The Lost Lighthouse Plays: T.I.M.E Stories Part 1

And that’s my final thought on the game…wait, something’s wrong. I know what’s happened; we’ve jumped in at the wrong point of the run. Let’s spend some Time Units and jump back to the beginning of the article.

*Various 80’s Sci-Fi noises*

T.I.M.E Stories rematerialized within our local game stores in 2015, published by Space Cowboys and Asmodee. A game notoriously difficult to write about as SO much relies on the story and not letting the cat out the bag. So I’m going to write one article now, 3 runs into the game, with no spoilers and one after our time agents have solved the mystery WITH spoilers

So this piece will focus on how I feel about the mechanics, aesthetics and general play style of the game but will give away none the important story hooks.

As I previously stated our play group has only got half way through 3 “runs” into the mission supplied with the base game, so my opinions may change in the next article after we’ve finished. So take them with a pinch of salt.

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Look at how cool those component slots are!

Upon looking at the contents of the box, you know this is a different game. I’m a huge fan of RPGs and from what I’d heard of the game that would help. The components are fascinating; the pieces that represent the players are huge! It feels as if the designers looked at standard games components and went “our game’s completely different, let’s not have standard components”. One thing I really enjoy about the box design is that you can essentially “save” your game progress ready for your next session. The board itself is a blank canvas which is perfect considering the idea of the game.
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I feel I’m getting ahead of myself. If you haven’t heard about T.I.M.E Stories, you and between 1-3 other players take on the roles of agents sent back to some time in history, ours or otherwise, to correct something that has gone wrong. Problem is, time travel takes a lot of energy and it’s not long till you’re ripped back to the future. Every trip is called a run, and every time you try to do something during a run it costs Time Units (TU). Once you’ve spent an allowed amount of TU during a run you have to start again from the beginning. But hopefully you’ll bring along some memories and items from your previous run(s).

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I played as Mademoiselle Doume. Bitter as hell, and twice as tough!

You each pick a different person for your agent to inhabit while they have slipped back through time. Some are better at conversations, some are better at smashing heads! Classic RPG style. It really benefits your party to take a mix.
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Your “view” during the game is a panorama, which changes per location you go to, of the area you are occupying. This could be a roof or a cave etc. you can move your agents around the panorama to interact or talk to various people. Some times for better or for the worse as you are occasionally drawn into fights. The dice mechanics are really simple, though the rule book sometimes isn’t as clear as it could be. As you travel to different locations, you slowly start to piece together the mystery you are there to solve. Then, inevitably, you run out of TU and have to start again. I believe you are meant to get quicker with each run as you know where things are and who you can ignore.
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The artwork is a true highlight. The mission in the core box looks beautiful. It really has that American Horror Story vibe to it. I’d even advise putting on some creepy music while playing.

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Time Units run out much quicker than you'd hope!

So I and my crew are 2.5 runs into a game. It’s a completely new experience for us; it has such a unique playstyle. I really enjoyed reading out the cards and the look on people’s faces when, as a team, you’ve made a bad move, or the joy when you’ve solved something. I’d advise a “no phone at the table” rule as it can really break the vibe of the game if people aren’t paying attention, it also doesn’t help as you need to remember things people have said to you from previous encounters. I can’t give a full opinion yet as I’ve not finished the first mission but the “re-run” style mechanic is looking to be a blessing and a curse at the same time. On occasions it’s really nail biting trying to get stuff done before your run ends, other times it just gets a bit tedious redoing the same things 3 or 4 times. I’m hoping once we have finished the first mission that opinion will have changed.

Overall, at this moment in time, I’d say T.I.M.E Stories is still worth picking up, it’s so unique in its play style and really gets the players immersed in the story. The fact each expansion just “plugs in” to the game board is really cool.

So until my final review, get in your time pods and secure yourselves, for time travel can be a little bumpy!

Gary

Comic Review – Paper Girls #5 (Image Comics)

Adam reads as many comics as he can afford. He missed reviewing them while he tries to write up his PhD thesis, so every other week he’ll be reviewing of one of them, with potential minor spoilers.

This week the first arc of Brian K. Vaughan and Cliff Chiang’s Paper Girls came to a close with issue #5. The series started back in October last year, written by Vaughan and drawn  by Chiang, with colours from Matt Wilson (who apparently colours all the books I read) and letters and design by Jared K. Fletcher.

Paper Girls started fairly innocuously. In the early morning after Halloween 1988, 12-year-old Erin meets three fellow paper girls. What began as a reasonably normal night quickly spins out of control into an other-worldly sci-fi adventure involving gleaming futuristic knights mounted on pteranodons, time travel and accidental gun violence. Erin, Mac, KJ and Tiffany find themselves in an emptied suburban landscape where they dash between different supernatural occurrences, trying to figure out where everyone is and what is going on.

When Paper Girls was first announced, I immediately added it to my pull list entirely due to the creative team. Everything I’ve read by Brian K. Vaughan has been at least excellent. At least. And following his superb run on Wonder Woman with Brian Azzarello, Cliff Chiang has become one of my favourite artists too. I wasn’t really sure what to expect from the series, but the off-the-wall sci-fi leanings that arose at the end of the first issue came as a welcome surprise. From that point on there has been no hand-holding for the reader, leaving us as bewildered and rushed off our feet as the four friends who find themselves dealing with the tech-augmented travelers spouting strange alien speech (I tried using a translation app on the language. Shockingly it did not work).

Paper girlsWhile this approach is initially confusing (and I certainly won’t pretend to know fully what is going even now), it ultimately comes across as strong, non-patronising storytelling from Vaughan. Erin and her friends are all compelling and brave, and their mysterious sci-fi antagonists are intriguing. The conclusion to this first arc adds a fun new wrinkle to the already disorientating situation the girls find themselves in, with the series actually improving with each issue (the time travel considerations with regards to position in space in the opening pages were great) and I can’t want to see what’s coming for the next part in a few months.

The art in Paper Girls is superb, and this new issue is absolutely no exception. Chiang deploys his thick, and minimalist line work to great effect, with grotesque body horror, huge sci-fi panels and rare quiet moments that show off very real emotion between the characters, despite their situation. Throughout the arc one of the most impactful visuals has been the eerie night sky above the suburb, forked with lightning and slowly filling up with more pteranodons, but the two pages of explosion and displacement that lead our heroines to the end of the arc are just gorgeous. Wilson’s colours provide a really strong solidity to the book, with the washed out palette he’s using working to create an aged aesthetic that lends credence to the late-80s setting of the comic.

Paper Girls wraps up it’s first arc well, despite the mysteries of the book largely being no clearer than they were from the start. I have no idea where the story is going with the second arc, and that genuinely excites me. The first five issues are being collected as a trade paperback from Image, due to come out on April 13th. If you can’t track down the single issues, either check out the trade or grab the issues through your digital comics app!

Score: 9 iNsecs out of 10

Adam’s Top 5 TV Shows of 2015

Over the next couple of weeks we’re going to be sharing our top 5s of 2015, from everyone who writes here at The Lost Lighthouse. Adam will kick off with his favourite 5 TV shows of the year.

I’m taking a quick break from the depths of writing my PhD thesis to write about some of the things I actually cared about this year, starting with TV. Yes I still find time for TV. You’ll notice that not only are all five of my picks American shows, all but one of them are comic book based TV shows. Big whup, wanna fight about it?

5. True Detective – Season 2

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My number 5 is the only pick that isn’t a comic book TV show, and is also potentially the most controversial choice. If you believe everything you read on the internet, the torrent of articles online about what a failure True Detective Season 2 was is pretty damning. Yet everyone I actually spoke to in person enjoyed it, maybe not as much as the first season but enjoyed it nonetheless. It seems that Season Two’s main crime was not being Season One. Sure, it was convoluted and confusing, the dialogue was overwrought and the characters hugely broken and brooding… but as for the first point, having a TV show demand your full attention and you still might not get it on the first viewing isn’t the worst problem a series can have. In fact, it can be more rewarding. And if you say that Season One wasn’t confusing and convoluted you’re a liar.

As for the second issue, as I see it overwrought dialogue and larger than life brooding characters was exactly what the show was aiming for. The writing wasn’t bad. It was specific. True Detective Season Two starred a new cast of characters in an entirely separate story from the previous season, setting the format of the show as an anthology series with an internal ethos but not a set style. The style of the second season was a brooding LA noir, and the dialogue bled that style all over.

Season Two starred Colin Farrell, Rachel McAdams and Taylor Kitsch as Detectives Ray Velcoro, Ani Bezzerides and Officer Paul Woodrugh, brought in to investigate the murder of a man found with his eyes burned out and his body dumped out on a bench. Vince Vaughan played the man’s criminal partner Frank Semyon, now left in the lurch, and Kelly Reilly starred as his wife Jordan Semyon. As the plot developed, conspiracies reared their ugly heads, dirty cops were stabbed in the back by even dirtier cops, and criminals basically did what criminals tend to do. Also there was a guy in a raven mask.

As with the first season, the performances of the main players were really the strongest aspect of the show. I enjoyed Vince Vaughan (regardless of what everyone else seems to think, I thought he was decent) and Kitsch, but it was Farrell and McAdams as Velcoro and Bezzerides that really blew me away. While the latter generated a chaotic stress and snarkiness that constantly felt on the brink of breaking point, Velcoro was just a depressing mess of a man with a hair trigger. The tag line ‘We get the world we deserve’ drew me in, and the end of the first episode with the detectives surrounding the body, having all driven there independently drunk and blearily staring at each other for the first time, hooked me. Did I enjoy True Detective Season Two as much as the first season? Was it as good? Who gives a shit. It was it’s own beast and I enjoyed the hell out of it.

Favourite part – The ridiculous shoot out and carnage with everyone at the end of ‘Down Will Come’, the other ridiculous shoot out with Woodrugh at the end of ‘Black Maps and Motel Rooms’, and the slow motion glass smash from Frank in the same episode… but my actual favourite part of every episode was the haunting intro  ‘Nevermind’ by Leonard Cohen.

4. The Flash

The flash

The CW’s Arrow show may have started off shaky, but a few episodes in it found it’s feet after the main character became less of a murdering Batman-clone with a bow and arrow. Despite how well the first season ended, I don’t think anyone predicted how good the sophomore season would be. Good job it was too, because the success of Arrow (which I enjoy a great deal) is the only reason we have the unbridled superhero fun fare that is The Flash. Arrow may be dark and gritty like most of the DC live action output these days (but nowhere near as gritty as the cinematic universe, which is mind bogglingly not connected to the TV universe), but one thing it isn’t afraid to do is embrace the extended DC universe. The Flash takes this and multiplies it by time travel and multiverses.

Grant Gustin was introduced in Arrow as Barry Allen, and I think the original idea was to have an episode of that show be the backdoor pilot for The Flash. Instead, they decided to have the accident that imbued Barry with the speed force powers of The Flash occur at the end of his appearance on Arrow, then repeated the scene in The Flash pilot. Over the first season and the half of the second we have had so far, the glee with which the showrunners have included the wackiest elements of The Flash’s rogues gallery without hesitation has been just brilliant to watch, from Weather Wizard and Mark Hamill reprising his role as The Trickster, to god damn Gorilla Grodd and briefly King Shark. But the willingness to go for broke on some of the more out-there stuff, while the show still maintains it’s audience, really impresses me. The concept of time travel is introduced incredibly early on, until eventually Barry manages to achieve it himself, and in the second season we have Earth-2 and parallel versions of villains and other characters. It’s pretty insane, but it works.

Also the cross-overs with Arrow just make it seem like everyone is having a great time making these shows, which always comes across on screen and sells both Flash and Arrow that much better. This year we had Vandal Savage, Hawkgirl and Hawkman. So happy.

Favourite part: There is a lot to choose from, but I’d probably go with Episode 15 ‘Out of Time’, when after seeing an image of himself running beside him, Barry later accidentally travels back in time, giving him the chance at a do over when things didn’t turn out so well, risking paradoxes at the same time.

Minor complaint: A bit picky of me, but there is a moment in season one where a character mentions a singularity, and Danielle Panabaker’s character Caitin Snow, a scientist, says words to the effect of “A singularity, what’s that?”. Bullshit she doesn’t know. I get that you felt the need to have someone ask the question for the exposition, but there was a  journalist and a cop in the room at the same time. Either of them would have been fine.

3. Agents of SHIELD

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I’ve gone on about how much I like SHIELD on the podcast. Everyone gave it a harder time than it deserved when it started. At worst, it was average. Then it got good. Then Winter Soldier happened and it got great. For me, it’s stayed at that level since and of all the weekly shows I watch this is the one I look forward to the most.

Season two brought in the concept of Inhumans, powered individuals that Marvel are essentially trying to use to replace the mutants (at least on screen, possibly in the comics) due to not having the rights to those characters. While still trying to deal with Hydra, Coulson has to deal with rebuilding SHIELD and these new Inhumans, whether they are threats or potential allies. The season introduced some great new characters, in particular Adrianne Palicki as Mockingbird, but also brings some huge changes to the original cast too, some through emotional depth and some through physical change. The added growth in all the characters that started in the first season was really fleshed out in the second (and more so so far in the third), in particular for Skye, who Coulson spent a lot of the time telling everyone how special she was and important early on in season one, while the show only really started to show us why later. That has led to a really strong father-daughter relationship from Clark Gregg and Chloe Bennet that has been really enjoyable to watch.

Season three so far has brought in Inhumans into a Secret Warriors plotline, as well as other worlds and Powers Boothe. All great stuff.

Favourite part: This scene in Season 2 Episode 19 ‘The Dirty Half Dozen’ where Skye straight up John Wick’s a bunch of Hydra goons in a brilliant single take tracking shot.

 

2. Daredevil

Daredevil

Daredevil marked the first of the announced Marvel and Netflix collaboration shows – 13 episode series dropped onto the streaming service in one go ready to be binge-watched. Putting aside the issues that many have with this model, some of which I agree with (in the rush to avoid spoilers, burning through the series in days compresses the enjoyment), after a shall we say ‘poorly received’ movie, I think there was a certain level of apprehension with how Daredevil would turn out, and what that would mean for the series to come. We really shouldn’t have worried.

Daredevil drastically shifted tone from the rest of the MCU, taking it to a dark, brutal and bloody place that it hasn’t gone to yet and set the stage for what is to come with the rest of the Netflix shows. Charlie Cox played the Man Without Fear brilliantly, with Elden Henson and Deborah Ann Woll as his friends Foggy Nelson and Karen Page effectively playing his drinking buddies and grounding him when he became too dark and driven, Vondie Curtis-Hall as the driven journalist Ben Urich, and Rosario Dawson as Claire Temple, a nurse who fixes up Matt Murdock when he is cut up and beaten within an inch of his life. But as good as they all were, Vincent D’Onofrio really stole the show as Wilson ‘Kingpin’ Fisk, a tortured leviathan of a man who took the whole 13 episodes to realise that his methods for ‘saving’ Hell’s Kitchen actually made him a monster, all while providing a mirror for Cox’s Matt Murdock to ask if he was really any different.

The connecting threads between everything in the MCU are always icing on the cake, and its difficult to know whether it is better to go overt like the crossovers between movies, the show altering changes that SHIELD has in response to the films, or to take a more subtle approach. I think the Daredevil writers made the right call in keeping it subtle, instead using the ‘Battle of New York’ from the first Avengers film as a reason for a now affluent and gentrified Hell’s Kitchen being run down and struggling again, but not having any overt cameos or camera winks.

Due to the critical and fan response to Daredevil, a second season has already gone into production and we’ll be getting that in 2016 along with Luke Cage. This time they’re bringing in Élodie Yung as Electra and Jon Bernthal as The Punisher, one of my favourite Marvel characters. I really couldn’t be more excited about this.

Favourite part: Pretty much the same as everyone’s. Daredevil had some amazing action sequences, but I don’t think they ever topped the hallway fight at the end of episode 2 ‘Cut Man’. Brutal.

 

1. Jessica Jones

Jessica Jones

I’ll admit, Jessica Jones may only be number one because of how recently it came out, in that same whole-season-dump-at-once model as Daredevil, but I’m halfway through revisiting it already and think it is a superb piece of TV. After the first Marvel show from Netflix was such a success, I was very much looking forward to the next one. This second show just came out last month, proving that Daredevil wasn’t just a fluke and pushing the dark, more adult MCU even further than the violence and brutality of Daredevil. Instead of being a dark action show though, thematically and stylistically Jessica Jones is a brooding and intense noir, telling the tale of an alcoholic private investigator with super strength who, after an abortive attempt to become a superhero than ends very badly, is washed-up and struggling to make enough to pay for her cheap whiskey.

The show centers around Jessica, played by Krysten Ritter, clashing with the man who was responsible for her fall from grace. Kilgrave, played chillingly by David Tennant, has the ability to control anyone just by giving them a command. Anything from telling you to throw a drink in your own face to jumping off the top of a building, the victim is compelled to do whatever he says. This terrifying power provides the show with some incredibly dark and weighty subject matter, with consent and compulsion at the forefront. It’s all handled brilliantly, and Ritter and Tennant are just excellent to watch.

The supporting cast is largely great too (I found the upstairs neighbours a little dull), in particular Rachael Taylor as Trish Walker, Jessica’s best friend, Carrie-Ann Moss as Jeri Hogarth, a well respected lawyer who trades favours with Jessica, Eka Darville as Malcolm, the tragic junkie neighbour, and Mike Coulter as Luke Cage, a bartender who she’s been following for a case. Coulter is especially exciting, as Luke Cage is the star of the next Netflix series coming (after Daredevil Season 2) and I thought he was great here.

Favourite part: Jessica not giving a bag of dicks what her neighbour thinks. In fact basically all of Jessica’s dialogue.

What were your favourite TV shows of this year? Let us know!

Adam

Honourable mention goes to: Doctor Who, which I felt was a huge improvement over last year partially due to the inclusion of two parters that have been sorely missing over the last couple of series, but more to do with Peter Capaldi really settling in to the role and delivering some superb performances; Rick and Morty, a show I burned through in about 24 hours after being told about it. Incredibly funny, inventive and very, very bleak; Parks and Recreation, which I only started watching last year but has become one of my favourite shows, and its final season somehow delivered a satisfying ending for an entire cast of brilliant characters while maintaining the heart-warming and sincere yet funny edge the show always had without seeming cheesy or unearned; Archer, which continues to be hilarious even this far in, and I can’t wait for season 7 in the new year; and Agent Carter, which was basically a joy to watch, Hayley Atwell owned the screen (and I’m glad they keep bringing her in as Peggy at different ages in the MCU) in an excellent period piece where the world was even more embarrassingly unequal than it is now. Plus she beat the shit out of a lot of people. Bring on season 2.