X-Men Season 2 (Part 3)

In the previous entry I said I was in no rush to finish these, but I’m feeling inspired today so I’m posting this just one day after the last.  This also is the final entry for season 2.  After this season, the show becomes a little less focused and some production delays screw up the continuity, but that’s all stuff reserved for future posts.

Beauty and The Beast

Beast with his beloved Carly.

This is the last episode for season 2 that deals specifically with one character.  While the other episodes in this format mostly gave us origin tales, this one chooses to focus on how difficult it is to be a mutant with a physical abnormality.  This one, as the titles alludes, is about Beast.  At this time in the series, Beast was still kind of an unknown character for a lot of viewers due to his incarceration for the majority of season 1.  He had some lines in previous season 2 episodes but was always more of a background character.  This episode shows that Beast is more than just the smart, fuzzy one.  His mutant powers made him one of the more boring X-Men, but this episode proves there’s a lot of depth hidden under that blue exterior.

Beast is also the only member of the team who has a job beyond being a member of the X-Men.  He’s a doctor, and a surgeon apparently, and he’s been working on a cure for a type of blindness at a local hospital.  The patient about to undergo his experimental procedure is a woman by the name of Carly.  The show is not so subtle in showing us that there’s a mutual affection shared between the two characters and we worry for Beast and how Carly may receive him once her vision is restored.

The Friends of Humanity, finding out a mutant works at the hospital, stage a violent protest outside forcing Beast to intervene and save Carly.  This gets the attention of the X-Men and Wolverine, in particular.  He lets Cyclops know that he’ll handle the FoH “delicately” and takes off.  Meanwhile, back at the hospital, we find out Carly’s father is a bigot and demands Beast be kept away from his daughter.  Beast reluctantly agrees though Carly is heart-broken.  If the episode has one fault, it’s that Carly’s father is portrayed a little too over the top.  We could empathize with him since Beast’s mere presence does put Carly in danger, but his complaints to the hospital staff are more of the “he’s a filthy mutant” variety.

Following Beast’s removal from the surgery, we get a look at him in a vulnerable state.  Jean tries to console him, but he can’t be reached.  Throughout the series Beast is portrayed as a good-natured and easy-going individual.  The insults his appearance attracts are always brushed aside and even in combat he appears rather gentle.  Here he’s down and laments the unfairness his appearance brings and is even moved to tears.  He confirms his love for Carly to Jean and the viewing audience, and vows to protect her by staying away, to which Jean responds “Maybe you should let her decide.”

After his self-confidence returns, Beast shows up at the hospital to see the results of Carly’s surgery.  It was a success, and she is delighted to finally see her beloved Hank but her father soon ruins everything.  As Beast takes his leave, the FoH strike and abduct Carly sending Beast into a rage.  He leaves, not before scolding Carly’s father, and tells him he’s going after her and he better come with him if he wants to see her alive again.

Creed's a jerk.

Meanwhile, Wolverine has gone undercover as John Logan to infiltrate the FoH base we saw back in the first episode of season 2.  Sporting an A’s cap (I’m not sure if this means Wolverine is a fan of the A’s or that A’s fans hate mutants), Wolverine makes it look like a mutant beat him up and left him for dead outside the building.  The FoH, naturally, take him in where he plays up his hatred of mutants for their leader, Graydon Creed.  Wolverine apparently feels like he knows Creed, and says he may have worked with his old man mining in Kentucky, to which Creed responds by informing him his family all lived in Canada.  “So was I, bub,” is Wolverine’s remark to himself as the scene changes.

The X-Men have been summoned by Beast to help him deal with the FoH, Wolverine also requests they bring the portable Cerebro projector.  Wolverine reveals himself to Creed and frees Carly, while Beast arrives and goes on a rampage that leaves him in a sad state, forcing Wolverine to haul him out in a visually amusing way.  Just as things look bleak, Cyclops, Jean, and Jubilee arrive with the projector that projects a holographic image of Sabretooth with a narrated biography.  Creed loses it, as everyone is informed of Sabretooth’s birth name; Graydon Creed Senior (I can forgive the writers for changing Sabretooth’s name from Victor to Graydon for the ease of simplicity).  Upon hearing this stunning news, the FoH back off and leave Creed to his own madness.

Beast and Carly then have a teary farewell.  Despite Jean’s suggestion to let Carly decide what to do, Beast takes it upon himself to inform her it’s too dangerous for them to be together, and reluctantly, she goes along with it.  Her father shows up again but this time to shake Beast’s hand and thank him for all that he’s done for his daughter.  This, in a way, closes the book on the mutants rights angle of the show as the FoH would only reappear one more time in a much later season.  It’s too bad, because I always felt that was a strength of the program but maybe the writers felt they could never top this episode, and there’s a good chance they were right.  “Beauty and The Beast” may be a bit melodramatic, but it’s very good at what it does.  One of the show’s best.

Mojovision

Perhaps the writers felt the last two episodes were a bit too weighty and needed to lighten the mood.  Enter Mojo, the X-Men’s outer-dimensional slapstick villain.  Mojo is a television producer from another world with a grotesque appearance and a thirst for ratings.  Feeling his current show starring Longshot (with an odd cameo from Psylocke) is slipping, Mojo seeks new stars which leads him to earth and the X-Men.

The bulbous one himself, Mojo.

While shopping for a new TV, the X-Men are soon graced by Mojo’s appearance who offers them a show on his network.  The X-Men are appropriately confused and uninterested, which just pisses Mojo off and he sends the six-armed Spiral to retrieve the mutants.  Six X-Men are brought to Mojo’s universe:  Cyclops, Jean, Wolverine, Beast, Rogue, and Storm.  Jubilee is shown in at least one shot but that appears to be just a continuity error.  The X-Men are then inserted into Mojo’s television products where they battle with some androids in a danger room like arena.  Cyclops and Storm are up first as they find themselves in a Miami Vice type setting, only without the pastels.  They get overwhelmed and then Beast and Rogue are tossed into a spaceship that ends up getting sent into the sun.  Jean and Wolverine are thrown into a city battling with more droids where Jean uses her telekinetic powers to overtake the controls and free the X-Men.  Mojo throws a tantrum, and the X-Men escape.  We get a couple of lessons about how violence should not be a form of entertainment, but it sounds rather hollow coming from a super hero action cartoon that certainly makes use of some violence to stay popular.

I’ve never liked Mojo, so I’m biased going into this episode.  I prefer the real world setting for the X-Men, and this is anything but that.  I’m just glad it was only a one-shot, but it does derail some of season 2’s momentum, even though another Xavier/Magneto snippet is included at the end as the two witness the power of Sauron.  At least it’s more entertaining than “Whatever It Takes.”

Reunion (Parts 1 and 2)

After giving us bits and pieces of Xavier and Magneto in the Savage Land and teasing more encounters with Sinister, everything comes to a head in this two-part season finale.  Magneto and Xavier did well to avoid the mutates for this long, but eventually find themselves captured when they team up with a local named Ka-Zar to free his people.  Ka-Zar does not have any love for Magneto, and blames him for the Savage Land’s state as we learn he created the mutates long ago.  They raid his former citadel, but Xavier and Magneto get captured and Ka-Zar is forced to flee.

Meet Ka-Zar, he's anything but bashful.

Meanwhile, the Cyclops, Jean, and Wolverine are off looking for Morph following a distressful sounding voice message from the shape-shifter.  Wolverine vows to bring him home and hurt whomever is after Morph.  They find him working in a one-man play of Jekyll and Hyde where his mutant powers create a stirring performance.  The X-Men confront him after the show, and after playing dumb a moment, he warns them to stay away because “He” is always watching.  Morph’s warnings end up being not without merit, as Sinister and the Nasty Boys strike leading to the capture of Jean Grey.  Morph slips into his evil Morph persona and departs with Sinister.

Back at the Savage Land, it’s revealed that Sinister is whom the mutates have been referring to as Master.  This comes as something less than a shock but it’s appropriate.  He reveals his machine that enhances mutant powers by taking from others.  He uses the machine to amplify Vertigo’s powers via Magneto.  Sauron then shows up and uses his hypnotic powers to coerce Xavier into sending a false distress call to the X-Men to lure them into a trap.  The X-Men aren’t dumb though, and can tell something is wrong, but they head off anyway, all except Jubilee.

As part 2 begins, the X-Men arrive in the Savage Land and find that they’re without powers.  The mutates attack almost immediately along with the Nasty Boys and are able to overwhelm the powerless X-Men rather easily.  Only Wolverine is able to escape, as he is quick to point out there’s nothing mutant about his adamantium claws, though how he survives a tumble down a waterfall is anyone’s guess.

Much to no one's surprise, it turns out that the Master is actually Mr. Sinister.

As a result of the confrontation, it falls on Wolverine to same his comrades and he soon comes in contact with Ka-Zar.  The two decide to team up, after fighting a little, and head for the citadel.  The predictable happens and in a way it mirrors the conclusion of “Till Death Do Us Part 2” in that the X-Men tangle with the bad guys, and Morph overcomes Sinister’s control when someone tells him he’s still a member of the X-Men.  Sinister gets blown into a million pieces and tossed into the sea.  This isn’t enough to kill him, but it should keep him out of commission for a while.

Magneto and Charles bid farewell, and we find out that Xavier intends to remove the device Sinister implanted within Morph though he warns that the psychological damage could take years to undo.  This is code for “don’t expect to see Morph a member of the team going forward” much to everyone’s chagrin.

In the end, it’s a satisfying way to wrap up a season-long plot, though some of it did feel a little too similar to the previous season finale and the events of the season’s opening plot.  It’s a good action packed finale though, and following it we would see very little of both Magneto and Mr. Sinister going forward.  This makes sense with Magneto considering the human/mutant conflict would be de-emphasized making his character unnecessary as a villain.  The writers must have just felt burnt out with Sinister, as his future appearances are mostly of the henchman variety.

I’ve said it a few times now, but I’ll say it once more:  season 2 is either the best season for the show or the runner-up to season 1.  It’s quite good as a character study.  It’s less action oriented than other seasons but there’s a lot of depth here that’s uncommon for a kid’s show.  Even today when I watch these episodes I’m left with a sense of satisfaction at their conclusion.  Since the show was so limited in what it could in regards to fight scenes, it made a lot of sense for the writers to focus on character development over intense battles.  There’s a lot of good stuff in later seasons, but this was undeniably the show’s peak and one of the best comic to TV adaptations ever.


X-Men Season 2 (Part 2)

Hopefully there aren’t people out there eagerly anticipating my reviews for the X-Men animated series because I’m sure taking my time in making these entries.  It’s been almost a month since my last entry on the subject, but I’m in no rush.  This entry continues on with the next few episodes of season 2, one of the shows strongest seasons it would have.  The further into the season the show travels, the more character specific the episodes get.  This next one deals with everyone’s favorite Canadian:

Repo Man

Vindicator (also known as Guardian in the comics) and Alpha Flight make their first and only appearance of the series in "Repo Man."

Wolverine’s past catches up with him a lot, as it did in the previous episode “Red Dawn,” but here the show gives the viewers its first glimpse into Wolverine’s origin.  Early in the episode, Wolverine is set up in the Canadian wilderness into thinking he’s to meet a friend named Heather only to be ambushed by Alpha Flight.  Alpha Flight was never a popular comic for Marvel, so to put it simply, Alpha Flight is the Canadian version of the Avengers.  We find out Wolverine was once a member and that the team seeks to bring him back.  Lead by Vindicator, the team attacks Wolverine only to find him a more than formidable match.  Once the word “lab” is mentioned, a flashback is triggered showing us how Wolverine came to possess his adamantium skeleton.

The flashback gives us as much detail as can be permitted on a Saturday morning cartoon.  Anyone who read the “Weapon X” one-shot knows that it was originally filled with a brutal and bloody rampage by Wolverine that obviously can’t be depicted here.  Wolverine was also naked and feral and here he’s shown a little more aware of what’s going on, though still pretty pissed off.  It accomplishes the same goal.

Wolverine is eventually subdued by Alpha Flight (not even Wolverine can take on a whole squad of super heroes) and we find out Department H (the organization behind Alpha Flight) is after Wolverine’s skeleton.  We then get introduced to the Heather character, wife of Vindicator (James), and treated to another flashback from when Wolverine came upon the couple after escaping the lab.  While the two tag a deer, Wolverine attacks but gets a couple of rounds of tranquilizers (Fox wasn’t going to permit shotguns for obvious reasons) imbedded in his shoulder and as he goes down we get a montage of Wolverine gaining his sanity.  We then see him putting on the yellow and blue for the first time and taking the name Wolverine.

Apparently everyone at Department H is still sore about Wolverine’s defection.  The rest of the team is well-meaning and was lead to believe Wolverine was going to re-join the team.  The man in charge though, Jason,  intends to extract his skeleton by any means necessary in order to find out how the procedure could be duplicated.  Obviously, this would mean the end for old Wolverine and most everyone comes to their senses and helps Wolverine off the carving station.  Vindicator never comes around, but when Wolverine has him pinned and readies a killing blow he relents as a favor to Heather.  He closes by letting everyone else know they’re not friends and that he’s never coming back.  Hard to blame the guy for being rubbed the wrong way.

Overall, this is an effective way to tell Wolverine’s tale.  It also keeps the other X-Men out of the story so that they continue to remain in the dark about what he’s been through in his past.  As a result, we don’t see much of the others save for one brief scene and a little snippet of Magneto and Xavier as they escape from the mutate Vertigo.  This is also a good Wolverine episode as he’s portrayed in a manner I think most people prefer.  That is as a gruff and tough fighter with a couple of good one-liners.  This would also be Alpha Flight’s only appearance on the show, which is probably a good thing.

X-Ternally Yours

It’s kind of surprising that the creators of the show would give the two biggest fan favorites back to back episodes.  I’m of course referring to Wolverine and Gambit, and after getting Wolverine’s back story in the previous episode we’re treated to Gambit’s here.  Though I’m not sure treated is the right word.

The inspiration for this episode undoubtedly came from the plot contained in this book but was altered severely to fit the Saturday morning guidelines.

The episode begins well enough with Gambit getting a cryptic phone call that spooks him so much he accidentally lets Cyclops get wasted in the Danger Room.  He informs the team he has to leave because someone is going to kill his brother.  Rogue, Jean, and Wolverine end up giving chase and Gambit’s trail leads them down into the Louisiana bayou.  Here a battle has been waging for years between the Thieves and Assassins guilds.  Apparently, Gambit is a former member of the Thieves Guild and at one time was engaged to the assassin, Bella Donna.  Bella Donna trades Gambit’s brother Bobby for Gambit’s hand in marriage, which of course is not what it seems.  When Gambit places the wedding band on his finger, he finds that Bella Donna holds some power over it that’s able to subdue him.  The members of the X-Men that went after him arrive and tangle with some thieves and we get a cool shot of Wolverine wedging a thief’s head between two claws in a threatening manner.

Unfortunately, from here things get kind of silly.  The assassins and thieves pay tribute to some god-like entity by presenting it with a tithe every ten years.  This being bestows powers on the guild that honors it in the most appropriate way.  Break the covenant, and lose your life.  Bella Donna sets up the thieves with a fake tithe and intends to get the thieves exterminated.  The X-Men are able to foil the plot when Jean reveals the double cross to the External using her telepathic powers and Bella Donna is stripped of her powers, her life spared at the request of Gambit.

I rarely like it when the X-Men goes too sci-fi with its plots, and this is a case of that.  This plot with the being the External, to my knowledge, has no basis in the comic canon and I’m not certain where the idea sprung from.  The writers clearly felt the guild wars as they appeared in the comic were too violent for Saturday morning and needed a new plot device, but I think they could have done better.  It’s not season two’s worst episode, but it’s in the conversation.

Time Fugitives (Parts 1 and 2)

“Time Fugitives” brings back everyone’s favorite time traveling mutant from season one, Bishop, and also gives us a more comic accurate depiction of the mutant Cable.  It’s a two-parter (come to think of it, I don’t think Bishop has any one-shots) where the first part is Cable watching the events of the first episode, and in the second he tries to rectify it.

The basic plot is that Bishop returned to the future following “Days of Future Past” to find it unchanged.  The Sentinels were no longer in power, but a mutant plague is affecting the population and killing millions.  Forge sends Bishop back to find out its origins and put a stop to it.

The plague is depicted in a similar visual fashion to Apocalypse's techno-organic virus from the comics, though its properties are different.

In the present, the plague is just starting to show itself and the Friends of Humanity are claiming mutants carry the plague and must be quarantined.  The X-Men’s resident chemist Beast, is asked to speak on the subject at a hearing where Graydon Creed intends to infect Beast with the plague, only to get stopped by Bishop.  In order to put on a spectacle for the television cameras, Creed infects himself and flees the scene.  The X-Men are able to pick up on this while watching a taping of the event, and follow Creed to a hideout where the true cause of the plague is revealed:  Apocalypse.

His motives are not entirely clear, but Apocalypse has long sought the destruction of all humankind so a fatal disease is within the realm of plausibility for the character.  Creed is disheartened to learn he was duped by a mutant, to which Apocalypse gives us this great quote, “I am as far beyond mutants, as they are beyond you!”

The X-Men destroy his plague, but an angry Apocalypse ends up destroying the X-Men.  This causes a temporal storm, which is displayed as a bunch of tornadoes in Cable’s time that will re-write history.  Cable possesses some kind of omniscient computer that looks like a piece of quartz that tells him all of this, and episode one ends with him struggling with the notion that in order to save his world, he has to help Apocalypse destroy a past one.

"The name's Cable - remember it!"

Episode two takes Cable and inserts him into the events of episode one.  Initially, it is suggested by his computer that killing Bishop will accomplish his goal, but Cable is reluctant to kill someone he considers a good man.  He tries reasoning, but Bishop isn’t buying it, and soon shows up at the hearing where Beast is attacked.  Before this, he’s shown going through some files on the X-Men (he notes that he’s familiar with Cyclops and Jean Grey), and has the computer stop on Wolverine for an unannounced reason.  At the hearing, he makes a B-line for Wolverine and teleports the two out of there.  The same events unfold as the previous episode with the X-Men stumbling upon Apocalypse’s lab.  This time Cable and Wolverine show up and Cable allows Wolverine to get infected with the plague virus.  Bishop is shown enraged, thinking Cable just killed him, but Wolverine’s healing powers soon cure him.  Cable informs Apocalypse that they now have the anti-bodies to cure his plague, frustrated, Apocalypse leaves as the X-Men destroy the lab.

As I mentioned in the first paragraph, I like that this episode gives us a more comic accurate portrait of Cable.  He’s first shown fighting Apocalypse in the distant future, and while in the past it’s revealed the Cable is the son of Cyclops and Jean.  The show never explains how Cable came to exist, in this episode or any future ones, but at least it is no longer ignoring the character’s back story like it did in season one.  Bishop proves once again to be a fun character, he’s a well-meaning hot head whose a little bit of a screw up.  I’m in favor of any episode that works in the Friends of Humanity, and the writers prove once again that they have a good grasp on the Apocalypse character.  If I have one complaint, it’s that Apocalypse just kind of gives up and leaves at the end of part 2 with no explanation put forth as to why he wouldn’t simply take out the X-Men as he had in part 1.  Regardless, this is another good time travel tale that rivals the first.

A Rogue’s Tale

After taking a few episodes off, Sinister once again makes his presence felt by setting up the events in "A Rogue's Tale."

After taking a bit of a diversion with the “Time Fugitives” two-parter, season 2 returns to the character study format and gives us this episode which details Rogue’s back story.  Mystique is seen early on meeting with a shadowed Mr. Sinister who reveals to her Xavier’s absence allowing her an opening to take back her daughter.  This leads to a confrontation between the X-Men and Mystique’s New Brotherhood, where a chance encounter with a blond girl sends Rogue into a frenzy.

Tormented by visions of this girl, Rogue goes berserk back at the mansion.  The specter claims she took her life and informs Rogue where she can find her and silence her.  Rogue soon ends up at a hospital and finds the girl in a coma.  No one knows her identity.  Mystique is there to torment Rogue further, and at her encouragement, Rogue absorbs her powers and memories triggering a flashback.

Poor Ms. Marvel...

In the flashback, we find out how Rogue came to know Mystique.  After taking in the runaway, Mystique exploited Rogue’s powers in a confrontation with the heroine Ms. Marvel.  The flying and seemingly indestructible Ms. Marvel found herself locked in Rogue’s energy draining grasp.  At Mystique’s command, Rogue was ordered not to let go despite her pleas to do otherwise, and the end result left Ms. Marvel in a coma and Rogue with her powers permanently.  Ms. Marvel’s persona was also trapped in Rogue’s mind, and seeing that Mystique could not help her, she fled and soon found Charles Xavier who would help seal away Ms. Marvel and put an end to Rogue’s torment.

Now, as a result of Mystique’s mind games, Ms. Marvel’s persona was free and with Mystique’s shape-changing powers now absorbed by Rogue, her persona is able to take full control of body and mind.  Jean intervenes, and together the two battle in Rogue’s mind.  The viewer is left with a series of conflicted emotions.  The heroine Ms. Marvel was only doing her duty when she first encountered a young Rogue, and the fate that befell her was unfortunate and unjust.  However, we’ve come to know Rogue to be a hero herself and it’s tough to root against her.  Ms. Marvel (revealed to be Carol Danvers), is shown as both angry and sad as she screams at Rogue “You stole my life!” with tears streaming down her face.  She wants revenge, and justifiably so, and when Jean’s attempts to calm her spirit prove ineffective, she and Rogue find a way to seal her away once again.

Rogue is understandably torn up, and tells Mystique she’ll never be her daughter again.  Despite her villainous ways, it’s hard not to feel some sympathy for Mystique as Rogue flies off and leaves her behind once more.  In the end, Rogue is shown visiting the still comatose Ms. Marvel at the hospital and informs a nurse that her name is Carol Danvers.  As Rogue departs, a tiny smile creases the face of Ms. Danvers just before the credits roll on an extremely satisfying episode of X-Men.


X-Men in Film – Epilogue

I ran through the three core X-Men films earlier this year.  To summarize, I found the first was okay, the second good, and the third poor.  And even though I more or less enjoyed the first two, I was never comfortable with the setting or the approach taken by director Bryan Singer.  In my lead-in, I mentioned I wanted to post my own thoughts on how I feel the studio should have gone about in bringing the franchise to the big screen.  Considering this weekend is the opening weekend for the Matthew Vaughn directed X-Men: First Class, it seems like now is a good time to do this entry.

First off, I did not make an entry for the X-Men spin-off X-Men Origins: Wolverine and that’s because I never saw it.  Not only did it look poor, but the plot also sounded bland.  It was not well-received by critics or by friends of mine whose opinions I trust so I saw no reason to see it.  And the suggestions to follow in regards to how I would have approached the series do not mean I think I could do better.  Far from it, I am no director and I’ve never had anything published.  I’m just a jaded fan.  And for the most part, I think die hard fans are bad for this sort of exercise.  They tend to be more rigid and regimented and incapable of distinguishing what’s important from what isn’t where a plot or character is concerned.  A neutral party is better able to look at the source material and identify the key components that makes the franchise important and bring those components out within the new medium.  Unfortunately, I think those who handled the X-Men did a poor job of that and even though I’m a fan I’m going to try to be objective.  Below are the components I believe would make for a good X-Men film:

Civil Rights – At it’s core the X-Men represent a civil rights story, and Bryan Singer and Fox acknowledge this.  One of the core conflicts is Professor X as a Martin Luther King Jr. figure to Magneto’s Malcolm X.  Both have the same goal but aspire to reach that goal through very different means.  The other conflict is human society vs mutants, what the canon refers to as homo sapiens and homo superior (a term coined by Magneto).  In the first film, the conflict outside of the good guys vs the bad guys is the Mutant Registration Act, a bill introduced by Senator Robert Kelly.  Kelly mistrusts mutants and wants to see each one register with the federal government so that the government knows what each mutant is capable of and where they are at all times, similar with sex offenders and common criminals.  Law abiding mutants of course bristle at this as it forces them out of the closet, so to speak, when some would rather live quiet lives and keep their mutant abilities private.

Graydon Creed worked so well for the animated series, it's hard to imagine him not working for a film franchise.

This a solid starting point for the franchise, but the initial plot gets lost in Magneto’s hijinks.  Kelly is removed from the picture early on negating his influence on the bill and it doesn’t pass, though that is irrelevant.  What Singer and company failed to do was create a hostile environment for mutants.  At no point do we get a sense of the contempt and fear humans have towards them.  We get a taste of it in X2 when Bobby Drake “comes out” to his family, but little else.  I wanted to see more fear from the general populace and from the government as well.  That’s why I think the films should have looked closer at the 1990’s animated series for inspiration.  Henry Guyrich and Bolivar Trask would have made for good secondary characters.  Perhaps the sentinel project could have been referenced in the first and carried over into the second film.  The sentinels from the comics likely wouldn’t have worked on film, but a military styled task force charged with controlling mutants could have stood in.  The Friends of Humanity could have also been used to give us the extreme end of the spectrum from the societal perspective.  Graydon Creed is a great character and one that’s easy to hate for audiences.  The villain of X2, William Stryker, could have been incorporated into the FoH as well in his priest persona as opposed to a military one.  Ultimately this would have better portrayed the X-Men as selfless heroes protecting a society that hates and fears them, as the main antagonist would still have been Magneto and his Brotherhood.

Small Squad – Another aspect the existing films recognized was the need to keep the X-Men small.  In the 90’s, the team became bloated and trying to carry that over to the films would have proved impossible.  The films reduced the X-Men to four actual team members; Cyclops, Jean, Storm, and Wolverine with Xavier and Rogue also in roles requiring extensive character development.  And while I think this is a solid foundation, the ball was still dropped in terms of developing these characters.  Wolverine was the obvious focus for character development as he’s been the most popular character for a long time now.  Jean exists as the strong female lead and to get between Cyclops and Wolverine.  The Wolverine character was handled mostly well (though I feel strongly a short actor should have played him) but Cyclops was butchered.  He comes across as the jealous, petty boyfriend rather than the victim.  Cyclops should be strong and honor bound where his duty is concerned, the obvious good guy where as Wolverine is a villain who happens to be fighting for the good guys.  Perhaps I’m in the minority, but I got the sense that the films wanted us to root for Wolverine to win the girl and to dislike, and even distrust, Cyclops.  Storm wasn’t developed hardly at all, and only once Halle Berry won an Academy Award did the writers see fit to give her more screen time.  Storm has an interesting back story in that she was perceived by her people as a goddess and perhaps would have worked better as a character recruited by Xavier, rather than just a secondary female member of the team.

I love you Beast but you just don't work on screen.

I have always felt Beast should have been included.  He is a good example of a mutant who can’t hide amongst people like most of the X-Men can.  The problem with the Beast character is that his look does not translate well to live action.  Would fans accept a non-blue Beast?  Probably not.  Iceman perhaps could have been a better choice as a fourth member given his character doesn’t need too much development as he’s the practical joker and a kid at heart.  The Iceman character as he exists in the current franchise is a throw-away, anyone could have been used in that role.  Nightcrawler is another great character that needed to get onto film, but I think Singer had it right in waiting for film #2 to introduce him, though I think the character needed more development.

One think I would not change is how the films utilized Rogue.  I’m a fan of introducing the X-Men as an already existing product and bring the audience along by having it introduced to the X-Men through the eyes of a new recruit, such as Rogue.  Rogue provides a good example of how super powers aren’t all they’re cracked up to be, something at the core of the X-Men mythos.  This aspect of her character makes her more interesting than the classic juvenile characters Kitty Pryde and Jubilee.

Wolverine – I said a lot about Wolverine in my initial post on the subject, so I’ll try to be brief.  In short, I feel Wolverine is best served as a secondary character.  He’s the prickly member of the team who doesn’t always feel like a member of the team because of his lone wolf nature.  Ideally, he wouldn’t be in the first film as his introduction to the team could have been handled in a second film.  One thing I really liked about Marvel’s Ultimate X-Men was how it introduced Wolverine as a mercenary hired by Magneto to infiltrate the X-Men, but he eventually is won over by Xavier (and Jean) and betrays Magneto.  That could have been used for the films but Fox would have never allowed an X-Men movie to be shot without Wolverine, he’s too important from a marketing perspective.  Therefore, keeping him off to the side and antagonistic would have worked best.  Ultimately, I want a character with a giant chip on his shoulder that Xavier and Cyclops constantly have to fight with to get him to stay the course.  When Magneto and his goons are raising Hell, Wolverine should be the one abandoning ranks to go after Sabretooth as opposed to working within the system.  As an audience, we should love his ferocity and his bad ass nature but feel frustrated with his obvious character flaws.

The Villains – Magneto is the obvious choice as the main arch rival for the X-Men, there’s really no other choice.  And I do like that the current films didn’t make the mistake the original Batman did and kill off the hero’s main adversary in the first film.  As long as Xavier is around, Magneto needs to be as well.  His Brotherhood was fine as well though it needs to be as big as the X-Men.  If the X-Men are 4 then the Brotherhood should be 4, not including Magneto himself.  Sabretooth and Mystique are good choices as well, but Toad kind of sucks.  If the films needed a slapstick villain he could have been used there, but otherwise I’d prefer Avalanche or Pyro.  Juggernaut is an interesting possibility as well and one that would have been worth exploring.  He presents obvious visual problems in bringing him to live-action (the look he sported in The Last Stand would not do) and balance issues as he’s a load to take down.  I like the step brother parallel though with Xavier, but he can’t be a mutant which also is an issue.  The magical nature of his powers wouldn’t fit the setting I imagine for an X-Men film franchise so his abilities would have to come from a suit.  Perhaps he could wear some sort of mammoth battle suit serving as a pre-cursor to the government’s own sentinel program.  Or he could be some sort of metal monstrocity created by Magneto.

The reality warping mutant Proteus represents a case of risk vs reward. In the hands of the right director, he'd end up an extremely memorable villain.

As the franchise would likely form a trilogy, new villains would be introduced.  I like the idea of keeping Magneto involved in all, but keeping him on sidelines at times would give the films some variety.  I already mentioned the sentinels and Friends of Humanity as potential villains.  Could they carry a film?  Possibly.  Other villains that could work include The Hellfire Club, who are also featured in the latest film.  They could be another Magneto, a villain seeking mutant supremacy but through different means.  While Magneto is confrontational, The Hellfire Club works behind the scenes and infiltrates the economy.  High-born and intelligent, they would pose a different kind of threat.  A really bold director could also turn to Proteus, the reality warping mutant.  His powers could be explained as being mental, an extreme take on Xavier’s, and his general origin could be kept intact (imprisoned bastard yearning for acceptance from his father).  His powers would be a visual delight, and his plight easy to grasp.  He’d function as a sympathetic villain, and also plant the seed in the audience’s mind that perhaps mutant control is necessary.

If a film must have a Wolverine-centric villain and plot, then I think Omega Red could be fun.  The Weapon X project would be introduced, and the Omega Project could be the Soviet equivalent.  After tangling with him in the past, Wolverine is angered to learn he’s been revived by the Soviets and takes off to stop him.  It would give the audience more insight into the mind of Wolverine after seeing him mostly as an ass in the first film, and the X-Men would come to his aid for a feel good moment.  Red is a visually interesting villain, and his death syphon makes him more than formidable.

The Plots –  The plots of the existing films can be simplified as:  Mutant Registration Act, “God Loves, Man Kills”, and The Cure.  The second was of course augmented to basically remove the God component from the original story, but all the same.  The Phoenix Saga was also worked into the third film.  I mentioned earlier that I feel the Stryker character as a priest could be worked into the cast of reoccurring characters.  The Cure plot is an interesting one and one I like because of its obvious societal parallels.  Phoenix I can do without.  I know it’s an iconic story but it’s overplayed.  One thing the films didn’t tackle was the The Legacy Virus which could be worked into all of the films as a pervasive thing and another reason humans fear mutants.

To summarize, the basic approach I’d take for a three film trilogy would probably go something like this:

1 – Mutant Registration Act, Government exploring ways to control mutants, Magneto as a mutant terrorist attacking government agencies (Cyclops, Jean, Wolverine, Iceman, Rogue as X-Men.  Sabretooth, Mystique, Juggernaut, Avalanche and Pyro as Magneto’s Brotherhood)

2 – Sentinel Initative unveiled to control mutants, Moira’s son Proteus escapes, Magneto is courted by The Hellfire Club (Nightcrawler is introduced after the X-Men save him from the FoH early on)

3 – Wolverine leaves the X-Men to confront Omega Red, X-Men are forced into a confrontation with The Hellfire Club, Rescue Wolverine, Magneto watches from the sidelines (Colossus introduced as part of the Wolverine side plot, some of Wolverine’s Weapon X buddies could be brought in as well such as Maverick and Silver Fox).

I’m not married to that, but it’s a start.  I’d aim to end the trilogy with Magneto posing as an immediate threat, perhaps him forming a film equivalent of his mutant haven Avalon.  What’s not developed is how The Hellfire Club would pose a threat.  Perhaps they would be behind the introduction of the Legacy Virus as a means of planting fear into the hearts of humanity.  I would also consider having their political connections leading to an abolishment against the Mutant Registration Act which would portray them as being a group with some positive benefit, but with ill methods.  Magneto would also reject their assistance as he wouldn’t care for their methods, preferring something more direct.  I’d also look for a way to introduce Storm, though at this moment I’m not sure how it would be done properly.  Either way, my head is swarming with other ideas such as building up the FoH.  Nightcrawler could be held hostage because of his connection to Creed and demonic appearance, which makes him an easy target for Stryker.  That could easily be turned into a much bigger plot.

As of right now, X-Men: First Class has an 87% rating on RottenTomatoes.com and has been fairly well received.  The general consensus seems to be that while it’s nothing special, it’s an entertaining enough summer film.  Unfortunately, that’s been the story of the X-Men on film; good but not great.  I’m waiting for the Batman Begins of X-Men to be created.  Because of the social commentary contained within the franchise, there’s no reason why the X-Men can’t be something bigger than just a comic book movie.  The franchise is currently broken, and even though it’s kind of the lazy way out, it needs to be blown up and redone.  First Class can’t cure its ills and a truly great X-Men film is still nothing more than a fantasy.


Danzig – The Soundtracks

Considering The Hangover Part II just opened this past weekend, which contained a new studio track from Danzig, it makes this post a bit more topical than most.  Glenn Danzig has had few brushes with motion picture soundtracks over the years.  Some, like the first of “The Hangover” films, contained a track already included on a Danzig release.  In that case the song “Thirteen” from Danzig 6.  Danzig has also seen the song “Mother” included on the Grand Theft Auto soundtrack and it has also shown up in other places, though I believe that particular one was the only released soundtrack to include it.  And then there are other films that included originals.  Again, these are few but in an effort to be all encompassing where Danzig is concerned I’ve decided to make a short entry on these rare gems.

Glenn Danzig and the Power and Fury Orchestra – “You and Me (Less Than Zero)” – 1987

The Less Than Zero soundtrack cover

This song was actually among the first Glenn Danzig wrote after joining the Def American label.  The label was handling the soundtrack for the film, Less Than Zero, and Rick Rubin asked Danzig to contribute.  Glenn wrote the song and modeled it after Lulu’s 1967 hit song “To Sir, With Love,” though it was not considered a cover.  The song was written by Glenn with the idea that someone else would record it.  Thus, it’s not a typical Glenn Danzig song by any stretch of the imagination.  The lyrics focus on a dying friendship, making it topical with the film, and features a small orchestra and choir.  Apparently, whoever was supposed to record the song was unable to do so or didn’t want to, so Rubin asked Danzig to step in.  Eerie Von either didn’t like the bass line or Rubin didn’t like how he played it, so studio musician George Drakoulias filled in, which is why the name of the band on the credits wasn’t Danzig (and also, since the song was not indicative of the Danzig sound one can see why the band was called something else).  Nonetheless, fans should be happy with how things worked out because this is a rare little gem of a track.  The borrowed melody is poppy and infectious and Glenn really cuts loose on vocals in a way he had never done before.  The southern choir adds a neat dimension to the song and is something that never appeared on a Glenn Danzig recording before or after this track was released.  Sadly, the song wasn’t used at any point in the film, though the other song Danzig contributed to the soundtrack was.  Performed by the legendary Roy Orbison, the Danzig-penned “Life Fades Away” dress-up the closing credits to the movie.  If you haven’t heard either and consider yourself a Danzig fan, you would do well to scour the nearest used record store for a copy of this soundtrack (and checkout the youtube link at the bottom to hear “You and Me (Less Than Zero)”)

Danzig – “Deep” – 1996

Songs in the Key of X

The title to this soundtrack is Songs in the Key of X:  Music From and Inspired by The X-Files.  It’s a soundtrack for the Fox television series the X-Files and it’s not.  It had nothing to do with the feature length film released a few years later and was intended as a complimentary piece for television fans.  Most of the songs were never featured in the show and actor David Duchovny was reportedly the one responsible for getting Danzig onto the soundtrack.  This was also during Danzig’s flirtation with industrial music, and the song he contributed was similar in sound to what he would put out on Danzig 5.  “Deep” starts off like a slow brooder that shares some lyrical similarities with the track “Sadistikal” off of Danzig 4.  It has an odd inorganic drum pattern under the verse and some industrial noise.  Danzig’s vocals are clean and the song breaks into a big chorus where the guitars come in.  A re-mix titled “Deeper” would later appear on the 2000 reissue of Danzig 5, and several more remixes would appear on the reissued Sacrifice EP.  Some fans seem to really dig this track and prefer it to most of the songs on Danzig 5, but I find it kind of drab.  The remix “Deeper” is a little better, but this song as it appears here is merely okay (though I do agree that it sounds better when compared with some of the stuff on Danzig 5).  For those looking to score a copy of this song on CD, good news, because you don’t have to purchase this soundtrack if you’re not interested in the other bands.  This track was also included on 2007’s The Lost Tracks of Danzig and if you’re a Danzig fan and you don’t have that already, what are you waiting for?!

Danzig – “Black Hell” – 2011

DanzigLegacyFireLetters

“Black Hell” would receive a video clip years later as part of The Legacy TV Taping.

From the soundtrack to The Hangover Part II, “Black Hell” could have the distinction of being the last properly released Danzig track.  It’s no secret that Glenn Danzig is getting older and has become disenchanted with the music business which allows for the possibility that 2010’s Deth Red Sabaoth is it for him.  There’s likely a covers record coming and at least one additional original Danzig song is known to have been recorded and left off the last album, titled “Long Dark Road.”  Either way, there’s not much left in the pipeline.  Things could change, since about 4 years ago Danzig said he was done touring and as we speak, the band is preparing to head for Europe, so if you wish to hold out hope go for it.  “Black Hell” is similar in style to “Thirteen,” which as I mentioned earlier, was included on the soundtrack and film The Hangover.  Apparently director Todd Phillips is a big Danzig fan, which is how this relationship was born.  “Black Hell” opens with a slow kick drum beat and a simple guitar strum and Danzig singing over it in a deep, ominous voice.  The lyrics are fairly standard for Danzig and after the first verse a haunting electric guitar riff comes in.  Eventually the song builds to a big chorus, and carries this sound through to its conclusion.  It’s a fairly simple track but effectively moody.  I especially like the use of the electric guitar which stays in the background (I should note, the strum riff is also played on an electric).  The vocals have a layered effect on the chorus with one really high one that adds to the song’s apocalyptic feel.  Unfortunately, the songs aren’t sold separately on digital music stores and if you want it you have to buy the whole soundtrack, which is mostly terrible.

That’s it though, just three original songs included on soundtracks.  I would say one is great, one is average, and one is kind of a throw-away.  It’s hard to say if Danzig will have any future contributions to soundtracks, though I’d consider it unlikely.  I did not mention the song “Underbelly of the Beast” from The Crow: Salvation soundtrack because it’s just a remix of “Belly of the Beast.”  It, like “Deep,” is also included on The Lost Tracks of Danzig.


Danzig (1988)

danzig-180417e0-c57b-438b-b499-e0062a80bee4If I’m going to make an entry for every Danzig release it makes sense to start with the debut self-titled album from 1988.  I’ve already written about the series of events that led to the formation of Danzig in the late 80’s and how the band ended up on the Def American label.   To re-hash quickly:  Rick Rubin wanted to sign metal bands, liked Samhain, gave Glenn Danzig a four album deal.  Simple enough.

The first record was recorded in 1987 and released in 1988.  The demon skull that had been the logo for Samhain was carried over as the logo for Danzig.  The cover of the record, and the approach, is simple and straight-forward; all black with the skull featured prominently across the front and back cover.

This is the album Rick Rubin allegedly had the most influence over.  This makes sense considering the band was a new property for the label and getting off to a good start would go a long way towards securing future success.  Rubin is famous for his stripped-down, no frills approach when taking on rock and metal acts.  He is reportedly a big fan of AC/DC and that was what he wanted to do with Danzig.  He wanted the guitars to be a feature point and the drums to contain minimal fills.  The vocals would be up front and feature little studio polish.  The bass was kind of left behind, either because Rubin didn’t feel it was essential or didn’t care for bassist Eerie Von’s playing.

John Christ was called upon a lot to set the stage for most of the tracks.  His guitar playing is at times stiff but the edge with which he plays compliments the tracks here.  His play is often aggressive and the solos are varied.  This is really his debut record as a guitar player and he makes a good impression.  Chuck Biscuits is kind of held back a little and would offer some stand-out performances on future releases, but what’s here is solid.  He does have a few standout moments, particularly on “Am I Demon,” and overall accomplishes what Rubin intended.  Danzig’s vocals are clear, though a bit under-stated for him.  He only has a few opportunities to really belt out a chorus and the vocals aren’t as high in the mix as one would expect given he is the focal point of the act.  Kind of like with Biscuits, Glenn would have better performances in the future but what is here is good, but not mind-blowing.

That good but not great line is an easy way to summarize the album as a whole.  The album includes some now classic tracks but there’s an air of restraint about the whole thing, which is odd considering how intense previous Glenn Danzig albums had been.  “Twist of Cain” is the opener, and is now a long-time crowd pleaser.  It’s a meandering hard rock number with a lot of metal cliches in the lyrics.  It’s mid-tempo, like most of the tracks on this album, and while I love the song I’ve always felt the drums lacked punch.  Particularly the opening.  The riff would become the standard Danzig riff.  Variations on it will appear all through-out future albums, but none ever top the original.  Songs like “Not of This World” and “Am I Demon” bring a little more speed to the table and when played live would often be sped-up even further.  Again, there’s an energy in these tracks but it feels like the band is holding back.

The Danzig logo was allegedly lifted from the cover of an obscure comic by Marvel called Crystar: Crystal Warrior, though Glenn insists to this day that he designed the logo. Here’s the cover, you decide.

The songs that were never intended to be fast numbers work the best under this approach.  “Soul on Fire” is probably the most complex song on the album, and quite possibly the best.  It settles into a nice groove and Glenn gets his croon going for the verse.  The chorus has a nice drum pattern, and if you listen closely you’ll notice a saxophone (or something sounding like a sax) buried under the mix which is pretty unique for a Danzig record.  The outro throws in some faster riffing and adds nice variety to the song.  “She Rides” is a slow brooder.  Really cheesy, but really effective.  I hear it used to be popular at strip clubs, which isn’t surprising.  The album’s closer “Evil Thing” is one of the few tracks that doesn’t feel like it’s being held back by anything.  Danzig’s wails sometime degenerate into snarls and the drums bring a great ferocity to the tempo.  It’s a track with more personality than most.  The future hit “Mother” also appears on this album, but one can see why it wasn’t a hit initially since it kind of just exists on this record as almost filler.  I should note for any Metallica fans out there, that James Hetfield has an uncredited role on back-up vocals on “Twist of Cain” and “Possession.”

The first Danzig album is a solid but under-stated debut for the new band.  So much so that one questions why producer Rick Rubin would opt for such an approach when something bolder might have worked better.  This album did come out during MTV’s highly influential peak and the band wasn’t able to produce a video that fit their criteria, which likely harmed sales.  Had the video for “Mother” been in-line with their standards perhaps it takes off in 1988 as opposed to 1993.  That’s not a criticism of the band though, as the band should conduct itself however it wishes and caving to corporate pressure isn’t very “metal.”  Missteps aside, this is a good album and an essential piece for any Danzig fan, there’s just better stuff ahead.

Top Tracks:

  • Twist of Cain
  • Soul on Fire
  • Evil Thing

Danzig

By now, it should be obvious that a post on this blog  titled “Danzig” is not going to be about the former port city in Poland.  Danzig is my favorite band and I make no attempt to hide that simple fact.  I could try to explain why I love Danzig so much but I’m sure I would find it difficult to adequately convey what it is I so admire about the man/band.  I’ll keep it simple and say I’m drawn to the rebellious nature of the music and Glenn Danzig’s infectious croons.  It doesn’t bother me that Danzig isn’t more beloved by music fans, though I steadfastly believe there’s a Danzig song out there for everyone.  I take pride in my extensive knowledge of all things Danzig so I thought it would be fitting to add to this blog a one-stop Danzig information center.  And by that I don’t mean stats on Glenn Danzig’s height or witty posts about piles of bricks in front of his house, I’m strictly talking about the music.  What are the albums worth checking out?  The best songs, lineups, and so forth?  Those are the questions I want to answer.

I will throw in some background information since this is the lead-in post.  Danzig is a band, but it’s Glenn Danzig’s band.  He writes all of the music and calls the shots.  Glenn grew up in Lodi, New Jersey and first began making a name for himself with the horror punk group The Misfits which got its start in the late 1970’s.  The Misfits were first conceived as a pretty straight-forward American punk band, but would later adopt the horror gimmick which gave the band a marketable identity.  The Misfits weren’t around for very long but made a lasting impression.  Unfortunately for those in the band, a lot of the success came well after the band’s demise in 1983 but the band’s influence can be felt all over the punk and metal genre.

Glenn’s next band was Samhain.  I already made an entry on Samhain so I won’t say too much about that band here.  Simply put, Samhain was a darker take on The Misfits with more influences from goth and metal.  Glenn wanted to do something a bit more serious while still keeping some of that horror camp The Misfits were known for.  Samhain was also short lived, for it was as Samhain that Glenn and the boys garnered the attention of record producer Rick Rubin who would sign the band in 1987 to his newly created Def American label.  It was at that time the band would be re-titled Danzig.

The man himself, circa 1992.

The Misfits and Samhain were both plagued by lineup changes throughout their existance.  Initially, Danzig was conceived as a super group with Glenn as the focal point.  The label would bring in difference musicians to play with Glenn to keep things fresh.  The initial lineup wasn’t full of names, but it had talent.  Eerie Von was the lone holdover from Samhain on bass, largely because he and Glenn were good friends.  Von wasn’t a gifted bass player, but bass was never a part of the production Rubin focused on so he put up little fight in letting Glenn retain Eerie.  Rubin brought in veteran drummer Chuck Biscuits to play on the first record.  Biscuits is a goofy guy with an even goofier name but one Hell of a drummer.  He was good enough that both Glenn and Rick saw no reason to make any changes for the following records, there was no point.  The ever persistent John Christ was hired to play guitar after auditioning numerous times to be in Samhain and Danzig.  I’m not sure what won him the job, perhaps it was a lack of options, but Christ’s style would fit the band’s early sound quite well.  What probably was supposed to be a one record deal ended up lasting for the duration of the band’s contract with American Recordings.

The first Danzig record was released in 1988.  Produced by Rubin, it featured a stripped-down sound with Rubin emphasizing on capturing the band’s live sound in studio.  He would force the band to get their parts recorded in one take and there was very little post-production and mastering.  The album was not a hit, and even though it would contain the track “Mother” the song wouldn’t garner much airplay initially.  Part of that was due to the Satanic imagery of the song’s video, making MTV wary of playing it without some censorship put in place.  It was this image that would also lead to the parent label, Geffen Records, from ever having it’s name or logo featured on a Danzig record despite being the distributor.  All of this mystique seemed to amuse Glenn and probably ended up helping create a dangerous image that attracted a younger audience.

Because the band was not an overnight success, Rubin would lose some interest and devote less time to producing the follow-up records.  The band’s second album, Lucifuge, would follow in 1990 and Danzig III: How the Gods Kill in ’92.  By now the band had gained a strong underground following, culminating in a sold-out Halloween show at Irvine Meadows during the How the Gods Kill tour.  Four tracks from that show, plus three new studio tracks including an Elvis cover, would comprise the 1993 Thrall: Demonsweatlive EP which was released alongside a slightly remixed version of “Mother” with a new video.  This video would receive airplay on MTV and it soon became a modest hit, propelling the band’s debut record and EP to gold status.

The band would follow-up the success of “Mother” with Danzig 4p in 1994.  4p would do well but not as well as the label was hoping for.  The single “Cantspeak” cracked the Top 100, making Danzig technically a 2-hit wonder, and the tour was fairly successful.  The band would also be asked to play on the main stage of the inaugural Ozzfest and did a support tour with Metallica as well, during which Glenn would join the guys on stage in some cities to do some classic Misfits tracks.

Danzig would prove disastrous for Disney’s image.

It was also around this time that the band began to fall apart.  Chuck Biscuits’ drug problems became too much to contend with and he would be replaced by new comer Joey Castillo for the 4p tour.  Glenn had long wanted to replace John Christ on guitar and by ’94 the feeling had become mutual and the two agreed to part ways following the tour.  It was at this time that Eerie Von also chose to leave, citing burn-out and being genuinely disappointed that the other guys were leaving.  The label, now known as American Recordings, was also showing little or no interest in re-upping on a new deal so Glenn shopped his talents around and was able to land a seven figure deal from start-up Hollywood Records.  This marriage would last only one album, the much maligned Blackacidevil, as the band’s parent company Disney wanted nothing to do with a band that was often associated with Satanism.  The deal would be terminated, and what would follow would be several years of legal battles between Glenn and Disney.

It wouldn’t be until 1999 when Danzig would resurface.  Now on Emagine Records, the band still consisted of Glenn and Joey Castillo on drums, but also had Josh Lazie on bass and Jeff Chambers on guitar.  This lineup would record Danzig 6:66 Satan’s Child, an album built up as a return to form for Danzig but ultimately would not meet those expectations.  Following the album’s completion, Chambers was replaced by Todd Youth (allegedly because he didn’t fit the band’s image) and Lazie would leave of his own accord and be replaced by Howie Pyro.  The first leg of the Satan’s Child tour featured a mini Samhain reunion and would prove to be the highlight of the tour.

With the collapse of the Emagine label, Danzig would self produce everything and seek out distribution deals.  He inked one such deal with Spitfire for the 2002 follow-up to Satan’s Child, Danzig 777 I Luciferi.  The same lineup as the previous tour recorded this one, but all would be replaced afterwards.  Circle of Snakes would follow in 2004, the tour for which featured a guest appearance by former Misfits guitarist Doyle.  Together he and the band would play a short set of Misfits songs during the Danzig set.

Now in his mid 50’s, Danzig proved with “Deth Red Sabaoth” that he’s not done yet.

Circle of Snakes would be the last album for Danzig for quite some time.  During his hiatus he would put out a classical album, Black Aria II, the follow-up to his original collection of classical music put out in 1992.  2007 saw the release of the long-awaited and much anticipated Lost Tracks of Danzig, a two-disc set spanning the band’s entire existence containing mostly unheard tracks.  It wasn’t until 2010 when a new Danzig record would be released, the well-received Deth Red Sabaoth, which may end up being the final proper Danzig album.  Only time will tell.  It so far has lead to a mini resurgence for the band.  Not only did it sell well, but Danzig even found himself on the soundtrack to the blockbuster hit The Hangover, introducing his song “Thirteen” to a whole new audience.  The band also has a new song featured on the sequel’s soundtrack set for release on May 24th, titled “Black Hell.”

It’s my intention to post a review for each Danzig record, the major releases and the smaller ones including both Black Aria records.  I’ve already posted reviews for Danzig II and Danzig 4, so check back for a review of the 1988 self-titled record in the near future.  I haven’t decided if I’ll just review them all chronologically or not, but eventually they’ll all be posted and hopefully readers find them both interesting and useful.

Listen to Danzig!


Heavy Rain

Heavy Rain (2010)

I had been meaning to play the 2010 game Heavy Rain for quite some time, but had yet to get around to it.  Part of me was hesitant about doing so because it had been compared loosely with those old point and click adventure games from the 80’s and those never appealed to me.  As a result, I put it off and never got around to purchasing it until recently when I saw it for 20 bucks at a local store.  Having just finished my first play-through the other night, my initial reaction is that this is one of the most unique experiences I’ve ever had with a video game.

For those unaware, Heavy Rain is probably best described as either an adventure game or a crime noir.  It was released for the Playstation 3 in February of 2010 to very favorable reviews earning an aggregate score of 89.3% on Gamerankings.com.  It does share some things in common with point and click adventures but not as much as I had been lead to believe.  For the most part, the player still controls an on-screen character through mostly conventional means.  The left analog stick changes the direction the character is facing and squeezing the R2 trigger makes the character walk similar to how the old Resident Evil games used to control.  The character can approach objects in the environment and some can be interacted with by pressing a button indicated by an on-screen icon.  Often instead of the button input being the typical “X” or “Square” it’s a direction on the right analog stick.

Visually the game is a mixture of average and exceptional. The exceptional part refers to the characters and the life-like way they're able to emote.

After that though the game gets less typical.  At any point in time, squeezing the L2 button will make a bunch of text pop up on the screen with one of the face buttons beside it indicating a thought.  Pressing the associated button will let the player listen in on the character’s internal thoughts.  This is sometimes used to help cue the player on what to do next but most of the time it’s just to add color to the context of the situation and enhance the experience.  Actions will play out on-screen and button commands will pop up that the player has to follow in order to progress, or not.  Often times inaction is also acceptable and even desirable as all responses will advance the story.  These scenes range from simple conversations to intense physical confrontations between characters.  For the conversations, missing a cue can lead to failing to pick up a piece of valuable information, while in a fight missing the cue or hitting the wrong button can lead to failure, including death.

That’s the basic gameplay and most of the scenarios occur in pretty small areas.  There’s very little running around and trying to figure out what to do next, the game just unfolds in scenes.  There are a couple scenarios where you’re asked to drive or shoot a gun but they handle like the other scenes, just with less reaction time.  I went with the hard setting which affects the type of inputs required.  I think the easiest setting mostly limits the commands to simple one button presses.  I was asked to do motions with the right analog stick, half-circle motions and funny “hook” motions.  Sometimes the game asks you to tilt the controller (like when driving) or jerk it in a certain direction quickly.  For the triggers and face buttons, some are simple presses, others require pressing and holding the buttons in a certain sequence or tapping rapidly.  Usually the required input corresponds with what the character is being asked to do on-screen and adds a surprising amount of depth and immersion for the player.  I was expecting the controls for this game to be a necessary evil to move the plot forward but they really add a lot to the experience.

Ethan Mars will be asked to do some very bad things if he ever wants to see his son again.

If the plot wasn’t any good though the controls would probably get old, but thankfully Heavy Rain plays out like a true crime drama.  The main protagonist and first character you’ll control is Ethan Mars.  After losing a son in an unfortunate accident Ethan finds himself in a state of severe depression and estranged from his wife.  When his son Shaun goes missing he finds himself at the end of his rope.  It’s soon learned that his son was abducted by the Origami Killer and Ethan must go through several trials sent to him by the killer in order to get him back.  Meanwhile, the local police have enlisted an FBI agent, Norman Jayden, to help track down the killer.  As Jayden, the player will use sophisticated equipment to play detective and try to find the killer while navigating through a series of red herrings and Jayden’s own substance abuse.  Local private investigator Scott Shelby is also working hard on the case and is the third character the player will control.  Shelby is a former cop working on his own leads to find Shaun.  Madison Paige is the fourth and final character the player gets to control.  She’s a journalist suffering from insomnia who kind of stumbles into Ethan’s life.  She’ll end up working with Ethan to try and find Shaun.  The Origami Killer slowly drowns his victims over a period of time, and depending on the amount of rain that falls, Shaun will die.  This adds a sense of urgency to the plot as the game bounces from scene to scene, character to character.

Some of the tasks the player will be asked to do can be described as atypical.

The truly unique part of Heavy Rain is that there is no right way to get to the game’s conclusion, and no game over along the way.  Any or all of the characters could die over the course of the game, including Ethan’s son Shaun, and no two games will be the same.  The trials Ethan goes through are both trials of skill and morals.  Each completed one gets Ethan a clue to Shaun’s location.  Some are brutal and for me conjured memories of the movie Se7en.  The more that are completed the easier it is to find Shaun but some players may find certain ones abhorrent and refuse to complete them.  That’s understandable and know that it’s still possible to save Shaun without completing all of them.  Ethan may end up with enough information to figure it out or one of the other characters will come to Shaun’s rescue.  It’s also possible for all of them to figure it out, which is what occurred in my game.  I suppose that is the most desirable outcome.

I played this game straight-up, meaning no help or re-do’s.  There were a couple of scenarios that didn’t go the way I wanted them to but I resisted the urge to reset and go again.  I think this game is best played as if it were life or death, and in the game of life there are no extra lives.  There were a few moments I thought I really screwed up and was going to get someone killed but I was always able to wiggle out of it.  These moments of high anxiety are where the game shines brightest as I found myself really invested in what happened to the characters.

It’s not a real long game, maybe 8-10 hours each time through, but the pacing is spot-on.  The game started a little slow as the characters were worked into the plot but once it got going I didn’t want to put the controller down.  When I had to though, I found it hard to jump right back in knowing how emotionally taxing the experience was going to be.  This is a game I recommend players beat in 2 to 3 sittings, though if you can do it in one then more power to you.  The game does have a “twist” in the plot that some apparently did not care for.  I was neither shocked nor put off.  For a game that really tries to not be a game, the twist did feel a little cheap as the game did kind of cheat in order to make it happen.  I’d explain more but I don’t want to spoil anything.

Heavy Rain is the only video game I’ve ever played that transcends the genre.  That doesn’t mean it’s my favorite or the greatest game ever, but it does make it one of the most significant.  The argument of whether video games can be art is a fashionable one currently and for those on the affirmative side of that question Heavy Rain is probably the best thing going for them.  I do think it’s a title any serious gamer should play, and if you do choose to pick it up make sure you see it through to the end.


X-Men Season 2 (Part 1)

Season one of the animated series X-Men was a great success for both Marvel and Fox Kids.  It was the highest rated program on Saturday Morning in its target demographic and thus was renewed for a second season.  Its reign as a rating’s top dog would be short-lived, thanks to a new kid’s show called Power Rangers, but its new-found status of second place had nothing to do with a dip in quality.  Far from it, actually, as season 2 would prove to be every bit as good as season 1, if not better.

Season 1 had a narrative structure that involved linking all of the episodes together, rather than having them all be stand-alone in nature.  This may have made it a little challenging for viewers to jump right in mid-season, but was rewarding for those who latched on from episode one.  Season 2 kept this format, but augmented it slightly.  Season 1 chose to introduce villains every few episodes, where as season 2 opts to focus more on the X-Men individually.  Most of the characters get their own episode that details their back story.  In Rogue’s episode we learn how she joined the X-Men, with Gambit we learn about his involvement with the thieves’ guild, and so on.  Cyclops and Jean are the only two who do not get this treatment.  Jean ends up being a big player in subsequent seasons while Cyclops will have a few episodes dedicated to him down the road.

The one narrative piece linking all of the episodes together involves Xavier and Magneto’s trials in the Savage Land, a place time forgot located in Antarctica.  They would receive a few minutes either at the end or beginning of an episode as they tangle with dinosaurs and try to avoid the Savage Land’s mutates, all while trying to uncover who the mysterious Leader is.  The villain Mr. Sinister would also play a large role in season 2 as he shows up in several episodes.  Sinister was still a some-what new villain for the comics and his inclusion would really benefit the character.  The other major villain would be the Friends of Humanity.  With Senator Kelly now president, the mutants needed a new human villain.  This organization would prove to be the KKK of mutant hating.  Lead by the merciless Graydon Creed, the FoH made life miserable for the X-Men in season 2 and were a big part of several episodes.  Their inclusion helped keep the civil rights aspect of the show in the forefront.

Till Death Do Us Part (Parts 1 and 2)

Evil Morph

For weeks before season 2 began airing, Fox teased fans with commercials featuring the big return of Morph, and this two-part story did not disappoint.  Morph was back and revealed right away to the viewing audience, but not to the X-Men.  The once cheerful mutant was now bitter.  It was soon revealed that Morph had developed two personalities; the happy-go-lucky persona we saw in “Night of the Sentinels” and a new, evil one.  This new one was depicted as having yellowish skin and black circles around his eyes.  He looked a little more gaunt as well, making him a sort-of zombie Morph.  He’s angry with the X-Men for leaving him to die at the Mutant Registration Compound, and he’s going to use his shape-shifting powers to get back at each member of the X-Men.  He first tricks Cyclops and Jean into thinking they’ve been married by a legitimate priest before sending them off on a honeymoon.  He sends Xavier to Antarctica by posing as a dying Magneto.  Jubilee is sent off to the Friends of Humanity headquarters (“That’s for thinking you could replace me!”), Gambit is duped into kissing Rogue (and being knocked unconscious by her energy draining powers), Storm ends up getting shot by police, and Rogue is pissed at Beast (they got off easy) for thinking he was going to back Storm up.

All the while the Friends of Humanity try to make life bad for mutants.  Creed hires someone to pose as a mutant and wreck up the place where President Kelly is giving a speech.  They’re able to provoke Wolverine, Gambit, and Beast into a fight and capture some unflattering images of the recently pardoned Beast for inclusion on the evening news.  This results in Wolverine storming off to take care of them on his own, which leads him to the FoH headquarters where Jubilee is being held and the two bust out.

The main baddie of season 2, Mr. Sinister.

Morph, of course, is eventually outed as the perpetrator of all of this mischief when Wolverine’s nose picks up his scent while he’s masquerading as Xavier.  He escapes the mansion and the X-Men follow him to a secluded island, a base for Mr. Sinister, and we see just what happened the night Morph died.  Cyclops and Jean are being held prisoner, and the X-Men show up to tangle with Sinister’s Nasty Boys.  We get some good action here, as the Nasty Boys possess some unique powers (and some not unique) that give the X-Men some trouble.  Of course, Morph comes to his senses and ends up saving the day by (inadvertently) freeing Cyclops from his restraints, who takes care of the rest.

The episode ends with the bad guys getting away and Morph taking off as well, much to Wolverine’s disappointment.  The episode does a good job of introducing Sinister as a puppet master who is both formidable in combat and behind the scenes.  The inclusion of Morph is pulled off in a respectable way as well.  Most of the time I despise it when writers bring characters back from the dead, but this one works, especially when one considers it was always kind of odd that a Sentinel blast could kill an X-Man.  The episode also concludes with Xavier and Magneto’s reunion and the two, thinking each had been invited by the other, are soon caught in an avalanche.  Xavier’s premonition of “I sense something sinister,” kind of ruins the whole mystery of who’s behind the Savage Land mutates that the writers try to perpetuate throughout the season, but it’s easily forgiven.  As a kid, I was disappointed Morph did not rejoin the X-Men at the episode’s conclusion.  As an adult,  I’m disappointed he was, more or less, freed from Sinister’s control as evil Morph was a very entertaining villain throughout the two episodes.

Whatever It Takes

The Shadow King, quite possibly the worse X-Men villain to appear in the animated series.

The first character to get their own special episode is Storm.  We learn that Storm has a foster son in Africa, and a disturbance in the astral plane discovered by Cerebro sends Storm and Rogue off to investigate.  The episode also introduces the Savage Land, a tropical oasis in Antarctica where many prehistoric creatures still roam.  Magneto and Xavier find themselves trapped here and strangely their mutant powers have vanished.  Along with that, Xavier is also able to walk again.  Magneto informs Xavier he is familiar with this land, but it never had such properties before.  They tangle with some dinosaurs and basically set the stage for what will end up being a season’s long adventure.

Wolverine has a side-story where he’s chasing after Morph through the jungles of South America.  He finds Morph, who has used his shape-shifting powers to assimilate himself with the locals, and the two tangle in a mine shaft.  Morph delights the audience with a couple of cameo transformations including Maverick and Deadpool as he attempts to harm Wolverine psychologically.  Eventually, Morph backs off and slips into his “good Morph” persona pleading with Wolverine to let him get through this by himself.  Wolverine, begrudgingly, acquiesces  to his friend’s wishes.

Sadly, the minor side story is the most compelling, as Storm and Rogue’s exploits in Africa are not.  The Shadow King is the one behind the rip in the astral plane, and he has targeted Storm’s surrogate son Mjnari in order to lure her back to Africa.  It is revealed that Storm once served the Shadow King in her youth as a pick pocket.  Xavier sealed the Shadow King away in the astral plane, a realm the most powerful psychics are able to access, destroying his physical body.  He possesses Mjnari, and then eventually Storm as she offers herself to him in order to spare her son.  Rogue is kind of just along for the ride as her brawn is not able to touch the Shadow King’s corporeal form.  Mjanri ends up finding a way to lure the Shadow King back into the astral plane, and the portal between the two worlds closes, sealing him away once more.  The whole thing is kind of silly and predictable, the end result being season 2’s worst episode.  At least they got it out of the way early.

Red Dawn

A new villain for the '90's: Omega Red

Season 2’s fourth episode is one of the few not to feature significant back-story or character details about one of the X-Men, and that’s because it chooses to introduce a new villain:  Omega Red.  Omega Red was a very new villain to the comics and one that caught on with audiences pretty quickly, mostly because of his look and because he was a new villain for Wolverine.  Red was born from the Soviet equivalent of the Weapon X project.  His back-story isn’t explained in great detail, just that he was the Soviet’s ultimate weapon and Wolverine lead a team that helped, in his words, put Omega Red back on ice.  Armed with retractable carbonadium coils (an indestructible metal similar to adamantium) that drain the life from his victims, Red is unfrozen by a corrupt Soviet regime looking to take back the country.

Naturally, this presents an opportunity to bring Colossus back into the fold.  Colossus helps Jubilee deal with some Friends of Humanity goons who are harassing a convenience store owner.  He tells Jubilee he has come seeking the X-Men’s help in dealing with Omega Red.  The X-Men aren’t home, so Jubilee leaves a note and the two head off to Russia to combat Omega Red.  Wolverine arrives home soon after from his exploits in South America, and promptly crushes the note while growling “Omega Red” and bad ass music plays as he stalks off to the hangar.

Back in Russia, Colossus and Omega Red face-off, with Wolverine soon joining the party.  We learn about their back-story, while Omega Red handles the threat effortlessly.  The battle is broken up, and the rest of the X-Men soon arrive.  Together, they battle Red and Storm’s mastery of the cold freezes Omega Red once more.  The character Dark Star, once an ally of the old regime, assists in taking down Red and she also apprehends those responsible for bringing him back.  Colossus once again is offered a place with the team, but he declines saying his place is with his family.  Unfortunately, this episode is the last to feature the brawny metal mutant.  A good almost one-shot for Omega Red (I say almost because he does get a return episode) and a way to keep the series topical with the comic books.


Kamelot Abandoned

It was announced officially on April 21st that vocalist Roy Khan was leaving the

Former Kamelot vocalist Roy Khan.

band he had fronted for the last 13+ years, Kamelot.  This did not come as a surprise for fans.  Khan had bowed out of touring just a week before Kamelot was to kick off the first leg of its tour in support of its new album, Poetry for the Poisoned, due to what he called exhaustion.  No reason was given beyond that and the band was forced to scramble to find a replacement for the tour.  After initially announcing the tour would go on with Michael Eriksen of Circus Maxima, the band decided to cancel it out-right and resume touring in the spring.  Khan would release another message a few months later to update the fans on his health.  Included in that message was a snippet where Khan stated he was evaluating his future in the music industry.  Rumors began to circulate that Khan was done, had embraced a new religion, and no longer wished to be associated with Kamelot.

Those fears were unfortunately met.  No one knows the real reason for his departure, it could be religiously motivated, he could just wish to spend more time with his family, or it could be something else entirely.  In the end, it doesn’t matter much to the remaining members of Kamelot and its fan-base.  Kamelot was steadily gaining fans and growing into a medium-sized act that could attract a healthy crowd outside of the US, and a modest one within the US (which is about as much as any metal band can hope for in the States).  This undoubtedly is a set-back.

Replacing a lead vocalist is the hardest thing to do for an established act.  Even in a situation like Kamelot’s where another member of the band is the unquestioned leader, it still proves trying because most listeners identify with the frontman.  He’s the person always, appropriately enough, placed in front for pictures and press materials.  He is the one who engages the audience through a microphone, and it’s often the vocals and lyrics most listeners notice first.

A departing vocalist can sometimes derail a band, and sometimes it can help.  Iron Maiden is a good example of both.  Like Kamelot, the leader of the band is not the vocalist but bassist Steve Harris.  The first two Iron Maiden records featured Paul Di’Anno on vocals.  Di’Anno was not a good vocalist by traditional standards, but he had a certain attitude and high range to suit the band’s early sound.  Di’Anno was dismissed after touring was completed for the album Killers, and he was soon replaced with former Samson vocalist Bruce Dickinson.  The rest is history.

Replacing Bruce Dickinson proved to be an impossible task for Iron Maiden.

Iron Maiden would experience tremendous success with Dickinson, but by the time the 90’s rolled around Dickinson was experiencing exhaustion (sound familiar?) and wanted to stretch his creative wings so he departed following 1992’s Fear of the Dark LP and tour.  Iron Maiden would attempt to replace him with Wolfsbane frontman Blaze Bayley, but the move wasn’t a popular one.  There was no replacing Dickinson in the minds of Maiden fans, and the band’s popularity was reduced to next to nothing in the 90’s.  Fortunately for the band’s health and the fans, Dickinson returned in 1999 and Iron Maiden is currently enjoying a second golden age for itself.

Other bands have found mixed results.  Van Halen famously replaced David Lee Roth with Sammy Hagar in 1985 and found success early on, but it soon tapered as the 80’s ran into the 90’s.  Nightwish more recently replaced its front-woman, Tarja Turunen with Swedish vocalist Anette Olzon.  One album has been released with Anette and it has sold well, the next album will be an important one to see if Olzon’s success is sustainable.

It remains to be seen what will become of Kamelot.  The band announced it has begun searching for a new permanent vocalist.  Currently the band is on tour with Rhapsody of Fire frontman Fabio Lione as a stand-in so it is unlikely the band will begin auditioning new members until the tour’s completion.  Guitarist and founder Thomas Youngblood hinted that he was interested in finding a vocalist that could sing in a higher register than Khan.

A new vocalist is actually not a new thing for Kamelot.  The Iron Maiden parallels are strong with this band, as the first two Kamelot albums featured a different vocalist, Mark Vanderbilt.  Khan was brought in to replace him for the band’s third release, Siege Perilous, and the band began to garner more and more attention with each successive album.

Early on, Khan was able to hit higher notes, but beginning with the album Epica he noticeably sang in a lower tone.  This was not necessarily a bad thing.  Roy Khan delivers his vocals with extreme, measured precision.  His voice is filled drama and his theatric flair compliment the band’s approach extremely well.  He also composes most of the band’s lyrics, and for the last decade has established himself as one with the band’s identity.  Replacing such a unique presence will not be easy, but I wish the rest of the band much luck in doing so.

Kamelot – “Abandoned”:


Finish Him!

I posted a few weeks ago about the Mortal Kombat demo and came away mostly impressed.  Well the game was released on the 19th of April and I became a first day buyer.  Since then I’ve logged many hours with the release and have come away with these impressions.

First off, this is Mortal Kombat the way it should be.  It’s modernized for today’s audience but retains a lot of what made the franchise unique when it debuted nearly 20 years ago.  That is to say, there was an obvious style present in both how the game looks and how it plays.  Mortal Kombat has always differed from other games of its genre by including over-the-top characters with over-the-top powers.  Whether it’s Sub-Zero’s freezing powers or Liu Kang’s dragon abilities, there’s nothing realistic at all about the game.  And with today’s hardware this is magnified even more so.  The male fighters are hulking monsters and the women buxom and scantily clad and as the fights progress you’ll see clothing shred and chunks of flesh go missing.

Gameplay wise, all of the old moves are here along with some new ones.  The developers abandoned the multi-stance styles embraced by the more recent games which helps keep things loose and simple.  Some characters still have weapons, like Scorpion, but they’re integrated into his standard moves.  The X-Ray meter at the bottom of the screen functions a lot like Street Fighter’s super combo meter.  As it fills, the player can use it to enhance basic moves to give them added punch.  Or, the player can let the meter fill further opening up combo breakers at level 2, and finally X-Ray attacks at level 3.  I talked about these destructive X-Ray moves in my demo impressions, and the same criticism is still present though some of my fears were alleviated.  The moves are still ultra powerful, and most of them are fairly easy to land, but the AI is not afraid to use them which helps equalize things.  Really, my only major complaint is the unbalanced nature of some of them.  The characters that incorporate a teleport move of some kind into their X-Ray attack are at a far greater advantage than some of the others.

The basic gameplay still centers around super moves and combos.  The pace of the fights are akin to something mid tempo, and the best fighters are able to string together super moves with combos.  There’s also a grab button, and the franchise’s trademark block button as well.  Blocking is something that is beneficial to master given the abundance of characters with quick hitting teleport moves.  Also, most X-Ray attacks can be blocked as well, which is something that always seems to turn the tide of battle.

X-Ray attacks are quite brutal.

There are multiple game modes available to spend some time on.  There’s the standard ladder tournament that pits the player against seven fighters and three boss battles consisting of Shang Tsung, Goro/Kintaro, and Shao Kahn.  Shang Tsung is a regular playable character, so perhaps it’s a stretch to call him a boss, but he’s present in every ladder tournament so I guess that makes him a boss.  The second boss is random and is either Kintaro or Goro and both guys are as most remember them; cheap.  Neither is as bad as Kahn though, who’s quick dash attacks and ability to no-sell the moves directed at him make him extremely annoying.  He also has an attack where he throws his maul across the screen.  If it hits, the player becomes staggered and is left open to attack.  When Kahn is feeling especially mean, he’ll double or triple up on the attack and leave the player character helpless to do anything about it.  To beat him one typically has to resort to the old cheap tactic of launching projectile attacks.  Kahn will often pause to taunt randomly which helps.  After he’s defeated, the player is rewarded with an ending cinematic for the chosen character that’s narrated over.  These cinematics are done with still images which is kind of disappointing, and they’re quite brief and few are memorable.

If one wants to really experience the Mortal Kombat story, then the appropriately titled story mode is where to be.  Story mode is long, and takes the player through the whole Mortal Kombat mythos but with a new twist.  As the player, you’ll switch characters depending on the plot and have to take on 1 on 2 matches at times.  The story is campy, and some of the voice acting and writing is terrible, but it’s mostly a good time.  Some of the matches are absurd, but it’s beatable and you’ll unlock a couple of new characters along the way.

The other modes include a new tag match and the challenge matches.  The challenge matches are difficult and often contain gimmicks to make them even harder.  The tag match is a welcome addition, though it isn’t very flashy like a Marvel vs Capcom title.  As you play these modes you’ll earn “koins” that can be spent in the game’s bonus section, The Krypt.  There’s hundred of items to unlock here, but most of it is junk like concept art.  There’s hidden fatalities and extra costumes as well, but they’re harder to find.

By the end of most matches both characters will find themselves a bloody mess.

And fatalities are the name of the game when it comes to Mortal Kombat.  Yes, they’re a gimmick but they’re so much fun.  They’ve never been better too, and some of them are insane.  My vote for best belongs to Noob Saibot, but everyone will have their own favorite.  Each character has two, plus a stage fatality, and some of a third “klassic” fatality depending on where the game is purchased.  I bought the game at Best Buy and received Sub-Zero’s classic costume and fatality, the old head rip.  Babalities are also back and this time around they’re a lot funnier than the old ones as each baby will perform an action that usually results in crying.  It’s a humorous and non-violent way to end a match.

All in all, Mortal Kombat is pretty much exactly what I expected, and exactly what I wanted.  While Street Fighter will likely always be the king of the fighting genre, Mortal Kombat has its own niche and there’s no reason why people can’t be fans of both.  I plan to log many more hours with this one and maybe if PSN ever gets back online I’ll test my abilities against the rest of the world.  It’s not a flawless victory for Warner Bros., but it’s pretty damn good.