Wrestl Drivl: Reworking the PPV Gimmick

Pro wrestling is having one of its best periods in a long while. While it hasn’t– and likely won’t ever– reach the peaks it did in the ‘Rock & Wrestling Era’ or the Monday Night Wars, when there was genuine mainstream crossover, the fact remains that wrestling fans today have access to a lot of great wrestling, thanks to streaming services being offered by the various wrestling companies trying to get their product seen by as many fans as they can, wherever they are.

WWE essentially kicked this off with their WWE Network, which completely overturned the traditional PPV market, though it hasn’t changed their basic booking pattern of “build to the next monthly special event.” And, if we’re honest, the special events themselves aren’t always spectacular, for a variety of reasons. Part of that is because the events aren’t really distinguishable from one another, except because it’s “Gimmick of the Month” (GOTM) event.

I’ve long felt that gimmick matches such as the Hell in a Cell or extreme rules should never be booked simply because the GOTM demands it, but because the story demands it. Mick Foley and HHH didn’t fight inside the Cell at No Way Out 2000 because it was the GOTM, they fought inside the Cell because it was the only way their feud could escalate further after the street fight the month before. Back in 2000 at Summerslam, Edge, Christian, the Hardys, and the Dudleys didn’t fight a TLC Match because the GOTM was TLC, it was the natural evolution of their three-way feud, incorporating the weapons that each of their teams had become associated with. That WWE now books storylines toward the Gimmick of the Month rather than letting the gimmick develop from the rivalry makes those gimmicks feel less special.

You can still have individual events have a gimmick, but it doesn’t have to be about these kinds of matches. Instead, the booking can be more thematic overall. Let me explain below the break.

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Gamr Drivl: The Ubisoft Shared Universe

We’ve all seen it happen over the last decade: the sudden rise in “shared universes” in the entertainment industry. While the notion of various properties/titles existing in the same universe isn’t new, it was the advent of the Marvel Cinematic Universe that was the tipping point for other creators and producers to start crafting their own, to varying degrees of success. (Warner Brothers, for instance, has tried to play catch-up with the DC Extended Universe, but most fans will tell you they’ve not done a good job of it.)

Movies and television aren’t the only places where the “shared universe” concept has flourished. You can see it in books, as the Cthulhu Mythos created by H.P. Lovecraft was expanded upon by other authors, to the Wild Cards anthologies, to shared universes for a single author. Stephen King’s entire career could be argued to take place within a single shared multiverse, linked together through the Dark Tower series, and Rick Riordan’s mythology franchises all exist within the same world.

Video games have it too. Half-Life and Portal are both set in the same setting, most of the fighting games that Capcom has created over the years are likewise in the same world, and Rockstar’s Grand Theft Auto and Manhunt series are in the same world as well.

Today, however, I want to talk about the shared universe that has been created by Ubisoft.

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Shift Report: Thundercats Roar will be just fine

Shift Report: Thundercats Roar will probably do just fine

By The Iron Nurse


Some people won’t wanna hear this: your childhood isn’t dying, you’re old and things you loved aren’t as great now as they were then. In some ways. Seriously, go watch the original Thundercats and tell me it holds up.

Like most of the grunting man-children occupying the internet these days, I shat a brick when the promo trailer dropped for Thundercats Roar hit the Perpetual outrage machine and the screeching began to churn to unimaginable levels. Admittedly, when the clips were done, I was a angry as everyone else. OUTRAGE! HERESY! BETRAYAL!

So it isn’t exactly what we thought a modern Thundercats reboot would look like. We’re living in a strange bubble in the history of pop culture. Kids who grew up in the heyday of the 80s animation boom are in their 30s and 40s with kids of their own and they’re old enough to watch the shows they loved as kids come back in reboots—sometimes multiple reboots.

What exactly made this specific reboot so egregious? The art style is what drew the most groans. If you have kids under ten or are even a grown adult who just likes watching cartoons in the past ten years, this style should look very familiar to you. In the recesses of the Internet it’s referred to as the “CalArts” style, named after the California Institute of the Arts, a number of prominent animators have come from said school and their works are highly prevalent in the animation industry.

If you’ve seen a cartoon made in the past decade, you’ve seen the CalArts style: simplistic, toonish bodies, big, wide grins, goofy facial expressions. It’s a style that’s easy to animate, less expensive, and takes less times to produce. Understandable, given the time and money it takes to animate a cartoon.

Examples of shows that use the CalArts style: Adventure Time, Regular Show, Adventures of Gumball, Gravity Falls (personal favorite), OK KO, Mighty Magiswords, and Teen Titans Go. That last one is one that elicits a lot of divisive opinions online. Kids under 13 who didn’t watch the original iteration of Teen Titans love the show and its goofy comedic premise. Fans of the original show hate it and consider it a bastardized version of a show they love. I can’t blame them. I wasn’t exactly thrilled by the tonal whiplash of the new show. But after watching a lot of it with my 11 year old son I can attest that it’s given us both a lot of laughs over the time it’s been on. Part of that is accepting what it is and enjoying it. Teen Titans Go succeeds as its own thing thanks to the strength of its writing and talented voice cast.

All these shows I mentioned have done well and are big hits with kids these days. They don’t care about the old cartoons. Frankly, we shouldn’t put them on too high a pedestal. Most of the big hits from the 80s weren’t exactly works of masterpiece art. A lot of them don’t hold up terribly well and Lest we forget, most of them were made just to sell us toys.

Speaking of which, astute readers will recall that in 2011 we got the Thundercats reboot that most people want right now: serious, well animated, and really well written. It was a good show or at the least had a good start, but it was canceled after one season. Why? Same reason that Young Justice and the Mid-2000s He-Man reboot got shelved: poor toy sales.

Meanwhile, the CalArts All Star shows with their 15 minute episodes and fast paced comedy are huge hits with the current crop of ADHD riddled youth. The vitriolic rage from neck-bearded Internet apes doesn’t mean a hill of beans to them just like the credibility of Thundercats Roar won’t mean a thing to them. Which is why it most likely will succeed.

I’m willing to give it a try, but the Sideways Manbun-wearing dude running the show is also the force behind OK KO and Mighty Magiswords, neither of which have me or my son as fans, if that’s any indication of what we can be in store for. Only time will tell.

But that’s just me.

Shift Report: Star Wars Storytelling is outdated

By Allan “The Iron Nurse”

Warning: Spoilers for the latest Star Wars contained within.

If you’re one of the tens of millions of either grownup nerds who know every line of the original trilogy by heart or a millennial baby who watched Anakin bemoan the annoyances of sand or a bright eyed youngster who likes watching flashy laser swords and funny robot balls of the new movies, odds are you’ve seen a Star Wars movie at some point in your life—even on accident.

With Last Jedi over six months in the rear view mirror, I’ve seen it twice and it’s pretty clear this was, is, and may always be the most divisive Star Wars movie. Depending on who you ask, it was either the best Star Wars story…or the worst.

I find myself equally torn: on the one hand, this movie was a nit-pickers paradise. There was plenty to hate and I hated what most people seemed to hate: the pointless side trip to Space Monaco, Holdo’s meaningless refusal to let anyone in on a simple exit plan, Rose existing, Rey being nobody, Snoke being nobody.

That last bit shouldn’t have surprised anyone. At all. And that’s the focus of this article. Snoke, a looming threat teased in Force Awakins similar to The Emperor, met his demise at the hands of Kylo Ren. His identity was one of a handful of questions fans wanted answers to as Last Jedi approached. Because that’s what we’ve come to expect from movies and media in this time and age: backstory and explanations. It’s only natural to want to know why someone would hound your protagonist. Not every villain or threat needs this, of course, but stories feel much more fleshed out when we know as much about our villains as we do our heroes.

Take, for example, my favorite episode of “Batman: The Animated Series”: “Heart of Ice”. The episode takes a former D-list villain named Mr. Freeze and shows his reasoning for villainy is an emotional and relatable one. He’s not just a crazy, deformed maniac, he’s a man wanting retribution for an injustice against him and his wife. It made him my favorite Batman villain. The problem that Star Wars has always faced is that it treats every villain with the same blueprint as Darth Vader: show up, threaten the heroes with overwhelming force of evil, look as evil as possible while doing so.

The problem is, this doesn’t always work and it certainly isn’t working anymore for Star Wars. This can be traced way back to the childhood of George Lucas (and Steven Spielberg, too). They were kids during the 50s and 60s. Why is that important? Look at what influenced them: Saturday morning serials. And I don’t mean Frosted Flakes.

Kids who love something and are inspired by something may very well grow up with their childhood influences in their minds: in their case, it wasn’t Saturday morning cartoons. Back in this period, cartoons weren’t on tv on a regular basis. They were something that played before movies to keep people entertained. You may look at Looney Tunes now as one of your favorite kids programs growing up, but they were originally aimed at making adults laugh. Watch one of those episodes that makes pop culture references of the times about Frank Sinatra, Jimmy Durante, or Clark Gable and tell me a ten year old at the time was busting his sides open. Cartoons didn’t become consistent kids entertainment until the 60s started rolling around and they played on tv.

Serials were for the kids. Cheaply produced, poorly acted, largely inconsequential entertainment for lazy Saturday mornings when there was no school. Adventures Of some strapping hero in jungles, in space, or some other far off destination. Kids loved them, of course. They made tons of them—Superman starring George Reeves being one of the more prominent ones. A video on YouTube years ago showed a compilation of old black and white serial show clips could be strung together to accurately recreate the entirety of Raiders of the Lost Ark and should give you an indication of what and how they were influenced. These fun little disposable adventures were short and didn’t require an overarching story, Volumes of lore…or a complex villain.

Fast forward to the 70s and George Lucas creates one of the most memorable villains at that time: Darth Vader. And Vader was absolutely a throw back to the villains of old serials just like Star Wars was a throwback to old sci-fi space adventure serials: large, villainous, a force that couldn’t be stopped if you faced it head-on. Vader only needed to be one dimensional in the original Star Wars. You didn’t need to know his backstory or history at that point. But when Empire rolled around, the revelation that he was Luke’s father made him three dimensional. That should have been the point that Star Wars treated its villains differently, but it isn’t.

The villains are only one aspect of the outdated form of storytelling that carried over from the serial era, but it’s one of the series worst traits: here’s someone with a sinister name. They’re the villain. Enjoy.

In Return if the Jedi, The Emperor steps in to fill the boots of the Big Bad, because now the audience had a reason to care about Vader. Palpatine was introduced with little explanation and no background. It wasn’t until the Prequels rolled about that more of his backstory was filled. There’s more story to him, naturally, but you have to delve into supplemental material to fill in the gaps that the movies leave bare. That’s not at all how we digest our stories anymore. It’s an outdated format.

Every major Star Wars antagonist except for Kylo Ren was introduced with zero backstory or explication in the movie they premiered in. Darth Maul is introduced and is taken out in the same movie. Yes, the expanded lore and materials explain that he lived, but that’s beyond the movies. Count Dooku comes from out of nowhere in one movie and is summarily killed at the start of the next. Who is he? Where’d he come from? Why is he the leader of the Separatists? You don’t really find out unless you invest time in the supplemental material like novels, comics, and lore videos on YouTube. The real shame is that Dooku has an extremely interesting backstory as a disillusioned Jedi Master who felt driven out by the Jedi’s archaic ways. But you had to go out of your way to find that out. To some people that’s fun. To other people it’s a drudge. “Sure, you can find out more about your favorite Star Wars character. Here’s some homework for you.”

The time jumps between movies feel like something that doesn’t need to exist either. At the time of this writing, the rumor for Episode IX is that it’ll take place five years after Last Jedi. Granted there’s years between movies in production time, but it almost always feels like you’re jumping from a season finale to a season premiere and rather than flowing naturally from one story to the next, you’ve got to invest energy in getting caught up on where everyone is and what they’ve been doing. It’s sort of like going to your yearly family reunion and you spend most of your time listening to your aunt catch you up on her drama.

Is it breaking the series? No. At least, not yet. But it IS a relic from a bygone era that isn’t aging as well as the other media it competes against. Annoying storytelling technique or not, Star Wars has a significant amount of fan good will. Even when it stumbles and fans howl and gnash their teeth, they still come back for more. Good, experienced writers have done right by the franchise in the past and up to present day with its comics, novels, and games, but those work within the rules and set pieces established by the movies. But they’re not constrained by the format of serials, so their contributions work exceedingly well.

The best storytelling in Star Wars isn’t in the movies. And that, quite frankly, shouldn’t be the case.

But that’s just me.

Gamr Drivl: InFamous Next Wave

One of the reasons I got a PlayStation 3 was to play Sucker Punch’s video game InFamous. Everything I’d seen and read about the game looked awesome, and I’m a bit of a sucker for video games where you can run around a city with superpowers. (It’s telling that I loved Saints Row IV for this very reason.) The game did well enough to spawn a sequel, and then a third game for the PS4 (InFamous: Second Son), but thus far there hasn’t been any talk of continuing the franchise with a fourth game.

Well, let me spawn a little “gamr drivl” to suggest how they could follow it up.

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Top 5 MCU Movies

Avengers: Infinity War has come out and even I have seen it by now.  In preparation for this film I watched all the MCU films that came out over these past 10 years.  And that makes me want to rank them.  But instead of ranking all of them, I am going with a Top 5.  As always this is my list but feel free to give us your ranking in the comments.


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