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GH53: Overcooked Seasonal Diablo

GH53: Overcooked Seasonal Diablo
Gamer Heroes

 
 
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It’s another week of gaming news including details on the Atari VCS, Call of Duty going multiplayer only, Red Dead Redemption 2, and Nintendo’s latest lawsuit. Then we talk about the Seasonal Diablo III runs we’ve been trying out in addition to Overcooked: Special Edition on Nintendo Switch.

We also talk about some changes to our show format, specifically dealing with our bi-weekly Twitch streams.

Don’t forget to subscribe and review us on iTunes for a chance to win a free video game!

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Not looking for a long-term commitment? No problem. Every dollar truly helps, so buy us a coffee over at ko-fi.com/heroespodcasts!

Podcast Credits

A Heroes Podcast Network Production

Hosts
Jon Czerwinski
Derreck Mayer

Executive Producer & Editor
Derreck Mayer

Music
Flying Killer Robots

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GH53: Overcooked Seasonal Diablo

GH33 – PUBG and SteamWorld Dig 2

SteamWorld Dig 2 lands, PUBG bans, and Sony slams… okay, so Image & Form’s latest SteamWorld game has hit Switch and Steam with PS4 to come, Player Unknown’s Battleground starts having banning issues and trouble with streamers. Meanwhile, Sony has their Tokyo conference and announces new games including one that is already available right now! Plus, we talk a bit about other games including Project Octopath Travler and Metroid: Samus Returns.

01:15 – Seedi Retro Gaming Console

07:10 – Sony’s Tokyo Playstation Conference

17:15 – Player Unknown’s Battleground (PUBG)

29:30 – SteamWorld Dig 2 from Image & Form hits Switch and Steam

44:00 – Playing Now: Injustice 2, Project Octopath Traveler, Metroid: Samus Returns

48:00 – Personal thoughts, our new video series, video game contest and more!

Don’t forget to subscribe and review us on iTunes for a chance to win a free video game!

Sign-up for our weekly newsletter! Head over to heroespodcasts.com/newsletter to sign-up today.

Also, stop by our Patreon to see what kinds of cool perks you can get for being one of our contributors: patreon.com/HeroesPodcasts

Podcast Credits

Hosts
Jon Czerwinski
Derreck Mayer

Executive Producer
Derreck Mayer

Editor
Derreck Mayer

Music
Flying Killer Robots

Google Play Subscription Link
https://play.google.com/music/m/I6qwdjccfc4sxi5urxuebuisatq?t=Gamer_Heroes_Video_Games__PC_Gaming__Console_Gaming_Mobile_Gaming

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Social Media
@HeroesPodcasts

GH33 – PUBG and SteamWorld Dig 2

There’s A New “The Room,” And It’s SLC Punk 2

As I teenager, I was into punk. More accurately, I thought I was into punk, though I was probably into a dozen related things, most of them more mainstream for real punk culture and that would be called a myriad of childish names by people who considered themselves real punks. However, I lived in a small town with a population of a few thousand, so there were few people to contest that claim. Because of this, I took the 1998 film SLC Punk as a truth about punk culture. It’s various pauses in story to drop scenes of punk history were either affirming for information I thought I already knew or informational about things I couldn’t find elsewhere. Mind you, this was early in the Internet age for a teenager. Social media was non-existent, Google was effectively an idea of the future, and information was limited to 56k. In other words, what I knew of punk came from word of mouth, the local library, and this movie. With that in mind, I also refuse to rewatch it even for the sake of context for this article, because it will probably make me feel like an idiot. I view this movie with tinted lenses, and I remember it fondly. It seemed like a compelling story about real characters who resembled much of what I knew punk culture to be: flawed, anxious, and ultimately self-destructive. No real punk stayed that way. The sequel, released recently to Netflix, suggests that the Internet would have made that film both painful and irrelevant. I also can’t make up how terrible the dialogue is.

Before you continue past the jump, there will be spoilers in the rest of this review. So if you haven’t seen Punk’s Dead: SLC Punk 2 and you don’t want spoilers, stop now, queue up your Netflix, and then join me later.

SLC Punk 2 - Image 1

While it seems to have had some interest in it’s initial release based on the number of Indiegogo contributors listed in the credits, my only knowledge of SLC Punk 2 came from it being recommended on Netflix. Apparently, Netflix knows I love bad cinema. This film may be the newest and one of the strongest additions to the “So Bad It’s Good” genre of B movies.

The film starts with some brief introduction to a main character near the end of the story. We see our hero, Ross, being beaten up at a punk show. Ross would be best described as a teenage boy who read about Nick Cave on a Wiki but never heard any of the associated music. He is established as “too straight edge for the straight edge kids,” and then promptly spends the entirety of the film drunk and on mushrooms. For how subversive the film treats the character, refusing to let any other character accurately give him a classification of subculture, Hot Topic had been around for 17 years in 2005, when this film is set, and he looks to have taken most of his visual and character traits from the 2005 sale section. He’s blocky and stiff in appearance, always wears a sport coat, spends his film conflicted and romantically broken. Seem familiar?

The film is narrated by the character’s father, Heroine Bob, who died in the original movie. This isn’t a cameo. Bob is a solid 20% of the film, narrating, directing the audience’s understanding of the scenes, and doing the punk history that Matthew Lillard’s character did in the original, speaking directly to the camera. What I remember as a character from my teens seems to me now more of a Quentin Tarantino impression, with the strange, eager excitement of a teenage boy jammed into a man’s ability to convey them. Bob tells us that his son, a unique white rose of independence, is heartbroken and his mother has no idea where he is. That’s basically the entire film. His way of explaining this is by describing his son the way a LiveJournal profile might describe it’s author. Another descriptor might be “stilted.” This could be said for most of the adult actors in the film, who are returning cast of the 1998 SLC Punk  film. I am somewhat confident in that all of these people are decent at their craft, but this movie does it’s best to be certain to undermine those capabilities. Camera angles seem more forced, as if the director was limited to long scenes in wide shots and close-ups, dialogue does it’s best to emulate Clerks, and the characters are reduced to even more finite cardboard cutouts of what they were before. There’s a woman who runs a steampunk shop, a man who runs a black metal shop, a junkie everyone thought was dead, and a guy who essentially runs Suicide Girls. This is 2005, so I can believe a steampunk shop and Suicide Girls being both new and thriving (despite no customers coming into the shop over the course of the film), but a black metal shop? Is this an RPG game? How can a shop that only appears to sell guitar amps, pointy guitars, and swords survive, even pre-economic crisis?

This  also brings us to one of my favorite scenes, and one that seems to misunderstand story writing, character, and law. Ross, heartbroken and riding with his friends, demands more beer. He stops at a gas station, grabs a 30 pack, and pays the man at the register with a $20, telling him to keep the change. As he exits, the cashier asks if he has ID. He replies, “yes,” the cashier shrugs, and the scene is over. There are so many similarities to The Room’s flower shop exchange that all this gas station needs is a doggie. The cashier definitely seems like an actual cashier they roped into saying a line and this situation wouldn’t happen even in a teenager’s dreams.

SLC Punk 2 - Image 2

SLC Punk 2 spends most of it’s time padding out runtime with dialogue that doesn’t matter to the story and hopping from the three teenager characters driving to a punk show and a myriad of Bob’s friends from before he OD’d gathering together to support his baby momma and help her find her son. The film seems to depict a group of men who have watched over Ross as a child in the absence of a father, rebellious boys grown into supportive men caring for a child in need. However, they all also seem surprised by the existence of the others in the young man’s life, if not entirely unfamiliar with each other since Bob’s death. How do a group of people all working to help raise this kid not run into each other in a decade or two?

In keeping with the style of the first SLC Punk, there are scenes in which the narration jumps in to allow Bob to explain punk culture. While the original film seemed creative and fun, giving these scenes a childish style that matched the theme, this one simply seems to be weak in it’s ability to edit, relying on cheap Adobe presets and reusing several of it’s quirky images, in particular a shark biting something. Similar strange editing choices, namely scenes with glaring ADR and jump cuts to attempt to put a band-aid over mistakes, make some of the second act difficult to watch, even for a movie watched for the sake of being so bad it’s humorous. I’m not sure if style has changed so much as to make this seem amateur after time or if the crew on this film simply wasn’t as good at shooting and editing as the original.

The other most striking scene, no pun intended, is the one moment of weight that is attempted with these characters. Ross’s friend Penny, who I haven’t mentioned prior because she does little up to this point but drive the car, stops to speak to her father. He aggressively remarks about where she has been, asking if she’s been “slutting around with her faggot friends.” Riddle me that logic, to which she quietly says, “yes.” He then punches her in the face. She responds by taking Ross’ cane and beating the father’s windshield. For a man so abusive as to beat his child, he doesn’t do anything to stop her but shout, and she flees to her car, telling him he can “jerk himself off.” We are faced with child and sexual abuse and then immediately removed from any responsibility for that issue. It isn’t brought up again, and outside of Ross trying to get her to date him, she isn’t given much screen time after. She is the Denny of SLC Punk 2.

The movie ends with a punk show, which seems to be the film’s main interest. According to IMDB, it was funded by Indiegogo donations and attended by more than 2000 fans. Ross storms the stage to insult punk in general, he gets beat up, and the adults save him. Everyone is happy and the story ends. As a whole, this movie seems to want to emulate the style of a film made prior to the common use of digital editing and film, which makes it’s cheap imagery seem less charming and more like a YouTube channel. The movie overuses and abuses punk songs, and if you turn on the subtitles, the songs frequently give the singer of the band a credit. Maybe it’s a cultural difference, but in a world where information is so available, referential films seem more painful and less entertaining than they would have in the late 90s. Rather than feeling like you’re in on the knowledge this film offers of a subculture, it feels like you’re having something explained to you that most people already know. When you pair that kind of awkward over-explanation with strange performances, clunky writing, and culture that is more eye-roll worthy than interesting, you’re getting a movie that feels like a live action version of the “My Immortal” fan fiction.

Have you seen Punk’s Dead: SLC Punk 2? Let me know your thoughts in the comments!

 

There’s A New “The Room,” And It’s SLC Punk 2

AXANAR: CBS Suit and Star Trek Fan Films

Axanar is attempting to boldly go where no Star Trek fan film has gone before. Over the course of three crowdfunding campaigns between Kickstarter and Indiegogo, they have raised about $1 million in funding for their Prelude to Axanar short film and Axanar full feature film. While their process has been ongoing for well over a year and production is set to begin on the feature film in February, CBS and Paramount, the owners of the official Star Trek TV and movie rights, have decided to file a lawsuit against Axanar Productions.

For many in the Trek community, this has been taken as a serious blow to the fan base. For decades, CBS and Paramount have allowed fan films to continue with little to no intrusion. Some of these productions have been incredibly popular like Star Trek: Continues which continues The Original Series story and format, leveraging new actors to portray Kirk, Spock, Bones, and the rest of the Enterprise crew. They currently have six episodes available on their website. Additionally, Star Trek: Renegades leveraged previous Trek actors in their original roles continuing on a more dark theme. The actors included in “Episode 1” are Walter Koenig (Chekov), Tim Russ (Tuvok), Robert Picardo (Dr. Lewis Zimmerman), and Manu Intiraymi (Icheb), among others. In fact, they’ve even boasted bigger Trek names for future episodes including Nichelle Nicoles (Uhura), Robert Beltran (Chakotay), Cirroc Lofton (Jake Sisko), Aron Eisenberg (Nog), and Terry Farrell (Jadzia Dax). So, people want to know why Axanar is any different.

In their defense, they are using a new story with primarily new characters and have even taken Star Trek out of their title. They are using new ships and covering a time period not used in previous Trek. The characters they are leveraging were minor and not star or leading roles in the various TV series or movies. With that said, yes, they are using Klingons, Vulcans, and other Trek-specific species. But, what is the difference? This is something I suppose that Axanar Productions and CBS have to figure out together but many people think it’s the money involved. While arguing quality is something subjective, money is not. The amount of money raised by Axanar Productions is significantly higher than any previous Star Trek fan films and might even take the crow for fan films in general.

What do I think? Well, I think that CBS and Paramount have a vision for Star Trek with the upcoming Star Trek Beyond film and untitled TV web series set to hit in the next 13 months. CBS has a vision for these official productions and it’s possible that Axanar does not gel with these concepts or ideals and due to Axanar’s popularity, CBS wants to down-play their story. With that said, this is poorly timed by CBS. Star Trek is a complicated franchise, one that has a complex fan base that is willing to be very vocal about their passion of Trek. While the announcement of a new TV series was very exciting, many (not myself, by the way) were disappointed and down right angry that the series would only be available on the CBS All-Access paid subscription network (the pilot episode will air on CBS directly though).  Things continued on the downward trend with the release of the first Star Trek Beyond trailer which many (again, not me) felt did not feel Trek. In fact, it prompted Simon Pegg to make statements about how the trailer didn’t truly depict the message and tone of the film and that he was unhappy with said trailer. Thirdly, Creation Entertainment tried to pull a fast one on passionate fans by price gouging the General Admission tickets for the 50th Anniversary Star Trek Las Vegas convention, causing a retraction and reversal of the price increase within 12 hours.

Star Trek Axanar Ares

For CBS and Paramount to file suit now, after Axanar Productions already met with them as recently as August, seems confusing and in poor taste. With that said, since I am not a lawyer, CBS and Paramount may be completely in the right here if Axanar Productions is making a profit from their crowd funding or breaking other aspects of copyright law. For now, we’ll have to wait. Below is the official response from Alec Peters of Axanar Productions:

STATEMENT FROM ALEC PETERS, EXECUTIVE PRODUCER OF AXANAR

December 30, 2015

This morning, I was greeted with news that our production company, Axanar Productions and I, personally, am being sued by CBS Studios, Inc. and Paramount Pictures Corporation for copyright infringement of Star Trek.

First of all, I was disappointed to learn about this through an article in an industry trade. For several years, I’ve worked with a number of people at CBS on Star Trek-related projects, and I would have hoped those personal relationships would have warranted a phone call in advance of the filing of a legal complaint. Nevertheless, I know I speak for everyone at Axanar Productions when I say it is our hope that this can be worked out in a fair and amicable manner.

Axanar is a fan film. Fan films – whether related to Star Trek, Star Wars, Harry Potter, Lord of the Rings, Power Rangers, Batman or any other franchise – are labors of love that keep fans engaged, entertained, and keep favorite characters alive in the hearts of fans. Like other current fan films, AXANAR entered production based on a very long history and relationship between fandom and studios. We’re not doing anything new here.

Like all fan films, AXANAR is a love letter to a beloved franchise. For nearly 50 years, Star Trek’s devotees have been creating new Star Trek stories to share with fellow fans. That’s all we’re trying to do here.

Since the original Star Trek TV series, when the letter writing campaign by fans got NBC to greenlight a third season of Star Trek, fan support has been critical to the success of the franchise. It is the Star Trek fans themselves who are most affected here, for by suing Axanar Productions to stop making our movie and collect so-called damages, CBS and Paramount are suing the very people who have enthusiastically maintained the universe created by Gene Roddenberry so many years ago.

The fact that many of the fans involved with Axanar Productions are also industry professionals speaks volumes to the influence of Star Trek in the entertainment industry. Not surprisingly, these fans want to give something back. We’re very proud that the work we’ve done to date looks so good. That is also a reflection of the devotion of Star Trek’s fans.

Like everything related to Axanar Productions, we take this matter very seriously and remain open to discussing solutions with all parties that can be mutually beneficial.

Alec Peters

The official statement can be found on the official Axanar Facebook page here.

The full complaint (via Hollywood Reporter) is available here.

Many people have taken to the Internet with a hashtag supported by Axanar Productions #IStandWithAxanar which is paired with various images, profile photos, cover photos, etc. Additionally, Change.org is being leveraged for petitions supporting Axanar, like this one.

Others are concerned about their connection to the crowdfunding efforts. As contributors, our money is already gone. If production is shut down, what happens to our money? Additionally, are we liable for any damages as contributors? Again, while I’m not a lawyer, I do not think that CBS and Paramount are out to get any of the fans involved and are directly interested in Alec Peters and the rest of Axanar Productions. So, I don’t think we have to worry there. In the end, our money is likely lost but the show might go on. A couple years ago, a Kickstarter funded card game, Redshirts, was put on hold for about a year due to a copyright lawsuit with CBS. Eventually, an agreement was made and the game was altered and is now sitting in my basement. Perhaps an agreement can be made. For now, we’ll have to wait.

 

 

AXANAR: CBS Suit and Star Trek Fan Films

Axanar – The Future of Trek

“Space… the final frontier…”

I’ve been watching Star Trek in one form or another since I was six months old. Seriously, I’m not kidding. It all began with The Next Generation, it coming out six months after my birth. My father and I watched as much as possible, TV and film. As I got older I read countless non-canon books and played every PC game I could get my hands on. I love the franchise. I love the future Roddenberry saw for the human species, the hope, the possibilities. In 2005, hope started to diminish with the cancellation of Star Trek: Enterprise. For the first time since August of 1987, there was no new Star Trek on TV. After almost 20 years, then there was nothing. It wasn’t until 2009 that J.J. Abrams and Bad Robot attempted to salvage the historic franchise with their reboot\sequel\prequel\alternate timeline film… but that’s not what I’m here to talk about. Instead, I’m here to talk to you about Axanar.

The term “fan film” has some negative connotation. People see it as some friends in their basement with a camcorder and some store bought costumes. Axanar is far from this. Instead, Axanar brings us not just professionals in acting, special effects, and more… but Star Trek veterans. The film, set before the time of Kirk but after Archer, stars Richard Hatch (Battlestar Galactica), J.G. Hertzler (Star Trek: Deep Space Nine, Star Trek: Enterprise, Zorro), Gary Graham (Star Trek: Enterprise, Alien Nation, Robot Jox), Kate Vernon (Star Trek: Voyager, Malcom X, Pretty in Pink), Tony Todd (Star Trek: The Next Generation, Star Trek: Deep Space Nine, The Rock, Platoon), and Alec Peters (Star Trek New Voyages: Phase II). The director, Robert Meyer Burnett has helmed several Star Trek documentaries including Free Enterprise and Reunification: 25 Years After Star Trek – The Next Generation.

Last year, they put together Prelude to Axanar, a short film that leads up to the feature film. It is simply fantastic Trek. It’s done in a documentary style format with limited cast but it gets the job done very well.

Axanar_AresD7

So what is Axanar? Well, the film is set to cover the turning point of the Four Years War between the Federation and the Klingon Empire. The Klingons were more focused on war, battle, weapons. Their ships were bigger, faster, and better armed. The Federation was beaten badly for a long time until they made a change, the creation of a new vessel designed specifically for battle, the Ares. This film takes place before the legendary Constitution class ships existed and the Klingon Empire was about to launch their iconic D7 heavy cruisers.

Would you like to know more?

Still not sure if Axanar is worth the hype? Check out the Prelude to Axanar in full below.

Still here? Good. Now, Axanar is a “fan film” in the sense that it is not officially licensed by CBS. Instead, they rely on outside funding and they have done this through crowd funding. The Prelude was their first effort. Then they moved to Kickstarter for the initial funds for the feature film. Now, they are back to push forward. Check out their Indiegogo here. Contributing not only gets you cool swag like patches, soundtracks, blu-rays, scripts, etc. but it also helps keep Star Trek at its roots and bring us all an era of Trek we’ve never seen, one that shaped the Original Series and was born out of the wake of Enterprise.

I’ve contributed to all three campaigns because these people are fighting to bring every fan what we love and what we deserve, classic Trek.

What are your thoughts on Prelude to Axanar? How do you feel about crowdfunding Trek? Comment below!

Axanar – The Future of Trek