If Infinity War was the Empire Strikes Back of the Marvel Cinematic Universe, then Endgame was poised to be the MCU's Return of the Jedi. RotJ was a "good enough" capstone on a legendary film series, and that's pretty much where my expectations for Endgame sat. Endgame exceeded my expectations. It's far more than just a "good enough" sequel, though it's still not as good as Infinity War.

Endgame could very easily have just been a movie about all the heroes picking themselves back up after being knocked down in Infinity War, coming together, going after Thanos, and beating him up for two hours. Then they get the Infinity Gauntlet and snap all the dead heroes and people back into existence. No harm done, happy ending for everyone.

Not the case.

Several of my friends suspected that Thanos would remain the point-of-view character, and that he, himself, would be overcome with grief and regret over having killed Gamora. That Thanos would actually be the one to undo everything, redeeming himself in a way similar to Darth Vader. That didn't happen either. The point of view has shifted completely back to our heroes -- what's left of them.

Thanos' grief is not the subject of the movie, nor does he spend the movie gloating. Grief is, however, the overarching theme of Endgame, which handles the subject with maturity and nuance -- at least, up until its morally muddled ending (more on that later). The Marvel movies have always included themes of family, and the lengths one would go for family. Endgame explores how we deal with the loss of family, the grief and depression that comes with tragedy, the trauma and guilt of failing to protect those you care about. It's powerful stuff, and it pulls no punches.

The end credits went full-blown Star Trek VI.

And I totally cried when the movie went full-blown Star Trek VI with its end credits. It's too bad they didn't include the Stan Lee marvel logo that was included in Captain Marvel. This being the capstone MCU movie that everyone is going to see, I feel that tribute would have served this movie well. Or maybe put that tribute at the end of the movie, along with the other credits. Ah well.

 

It's hard to talk any more about this movie without going into spoiler territory. So I'm going to start with minor spoilers and work my way up to the more major ones. If you haven't seen the movie yet, then you can close this page now and know that I give it my fullest recommendation. Otherwise, feel free to read on, but know that things are going to get increasingly spoiler-y as I go on. Feel free to stop if you feel like you're about to read something you don't want to hear.

The remaining heroes must deal with the grief and guilt of having failed to stop Thanos.
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I'm late to this party. With Avengers: Endgame due out in the next couple weeks, I finally got around to seeing Captain Marvel. I had planned to see it with a friend the week after release, but illness and work got in the way, so we never made it out. Also, I just haven't been out to movies much since being blown away by Into the Spider-Verse -- seriously, it's out on home video and streaming, go watch it! There's a few other movies that I've been wanting to see, and I'm going to try really hard to not miss them in theaters. I'm really looking forward to Jordan Peele's new movie, Us, which I'm hoping to see this week or next. And apparently, DC's Shazam! might actually be good?!

But I finally had a weekend afternoon to myself, and decided to go to Captain Marvel, since my girlfriend didn't want to see it. As is par for the Marvel movies, it's good enough. Marvel has yet to produce a true flop, but I feel like Captain Marvel is a bit of a regression considering the studio's recent track record.

I like when the Marvel movies experiment with genre, but Captain Marvel remains a pretty standard fare origin story.

The big problem is that we're back to origin stories. Spider-Man: Homecoming smartly passed on re-re-telling the story of how Peter Parker became Spider-Man, and was all the better for it. Recent movies like Black Panther, Guardians vol. 2, and [especially] Infinity War, had moved beyond the dull origin stories and un-interesting, cookie-cutter villains to offer truly engaging and transcendent films. Captain Marvel kind of falls in with Doctor Strange as being a passable -- but ultimately skippable -- entry. At least it isn't as contradictory as Doctor Strange.

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Spectacular Spider-Man

Pretty much any time I talk about Spider-Man on this blog, I use one of two points of reference. The first is the original comics themselves (the Silver Age comics of the 60's and 70's). The second point of reference is a short-lived children's cartoon from 2008 to 2009 called The Spectacular Spider-Man. Its first season aired on The CW network (part of Warner Bros. network), and the second season aired on Disney XD. The series was developed primarily by Greg Weisman and Victor Cook, and was produced by Sony.

Despite referring back to this series repeatedly, I've never actually written a review of it. Recently, however, I re-watched the series (by introducing it to my 8-year-old daughter and her friends), and thought maybe I should actually write a review of. Put simply, Spectacular Spider-Man is probably the single best adaptation of Spider-Man that has ever been put on a screen. It's not only the best Spidey animated series, but it might even be better than any of the Spider-Man movies, including Sam Raimi's movies and Marvel's recent Spider-Man: Homecoming.

Spectacular Spider-Man is a better adaptation than any of the Spider-Man movies.

High school drama for all audiences

The show is a children's cartoon and its high school setting is definitely targeting younger kids. But it is surprisingly well-planned, well-written, and well-executed for a children's cartoon, and the teenage drama suits Spider-Man exceptionally well. Any Spidey fan, regardless of age, should be able to enjoy this show.

On the surface, the series seems to take a lot of inspiration from the Ultimate Spider-Man line of comics. This was a little bit off-putting for me at first because I don't particularly care for the Ultimate Spider-Man storylines or aesthetics. However, Spectacular won me over by remaining very faithful to the original comics as well. Spectacular manages to take the best elements from every incarnation of Spider-Man, combines them, and modernizes them into a 21st century setting while delightfully capturing the spirit of the original 60's and 70's comics. Plot elements and themes are pulled from the original comics, from the Ultimate comics, and also (being produced by Sony) from the Sam Raimi movies. It even makes a few successful homages to the 1990's Spider-Man: the Animated Series that ran on Fox and had been, up till this point, the gold standard for Spidey on TV (at least, up until the last couple seasons go completely off the rails).

Spectacular takes the best elements from every incarnation of Spider-Man,
while remaining spectacularly faithful to the original 60's and 70's comics.

Spectacular even replicates some scenes straight from the panels of the comics. The infamous "Face it Tiger, you just hit the jackpot." scene is transferred verbatim. Other scenes such as Spider-Man removing the Venom symbiote in the church tower, and channeling the thoughts of his friends and loved ones to help him lift himself out from under collapsing metal beams are also faithfully replicated.


Spectacular [BOTTOM ROW] replicates panels from the original comics [TOP ROW] almost verbatim.

Other adaptations have also replicated (or paid homage to) specific comic book panels. For instance, The Animated Series of the 90's also had the "Face it Tiger, you just hit the jackpot!" scene, and the symbiote bell tower scene, and so forth, and many of its episodes are loosely based on issues of the comics. Homecoming had the "trapped under rubble" scene. Sam Raimi's Spider-Man movie had the Green Goblin being impaled by his glider. And so forth.

What separates Spectacular from these other adaptations is that Spectacular manages to maintain more of the nuance and texture of those original comic panels.

And it isn't just the faithfullness to the source material that I like. The show is also generally well-written, with some clever (and not-so-clever) uses of things like symbolism and foreshadowing. The characters are all well-written and well-performed. The animation may have exaggerated body proportions, but it's very fluid, expressive, and is full of nuances in facial expressions and body language. There are some parts of the show that have some cheesy dialogue that reminds me that it's a children's show, but overall, the show is immensely watchable by adults and children alike.

There's some quality writing, including foreshadowing, symbolism, and misdirection.

If I haven't made it clear already, this show is fantastic, and I absolutely adore it! The next section will contain minor spoilers, and the sections after that will contain major spoilers! So if you haven't seen the show yet, then I highly recommend that you buy the DVDs and watch it, then come back to finish reading the review. You can maybe get through the next section ("Friends and Lovers") without too much spoilers, but sections after that will be spoiling major story threads, including what I consider to be the single biggest spoiler in the entire series. Suffice it to say: I love what the show does with Gwen Stacy, I love what it does with Mary Jane, I love what it does with Harry Osborne, and I love the depictions of most of the villains! If you haven't watched the show yet, then read on at your own risk!

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Marvel Spider-Man - title

I'm a pretty big Spider-Man fan in general. I watched the cartoons and the movies, and I play the video games as they come along, but I've only actually read a few dozen individual comics. I did, however, play the shit out of all my Spider-Man action figures as a kid! I do, however consider myself to be a Spider-Man game aficionado.

When I'm out in public, I often imagine myself web-swinging to get around. What would I swing from? Are those lampposts close enough that I could swing from one without face-planting on the pavement? I also often wish that I could hang upside down from the ceiling when I'm bored or waiting for something. As such, I pay very close attention to the way that Spider-Man moves in video games, and the quality of a given game is usually predominantly determined by how elegantly it handles movement.

Like a streak of light, he arrives just in time

The traversal mechanics and physics of Insomniac's Marvel's Spider-Man are fluid and work solidly. They just aren't particularly interesting or challenging, and they aren't really as expressive as I would like. It basically boils down to "hold R2 to go somewhere". It's pulled straight from Assassin's Creed's parkour system, except that holding the same button allows you to transition from rooftop parkour to web-swinging without any effort or thought. There's a few modifiers and variations that you can perform, which add a little bit of freedom and expressiveness, but it's not much. You can web-zip to perch points, hold circle to move around the corners of buildings while wall-running, and you can jump and dive to gain speed. These things help you get where you're going faster, but you could just rubber-band the R2 button and left stick, set the controller down, and you'd get to where you were going eventually anyway.

Insomniac was inspired by Assassin's Creed's "hold R2 to parkour" traversal system.

To Insomniac's credit, however, the web-swinging physics seems much more accurate than any Spidey game since the landmark Spider-Man 2 movie tie-in on the PS2 / XBox. Webs do seem to genuinely connect to objects in the environment (whether they be buildings, lampposts, trees, or so on). The only exception that I'm aware of is when you double-tap X to zip forward. I never use this move, however, because of how it cheats the physics so blatantly.

The environment is also much more detailed and populated. Buildings have more varied geometry with lots of ledges and poles and towers for you to zip to, you can parkour over cars when running in the densely-packed streets, and the map is dotted with construction sites and road work that gives you additional locomotion options and helps make the world look and feel lived-in. Spider-Man also has a lot of contextual movements in the environment that helps keep movement fluid. He'll web-zip from fire-escape platform to fire-escape platform when ascending buildings, he'll pirouette through narrow gaps, he'll swing around poles, and so forth. In general, the animations are all exceptional, and the traversal mechanics feel really good.

Spidey transitions seamlessly from web-swinging to wall-running to contextual "spider-parkour".

Spinning webs, any size

Despite the physics being generally solid, I do feel like the game occasionally cheats to make it work. Webs sometimes seem to grow in length when attached to certain objects, and the player (and therefore Spidey) can overcome the force of gravity through sheer force of will. This allows Spider-Man to swing greater distances than he should when swinging from buildings or trees that aren't considerably higher than Spider-Man is, and for him to avoid falling into the side of a building when he continuously swings from the same side of the street. All Spider-Man games have struggled with finding ways to allow him to move around in Central Park and along the coastline. These little cheats are common ones for developers to implement, and Insomniac is no exception.

Webs seem to reliably connect to something in the environment.

To that end, I'm going to say something that might get me flamed by the internet: I think I maybe actually prefer the web-swinging concept of Beenox's Amazing Spider-Man 2 movie tie-in game.

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Another summer, another onslaught of comic book movies. This year, we're spared the misery of another of Warner's DC Comic movies, so we get two Marvel movies (including the recently-released Infinity War and the soon-to-be-released Ant Man and the Wasp), and we get a sequel to Fox's Deadpool. The first Deadpool was pretty great, even though it wasn't as groundbreaking as it seemed to think it was. Nevertheless, it was thoroughly entertaining, and the sequel follows suit.

I do think that the first movie's humor is executed much better though, as the sequel frequently fell flat for me. That isn't for lack of trying though. Deadpool 2 almost tries too hard. The jokes come fast and relentless. A lot of them fall flat, but the volume of attempts is so high that the audience the audience is chuckling or laughing every couple minutes. It's almost a "Barney Stinson" approach to joke-telling: if you tell enough, at least some of them will work. Then again, it might also be different jokes for different people.

I rarely ever found myself laughing out loud during this movie. I laughed out loud to a few jokes in the first movie, but hardly anything in this one. It was a lot more quietly chuckling to myself or nodding along that "Ah, I get it". At least there weren't quite as many contemporary pop culture references this time around (which means this movie will probably age better than the first one will), as more of the jokes were at the expense of comic book movies and comic books in general. Since I didn't read X-Men too extensively, a lot of it probably just went over my head.

I only found myself laughing at a small fraction of the jokes, including the extended X-Force gag.

Again, Deadpool takes a lot of shots at the studio, complaining once again about the lower budget of the movie and the lack of any recognizable X-Men. He asks if Cable is from the DC Universe because Cable is so dark and brooding, and he takes several other shots at Batman v Superman and Justice League. He also takes a couple shots at Marvel Studios, including referring to Cable as Thanos.

Is the crappy quality of the CGI villain intentional? Is that supposed to be a joke? If so, does that justify the dated CG that was used?

Cable and Deadpool play off each other really well.

It's hard to tell if other signs of uninspired writing are deliberate jokes, or just examples of uninspired writing, especially since Deadpool quips once or twice about the movie's lazy writing. For example, does it really make sense that Deadpool and Cable are trying to stop Firefist from going on a killing spree, even though Deadpool and Cable kill literally everyone in their path to do so? Wouldn't that just reinforce in Firefist's mind that killing is acceptable?

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A gamer's thoughts

Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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