I recently read an interview with a game designer. Among other things, she talked about how, in many computer games, your avatar is often in mortal peril, and how such a situation is not only an option, but the very point of many computer games. You might die, so your main goal is to survive. She called that the stress of dying. I am very much a non-gamer, but I know what she means. Although the drama of life vs. death, whether it be your avatar’s or any other character’s in a game, is higher in a potentially fatal scenario, it might take your attention away from the intriguing story, the elaborate graphics or the well-written characters themselves. Sometimes it’s about exploring and going places, about living in a new universe, not just surviving it. Or about admiring the craft. Continue reading
If you had told me a year ago that a Thor film would be one of my favourite Marvel movies in recent years, I would have looked at you like you were touched in the head, possibly by a mythical hammer. For me, the two first Thor films were firmly at the bottom of the MCU, kept company only by Iron Man 2. In fact, I would have said that the character Thor was my least favourite of all the main characters in Marvel’s cinematic universe (though I am not including the TV series in this reckoning, because, well, Danny Rand). Yes, thanks to The Avengers I could see that the big, blond lug had some potential, but mainly as a supporting character and as the butt of a bunch of jokes.
After Thor: Ragnarok, though? Well, let’s put it like this: if you’re looking for story or theme in an MCU film, the latest adventure of the God of Thunder won’t make you a convert. If you’re expecting a plot that is significantly different from, oh, pretty much every single Marvel movie since Iron Man, you’re out of luck. If you want a movie that fully embraces the silliness inherent in this ever-growing comic book universe translated onto the screen, though? Then hell, yeah – Thor: Ragnarok is an embarrassment of riches.