Having dislocated my shoulder a few weeks ago, I haven't been doing much video gaming. I can do some PC gaming on my laptop using my trackball mouse and wireless keyboard (and plan on having a new Civilization VI strategy published real soon), and I also finally started playing Breath of the Wild on the Switch, since the Switch controller is much more comfortable to use with my arm in a sling. I haven't touched the PS4 since the dislocation. I've also been watching a lot more TV and movies.

One such television show has been Netflix's new The Witcher TV series, based on the novels that inspired the video game series of the same name. The Witcher III is a fantastic game that I've come to adore due to its exceptionally well-written and thoughtful quests. But I never played the first two games in the series, nor read the books. So I was looking forward to the TV show hopefully filling me in on more of the backstory and history of these characters and this world.

I just wish that I was having an easier time following along with what the heck is going on in this show, as its plotting and structure seems to be rather muddled.

I'm not even talking about the large, big-picture structure of the show. I followed along just fine with the show jumping back and forth between Ciri's escape from the Nilfgardian invasion of Cintra, and the travels of Geralt that happened in the 15 or so years leading up that invasion. It took me a few episodes to wrap my head around it, but I'm fine with it.

No, what's confusing me is the minute-to-minute plotting and character motivations. There have been numerous times during these eight episodes that I just kind of threw my hands up and asked aloud "what is going on here?". Why are these characters doing what they are doing? And why do so many conversations feel like they are made up of non sequiturs? There's going to be some light spoilers here, so if you haven't watched the show yet, you can maybe skip the next two or three paragraphs.

I found myself very confused as to why certain things were happening.

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The Haunting of Hill House

Oh boy, this is going to be a tough one to talk about. I have very mixed, and somewhat polarized views of how this turns out, and as such, I'm struggling with whether or not I can offer a recommendation. The first five or six episodes are fantastic! After that, however, I really feel like the show peters out, begins to meander and run in place, and then kind of unravels in the end. Those first five or six episodes are so good, however, that I think I can recommend the series as a whole based on the strengths of its first half.

I can't discuss this show without getting into spoilers, so be warned that the further down you read, the more spoiler-y this will become.

A masterfully suspenseful start

Each of the first five or six episodes is told from the point of view of a different sibling in a family that is tormented by a summer spent in a haunted house. This structure creates a deeply textured and nuanced tapestry, in which each episodes recasts the events of the previous episodes in a new light. Giving each character his or her own episode provides us with a rich character study that helps us to understand each character's attitude when they all get together and the family drama gets rolling. All the while, the subtle supernatural elements create a building sense of intrigue as the mysteries surrounding Hill House, and the family's last night there, continue to mount and the plot continues to thicken.

Each of the first six episodes is told from the perspective of a different character.

I really love the camera work! Slow pans and zooms are used with excellent effect to draw out scenes and add tension and keep the scene mysterious. Sometimes, there's a creepy detail in the background. Other times, there's an ominous lack of anything creepy to see as the camera slowly pans from character to character across a room or down a hallway. In any genre other than horror, these labored camera movements would seem wasteful and pointless, but they really add to the atmosphere here.

The set design is also really great. The gothic Hill House provides an excellent and ominous set piece, but the other sets are also uncanny and unnerving in their own right, especially Shirley's funeral home. Around episode 6 or 7, I was really starting to struggle with reconciling the geometry of Hill House, and this is something that is paid off really well at the end of the series.

The geometry of Hill House becomes a source of unease as the series develops.

A meandering, incoherent ending

Unfortunately, the series faltered a bit for me after the sixth episode. At this point, all the characters are together in one place, and so no one character receives the focus of the narrative. The story starts to meander a bit here, while also running in place, as the intrigue that was so carefully crafted in the preceding episodes is squandered, new plot points and concepts are thrown at the audience, and old plot points and concepts just disappear.

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Netflix's extraordinary exclusive series Black Mirror recently released its fourth season, and it's premiere episode, "USS Callister", is already being praised around the internet for its spectacular deconstruction of toxic fandom and male-entitlement power fantasies. It deserves every bit of that praise. Jesse Plemons is also deservedly earning plenty of praise for his incredible performance as both a nerdy creeper and for his spot-on Shatner send-up. But Black Mirror, as a series, is so good, in part, because it works on many, many different levels. So I wanted to spend a bit of time praising the episode for some of its other concepts that are getting less attention in the mainstream.

Jesse Plemons puts on a masterful performance as a nerdy office creeper and a spot-on Shatner send-up.

Before I do that, I want to start by saying that I love Black Mirror as a series. It's a modern-day Twilight Zone with a specific focus on the social impacts of technology, and dire warnings about their dangers. Yes, it's pessimistic, but it's bloody brilliant! I haven't sat down to watch every episode yet, and have only seen a handful of episodes from the first three seasons and the season four premiere. That being said, the show's second episode "Fifteen Million Merits" is one of my favorite pieces of television ever. "The Entire History of You", "Be Right Back", and "San Junipero" are also some of my favorites so far.

These episodes (along with "USS Callister") work so well for me because they do such a fantastic job of world-building -- at least, when they are not unrealistically pretending that memories and personality can be replicated from DNA, which is a major (almost story-breaking) stumbling block for Callister. These deep, nuanced worlds create many levels of commentary to unpack. "Fifteen Million Merits" focused on reality TV and pervasive advertising, but it also has some scathing warnings about a culture of body-shaming, obsession over digital merits (read: XBox Live and Steam Achievements), and how corporate avarice could turn a post-scarcity economy into an absolute dystopia.

A friend of mine highly recommended "San Junipero" to me on the grounds that it's a more optimistic episode than many of the others -- even having a happy ending. But my takeaway was not a "happy ending" at all. The fairy tale ending hides a sinister metaphysical question that the text of the episode mostly sidesteps: the mind-body problem. Is the avatar of a deceased person living in San Junipero really that same person? Or merely a copy? Are they one power failure away from being snuffed out of existence? Are people committing suicide based on misinformation from a multi-billion dollar corporation promising that they can live forever in a simulated reality?

Black Mirror's exceptionally well-thought-out worlds always leave sinister nuances to unpack.

"USS Callister", on the surface, appears to be entirely about toxic fandom (along with male entitlement). It is absolutely about that, and it does a fantastic job of presenting it. As a Star Trek fan, I also enjoyed the deconstructive elements about Trek tropes and the unrealistic reverence that fans hold for the series and its established canon. As someone who blogs about Star Trek, Star Wars, video games, and other fanboy topics, I am certainly a target of at least some of this episode's criticism.

As someone who works in the software industry, I recognized the episode also taking swipes at the cult of personality attached to tech moguls like Mark Zuckerberg, Jeff Bezos, Elon Musk, Bill Gates, Steve Jobs, Gabe Newell, and others, and the idea that they may be taking credit and profiting on other people's work, and becoming filthy stinking rich at the expense of the consumers who mindlessly use and venerate their products, all with willful disregard for how those products may be misused. As someone who can't wait to put myself on the waiting list for a Tesla self-driving car, I'm also well within the cross-hairs of that line of commentary...

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Stranger Things season 2

The first season of Stranger Things was a mysterious and intriguing piece of television that successfully channeled an eclectic collection of 80's and 90's nostalgia (from E.T. to Stephen King to The X-Files to Dungeons and Dragons). Instead of being a cynical piece of derivative nostalgia bait (or an outright cash-in on established intellectual property), Stranger Things somehow felt wholly fresh and original.

Unfortunately, season 2 lacks a lot of that mystery and originality that made it's predecessor work so well. Season 2 just feels too familiar. We already know about the Upside Down, and the Demogorgon, and Eleven's psychic powers, and the secret government research lab conducting shady experiments. None of that can really carry the show anymore. But that's about all that season 2 has. There's nothing very new. There's no surprises.

The introduction of a new girl creates tension within the group.

Compounding this problem is that plot points and set pieces feel recycled from last season. Most are inverted in some way, as if they are Upside Down reflections of the previous season's events. But that isn't nearly as clever as the wordplay might make it sound. For example, there's a sub plot of tension among the boys because a new girl has entered their group. This time, it's Max instead of Eleven, and it's Mike who's unhappy with the new dynamic of the group instead of Dustin and Lucas. Midway through the season, there's a set piece in which Will draws a bunch of pictures and hangs them up all over the house. It feels like a repeat of Joyce hanging up the Christmas lights, except that it's Will trying to communicate with the Upside Down instead of Joyce trying to communicate with her son. And the group even takes in another stray and tries to hide it; except this time, it's a baby demogorgon instead of Eleven.

There's a sort-of new monster in the form of the "Shadow Monster" that haunts Will. This shadow monster, however, doesn't really do anything, and we're left with only the army of dog-like demogorgons. It takes an approach similar to James Cameron's Aliens , in that it multiplies the number of monsters, gives them a "nest", and adds some big "queen" that seems to be controlling everything. This comparison is driven home by the shadow monster's resemblance to a ghostly xenomorph, and the inclusion of a scene that was basically pulled straight from Aliens (right down to the beeping motion detectors). But unlike Aliens , I never felt threatened by the surplus of demogorgons, and the Upside Down never seemed as mysterious as the xenomorph hive or their horrifying queen.

The "Shadow Monster" is a threat that never really pays off -- at least not this season.

While the first season didn't revel in sudden character deaths for the sake of shock value like Game of Thrones , the sudden death of Barb midway through the season did manage to raise the stakes for everyone else. Season 2 has nothing like that. There's no sudden or unexpected deaths of any characters who aren't obviously disposable from the moment they arrive on scene. And even among the cannon fodder characters, the death count is still ridiculously low...

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Stranger Things

After P.T. took the PlayStation Network by storm two years ago (geez, has it already been that long?), I set up my Google news feed with a subcategory specifically for Silent Hill news. I wanted to keep up with the progress of the game, since it looked like the most promising project the series had seen in a decade. After the traumatic cancellation of Silent Hills, that news feed has been mostly populated with articles mourning the loss, or with conspiracy theories about the game's return. Lately, however, a new story has been repeatedly populating that news feed: reviews and interpretations of the Netflix original series "Stranger Things".

With the internet's insistence that Stranger Things is "the show that Silent Hill fans have been waiting for", and some recommendations from co-workers and friends, I decided to give Netflix's new horror thriller a chance. So while House of Cards and Daredevil still sit unwatched in my Netflix queue, my girlfriend and I powered through all eight episodes of Stranger Things within a week.

Stranger Things reminded me a lot less of Silent Hill, and a lot more of Twin Peaks and E.T., but I loved the series nonetheless. I found myself amazed by just how much the show looks and feels like something from the late eighties or early nineties, and by how well it manages to capture a sense of nostalgia for its sources of inspiration without having to license them outright. Hollywood could learn a thing or two from this show. The insistence on reviving franchises like Star Trek, Star Wars, Ghostbusters, Transformers, Ninja Turtles, Power Rangers, The X-Files, etc., is starting to wear very thin. At best, these films feel like high-budget fan fiction. At worst, they feel like cynical attempts to play off of nostalgia for a quick cash-grab. Very rarely do they feel like genuinely inspired works of creative art. This reliance on adaptation instead of inspiration has created a dearth of creativity that in many cases has tarnished once-venerable intellectual properties.

Stranger Things - the Upside Down
The internet claims that Stranger Things is "the Silent Hill show that fans have been waiting for".

Stranger Things doesn't stoop so low. It wears its influences proudly on its sleeves, but it also remains, thankfully, it's own entity. It never feels derivative; it never feels stale; and it never feels creatively bankrupt. It's not exactly original (as it blatantly incorporates elements of its inspirations into its plots and characters), but it also manages to occasionally surprise with its clever subversions of genre tropes. It never feels like the shallow fan service that I've gotten so used to seeing from Hollywood blockbusters, and (most importantly) I could enjoy it without the baggage of expectations from a recognized namesake.

Much of this is due to the characters and performances, all of which are great...

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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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A Demon's Souls remake? What to keep, what to fix, and what to addA Demon's Souls remake? What to keep, what to fix, and what to add08/18/2017 Rumors of a Demon's Souls remaster or remake have been floating around for a while now (as have rumors of a sequel). I have mixed feeling on the idea of a remake/remaster. On the one hand, Demon's Souls is one of my favorite games ever and may represent the peak of the series. Naturally, I want more people to play it and recognize...

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Could multiplayer work in a Silent Hill game?Could multiplayer work in a Silent Hill game?03/25/2011 Last week, the Italian version of Xbox360 Magazine quoted Silent Hill Downpour art director Radek Marek as saying: "At the moment there will be no multiplayer modes in Silent Hill: Downpour, but Konami are investigating a separate chapter devoted entirely to the Multiplayer. ... We do not know the details but it should be an...

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