Thursday, 28 February 2019

Pokemon Sword & Shield: 10 Speculations Based on the Trailer

Welcome back! As promised, I have a number of speculations based on the announcement trailer for Pokemon Sword and Shield. With that in mind, if you didn't read my hype piece or watch the reveal trailer, I would definitely recommend doing so before going forward. Got that? Okay, let's put on our tinfoil hats and dive in!

(Update: I have also made a video companion to this article with some of the more interesting theories. You can check it out below!)


10) Runes and Nazca Lines

Let's get the obvious speculation out of the way now, because this is clearly the most tantalizing detail that Game Freak has put into the trailer. In the town with the Grass-type gym, you can see a number of rocks with runes on them, a Stonehenge-like rock structure and a huge mural carved into the countryside which looks similar to real-life Nazca Lines. So what does this all mean? Well the runes remind me of the Unown from Gen 2, but I doubt that they're a direct link with a Pokemon like they were back then. More likely to me is that the runes are simply describing the events of the Nazca Lines that we see. The environmental art here seems to depict a giant dragon-like creature breathing fire or lightning. There really isn't a lot to go off of about what this Pokemon may be like, other than it's large, bipedal and spiky. The art also depicts people and cattle around this Pokemon's feet, but whether they are worshipping the creature or being killed by it is ambiguous (the fact that there is a person lying upside down to the far left of the mural has me thinking that it's likely that this ancient Pokemon was attacking people though).

(Edit: Fiore1300 from Discord has let me know that the Nazca lines as I called them here are called "Hill Figures" in Britain. That doesn't change the implications or the theory too much, but it's worth updating, thanks Fiore1300!)


It's worth taking into account the popular legends of Stonehenge and the Nazca Lines when analyzing the runes, Stonehenge-like structures and Nazca Lines in this trailer. In particular, these structures are commonly associated with aliens contacting ancient humanity in pseudo-science circles. This isn't an unprecedented idea for Pokemon either, as ever since the very first generation there have been several Pokemon which are confirmed to be aliens and others which come from other dimensions. So what could this mean for the game? Well, if this is related to the game's mascot legendary, then perhaps they will be summoned from space by the villains for the game's final confrontation, similar to Deoxys in Omega Ruby and Alpha Sapphire or the emergence of Necrozma in Ultra Sun and Ultra Moon. This seems most likely to me - details like this have pointed towards legendary Pokemon in basically every generation, so the idea that this won't actually lead somewhere is incredibly unlikely.

9) The Themes of the Mascot Legendaries

Pokemon games always release with paired games, but I think pretty much everyone was caught off-guard by how unconventional Sword and Shield were. However, if history is anything to go by, then the titles of these games are going to be a hint at what we can expect out of the games. Since Gen 5, the titles of the games have always tied directly into the mascot legendaries and their themes in some manner - Black and White referred to the dragons Zekrom and Reshiram and their opposed ideals, X and Y were reflected in the names and designs of Xerneas and Yveltal, and Sun and Moon reflected the designs and aesthetic for Solgaleo and Lunala. Therefore, it stands to reason that Sword and Shield is going to describe something about the design and possibly themes of the mascot legendaries for this game. The most obvious speculation is that the Sword legendary will be hyper-offensive, whereas the Shield legendary will be incredibly bulky, which would be quite interesting to see. I think it's also likely that they will both reflect knighthood in some manner, since they are often associated with swords and shields (obviously).

The shared wolf's head in the title design also makes me curious about whether it's meant to be a hint about the legendaries' designs, especially considering how out of place the head is on that shield. Personally I'm thinking it's unlikely that we'd get a hint that obvious, but it is possible that this could signify that the mascot legendaries are a branching evolution like Lunala and Solgaleo were in Gen 7. Also, if the wolf's head is a hint about the mascot legendaries, then it is inconsistent with the dragon-like beast in the Nazca Lines, meaning that that might be another legendary Pokemon in the game. Perhaps the mascot legendaries fought back against the dragon-like Pokemon and kept it at bay? That would be consistent with the idea of knighthood which is inherent in their themes.

8) Could Beauty Contests Be Making a Return?

Okay, I'll admit that this is easily the most crackpot theory I've got here, but I find it incredibly intriguing. So, as we know, professionally-made trailers are always put together very deliberately. Therefore, I find it interesting how brazenly Game Freak put the above advertisement on display in the trailer. At first I just assumed that it was a bit of background decoration to make the world look more interesting, and it's definitely possible that that is all that this is meant to signify. However, if it was put in there as a hint, I decided to check out what each of the berries in the poster was for. I see a Cheri, Pecha, Wepear, Lum, Aspear and Chople berries for sure in that image, but there are also a couple curious details. For one thing, that pointy, red berry appears to be a Nomel berry, but those are usually coloured yellow, not red. Perhaps this is a new berry which is going to be added in the game? There is also a yellow, leafy berry which appears in the background of the image which appears to be a Pinap berry, which is also interesting because this berry has been mainly used recently in the Let's Go games and Pokemon Go in order to make Pokemon drop more candies and level up or evolve your Pokemon faster. However, Pinap berries were originally introduced to be used in the creation of Pokeblocks/Poffins, which were essential for the Pokemon Contests minigame in Gen 3 and 4. Also contributing to this is that the Wepear and Nomel berries which appear in the poster were also used exclusively for Pokeblocks and Poffins. The product that they're advertising also appears to be some sort of Pokeblock treat, which makes me wonder if perhaps this is a signifier that Pokemon Contests are going to be making their return in Pokemon Sword and Shield. Again, I could be looking into this waaaay too deeply, but I really have to wonder why Game Freak would put such a conspicuously Contest-related poster into this trailer if not to hint at something.

Wednesday, 27 February 2019

Pokemon Sword & Shield: 5 Confirmed Features that Have Me Hyped

The tonal whiplash is real: I just got off of a pretty dire warning about isolationism and white supremacy, and then we're straight into a hype piece about the next generation of Pokemon. That's just how we roll here at IC2S. I'm hoping to have more Pokemon content starting this year, with videos on Youtube and Twitch streaming by the time Pokemon Sword and Shield release. If you haven't seen the reveal trailer, you can do so below:


Suffice to say, I'm hyped for these games. After going through the trailer a few times now, I've noticed five details which have gotten me hyped that I want to point out. Tomorrow, I'll go over some of my speculations as well.

5) More Detailed Animations and Graphics

This is a bit of a given considering the move to the Nintendo Switch, but Pokemon Sword and Shield look gorgeous, easily the biggest leap in visual quality this series has seen since at least the 3rd generation, if not the biggest leap ever. It's one thing to see a screenshot and marvel at the detailed environments (more on those later), but it's another to actually see them in motion. The Pokemon themselves are also very vibrant and, thankfully, retain their cartoony look. I was maybe just a liiiittle worried that they might go the Detective Pikachu route and make them start looking more "realistic". The animations have also been improved as well, and we see a moment in the trailer where the player character walks down a set of stairs... such a mundane-sounding thing, but in motion it's actually quite remarkable. Seriously, if you still haven't watched the trailer, do it!

4) The Galar Region Looks Quite Diverse

Each Pokemon region always comes with its own distinct flavour, although some stand out a bit more than others. The Galar region is shaping up to have its own distinct flavour and plenty of diversity to its environments. In total, we see a grassy farming town which is presumably where our character begins their journey, an awesome-looking Zelda or Dark Souls-like misty forest, an urban environment which almost looks steampunk in terms of its aesthetic, a snowy mountain village which also appears to have an icy beachfront (what the hell...?), a stadium, an awesome-looking mine shaft and a laboratory. That's not all either, there is a map shown during the Nintendo Direct which shows that there even more environments that we haven't seen yet and strongly suggests that Galar is based on the United Kingdom. My only concern here is that the Galar region appears to be quite linear, so unless I am wrong the options for player exploration are going to be considerably limited during the main storyline. We'll have to see as the release date gets closer, but for now that's something to keep an eye on.

Saturday, 23 February 2019

The Cost of Isolationism

I recently watched Alt-Right: Age of Rage on Netflix. If you're not really familiar with the alt-right and their connections with white supremacists (and holy shit, it's 2019, you should be) then it's a good primer. There's a segment near the end though that has really gotten me thinking since I watched the documentary. During a montage there is a voice-over which goes on a conspiracy rant about how the alt-right is preparing society to accept mass genocides which are going to happen as a result of ecological and economic disasters. While I feel like the idea that this is the true intent of the alt-right, as if they're being controlled by some shadowy puppet master, is a bit much, there are elements of this notion that ring true.


With the rise in nationalist movements, xenophobia has become a serious wedge issue which politicians are keen to latch onto. Governments which try to take a stand in favour of immigration seem to be on the brink of political collapse as populist movements push back, surged by xenophobic fervour. While there are certainly reasonable levels immigration restrictions (no one wants dangerous criminals in their country after all), the degree of xenophobia and straight-up racism which dominates this conversation now is deplorable. Syrian refugees are fleeing war? They must be hiding terrorists amongst them, or they're going to become the majority and institute sharia law, so we can't afford to let any in. We need merit-based immigration, the kind which most of our existing citizens couldn't even qualify for! And hey, why can't we get more immigrants from white countries instead of shit-holes? Ugh... Don't even get me started on America's disgusting campaign against illegal immigration, Dreamers and asylum seekers. It's clear that the aim is to circle the wagons: keep the "right" people in the country and not let any more "others" in.

So what are these people so afraid of? How does it affect the average citizen at all for immigrants and refugees to get a slice of the American pie? Putting aside racism (which is a major factor), it comes down to the old parlance, "they're stealing our jobs!" There's this idea that if you let immigrants in, then they're going to vacuum up money which could have gone to "real" citizens (you always get some idiot chiming in with something along the lines of "why aren't you giving money to veterans instead of immigrants?"). Naturally, this ignores that immigrants are essential to a healthy economy, especially considering that our workforce is ageing and that the birth rate is declining. Regardless, there's a notion that immigrants are a drain on our resources, one which is fuelled by disingenuous anti-immigration propaganda farms on social media. I've talked about it many times in the past, but this is a perfect example of the dangers of voter ignorance, where political activists are manipulating people into a frenzy in order to get them to vote the way that they want.

Like this bullshit right here.

As bad as the xenophobic trend is now, you also have to factor in the effects that climate change is going to have in the coming years. Climate change will affect everyone, but it's going to be felt most keenly by poor people, especially in impoverished regions. This, in turn, is going to lead to even more refugees as time goes on and as people become displaced by rising sea levels and severe weather events. Make no mistake - this creates an environment in which people are going to be displaced and die en masse. Considering that industrialized nations have contributed to this environmental crisis and refuse to do anything serious to combat it, the notion that we can just wash our hands of the human impact of climate change is unacceptable. People will certainly die, but we can mitigate the death toll if we're willing to allow refugees into our countries. If we refuse to act due to racial prejudice, this will be essentially genocide against anyone who isn't one of "us".

Perhaps the most depressing aspect of this to me is that evangelical Christians, the self-described "pro-life" types and the ones who believe that they are the moral bastion of society, are also the ones most likely to deny climate change and oppose immigration. This isolationist bent is, of course, in blatant opposition to The Bible that they claim to follow. Christians should be leading the charge to welcome refugees, to shelter Dreamers from ICE agents and denounce the disturbing trend towards fascism across the globe. Instead, I question whether they'll even have the self-awareness to say "I didn't know" when their apathy towards climate change and refusal to welcome immigrants leads to deaths across the globe.


Like I said at the start, I don't believe that white supremacy is being trotted out once again in order to prepare us for this depressing future. I do, however, believe that if racism and anti-immigration sentiment continues, we're not going to be able to do anything when there are people literally dying to find safety within our borders. Call me a bleeding-heart liberal, but we can't call ourselves moral people if we're going to stand by and allow people to suffer so that we can live just a little more comfortably.

Sunday, 3 February 2019

Retrospective BONUS: Hollywood Chainsaw Hookers (1988)

Surprise! You didn't think that I was totally chainsawed out, did you? While working through the Texas Chainsaw retrospective, I was reminded that Gunnar Hansen appeared in another chainsaw-based film - 1988's Hollywood Chainsaw Hookers. I've been aware of this film for a long time, having frequented BadMovies.org as a high schooler. Naturally, the bonkers title and some hilarious plot points (including an ancient Egyptian chainsaw cult!) have always kept this film on my radar, so I figured what better time to watch it than now, especially considering that this is my 250th blog post? After all, this is probably a Texas Chainsaw parody, so might as well append it onto this retrospective series, right? Read on to find out...

Objectively, this is a pretty bad poster, with shots from the film badly cut and pasted in, lots of wasted space and the main characters are probably the smallest part of the whole image. But, for this kind of movie, it works well enough. Also, that is a really great tagline!

PRODUCTION
(Pretty much all of the info I have on the production of this film comes from this featurette on the making of Hollywood Chainsaw Hookers, I definitely recommend checking it out if you have the time!)

Fred Olen Ray had been working as director on low-budget films for a number of years in Hollywood, kind of like a cheaper, sleazier, less-successful Roger Corman. By 1985 he had begun working on several films per year, shooting as quickly and cheaply as possible. By the late 80s, Fred had struck a production deal with an adult video company called LA Video and their subsidiary, mainstream distribution company, Camp Motion Pictures. LA Video expressed interest in distributing a new film for Fred and it was here that he pitched his idea for Chainsaw Hookers. LA Video added "Hollywood" to the title to make it sound more like Texas Chainsaw Massacre and Fred managed to rope Gunnar Hansen into the project. This was, of course, at the time when both Cannon Films and New Line Cinema weren't interesting in working with Gunnar Hansen since they didn't think he was a big enough star, so it just goes to show how much wiser Fred Olen Ray was than either company. With Hansen on board and $25,000 in hand from LA Video in exchange for the home video rights, Fred went about making his film, rewriting a script by T.L. Lankford.

In addition to snagging Gunnar Hansen to play the main villain, The Master, Fred Olen Ray managed to get Linnea Quigley to play the female lead. Qugiley is best known for being naked in a number of famous horror roles throughout the 80s, and by this point had already been in Silent Night, Deadly Night and Return of the Living Dead, so Hollywood Chainsaw Hookers was more-or-less the perfect role for her. John Henry Richardson was also cast as the male lead, Detective Jack Chandler.

Naturally, this being a Fred Olen Ray film, he made it while working on other projects. While doing pick-ups on a low-budget movie called Moon in Scorpio, Fred agreed to take a lower pay cut in exchange for the use of Trans World Entertainment's studio space and film equipment during downtime, which he would use to film Hollywood Chainsaw Hookers. As per the agreement, he had the equipment from Friday to Sunday, filmed the pick-ups for Moon in Scorpio Monday to Thursday and then finished Hollywood Chainsaw Hookers the next Friday to Sunday. All in all, he took about 5 1/2 days to shoot the film on a measly budget in the neighbourhood of $55,000. Naturally, the filming conditions were extremely sketchy - it was shot with no permits, on leftover sets from other films, with real chainsaws and even with real hookers on occasion! Even the film stock was as cheap as possible, using short ends which were left over from other films. The audio was all shot on set as well, so considering that there are chainsaws revving loudly on a number of occasions, you can't tell what the characters are saying at all sometimes because there was no budget for redubbing dialogue. The conditions were also potentially dangerous for the cast, particularly since they were using real chainsaws - in one notable instance, Linnea Quigley (who had already spent seven hours in makeup) was locked inside of a coffin with two running chainsaws so that she could preform the film's iconic virgin dance of the double chainsaws. Naturally, this meant that the coffin was quickly filled with chainsaw fumes and Quigley can be visibly seen stumbling out of the coffin because she could barely breathe.

Hollywood Chainsaw Hookers ended up being one of Fred Olen Ray's more successful films. That said, I want to just look at his career a little bit. He's been making mockbusters, sexploitation films and, most recently, freaking Hallmark Christmas movies in order to get by (I'm pretty sure I've even seen at lest one of those Christmas movies too, holy shit). He's like The Asylum before that studio cornered the mockbuster market. Most obviously, in 1994 we've got Dinosaur Island (riffing on Jurassic Park), in 1998, Mom Can I Keep Her? (Mighty Joe Young) and in 2011, Bikini Time Machine (Hot Tub Time Machine). Oh, and he's been releasing sleazy, borderline-softcore porno films throughout his whole career, although they seem to have picked up and become more pornographic since the 2000s. Just trolling through his directing credits, we've got such fantastic titles as Bikini Airways, Attack of the 60 Foot Centerfold, Thirteen Erotic Ghosts (which must have the best IMDb description ever), Genie in a String Bikini, Super Ninja Bikini Babes (which sounds like an alternate title for Dead or Alive) and Tarzeena: Jiggle in the Jungle. Lately, he's been slumming it with shitty Christmas movies, having released 10 since 2007 (and 9 of those have been since 2012, bloody hell), and with cheap crime films, which should probably give you an idea of the cultural zeitgeist when these are the only profitable genres left.

Friday, 1 February 2019

Retrospective: Leatherface (2017)

Welcome back to The Texas Chainsaw Massacre retrospective! We're coming to the conclusion of this retrospective today with 2017's Leatherface... not to be confused with Leatherface: The Texas Chainsaw Massacre III of course (and with that in mind, any time I've referred to "Leatherface" in previous posts, I was referring to Chainsaw III). After the relative success of Texas Chainsaw 3D, the filmmakers once again decided that a prequel was the way to go to continue the series - that's right, not only does this film have the same title as a sequel which it ignores, it also isn't even the only prequel in this franchise. Bloody hell, the Texas Chainsaw franchise continuity is just a mess at this point. Is Leatherface at least be more coherent than the continuity of its franchise? Read on to find out...

Considering that this film's trying to do its own thing, it's unfortunate that it's using basically the same poster design as The Texas Chainsaw Massacre: The Beginning. Suffice to say, it's a very "meh" poster.

PRODUCTION
After the relative success of Texas Chainsaw 3D, the various studios involved in its production began conceptualizing a follow-up. As early as January 2013, Texas Chainsaw 3D executive producers Christa Campbell and Lati Grobman came to Millenium Films chairman Avi Lerner with an idea for a project which was going to be called Texas Chainsaw 4 (for some inexplicable reason). However, this project was announced prematurely by Millenium, which irritated the rights-holders at Main Line Pictures. I'd recommend checking out this article from Bloody Disgusting which breaks down the minutia of who owned the rights to the film at this time and shows how the studios involved were squabbling amongst each other.

Screenwriter Seth M. Sherwood pitched the idea of a prequel, as he didn't like how inconsistent the franchise's continuity had become and wanted to do something completely different with the franchise. He decided that he wanted to give Leatherface a tragic backstory, where his identity and mental faculties are taken away from him by the time the original Chainsaw rolls around. The film would also tie into Texas Chainsaw 3D, forming a trilogy along with the original film. The studio liked the idea and moved forward with Sherwood's pitch. On October 31, 2014, French directing duo Julien Maury and Alexandre Bustillo were hired to direct the film. The pair had already received acclaim for their debut horror film Inside and were a very exciting choice for Leatherface. Maury and Bustillo then rewrote the film to better fit their vision for the project, including altering every death scene and changing the ending, which was original supposed to feature Leatherface going on a mass murder spree with a chainsaw (with over thirty victims, holy shit, he hasn't even killed that many people in this whole franchise!!!).

In spring of 2015, casting for the film began. The lead roles went to Sam Strike as Jackson, James Bloor as Isaac, Jessica Madsen as Clarice, Sam Coleman as Bud and Vanessa Grasse as Lizzy. As is typical for Chainsaw films, most of them were young actors with only a few credits to their name and no major roles to speak of. Stephen Dorff, best known for being a mofo always trying to ice-skate uphill, was cast as the film's main antagonist, Sheriff Hal Hartman. Angela Bettis was originally cast as Verna Carson-Sawyer, but had to drop out and was replaced by Lili Taylor, the mother from The Conjuring. Also worth mentioning was that Finn Jones (who was already well-known for playing Loras Tyrell in Game of Thrones and who would later play Danny Rand in Iron Fist) was cast in a relatively minor role as Deputy Sorells.


Filming began in late spring 2015 in Bulgaria. Apparently Millenium Films had a studio in Bulgaria and so it was the most economical location to shoot the film, marking one of the few times the franchise had been shot outside of Texas, and the only time it had been shot outside of the US. While many of the locations for the film do look quite close to a Texan setting, there are definitely moments that look like Bulgaria. Perhaps the most obvious example is during the film's final chase scene in a tangled forest which looks like something from a werewolf movie or a dark fantasy setting. Filming took twenty seven days to complete. Christa Campbell and Lati Grobman stated that they wanted the violence in Leatherface to be a more graphic, as apparently fans had complained that Texas Chainsaw 3D lacked in that department. I'm not sure what they were talking about, as that film had some of the most explicit gore in the entire franchise, although perhaps they thought that it didn't come frequently enough? In any case, the brutality was ratcheted back up in Leatherface.

The film went into post-production in early 2016 and it seemed like it would be released sometime that year. However, Lionsgate inexplicably sat on the finished film and once again we had a Chainsaw being buried by its own distributor. However, unlike The Next Generation's cut-and-dry reasons for delay, I haven't been able to find a clear motive for Lionsgate to do this. I've seen speculation that they thought that the film was no good and didn't want to release it. Scott Sherwood believed that Lionsgate were afraid of the film underperforming if they invested in a wide release. I personally wonder if the squabbling between Millenium, Main Line and Lionsgate that I mentioned at the start of the production section might have had some influence on this film's delay. Perhaps it was a combination of all of these reasons, but whatever the case, there was no news about the film until spring of 2017, when it was announced that the film would finally be released in October in a limited theatrical release and through VOD services. However, in December 2017, Christa Campbell announced that due to the time it had taken to release Leatherface, the rights had reverted back to Kim Henkel and Bob Kuhn, scuppering Millenium and Lionsgate's plans for their own Texas Chainsaw franchise.