- ‘America’s Next Top Model’ First: Contestant Quits After Being Bullied
- How Does ‘Lost Sphear’ Measure Up Against ‘I Am Setsuna’?
- Why ‘Black Lightning’ Is Such a Groundbreaking Show
- You Have One Week to Claim These Abandoned Cars in ‘Need For Speed Payback’
- ‘Ant-Man and The Wasp’ Trailer: The Villain Revealed and More
- Everything Coming to Netflix February 2018
- 5 Comic Book Storylines We Want to See on ‘The Flash’
- Is ‘Star Trek: Discovery’ Too Dark?
- ‘Ant-Man and The Wasp’: New Trailer Has Web Buzzing
- The Story of Android 21 in ‘Dragon Ball FighterZ’
Posted: 30 Jan 2018 09:52 PM PST
Last week’s episode of America’s Next Top Model was an emotional one, with contestant Jeana — who suffers from alopecia — removing her wig and gaining back her confidence. This week’s episode was far darker, with two contestants having emotional breakdowns, and one quitting the competition altogether.
Liz, the contestant whose quirky pink hair matched her personality, admitted having trouble living with the other girls. During the previous panel, she actually was the bully, bringing up Brendi’s strained family relationship.
Already in a fragile state, Liz was pushed over the edge when the other girls stayed up partying while she tried to sleep. Admitting that she gets “emotionally disregulated” when she doesn’t get enough rest, Liz confronted the partyers before leaving the house in the middle of the night. No contestant in the show’s history 24-season history has ever left the house.
Reality TV sets are very controlled environments, and Liz’s departure was both unexpected and disruptive. She ended up showing up to panel the next day, where host Tyra Banks intervened — another first. Opting to put her health before her modeling career, Liz left the show altogether.
Other contestants have been victims of bullying on the show, notably Victoria in Cycle 19. Demelza Reveley, the winner of Australia’s Next Top Model in 2008, reportedly lost a cover of Vogue Australia reportedly in part to her bullying of a fellow contestant during her season.
Only a handful of ANTM contestants have ever quit the show: Cassandra in Cycle 5 quit over her hair, Ebony in Cycle 7 chose to leave during panel, as did Louise and Alisha in Cycle 18. Kimberly in Cycle 10 and Ondrei in Cycle 16 left because they were grieving loved ones. In Cycle 19, Maria quit after refusing to cut her hair or pose nude. Liz is the first contestant to quit over bullying.
Despite Liz’s departure, the elimination panel was still held. Contestant Rhiyan found herself in the bottom two after continually repeating that she felt like she wasn’t good enough. Earlier in the episode, she revealed that she would feel better if she lost weight, leading contestant Rio to speculate that Rhiyan had body dysmorphia (a potentially debilitating mental disorder). During panel, Rhiyan was so emotionally upset that she couldn’t even look at the judges.
“Sometimes we look in the mirror and we don’t see our own beauty,” Banks told a teary Rhiyan after she got eliminated.
The post ‘America’s Next Top Model’ First: Contestant Quits After Being Bullied appeared first on FANDOM powered by Wikia.
Posted: 30 Jan 2018 06:14 PM PST
Lost Sphear, the second game from the compelling new game developer Tokyo RPG Factory, recently dropped and it's equal parts addictive and frustrating. There are a lot of interesting ideas at work, but they aren't always executed well and don't quite come together as a whole. Tokyo RPG Factory's debut game, I Am Setsuna, has the exact opposite problem. Setsuna is such a unique and specific experience that personal taste determines how much players enjoy the game more than anything else.
It's almost uncanny how different Lost Sphear feels from I Am Setsuna. Despite the games looking and playing so similarly, comparing these titles offers great insight into what makes a quality JRPG.
The battle systems in Lost Sphear and I am Setsuna are pretty similar. Both titles have fights and mechanics similar to the battles from Chrono Trigger and a weapon and ability system close to the materia system from Final Fantasy VII. Even the frustrating difficulty spikes between sections of the game appear in both titles. The big differences between the two, though, is that Lost Sphear lets you move characters across a battlefield and equip characters with mech suites before and during combat.
The ability to move characters is a great new feature in Lost Sphear that makes battles quite a bit more engaging than in Setsuna. However, the mech system is more of a miss than anything else. The mechs give players stat buffs and allow for special combination moves that are dependent on other players in the active party. While this is a cool idea on paper, Setsuna utilized combination attacks in a much simpler, streamlined, and more enjoyable fashion than Lost Sphear.
Tone and Style
I Am Setsuna is a unique game that commits wholeheartedly to its ideas. Setsuna's combat is almost identical to Chrono Trigger's, the snowy environments and inn-less towns make the world feel harsh and desolate, and the piano-only soundtrack reinforces the somber and melancholic story.
Although these features make the game feel unique and the product of a very personal creative process, it also guarantees that almost any given player will find something they dislike about the game. Tokyo RPG Factory made I Am Setsuna with such a specific focus that unless a player's tastes align specifically with it, they'll have a more tepid reaction to the game.
Lost Sphear, on the other hand, seems specifically designed to appeal to a wider audience at the expense of a good deal of character. The game uses a lot of stereotypical JRPG elements, like civilizations that utilize a hybrid of magic and machinery, a protagonist with special powers unique to him, and dungeon crawling that just barely rewards exploration.
While each element of Lost Sphear is at least interesting, the game as a whole feels a bit generic. This is such a stark contrast from I Am Setsuna that, if not for the similar character models and gameplay, you wouldn't think that these games come from the same developer.
Story and Characters
Both Lost Sphear and I Am Setsuna borrow elements and ideas from other JRPGs to varying successes. The main plot of I Am Setsuna is similar to Final Fantasy X and contains characters whose designs or circumstances are reminiscent of Final Fantasy characters, like Kir and Vivi's limited lifespan. Lost Sphear is similar in its use of classic JRPG elements but doesn't quite bring everything together as well.
Lost Sphear has some really interesting ideas that seem like they could work well, but don't always mesh with other elements of the game. I Am Setsuna, however, takes a lot of familiar concepts and brings them together in a way that feels interesting and fun. Lost Sphear leans more toward utilizing innovative ideas while I Am Setsuna focuses more on blending and refining JRPG elements concerning the character and story direction.
While it may not have as much going on as Lost Sphear, between the two, I Am Setsuna is the better game. It's not a flawless video game, but I Am Setsuna uses familiar ideas and implements them in interesting ways to create a one-of-a-kind experience. By comparison, Lost Sphear's attempts to change things up feels a bit shallow in both style and execution. Lost Sphear never quite pushes its ideas far enough, and the result is a run-of-the-mill JRPG that feels similar to a lot of other games in the genre.
While Lost Sphear is still an enjoyable experience in its own right, here's hoping that the next game from Tokyo RPG Factory is as distinctive and artistically driven as I Am Setsuna.
The post How Does 'Lost Sphear' Measure Up Against 'I Am Setsuna'? appeared first on FANDOM powered by Wikia.
Posted: 30 Jan 2018 06:10 PM PST
Black Lightning's historic surge onto the small screen has electrified fans and critics alike. The show's debut earned The CW's biggest rating premiere in two years, and critics gave the series a 100% positive rating on Rotten Tomatoes. The show benefits from the success of other The CW’s other DC comics-based series. However, Black Lightning is far from your typical superhero show, and we aren’t talking about its exclusion from the Arrowverse. Here’s why Black Lightning is so groundbreaking.
It Features a Powerful African-American Male Role Model
Unlike other superhero shows, superpowers in Black Lightning take a backseat to the show’s protagonist, Jefferson Pierce. It might seem strange, but Pierce’s influence as an African-American father and principal is just as important as his vigilantism. The show, through Pierce’s experiences, explores what it means to be an African American man in America. The result: a man who, despite the challenges he faces, remains dedicated to protecting his family and community.
In fact, it is his love for his daughters that compels him to once again take on the mantle of Black Lightning. Sadly, this side of black fatherhood is rarely portrayed in the media. Instead, we see images of African-American fathers who are absent from their children’s lives either by choice or incarceration. Black Lightning‘s inspired depiction of black fatherhood, where we see that Pierce is not only present but willing to risk his life to protect his children, seeks to rewrite this tired narrative. It also makes Pierce a powerful role model for African-American children. He exists outside of the thug and drug dealer archetypes glorified on a daily basis. Instead, he is a father, principal, superhero, and mentor who, most importantly, looks like and inspires them.
It Dares to Address Relevant Social Issues
The social issues Black Lightning addresses also differentiates it from other superhero shows. It highlights issues such as gang violence, profiling, police brutality, and sex trafficking and how they impact its fictional communities.
In the comics, Black Lightning began as a street-level hero. Instead of fighting against aliens and supervillains, Black Lightning fought against the gangs, crooked corporations, and corrupt politicians tied to the social injustice in his community. His call to action as a superhero was a direct response to the real-life struggles faced by his fellow citizens. The television series stays true to the comics by having its heroes face the same real-world challenges that affect the black community.
Black Lightning's existence outside of the Arrowverse provides a unique opportunity for Co-Executive Producers Salim Akil and Mara Brock Akil to create their own world. A world that doesn’t need to conform to the pre-defined mold of existing DC TV shows. The Akils are free to create a world that is an authentic representation of the African- American experience. Black Lightning isn’t trying to hit a diversity quota. It seeks to embrace the experiences, culture, and social issues affecting these diverse communities.
It Gives a Voice to Often Underrepresented Groups
By embracing inclusion and representation as a central theme, Black Lightning breaks from the direction of other superhero shows. Instead of focusing on the adventures of straight, white male characters, Black Lightning tells stories from the perspectives of black, white, female, LGBTQ, and Asian-American characters. In Freeland, the city the show’s set in, the voices of the black community are obviously elevated. After all, the town is meant to be reminiscent of black neighborhoods in places like Oakland and Chicago.
However, Black Lightning doesn’t just serve as a voice for the black community. In keeping with its comic book roots, the show also provides a platform for the LGBTQ community. For instance, Anissa, aka Thunder, is an openly gay character and TV’s first black, female, LGBTQ superhero. The show embraces her sexuality as a key part of the character. Later, the show will also introduce Grace Choi as her love interest and the one who will help her cope with her emerging superpowers. Choi, as an Asian-American superhero, provides a voice for yet another neglected community. By spotlighting these unique groups and the problems they face, Black Lightning gets us talking about how to resolve these issues.
It Represents the Change We Need in Media Representation
Black Lightning’s relevance in today’s world cannot be understated. It inspires a sense of pride and excitement in neglected communities. It gives African-American kids a hero to embrace on television who looks like them. As well, it raises awareness and inspires conversations around tough issues such as race, gender, and sexuality. Black Lightning and shows like it prove that works representative and inclusive of all types of people can find an audience, and that’s groundbreaking.
The post Why 'Black Lightning' Is Such a Groundbreaking Show appeared first on FANDOM powered by Wikia.
Posted: 30 Jan 2018 05:00 PM PST
A few weeks ago, EA started an event for Need for Speed Payback called Abandoned Cars. Every week, your game will update with an abandoned car left somewhere out in the world, just waiting for you to claim it.
These are cars that the Street Leagues may have been driving, but you previously didn’t have access to. You do now, and it’s free — but only for a limited amount of time.
Of course, you’re not just going to drive around looking on every street, like a chump. That’s where we come in. We got you covered fam.
How to Claim Abandoned Cars
It’s not enough just to reach the car. In true Need for Speed fashion, you’ll have to high tail it back to a safe spot with the cops on your tail.
You won’t be shown where the car is until you’re close enough. At that point there will be a special icon above the vehicle, you’ll see a notification and it will be marked on the map.
As soon as you enter the car, the Fortune Valley Police Department will start pursuing you like it was staking it out all along. You need to make it all the way back to Rav’s workshop to be safe, and the car will be yours.
Getting caught will reset the event, but there are no other restrictions. Take as much time as you want — but you do have to claim the car within its one week window.
How Can I Get the New Car?
The newest abandoned car is the Plymouth Barracuda.
You’ll need to travel to Newhaven Cabins to find it. We’ve nabbed a few images from our wiki to help you out.
Here it is on the map:
And here’s what the area should look like:
The last day you’ll be able to claim this is February 5th. At the stroke of midnight (UTC), it disappears. After that, we’re expecting to see a Nissan Skyline 2000GT-R (C10).
Previous abandoned cars have been:
If you missed out on one of these abandoned cars, there currently isn’t a way to get them in Need for Speed Payback. But this is EA. You’ll be able to pay eventually.
The post You Have One Week to Claim These Abandoned Cars in ‘Need For Speed Payback’ appeared first on FANDOM powered by Wikia.
Posted: 30 Jan 2018 02:37 PM PST
Black Panther is due in theaters in two weeks, Avengers: Infinity War is due in just three months, and Marvel’s third film due this year, Ant-Man and The Wasp, is just beginning to gear up. The ant-sized film made a big splash today by uploading its first teaser trailer.
The trailer featured the film’s returning cast Paul Rudd, Evangeline Lilly, Michael Douglas and Michael Peña, as well as some newer actors the Marvel universe, like The Matrix legend, Laurence Fishburne. The trailer featured a flashback to Captain America: Civil War, some epic car chase scenes, and a look at Hope’s new superhero identity: the Wasp. Let’s break down some of the trailers coolest moments.
The Wasp Suits Up
Hope van Dyne made her first appearance in Ant-Man, as Hank Pym’s daughter. While she was fully capable of wearing the Ant-Man suit and controlling the ants, her father wanted to keep her safe, thus he hired Scott Lang to wear it. At the end of the film, Hank presented Hope with her very own suit to which Hope appropriately said, “It’s about damn time.”
In this trailer, Hope is completely suited up. She has wings, she has blasters, she has the suit every girl dreams of. Scott is dreaming of her suit too, because it’s superior to his in design. The trailer opens up with Scott asking Hope a very specific question: “When Cap needed help, if I had asked you, would you have come?” This question clearly shows that the film is not going to shy away from Hope’s absence in Captain America: Civil War.
Giant Man Returns
As the trailer continues, it reveals that Scott is in trouble, again. He’s under FBI house arrest, which puts the Pyms in danger. Hank shrinks his old office down and they all go on the run. They don’t go too far though, as San Francisco can be seen in the background of this shot of Giant Man. Something will cause Scott and Hope to suit up, something that requires the return of Giant Man.
Giant Man — Scott’s Ant-Man suit when it’s been super-sized — made it’s first Marvel Cinematic debut in Captain America: Civil War, during the epic airport battle. Scott super-sized himself to help Cap and Bucky escape Tony Stark and the Avengers at the Berlin Airport. Spider-Man had fun taking him down by re-enacting the scene from Empire Strikes Back. It would appear that the skills and size of Giant Man will be needed in this film as well.
The Villain Materializes
The trailer also features unique looks at the film’s villain, Ghost. In the comics, Ghost was a super hacker, hired by the Roxxon Corporation to sabotage Tony Stark. The comic book version of Ghost could also dematerialize, become invisible and interface with all kinds of technology.
In the trailer, Ghost’s hand comes in and out of focus. When we see Ghost again, she’s fully suited up, as you can see in the image above. The film’s Ghost is played by actress Hannah John-Kamen, who can also be seen this year in Tomb Raider and Ready Player One. There’s also a shot in the trailer of Laurence Fishburn’s character Bill Foster in Ghost’s chambers. Perhaps he helps create Ghost’s phasing ability?
The Quantum Realm Returns
The trailer also features a curious looking ship. The ship, which can be seen above, is likely a rescue pod for the quantum realm. That only means one thing: Hank, Hope and Scott are going to try to save Hope’s mom, Janet van Dyne! We already know that Michelle Pfeiffer is playing Janet and now we’re sure she’s going to be rescued!
Oh, and if you thought you recognized the song in the trailer, you did! As one Twitter user pointed out, the song is “Ant’s Invasion” by Adam and the Ants.
Ant-Man and The Wasp hits theaters on July 6, 2018.
The post ‘Ant-Man and The Wasp’ Trailer: The Villain Revealed and More appeared first on FANDOM powered by Wikia.
Posted: 30 Jan 2018 12:47 PM PST
If your winter survival plan includes curling up in front of the TV and going on a Netflix binge, then you’re going to want to check out our list of everything that’s being added to the streaming service in February.
From classic titles like American Pie, Kill Bill, and Goodfellas, to Netflix originals like Altered Carbon, Everything Sucks!, and the new Queer Eye reboot, you may never need to leave the house again!
And if it’s laughter you’re looking for, the lineup is full of comedians’ new shows and specials, including Marlon Wayans: Woke-ish, Fred Armisen: Standup For Drummers, and new series The Joel McHale Show With Joel McHale.
Check out the list of all the films, shows, and documentaries heading to Netflix this February.
3000 Miles to Graceland
American Pie 2
National Parks Adventure
Altered Carbon: Season 1
Fred Armisen: Standup For Drummers
Imposters: Season 1
Fate/Apocrypha: Part 2
The Trader (Sovdagari)
Greenhouse Academy: Season 2
Deep Undercover Collection: Collection 2
DreamWorks Dragons: Race to the Edge: Season 6
First Team: Juventus: Season 1
The Joel McHale Show With Joel McHale
Bates Motel: Season 5
The Frankenstein Chronicles: Season 1 and Season 2
Atomic Puppet: Season 1
Marseille: Season 2
Ugly Delicious: Season 1
Jeepers Creepers 3
El Vato: Season 2
Derren Brown: The Push
Posted: 30 Jan 2018 12:33 PM PST
The Flash often steals ideas from the comics, including villains, weapons, and even hidden Barry Allen powers. Despite the show’s frequent sampling, there are some comic storylines that the show has overlooked. Here are five storylines that we’d like to see on The Flash.
Flash #139 — Reverse Flash’s Backstory
Reverse Flash, possibly the most iconic of all the Flash villains, has made several appearances on the show. However, we only hear about his background in a few conversations in random episodes. Flash #139 marks the very first appearance of Barry's opposite and gives us the Reverse Flash backstory we deserve.
A genetically engineered man from the 25th century, Eobard’s near-insane obsession with the Flash causes him to wreck the future timeline using futuristic technology — to ensure he would become the head of the Flash museum. This obsession also causes him to manipulate his appearance to resemble his idol. After finding a capsule containing Allen's Flash costume, he then uses a machine to gain Allen's speed powers. Unfortunately, his powers drive him mad after he travels back in time and discovers he will become the Reverse Flash.
Superman #199 — A Superpowered Race
In this storyline from 1967, Barry Allen faces a unique challenge — Superman! The two superheroes arrange a race for the benefit of the United Nations. However, the race isn't as straightforward as it seems. Superman and Flash encounter multiple traps set by rival gang syndicates looking for a huge payout for their respective bets.
This storyline may not be a serious one, but it would inject some fun into the next major crossover event. The most-recent crossover, Crisis on Earth-X, while exciting and action-packed, lacked some of the fun Easter eggs that we have seen in previous crossovers.
Flash #275-284 — "The Death of Iris Allen"
While this storyline features the death of one of the series' main characters, the 'Death of Iris Allen" is one of the most important comics in Flash history. When Reverse Flash murders Iris in cold blood, Barry is thrust into one of the deepest and darkest periods of his life. Constant fights with allies, moody reflections on whether he should still wear the red mask, and even near expulsion from the Justice League change Barry into a different hero than he ever was before. Eventually, the fear of history repeating itself drives Barry to murder Reverse Flash in cold blood, leading to the 'Trial of the Flash’ storyline.
We have already seen what Iris' near death (as well as several other character deaths) did to Barry last season. However, the actual death of Barry's newlywed would certainly take the show in a different direction.
Flash, Volume 1: Move Forward (The New 52)
An army of clones known as Mob Rule cause blackouts in several cities. As a result, Barry masters a new ability, which allows him to consider millions of options in seconds. However, this new ability does as much harm as good, as he cannot always correctly determine the correct option. With some deft time travel, handfuls of cleverly woven Easter eggs, and a villain with a special connection to Barry, this storyline is one of the most creative in the Flash comic collection.
We’ve reached a stagnant point in the show. No one really knows how Barry is going to defeat Clifford DeVoe, “The Fastest Mind Alive.” Barry has shown the ability to think rapidly, but this power has never been truly explored. With our hero imprisoned, now is the perfect time to introduce this ability in the show.
Flash, Volume 3: Gorilla Warfare (The New 52)
We’ve already seen this title on The Flash, but not with a twist like this. In this storyline, Grodd and his city appear but, this time, the gorillas successfully take control of Central City, forcing Barry to enlist the help of the Rogues.
We haven't seen a mass, meta team-up on the Flash in quite a while, and more Grodd is always welcome. If used in the near future, we would get a compelling episode pitting Team Flash (without Flash) against a threat that even Barry wouldn’t be able to handle alone.
The post 5 Comic Book Storylines We Want to See on 'The Flash' appeared first on FANDOM powered by Wikia.
Posted: 30 Jan 2018 08:36 AM PST
Since Star Trek: Discovery returned for the second part of its inaugural season, it's become increasingly dark. The first half of the season introduced the start of the Federation-Klingon war, plunging the show right from the get-go into a state of instability – not only within the story but also to its viewers.
It was set up as a show that can switch in a heartbeat, with Captain Georgiou being quickly killed off, First Officer Michael Burnham leading a mutiny and being stripped of her rank and imprisoned for it, and the show's 'real' Captain – Jason Isaacs' Gabriel Lorca — introduced in Episode 3.
The second half of the season has seen theories about Ash Tyler confirmed, Lorca's betrayal revealed and a ruthless set of back-stabbers introduced in the Mirror Universe. As the series has progressed, the themes and imagery have become increasingly troubling. But has Star Trek: Discovery become too dark?
It's Just Not Star Trek
Some fans have criticized the series' direction as being a departure from the show they love. In its other iterations, fans argue, Star Trek pushes positive messaging. In Star Trek: Discovery, bleakness prevails. We don't even know who we can trust, or whether anyone is wholly good. And just when we think we've got a handle on someone, the rug is pulled out from under us. Even Saru displayed signs of jealousy and resentment towards Michael Burnham after she was re-appointed a Starfleet officer on board the Discovery by Lorca. Which was, honestly, disappointing. Realistic, perhaps. But disappointing nevertheless.
Some fans have taken to the Internet to express their opinions. This person, for one, had this question for special guests on Star Trek: Discovery discussion show After Trek:
While Joe D. suggests that Star Trek creator Gene Roddenberry wouldn’t agree with the direction Star Trek: Discovery has taken:
And this Twitter user seems to dispute Discovery‘s right to belong to Star Trek canon:
Star Trek has always dealt with real-life themes. Star Trek: Discovery picks its themes to be relevant to modern audiences and presents them in a way that's startling. One of the most shocking revelations in the series has been the storyline involving Voq/Tyler. The character has been used to explore Post-Traumatic Stress Disorder, as well as to touch on rape, torture and issues of race. Not to mention extremism. All troubling aspects of the modern world that are discussed at length in the media.
In its depiction of Tyler's traumatic experience via flashback, Disco brought us the kind of imagery we've never seen before in Star Trek. That's got to be a step forward if it's going to spark the kind of conversations the show has always wanted to ignite among its audience.
Brutal Violence and Death
Where racial tensions, personal politics and power have also always been part and parcel of Star Trek and the themes it tackles, they're issues that are still worth examining today. And to resonate with modern audiences, they need to be presented in a way that makes an impact, as touched on above.
It's been more than a decade since the last Star Trek series, Enterprise, was on screens, and in that time, television has changed. The programmes we watch and the way we consume them now means that more of us are being exposed to – and enjoying – graphic violence on screen on a regular basis, alongside an exploration of taboo subjects.
Game of Thrones, as an example, is a phenomenon that has brought graphic, savage violence and aggressive sexual imagery, among other controversial things, to huge audiences. As well as a willingness to kill off significant characters — and, of course, bring them back. Every one of that show’s viewers laps it up, proving that there's an appetite for this kind of fare.
If Star Trek: Discovery were to shy away from presenting its narrative in a fashion that reflects this sea-change, it's to refuse to acknowledge that the last 10+ years of small-screen drama has existed. It wants to speak to modern audiences, and it does so by appropriating the necessary tools.
… across the board. In the modern era of political unrest, which has seen the re-emergence of far-right views, Star Trek: Discovery takes a complicated — and, yes, worryingly dark and bleak — look at politics. Not only does it examine extremist views via the T'Kuvma-initiated war, it also effectively makes the Klingon case for waging war.
Similarly, the Empire of the Mirror Universe isn't as evil as, say, the Empire in Star Wars – its emperor has been revealed to be Georgiou, a woman who Prime Universe Burnham still has a lot of affection for and who exhibits honourable traits. And during a speech by Gabriel Lorca, the ethics, operations and intentions of the Federation itself are called into question. He highlights its fragility and naivety.
While this complexity can be an issue for viewers who want positive messages and clear-cut good guys and bad guys, Star Trek: Discovery refuses to do this. And it’s all the more interesting and relevant because of it. Yes, Star Trek: Discovery is dark — but it’s all the better for it. It updates the franchise to make it more resonant while bringing Star Trek to new audiences and speaking to all of us with a contemporary tongue.
Posted: 30 Jan 2018 06:06 AM PST
Small heroes. Big buzz! The full trailer for Marvel’s Ant-Man and The Wasp just debuted online, and everyone is focused on Evangeline Lilly’s character, The Wasp.
In the sequel, she fights alongside her trainee, having inherited her mother’s suit.
Like Ant-Man, she has the power to shrink herself. But the Wasp can also fly, which adds a whole new dimension of fun and fighting techniques.
The Wasp is the first female superhero to get mentioned by name in a Marvel Cinematic Universe title. 2019’s Captain Marvel, starring Brie Larson, will be the first female-led film.
Ant-Man and the Wasp follows the massive MCU crossover Avengers: Infinity War, which comes out in May. The next film in the universe is Black Panther, which opens this February.
In fact, this trailer was announced during the world premiere for Black Panther. The red carpet featured a small placard, when zoomed shows the film’s logo and a message that said “trailer tomorrow.”
Ant-Man and the Wasp opens in theaters on July 6, 2018.
The post ‘Ant-Man and The Wasp’: New Trailer Has Web Buzzing appeared first on FANDOM powered by Wikia.
Posted: 29 Jan 2018 11:40 PM PST
Dragon Ball FigtherZ‘s story is far more than a rehash of past arcs. On top of being a magnificent fighting game, it provides a long, decent story mode that justifies bringing together all your favourite characters into one time and place. It also gives everyone a common enemy: Android 21.
She’s fearsome both mentally and physically. Android 21 can create other androids, and manipulate them. She possesses the scientific capacity to dampen everyone’s powers, and graft an extra soul onto someone’s body. Perhaps most scary is how reminiscent of Majin Buu she is, in that she can turn powerful beings into tasty treats, eating them and gaining their power.
Interestingly, we get three different versions of the Android 21 tale. The way these are laid out is slightly open to interpretation. They can be viewed as separate stories, or perhaps going back in time to get a better result. Each arc begins with a soul — in this case, the player — being trapped inside someone’s body. First Goku, then Frieza, and then Android 18.
There are however connections between the three arcs. Motivations in one might justify actions in the other. This is why Android 21’s arc might be considered the final and “true” arc. Read to the bottom for that version.
Warning: Below this line are spoilers for Dragon Ball FighterZ‘s Story Mode. Proceed at your own risk.
Super Warrior Arc
The first and shortest version of Dragon Ball FigherZ‘s story begins with Goku waking up to realise his powers are gone. Beerus and Whis arrive to explain there are mysterious “waves” sapping the abilities from powerful fighters. Goku can’t fly or charge up. He’s as good as a mortal human.
The next realisation is that there are hostile clones of every fighter wandering the planet. They have the same abilities and power of their likenesses. Each clone is an opportunity to defeat oneself, and Goku relishes the challenge.
In a key moment, Goku and Krillin come across a bruised and beaten Android 18. Dressed in a scientist’s garb, newly introduced Android 21 is looking after her, and says the nearby villain Cell is responsible for hurting her. This is enough for Krillin to launch into a rage.
Later it is revealed that Android 21 was cleverly pitting the two sides against each other while she gained enough power to take on everyone. Android 18 was fighting Cell on Android 21’s orders.
We also learn of Android 21’s ability to consume fighters in the form of sugary snacks. While she tries to blame the Red Ribbon Army for the clones, we find out Android 21 created them as a food source to gain supremacy.
By the time she reveals her true form, it’s too late for some of the most powerful characters.
Goku begins saving as many allies as possible and fighting clones to increase the abilities of the soul within him. While the Saiyans and their allies are out building a force to stop her, Android 21 manages to consume Cell, Frieza and his lackeys.
By this point, she’s eaten so many warriors she outclasses anyone individually.
After confronting her one last time, Goku uses Instant Transmission to travel to the realm of the Elder Kai so Earth won’t be damaged in the fight. Android 21 takes the bait.
After a tousle, it takes each hero’s iconic blast to take her down. Kamehameha is combined with Destructo-disc, combined with Masenko, and so on. Even Majin Buu’s “turn into chocolate.” The combination of energies is enough to dissolve Android 21 — at substantial damage to the planet they’re on.
In a final comment down the barrel of the camera, Whis hints that there might be more to the story and if the player isn’t satisfied they should look for answers.
Enemy Warrior Arc
In this version of the story, the player’s soul is inside Frieza — who is none too happy to be sharing his body.
Frieza’s primary motivation is gaining power. He has to defeat as many clones as possible to “sync” with the soul inside of him, and defeat those who would subjugate (or eat) him. Somehow, his rival villain Cell has managed to bend the soul inside him to his will. You — the player — are not so easily dominated.
Throughout the arc, we’re led to believe that Android 16 has betrayed Android 21, perhaps because of her power. She’s aware of this however, and is intentionally setting him up to fail with suicide missions.
This arc is also interesting because there are moments when Frieza has the upper hand, and could indeed destroy Goku — but for the conscience of the soul within him. He needs the soul’s cooperation to use his powers. Without that, he just stands there motionless. A frozen Frieza.
This creates a bit of a negotiation between him and the player. As you can imagine, he detests every second of it and tries to frame it as him “allowing” you to have some input.
Android 21 quickly becomes more powerful than any individual villain can handle though, so Frieza also needs to work together with Cell, and — heaven forbid — Vegeta. It takes a decent amount of verbal sparring, but the two eventually realise that united they stand, divided they fall.
It helps that Cell and Frieza witness first-hand what Android 21 can do to the clones. It’s effortless for her to turn them into candy and start munching.
In a final showdown, Frieza and Cell try to blast Android 21. Curiously, the “betrayer” Android 16 jumps in the way to save her. He’s rewarded for his efforts by Android 21 smashing him to bits with a giant orb. It’s intentionally confusing — this significance of this isn’t understood until the next arc.
When it’s clear that Android 21’s regenerative powers are out of control, Bulma tries to technologically counter the debilitating waves affecting everyone. This has a negative effect on most of the fighters, but Frieza, Cell and Goku all return to 100%.
It takes a simultaneous blast from all three of them to take her down, and the three argue over whose blast had a bigger effect. And of course, there’s no way these heroes and villains in the same spot are just going to walk away quietly.
The remaining fighters launch into an all-out battle that we don’t get to see, as the screen fades to black.
Android 21 Arc
This is the arc that might be interpreted as canon moving forward. It reveals the true motivations of Android 21, and fleshes out both her past and future. We’re presented with an Android 21 who is genuinely concerned about others, and the terrifying hunger within herself.
In this version of the tale, Android 18 is infused with the player’s soul. For some reason, the soul wouldn’t remain inside other candidates — Android 17 could only hold it for a minute or so.
Android 18 is enlisted to help Android 21 clear the planet of the clones and resurrected villains. Along the way, Android 21 is clearly struggling with something. Android 17 demands answers, and it’s revealed that she can barely contain her hunger.
It’s only in this arc that we actually see Android 21 attempt to stop herself consuming people. We learn that the companions of Android 21 are helping her to manage her urges and find a cure.
When Cell provokes her, she defends herself and loses control in the process. It’s too much for Android 16 to stop her, so the player’s soul has to transfer to Android 21 to help her control her urges.
While the player’s soul is inside of Android 21, it witnesses the internal conflict. There’s another soul inside of her causing trouble. We realise there’s a soft and hard side to Android 21, and it’s the soft side that created this version of Android 16 because he is an identical copy of her son.
All of a sudden, it’s clear why Android 16 sacrificed himself in the Enemy Warrior Arc. Despite the evil inside Android 21, he’s trying to save what’s good.
The softer side is currently dominant — but not for long.
Later on, this conflict reaches a breaking point. When Android 16 tries to stop his “mother” from murdering Cell, she launches an orb at him, killing him instantly.
Android 21 is so torn over this she literally splits into two versions of herself. One is capable of self control and mastering her hunger in the interest of decency. The other has completely given into her urges, and seeks to consume the powers of everyone else.
The obvious problem here is that the evil Android 21 quickly becomes more powerful than the good version. Especially after she eats Cell. In the next scene, she shows just how more powerful she is than in the other arcs.
All the remaining androids corner evil Android 21 in front of the machine creating the mysterious waves — who promptly swallows the remote capable of switching the machine off. Goku and Krillin arrive just in time to block an attack for a weakened Android 18.
Goku has to quickly use Instant Transmission to help his friends, but doing so in front of Android 21 allows her to learn the ability instantly, just as Buu did.
Once again, Goku brings the fight off-planet so Earth won’t be damaged. But this time, during the final fight, it becomes clear the only thing strong enough to beat evil Android 21 is a Spirit Bomb. The other fighters lend Goku their strength, but the new villain can still barely hold it off.
The good Android 21 tackles her evil doppleganger and both take the bomb’s full damage.
In this final arc, the future of Android 21 is left open. The remaining fighters acknowledge that she sacrificed herself for them, and start discussing how they could possibly resurrect her. So it’s very possible we’ll be seeing Android 21 again.
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