from a mysterious company called Rekall -- to stage one of his hyper-violent, winkingly absurd cartoons. The bizarre images of life on Mars and silly one-liners from Arnold fly so fast that you'll begin to think the whole movie was designed to be implanted in your mind.

NETFLIX

Tramps (2017)

There are heists pulled off by slick gentlemen in suits, then there are heists pulled off by two wayward 20-somethings rambling along on a steamy, summer day in New York City. This dog-day crime-romance stages the latter, pairing a lanky Russian kid (Callum Tanner) who ditches his fast-food register job for a one-off thieving gig, with his driver, an aloof strip club waitress (Grace Van Patten) looking for the cash to restart her life. When a briefcase handoff goes awry, the pair head upstate to track down the missing package, where train rides and curbside walks force them to open up. With a laid-back, '70s soul, Tramps is the rare doe-eyed relationship movie where playing third-wheel is a joy.

Uncut Gems (2019)

In Uncut Gems, the immersive crime film from sibling director duo Josh and Benny Safdie, gambling is a matter of faith. Whether he's placing a bet on the Boston Celtics, attempting to rig an auction, or outrunning debt-collecting goons at his daughter's high school play, the movie's jeweler protagonist Howard Ratner (Adam Sandler) believes in his ability to beat the odds. Does that mean he always succeeds? No, that would be absurd, undercutting the character's Job-like status, which Sandler imbues with an endearing weariness that holds the story together. But every financial setback, emotional humbling, and spiritual humiliation he suffers gets interpreted by Howard as a sign that his circumstances might be turning around. After all, a big score could be right around the corner.

Velvet Buzzsaw (2018)

Nightcrawler filmmaker Dan Gilroy teams up with Jake Gyllenhaal again to create another piece of cinematic art, this time a satirical horror film about the exclusive, over-the-top LA art scene. The movie centers around a greedy group of art buyers who come into the possession of stolen paintings that, unbeknownst to them, turn out to be haunted, making their luxurious lives of wheeling and dealing overpriced paintings a living hell. Also featuring the likes of John Malkovich, Toni Collette, Billy Magnussen, and others, Velvet Buzzsaw looks like Netflix’s next great original.

COLUMBIA PICTURES

Walk Hard: The Dewey Cox Story (2007)

Oscar-baiting, musician biopics became so cookie-cutter by the mid-'00s that it was easy for John C. Reilly, Judd Apatow, and writer-director Jake Kasdan (Jumanji: Welcome to the Jungle) to knot them all together for the ultimate spoof. Dewey Cox is part Johnny Cash, part Bob Dylan, part Ray Charles, part John Lennon, part anyone-you-can-think-of, rising with hit singles, rubbing shoulders with greats of many eras, stumbling with eight-too-many drug addictions, then rising once again. When it comes to relentless wisecracking, Walk Hard is like a Greatest Hits compilation -- every second is gold.

The Witch (2015)

The Witch delivers everything we don't see in horror today. The backdrop, a farm in 17th-century New England, is pure misty, macabre mood. The circumstance, a Puritanical family making it on the fringe of society because they're too religious, bubbles with terror. And the question, whether devil-worshipping is hocus pocus or true black magic, keeps each character on their toes, and begging God for answers. The Witch tests its audience with its (nearly impenetrable) old English dialogue and the (anxiety-inducing) trials of early American life, but the payoff will keep your mind racing, and your face hiding under the covers, for days.

Y Tu Mamá También (2001)

Before taking us to space with Gravity, director Alfonso Cuarón steamed up screens with this provocative, comedic drama about two teenage boys (Diego Luna and Gael García Bernal) road-trippin' it with an older woman. Like a sunbaked Jules and Jim, the movie makes nimble use of its central love triangle, setting up conflicts between the characters as they move through the complicated political and social realities of Mexican life. It's a confident, relaxed film that's got an equal amount of brains and sex appeal. Watch this one with a friend -- or two.

PARAMOUNT PICTURES

Zodiac (2007)

David Fincher's period drama is for obsessives. In telling the story of the Zodiac Killer, a serial murderer who captured the public imagination by sending letters and puzzles to the Bay Area press, the famously meticulous director zeroes in on the cops, journalists, and amateur code-breakers who made identifying the criminal their life's work. With Jake Gyllenhaal's cartoonist-turned-gumshoe Robert Graysmith at the center, and Robert Downey Jr.'s barfly reporter Paul Avery stumbling around the margins, the film stretches across time and space, becoming a rich study of how people search for meaning in life. Zodiac is a procedural thriller that makes digging through old manilla folders feel like a cosmic quest.

13th (2016)

Selma director Ava DuVernay snuck away from the Hollywood spotlight to direct this sweeping documentary on the state of race in America. DuVernay's focus is the country's growing incarceration rates and an imbalance in the way black men and women are sentenced based on their crimes. Throughout the exploration, 13th dives into post-Emancipation migration, systemic racism that built in the early 20th century, and moments of modern political history that continue to spin a broken gear in our well-oiled national machine. You'll be blown away by what DuVernay uncovers in her interview-heavy research.

20th Century Women (2016)

If there's such thing as an epistolary movie, 20th Century Women is it. Touring 1970s Santa Barbara through a living flipbook, Mike Mills's semi-autobiographical film transcends documentation with a cast of wayward souls and Jamie (Lucas Jade Zumann), an impressionable young teenager. Annette Bening plays his mother, and the matriarch of a ragtag family, who gather together for safety, dance to music when the moment strikes, and teach Jamie the important lesson of What Women Want, which ranges from feminist theory to love-making techniques. The kid soaks it up like a sponge. Through Mills's caring direction, and characters we feel extending infinitely through past and present, so do we.

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[badgersighted]

PS5 Game Reveal Thoughts

Below the cut I’m gonna write a brief paragraph or sentence or whatever about each of the 25ish games that were revealed last night at the PS5 thing.

Don’t have much to say about this one; I never played GTAV, the series has never really been my thing, but I think it came out in 2013ish? I think the time has been and gone for re-releases and they should be working on the next game. Too much more and this’ll quickly become the new Skyrim/Todd Howard meme.

Okay so I never played Spiderman, but I did watch the cutscenes because I never thought I’d go out and buy it (before I later got it free with a ps4 pro). This is one of those games where, like, I’m not invested but I can both see the appeal and am happy for those who were waiting on it.

I think there’s diminishing returns on realistic racing games. Stuff was coming out on current gen that looked near enough realistic, so it gets excessively hard to tell the difference.

The first one that caught my eye. Despite the last entry being a bastardized, hollow remake that encapsulated everything the original stood against while missing two thirds of the content, R&C has a place in my heart and I hope they can actually get back to standard now they don’t have to work around a terrible movie.

My hot take here is that Ratchet has a wrench and his name is Ratchet. Girl Ratchet has a hammer, ergo her name is Chisel or something. I just wonder if this is a look at the future and Ratchet’s kid, or if it’s an alternate, gender-flipped dimension. In which case Clank would probably be the same because he’s a robot, but I fear for the possibility of Captain Qwark.

Legitimately can’t remember a gosh darned thing about this one. 

I feel like the trailer proved that Stray works better as a short film than a game, but I guess we never saw any gameplay to prove that assumption. I like the art direction and you get to be a little kitty cat.

Ellen Degeneres goes to space and the mind fucky wucky happens. I got some Prometheus vibes for this, but the only thing that really left a mark was the aforementioned Ellen jokes we were making on discord.

Fuckin love me some Littlebigplanet, so this was a welcome surprise. Odd to see that they’re not implementing a create mode (as far as we know) but I can see how impossible it is to both make a fully 3d create mode (see: LittleBigPlanetKarting) and also go up against Dreams which was made by Sackboy’s original home studio.

I have a soft spot for LittleBigPlanet’s story modes, though, especially the second game’s - so this will be a welcome addition for me. I just hope they reference the previous stories and don’t act like a plot is something new to the series.

This game feels born out of the hangover of games like Fortnite and Apex Legends, leaving it feeling at least one year outdated. But if it’s your sort of thing, more power to you.

So Kena was another of the more subdued, new IPs that I think a lot of people will have forgotten but I actually quite liked the look of it, or at least some aspects. I’ll always have a soft spot for ‘young girl with bow and arrow’ games but I also liked the art direction and the little puff ball fellas, as well as the bad guy seeming like a legitimate threat in a world that tricks you into thinking it’s all cute. The contrast serves the narrative in that regard.

So following a game I’m interested in is a game I could not be less interested in. Horrendous character design, pseudo-deep narrative that are a dime a dozen for indie tumblr bait visual novels. The logo and the fact they’re [barely recognisable as] dinosaurs presumably suggests this will end in a meteor destroying everything and, frankly, I have never rooted for an inanimate rock more in my life.

This 2d platformer took itself very seriously. I never understood Oddworld nor saw the appeal because its protagonist is very... not nice to look at. But more power to those who wanted a new Oddworld game.

I found this one kind of interesting, then the First Person gameplay kicked in and that very quickly faded. It’s a shame, really; the visuals were really good.

All I got from this is that it’s called Jeff, and it’s a low concept blend of the movie Gravity and Katamari. It’s one of those deep, arty games I’m just honestly too dumb to appreciate. Or maybe it’s false depth.

This is a weird one. I find it intriguing how a game can have so much going on on-screen, and yet none of it stand out. It really does feel like this game pulled inspiration from several places, but failed to embellish or add any value on top of it.

This is another one of those arty games I’m too thick to understand. I’d say it has slight hints of Journey in it, but I never played that so I can’t be certain.

Hitman reminds me of the Community Paul Rudd quote: “I see the appeal, and I wouldn’t take it away from anyone, but I’d also never stand in line for it.”

As much as a corporate Mario Odyssey knockoff as this game may seem, I’m honestly interested as I’m gagging for any Odyssey-adjacent content in my life. It looks like it could be mindless fun, at the very least.

Like JEFF and Solar Ash before it, I don’t know what this game is and I don’t think the trailer did enough to make me want to bother finding out. I liked the big cat dude, though.

Would the world suffer if it didn’t have the same set of games reskinned and rereleased each year, with a single number in the title changed? I never understood the appeal of sportsball games. Is it for the people too unhealthy or too lazy to actually play a sport? Why do they have to make one every year when there’s nothing new? It’s not like the sport has fundamentally changed in a year’s time.

So they had me in the first half expecting a Crash game reveal, I’ll be honest. 

But this is, oddly enough, the game I find most interesting of everything we saw here. I have no idea what the fuck it is, but I’m determined to believe there’s hidden meaning - that it’s a satire on Pokemon, that it’s a commentary on the phrase ‘you are what you eat’, that it’s a game that lulls you into a false sense of security and drops you in a horror game like Doki Doki Literature Club. Prove me right, Bugsnax.

I never played the original Demon’s Souls, so I can’t say much on the remake. I don’t even know if Demon’s Souls and Dark Souls are part of the same series.

Are we going to ignore that, fundamentally, this game’s unique selling point is that it has checkpoints?

Full transparency here, I had this game pegged as a Resident Evil game as soon as there was an old man in the trailer, and I’ve never played a Resident Evil game. I just associate old men in video games with horror, and Resident Evil is one of the first horror games that come to mind.

Looks like someone saw Death Stranding and thought “I can do that, too!” 

Yeah, well, you can’t.

Given the hype I saw surrounding this game, I feel like I should probably play the first one. I’m just concerned it might not be my sort of thing. It’s one of those things I want to like, but I’m not sure I want to put my money where my mouth is before being sure - so we’re stuck in stalemate. 

[thesunflower23]

I don't consider myself to be very famous. I'm recognizable in certain contexts but even that kind of recognition sometimes puts me off terribly because it's uncomfortable in a way. I want people there not to see me, but to think about the music. A lot of young people are forgetting about the most important thing, which is the music. They're thinking about their career and the character that goes with it. The clothes they believe they're meant to wear, which again is fine. I understand the importance of fashion and aesthetics within art. I like the elegance of design but it's not the substance of something, particularly if you're primarily about making music. Another piece of advice I'd give—maybe the only piece of advice is you've got to have something that you really need to say. That's why you're doing it. If you've got nothing to say then maybe become a recording engineer? Don't be a writer. I desperately want to speak French so I can read some of the great French novels in the language they were written. I wish I could read Don Quixote in Spanish. Same with Portuguese or Latin or something, except I don't have that learning ability. I wish I could direct a movie but it's not something I've ever been able to do. I don't have the story to tell yet, and I'm not going to go out and make something that's visually cool but has no story. It was always my ambition to make films when I was growing up. I thought that was much more valid. I never wanted to be an indie rock musician. I wanted to make really important films. Epics, classics, except I've never had the idea or story come to me. Just because you can be in a band, just because you can make a film, doesn't necessarily mean you should. You have to ask yourself, "Is what I'm doing needed? Is what I'm doing valid?" So people reading this might think, "Is Deerhunter valid?" To me, yes it is. To me, I'm making an album that no one else is making right now. I'm always open to any genre of music that can affect me. My most listened to artist of last year according to Spotify was Whitney Houston. I adore her. Her voice, her personality, her presence, what she brings to the songs. Anything that has life in it, and has that much inherent value, I'd fall at the feet of that artist today. People, like Whitney Houston, she gave everything to her audience, and she had a tragic ending. She never had a chance. I don't have the capacity to do that. It's not needed. The audience are happy with what I give and I'm happy with what they give in return. We have a nice arrangement and I'm very satisfied with it. I like my life as it is. I don't have anything that I'm wishful of. Everything I've ever wanted I have. That's the biggest source of depression for me in many ways. It probably sounds really shitty to someone who's in poverty but in my world I have it all. Other people want more material items but in my world it's not important. I can have that guitar if I want it. I don't want a fancy car or to live in LA or New York or Paris. I want to stay here with my dog. As far as I'm concerned there is no up, up, up. I don't want to expand. I'm just an entertainer like anyone else but I'm lucky to know my place. Not be unsure of my place and think it should be a palace. I don't want to go to parties. I want to stay at home with my dog and watch old Humphrey Bogart movies. I'm very content. I guess it comes back to the question of why has it taken four years for this record? I don't know. It's hard to go out. I sometimes force myself to. It's hard enough making the music and putting it into a document, talking about it endlessly then running it into the ground. I'd put out a new song every week if I could but I'm not sure that's the way it's done now, unless you're a pop star. My real priority is to my dog. More than my music or anything else. If you told me something was going to happen to my dog while I was on tour I'd cancel the entire tour. It's painful enough being on tour. I see Lockett looking at pictures of his kids on the bus and it's painful. When I'm lying on the bottom bunk of a bus after a show at 3 a.m. riding through the French countryside and I'm staring at pictures of my dog, it's painful. But then there is the ecstasy of the show the next night. In the future, here's hoping there'll be some kind of technology where we can see our loved ones. One of the greatest things about my life has been taking this music across the world. I love everywhere we go. It's getting there that's the misery. It's the jet lag, it's the exhaustion, it's the dehydration. It doesn't matter if you're a huge band either. I've toured with some of the biggest and I've seen it. Even in the most glamorous and decadent of situations there's a lack of health there. And there's a lack of space. Most importantly, there's also a lack of solitude. And peace. You're under fluorescent lights. I've played Madison Square Garden a couple of times and it's actually quite depressing. The backstage area is like a government office building. It's not pleasant. You'll play a small club and the backstage area is more like being at home. Sometimes it's awful but I guess what I'm saying is it doesn't matter how big you are, there's some kind of human comfort that can't be bought and brought to you everywhere. Even if you have 50 assistants, you're still sat under fluorescent lights in a dressing room designed as a locker room for a hockey team. It's not artistic or inspiring. When you look at the all time greats such as the Stones or Bob Dylan that only play arena shows, you get to a point where you're not meeting people any more because the only people around you backstage are the people you've put there. So you become more and more isolated. I don't tour arenas specifically unless I'm opening for someone, but I've seen it and it's not healthy. The greatest thing about being a young band and getting into a van is that everywhere you go, you make new friends. You meet people and get talking to them. It's not awkward or like you're alienated or different from them. Doing that you're usually in your 20s so you don't have kids at home missing you. Your home is probably some kind of squat or apartment so you don't tend to miss it as much. That's when it's easiest to be in a band. It becomes harder as you get older and you actually have a home to go back to. I can't stress how important solitude is. As I get older I require more and more solitude. I just want to be alone. I'm a committed asexual, which might be hard for people to understand, but there's nothing more amazing to me than coming home from a tour and being utterly alone except for the company of my dog. Not talking or having to give, give, give. But then if I got my wish and stayed home all the time I'd start going crazy! I want to play music to people, I want to make people happy, but the humanity of it hasn't changed. Human condition has not changed. That's when I think about Whitney dying in a bathtub alone. It leaves a sour taste for me because she finally found solitude but it came in death. People lose track of their needs. They start letting ambition replace their needs.

Bradford Cox

[thewebcomicsreview]

Tonight on Legend of the Hare: Rasslevania! 

This was originally supposed to be a birthday, but then I thought of the phrase “no holds barred mitzvah” and changed it last second. do like that Jill and Riley both don’t actually know what a bar mitzvah is. Given that the next few pages portray the event as taking place in an arena (?) around a wrestling ring (??) and one of the people in attendance is a music industry scout (?!), it’s also possible that I didn’t know what a Bar Mitzvah was, or at the very least didn’t bother to change any of the later pages to account for this change. This is a really stupid plot point! And it also means that the band is tempted by money at a Jewish event, which is one of those things I probably should have stopped to consider the implications of, but I clearly didn’t consider the implications of anything I was doing on any level. In the aborted LotH Version 2, this whole scene was going to be an actual birthday party, and Riley would sing a song that would be way inappropriate for kids and the family would kick them out, which Riley would blame on Jill before Peggy showed up an arrested them all. It would be at the police station where the rabbits first appeared, and V2 was getting very far from V1 before I gave up on it.

There’s something very Scott Pilgrim vs the World-y in those first three panels, especially Jill’s band being a retro gaming reference. Who came up with that name, anyway? Also, wow, I just told Carlos to draw a generic indie wrestling poster and gave him a sample of one, but I totally passed on a chance to put a joke on the poster. Missed opportunity, past me! Also, using “Goldstein” as a generic Jewish name, bluh.  That’s lazy, it should’ve been a funnier name. If it’d been, like, “Rick ‘The Rack’ Ruckus presents: His son’s no-holds-barred mitzvah” then there’s a little character in it, the idea that maybe it’s the dad who likes wrestling and not the kid, which gives me an opportunity to have a joke later about the son being bored and also kind of helps explain why there’s no actual Bar Mitzvahing going on. You can tell how much I’m feeling a page by how much effort I’m putting into finding these spaces for a joke. In a perfect ideal word, a writer should spend as much time on a page as the artist, going over every line and background detail and trying to find ways to get as much mileage as possible out of every panel and taking every chance for a clever joke. Obviously, this doesn’t usually happen in practice. But it should! It’s very easy to pop out something passable in ten minutes as a writer in a way an artist can’t, but you should hold yourself to a higher standard and even now I don’t do that as much as I should.

Panel 3 looks like a generic alley, but I actually took a photo of an alley in Boston I liked and had Carlos use it as a reference

I’m not quite sure why I found this image so striking, but it adds a little to the sense of place that this alley has a brick road instead of a paved street, and is one of the very few visual clues that this comic takes place in Boston and not Generic City, so it was worth the time to photograph. Also, hey, that’s Eoin in a trenchcoat reading a newpaper in the background of paper three there. The original opening to Legend of the Hare would have had Trenchcoat Eoin (back when he was called Teporingo) and Mary Farrier at Doink Burger scoping Jill out as a potential rabbit champion. This never got past the first draft stage and mostly revolved around Mary being a hyper child and not focusing. Interestingly, the script I have for that opening establishes Legend of the Hare as being set in Oregon. I wonder why I set it there originally, given that I’ve never been. It might have just been a reference to Gravity Falls?

Anyway, this is the first appearance of Riley, and note that even this early he’s making fun of Jill behind her back. Old man Starflower seems to just accept what Jill is saying as normal, which looks like a joke but is also foreshadowing, since Starflower knows a bit more than was ever shown to the audience. Sadly, it never comes up in the comic because everything’s a mess, but Mary Farrier the horse champion is Starflower’s daughter, and it was through him that the rabbits learned of Jill. It’s all connected, but offscreen because I wasn’t doing anything properly.

The Lore Post for this page will be of grave importance to a few people: It’s the first appearance of Helen Alvarez, the Rooster Champion and surprisingly popular minor character! Helen doesn’t actually appear on-panel for like 40 pages, and by then she’s very clearly sick of all the “cock” jokes, but she seems to be in better humor about it here:

Dear Diary,

I don’t know if anyone’s going to read this, but if you’re reading this now, hi.

So today was odd. I skipped school and then a bunch of Roosters flew me off to Cock-Narnia. Little bit unexpected, that twist. They gave me the whole “Chosen One” spiel I’ve seen in a million fantasy novels, though they didn’t seem to know who actually chose me or why. They offered to let me go home, but I told them nah. Even a crappy Harry Potter LARP thing run by birds is better than Mom and Brad. And, honestly, I wasn’t going to make a better career choice than being the “Lady of Cocks”, so I might as well get on the Cock while I can. Got the tattoo and everything. I’m sure that’ll stop being funny any second now, but I’ve only been here a few hours so I’m going to ride the cock train just a bit more.

The cocks – there it is, this is old -the roosters are not very smart. Which I guess isn’t surprising, because they’re birds? But they can talk, so you’d think they’d be smarter than normal birds. And maybe they are, but they ain’t shown signs of it yet.

I tried to get some details on what my Cock Destiny (okay, one more) was, but no one was able to answer me. Kind of defeats the point of having a prophesied destiny if it’s a mystery, doesn’t it? If I wanted vague promises of future greatness, I’d see the guidance counselor again.

Isn’t that life, though? In that….um…..you never know what you’re gonna get? Or something? I dunno. I really don’t know anything. Supposedly once I sign up I get all kinds of magical girl superpowers, but I don’t feel very super right now. I mostly just wanna lie down. Such hero. Very amaze.

Actually, lying down sounds like a great idea right now. I need to stress over all my decisions today. I’m gonna go do that.

How was your day?

Holy hell, you can tell this lore post is old, there’s a doge reference.

[playmasterhd]

METALWARE HIGH SCHOOL DEMO - GAMEPLAY / REVIEW - FREE STEAM GAME 🤑 TITLE: MetaWare High School (Demo) GENRE: Free to Play, Indie DEVELOPER: Not Fun Games PUBLISHER: Not Fun Games RELEASE DATE: 2 Apr, 2020 How do you see the world when nothing is real? ALL REVIEWS: Very Positive (122) RELEASE DATE: 2 Apr, 2020 DEVELOPER: Not Fun Games PUBLISHER: Not Fun Games Popular user-defined tags for this product: IndieFree to PlayVisual NovelChoices Matter+ ABOUT THIS GAME Each character was assigned to give a statement to be posted on this store page. Their responses are below: CHRIS: Hello! I’m so excited that you’re considering playing our game! I'll tell you as much as I can. So we're actually not the full game. We're the demo! No one knows if the real game is out yet or not, or what genre we're really supposed to be....it's kind of confusing. But that's just fine, I guess! Anyway, I suppose it's already been determined where you'll be going and what kinds of things you might be doing? I hope I get to actually meet you later. I've really been looking forward to it! Have a nice day! HOPE: hey if u get any choices that lead u to a mochi store go there thats where the cool ppl in the game r if you dont youll probably lose ok bye ASPEN: Hey YOU! Yeah, YOU! Wanna chat it up with some cute girls? (And a super cute non-binary person?) Then you've definitely found the right game! We're not like those other inferior dating simulators. We have the advantage of knowing who, how, why, and what we truly are! Well, uh...mostly. That's where you come in! You can be the one to tell us once and for all what we're really doing here! And with the help of your good buddy Aspen, we'll ensure that this game gets its best ending! Our fate rests upon your shoulders, O wise player! NARI: [Declined to give a statement.] ISADORA: WHAT?!??! MY QUOTE IS GOING TO BE LAST????? THAT'S NO FAIR!!! YOU SHOULD CHANGE IT SO THAT I'M, LIKE, AT LEAST SECOND? OR THIRD?!?!!? LAST IS SO STUPID!!!!!! NARI DIDN'T EVEN SAY ANYTHING AND SHE'S NOT EVEN LAST!!!!! Mine is probably gonna be HIDDEN by that STUPID READ MORE BUTTON NOW!!!!! UUUUUGGGGGGGGGGG (...wait so what exactly should I say then? ...oh, ok.) Hi! I'm Isadora, and...uh... (Oh, whatever, this is so stupid! Was that enough? Can I go now?) A NOTE FROM THE CREATOR Hello. I am the Creator. I created this Visual Novel's script, code, and music. The game runs in the RenPy engine and is formatted as a visual novel. Occasionally you will choose what to say by selecting a dialogue box. There are multiple endings. It takes around two hours to complete everything. I METALWARE HIGH SCHOOL DEMO Gameplay,METALWARE HIGH SCHOOL DEMO PLAY TROUGH,METALWARE HIGH SCHOOL DEMO pc free games,METALWARE HIGH SCHOOL DEMO game,METALWARE HIGH SCHOOL DEMO steam,METALWARE HIGH SCHOOL DEMO review juego de steam,METALWARE HIGH SCHOOL DEMO lets play,METALWARE HIGH SCHOOL DEMO how to play,METALWARE HIGH SCHOOL DEMO analisis,METALWARE HIGH SCHOOL DEMO review,METALWARE HIGH SCHOOL DEMO no commentary,METALWARE HIGH SCHOOL DEMO link,METALWARE HIGH SCHOOL DEMO trailer,METALWARE HIGH SCHOOL DEMO multiplayer,METALWARE HIGH SCHOOL DEMO full gameplay & review,METALWARE HIGH SCHOOL DEMO f2p,METALWARE HIGH SCHOOL DEMO pc,METALWARE HIGH SCHOOL DEMO free game on steam,METALWARE HIGH SCHOOL DEMO juegos gratis de steam,METALWARE HIGH SCHOOL DEMO 1080 60 FPS, key steam,METALWARE HIGH SCHOOL DEMO free game steam 2020,METALWARE HIGH SCHOOL DEMO online,METALWARE HIGH SCHOOL DEMO steam store,METALWARE HIGH SCHOOL DEMO steam pc games,METALWARE HIGH SCHOOL DEMO steam free download,METALWARE HIGH SCHOOL DEMO steam keys, free steam game,METALWARE HIGH SCHOOL DEMO gameplay ESPAÑOL,METALWARE HIGH SCHOOL DEMO free pc game,METALWARE HIGH SCHOOL DEMO free to play steam game,METALWARE HIGH SCHOOL DEMO good steam games,METALWARE HIGH SCHOOL DEMO free games to play,METALWARE HIGH SCHOOL DEMO game keys,METALWARE HIGH SCHOOL DEMO best free games on steam,METALWARE HIGH SCHOOL DEMO steam giveaway,METALWARE HIGH SCHOOL DEMO top steam games,METALWARE HIGH SCHOOL DEMO good free games on steam,METALWARE HIGH SCHOOL DEMO cheap steam games,METALWARE HIGH SCHOOL DEMO steam free to play,METALWARE HIGH SCHOOL DEMO steam free to play games,METALWARE HIGH SCHOOL DEMO new steam games,METALWARE HIGH SCHOOL DEMO steam games online,METALWARE HIGH SCHOOL DEMO cool free games on steam,METALWARE HIGH SCHOOL DEMO steam f2p games,METALWARE HIGH SCHOOL DEMO all free games on steam,METALWARE HIGH SCHOOL DEMO free pc games to play,METALWARE HIGH SCHOOL DEMO free online multiplayer games for pc,METALWARE HIGH SCHOOL DEMO best free multiplayer games on steam,METALWARE HIGH SCHOOL DEMO freesteamkey,METALWARE HIGH SCHOOL DEMO steam gratis by PlayMaster ✮VARIEDAD&DIFERENCIA✮

[4colorrebellion]

4cr Plays - Piczle Cross Adventure (Switch)

I am a nonogram fanatic. I don’t know what exactly it is about the things, but I just can’t get enough of the little draw-by-numbers puzzles. Few games suck me in as intensely as a good Picross (or the indie equivalent). 

In the past, I thought I was more-or-less alone in this. Nonogram games were few and far between. I even found myself hunting down ROMs of Picross games released for the Satellaview broadcast service for the Super Famicom just go get my fix! Now, on the Switch, there are so many nonogram games coming out that I have actually found myself falling slightly behind! 

The latest twist are games that wed nonograms with a broader gameplay structure torn from another genre. The ingenious Murder by Numbers combined nonograms with a visual novel revolving around solving crimes. The recent PictoQuest merged nonograms with RPG mechanics. Now, we have Piczle Cross Adventure, which places the puzzles within a story-driven 2D adventure. 

If you have never solved a nonogram puzzle before, let me explain the concept. You start with an empty grid. Each row and column of the grid has a series of numbers on it. Your goal is to fill the correct cells in the grid to create an image. You can think of it as a form of “paint-by-numbers”, where you need to identify the right spaces to mark for form a pixel-art painting.

The numbers on a row or a column tell you how many spots need to be filled in. If you see a “5″, you know that a five-block sequence will need to be filled, while blocks before and after those five will remain unfilled. To figure out which five need filled, you need to look at the corresponding columns (if you are working on a row) and see if you can match the conditions placed by the numbers on each of those. You will often see multiple numbers, like “2 3″, indicating that there are multiple sequences that will be filled in. In this case, the row would have a sequence of two filled-in blocks, then later, a second sequence of three filled-in blocks. At least one unfilled cell must exist between the two sequences. Again, you need to use the other clues to identify where the two sequences lie in the row.

That’s about all there is to it. Identify the spaces to fill, mark off those you know will not be filled, and try to complete the picture as fast as you can without making any mistakes. As pictures get larger, this becomes a tougher task. Even as a novice, you can probably complete 5x5 or 10x10 puzzles without breaking a sweat. As the puzzles grow, you may find it a little harder to keep track of everything. Still, try not to panic. A great thing about nonograms is that you should never have to make a blind guess. There is always enough information to unravel the next spot - it just may take some searching to identify it.

Piczle Cross Adventure presents its puzzles in a classic form, without additions like multiple colors or layers that have been used in other recent games. This is not a complaint, however, as the puzzles are well-designed. I’ve had a lot of fun chiseling my way through the game, and it has a lot of great little challenges in it. The primary enhancement on standard puzzles in Piczle Cross Adventure is that some larger pictures are broken up into a series of smaller puzzles. As you complete the individual small puzzles, you reveal that larger picture. In these cases, it may pay off to keep each surrounding piece in mind, as they will offer clues on where the borders of your current piece lie. 

The most unique aspect of Piczle Cross Adventure is the inclusion of a massive overworld and story to guide your puzzle solving. The story revolves around the evil Mona Chromatic, who has unleashed the pixel-powered robot under_SCORE on the world in an attempt to rob it of its color. Score-chan, pet/companion(?) Gig, and Professor Matrix - the ostensible “protagonists” of the previous Piczle games - have set out to restore the zapped items and put the world together again. 

This story is mainly a way to guide you from puzzle to puzzle. Each item is restored by completing a puzzle representing it. The overworld, presented in a 2D overhead Zelda-like manner, is broken up into a series of regions. Each region has a number of items to restore. Often, you will find that your progress is gated until you find a particular item from a different region. For instance, a fallen tree might block your progress in one direction until you restore a chainsaw in a different area and bring it back to clear the path. 

Exploration of the overworld is not particularly deep. Other than unlocking items for simple puzzles, there isn’t a ton to do. You get XP for completing puzzles, but levelling up doesn’t really grant new abilities - beyond opening up more difficult puzzles. Still, it is a pretty compelling twist on the standard formula. Some puzzles are well-hidden, inside trash cans or behind trees. Hunting down every puzzle and filling in that section on your overworld map is an addictive process. The story and exploration give a nice feeling of progress as you work your way through. 

As I mentioned, I played Piczle Cross Adventure on Switch. It is also available on Steam. I’d personally chose every time to play this kind of game on a portable system, so I’d recommend getting the Switch version. It looks nice on the tablet - though, I had to turn off the fake overscan. It also makes nice use of the HD rumble on the Switch. This is the kind of game that benefits from portability and being able to play a few puzzles in bed before you sleep. 

Overall, I really enjoyed Piczle Cross Adventure. If you like nonogram puzzles, the ones in this game are really well designed. I also enjoyed exploring the overworld, trying to hunt down those last few obscure puzzles. If you’re looking for that next puzzle fix, this is definitely a game to look into.

A copy of Piczle Cross Adventure was provided for this review.

Nintendo eShop

Steam

[bethanyisastranger]

Top Horror/Thriller Movies of 2017!

Yes it is nearing the end of 2018, however I am reviving my old blog posts and reminiscing about days long gone (last year). 2017 was a pretty decent year for horror flicks, and this list compiles just 8 of my own movie recommendations.

As usual there were a plethora amount of horror movies released, spread out throughout the year. From personal experience, I find the box office usually soars with the horror genre, as they are always a favourite with cinema goers. Of course being only one person, I have not been able to see some of the most recommended films like Get Out, so they will not be featured on this list unfortunately! Some spoilers, beware.

Quick and to the point, here are my top horror movies or 2017!

Annabelle: Creation Annabelle: Creation is directed by David F. Sandberg, a personal favourite. Being part of a wider theatrical universe, it is a prequel to Annabelle (2014) and part of the wider The Conjuring film series. As the 2014 Annabelle had already been made, I was left to wonder what more they could possibly say about the origin of this famous possessed doll. Lots, as it turns out. With child actors who aren't half bad, jump scares that don't take over the film and a plot that makes sense as a prequel, this movie was enjoyably suspenseful in cinemas and I would recommend to anyone who is already a fan of the franchise.

Happy Death Day The horror version of Groundhog Day, this film caught my interest from the beginning and carried it until the very end, without the use of the usual jump scares or gore sequences. With a likeable main character, you're rooting for her to find the killer all the way through, along with taking wild guesses yourself (it could be anyone!). With the occasional comedic moment this makes for a fun viewing, and although the end could be picked apart slightly if you think too hard about the events that occur throughout the film, this doesn't prevent Happy Death Day from being an enjoyable experience.

Geralds Game This was one film I was not expecting to enjoy as much as I did. I was constantly interested as to how she was going to get herself out of the situation, as well as being aware of the horror elements that were mainly towards the end of the film. Unfortunately someone had already told me what happens, so the arrival of the 'moonlight man', was less of a scare than it would have been. All in all it was an interesting film, with the moonlight mans appearance being scarier than I had imagined, bringing that missing creepy factor to the horror.

A Cure for Wellness I'm not entirely sure how I feel about this film, but I know it has stayed with me since the first viewing. If you have seen A Cure for Wellness then you will understand the feeling. By director Gore Verbinski, this film boasts an eerie tone, well cast actors and stunning locations. With some grim scenes, this film will stick with you once you have finished viewing, along with you still trying to wrap your head around the final plot twists and elements.

The Girl With All The Gifts Although this movie failed to impress in the cinemas, I'm going to include it as the book it is based on is one of my all time favourites. From that perspective, I'm going to review it as I can remember based on the book plot, rather than the rushed film version (read the book!). It is told from the viewpoint of Melanie, a young girl in a dystopian world. It is revealed Melanie is in fact a 'zombie', but with higher intelligence and the ability to think for herself unlike the adult 'zombies'. It follows her journey with adult companions through this world as they look for safety and possibly, a cure. The movie hopefully caught the attention of the general public, but viewing after reading the novel (seriously read the book!) the film fell short of the original quality plot line and character development.

Split By notorious plot twister M. Night Shyamalan, this film features incredible acting by James McAvoy and his take on the split personality role. Keeping up the suspense with the three girls trapped in a basement scenario, the film balances this with the normality of McAvoys characters regular visits to his psychiatrist during the day. The underlying tone of the film is tense, but the real reason for this isn't revealed until the final acts.

The Blackcoats Daughter/February If you enjoy little known indie flicks, then this is the title for you. A somewhat slow approach to a an interestingly put together thriller, the film doesn't all tie together until the end, which is fairly satisfactory. Unrelenting and different, you're never quite sure whats real and what is just imagined in the characters head.

IT: Chapter One The first film chapter of well the known Stephen King novel IT was the standout horror film of the year, utilising exceptional dialogue, good child actors and the general publics well founded fear of clowns to it's advantage. Well directed and produced, the visual effects are used creatively to maximise the creepiness of Bill Skarsgard's notorious clown Pennywise. The actors portraying the Losers Club, the main seven kid protagonists, excelled in their job and managed to make each character likeable in their own way. One of the best movies of the year.