The Best (Worst) Director for Halloween Movie Night !

If I told you writer/director James Wan built a career off incredibly cheesy low-budget horror would you be scared? If I told you Mr Wan launched a marathon of terrible Hollywood sequels would you hide under your covers? What if I told you James was at the peak of horror monsters that are more silly than scary?

And what if I told you James Wan was the only director I recommended for you this Halloween?

Though the man often changes jobs between productions his name keeps cropping up on movies that have struck my interest this year, and I don’t just mean recent films either. Anyone who knows me understands that I Love my horror films- with a capital L. So what happens when all horror on the silver screen and the small screen is mulched for the masses and watered down until it’s barely recognisable? What happens when ‘Ouija’ is the current standard for scary movies?
I get very upset. That’s what happens.

So imagine my surprise when I dipped my toes into some flicks I’d overlooked in the past, only to be taken on quite a ride! When I sat down to watch Insidious (2011) I expected nothing more than a poorly constructed mass-market horror… and at first that’s exactly what I got. Typical family home setup, the usual creepy angles and long moments of silent tension. Eventually the film deciding it’s time to switch over to jumpscares at the one-third mark. Usual stuff. That is until the film decided to get weird. The usual spooky, atmospheric moments were replaced with oddly comedic exchanges. Side-characters the likes you might see in a Marx brothers comedy start popping up. The big spooky ghosts actually get revealed in quite vivid detail, and were so bizarre I actually laughed out loud. And most important of all? I was having FUN.
I don’t wish to spoil Insidious in particular so believe me when I said the first two films really do go in directions you would never have expected, and you haven’t experienced true horror film making until you’ve seen the devil himself dancing to jolly music and doing his nails.

What else has Mr Wan done you might ask? What else might you have heard of?
Well SAW, for one. Yes he was the writer for SAW (2004) and invented the creepy Puppet everyone recognises, even from the terrible sequels. Looking back on it some of his colourful touch was seeping into that movie too before they drained all the fun out of it.
Personally? I recommend his movie Dead Silence instead, a picture much closer to his later experiments and an incredibly fun watch. Especially if the aforementioned creepy puppet was one of your favourite things about the SAW movie.

This year for Halloween I really have to highlight this man’s work as being the ‘Best of the Bad’. Meant with all the tongue in cheek enjoyment that it entails. Where his actual scares and monsters can be more comical than actually frightening I do find his characters and their on-screen relationships to be consistently great, probably the one thing that made Anabelle a decent movie in my eyes (and that one elevator scene, my god). It’s rare to see the slow moments in horror treated as anything but a checklist that the director needs to fill out before he’s allowed to apply the next pop-out screamer. It’s refreshing and very pleasant to see writers willing to make use of this downtime. Not to say his films don’t have their share of creepy imagery or atmosphere when the time calls. The smiling family in the Conjuring, the elevator in Annabelle (my god) or the dog scene in his latest Conjuring 2, these moments show a genuine understanding that actual scares are not born of loud noises but from something much deeper. That is, until you see what’s actually causing the scares. Bearing in mind we are talking about a man who’s ‘horror’ features no less than a dozen tacky looking puppets, an old man with dentures and a little boy dancing a jig to an old-timey radio.
Once you realise you’re sitting on a carnival spook ride and most of the baddies are indeed people in rubbery looking masks it gets SO much more fun. Kind of like the festive season itself, no?

Whereas other directors who rely on their cheese-factor like the great Sam Riami haven’t delivered on their signature styles in some time Mr Wan has perfected the corny spookhouse horror… so much that it takes half the movie to realise that’s what you’re in for. I think this is why so many people are luke-warm on his films, because the first third usually follows all the common rules of Hollywood horror, framing it to be exactly what we expect- Bad jump scares and being way too serious. That isn’t what we receive however and a part of me wonders whether being up front with his goofy kind of horror would increase their notoriety, or land him back making SAW sequels?

Speaking of which, SAW: Legacy, Insidious 4, The Nun (Conjuring 3) and…. Aquaman?… will all be hitting cinemas soon. So while the Hollywood sequel machine keeps burping them out, take some time this Halloween to enjoy a real spook-house. I recommend Insidious, Dead Silence and Conjuring 2 for a couple of scares, and a whole lot of giggles.

Happy Halloween.

What Makes Great Horror?

What Makes Great Horror?


With Halloween just a few days away I’ve indulged in one of my favourite pastimes- Thinking about stuff that scares the crap out of people.

I’ve given thought to some of my favourite scary books, movies and campfire stories. Which of course led to the obvious question… why is so much of our horror media so bad?
You’ll hear it all the time from scary movie buffs and avid readers. Horror is an incredibly difficult thing to balance, often falling flat especially around the October season where terror becomes the flavour of the month. So why do we still hold it so close to our adrenaline filled hearts?

Because horror lets us explore a part of ourselves we keep locked away. It celebrates the part of us we hide away. But first, let’s first address the elephant in the room…

When we experience something scary in the comfort of our homes or a crowded cinema we do so expecting two things- to be at least startled in the moment, then to walk away from the experience. Probably forgetting it soon after. That is because modern horror is built to make us feel ‘safe’. There is always a moment to relax behind the scares, a time to cool off and laugh at what makes us jump. Horror contains comedy relief, fake-out moments and the opportunity to feel distanced from the art when we walk away. Sadly blockbuster movies and videogames do not want their audience feeling disturbed by what they’ve seen, and funnily a movie that is perceived as “too scary” will be watered down before release to a wide audience (see; ‘Event Horizon’ 1997 for a great example). This approach does not leave anything that sticks with us on a psychological level, and allows us to feel safer about the world we live in- rather than the possible world the story alluded to.

If that’s part of the issue, what are some of the essential building blocks of true horror?
Well just as important as the scare itself, perhaps even more so, is the tension cycle. This is the point in a movie or book where our minds are led into a vulnerable place. The creaking of doors, the rustling of windows, the sound of a running tap. Between the point where our expectations are made and the fright is actually delivered is an incredible stretch of time where our brain’s cannot feel safe- every small thing becomes a possible threat. Shadows on the walls, images in mirrors. It is here where horror geniuses will do work.

I give a classic example of The Exorcist (1973), which not only paced its tension across long periods but also snuck haunting images and unsettling things out of sight. If you pay attention to the shadows behind doors and furniture in this movie, you’ll see faces hidden in the dark watching the audience- now THAT is well done.

The tension cycle is also what allows us to feel that sense of dread even if we’ve already been startled. After enough build-up the payoff of a scare will actually relieve some of that stress, making us feel relaxed despite ourselves. That’s when the pace can begin building up all over again.
The scare itself doesn’t always need to be a jump scare- despite what some movies would have you believe- but instead a slower payoff can add to the creeping feeling. Like the girlfriend rising in the night to watch her partner sleep in ‘Paranormal Activity’ or the dog that isn’t really a dog in ‘Conjuring 2’. Watching that uncertain threat open before our eyes instead of just jumping out at us is not only more subtle, it makes it impossible to find that feeling of rest. We are still trapped in the unease.

Limiting perception also plays a part in the emotions of the audience. As viewers we should never see everything that’s going on, because knowledge breaks the tension. Uncertainty is a weapon of horror, and lots of movies fall into the trap of letting us see too much. Effective horror will often use restricted viewpoints- cameras, hallways, darkness, even just showing an image for a fraction of a second only gives us a limited idea of what’s out here.
Possibly one of the greatest lessons of horror is tied to this very fact- People will always scare themselves worse than you can scare them. Showing only pieces of the greater whole and letting the audience or reader fill in the rest, whether they want to or not, will always be more powerful than showing something on screen.

Outside of the terror itself there are three pillars that determine how much we are willing to care about the scares presented to us: Setting, Mystery and Character.

Setting sounds like a simple concept, simply what spooky place these events are happening in. But creators should never limit themselves to letting a setting be a backdrop; some of the greatest locations in film are the places where horror takes place. The Overlook Hotel from ‘The Shining’, the spaceship Nostromo from ‘Alien’, even the mall from ‘Dawn of the Dead’ are iconic landscapes for cinema. Why else is setting important? Because it builds toward a core element of Horror…


The isolation a setting can create is an incredible tool for making us feel disempowered and vulnerable. Humans are a societal species, as a group capable of overcoming any problem no matter how immense, but alone we are fragile. This is why stories often have characters alone in hospitals, cabins, mountains or abandoned towns. These places make psychological connections. Places like asylums and prisons all have negative images tied to our psyche that just the word alone, let alone the visuals, can invoke. By stirring the shared fear of these places the superstitious part of the human mind will fill in a lot of the horror just from the setting.

There are also locations like space, the ocean, the Arctic or even jungles and lost villages; these are great for horror because a primal part of us knows we aren’t supposed to BE there. That the area around us is hostile, sometimes even immediately fatal, and only a thin barrier of security is keeping us alive and safe. A setting like this can create horror without even needing an antagonist, such as in ‘Gravity’ (2013) where the threat of the Where far surpasses that of the What.

So what then of Mystery? As I’ve stated already the unknown is a terrifying place. It’s the part of horror that allows us to fill the gaps and build expectations. The unknown is always scarier, and this is why many horrors lose their edge after the monster/killed is exposed- fading into the mediocrity of sequels. For a master class of mystery I raise you the master of the macabre; H.P. Lovecraft.

Most Lovecraftian tales revolved around a simple concept, the unknowable.
Not the unknown, something we have not yet come to grips with, but forces which cannot be understood. Stories like the Music of Erich Zann and The Shunned House revolve around frightening elements that not only aren’t displayed in full, they are portrayed as being impossible for the words on the page to convey, making it very difficult to frame in movie format (which accounts for very few good Lovecraft movies). But even in his more subdued pieces mystery was core to his work. There was always a question present that rarely- if ever- got a complete answer. How can this effect be used to narrate good horror? That is the work of the Uncanny.

The uncanny is the creeping sense that something is not as it should be. Even if we can’t put our finger on it. This type of mystery can help construct a world around our characters without a single word of exposition, and leave the audience with the question, “”What is wrong here, and why?”
M. Shyamalan conveyed the uncanny to surprising effect in his 2015 film ‘The Visit’ where the suspense came not from blatant danger, but simply the sense that something was… off.
Stephen Lynch is the celebrated master of uncanny with shows like Twin Peaks relying on strange imagery and unnatural speech to convey unease when everything should otherwise seem safe. This makes us question our understanding of what we’re so sure the world is, and how it operates.

This sensation goes even deeper when it comes to human beings. Ask yourself, why are dolls so creepy? Why does the idea of a smile with too many teeth freak us out on such a basic level? Because we have a base understanding of what a human being is. So when faced with something that brings our understanding into question we feel unsettled, unsafe. We’re no longer as certain of ourselves as we once were, meaning anything becomes a possibility.

Any time a horror story leaves us with these feelings of doubt we are victim to its mystery.

The final pillar of our investment comes from the Character. These are not just the buffet of faces we will see offered to the monster over the course of two hours, they are our vessel into the story. How much we engage with a work is largely down to how much we are willing to invest, emotionally, in what we’re being told. Like in all storytelling a character is key to this- but what’s special to horror? What do characters do best here that no other medium can brag?

Characters in horror allow us a proxy. A chance to explore a darker, more fearful part of ourselves that our minds shy away from. The space between what we believe ourselves to be and what we actually are is a terrifying place that horror has always taken advantage of. To use Jung’s psychological term this place is The Shadow. This is where the illusions we put up around ourselves, as a person and as a society, are broken down. Our honest thoughts, true fears and most basic (and horrid) desires? Those are all found in The Shadow.

So these characters allow us to explore that darker side of ourselves. The monster that reflects the worst parts of human nature.  When in horror, either by the threat or the actions of the characters within it, we are faced with the reality of being human.  Some of the deepest horror can make us face these questions we’d rather hide from. This is what made ‘SAW’ (2004) so engaging- what would we do in that situation? Are we so noble to give up our lives, or would we commit atrocities?

Perhaps the best example in popular fiction is James Sunderland from ‘Silent Hill 2’. During the characters plight the town and all the residents met within reflect some element of James’s psyche, mirroring parts of his past and alluding to the mystery of why he’s there. Even the spotlight monster- Pyramid Head- is a representation of his violence and sexual anger. Having every element of the world reflect the conflict of the main character is a very difficult thing to pull off, hence why there aren’t many examples of it, and most stories will simply use characters as a relatable vessel for the audience to hide behind. Both these methods are acceptable, it largely comes down to one question: what are we really meant to be afraid of?

Too many fall into the trap of thinking the threat of the spooky monster is all horror can be. Consider a moment, are zombies all that scary? As a monster themselves, no. They are slow, rotting bodies with ugly faces. We might not want to be trapped in a room with them but comparatively they are much less dangerous than actual humans! But change the focus for a moment- what if it’s not the zombies we’re supposed to shy away from. What if it’s the realisation that the seven year old girl we’ve gotten to know as the audience has been bitten? There is no longer need for creepy hallways, moving shadows or jump-scares from the dark. Just a quiet moment of a parent cradling a 9mm pistol and all the true horror that represents.

So if there are so many options for good horror, why are many scary stories today so weak?
At a purely business level; Hollywood doesn’t want to scare off its paying customers. Movies trying to cater to broader audiences with PG-15 sell in much larger numbers than R-rated, and relying too much on jump scares for that ‘screaming audience’ effect has led to a generation of horror cinema that feels very one-note. Ultimately, it comes down to copying the tropes of spooky stories without understanding the essence of what makes them stick. That horror isn’t just about things that go bump in the night but questions that go much deeper.

Ultimately there are many root issues that unsettle us as animals; Sexuality, insanity, parental issues, racism, even loss of control in our lives. When these issues are brought to the surface they create a genuine unease which is a blanket for horror. One of the most popular horror films of the last few years, ‘The Babadook’, spent most of its run time establishing a painfully uncomfortable relationship between a mother and her disabled child before bringing out the scares.
Why? Because these issues claw at us and make us more susceptible to the basest fear- death. If we’ve already been forced to face issues that so many of us shy away from as human beings we can’t help but experience everything that comes along with it. Which is when the greatest of horrors will present us with a fear for life itself.

That is where terror is found.


Happy Halloween.


What Is The Best Trading Card Game (Ever) ?

Being a geek implies many things. You still like cartoons even though you pay taxes, video games are a qualified form of art, and lords have mercy if you try and discuss your hobbies at the water cooler. You’re also required by law to think Star Wars is cool or they come and take your badge away.

Being a geek from the 80’s or 90’s also has one more commandment. When you were growing up you played trading card games! These things were everywhere, you couldn’t visit the supermarket without being awed by the colourful shiny wrappers for things your parents KNEW were a waste of money but you couldn’t be talked out of it. My younger days, like so many, were surrounded in the most addictive drug sold to children… cardboard.
But man did we love it. I played anything I could get my hands on and (tried) to be a collector. Of course having no disposable income at the time did make that a damn sight harder.

Why did I get so hooked? Well a part of me blames that on my fascination with toys and board games. Another part of me thinks back to that first pack of cards I ever opened, and just so happened to pull out a Shiny Charizard card. Which I still have to this day packed away somewhere.

So the real question for today; Which IS the best collectable trading card game? Continue reading “What Is The Best Trading Card Game (Ever) ?”

The Skyrim Diaries – Los Diarios de Skyrim: A Building Interlude – Intermedio&Construccion

“I know you may think being the Dragonborn is all about going into the wild and explore. However, it is also about knowing yourself. Finding peace, and serenity”.

“Sé que estaréis pensando que al ser Dragonborn, mi vida se basa en ir a la aventura, explorar…Sin embargo, también se trata de conocerse a uno mismo, y alcanzar la serenidad y armonía interna que pueden ser perturbadas frecuentemente por las cosas que suceden a mi alrededor”.

“I have a family: my wife and my two children. I do not get to see them as often as I would like…But I try to provide for them to the best of my capabilities. One of the things that I must do for them is making sure they are safe and warm. So I have taken it upon my shoulders to build them a new house”.

“Tengo familia: mi mujer y mis dos hijos. No les veo tanto como me gustaría, pero intento proporcionarles con las comodidades necesarias para tener una buena vida. Una de las cosas más importantes que debo proporcionarles en un medio ambiente como el de Skyrim es un refugio, calor y comodidad. Así que he decidido construirles una casa con mis propias manos”.


“I must admit, I am not the best builder, but I would like to think I have put enough effort to make it worthy. Our new home started as a modest cabin up north between Morthal and Dawnstar. I had always been captivated by the beauty of the surroundings: they are nothing like the forests I knew in my childhood. I wanted my children to grow in an environment that would mark them. I always thought there is much one can learn in the snow”.

“Y debo admitir que tal vez no seré el mejor constructor del mundo, pero he puesto muchísimo esfuerzo en hacer que esta casa valga la pena. Nuestro nuevo hogar empezó siendo una modesta caseta de leñador  en las tierras del norte, entre Morthal y Dawnstar. Los paisajes de esos lares siempre me han cautivado, pues no tienen nada que ver con los bosques que vagaba cuando era una niña. Siempre he querido que mis hijos creciesen en un ambiente que dejase huellas en su experiencia del mundo y de la vida, y creo que hay mucho que aprender al vivir entre la nieve”.

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“As I became more knowledgeable in the art of building, I grew ambitious. Why craft just a simple cabin in the woods when my family can enjoy a delightful summer morning walking around a complex with towers, forges, materials…Every day could be a new learning experience. Perhaps one day my daughter would be as skilled smith as her mothers. And my son; my son will here learn to be a mighty warrior”.

“No obstante, al volverme más diestro en el arte de la construcción, mis ambiciones para esta cabina crecieron exponencialmente. Por qué conformarme con tan poco cuando mi familia podría pasar el tiempo disfrutando las mañanas del verano paseando por un complejo de torres, forjas, con cualquier tipo de material y herramienta a su alcance…Así todos los días se convertirían en una nueva experiencia, algo nuevo que hacer. Tal vez, mi hija se convierta en una gran herrera como su madre. Y mi hijo…Mi hijo se convertirá en un poderoso guerrero”.

“Taking advantage of what these northern lands give us, I decided to find another source of livelihood for the homestead. Therefore, I started a fishery just by the waterside a few yards away from the house. It has not hatched anything yet, but I hope we will get some interesting fish from it. Hopefully tasty too”.

“También he buscado otra forma de proporcionar a la economía doméstica de la casa, usando los recursos que nos ofrecen las tierras del norte. Por tanto, he creado una especie de poza natural donde poder pescar y criar peces. Esta solo a unos metros de distancia de la casa. Todavía no ha salido nada de ella, pero espero que con el tiempo consiga producir buenos peces – y sabrosos con un poco de suerte”.


Batiburrillo de Juegos: del King of Tokyo al Rattus

!Hola Hola! Bueno hace tiempo que no os dejo nada sobre juegos, y menos en español. Así que retorno con el tema. Esta semana pasada he estado visitando a mi familia, de vacaciones, y como es costumbre, hemos estado pues jugando a cosillas. Algunas ya me las conocía, pero hubo algunos que era nuevos y que tenía ganas de probar. Aunque la verdad, no salieron todos como había esperado…Así que os cuento:

Por fin probamos el King of Tokyo. Yo había oído hablar bien de ello, y sabía que el juego era chulo desde el punto de visual, y la verdad es que lo es: los bichejos que manejas, los dados y el mini escenario están bien hechos. Echamos una partida a 5 jugadores. Los primeros turnos más o menos bien, hay algo de vidilla, le das de zarpazos a la gente, te subes vidas, ganas puntos de victoria. Vale. El problema vino al quedarnos con 3 y 2 jugadores, entonces el juego se vuelve muy repetitivo, casi pierdes las ganas de jugar porque una partida que siguiendo el espíritu del juego debería ser rápida y solucionada en un par de tiradas, se convierte en algo eterno…Por tanto, me parece un juego que estaría bien pues para empezar con gente que no ha jugado nunca a juegos o con los peques de la casa. Pero nada más. Y bueno, que decir que fue una decisión un poco unánime…

Otro día jugamos una partida de 3 al Mauna Kea, y la verdad es que estuvo bien. La verdad es que es un juego en el que hay que tener algo de estrategia pero de forma un poco relativa, porque al final tienes que estar pendiente de tus meeples, de los de los demás, y de que no te coja la lava. Así que se hace entretenido porque realmente nunca sabes que va a pasar, y no es fácil pronosticar quien va a ganar hasta que se acaba la partida. Quiero suponer que con 4 jugadores ya se complique incluso más el asunto porque habría otro par de manos poniendo ficha, provocando lava, y más competición por los bloques que te dan puntos. Así que me parece bien. Tiene jugabilidad, vidilla, es divertido, e impredecible.

Por último, jugamos al Rattus – que yo había jugado una vez anterior – pero con la expansión Rattus Africanus, que tiene un considerable impacto sobre el juego. También fue una partida a 3 jugadores. He de reconocer que no es el típico juego que se me dé especialmente bien: con tantas cartas y posibilidades, terrenos, fichitas y pestes múltiples a veces me aturullo un poco. Pero me gustó mucho la combinación de cartas de personaje nuevas y las opciones de juego y estrategia que abren. Y es que hay combinaciones que pueden ser muy peligrosas (el de la caravana puede liarla parda por lo que he visto y he podido comprobar). Por otro lado, se me comentaba que las cartas de personaje que salen también pueden ser unas combinaciones extrañas o no igual de efectivas desde el punto de vista del combo (la bruja no parece hacer mucho entusiasmo…), y por tanto pueden alterar de forma significativa la dinámica de juego.

En resumidas cuentas, dos buenas experiencias y una que se quedó por el camino, por así decirlo. Si alguno de vosotros ha jugado también a estos juegos que os comentamos, nos encantaría que compartieseis vuestras experiencias. Y si habéis probado algún juego nuevo últimamente, pues compartidlo igualmente.

Nos vemos en la próxima 🙂

Revisiting GameDev Tycoon

I have always loved GameDev Tycoon. I remember when it came out, I spent and entire evening playing with my friends. We will make a studio and collectively make decisions about what we were making, how we were doing it, who we would hire, and the rest of the creative decisions you need to take during the game. But there has always been one thing that puzzles me about the game, and I think it is one of the reasons I keep coming back to it over and over.

Unlike with many tycoon games, if you find a winning strategy once, you just need to repeat it. But it doesn’t seem to be the case with this game (either that or my memory and capabilities are worse than expected). And that is because of the aleatory nature of the game: there are different trends, different platforms, different audiences, and combinations. So what may work once, may not work always. And, if you think about it, that is true of the video-game industry itself. Regardless of how similar games may be, not all experience the same success. So I decided to have a quick play through: just a couple of hours or so, and share my game with you.

So I started my little company called Valinor (yes, there will be lots of references in here…).

Medieval RPG combo – first game so text-based…

Continue reading “Revisiting GameDev Tycoon”

Monstress: It Is InSide You

I finally got some me time and managed to read Monstress, which I has really been looking forward for a long time. And let me tell you something: it was better than what I wished it would be, what I had read it was, and what it could potentially be. I mean every word.

This is not just a story heavily powered by the third wave of feminism, and a pretty bleak commentary on earlier feminism:  this is a comic written and drawn by women, about women, but not necessarily just for women: Monstress is a Warning. Monstress is about what lies inside and you don’t want to know about, and fight to keep within. Monstress is also, the crudest example of – please excuse my vulgar terminology – “bitches be crazy, bitches be powerful”. I do not think there is a single male character in this volume that has more lines than a female one. And I guarantee you every single one of them passes the Bechdel Test. In fact, I do not think a single woman talks to another about a guy…People are dying here! There are far more important things to talk about. There is magic, mystery, conspiracy, politics, idealism…But mostly Lies. Pretty much everything that drags the argument forward is a very deep and elaborate lie someone created for their convenience – and yeah, that someone seems to me always a woman. Again, I could sit here and tell you how the dialogue is brilliant, how the narrative combines elements of Western and Eastern storytelling. How the art work is with is the prettiest steam punk/fantasy/art decoish thing you can buy currently…But Why? You don’t need me to tell you that. It is Obvious. You just need to open and look at a page.

Continue reading “Monstress: It Is InSide You”

Trying To Find a WWII RPG

For me one of the best things about RPGs is the way they can transport you to another time and place like nothing else. Mostly I experience this with games that are set in a favourite universe of a book, movie or videogame; things like Lord of the Rings and Star Wars being major examples. But as a history nerd I’m even more excited by the possibilities to explore a certain period of history this way. When compared with any other medium, even videogames, RPGs give you greater freedom, immersion and potential variety than them all. Combine these possibilities with a GM who really knows their stuff and a willing group of players and you could get some really interesting insights into a historical period or event. This is something that I experienced first hand when playing a viking in Mythic Iceland in one of the best roleplaying campaigns I’ve ever been a part of.

So there seems to be a few historical RPGs out there, and I’ve found plenty set in and around medieval periods, something I will undoubtedly make a post on in the future. But there seems to be a strange lack of RPGs simply set during World War 2. Not to say that there is a complete lack of games out there however, there are plenty that are set in WW2 but there is always something extra. Usually it seems to be supernatural elements such as Cthulhu horror, zombies, alien technology or superhuman powers. Apart from game systems that are very light on rules or those meant to be used for general modern combat, there’s nothing that really fits the bill of a standard RPG set in WW2 with decent rules for both combat and non-combat situations, and fairly authentic if not realistic historical accuracy.

Perhaps you may think that the reason for this is that WW2 in terms of tabletop games is far more popular in wargaming and has little reason to be an RPG when it should be all about battles and combat. Well apart from the fact that popular tabletop wargames have such as Warhammer and Battletech have very extensive and successful RPG spinoffs, I think that the setting of WW2 actually provides a lot of interesting opportunities for an RPG both with and without heavy use of combat. You could be a group of spies or double-agents trying to find information from within Axis command. A small squad of Commandos or other special forces sent on covert missions behind enemy lines to disrupt and sabotage. You could be sent on special missions involving some of the new inventions of the war, or even be a character that develops them. You could be the crew of a bomber shot down deep behind enemy lines, or the surviving crew in a naval battle trying to survive on an enemy controlled island. You could be resistance fighters or partisans in an occupied country. You could even easily combine a few of these into one campaign. Continue reading “Trying To Find a WWII RPG”

Rise of the Pokemon Nuzlocke

2016 has been the biggest year for Pokémon since the fabled 1997. Which is the year that the television anime started airing in the west!

Everywhere you look right now the ‘mons have flooded popular culture. McDonald’s has just signed a sponsoring agreement with Niantic to turn every restaurant into a Pokéstop for their mobile app game… which has now become so popular it’s trumped ‘Porn’ on google search (I’m dead serious).
Hype is also boiling for the upcoming ‘Sun and Moon’ games for 3DS which are breathing strange new life into the videogames and has the fanbase chattering like its recess at school. Not to mention the anime, where the latest Kalos season has been touted as the best to air yet. Could it be called a second Goldén Age?

This year Pokémon celebrates its 20th anniversary. But something else has risen the top of the Monster food chain, something that old Nintendo never had a hand in to begin with.
I’m here today to talk about something special to me- and to many who walked away from Pokémon before. Something that brought us back during our adult years in large numbers.

I’m here to talk about the Nuzlocke.

Continue reading “Rise of the Pokemon Nuzlocke”