Saturday, 16 January 2077

Support The Wertzone on Patreon


After much debate (and some requests) I have signed up with crowdfunding service Patreon to better support future blogging efforts. You can find my Patreon page here and more information after the jump.

Sunday, 10 December 2017

THE WITCHER TV show gets a showrunner

Netflix have tapped Lauren Schmidt Hissrich to helm their television adaptation of Andrzej Sapkowski's Witcher books.

Hissrich was a writer and co-executive producer on Netflix's Jessica Jones, Daredevil and The Defenders, as well as a producer on Power and a staff writer on The West Wing. This continues Netflix's tradition of promoting from within and giving writers and producers on their shows a shot at running their own projects later on.

The Witcher books chart the adventures on Geralt of Rivia, a monster-hunter who initially spends his time hunting and fighting monsters in the wilderness. Despite being a loner, he gradually attracts a number of allies, including the sorceresses Yennefer and Triss, the enigmatic young woman Ciri, the bard Dandelion and the dwarf Zoltan.

It is unknown what short stories and books the TV show will adapt, or if they will have anything to do with the highly successful Witcher trilogy of video games, since some of the game personnel will be working on the TV show in the effects department.

The Witcher is not expected to debut on Netflix until mid-to-late 2019 at the earliest.

Saturday, 9 December 2017

BABYLON 5 Rewatch: Season 3, Episodes 15-16

C15: Interludes and Examinations
Airdates: 6 May 1996 (US), 28 July 1996 (UK)
Written by J. Michael Straczynski
Directed by Jésus Treviño
Cast: Dr. Lillian Hobbs (Jennifer Balgobin), David Sheridan (Rance Howard), Morden (Ed Wasser), Ambassador Kosh (Ardwight Chamberlain & Jeffrey Willerth – uncredited), Vendor (Jan Rabson), Brakiri Ambassador (Jonathan Chapman), Ranger (Glenn Martin), Medtech (Doug Tompos), Tech (Mark Ciglar)

Date: 3 August 2260.

Plot:    Ten days have begun since the Shadows launched their assault on the Brakiri and other worlds. The attacks are random, senseless and unpredictable. Unfortunately, the League worlds are unable to stand up to the Shadow vessels, but on the other hand the Shadows have not yet attacked their homeworlds. Sheridan calls a meeting with the Brakiri and Gaim ambassadors, since the Brakiri have been hardest hit and the Gaim are their nearest neighbours. The Gaim have not yet been attacked and refuse to draw attention to themselves by aiding the Brakiri. After some negotiation, the Gaim agree to send ships to help the Brakiri, but only if Sheridan demonstrates they actually stand a chance against the Shadows by providing them with a victory.

Morden arrives on the station in secret, bribing a guard to circumvent Customs. He confronts Londo, annoyed that Londo has somehow arranged for all contact between Morden and the Centauri Royal Court to be cut off. Londo refuses to heed Morden’s threats or warnings and walks off, telling Morden that he cannot do anything more to him than has already been done. Morden notices that Vir is quite busy arranging something for Londo and learns that Londo’s one-time lover, Adira Tyree, is returning to the station after two and a half years. Morden begins plotting something...

Dr. Franklin loses his temper during an operation and begins to crack up under the stress. Garibaldi and Franklin’s assistant, Dr. Hobbs, both notice this. Franklin is forced to admit he has become addicted to stims and takes a leave of absence from Medlab until he can sort himself out.

Sheridan goes to see Ambassador Kosh and tells him that the War Council they have established is demanding to see a victory over the Shadows, to see that they are not invulnerable, before committing themselves to open warfare against them. Sheridan requests that the Vorlons intercept and destroy a Shadow taskforce, but Kosh refuses. It is not yet time for the Vorlons to enter the fray. Sheridan becomes annoyed, telling Kosh that he and Delenn have put themselves, their careers and their lives on the line because the Vorlons have told them to and now the Vorlons are needed they refuse to get involved? Kosh becomes incensed and comes close to killing Sheridan before admitting he may be right. He warns him that in return for this favour he will not be able to help Sheridan if and when he goes to Z’ha’dum.

A large number of Shadow warships jump into a Brakiri system and go on the rampage. However, a Vorlon fleet appears, led by a huge mothership cruiser. The Shadows, taken completely by surprise, are destroyed and the Vorlons suffer no losses. The League worlds are heartened and sign a formal treaty of alliance with each other, the Minbari, the Narn rebels and Babylon 5. Sheridan’s hope of uniting the lesser worlds against the Shadows seems to be on the verge of actually happening. However, Morden learns of these events and breaks into Kosh’s quarters. His two Shadow associates materialise and attack the Vorlon. Sheridan has an odd dream in which his dad appears and tells him he was too proud and too afraid to help him until it was necessary. A terrific blast of light fills the station and Sheridan discovers that Kosh is dead, murdered by the Shadows in retribution for the Vorlons involving themselves in the war. The Vorlon homeworld sends word that a replacement is on the way and instructs them to place Kosh’s belongings in his ship. The ship then departs the station and dives head-first into the Epsilon Eridani star.

Londo is shocked to discover that Adira is dead, poisoned on the transport before it docks with Babylon 5. He goes to Morden and learns that, just before they broke off relations, Refa expressed his anger and hatred of Londo to Morden for poisoning him and wanted to even the score. Londo demands Morden’s help in getting even, in return for re-opening the doors on Centauri Prime he closed, and Morden agrees.


Thursday, 7 December 2017

Taika Waititi in line for STAR WARS job

Star Wars franchise boss Kathleen Kennedy has said that she is interested in hiring Taika Waititi to direct a future instalment of the space opera franchise. Waititi has delivered a major, successful blockbuster for Marvel in the shape of Thor: Ragnarok and it's no surprise that Lucasfilm (also owned by Marvel's owners, Disney) are interested in seeing if they can sign him up as well.

However, it seems an odd match. Waititi has a laidback, humorous and improvisational style, noting that many of the funniest moments on Ragnarok emerged out of the cast and crew just playing around on-set. This is similar to the approach adopted by Christopher Miller and Phil Lord on the set of Star Wars: Solo, which so horrified Kennedy that she fired them and drafted in Ron Howard to finish the picture. Waititi himself has seemed dubious about tackling the franchise, noting it's less whacky and is less tolerant of changes in tone than the Marvel Cinematic Universe. He even said, "Lolz, I like to complete my films. I'd be fired within a week."

Still, it'd be interesting to see what Waititi could do with the franchise, especially one that can occasionally be a bit too Poe-faced for its own good at times.

Netflix developing John Scalzi's OLD MAN'S WAR as a movie

Netflix have announced that they are developing an original movie based on John Scalzi's 2005 novel Old Man's War.

The book, which riffs off both Joe Haldeman's The Forever War and Robert Heinlein's Starship Troopers, focuses on an old man who agrees to fight on the front lines in a war against an alien species in return for being given a younger body. The novel has been optioned previously, with some thought in turning it into a movie or a TV series. The novel has five sequels: The Ghost Brigades (2006), The Last Colony (2007), Zoe's Tale (2008), The Human Division (2013) and The End of All Things (2015), ensuring a lengthy franchise if the first movie is a success.

BABYLON 5 Rewatch: Season 3, Episodes 13-14

C13: A Late Delivery from Avalon
Airdates: 22 April 1996 (US), 14 July 1996 (US)
Written by J. Michael Straczynski
Directed by Michael Laurence Vejar
Cast: Arthur (Michael York), Emmett Farquaha (Michael Kagan), Merchant (Roger Hampton), Old Woman (Dona Hardy), MedTech (James Kiriyama-Lem), Lurker (Robert Schuch), Security Guard #1 (Michael Francis Kelly), Security Guard #2 (Jerry O’Donnell)

Date: mid-July 2260.

Plot:    The starliner Asimov comes through the jump gate, the first Earth ship to visit the station since Babylon 5 broke away from the Alliance three months ago. The ship brings the mail and also an eccentric human claiming to be King Arthur. He boards the station claiming to be needed here. Franklin thinks he’s mentally ill but Marcus ponders if the Vorlons could have frozen him in time like the inquisitor Sebastian. Franklin tests Arthur’s DNA and discovers he is really David MacIntyre, former gunnery sergeant on the EAS Prometheus. The Prometheus was the ship that led the fleet that made first contact with the Minbari. There was a miscommunication and the Prometheus’s captain, thinking the Minbari were about to fire on him, ordered MacIntyre to fire first, thus triggering the death of Dukhat and the start of the Earth-Minbari War. When Franklin confronts MacIntyre with this, he descends into some kind of catatonic state. He only snaps out of it when Delenn forgives him for his actions. Cured, he heads to Narn to help out with the resistance (after befriending G’Kar on the station).

Garibaldi has a package containing foodstuffs waiting for him but is enraged when the B5 Post Office charges him 100 CR to cover the now-extortionate export fees from Earth to the station. He tries to break into the Post Office, but decides to instead blackmail them, accepting a 101 CR bribe not to mention to Sheridan that the Post Office’s quarters and offices are no longer paid for by Earth and thus they should be paying rent.

Sheridan is getting worried about relying on the Minbari too much for defence. He brings together the ambassadors from the League of Non-aligned Worlds, many of whom are fighting each other, and offers the use of Babylon 5 as a free diplomatic centre for negotiations and mediation in return for them donating ships to defend the station. Most accept the offer and additional warships from the League worlds soon arrive to aid the Minbari in defending Babylon 5.


Empire: Total War

1700. The world is divided between several major European powers, a smattering of colonies in the Caribbean and Americas, and the rising power of India, which European nations are starting to take an interest in. There is an opportunity here for an ambitious nation to seize real power and conquer the world through trade, diplomacy...or total war.

Empire: Total War was originally released in 2009 and is the fifth game in the Total War series (following Shogun, Medieval, Rome and Medieval II). It was the first game in the series to use the Warscape engine - which all subsequent games in the series have used - and also the first to move into the early modern period and depict the use of muskets and cannons on a large scale. It was also the first game in the series to actually depict large-scale naval battles between galleons and warships. It also, famously, launched in a broken state with numerous bugs, graphical and AI issues which saw it lambasted by fans.

Eight years later, following numerous patches and the somehow-even-more-disastrous launch of Rome II, Empire's problems have mostly been fixed and the game can now be assessed more in line with how its creators intended it.

For newcomers, Empire: Total War is a strategy game which is divided into two modes. There is a turn-based grand strategic map, on which armies can be formed and assembled, cities can be fortified, towns and factories upgraded and diplomacy and economic agreements formed. When two armies meet, the game switches to a real-time battle map. These battles favour real-life tactics, such as forming  strong lines to pepper enemy lines with fire whilst manoeuvring cavalry to conduct flanking attacks. You can also use artillery to soften up the enemy before closing to battle.

Empire has the widest scope of the entire series. Earlier games mostly focused on the European continent, the Middle East and the north coast of Africa, whilst Medieval II introduced the coast of North America. Empire has three distinct theatres: North America, Europe and India. Europe and India are (slightly awkwardly) linked together on the map, but for most powers the only practical way of moving between the theatres is by ship. This results in different types of military campaigns in the different theatres: a European nation invading India will be constantly outnumbered and will have to secure and hold territory in the face of unrelenting attacks (allying with one of the two native powers and pitting them against one another whilst you carve up the subcontinent is a viable tactic). The colonies in the New World are much less-developed and armies will be more primitive, mostly consisting of native American allies and colonial militia. But back home in Europe much larger armies featuring state-of-the-art equipment are more the rule. Empire feels truly epic.

One of the game's biggest changes is moving most of the buildings out of the cities and into the surrounding countryside, as well as the establishing of towns, secondary settlements lacking heavy defences which warring factions can raid or capture to cut off money. This is a good idea as it drastically reduces the number of sieges, the most repetitive part of any Total War game, and results in far more interesting field battles. It does add more micro-management to the strategic layer, with lots of clicking on towns to find out which ones need to be upgraded, but it does give more Civilization-style options to the gameplay. You can also research new technology, which unlocks new buildings, new units and new weapons.

Graphically, the game has aged very well. Both the strategy map and the in-game battles are fantastically detailed and well-presented, and of course even a moderately capable modern gaming PC will blast out the game with everything switched up to max with no problem at all. The music is excellent and the game can be very atmospheric. Once you get used to the secondary settlements and switching between the different theatres, the game settles into that sweet spot between complexity and simplicity that the best Total War games occupy. The core gameplay mechanic of building armies, fending off attacks, seizing territory, pacifying it and moving on is very moreish and it's not uncommon to get that "just one more turn" feeling that ends with you switching the computer off at 3am. On all of these fronts, Empire delivers the goods.

In other areas, the game is more problematic. The battlefield AI is not great, even on the harder difficulty levels. Some battles will feature stunning enemy tactics such as cavalry riding parallel to your infantry, with the AI happily letting its horses get mown down my your infantry rather than engaging. It's also very easy to set up kill zones and letting enemy armies eagerly rush into them. The campaign map AI is fortunately much stronger, with the computer using diplomacy, feints and tactical withdrawals far more intelligently than on earlier games (although they are still reluctant to engage in naval landings and invasions). Naval battles are unfortunately a slight let-down, with generally the bigger fleet of better ships winning. Although they look amazing, the naval battles soon get repetitive and you'll soon be auto-resolving all but the most critical naval battles.

The game does have an interesting variety in factions, with nations such as Prussia, Sweden, Russia and Austria favouring continental armies and forging land empires whilst England and Spain focus more on massive fleets and establishing colonies dotted around the globe. Minor powers such as the United Provinces face a steeper struggle to conquer enemies but can make judicious use of alliances and colonies to fund a military machine. The game leans away from the idea of painting the entire map in your colours (which is inherently unrealistic, even though you can do it with difficulty) in favour of giving your empire historically-inspired, more limited objectives. Even these limited objectives can be quite tough to achieve, but it's a lot of fun to try. The real hardcore gamers can also settle in for massively long campaigns where they try to conquer the entire world and all three theatres.

Modern editions of Empire: Total War come bundled with the Warpath Campaign expansion, which offers a very steep challenge where you play as one of the Native American tribes and have to try to hold back the invading Europeans. This is exceptionally tough, pitting guerrilla forces lacking line formations and guns against massive European field armies, but it can be quite satisfying when you rout a "superior" enemy force with cleverer tactics.

Empire: Total War (****½) is a fine game and, now it's technical issues are long in the past, very enjoyable to play. It's wide scope and lots of upgrade options make it one of the most strategically satisfying games in the series and it also has much more gameplay freedom than later titles (starting with Rome II, the series has bafflingly allowed only 3 buildings per city which is limiting). The AI sometimes struggles with this freedom, but ultimately the game emerges as one of the more enjoyable and interesting in the series. The game is available now on Steam.

Wednesday, 6 December 2017

BABYLON 5 Rewatch: Season 3, Episodes 11-12

C11: Ceremonies of Light and Dark
Airdates: 8 April 1996 (US), 23 June 1996 (UK)
Working Title: Ceremonies
Written by J. Michael Straczynski
Directed by John C. Flinn III
Cast: Lord Refa (William Forward), Boggs (Don Stroud), Sniper (Paul Perri), Lenann (Kim Strauss), Lt. David Corwin (Joshua Cox), Sparky (Harlan Ellison), Morden (Ed Wasser), Maintenance Man (Vincent Bilancio), Guard (Doug McCoy), Thug #1 (Jim Cody Williams), Thug #2 (Ron Royce), Thug #3 (Kristian Sorensen)

Date: Mid-to-late April 2260.

Plot:    Following Babylon 5’s declaration of independence, most Nightwatch and other Earth loyalist personnel have been thrown off the station. One group of Nightwatch extremists remains in hiding. The group’s leader, Boggs, comes up with a plan to capture Delenn and blackmail the Minbari cruisers guarding the station into leaving, allowing Earthforce troops to occupy the station.

Meanwhile, Lord Refa arrives on Babylon 5 to meet with Londo. He is rather startled when Londo informs him that he has poisoned Refa and will spare him (by not having a second poison given to him that will trigger the first and kill him). In return for this Refa will arrange for all Centauri warships and battlecruisers to be withdrawn from their campaign against the League of Non-aligned Worlds. The Centauri fleet is spread too thinly and is making Centauri Prime a tempting target for attack. In addition, Refa will stop all relations between himself and Mr. Morden and, furthermore, ensure that Morden has no contact with any official in the Centauri government. Refa is utterly outraged but also totally impotent to do anything about it. He reluctantly agrees to Londo’s idea and leaves the station, shocked at his former associate’s ruthlessness.

Boggs and his group capture Delenn and Lenann, one of the Minbari captains. Marcus and Lennier work together to discover their location. During this manhunt, Lennier confesses that he is in love with Delenn but knows that she is “fated for another”. Their intelligence allows Sheridan, Garibaldi and Zack to rescue the captives, although Delenn is slightly injured during the altercation. Delenn gives a gift of new uniforms to the Babylon 5 command staff, but is regretful they cannot carry out the Minbari ceremony of renewal they were planning (due to her injury). The others decide to bring the ceremony to her and make several startling confessions: Sheridan that he has come to care for Delenn, Garibaldi that he is scared of what will happen if he loses control, Ivanova that she was in love with Talia Winters and Franklin that he has “a problem”.


Dancer's Lament by Ian Cameron Esslemont

The continent of Quon Tali is divided into a morass of squabbling city-states, the days of the Talian Hegemony long past. But, in the south, the Kingdom of Kan is on the move. Its armies are moving on Li Heng, the great crossroads city at the heart of the continent. The Protectress of Heng and her powerful (but eccentric) cadre of mages are prepared to stand against them, but they are distracted by the arrival of a bizarre mage, a skilled assassin hungry to make a name for himself and a warrior of preternatural skills dedicated to the service of the God of Death. Unbeknown to all, these three will take a broken continent and forge out of it one of the greatest empires ever known.

The Malazan universe of fantasy novels (which now number twenty-one) has attracted a reputation for being unapproachable and difficult to get into, with the traditional first novel in the setting, Gardens of the Moon, having a confusing opening and little in the way of exposition. Some readers are fine with that, but many are not. Since then, authors Steven Erikson and Ian Cameron Esslemont have mused on other ways to get into the series (you can arguably start with Deadhouse Gates or Night of Knives instead, or even Midnight Tides, but all have arguments against them). Erikson even tried to create an alternate entry point with Forge of Darkness (the first in the Kharkanas prequel trilogy) but only succeeded in creating a book that only makes sense if you've read the rest of the series first.

Dancer's Lament, on the other hand, is the first book in the series since Gardens that I would feel really comfortable suggesting that people start with. Unlike most Malazan novels, which are enormous, sprawl in lots of directions, have huge casts of characters (which sometimes completely change from one volume to another) and feature dense and sometimes obtuse writing, Dancer's Lament is tight, focused, relatively straightforward and relentless in pace. It has all the strongest hallmarks of the Malazan series - impressive sorcery, intriguing (but never overwrought) worldbuilding, good humour and the use of compassion as an overriding theme - whilst dumping most of the negatives. Or, to put it more primitively, Dancer's Lament is all killer, no filler.

The tightness comes from there just being three POV characters. Dorin Rav is an assassin beyond compare looking for fame and fortune. Malazan veterans will know him, of course, as Dancer, but in this book he's just a young man with real skill but who sometimes gets in over his head. Silk, one of the mages of Li Heng, is an arrogant and apparently amoral fop who comes to realise, in his darkest hour, how much this city and his employer has come to mean to him. Iko, a Kanese Sword-Dancer, is a formidable warrior who has invested so much time in her fighting skills that she has neglected her personal ones, and has trouble forming bonds with her fellow warriors as a result. Silk and Iko appear in other books (Iko under a different name, and it's fun for old hands to try to work out who she is), but here they're presented as newcomers and youngsters trying to find their way in the world.

The book takes place a century or so before the events of Gardens of the Moon and the central plot is refreshingly simple: Li Heng is under siege, the city's rulers are trying to repulse the attack, the attackers are trying to take the city and a whole bunch of other people are caught in the middle, most notably Dorin Rav who is navigating his way through the city's underworld in search of profit. The problem is that Dorin keeps tripping over his conscience, spending too much time worrying about the friends he's made on the way and is constantly distracted by a crazy mage he bumped into on the plains and now can't seem to avoid coming into contact with. The common complaint about prequels is that they're either not telling us anything we don't know or they're going out of their way to create new stories which don't gel with what's gone before.

Dancer's Lament skirts this problem quite straightforwardly. His earlier novel Return of the Crimson Guard features sections about one of the conflicts that is mentioned in this novel, but it turns out that a lot of those reports are erroneous or conflate two separate conflicts into one and it's entertaining seeing the "real" events unfold in this book. It also helps we're in a period of time a while before our protagonists even arrive on Malaz Island, so there's a lot of room to manoeuvre. Indeed, getting to know characters like the Protectress when we know what her ultimate fate is can add a bit more resonance to events. Of course, it might be that "what is commonly known" may not turn out to be the truth at all.

Esslemont has a more direct and sparse prose style than Erikson, which has sometimes made his books feel like a light salad compared to Erikson's four-course meals. Not so here, where Dancer's Lament leaps off the page with verve and confidence. The characters are vivid and feel real (Erikson's depiction of characters - even the same ones - can sometimes feel remote and alienating in contrast) and we come to care about even minor bit players such as the bird-keeping girl Ullara (a damaged, philosophical character who sometimes feels like she's been parachuted in from a China Mieville novel) and the various soldiers manning the walls of the city.

There are some negatives, but these are minor. Esslemont's brisk and energetic style in this book is very refreshing for the series but it leads to the opposite of the usual problem: if most Malazan novels could stand to lose a few dozen pages of repetitive and laboured introspection, Dancer's Lament sometimes feels too short and some storylines feel like they could have been expanded and spread out a bit more. The distribution of chapters between characters also feels a bit too uneven, with Iko sometimes vanishing for large chunks of time and the plots of the various city mages not really going anywhere (although some of them will be picked up chronologically later on, particularly in Return of the Crimson Guard, which revisits Li Heng at the height of the Malazan Empire). This does make the world feel alive and still changing and evolving outside of the focus of the main plot, however.

Dancer's Lament (****½) is, overall, a fast and satisfying read, the best Malazan novel in quite a while. It is available now (UK, USA). Its sequel, Deadhouse Landing, was published last month. The third book in the Path to Ascendancy series has the working title Kellanved's Reach and should be out in late 2018 or early 2019.

Tuesday, 5 December 2017

Quentin Tarantino might direct the next STAR TREK movie

It's a bit of a surprise to learn that J.J. Abrams is even considering producing a fourth Star Trek movie, given the disappointing box office of the previous movie, but it's even more surprising to learn that Quentin Tarantino may be involved in the project.

Star Trek Beyond grossed $343.5 million on a budget of $185 million in 2016, meaning that the movie probably only barely broke even (when marketing costs are considered as well) and probably needed media sales and streaming sales to get that far. Although producer J.J. Abrams wanted to move on with a fourth film which would reintroduce Chris Hemsworth as James Kirk's father, Paramount has been slow to get the ball rolling on the project, possibly over cost concerns.

Tarantino's idea seems to have reignited interest in the project, with Paramount likely judging that Tarantino's involvement might at least bring in a larger audience out of curiosity to see what he does with an established franchise.

Tarantino is a big Star Trek fan, particularly of The Original Series and The Next Generation, and has said he far prefers it to Star Wars (in contrast to Abrams' viewpoint). In the past he's batted around the idea of repurposing TV episodes like The City on the Edge of Forever and Yesterday's Enterprise into films.

Abrams, who is deep in pre-production for Star Wars: Episode IX (due out in December 2019), is putting some writers on the idea and will likely produce the film if it goes ahead. Tarantino is making a Los Angeles-based movie set in 1969, due for release in 2019, so likely if the two film-makers do collaborate on this project it won't be until after then.