Trick'r Treat Flicker Fleet for your Snicker Seat

 

 Netflix Horror Picks

for Halloween 2015

Last year, I reviewed a horror movie every day for the month of October.  Well, that's not gonna happen again, champ. It was also brought to my attention at the time that many of the films about which I wrote were unavailable to the home viewer. So this time, I am putting you in charge of the watching, because I know you like it that way.  There are a ridiculous number of top-drawer horror films on Netflix right now (and some real stinkers) so I have prepared this guide for plenty of options to carry you through All Hallow's Eve.



Choice Cuts


These are, for my money, the best horror movies on Netflix right now.  Most of them should appeal to people who just plain enjoy a good movie, whether or not they're strictly a horror fan -- which isn't to say that these are the milquetoast selections.  If you only watch one horror movie on Netflix this Halloween season, make it one of these.

The Babadook - 2014

The Babadook is the boogeyman-type character featured in a mysteriously appearing children's book, which begins to cross over into the life of a potentially disturbed young boy, and his potentially disturbed mother.  The Babadook is also an effective metaphor for the lack and loss of control felt by a single mother experiencing the kind of over-her-head moment in life that hides just around the corner for more of us than would care to confess it.  The manipulation of parental fears is on par with Dark Water or The Shining.  Spooky, intense and scary in some very relatable ways.

The Babadook on Media Bliss

Byzantium - 2012


Director Neil Jordan (Interview with the Vampire) returns to the bloodsucking undead with a very different tale about very different vampires.  "Sisters" Gemma Arterton and Saorise Ronan live a repetitious and directionless life, echoing the people that they were when they were alive, yet always running from their past.  It's vastly more human than Interview.  When I wrote about Byzantium previously, I declared that it was close in the running for my favorite vampire movie ever, and I've only come to hold that view more since then.


Byzantium on Media Bliss

American Mary - 2012

After I first saw American Mary, I went on a raving spree about it.  It was an original concept that tapped into some fresh, real, disturbing horror.  The one friend whom I know took me up on my suggestion said it was the first time she'd ever cried at a horror movie.  After I saw See No Evil 2, the follow-up film by directors The Soska Sisters, I momentarily feared that I'd misjudged American Mary, but another viewing reminded me just how fine a film Mary is.  See No Evil 2 is everything wrong with horror. American Mary is everything right.


American Mary on Media Bliss

The Seasoning House - 2012

The Seasoning House is a relentless and brutal film, rooted in real-world horrors.  Angel is a captive in a nameless Balkan war sent to a house for sex slaves.  Perhaps due to her deafness, and perhaps due to some undefined infatuation on the part of the pimp, she's spared from serving customers.  Instead, she's the house servant, forced to give the other girls the drugs that keep them docile and dependent.  This thin slice of freedom, coupled with her seeming insignificance afford her the means to fight for her life and freedom when the situation explodes.  A misstep in the finale disappoints both the story and the verisimilitude, but not enough to undermine the breakneck tension and the unnerving horrors linger in the conscience.


The Seasoning House on Media Bliss

 The Others – 2001

Alejandro Ammenabar's The Others cribs only as much of Henry James' The Turn of the Screw as it needs to saturate the film with all the elements of a classic haunted house film. The story is uncomplicated by the unnecessary. It builds a mystery and suffuses it with spooks, and pays off with a highly effective twist that makes the story a nice complete little gem. One of the top few ghost stories ever.

The Others on Media Bliss




Prime Round


Maybe not quite as delicately prepared as the Choice Cuts, but make up in flavor what they lack in finesse.

Housebound - 2014


Housebound, like Grabbers [below] is an import that recalls the young lions of American cinema in the 1980s. This Kiwi thrillhorror-comedy uses a young woman's house arrest – at her estranged parents' house – as a vehicle for a journey into Hell... or Heck, really. Perhaps a “bloody hell” here or there.


Housebound on Media Bliss



I Saw the Devil – 2010


Bleak, black and brutal, to the point that it either becomes, or reveals that it always was, a savage satire of itself. A strangely brilliant and completely moronic serial killer makes the unlucky mistake of selecting the fiancee of a South Korean special agent, which sets into motion what we assume will be standard (albeit particularly violent) revenge/chase action. When the agent catches the killer early in the second act, it becomes clear that there is much more going on here. What follows is the kind of ode to and indictment of violence and revenge that must have had Quentin Tarantino kicking himself in envy.


I Saw the Devil on Media Bliss


Horns- 2013


An unexpected collection of elements, twists and embellishments on what is essentially a mystery. Daniel Radcliffe is accused of murdering his true love, and even he can't quite be sure he didn't do it. When he starts growing giant devil's horns, as one does, it could be his damnation, or the key to the truth.

Horns on Media Bliss

Come Back to Me - 2014


The less you know about the story, the better it will be. Seriously, don't even read the blurb on Netflix. I'll just tell you this; it's about a young couple who move into a new home in a recession-ravaged Las Vegas, and then strange and disturbing things start to happen. It's creepy, and then it's really creepy, and then it's OH MY GOD SO CREEPY. If that's something you can deal with, just press Play.

Come Back to Me on Media Bliss

Neverlake - 2012


Jenny is visiting her semi-estranged father in Italy, where he has been studying Etruscan artifacts, particularly those relating certain mysteries about the lake upon which they live.  In a ramshackle hospital nearby, she meets a group of children with a variety of mysterious ailments.  Nice, creepy haunted mystery.

Neverlake on Media Bliss





Insidious: Chapter 2 - 2013


Insidious 2 requires a familiarity with the first film, which is no longer on Netflix. But if you've seen it and you've been on the fence due to the usual law of diminishing returns with sequels (and horror sequels in particular), then you can probably rest assured. Everybody hates something and everything has someone who hates it, but it is my strongly held opinion that the follow-up is not merely at least as good as the original, but it actually makes the original better by filling in some massive gaps.

Insidious: Chapter 2 on Media Bliss

Teeth – 2007


She has teeth.


Things get... complicated.






Creature Features


Monsters will always have a special place in my heart. Please don't let that be my ironic epitaph.


Monster movies also tend to be some of the most fun, if you ask me, and if you've read this far I am going to take it as implicit that you did.

From Dusk Till Dawn - 1996


This Rodriguez/Tarantino joint is slightly psychotic. It starts out as a brutal crime flick, following a pair of remorseless bank robbers (George Clooney & QT) on the run from a dragnet, and the family of a faithless preacher (Harvey Keitel) on their collision course to a Mexican cantina, just over the border. Then Salma Hayek gives everyone erections, and then the vampires come... from dusk until dawn. Savage, cool, and SO damned fun.

Grabbers - 2012


Speaking of fun, Grabbers recollects the horror/comedies of mid-80s, minus the loudmouth kids. Director Jon Wright backed up my theory with his more recent Robot Overlords, which does bring the kids. In Grabbers, however, an alien invasion of squiggly multipodes requires a more adult solution... a grand piss-up.

Grabbers on Media Bliss


The Host - 2006


This South Korean film about a mutated river creature centers heavily on some sentimental family drama and intense thrills to keep us invested. It's uneven at times and I have some reservations about the last act, but the overall package delivers.








Slashers

Slashers were never my favorite genre (so take that as you will) but I have come to appreciate them when they do something interesting and/or new with the concept (so take THAT as you will, too).

Maniac- 2012


The story in Maniac isn't really anything new or different, but by doing one other thing differently, it gives the story new meaning. That “one thing” is to show everything through the eyes of a serial killer with a mannequin fetish (Elijah Wood). The viewer is made complicit, no longer as witness, not merely as partner, but possibly as the reason the killing must happen at all.

Maniac on Media Bliss

Saw - 2004


Saw isn't strictly a slasher in the traditional teenage body count way. There is some killing, there is some gore, and there is a sadistic, franchise-spawning costumed killer. Most of all, however, Saw is a brutally intense psychological thriller, predominantly based around two men in a single room. Absolutely worth seeing once. The many sequels become increasingly gore-dependent and nonsensical.



Old School Kicks

If we're going to be perfectly honest with ourselves, there is a definite generational divide in the horror movies of the horror films of today and those of, say, 15 – 20 years past. The technology has changed radically, as have the expectations of a generally more grumpy audience in the 21^st century.

But that doesn't mean the old stuff isn't still good.

Wes Craven's New Nightmare -  1994

It's not mere vanity titling that Wes Craven's name leads the title of this very "meta" not-quite-sequel to the Nightmare on Elm Street series he originated.  It's Craven's and star-of-Nightmare Heather Langenkamp's dreams.  It's an imaginative and entertaining approach to a new kind of nightmare.  I like it at least as much as the original, and it makes a nice bridge to Craven's Scream series.

Day of the Dead - 1985

I, personally, am not really a fan of George Romero's original Night of the Living Dead, but I really like the sequels, Dawn of the Dead and Day of the Dead. Day of the Dead suffers from a little bit of the 1980s, but the story, satire and zombie effects are still as sharp as ever.

Re-Animator- 1985


I suppose it was meant to be funny at the time, but it's really funny now. A totally 80s splatterfest adaptation of a Lovecraft story that sort of bridges Mary Shelley's Frankenstein to George Romero's zombies. If you love old school creature effects – and I do – Re-Animator is essential viewing. If you're looking for subtlety, that is simply too damned bad.

Nightbreed - 1990


Nightbreed is adapted by Clive Barker from one of his own books. It's part slasher, part “I'm a vampire?” type relationship drama and a LARGE part monster mash. The monster mash is the part that works. Really works. Netflix is currently hosting the recent Director's Cut, which seems to help, although to be honest I couldn't tell all that big a difference. Like Re-Animator, it's essential for fans of creature effects.

Nightbreed on Media Bliss

Clive Barker's Hellraiser and the sequels Hellbound: Hellraiser II and Hellraiser III are also on Netflix.  They're not the only Hellraiser films currently running, but they're the only ones you should consider seeing.

The series was a breath of fresh viscera when it came out.  The stories become progressively messier, but we get more of the gore and freaky monster effects that we came for while the mythology deepens.






Grin Reapers

These are getting to be good times for fans of the horror-comedy. There are a few on Netflix already, but you should be able to expect more to come.

Tucker and Dale vs Evil - 2010

Turns the slasher film sideways. If the slow-witted yokels are the good guys, who's the serial killer?

Odd Thomas - 2013


An unexpected combination of romantic comedy supernatural thriller. Thomas can see... things, harbingers of ill tidings. He does what he can to help. But when he sees a lot of things, he's going to have to do a lot more. Not terribly horrific, but certainly has ample thrills and a lot of charm.

The Brass Teapot - 2012


Sort of a “monkey's paw” tale about a couple who discover a cursed teapot that pays cash for pain. To what lengths will they go to give the teapot the ever-increasing “kicks” it needs? To what lengths would others go to possess it?


The Brass Teapot on Media Bliss

Zombeavers - 2014

It is what it is, man.


If you're the kind of person who thinks that sounds funny and you'd like to find out if it is – it is.


If you're the kind who thinks that sounds stupid and you're pretty sure it's something you'd hate – it is.

Zombeavers on Media Bliss



Seems Legit

There are a TON of “found footage” horror films made these days. Most of them suck. A few are good. Fewer still are on Netflix, but there are some interesting variations on the style, between these and the V/H/S anthologies.

Troll Hunter- 2010


Researchers is Norway pursue the legendary giant trolls of the northern mountains. A series of set-pieces ramps up the wonder and danger with each expedition. It seems like giants shouldn't work this well, but they totally do.


Troll Hunter on Media Bliss

The Taking of Deborah Logan - 2014


A team making a documentary about Alzheimer's patients encounters a subject whose behavior blurs the line between dementia and demonology. The script bites off a little more than the budget can deliver in the third act, and the “found footage” perspective cheats a lot, but it's a good twist on a haunting/possession with a reasonably well-handled metaphor.




Candy Bowl


Gonna be passing out the candy on Halloween and want so bite-sized horror to get you through the night? Anthologies bear the blessing and curse of their structure. They can be as bad as their worst piece and as good as their best, but they can also give you a lot of different treats to try, and so what if you get a few pennies?

The ABCs of Death - 2012
The ABCs of Death 2 - 2014

The premise of the ABCs series is that 26 international film makers get one letter of the alphabet, and they have to make a short film about death on a theme beginning with that letter. The results are ALL over the place. Some are incredible. Some are mediocre. Some a totally, completely bug-shaggin' insane. A few are even boring, but at least there will be another one coming at you in about 4 minutes. I prefer ABCs 2 to ABCs 1.


ABCs of Death 2 on Media Bliss

V/H/S - 2012
V/H/S/2 - 2013
V/H/S Viral - 2014

Each V/H/S film collects a group of found footage shorts (presented as mysterious video tapes) from different creative teams, then wraps them together with an overarching story about an unknown evil that collects such videos, and uses them as a conduit to spread evil and terror. My order of preference is Viral > 1 > 2, but I'm not necessarily typical.

VHS on Media Bliss
VHS: Viral on Media Bliss





I Been All Around This Great Big World...


By coincidence (or not, or not really) these international films all feature girls (sort of) who may or may not kill. Or something.

A Girl Walks Home Alone at Night – 2014


Made by Iranian filmmakers in California, AGWHAaN is your best bet for foreign arthouse buffs. It's slow, in a good way. It's spare, in not quite as good a way. I felt held at a distance as a viewer which I'm not really used to and not sure I liked, but maybe I needed that. Despite a great deal of coldness, signs of life are revealed by the end of this tale about the death of more than a vampire's dinner.

Thale – 2012


Another fairly spare tale; this time from Norway. Two hazmat clean-up guys are assigned to clean up a remote cabin in the woods – the scene of a recent, grisly death. They're mostly wrapped up in their personal problems, until they discover a long disused secret laboratory housing a speechless girl in a tub of milk. The mysteries concerning her folkloric origins put them in exactly the kind of dangerous position they were trying to avoid.

Thale on Media Bliss

Let the Right One In - 2008


I'm going to do something I never do. I'm going to go ahead and endorse this even though I haven't seen it yet. Why? Why would I do that? I was very fond of “Let Me In,” the American adaptation of this Swedish film. The original is pretty widely considered to be superior, which doesn't really matter to me, but since it's on Netflix and “Let Me In” isn't, we're working with what we have. The story concerns a young boy who is bullied at school and ignored at home. Then he meets a girl with secrets who tells him that they cannot be friends. The impact that they have on each other will change lives, and not just their own.  

I will watch it in October because I'm a pro like that.


Won't Kill You


They're not the top shelf hooch, but they get the job done. Suitable for late night snacking.

Black Death - 2010


One of the things I like about Black Death is being able to tell D&D players, “Go check out what a paladin is really like.” Sean Bean heads up this grim band of knights under warrant of the Church as they escort a friar (Eddie Redmayne) to search for a rumored cure to the plague. The combat is brutal. The story is a little vague about where it's going, if indeed it's going anywhere at times in the middle. But it pays off in the end and packs in a twist that actually serves the story rather than itself.

Kiss of the Damned - 2012

A ridiculously gorgeous vampire wrestles with the implications of a new relationship with a human man, and goes ahead and does it anyway.  Just as they are embarking on their new lives together, her unstable and self-serving sister shows up to turn sexy-bitey time into bullshit drama time.  I was strongly reminded of KotD whenI saw Jim Jarmusch's "Only Lovers Left Alive."  They certainly have some similarities, but they take those ideas and run in radically different directions with them, and that's not a bad thing in either case.

Kiss of the Damned on Media Bliss

Haunter - 2013


Abigail Breslin's family doesn't seem to notice much, and she's not sure why. They never change. They never question. They just live the same day over and over again. It's a haunted house story that definitely takes things off in its own direction. It doesn't always work when a movie writes new rules for the supernatural that challenge tradition, but Haunter works well enough to keep the tension and the pace ratcheting up all the way through.

Haunter on Media Bliss

Honeymoon - 2014


There were two very similar films in 2014; Honeymoon and The Device. Honeymoon is the much better one.


A pair of newlyweds decide to spend their honeymoon in her family's vacation cabin. Things get weird and super creepy. The weirdness around them agitates their unresolved anxiety about marriage, but becomes much more. The mystery is better than the payoff, but it does enough things right to make it not a waste of time.

Honeymoon on Media Bliss




PLEASE NOTE:

These listings were roughly accurate as of the first week of October, 2015 in the United States.  I can't promise anything you read here will still be on Netflix at any point past then.  The assessments will remain essentially true, although they may compare less favorably to the entirety of horror film history, than they compared to what Netflix had available at that time -- y'all dig?

 

Thirsty for Injustice

I miss the Earth so much, I miss my wife, It's lonely out in space

Definitely get the Ultimate Edition

VIDEO GAMES:


Injustice: Gods Among Us - 2013
Produced by Hector Sanchez
Directed by Ed Boon
Developed by NetherRealm Studios


This is not a review.

They never are, even though they sometimes are, but this one definitely isn't.

I come not to tell you whether Injustice: Gods Among Us is a great game or not.  I come to tell you how great of a game it is.

The fighting game genre is a tricky one.  Victim of a long, slow decline, fighters have been dominated by a few core franchises ever since Sega dropped out of the console race.  As I'm writing, here in mid-2015, Tekken is preparing its 7th whole-numbered entry, Soul Calibur; its 6th, Dead or Alive and Virtua Fighter are on their 5th main entries, Mortal Kombat is up to X, and while Street Fighter is merely prepping its Vth entry, it bears mentioning that the first IV Street Fighters each came out in multiple editions.  VERY few new fighting games have been able to break into that top-tier class.  Sure, you have your hardcore niche fighters like BlazBlue but no one is breaking into the AAA club without taking a AAA chance.

Injustice not only takes that chance, but evolves the fighting game for the modern player.  Virtually every aspect of design is addressed with the question "How can this be more FUN?" 

No home field advantage

The first aspect where that comes into play is the core premise.  Rather than starting with new, unknown characters in common video game character tropes, Injustice is based in an alternate timeline of the DC Comics Universe, with a bevy of beloved characters in common comic book tropes.  NetherRealm had previously made a Mortal Kombat vs the DCU fighter, but the inconsistency between MK violence and DC violence was the source of a lot of criticism.  For some reason it was the Joker pulling a gun in MKvsDCU that caused a 5-minute notroversy.  Now, out on their own, the DC characters are approached with fresh eyes, and unleashed to fully throw down within the context of their reality.  As such, the combat feels really fresh, being designed for superheroes rather than martial arts combat, as most other fighting games are.  HOW the combat achieves this sensation involves the combination of a number of elements.

Don't want no scrubs

First off, there's the attention paid to these previously established characters.  They all look and move the way they should, and most of them have a variety of alternate costumes.  Most importantly, of course, each one of them fights the way that they should, barring adjustments for balance.  They're split between Power types and Gadget types -- a basic acknowledgement that not all superheroes come to their abilities in the same way.  Obviously Superman could finish Batman with a single punch under ordinary circumstances (...and shut up about Frank Miller already. How much kryptonite do you think there IS on Earth? Too much to knock out of Batman's hand with heat vision or a thrown automotive factory? Yeah, shut it.)  While it's certainly POSSIBLE to beat a Power with a Gadget, it's seldom an advantageous position (unless you're Deathstroke).  Superman uses punches, heat vision, super breath and swooping moves.  Wonder Woman can switch between fists & lasso moves and sword & shield moves, and throw her tiara to boot.  Deathstroke is brutal with long range gun moves and short range sword flurries.  Nightwing is more inspired by martial skills, using electrified fighting sticks or a bo staff.  Batman... he punches and flings his cape around a lot.  Confidentially, I haven't figured out how to get a lot out of Batman, but at least he looks like... well, the stiff movie Batmen more than the athletic Batman I once knew, or even the brutarian from the Arkham games.  I suspect it's in him, but buried in some of the more complex combos.

Hold still...

While a lot has been done to balance the clever humans with the indestructible gods -- essentially consisting of down-powering the impact of godly punches -- there ARE balance issues, particularly those related to ranged attacks.  There are a few characters who can strike from any distance, and some are less blockable than others.  These can turn into some wickedly cruel matches, allowing the player with the ranged attack to either slaughter their enemy from afar, or force them into a relentless close range fight with little respite.

It's not necessarily a case of there being a few overpowered characters, as the common complaint about fight games goes, but that MOST of the characters are overpowered... and a few just aren't AS overpowered. As players, we have had to establish some loose house rules -- 1) No fair choosing a Power after someone else chooses a Gadget (except Deathstroke; see Rule 2), and 2) the Restricted Characters: Sinestro (death from above), Aquaman (death from below), Deathstroke (death from over there) & MK's Scorpion (death from within) should mostly fight each other.  The best fights come from well paired characters.  While that's always been true of fighting games, it's especially true here. Character-specific rivals from the comics often make good pairings, because they have the history (and purpose) of being well-matched.  I may not know how to get much out of Batman, but Batgirl and Nightwing are great against each other or Joker and Harley Quinn.

Wa-a-ait for it...

Adding to the character-driven combat, each character has a special ability button and a super move.  The sauce that powers up the super seems to come largely from taking damage, which makes it a handy game changer.  These are HUGE moves, like Doomsday pummeling you through the Earth and back or Lex Luthor calling in a satellite strike.  These take off huge chunks of health, BUT they can be dodged or blocked (if you're quick), depending on the character and how their super initiates.  Some are easier to land than others, and in Batgirl's case, it took us a long time to discover than hers can only be triggered in the air.

But that's not all!  Each level is filled with several interactive objects.  There's often a zone at the center of a level where an opponent can be kicked into the background and bounce back.  There are objects that Supers can pick up and throw, or Gadgets can bounce off of or blow up, depending on their style.  Punching a console in the Batcave will launch the Batmobile's Batmissles to knock an encroaching opponent on his Batass.  Personally, I like to slap folks around with the pig hanging in Arkham Asylum's kitchen.  These things really augment the epic nature of these battles.

You're the one in her hand

The levels also have an even bigger feature.  Most of them feature 2 stages (some more, some less), which can be accessed by punching a foe off the correct edge of the screen.  This sends them crashing through a wall of hurt to pick up the fight in another place.  Gotham & Metropolis go from street level to rooftop (to an interior, in the later).  Havoc rages around the Hall of Justice, inside and out.

And about those stages.  They're mostly well-known locales from the DCU, rendered beautifully, but there's so much more to them, and that's another part of that "reconsidering fun" agenda.  In addition to the ways one can interact with the stages, there's just so much going ON in there, and the fan service is served up hot n' hearty.  As battles progress, the sheer amount of UNLEASHED AWESOMENESS causes an impact on the environment.  Statues topple.  Buildings crumble.  The power goes out in Gotham.  A blimp explodes.  Giants collide.  Devastation abounds.  Easter eggy background characters go about their own business.  It's incredibly well orchestrated, and every element augments the sensation of doing godly battle across the world stage.

That's not even all they have going on in there.  There's a lesser class of special move known as "meter burn" which my gaming partner and I have not yet gotten the hang of, and a whole other fight event called a Clash, which involves some sort of speed wagering, but we've really only ever triggered that by accident, and we still don't understand why one or the other of us wins such confrontations, but usually one of us gains some health or does bonus damage.  Honestly, there are a lot of ways to lay down smacks, and every time we get the hang of another feature, it ripples through our gameplay, making us adapt.  I get, from a more hardcore fighting stance, that these things are experiences we're supposed to have with other fighters, but I've never had the experience myself.  Injustice conveys a sense of wanting you to figure it out, where others -- including and especially Mortal Kombat -- have made that feel like protected knowledge.

Whose house?

Another interesting twist that really punctuates the theatricality of the battles is the life bar.  Each fight comes with 2 life bars, and there's a brief pause in the action whenever the first one is emptied.  It's a small thing, but the effect it has on the rhythm of the game adds to the dramatic structure of the game.  It's always bittersweet when you unleash a Super or knock you opponent into another part of the level, only to realize that your foe had a smaller segment left in their first life bar than the damage you'd have done them.  Sometimes the pause is a nice breather, if you've been getting slapped around, and sometimes it's a drag because it forces some distance between you, giving certain characters the window to start in on the ranged attacks.  Essentially, it builds into the game a small aspect of "Best of 3" challenges, which has always been a non-tech part of the fighting game experience anyway.

Would you like to play a game?

The music is vague, orchestral and urgent, so it's not out of place for the Hans Zimmer generation.  It's not outstanding, but it augments the drama the way it's supposed to.

The menus keep a lot of options under the hood, and once again, following the directive to make Injustice more fun, players each get to vote on what stage they want to play, as well as both chiming in on whether they want a rematch or a new character.

It bears mentioning that Injustice has been a very different experience for me.  Ordinarily, I would play through all the single player modes before getting an opportunity to play head-to-head.  In this case, I have predominantly played multiplayer, and only later got to check out the Story mode.  Injustice has shown the same attention to the single player modes as everything else.

Kal El's Terrible, Horrible, No Good, Very Bad Day

The story mode is unlike any I've ever played before, and thank Kirby for that.  Fighting games reliably feature the WORST stories in all the realm of video games.  You pick one character, fight X number of characters, and then there's a scene (or less) telling you what happened after/because they won.  When you have to create a different narrative that allows for each character's victory, then no one of them is "true."  I've read people talking about the way the "story" has arched throughout the Tekken series, and I've been utterly baffled at where they got that from, because it's presented so insubstantially and executed so poorly in the games.  As a story person, this has always irritated me to no end.  Not the case here.

Say Cheese!

The Story mode plays like a movie, changing characters and unreeling the total story of Injustice in no uncertain terms.  Cutscenes transition seamlessly into fights which give you an opportunity to familiarize yourself with many of the characters.  Now I, personally, have some major misgivings about their authenticity to the character of Superman, but they had a story they wanted to tell and it's a well done DCU mega-crossover kind of story.

Beyond the story, there are a boatload of ways to go solo.  Challenges sets the player up with different thematic fight ladders, while the STAR Labs missions get even stranger.  I've played very few of these, but they show the same kind of unconventional approach to the modern fight game.  It really feels like they took nothing for granted and the result is one of the most refined fighting game experiences ever made.  Comparisons to Call of Duty are often meant to be insulting, but I feel it's both fair and highly complimentary in this case.  Injustice (like COD, relative to its peers), has been refined as a fighting game experience, designed from the ground up with tremendous attention to detail in order to be a game based on the flow of all-meat visceral moments.  COD isn't about aiming; it's about shooting.  Injustice isn't about chipping your opponents life bar down bit by bit.  It's about some rude fisticuffs and shrewd maneuvering, and then it's about taking a BIG JUICY CHOMP out of your opponents life bar.  It's no less technical for having that kind of stratagem, but I get the feeling that there are going to be some gamers who like their fighting games like they like their women -- dull, unambitious, and unaware of the 21st century.  

Roughhouse in the Madhouse

I tend to see these advancements as focusing the game on the most fun parts.  Perhaps a better, more universally recognized compliment may be that Injustice is like Super Smash Brothers (which is, itself, like Mario Kart) in the sense that the games allow for a lot of back and forth between players, with plenty of opportunities to "screw your buddy" at the finish line.  That's the secret alchemy for a great, great multiplayer game right there.  Smash Bros isn't about being the better player, it's about playing this round better.  That's all you need.  It's just plain fun, in one of its simplest, purest forms.

I get that a lot of "hardcore" gamers prefer the control and advantage they get with games that behave much more mechanically (and familiarly), but I don't agree with them.  I mean it's fine for them, but one grows weary of their outraged insistence that games should remain stuck in the same past that they are.  I shouldn't make it sound like Injustice isn't a technical fighting game.  There are layers of moves and combos that I will never get to.  I'm used to that in fighting games.  But where the difference lies between Injustice and, say, the King of Fighting Games You're Supposed to Like; Street Fighter, is that in SF, the new and even intermediate player is not given a lot of cool moves to do, which makes it pretty boring.  Hey, I can ineffectually throw a punch in my real life already.  Why do I need you?  Injustice ALWAYS has something cool to see and do.  Sure, you may still get stomped by a more experienced player, but dude, you're friggin' BANE getting stomped while the world explodes, rather than some guy in pajamas falling down in the street.

For my own part, there's not denying that I am, after all these years of gaming, finally starting to build up a callus from mashing out combo moves in Injustice.  I have remained a fan of fighting games during these lean years, but nothing has shaken up the format like this since the third dimension.  Injustice for the DCU is justice at last for fighting game fans and DC fans.

Lobo's Back

Who's Got Next?

In the interest of inviting a few clicks over for a couple drinks, I am submitting not ONLY to the tasteless act of list-making, but I'm engaging in PURE INTERNET SPECULATION about a future nerd event.

Rumors have begun to percolate about an Injustice sequel, particularly now that NetherRealm has Moretla Kombat X off its plate.  I may still be hip deep in Injustice, but that doesn't mean I'm not already slavering for more.  They really don't have to change much -- in fact, the thought of changes makes one nervous when so much is so right already -- but we're definitely going to be needing MORE of that more.

Before I get on with the more, there are three changes unrelated to the rest of the article that I'd like to bring up.  Well, a change, an addition and a simple suggestion.  To wit:

Change) Character balance needs some work, most particularly the giving of far-too-deadly range attacks to characters with far-too-deadly close combat.  I can see giving an edge to a Gadget character who would be wise to not the get in arm's length of a Power, but it didn't really work out that way.  Deathstroke is murder at any distance.  Flash and Batman should be far more useful.  Flash can time travel, fer Pete's sake.

Addition) In the spirit of pumping up every aspect of the fighting game, might I propose a tag mechanic?  It's the only thing I can think of in other games that makes them more fun that Injustice doesn't already have.  Obviously, team attacks, especially ones that are unique to specific pairs, would add to the epic grandeur and back-alley brutality that already makes Injustice so much funnerer.

Suggestion) Dude, you already killed or corrupted 1/2 the DCU between the comics and the game.  The story ended.  Let it go.  I don't need to spend any more story time in that dark and ugly timeline where Superman is not Superman.  Go back to some pivotal moment, or alternate alternate timeline, wash up, and tell a new story of divergent events.  In fact, I suggest this for every single Injustice game moving forward.  We really don't need a whole 'nother big, bloated continuity to drag around.  I say this for the developers as much as for the fans.  Treat yo'self.  Start fresh.

Now on with the show...

As soon as one has had a chance to sample every character in Injustice, one can hardly help but start supposin' what other characters would be fun to play.  I'm just going to assume that every character from Injustice (including the downloadables) will carry over.  NetherRealm has been pretty good about that with their MK games.  I have seen other articles of this sort online, but they've been wrong and I'm right, so here's my version.  The Right Version.

Some attention has been paid to the Injustice storyline in the game as well as the prequel comic series, but it's ultimately presumed that one can write anything one wants into a story, so elements like gameplay balance, how potentially fun their powers would be to play, and bottom line cool factor count for more.

Heroes

Swamp Thing


You want to know how I know that other list like this are bogus?  Because hardly any of them thought to include Swamp Thing, and one even listed John Constantine instead.  Dude.  A guy in a coat, or fucking SWAMP THING.  Chances are you've seen a guy in a coat.  Hell, chances are pretty strong that you've BEEN a guy in a coat.  On the other hand, you have a guy who survived a horrific lab accident who ultimately becomes an elemental god of nature.  Dude.

In terms of gameplay, Swamp Thing is a brute along the lines of a Solomon Grundy.  So far, most of the brutes have been on the villains' side.  While special attacks are the one area that Constantine would excel, Swamp Thing's would be at least as cool.  Basically, even Zatanna is a better magician with more visual appeal than John Constantine, and I almost forgot she was in the game.

Swamp Thing.  The correct answer is Swamp Thing.

Firestorm


Firestorm is kind of a third-stringer, but he's on the rise thanks to the Flash TV series, which conjoins their origins.  I had originally considered Captain Atom who takes on a pretty interesting role in the Injustice comic series (as a living bomb, considered a potential countermeasure to an unhinged Superman), but Firestorm not only has similar-ish atomic powers, BUT he's visually MUCH more interesting, and that's saying something when you consider that Captain Atom is essentially chrome plated.  I'm sorry to tell you, Captain Atom, but Firestorm is has fire pouring out of his head.  Maybe you can be an alternate skin.

A nice benefit here is that NetherRealm's designers might finally give Firestorm a bad-ass costume worthy of FIRE POURING OUT OF HIS HEAD.

Considering that Killer Frost, a Firestorm villain (!) was already in Injustice, Firestorm himself seems like an omission to be rectified.  With the upcoming show, Legends of Tomorrow spinning off from Arrow & Flash, Firestorm will be stepping up to the show, making him a doubleplus natural here.

Big Barda


HEY!

I am really tired of wimp-ass females in fighting games!  Over and over and over again, we get female characters who have short reaches and are fast but weak.  Even in Injustice, Wonder Woman is inhibited by her female physique more than she's empowered by the gods.  I want a female character that I WANT to play!  I want Big Barda to be the big beautiful brute that she's meant to be, with her long reach and earth-shattering body-slams.

Plus, Barda and Superman totally did it that one time.



Mister Miracle


Okay, yeah, sure, as long as we're having Big Barda, we have to have her husband too, right?  Wrong.  I mean, yeah, but also, Mister Miracle is a perfect fit with a lot to offer too.  So far, Swamp Thing, Firestorm and Big Barda would all fall under Injustice's "Power" character category.  Scott Free, the world's greatest escape artist, however, would make an outstanding "Gadget" character, in the game's other category.  He's gadgety, but they're gadgets from worlds of the New Gods, giving them extra visual appeal, and incredible potential for super attacks.

Miracle and Barda have both been affiliated with the Justice League, making them good candidates for Injustice.

Plastic Man


Think I'm kidding?  Sure, Plas is the class clown of the DCU (which may not be such a bad thing), but his powers would translate brilliantly to the mechanics of fighting games, provided they really put the time into making him look amazing -- and based on the first game, I have no reason to think that they wouldn't.  He's an alternative to the Powers that doesn't take Gadget too literally.  He'd be like... a cross between Joker's snake-fast moves and Green Lantern's emerald creations, except through a comedic filter.  There's nothing about Plastic Man that doesn't scream "fun as heck," and that was certainly a winning formula for the first game.


Alternately, one of the Metal Men would have that flexibility and look cool as all hell.


Other Considerations: Blue Beetle (martial arts, super gadgety), Starfire (a green, barely dressed space princess with fire blasts), The Atom (also on Legends of Tomorrow), Supergirl (now with her own show), Static (started as a Milestone comic, he has since been folded into the DCU. The young folk know him from a decade old cartoon series. The diversity wouldn't hurt) or even Bronze Tiger (one of DC's top martial artists, also African American, and frequently a member of the Suicide Squad, which also has a movie coming out).

Villains

There's no shortage of options here.  You have virtually every option in terms of fighting varieties, so that's not my top consideration.  I'm looking for visual appeal, significance within the DCU, addressment of some heroes who didn't have villains in the first game, and how their abilities would mesh/contrast with those already represented in the first game.

Darkseid


This one almost goes without saying.  Given Darkseid's appearance in one of the level transitions, he's another one that seems like an egregious omission from the first to be rectified in the second.  On the one hand, it would be easy to argue that Doomsday and Lex Luthor already fulfill the roles of long-reaching brutes from Superman's cast, Darkseid could be designed as a Gadget brute OR a Power brute.  He certainly has the size and ability, but Darkseid generally sees himself as too good for the grunt-level labor.  A schemer, even when he's confronted in person, he relies on his Omega Beams to deal with the riff-raff so he doesn't have to touch the subspecies.  There's a lot of potential there to craft the character in different ways.

With Mister Miracle and Big Barda involved, there would be every reason to get Darkseid involved, or vice versa.

Gorilla Grodd


Okay, I admit it.  I love the brutes.  Grodd certainly hulks, but he's also a super-telepath.  Like Darkseid, he could potentially function as either a Power or a Gadget, or, where some characters change battle stance, they could change stance on a grand scale.  That would certainly make things interesting.

Of course another purpose for Grodd would be to add a Flash villain.  Given that Flash has one of the best, most colorful Rogues Galleries in all of the DCU, it's a genuine absence, not having any in the first game.

The visual appeal should go without saying.

I would alternately consider Heat Wave for a Flash villain.  Captain Cold is more iconic, but also redundant to Killer Frost.  Weather Wizard would be another way to go.  Despite being Flash's arch-nemesis, Professor Zoom is kind of a "meh" consideration, given Flash's lackluster performance the first time around.  Let's face it, Grodd's the man.

Brainiac


While Injustice wasn't hurting for Superman villains (with Doomsday, Luthor and Zod), Brainiac is at least as big a problem for the Man of Steel.  With his role in the recent Convergence crossover event, his cache should be rising with DC readers.

Brainiac has changed in some pretty dramatic ways through the various reformations of the DC Multiverse.  As such, his story and powers are even more inconsistent than most.  He's a powerful villain that can be as unwieldy as a spare butt in the wrong writer's hands -- er, when written by the wrong writer.  Including him in Injustice 2 might give DC an opportunity to get casual fans up to speed on who Brainiac really is today.

But most of all, he's a cold, ruthless killing machine.  Part living, part machine; he often plots from the darkness, but he also has (depending on the version) psychic powers and wicked space-robot capabilities.  Like Darkseid and Grodd, I think he'd make an interesting Power/Gadget swapper, which I just really think would be an interesting twist to the game mechanics already established.

Ra's al Ghul


A master fighter with strength augmented by the Lazarus Pit.

Like Deathstroke, he's grown much bigger than merely pestering a single hero or team, having been featured prominently in both Batman Begins and Arrow.  So a fan favorite might be a good idea.

With the lighting fast and brutal skills one would expect from the leader of the League of Assassins, Ra's may be what it takes to balance out the likes of Deathstroke.  He's hardly above a bit of treachery, so smoke bombs, poison darts, snares and redirection should help make him formidable at any distance.





Poison Ivy


The first Injustice isn't exactly hurting for Batman cast members either.  Nevertheless, Poison Ivy felt absent, on top of which she'd be another visually fascinating character.  She'd be a Gadget character, using plants rather than technology.  That would compensate for the usually short female reach, and make her a fast character with abilities beyond her own limited physical skill.  Plus, their overlapping abilities create story potential between her and Swamp Thing.




Other Considerations: Clayface (another Bat-villain, but the kids, they love the Bat. Possible Power/Gadget swapper with his size and mud), Terra (betrayer of the Teen Titans, a small, fast fighter who throws rocks... ALL the rocks), Silver Swan (WW foe with wings and a scream), Circe (ruthless sorceress, foe of WW), Atrocitus (a Red Lantern, channeling the power of rage), Granny Goodness (vassal of Darkseid, leader of the Female Furies, charged with capturing Mister Miracle. She's also old, so how's that for diversity?), or at least Stompa (another Female Fury, more directly suited as Barda's rival).


In any case, I can't wait.  It would be impossible for them not to add DC characters that I like.