This time I’m reviewing the fantasy anime series “Record of Lodoss War” from 1990.
Actual Play – Star Wars: Edge of the Empire – by WhyCalibur
Titansgrave: Ashes of Valkana – by Wil Wheaton
Both used with Permission
Record of Lodoss War – by Kadokawa Shoten
Used under fair use.
“Little Lily Swing” – Tri-Tachyon
Used under a Creative Commons License.
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Notes: Matt Walton suggested that I cover some of the material I’ve previously covered in my fanzine on the show – this is meant to be a part of that – I did an article on Western Fantasy in Anime that covered Lodoss and several other shows that I’ll get to in future episodes.
“$NAME_OF_FILM” on/in a “$LOCATION_OR_VEHICLE” is a pretty good reductive way to describe some films. Under Siege is Die Hard on a Battleship. The Star Trek: The Next Generation episode “Starship Mine” was pitched as Die Hard on the Enterprise. The Magnificent Seven is The Seven Samurai in the old west. While it’s reductive, it’s not necessarily bad, nor is it necessarily a derogatory way to describe a film. Thus, don’t take it as a minus when I say that Fury is Das Boot (which I’ve previously reviewed) in a Sherman Tank. Continue reading “Film Review – Fury (2014)”
Part 1 of my new Let’s Play of Mass Effect 3 went live on Tuesday. I’ve also been trying to live-stream my recording sessions, so I’ll be on-camera for most of these episodes.
Sometimes, science and scientific concepts make for great story hooks. Time Dilation – the idea that as you approach the speed of light, time slows down for you while moving normally for everyone else – is one of those concepts. One of the few high points of Flight of the Navigator was how it used time dilation to create pathos with the main character’s family having out-aged him. Makoto Shinkai’s Voices of a Distant Star did it with a couple being separated by not only distance, but time (a theme that would carry over to much of Shinkai’s other work). Interstellar does this with a parent and child. Continue reading “Film Review: Interstellar”
We come to the conclusion of Lost Planet 3, as we go inside Nushi.
Gravity is, quite possibly, the tensest film I’ve ever seen, and is one of the most profound combinations of imagery and music (chronologically) since the Star Wars films and Koyaanisqatsi, and only eclipsed by Mad Max: Fury Road. Continue reading “Movie Review: Gravity”
When it comes to comic book films, and adaptations of comic books to the screen, there are questions about how you adapt certain comic book concepts to the screen, and as cinematic universes get more involved, there is no question that has lingered in the background more than “How do you clean up a cluttered universe?” How do you not only pull a retcon, but a big universe altering one?
Days of Future Past not only attempts to pull such a retcon, but succeeds, by creating a situation where the X-Men films can change course to a new path different from the first 3 films, while still giving credit to where the earlier films worked. Continue reading “Movie Review: X-Men – Days of Future Past (Rogue Cut)”