Pacific Rim: Maelstrom…And Other Unpopular Opinions Of Mine

It should surprise nobody who’s been her long enough that I don’t necessarily tow the “party line”. I defend Scrappy-Doo and other mascot characters. I think kids properties should remain kids properties even if they add things for the adults watching. I like things many on the internet in my circles don’t. I see “woke” as a symptom of a larger problem in entertainment. I’m willing to go against the group and have my own opinions, but I’m also willing to go along with the group if I agree with them.

Pacific Rim is one of those franchises where I don’t agree.

I saw the original movie just before the second came out, and while I liked it I did not have the same reaction as the rest of my circles. Everyone around me hyped the thing up so much nothing less that being the greatest giant monster movie I ever watched in my life would do, but I just didn’t see it. It was a great plot with great characters, but waiting for that mindblow everyone else experienced never elicited that result. Then I saw the sequel and actually enjoyed it more than the first because it was so anti-hyped that it had nowhere to go but up. It used John Boyega better than Star Wars did, I liked the rest of the cast, the one-piloted Scrapper was my favorite of the Jaeger mechs, and I had a better time because I wasn’t waiting for that mindblow like others who went to see it before me had and complained wasn’t there. Without the hype, and in fact actually had anti-hype for not being as good, I enjoyed watching Pacific Rim: Uprising more than the original movie.

Oh get off my case. It was at least better than Atlantic Rim, the Asylum knock-off. An easy goal to topple but Uprising was enjoyable for me.

It’s not what Guillermo del Toro wanted, though. Pacific Rim: Maelstrom was the intended sequel, but due to mistakes by the people in charge, working on The Shape Of Water, in which a woman hooks up with a fish man that’s more fish than man, and losing the movie’s star, Uprising was rushed together and put out. You can probably tell from the end result, but my opinion is unchanged. Yesterday I learned what the planned story was and…I’m going to fight the universe again by saying I’m kind of glad we never got it.

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“Yesterday’s” Comic> Geek-Girl V2 #1

Someone needs to teach the new Geek-Girl how to fly high enough to not run into people.

Geek-Girl volume 2 #1

Markosia Enterprises (June, 2018)

“Crime Wave” part 1: “There’s A New Geek In  Town”

CREATOR/WRITER: Sam Johnson

ARTIST: Carlos Granda

COLORIST: Chunlin Zhao

LETTERER: Paul McLaren

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BW’s Daily Video> Two Superheroes With The Same Tailor

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Personally I like Sandman’s original costume. Of course it could have been worse. Remember when DC gave the Blackhawks superhero costumes instead of their military style uniforms? If not, I envy you.

Superman Gets A New Power…Again

Those are just the powers that stayed. Everyone remembers the rainbow finger beams that shot out a mini-Superman.

Here we go again, another superpower that weakens Superman, making it ultimately worthless or dangerous to him to use.

Superman’s powerset is a dime a dozen at this point. Most of the superpowered beings in the DC universe alone has at least one or more of Superman’s powers. They’re practically the standard even if you aren’t making a Superman analog. I know it’s one of the reasons why I assumed The Samaritan of Astro City was their Superman, though Kurt Busiek claims otherwise. We know them, we love them, we usually go to that list to choose the superpower we want to have if we could have superpowers. Not me. I want an energy field that grants me other superpowers, only three of which are up there–see if you can guess which ones. I guess now we’re close to that thanks to Dan Slott.

Another writer more interested in putting their mark on a character rather than making their mark as a creator and continuing the character they don’t own, Slott has given Superman yet another power, a defensive version of the “super flare” that protects him from Kryptonite. I’m calling it a kryptonite barrier until they give me something official because that’s what it does. Using Superman’s stored solar power, like the super flare, he can create a short-lived protective barrier from kryptonite for three minutes, but if it runs out so does Superman’s powers (and so does Superman if the kryptonite is still there). You know, like the LAST superpower they gave him.

Do we really need Superman to have a new power? I don’t think so, or some of the one-off powers Superman had, like remolding his face that one time, or the rainbow finger beams that shot out a tiny Superman. Heat vision started out as heat from his x-ray vision. I haven’t seen super ventriloquism in years and only the comics used it. Is the kryptonite barrier really necessary? Is the overload of Kryptonite a good idea?

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“Yesterday’s” Comic> Sonic The Hedgehog #97

“I’m Bathog.”

Sonic The Hedgehog #97

Archie Comic Publications (July, 2001)

COLORIST: Frank Gagliardo

EDITOR: Justin “J.F.” Gabrie

“My Secret Identity”

WRITER: Karl Bollers

PENCILERS: Nelson Ribeiro & Harvey Mercadoocasio

INKERS: Ken Penders & Pam Eklund

LETTERER: Jeff Powell

Knuckles: “To The Brink”

WRITER/INKER: Ken Penders

PENCILER: Ron Lim

LETTERER: Vickie Williams

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BW’s Daily Video> AI Batman Reacts To Batman ’66

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Why 2D Won’t Save Disney

I’m not exaggerating when I say that Disney has dropped traditional drawn, or “2D”, animation. Any cartoon they’ve put out lately–be it streaming, on their remaining TV presence, and of course movies–have been in 3D or done by an outside studio, with the company that was once a leader in animation serving as distributor at best. Phineas & Ferb, Milo Murphy’s Law, Hailey’s On It, certain Marvel shows until recently, and even the Mickey Mouse shorts by people who clearly didn’t understand 1920s-1930s animation or humor and made something ugly and disappointing–were not made by Disney animators. Traditional animators are gone at that company (or so it appears), and in its place are either computer-generated “3D” animation or live-action demakes of 2D classics right up to the “Disney Renaissance”, a period where Walt Disney Studios was making the best of both methods to create new and interesting stories.

Fansided’s Along Main St., their Disney-focused section, recently released an article suggesting The Walt Disney Company, which hasn’t done anything Walt would have done since Bob Iger showed up, proving that Michael Eisner was not the worst thing to happen to the company, might bring back 2D animation thanks to one comment from one person, and it’s the first time I heard of 2D artists still existing at Disney Animation beyond designing characters for the 3D movies.

This week, Jared Bush shared how important diversity was to the Walt Disney Company and the role it played in the creation of its films. While some might roll their eyes at the premise at first, he’s not talking about a forced DEI initiative, but diversifying the type of media Disney puts out.

“I love 2D,” Bush said. “Right now we have 2D artists who are doing some bonkers amazing things. I’ll leave it at that,” Bush said with a wink when we asked about the format returning to the studio.

If you’re anything like this writer [Along Main St. contributor Zach Glass], that nugget of information had your radar going off. As much as Disney has helped shape the animation industry, it feels like the studio has completely forgotten its roots.

Jared Bush is a Disney movie director putting together a sequel to the excellent movie Zootopia. What could the 2D artists be working on? My guess is merchandise or the aforementioned character models because while Disney has all but abandoned “those silly cartoons” under Hollywood’s continued pushback against animated productions daring to think they’re equal to live-action, the only animation they have put out is computer generated, and not only by Pixar, a company they acquired because of their success in 3D animation until recently.

Look, I’m not bothered by which format you go by. As I wrote in my Art Of Storytelling series, both serve a use depending on the needs of your story and which better brings it to life. I am disappointed traditional animation has been abandoned by a company founded by a man whose goal was to push the boundaries of animation as a form of storytelling. Bringing that back may bring back a lot of traditionalists, and show Disney can work in both forms and do it well…at least if it wasn’t modern Disney.

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